《蜀山图》轴，近现代，傅抱石绘，纸本，设色，纵57.2厘米，横44.8厘米。

　　本幅自题：“乙酉秋七月，傅抱石重庆西郊。”钤“傅抱石印”白文方印、“抱石斋”朱文方印。

　　乙酉为1945年。

　　巍巍群山占据了画面大部分，突出磅礴的气势。濛濛雾气四处弥漫，是对四川山水的如实描绘。图中以染代皴，大面积富有浓淡变化的墨色与花青、淡绿相互融合，极好地表现出蜀地阴晴交替的天气和莽莽苍苍的不尽山色，有咫尺千里之感。

　　傅抱石与其子二石谈论绘画技巧时，提及他的习惯是画山水尽量用大号的毛笔，即便是画幅不大亦然，因为大笔与小笔产生的效果不同。二石经过实践总结出：笔越大，要求使用者的功夫和魄力亦越大；而纸越小，画中天地则不能小。用大笔来画，留下的笔触更能使人感到雄浑和豪放，在视觉上传达给人的是舒畅、痛快之感。观此图，其言信然。

　　此图为傅抱石夫人罗时慧捐献。

 

--------Introduction in English--------

 

"Shushan Tu" axis, modern, Fu Baoshi painting, paper, color, 57.2 cm vertical, 44.8 cm horizontal.

The title of this painting is "In July of YU Qiu, Fu Baoshi, the western suburb of Chongqing". Jun "Fu Baoshi Seal" in white and Zhu "Baoshizhai" in Zhu.

Unity B was 1945.

The majestic mountains occupy most of the picture, highlighting the magnificent momentum. The mist is everywhere, which is a true description of Sichuan's landscape. In the picture, dyeing is used instead of chafing. A large area of variational ink is combined with blue and light green. It shows the alternating sunny and cloudy weather in Shu and the endless mountain scenery, which is close to a thousand miles away.

When Fu Baoshi and his son Ershi talked about painting skills, he mentioned that his habit was to draw landscapes with large brushes as far as possible, even if the painting was not large, because the effect of large brushes and small brushes was different. Through practice, Ershi concluded that the larger the pen, the greater the effort and courage of the users; and the smaller the paper, the smaller the world in the painting can not be small. Painting with large brushes, leaving strokes can make people feel more vigorous and bold, in the visual convey to people is a sense of comfort and pleasure. Looking at this picture, his words are believable.

This picture shows Mrs. Fu Baoshi's donation by Luo Shihui.