作为"5 四"以来投身于新文明 运动的先锋兵士 ，他应用 水墨、粉彩，深刻地描绘劳动人民生活在旧社会的

 

悲惨遭受 ，如《小乞与巨贾》、《地狱》、《受训者》、《花花世界》、《消化》等。新中国成立后，任广东省军管会文明 组军代表、广州市政协委员、华南工学院建筑系教授、中国文学艺术工作者代表大会代表。

 

他的画笔，亦转而热烈歌颂劳动人民的解放，应用 豪放欢快的笔调、明亮绚丽 的色彩，创作了《大旱之年见丰收》、 《农民运动讲习所》、《鸭群》、《春光明媚的解放路》等作品，给人深刻的印象。

 

在艺术上他从不因袭中国或西洋的传统技法，而是从所表现的物象出发，融会中西、提炼西洋画法的精髓，落笔大胆泼辣、豪放雄奇，因之表现是深沉、生动的，画风是新颖独特的。出版有《符罗飞画集》、《同志的死》、《饥饿的人民》等。

 1919年归国，在南京暨南学校读书。

 

1921年，抱着富国强兵的梦想，赴日本入士官学校学陆军。梦想破灭后，又曾削发为僧;但是他觉得寺庙里也有压榨 和剥削，人间并无"世外桃源"，因而 就离开寺院。

 

1922年考入上海美术专门学校西画系。

 

1925年毕业。

 

1926年加入中国共产党，参加了上海工人武装起义。

 

1935年应邀参加威尼斯国际艺术赛会，获得意大利皇家金质奖。他留意期间，曾在乎 大利东方学院中文系当讲师，因宣扬 共产主义被校方开除。

 

1940年后在桂岭师范、中山大学、湖南工兼任 美术教授。

 

1948年重新加入中国共产党。中华人民共和国成立后，他1 面创作，1 面从事美术教育，历任中山大学、华南工学院建筑系教授、中国美术家协会广东分会副主席、广州市政协委员。

 

1971年含冤去世。

 

198年，人民美术出版社收集他的遗作，出版了《符罗飞画集》。林默涵、江丰、邵宇为画集作序、题词。

 符罗飞不同时期的自画像，都是画家对自我心灵中最痛苦、最哀伤 的道德情怀的自然披露和自我认同。作于1938年的自画像题为《痛定思痛》，评论者有认为这"是1 个不忘本 的艺术家忍受着痛苦煎熬的某1 刹那"。这件作品以纯熟 的明暗笔法刻划出笼罩在强烈侧光中的艺术家内心的痛苦思考，也反映出刚从意大利学院绘画的氛围中出走所带来的浓重影响。作于1946年、后来刊于画集《饥饿的人民》的好幅《自画像》则又表现出明显的不同。这里侧重 刻划的是1 双愤怒的眼睛，那里面喷出的是正义的火焰，紧皱着眉头和紧咬着的嘴肌是内心对黑暗理想 深恶痛绝的深刻体现。如果把作于1947年、同样也是皱眉怒目式的《自画像》与

同时期其他《自画像》作品全部展于眼前，恐怕人们很难对于画家的自我认同和揭示会无动于中 。他把自画像与"饥饿的人民"的画像放在一同 ，在当时也是使观众深被打动的:"符教授把本身 尊容也描绘在内，这或许 是和'人间地狱里的无告者活在一同 '的注脚!这在高贵的绅士看来，该是多么可惊的事情!"在这些自画像中，画家喷射出来的、建立在人道主义和平民思想基础上的道德是何等的炽热!在中国古代 美术史上，在道德感与价值倾向方面达到如此深度的自画像系列实在是恐野外其匹。

 

速写为次要 款式 的展览中，人们会深深的有感于符罗飞先生那种处于困难的处境中坚持作画的顽强意志，这首先体如今 他大量以小纸片、各式随手捡到的大小不1 以致 残缺不整的包装纸、日记本纸、草纸为作画材料。符罗飞在与友人的谈话中曾提到环境的困难使他没法 对工具材料有什么讲究，他的平民气南也使他不太为此感到沮丧。事实上，当他由于有力 购置油画颜料而只好退而以粉彩颜料作大画的时候，那种艺术效果反面比不上小纸片上的速写那么生动、无力 。

 

这些画在小纸片上的速写虽然大都是风格粗犷的急就章，带有1 种泣天动地、情不自已的悲悯感，但画家常常 在寥寥无几笔中仍然能深刻地刻划出人物的极端痛苦的内在感情，其中关键在于捉住 了人物的眼睛，那些深陷的、圆睁的眼睛。

 

如果说符罗飞的速写是对苦难生活中的各种悲惨抽象 的精确 捕捉的话，那么他的讽刺画则是深刻的理性与强烈的感情高度结合的产物。1 个有良知的艺术家面对社会的黑暗理想 ，如果他只能停留在愤怒呐喊的水平上，永久 只是在愤怒情感的催逼下匆匆急就的话，那么他的作品还是难以具有锐利的揭示力和心智上的深刻性。在逻辑上和伦理上的极端荒诞性，深刻地讽刺了寡廉鲜耻的当权者。

 

在符罗飞笔下的人生惨况是真实、自然的，他没无为 了任何"美"的法则而作出艺术上的修饰，他唯恐 的只是穿透苦难的力度还不够强、呐喊的声音还不够大、悲悯的感情还未足以令世人震惊和感同身受。因此 他笔下的饥民个个似鬼魅1 样，只剩下1 架架的人形骨架和1 双双喷出饥火的深凹之目。如果把古代 美术史上同属伤时忧国传统的作品(如司徒乔、蒋兆和的作品)与之比较的话，恐怕我们会承认符罗飞作品的确具有非同寻常的震动 力量。

 

在这里我们可以思考的是，中国传统艺术受传统政治文明 的制约成绩 。为何 在传统艺术事业中的"讽谏"、"怨刺"必须不离"温顺 敦厚"的"诗教"?"1 个作家既要关心理想 、关心政治，以他的笔去补阙拾遗，而又要不失不偏不倚 ，这真是1 件困难而又痛苦的工作。"究其缘由 ，与中国传统政治的核心思 想"不撄之治"颇有关系。青年鲁迅指出，"中国之治，理想在不撄。"所谓撄人心，就是震动 人的心灵，打破内心的和谐;不撄，就是令人民形如槁木、心如静水，使暴君得以传世，顺民可望偷生。因而 ，进步的艺术必必要 有撄人心的激奋之情，才能唤醒人民，推暴政。可以说，撄人心就是符罗飞艺术的最本质的特征;更应当 有勇气说，符罗飞作为"革命艺术的先行者"留给我们的最珍贵的精神遗产也就是撄人心的精神。

 毫无疑问，符罗飞是广东古代 画坛上真正具有天才气质的艺术家---从符罗飞的履历甚至可以看出，在他的性情 内涵中，更多某种与命运抗争的不屈不挠的冒险精神，这与他作为1 个渔民的儿子的身份可能不有关 系。

 

---李伟铭(广州美术学院教授)

 

"以中国制的笔，作西洋式的画，意到笔随，心精力果。"这是蔡元培先生1938年为《符罗飞抗战画集》写下的题词。符罗飞(1897-1971)，海南文昌人，古代 著名画家。符罗飞终身 经历之坎坷，在那个动乱年代的文人中也不多见。因而 他也被称作中国高尔基式的人物。

 

符罗飞的人生，写满的是惊叹号---他出生在偏近海 南岛的穷苦渔民家庭，却在东方 文艺复兴发源地意大利接受了正轨 的美术教育，其终身 所画所写，又尽是为底层最穷苦的民众呐喊;他终身 两次入党、三次离乡、四下南洋、旅欧数年，出家还俗，扛枪挎剑，最初 终究 在画笔和艺术中找到了本身 的天地。

 

1908年冬天，大清朝已风雨飘摇，海南岛刮起了北风，对于文昌沿海的穷人来说，这正是下南洋谋生的季节。11岁的符罗飞回头再看了家乡1 眼，就跟着四叔乘帆船下南洋了，他不晓得 ，等待着他的将是什么样的命运。

 

对于符罗飞而言，这是在他出生前就已命中注定了的，他的父辈就是这样过来的。家乡土地贫瘠，为了谋生，只好冒险出海打渔，甚至漂洋过海。他的父亲符载足年轻时曾流落到越南南部的1 个小商埠，并娶了当地姑娘为妻，这就是他的母亲庄氏。

 

符罗飞晓得 ，哥哥已 先他1 步去了南洋，两个弟弟也将步他的后尘。但他不晓得 的是，从此当前 ，他们兄弟几个将天各1 方，此生竟不再 曾相见。即使他的家乡海南岛，此后他也只回去过两次，1 次是1915年乘"卖猪仔"的船回乡成亲，那时已经是 民国的天下;最初 1 次则是解放后的1958年，期间几乎过了半个世纪。

 

早岁已知世事艰

 

1897年8月13日，符罗飞出生于文昌东郊镇建华山乡南岗村1 个贫苦农民家庭，取名符福权

。七八岁时，他就和民间艺人四叔学艺画门神、壁画，为他后半生的美术事业埋下了种子。

 

跟随四叔乘帆船下南洋谋生的符罗飞，经安南(越南)白马、新加坡，再到婆罗洲巴厘岛，在当地的1 家咖啡店唱工 。1 年后四叔返乡，留下身无分文的符罗飞独自由 马来西亚闯荡，最后 在裁缝店照看婴儿，后流浪爪哇、婆罗洲、印尼各岛，做过裁缝、泥水工、补鞋匠、柴工、打铁工、伙计等。

 

据符罗飞在自传中回忆:"14岁那年，我在1 家车厂做伙夫，不但要做饭还要兼顾拉风箱和打铁，常常体力不支、顾此失彼，东家和工头打骂也是经常的……"这类 长时间 在社会底层受剥削的经历，给符罗飞留下了难以磨灭的印记，这类 爱憎分明的品格在他日后的作品中得到充分的流露。

 

不堪压榨 的符罗飞辞工后，开始在船上做水手。1 战期间橡胶价格高，他又到吉隆坡乡间当割胶工，直到患了痢疾才转到面包店唱工 ，期间还做过机械工和鱼贩，备尝辛劳 。1917年，俄国十月革命胜利的音讯 传来，对他形成 了深刻影响，他放弃了发财后背井离乡 的念头，产生了求学的想法。

 

枪杆、木鱼和画笔

 

这时候 ，符罗飞在马来西亚得到当地一名 爱国侨领、巴生海南会馆创始人符建章先生的帮助，在当地的中华职业学校做杂工并允许其旁听学习，这是符罗飞首次接受正轨 教育。不久，恰逢暨南学校在南京复办并在南洋招生，符罗飞得到符建章帮助 回国，考取南京暨南学校读师范科(免学费)。

 

由于符读书勤奋，深得校长赵正平的爱好 。而符罗飞深感国家落后，受"富国强兵"思想影响，决意东渡日本学军事，在赵正平介绍下，由一名 督军保送他到日本，入读长城士官预科学步兵。但不久他就患上了肺结核。1 年后，符罗飞不得不退学回到上海。

 

关于这段历史，符罗飞的小儿子符和强告诉记者，父亲幼年时在南洋唱工 ，由于患了痢疾才从橡胶林出来。后来又东渡日本求学，本来以为"挎上刀剑就能解决人间不平"，结果严厉 的训练和北方的气候使他得了病，不得不折返上海。从此落下了哮喘病根。

 

英雄梦碎，贫病交加。意气消沉 的符罗飞索性遁入空门，到杭州西湖边的广化寺落发出了家。但寺院里仍然 有?a href=https://www.meishu.com/baike/1/2/4215.html target=_blank class=infotextkey>黄剑械燃堆蛊龋饫锊皇潜苁赖奶1 ㄔ矗虼耍患父鲈拢突顾琢恕?/p>

 

符和强说，父亲这终身 充满了坎坷，但也得到了很多人的帮助。除了符建章和赵正平，后来还有燕奴子、郑洪年和蔡元培先生，和 陈策、陈籍兄弟、施征军、蒙振森、符至逢等同乡的帮助。

 

这次，陷于困顿的符罗飞，又得到赵正平的帮助，被安排到江苏省教育会暨南接待 所工作，因而 无机 会考入上海美专半工半读，接受正式的美术教育。

 

1926年秋，由于在校期间积极参加学潮，符罗飞被吸收加入中国共产党。差不多在同1 时期，符罗飞参与组织"云涛画会"，1927年积极参加上海工人武装起义，在法租界从事交通工人的宣扬 组织工作。

 

"四·1 二"反革命政变后，由赵正平等人介绍，符罗飞化名潜入杭州公安局当庶务1 个多月，因受怀疑，遂改投北伐军二师政治部做宣扬 工作。"宁汉分裂"时部队调回南京，转而攻打武汉。在反动派印发的赤化录名单里赫然有"符罗飞"的名字，他因而 在途经芜湖时离开部队，后因时局更加风险 ，不得已流亡海外，再下南洋，在新加坡教书度日。

 

饮誉南欧的"心灵画家"

 

1929年冬，符罗飞计划去法国，途经意大利时，却因哮喘病发作，不得不留在乎 大利那不勒斯，很快他就被这个文艺复兴发源地所吸引，遂在当地1 所陶瓷工艺学校学习。并因缘际会结识了中国领事馆领事、东方学院中文系主任、意大利人燕奴子，并由其介绍，向意大利着名 的油画、壁画家伯特利学习。

 

不久，符罗飞考入罗马皇家美术大学研讨 院绘画系，师从卡罗·西维埃罗教授和格鲁塞卡兹

罗院士。他学习勤奋，崇敬拉斐尔和达·芬奇。

 

据符和强介绍，香港中文大学博士生陈莺在2009年夏天，曾前往意大利奈波利，对符罗飞在乎 大利期间的经历进行了详细调查。陈莺查阅到了符罗飞的学籍记录，记录中符的考试成绩都在7分以上(10分满分)，算是非常不错的成绩，他在该校试读1 年后便跳级到最高年级。

 

符罗飞还在乎 大利东方学院任中文讲师，后晋升副教授。在此期间，符罗飞利用在领事馆的关系，配合当时在德国的廖承志，救援 了共产国际的庄敬民同志。

 

陈莺还找到当年的材料 ，1936年，受"世界三大艺术展"之1 的威尼斯国际艺术赛会(威尼斯国际艺术双年展)约请 ，符罗飞送去三幅作品，结果全部入选，成为该赛会第一名 入选的中国艺术家。此后，符罗飞逐步 扬名南欧，出版了《符罗飞油画集》，任罗马皇家美术大学研讨 员，被评论界誉为"罕见的心灵画家"。留意8年，符罗飞游历欧洲，举办画展，并与意籍姑娘艾琳娜结婚。

 

就在符罗飞事业风平浪静 ，家庭幸福美满的时候，中国抗日和平 爆发，意大利作为轴心国成员民族情绪对立，符罗飞逐步 与1 些有纳粹思想的人断交。他更因拒绝创作反苏宣扬 画而愤然从东方学院辞职。他本来 计划前往苏联，但听说国共合作，惦念祖国抗战，遂计划回国。

 

1938年5月，符罗飞不顾意大利师友的挽留和劝阻，舍弃意籍妻儿，随身携带1 支左轮手枪，登上"绿爵号"油轮回国。但他在乎 大利时创作的油画作品，却被作为艺术珍品留在了意大利不准带回国内。

 

灰暗中的虹彩

 

符罗飞回国后的第1 站是香港，但没有看到他料想 的抗战氛围。他决心以举办画展的方式表明本身 回国抗战的决心，遂潜心于抗战题材的创作。期间符罗飞得到当时国民党海军次长、文昌老乡陈策和前暨南学堂堂长郑洪年的介绍，结识了蔡元培。

 

符罗飞回国的第1 次画展影响很大。符和强告诉记者，1938年10月蔡元培先生在《大公报》牵头署名，连续七天介绍符罗飞和他的《抗日赈灾画展》，当时穗港两地的军、政、商贾近20位名流都参与签名推荐，包括宋子文、吴铁城等军政要人。《大公报》音讯 称，"符君罗飞乃古代 画坛中之1 奇才，夙擅国画，厥后游学罗马，师友邦彼邦耆宿，竭八年之力，悉穷西画之奥妙，故其近年之作品誉满欧陆，顾国人知之尚鲜……"据报载，画展"延期两天结束，场面甚为激烈"。

 

在香港，符罗飞的个人生活也有了变化。1939年，他与广东姑娘梁琼在此结婚，自此牵手相伴32年。同年，他计划与同乡施征军共赴延安，却因哮喘病发作，不得不留在桂林。

 

在符罗飞的命运中，很多转机 都是因患病而改变。如果不是由于 身体缘由 ，或许 他这终身 会是拿枪而非画笔，此番没能去成延安，是由于 哮喘病的原因 ;解放前夕没留在北平，同样是由于 没法 适应北方的气候;1930年滞留意大利也是由于 生病。

 

抗战期间，符罗飞展转 于湘、桂、粤、港等地，1 面在学校担任教职，1 面坚持绘画创作，前后 在香港、桂林、柳州、衡阳等地举办宣扬 抗日画展十余次，出版《符罗飞抗日画集》《同志的死》等画集，社会反响极大。

 

但此时符罗飞的生活异常窘迫，甚至到了和妻子摆摊卖菜的地步。画作也在押 难中散失大半，他在押 亡时曾将作品放于棺木中埋入地下，但抗克服 利后挖出时已毁于蚁患。

 

抗克服 利后，人民的苦痛却并未结束。1946年到1947年间，粤桂湘爆发特大饥荒。强烈的同情心和使命感驱使他冒险前往灾区，用速写记录灾区的种种惨状，鞭挞国民党政府的黑暗统治。

 

从灾区返回后，这批包括素描、水彩、粉画在内的200余幅作品以"饥饿的人民"为题，几次在广州和香港展出，并由夏衍先生掌管 ，在艺术界和旧事 界引发 很大反响。评论界称符罗飞是"人民的艺术家"，他的创作填补了革命艺术史上的"这1 段空白"，他的画是"灰黯中的虹彩"。

 

这1 年秋天，符罗飞与黄新波、梁永泰等人在香港发起组织"人间画会"，并担任第1 任会长。人间画会实际上是中共南方局文委领导下的公开合法社团。符罗飞的画作甚至引发 了美国芝加哥美术学院的关注，来函请其为该校教授，后因其进步身份办理赴美护照受阻，而国内革命情势 转变，遂放弃赴美之行。

 

1948年夏，符罗飞在香港冯乃超、周而复的寓所里宣誓重新加入中国共产党，介绍人是邵荃麟和周钢鸣。1948年符罗飞到新加坡探访同乡，这个当年的小伙计、逃难者如今已经是 名声远扬的画家，受到当地华侨社团及社会各界的热烈欢迎。

 

归来吧

 

游子1948年秋，符罗飞接受上级唆使 ，秘密绘制革命领袖像，为迎接广州解放作宣扬 预备 。此后不久，符罗飞和田汉、洪深、马思聪等9人组成的南方代表第1 团团委，率团秘密北上，参加全国文学艺术者工作代表大会。

 

7月，符罗飞任全国美术工作者协会全国委员会委员，并参加北平美协的组建工作，8月16日，参加叶剑英率领的南下工作团随部队南。到达广州后，他担任广州军管会文艺组代表(副组长)。不久，符罗飞回到中山大学建筑系任教授、美术教研组主任。中国美术家协会广州分会正式成立后，符罗飞是第1 任副主席。

 

在经历了大半辈子的漂泊后，符罗飞终究 在广州安定上去 。这里离他的故乡海南岛很近。

 

1958年夏天，符罗飞于暑假回海南，这是他自1915年离开后首次回乡。几十年恍如1 梦，故乡早已事过境迁 ，家中仅剩年迈的寡姐和堂侄。

 

符罗飞虽是土生土长的海南人，但在海南的日子并不长:11岁前，他在文昌海边的椰林掩映下度过穷苦的童年，那时正是清王朝末期;1915年，他回乡成亲，家乡父老头上的辫子已然剪去，大清的黄龙旗变成了北洋政府的5 色旗，那时他刚刚成年;而1958年还乡，符罗飞已近暮年，5 星红旗早已插遍天涯海角。

 

1 个人，1 个岛，1 个民族的历史，就这样交织在一同 ，让人不胜欷歔 。

 

这次回乡，表情 澎湃的符罗飞创作了1 批以家乡为题材的作品。除了与《海南日报》美编邝海星共同创作的《出铁了》等反映大跃进的速写外，还有《文昌村景》《清澜港湾》《通什远眺》等作品。

 

1960年，符罗飞因哮喘病住院，期间还用炭笔和油画棒为同院病友冯白驹等人画像。

 

符和强告诉记者，父亲对家乡的感情很深，或许 是由于 离开得早，没有亲人的暖和 ，所以他常以回忆的方式寄托。父亲还经常哼琼剧，在大学里最喜欢琼籍先生 来家里聊天，讲讲海南话，他也乐意帮助他们。符和强的母亲梁琼是广东顺德人，原名梁俏棠，正是和父亲结婚后，才改了这个和海南颇有渊源的名字。

 

"文革"开始后，符罗飞特殊的经历使他长时间 受到迫害，他的作品及材料 被造反派搜掠1 空，直到1969年他才被解除管制。在符和强的回忆里，父亲"早年那些哼着琼剧在花园里松土，种花草，喂鸡的情景已 从他的生活中消逝 了。"

 

1971年7月，已预见 到来日不多的符罗飞很想再次回乡，却因病没法 成行。他特意吩咐 儿子和平、和强替他回家乡再看1 眼。12月1日，符罗飞因中风病逝于广州，长年 74岁，

 

据符和强回忆，父亲去世时，只要 母亲和大哥和平在身边。当他第二天赶到病院 时，父亲已 被推走了。对面病房一名 病友悄悄地问:"你爸爸是符罗飞吗?"在得到肯定的答复后深深叹了口气。

 

1979年，阳翰笙代表全国文联在全国第四次文艺代表大会上宣读悼词，悼念包括符罗飞在内的全国几十名文学艺术家。

 

1982年，林默涵在《人民日报》上刊文纪念符罗飞，称他为"杰出的人民画家"。1984年人民美术出版社出版《符罗飞画集》，此后，有关符罗飞的纪念和研讨 文章陆续出版。寂静多年后，在那些注入了家国之哀、家国之愤、家国之情、家国之爱的画作中，人们仍然 能感觉到他滚烫的血液。

 

符罗飞二三事在符罗飞同时代人眼中，他是一名 性格温和，为人低调，平易近人的朋友和老师，但同时又是一名 具有强烈个性，耿直倔强，爱憎分明的艺术家。

 

醉骂时局

 

据符罗飞的先生 何沛侃回忆，抗日和平 时，符罗飞在衡阳举办抗日画展，有1 天他喝醉了，早晨 十1 二点钟他关着房门，用海南话加上广州话，有时还夹杂1 两句意大利话高声诅咒 日寇残暴 ，国民党左派 不抵抗，不顾民生，致使 许多同胞流离失所。幸而当时旅店中都是湖南人，听不懂他骂的是什么，才没出乱子。骂了好久 ,先生 们去敲门他也不理，最初 两个先生 爬窗入内劝说多时,他才肯上床睡觉。据何沛侃说，符罗飞1 向平易近人，这次酒后吐真言，可算是多年来郁积在胸中的仇恨 之情1 朝爆发的结果。

 

边逃边画

 

1945年1月，日军向第9战区部队驻地广州乐昌、坪石进攻。战事逼近，中山大学再次被迫疏散撤离。符罗飞刚从湖南郴州开画展回到坪石，家人已随学校撤离。他匆忙买了1 口棺材，将这段时期的画装进棺材埋入地下，旋即赶往火车站寻觅 失散的家人。这时候 ，火车站人流熙攘。北上是运载军火和兵员的列车，南下是急于逃命的人们，人群拥堵在车厢旁，子女走散的哭声、寻觅 亲人的呼喊声、被踩踏的叫骂声、军人的吼声混杂在空气中。符罗飞在这样紧急的时刻，还不失时机地拿起笔画了速写《逃难》。

 

退出画展

 

抗战结束后不久，1 批画友计划办1 个"民主"主题的画展，有人提出为扩大影响，可以加入些花鸟虫鱼的作品。符罗飞觉得与展览的主题不符，他说，如果把苹果、花瓶、山水之类的画也搬上去，就失去了"民主"的意义，没有立场的画展，又何必联合起来开。因而 ，符罗飞颁布发表 退出。此后1 个月，他把本身 关在画室里，拒绝任何人去见他。本来 ，他打算以1 个月时间画几十张以民主为题材的画，单独举行1 次民主画展。

 

辣椒炒牛肉

 

解放初广东省委一名 部长找符罗飞聊聊，还希望他带去1 些作品看看。那位部长看了作品后对他说，"老符，你在抗日和平 时期的作品，主题是鲜明的，很可取，不多见，但在着色点上有点像辣椒炒牛肉，不美，不鲜明。"

 

部长这个点评，令符罗飞颇感不测 。后来他说，"不懂就是不懂嘛!绘画的色彩处理和时代的背景是相联系的，冷暖色调不是随意处理的，什么叫辣椒炒牛肉嘛!"

 在1938年的作品中，人们看到符罗飞在中东方 艺术传统之间出入自若 、为我所用的良好态势。《决心》《仗义》这两幅油画以精确 、结实的外型 和萧洒 、无力 的笔触显示出他精湛的油画功力，不难看出他在欧洲八年所受学院派油画浸淫之深。从学习东方 写实主义技巧的水平来看，符罗飞已属当时国内画家1 流水准之列。然而，他可能更多地应用 的还是传统的中国笔墨工具，他把在宣纸上画水墨速写看作是1 门得心应手的轻兵器 ，而且能最大限制 地发挥它的杀伤力。如《警报》(水墨)这件作品所展现 的紧张气氛;《征途》(水墨)在稚拙中透露的坚定、无力 ;《拿汉奸》(水墨)的悲剧 般的场面中揭示的民族大义;还有《灾荒》(水墨)里哀鸿 笼罩在极为浓重的饥饿暗影 中……他的笔法有舒有疾，他的人物外型 亦庄亦谐，但它们都是那样自然地从心灵里宣泄和喷发出来?

 

在40年代，符罗飞前后 举办过多次个人作品展览，这些展览都贯穿着1 个极其鲜明、强烈的主题:伤时忧国，揭露黑暗的理想 与痛苦的人生，呼唤反抗民族的敌人和当权者的暴政。

 

在30年代末至40年代末文艺界对符罗飞作品的评论中，我们看到有几点值得深入研讨 的:第1 ，对于艺术中的道德激情和批判理想 精神的高肯定和热烈赞美 ，显示出进步文艺界、旧事 界的道德倾向和政治认识 都是十分鲜明的，而且这类 评论来自对当下理想 的敏锐感受和真诚 感情，令人感到真实可信。需求 细加分辨的是，包含在符罗飞作品及对其评论中的伤时忧国精神和道德勇气是出自1 种真实、自发的良知情怀，尚没有参杂党派政治功利的成分。更为关键的是，在符罗飞的艺术实践和对他的评论中，都坚持了理想 主义的基本立场:批判理想 、揭露黑暗、奉民主与自在 为衡量社会的原则 。

 

对符罗飞平民思想与气质的揭示和肯定，可以对其道德批判认识 的来源和 艺术风格的构成 作出平实的分析。在30年代的中国艺文事业中，"左倾"认识 的来源、成分及其气质特征都是各有不同的。

 

对他的政治与艺术倾向的构成 有极大关系的是他早年的经历。他来自贫民的最底层，他展转 流浪，他为了谋生而干过许多苦活累活，他彻彻底底就是那些们受压榨 的普罗劳苦大众中的1 员，因此 他被称为是中国的高尔基式的人物。

 

符罗飞的终身 ，可以说是善良、耿直 、充满伤时忧国精神和道德激情的中国知识分子的命运缩影。

 As a pioneer fighter who devoted himself to the new cultural movement since the May 4th Movement, he used ink and pastel to profoundly depict the working people's lives in the old society.

Miserable experiences, such as "Little Beggars and Giants", "Hell", "Trainees", "Flower World", "Digestion" and so on. After the founding of the People's Republic of China, he served as a representative of the cultural army of the Guangdong Military Administration Commission, a member of the Guangzhou Political Consultative Conference, a professor of architecture at South China Institute of Technology, and a representative of the Chinese Literature and Art Workers'Congress.

His brushes, instead of singing warmly about the liberation of the working people, used bold and cheerful tones and bright and magnificent colors to create works such as Harvest in the Year of Drought, Peasant Movement Workshop, Duck Crowds and Spring Bright Liberation Road, which are impressive.

In art, he never inherited the traditional techniques of China or the West, but proceeded from the manifestations, blended the essence of Western painting, bold, spicy, bold and magnificent, because the performance was deep and vivid, and the painting style was novel and unique. Publishing has "Fu Luofei Painting Collection", "Comrade's Death", "Hungry People" and so on.

He returned to China in 1919 and studied in Nanjing Jinan School.

In 1921, with the dream of becoming a wealthy country and a strong army, he went to Japan to study the army in sergeant's school. After his dream was shattered, he was once cut into a monk, but he felt that there was oppression and exploitation in the temple, and there was no "paradise" in the world, so he left the temple.

In 1922, he was admitted to the Department of Western Painting of Shanghai Fine Arts School.

Graduated in 1925.

He joined the Communist Party of China in 1926 and participated in the armed uprising of workers in Shanghai.

In 1935, he was invited to participate in the Venice International Art Competition and won the Royal Gold Prize of Italy. He was a lecturer in the Chinese Department of Oriental College, Italy, and was expelled from the school for propaganda of communism.

After 1940, he was a full-time art professor in Guiling Normal University, Sun Yat-sen University and Hunan Province.

Rejoined the Communist Party of China in 1948. Since the founding of the People's Republic of China, he has been engaged in art education as well as creation. He has been a professor of Architecture Department of Sun Yat-sen University, South China Institute of Technology, vice-chairman of Guangdong Branch of China Artists Association and member of Guangzhou Political Consultative Conference.

He died injustice in 1971.

In 1988, the People's Fine Arts Publishing House collected his legacy and published the collection of Fuluofei Paintings. Lin Mohan, Jiang Feng and Shao Yu wrote prefaces and inscriptions for the collection.

The self-portraits of Fu Luofei in different periods are the natural revelation and self-identification of the most painful and sad moral feelings in the painter's mind. The self-portrait, titled "Reflecting on Pain", was painted in 1938. Some critics thought it was "a moment when a conscientious artist endured suffering". This work depicts the painful thinking of the artist in the strong side light with skillful brushwork, and also reflects the strong influence of just leaving the atmosphere of Italian Academy painting. The self-portrait, which was written in 1946 and later published in the collection Hungry People, shows obvious differences. Here the focus is on a pair of angry eyes, where the flame of justice is spewed out, frowning and clenching the mouth muscle is the deep expression of the inner hatred of the dark reality. If you think of the self-portrait as the same frowning and furious look in 1947,

At the same time, other works of Self-Portrait were all displayed in front of us. I'm afraid it's very difficult for people to be indifferent to the artist's self-identification and revelation. He put the self-portrait together with the portrait of "the hungry people", which was also deeply touching to the audience at that time: "Professor Fu also depicted his own dignity, which may be a footnote to"live with the silent in hell on earth"! What a surprising thing for a noble gentleman!" In these self-portraits, the painter was impressed. How hot is the sprayed morality based on humanitarianism and civilian thought! In the history of modern Chinese art, self-portrait series with such depth in moral sense and value orientation are really fearful of the wild.

In the exhibition of sketch as the main style, people will deeply feel Mr. Fu Luofei's tenacious will to persist in painting in a difficult situation. This is first reflected in his large number of small pieces of paper, various kinds of random pick-up size and even incomplete packaging paper, diary paper, straw paper as painting materials. In his conversation with friends, Fu Luofei mentioned that the difficulties of the environment made him unable to pay attention to the tools and materials. His popularity also made him less depressed. In fact, when he was unable to buy oil paints and had to retire to make big paints with pastel paints, the negative effect of that art was not as vivid and powerful as sketches on small pieces of paper.

Although most of these sketches on small pieces of paper are in a rough style and have a feeling of pity, they can still profoundly depict the extreme painful inner feelings of the characters in a few strokes. The key is to catch the eyes of the characters, those deep-seated and round. Open your eyes.

If the sketch of Fu Luofei is an accurate capture of various tragic images in the miserable life, then his satire is the product of the combination of profound rationality and strong feelings. Faced with the dark reality of society, if a conscientious artist can only stay at the level of angry cry and always rush under the pressure of angry emotion, then his works are still difficult to have sharp revealing power and mental profundity. The extreme absurdity in logic and ethics deeply satirizes the wildly shameful authorities.

The tragedy of life in Fu Luofei's works is real and natural. He did not make any artistic modification for the sake of any "beauty" rule. He only feared that the strength of penetrating suffering was not strong enough, the voice of shouting was not loud enough, and the feeling of compassion was not enough to shock and sympathize with the world. Hence, the hungry people in his works are like ghosts, leaving only one frame of human skeleton and two pairs of deep-pitched eyes spewing out the famine fire. If we compare the works of Stuqiao and Jiang Zhaohe, which belong to the tradition of sadness and sorrow in the history of modern art, we may admit that the works of Fu Luofei indeed have extraordinary power of shock.

What we can think about here is that traditional Chinese art is restricted by traditional political culture. Why does "irony" and "resentment" in the traditional art cause need to be inseparable from "poetry teaching" of "gentleness and kindness"? "A writer should care about reality and politics, and use his pen to make up for the deficiencies, but also lose the way of the mean, which is really a difficult and painful work. The reason is closely related to the core ideal of traditional Chinese politics. Young Lu Xun pointed out, "The ideal of governing China is not abandoned. "The so-called pounding of people's hearts means shaking people's hearts and breaking their inner harmony; if not, it means making people look like abandoned wood and heart like still water, so that tyrants can be handed down and obedience to the people can be expected to steal their lives. Therefore, the progressive art must have the excitement to arouse the people and push tyranny forward. It can be said that the most essential feature of the art of Fu Luofei is to pour people's minds. More importantly, we should have the courage to say that the most precious spiritual legacy left to us by Fu Luofei as a pioneer of revolutionary art is the spirit of pouring people's minds.

Undoubtedly, Fu Luofei is a genuine artist with genius in the modern painting circle of Guangdong Province. From his resume, it can be seen that in the connotation of his personality, more and more indomitable adventurous spirit against fate may have something to do with his status as the son of a fisherman.

Li Weiming (Professor, Guangzhou Academy of Fine Arts)

"Painting Western style with Chinese pens, with the intention of writing and energy. "This is the inscription written by Mr. Cai Yuanpei in 1938 for Fuluofei's Paintings of the War of Resistance Against Japan. Fu Luofei (1897-1971), a famous modern painter, was born in Wenchang, Hainan. The ups and downs of Fu Luofei's life were rare among the literati in that turbulent era. Therefore, he is also known as a Chinese Golgi figure.

Fu Luofei's life is full of exclamation marks - he was born in a poor fisherman's family in remote Hainan Island, but received formal art education in Italy, the birthplace of the Western Renaissance. All his paintings in his life are full of shouts for the poorest people at the bottom; he joined the Party twice in his life, left home three times, went to the South Ocean four times, and traveled to Europe. Years later, he became a monk, carrying guns and swords, and finally found his own world in painting brushes and art.

In the winter of 1908, when the Qing Dynasty was in the wind and rain, the north wind blew up on Hainan Island. For the poor people along Wenchang coast, this was the season to make a living in the South China Sea. 11-year-old Fu Luofei looked back at his hometown and sailed down to the South Ocean with his fourth uncle. He did not know what fate awaited him.

For Vroffer, it was predestined before he was born, and that was how his father came along. Home land is barren, in order to make a living, they have to venture out to sea fishing, or even drift across the sea. When he was young, his father, Fu Zai-tse, had emigrated to a small commercial port in southern Vietnam and married a local girl. This was his mother, Chuang's family.

Fu Luofei knew that his elder brother had already gone to Nanyang one step before him, and his two younger brothers would follow in his footsteps. But what he did not know was that their brothers would never see each other again in their lives. Even in Hainan Island, his home town, he has only returned twice since then, once in 1915 by boat "selling piglets" back to his hometown to get married, which was the Republic of China at that time; the last was 1958 after liberation, during which almost half a century passed.

Early age knows that things are tough

On August 13, 1897, Fu Luofei was born in a poor peasant family in Nangang Village, Jianhuashan Township, the eastern suburb of Wenchang, named Fu Fuquan.

。 When he was seven or eight years old, he studied art painting gods and murals with his fourth uncle, a folk artist, and planted seeds for his art career in the latter half of his life.

Following Uncle Four on a sailing boat to make a living in the South China Ocean, he traveled to Anan (Vietnam) Baima, Singapore, and then to Bali, Borneo, where he worked in a local coffee shop. Four uncles returned home a year later, leaving Wu Luofei to roam alone in Malaysia. At first, he looked after babies in tailor's shop. Then he wandered around Java, Borneo and Indonesia. He worked as a tailor, a masonry worker, a shoemaker, a firewood worker, a blacksmith and a fellow.

According to Fu Luofei's autobiography, "When I was 14 years old, I worked as a cook in a car factory, not only to cook, but also to pull the bellows and iron. Often I was too weak to pay attention to one thing or another, and my employers and foremen often scolded me... "This long experience of exploitation at the bottom of society has left an indelible mark on Vroffer, and this clear character of love and hatred is fully revealed in his later works.

After resigning from the oppressive Vulo Flight, he began to work as a sailor on board. During World War I, rubber prices were high. He went to Kuala Lumpur to work as a rubber cutter in the countryside. He did not transfer to a bakery until he suffered from dysentery. He also worked as a mechanic and a fishmonger for hard work. In 1917, the news of the victory of the October Revolution in Russia had a profound impact on him. He abandoned the idea of making a fortune and returning home, and came up with the idea of studying.

Gun bars, wooden fish and brushes

At that time, with the help of Mr. Fu Jianzhang, a patriotic overseas Chinese consul and founder of the Hainan Pavilion in Malaysia, Fu Luofei worked as a handyman in the local Chinese Vocational School and allowed him to attend and study. This was the first time that Fu Luofei received formal education. Shortly after, Jinan School reopened in Nanjing and enrolled students in Nanyang. Fu Luofei was subsidized by Fu Jianzhang and returned to China to study in normal school (tuition-free) in Nanjing Jinan School.

Because Fu is diligent in reading, he is deeply loved by Zhao Zhengping, the principal. Fuluofei was deeply impressed by the backwardness of his country and was influenced by the idea of "enriching the country and strengthening the army". He decided to study military affairs in Japan. Introduced by Zhao Zhengping, he was escorted to Japan by a governor and enrolled in the Great Wall Sergeant Preparatory Infantry. But soon he developed tuberculosis. One year later, Fu Luofei had to drop out of school and return to Shanghai.

About this period of history, Fu Qiang, Fu Luofei's youngest son, told reporters that his father worked in the South China Ocean when he was young and came out of the rubber forest because of dysentery. Later, he traveled to Japan to pursue his studies. Originally, he thought that "carrying a sword can solve the problem of human inequality." As a result, strict training and northern climate made him ill and he had to return to Shanghai. Since then, the root of asthma has fallen.

Dreams of heroes are broken, poverty and illness are mixed. Frustrated, Fuluo flew into the empty gate and went home to Guanghua Temple near the West Lake in Hangzhou. But the temple is still uneven, there is hierarchical oppression, here is not a place to escape the world of peach blossom, therefore, within a few months, he is still vulgar.

Fu Qiang said that his father's life was full of ups and downs, but he also got help from many people. In addition to Fu Jianzhang and Zhao Zhengping, later there were Yannuzi, Zheng Hongnian and Cai Yuanpei, as well as Chen Ce, Chen Ji brothers, Shi Zhengjun, Meng Zhensen and Fu Zhifeng.

This time, with the help of Zhao Zhengping, Fu Luofei, who was in trouble, was assigned to work in Jiangsu Education Association and Jinan Reception House. Therefore, he had the opportunity to enter Shanghai College of Fine Arts for part-time work and part-time study and receive formal art education.

In the autumn of 1926, Fuluofei was absorbed into the Communist Party of China because of his active participation in the school tide. Nearly the same period, Fu Luofei participated in organizing the Yuntao Painting Fair, and actively participated in the armed uprising of seaworkers in 1927. He worked in the propaganda and organization of traffic workers in the French Concession.

After the "April 12" counter-revolutionary coup, introduced by Zhao Zhengping, Fuluofei sneaked into the Public Security Bureau of Hangzhou for more than a month and, because of suspicion, turned to the Political Department of the Second Division of the Northern Expedition Army for propaganda work. When Ninghan split, the troops returned to Nanjing and attacked Wuhan instead. In the list of Chihua Records issued by the reactionaries, there was the name of "Fu Luofei", so he left the army on his way through Wuhu. Because of the more dangerous situation, he had to go into exile overseas and go to the South Ocean to teach in Singapore.

The "Spiritual Painter" in Southern Europe

In the winter of 1929, when he planned to go to France and pass through Italy, he had to stay in Naples, Italy, because of asthma. Soon he was attracted by the birthplace of the Renaissance and studied at a local ceramic technology school. He also met the Chinese Consul of the Chinese Consulate, the head of the Chinese Department of Oriental College, and the Italian Swallow Slave, and introduced them to the famous Italian oil painter and mural painter Bethel.

Shortly afterwards, he was admitted to the Department of Painting at the Royal Academy of Fine Arts, Rome, under the guidance of Professor Carol Siviero and Grossecaz.

Academician Luo. He studied hard and respected Raphael and Da Vinci.

According to Fu Qiang, Chen Ying, a doctoral student at the Chinese University of Hong Kong, traveled to Napoli, Italy, in the summer of 2009 to conduct a detailed investigation of his experience in Italy. Chen Ying consulted the record of Fuluofei's student status. All the scores in the record were above 7 points (10 full points). It was a very good result. He jumped to the highest grade after one year's study in the school.

He was also a Chinese lecturer at Oriental College in Italy and later promoted to an associate professor. In the meantime, he rescued Comrade Zhuang Jingmin of the Communist International by utilizing his relationship with the consulate and cooperating with Liao Chengzhi of Germany at that time.

Chen Ying also found the data of that year. In 1936, at the invitation of the Venice International Art Competition (Venice International Art Biennale), one of the "three world art exhibitions", Fu Luofei sent three works, all of which were selected and became the first Chinese artist to be selected in the competition. Since then, Furofei gradually became famous in Southern Europe. He published Furofei Oil Paintings, a researcher at Royal University of Fine Arts in Rome, and was praised by critics as a "rare painter of the mind". Watch out for 8 years. Fu Luo flew to Europe, held art exhibitions, and married Irina, an Italian girl.

Just when the career of Fuluofei was smooth and the family was happy, the war of resistance against Japan broke out in China, and the national mood of Italy as an Axis member was antagonistic. Fuluofei gradually broke off with some Nazi thinkers. He resigned from Oriental College indignantly because he refused to create anti-Soviet propaganda pictures. He had planned to go to the Soviet Union, but when he heard of the cooperation between the Kuomintang and the Communist Party, he was thinking about the motherland's anti-Japanese war and planned to return home.

In May 1938, despite the detention and dissuasion of Italian teachers and friends, Furofei abandoned his wife and children of Italian origin and took a revolver with him and boarded the "Green Count" tanker and returned home. But the oil paintings he created in Italy are kept as art treasures in Italy and are not allowed to be brought back to China.

Rainbow in the Gray

The first stop after Fu Luo flew home was Hong Kong, but he did not see the anticipated anti-Japanese atmosphere. He was determined to show his determination to return to China for the War of Resistance by holding a painting exhibition, so he devoted himself to the creation of the theme of the War of Resistance. During this period, Fu Luofei was introduced to Cai Yuanpei by Chen Ce, the then deputy director of the Kuomintang Navy, an old man of Wenchang, and Zheng Hongnian, the former president of Jinan School.

The first painting exhibition of Fu Luofei's return to China had a great impact. Fu Qiang told reporters that in October 1938, Mr. Cai Yuanpei took the lead in signing his name in Ta Kung Pao, introducing Fu Luofei and his "Anti-Japanese Relief Painting Exhibition" for seven consecutive days. At that time, nearly 20 celebrities from military, political and business circles in Suigang and Suigang took part in signature recommendation, including military and political leaders such as Song Ziwen and Wu Tiecheng. According to Ta Kung Pao, "Fu Jun Luofei is one of the Wizards in the modern painting world. He is good at Chinese painting. He travels to Rome later. He has spent eight years studying the mysteries of poor western paintings. Therefore, his works in recent years are well known in Europe and are still fresh to the Chinese people... According to reports, the exhibition was postponed for two days and the scene was very intense.

In Hong Kong, the personal life of Vroffer has also changed. In 1939, he married Liang Qiong, a Guangdong girl, and he has been with her for 32 years. In the same year, he planned to go to Yan'an with his fellow countryman Shi Zhengjun, but he had to stay in Guilin because of the attack of asthma.

Many of the turning points in the fate of Fuluofei were caused by illness. If it wasn't for physical reasons, maybe he would have taken a gun instead of a brush in his life. This failure to go to Yan'an was due to asthma; he didn't stay in Peiping on the eve of liberation, because he couldn't adapt to the climate in the north; he also stayed in Italy in 1930 because he was ill.

During the Anti-Japanese War, Fu Luo traveled to Hunan, Guangxi, Guangdong, Hong Kong and other places, holding teaching posts in schools and insisting on painting creation. He held more than ten anti-Japanese painting exhibitions in Hong Kong, Guilin, Liuzhou, Hengyang and other places successively, and published such collections as Fu Luofei's Anti-Japanese Painting Collection and Comrade's Death, which had great social repercussions.

But at this time, the life of Wuluofei was extremely embarrassed, even to the point of selling vegetables with his wife. Most of the paintings were also lost in the escape. When he fled, he buried them in the coffin and buried them underground, but they were destroyed by ant infestation when they were dug out after the victory of the War of Resistance.

After the victory of the War of Resistance Against Japan, the suffering of the people did not end. From 1946 to 1947, a great famine broke out in Guangdong, Guangxi and Hunan. Strong sympathy and sense of mission prompted him to venture to the disaster area, sketch the various tragic situations in the disaster area, and criticize the Kuomintang government's dark rule.

After returning from the disaster area, more than 200 works, including sketches, watercolours and pastels, were exhibited in Guangzhou and Hong Kong on several occasions under the chairmanship of Mr. Xia Yan and aroused great repercussions in the art and journalism circles. Critics call Fu Luofei an "artist of the people", his creation fills the "gap" in the history of revolutionary art, and his paintings are "rainbows in the gloom".

In the autumn of this year, Fu Luofei, Huang Xinbo, Liang Yongtai and others launched the "Human Painting Fair" in Hong Kong and served as the first president. The Human Painting Society is actually an open and legal association under the leadership of the Cultural Commission of the Southern Bureau of the CPC. Fu Luofei's paintings even attracted the attention of the Chicago Academy of Fine Arts in the United States. He wrote to ask him to be a professor of the Academy. However, due to his progressive status, his passport to the United States was blocked, and the domestic revolutionary situation changed, he abandoned his trip to the United States.

In the summer of 1948, Fu Luofei swore to re-join the Communist Party of China at the residence of Feng Naichao and Zhou Yuanfu in Hong Kong, introducing Shao Tsing-lin and Zhou Gangming. In 1948, Fu Luo flew to Singapore to visit his fellow countrymen. This young fellow and refugee was now a well-known painter and was warmly welcomed by the local overseas Chinese community and all sectors of society.

Return it

In the autumn of 1948, Fuluofei received instructions from his superiors and secretly painted the image of revolutionary leaders in preparation for the publicity of Guangzhou's liberation. Shortly thereafter, the first delegation Committee of the South delegation, composed of nine members, such as Fu Luofei, Tianhan, Hong Shen and Ma Sicong, led the delegation secretly northward to participate in the National Congress of Literature and Art Workers.

In July, Fu Luofei served as a member of the National Committee of the National Association of Artists and participated in the formation of the Peking Association of Artists. On August 16, he took part in the south-bound working group led by Ye Jianying. After arriving in Guangzhou, he served as the deputy head of the literary and artistic group of the Guangzhou Military Control Association. Shortly afterwards, Fu Luofei returned to Sun Yat-sen University as a professor in the Department of Architecture and director of the Art Teaching and Research Group. After the establishment of Guangzhou Branch of China Artists Association, Fu Luofei was the first vice-chairman.

After wandering for most of his life, Fu Luofei finally settled down in Guangzhou. It's very close to his hometown Hainan Island.

In the summer of 1958, Vulo flew back to Hainan during the summer vacation. This was his first return home since he left in 1915. Decades like a dream, the home has long been people, only the elderly widows and cousins and nephews in the family.

Although Fuluofei is a native Hainan, his life in Hainan is not long: 11 years ago, he spent a poor childhood in the coconut forest near Wenchang, which was the end of the Qing Dynasty; 1915, when he returned home to become a relative, the braids of his father and elder man had been cut off, and the Yellow Dragon Banner of the Qing Dynasty became the five-colored banner of the Beiyang government. When he was just an adult, and returned home in 1958, Fu Luofei was in his late years, and the five-star red flag had been planted all over the world.

The history of a person, an island and a nation is so intertwined that people can't help but sigh.

On returning home this time, Fuluofei, who was in a strong mood, created a number of works with his hometown as the theme. In addition to the sketches reflecting the Great Leap Forward, such as Out of the Rail, co-authored by Kuang Haixing, the American editor of Hainan Daily, there are also works such as Wenchang Village View, Qinglan Harbour and Tongshi Overview.

In 1960, Fu Luofei was hospitalized with asthma. He also used charcoal pens and oil painting sticks to portray his fellow patient Feng Baiju and others.

Fu Qiang told reporters that his father's feelings for his hometown are very deep, perhaps because he left early and did not have the warmth of his relatives, so he often relied on memories. My father often hums Qiongju opera. In college, he likes Qiongju students to come home to chat and speak Hainan dialect. He is also willing to help them. Fu Qiang's mother, Liang Qiong, is from Shunde, Guangdong Province. Her original name is Liang Qiaotang. It was after she married her father that she changed the name which has a lot of origins in Hainan.

After the beginning of the Cultural Revolution, he was persecuted for a long time by his special experience. His works and materials were raided by rebels, and he was not deregulated until 1969. In Fu Qiang's memory, his father "the early scenes of humming Qiongju opera to loosen soil, plant flowers and feed chickens in the garden have disappeared from his life. "

In July 1971, Fuluofei, who had foreseen a few days to come, wanted to return home again, but was unable to make it because of illness. He deliberately instructed his son to be peaceful and forced to take another look at his home. On December 1, Fu Luofei died of stroke in Guangzhou at the age of 74.

According to Fu and strong memories, when his father died, only his mother and elder brother were at peace. When he arrived at the hospital the next day, his father had been pushed away. A patient in the opposite ward quietly asked, "Is your father Fuluofi?" After receiving a positive answer, he sighed deeply.

In 1979, Yang Hansheng, on behalf of the All-China Literary Federation, delivered a memorial speech at the Fourth National Congress of Literature and Art in memory of dozens of literary artists, including Fu Luofei.

In 1982, Lin Mohan published an article in People's Daily commemorating Fu Luofei, calling him an "outstanding painter of the people". In 1984, the People's Fine Arts Publishing House published the Collection of Fu Luofei's Paintings. Since then, commemorative and research articles on Fu Luofei have been published one after another. After many years of silence, people can still feel his hot blood in the paintings that infuse the sorrow, anger, feeling and love of his family and country.

In the eyes of his contemporaries, he was a gentle, low-key, approachable friend and teacher, but at the same time he was also an artist with strong personality, stubbornness and clear love and hatred.

Drunk scolding current situation

According to Ho Peikan, a student of Fu Luofei, during the War of Resistance Against Japan, Fu Luofei held an exhibition of anti-Japanese paintings in Hengyang. One day he was drunk. At eleven or twelve o'clock in the evening, he closed the door. He used Hainan dialect and Cantonese. Sometimes he mixed an Italian or two with a loud curse against the Japanese aggressors. The Kuomintang Rightists did not resist, regardless of people's livelihood. Many compatriots have been displaced. Fortunately, at that time, the hotel was all from Hunan, and it was only when he could not understand what he was scolding that there was no trouble. After scolding for a long time, the students knocked at the door and he ignored it. At last, the two students climbed into the window and persuaded him to go to bed for a long time. According to He Peikan, Fuluofei has always been approachable, and this drunken speech can be regarded as the outbreak of hatred accumulated in his chest for many years.

Drawing while escaping

In January 1945, the Japanese army attacked Lechang and Pingshi in Guangzhou, where the troops of the 9th theatre were stationed. As the war approached, Sun Yat-sen University was forced to evacuate again. Fu Luofei has just returned to Pingshi from the exhibition in Chenzhou, Hunan. His family has been evacuated from the school. He bought a coffin in a hurry, buried the paintings in the coffin and rushed to the railway station to find his lost family. At this time, the train station was crowded with people. On the north is a train carrying arms and soldiers, and on the south are people eager to escape. Crowds are crowded around the carriage. The cry of children's dispersal, the cry of searching for relatives, the shout of trampled scolding and the roar of soldiers are mixed in the air. At such an urgent moment, Fu Luofei lost no time in taking up his sketch of Escape.

Withdrawal from the exhibition

Shortly after the end of the Anti-Japanese War, a group of painters planned to hold an exhibition on the theme of "democracy". Some people suggested that some works of flowers, birds, insects and fish could be added to expand their influence. Fu Luofei felt that it was not consistent with the theme of the exhibition. He said that if apples, vases, landscapes and other paintings were moved up, they would lose the meaning of "democracy". If there was no stand for the exhibition, why should they be united? So Vroffer announced his withdrawal. A month later, he shut himself up in his studio and refused to see anyone. Originally, he planned to draw dozens of democracy-themed paintings in one month and hold a separate exhibition of democracy paintings.

Fried beef with pepper

At the beginning of liberation, a minister of Guangdong Provincial Party Committee asked Fu Luofei for a chat. He also hoped that he would take some works to see. After reading the works, the minister said to him, "Lao Fu, the theme of your works during the Anti-Japanese War is distinct, very desirable and rare, but it is a little like fried beef with chili pepper on the coloring point, which is not beautiful and distinct. "

The minister's comment surprised Fu Luofei. Later he said, "If you don't understand it, you don't understand it! Painting color processing is related to the background of the times. Cold and warm tones are not handled at will. What is fried beef with chili pepper?"