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1935年5月10日,傅抱石书画篆刻展在日本东京银座松坂屋举行,这是他赴日留学一年多成绩的结晶。很少有人知道,傅抱石此次办展另有深意。自“九一八”事变后,日本人的铁蹄践踏着祖国的大好河山,泱泱中华被视为东亚病夫,傅抱石把这次展览当作大长中国人志气、重振民族雄风的大事,因此下工夫进行了认真准备。他的日本老师金原省吾,为展览联系场地,使作品顺利通过审查,还出面邀请日本美术界的头面人物出席开幕式。流亡日本的郭沫若,在日本学界影响很大,傅抱石与他亦师亦友。为增加作品的艺术含量,使展览生辉,郭沫若为傅抱石的多幅画题字,还让日本一些艺术界的权威人士为傅抱石撰写评论文章。展览开幕,日本著名篆刻家河井仙郎、书法家中村不折、文学家佐藤春夫、帝国美术学院院
May 10, 1935, Fu Baoshi calligraphy and painting carving exhibition in Tokyo, Japan Ginza Matsuzakaya held, this is his study in Japan more than a year of crystallization. Few people know that Fu Baoshi has another meaning for the exhibition. Since the “September 18” Incident, the Japanese have trembled with the tremendous treasures of the motherland. The fickle China is regarded as the sick man of East Asia. Fu Baoshi regarded the exhibition as the ambition of the great Chinese and the national glory. Great event, so make a serious effort to prepare. His Japanese teacher, Kim Won-woo, contacted the venue for the exhibition, passed the examination smoothly, and invited the forerunner of the Japanese fine arts industry to attend the opening ceremony. Guo Moruo, who was in exile in Japan, had a great influence on Japanese academia, and Fu Baoshi and his teachers and friends also had great influence. In order to increase the artistic content of the works and to make the exhibition glorious, Guo Mo-ruo inscribed many paintings by Fu Baoshi and also let some authoritative persons in the art circles write a review article for Fu Baoshi. The opening of the exhibition, the famous Japanese seal carving Hajime Sen, calligrapher Nakamura does not fold, writer Sato Haruo Fu, Imperial Academy of Fine Arts