Whole family yard
Fu Baoshi (1904-1965) "The Courtyard of the Whole Family", ink and color on paper, mirror heart
In 1960, he made 43.2×61.1cm inscription: The whole family's yard. The courtyard is located in Laijiaqiaotou, the western suburb of Chongqing, and the cultural work committee led by Guo Lao during the Anti-Japanese War is also located. At that time, the Kuomintang reactionaries were extremely devastating about this, but fortunately, with the care and support of the party, they were able to hold on. Comrades Yang Hansheng and He Chengxiang have always been in their own hands. In the summer, literary and artistic workers gather in Sri Lanka. Premier Zhou, Comrade Xu Bing, and Dr. Federin of the Soviet Union also visited here. After the founding of the country, Yu Zeng wrote a picture. Yesterday, I went to visit again, and I almost couldn't distinguish it, but the cover had been slightly rebuilt, and the Commune Agricultural Research Institute was located here, and it was under construction. When he wandered, the small fu outside the door was a vegetable field planted by the same people in the past, and the prime minister and Guo Lao also talked freely. In the picture of the special collection, I think about it. Izukawa has four years out of ten, and I am eager to write it. On November 7, 196O, the Revolutionary Day, Fu Baoshi Chongqing was recorded. Seal: Bouldering private seal
Source: Fu Baoshi family collection.
Publication:1. 《傅抱石画选》, No. 94, People's Beauty Publishing House, 1983 edition.
2. "Fu Hu Stone Painting Collection", No. 15, Taipei Zhong Painting Publishing House, 1983 edition. 3. "Fu Hu Stone Paintings", No. 68, Jiang Wei Publishing House, 1985 edition. 4. "荣宝斋画谱", No. 10, 荣宝斋 Publishing House, 1987 edition. 5. "Fu Hu Stone Painting Exhibition" Mei Yan, Shanghai Mei Xiao, 1991 edition. 6. "Famous Houses", No. 45 "Special Feature", No. E18, 1993 edition. 7. "Fu Hu Stone Paintings", No. 74, Taipei 历史博物馆, 1994 edition. 8. "Famous Paintings of the Chinese Dynasty • Fu Hu Shi", No. 113, Tianjin People's Beauty Publishing House, 1996 edition. 9. "傅抱石艺术特展专辑"目录,广州美术馆,1998年版。 10. "The Twentieth Generation Chinese Painters—Fu Hu Shi," No. 67, Songtao Bi 术馆, 1999 edition. 11. "The Complete Works of Famous Chinese Painters: Fu Hu Shi", No. 175, Hebei Education Publishing House, 2000 edition. 12. "Complete Works of Famous Chinese Painters 3: Fu Hu Shi", No. 164, Taipei Fan Zhi Family Publishing House, 2001 edition. 13. "Folk Rare Exhibition", No. 86, 2004 edition. 14. 《其命维新—纪念傅抱石诞辰一百周年》, 第38页, 江苏省文化厅, 江苏省国画院编,世纪出版集团, 2004 edition. 15. "The Great Encyclopedia of Fu Hu Shi", No. 244 页, Gu Wu Zhao Publishing House, 2004 edition. 16. 《傅抱石评传》, No. 154 页, 羲之堂文化, 2004 edition. 17. "The World of the Stone," No. 399, Xiangnodo Culture, 2004 edition. 18. "Fu Hu Shi", No. 38, Shanghai Antique Publishing House, 2004 edition. 19. 《傅抱石的艺术世界》, 第47页, Taipei Yi之堂, 2004 edition. 20. "The Complete Works of Fu Hu Shi 4", No. 62, 2008 edition. 21. "China 艺术大师—傅抱石", No. 226, Hebei Meihu Publishing House, 2010 edition. 22. "近现代绘画•傅抱石", No. 187, Beijing Sanqi Hall, 2013 edition.
Bibliography:1. Catalogue of the brochure of "Fu Baoshi's Posthumous Exhibition", National Art Museum of China, 1979 edition. 2. Fu Baoshi's Art World, p. 47, Taipei Yizhitang, 2004.
3. "The Great Encyclopedia of Fu Hu Shi", No. 245, Gu Wu Zhao Publishing House, 2004 edition.
4. The World of Fu Baoshi, p. 398, Xizhitang Culture, 2004 edition.
5. "The Restoration of His Life - Fu Baoshi's Centennial Commemorative Anthology", Henan Fine Arts Publishing House, 2004 edition.
6. "The Year of Fu Hu Shi", Nos. 227-228, Shanghai Antique Publishing House, 2004 edition.
7. "傅抱石评传", No. 166, Shanghai Painting Publishing House, 2009 edition.
8. The Annals of Fu Baoshi (Revised Edition), p. 355, Shanghai Ancient Books Publishing House, 2012 edition.
9. Research on Fu Baoshi Painting, pp. 356-357, People's Fine Arts Publishing House, 2014.
Exhibitions:1. Fu Baoshi's Posthumous Exhibition, National Art Museum of China, Beijing, August 15-September 16, 1979. 2. Fu Baoshi Painting Exhibition, Shanghai Art Museum, May 4-16, 1991. 3. "Fu Baoshi Painting Exhibition", Taipei Museum of History, December 1, 1993-January 2, 1994. 4. "Fu Baoshi Art Exhibition", Guangzhou Museum of Art, November 1998. 5. "20th Century Chinese Painting Masters Fu Bouldering Exhibition", Shibuya Ward Shoto Museum of Art, Tokyo, Japan, October 12-November 21, 1999. 6. "Fu Baoshi Centennial Exhibition", Sun Yat-sen Memorial Hall, Taipei, December 18, 2004 – March 27, 2005. 7. "Folk Collection of Fu Baoshi Exhibition", sponsored by the Ministry of Culture of the People's Republic of China and Jiangsu Provincial People's Government, Jiangsu Art Museum, 2004.
"Family Yard" publication
Guo Moruo is not only a bosom friend of Fu Baoshi's art, but also a close friend of his political life, and the friendship between the two lasted from the 30s to the 60s, spanning historical changes and difficult years. Guo Moruo admires Fu Baoshi's talent very much, and has always loved Fu Baoshi: "Bouldering is a good person, a scholar, an artist, not a politician. Guo's secretary Wang Tingfang once said: "Mr. Bouldering himself has always regarded Mr. Guo as his predecessor and his teacher, while Mr. Guo has always regarded Mr. Bouldering as his colleague, confidant and brother." The "family yard" was their base in the rear during the war, and it was also the emotional bond of sincere and deep friendship when they met in the dark.
"In the summer, literary and artistic workers gather in Sri Lanka. Premier Zhou, Comrade Xu Bing, and Dr. Federin of the Soviet Union also visited here. "Outside the door of the small fu is the former vegetable planting field, the prime minister and Guo Lao also talked freely. ”
In 1960, Fu Baoshi was in Beijing
In 1960, I revisited the old place and touched the scene. In the inscription, Fu Baoshi recalled in detail the important people gathered in the family's yard, the familiar scenery, the stories of the past, the sparks of thought, and the past. In Fu Baoshi's mind, the former "Three Halls" and the "Cultural Work Committee" were stationed in the "Whole Family Courtyard", the old trees in the courtyard, the fields, brick by brick, all of which seemed to be the witnesses of all teachers and friends in those years of burning passion.
Old photos of the family's yard. Chongqing Guo Moruo's former residence
Fu Baoshi, "The Whole Family Yard", detail
On March 27, 1938, the predecessor of the "Three Halls", the All-China Association of Literary and Art Circles to Resist the Enemy, was formally established in Wuhan. The members of the presidium are Guo Moruo, Shao Lizi, Feng Yuxiang, Tian Han, Lao She, Hu Feng, etc. Zhou Enlai, Cai Yuanpei, Romain Rolland, Smedley and others were elected as honorary directors. Guo Moruo, Mao Dun, Lao She, Ding Ling, Ba Jin, Tian Han and others are directors. On April 1, the Third Department of the Political Department of the Military Commission of the National Government was formally established in Wuchang, with Guo Moruo as the director. Fan Shoukang is the deputy director, and Yang Hansheng is the chief secretary. Yu Dafu served as a member of the design committee. Xu Beihong, Du Guozhen and others served as section chiefs, and they were called "cabinet celebrities".
Fu Baoshi was warmly invited by Guo Moruo to go to Wuhan to participate in the work of the three departments, and served as the secretary to Guo Moruo in the secretary's office, becoming one of the earliest personnel to participate in the work of the three departments. The close correspondence between Fu and Guo was also at this time. Helped Guo Moruo to do work on writing until 1940.
reported that Guo Moruo's article "Coming and Going in the Bombing" mentioned the origin of the two acquaintances:
I also thought of Fu Baoshi, who is a famous hand who is good at seal carving, he can carve fine characters, engrave thousands of words within a square inch, and Chinese painting is also quite good, I met in Japan. I knew he was teaching in the art department at Chung-Ang University, so I called and asked.
Fu Baoshi and Guo Moruo in Chongqing
In June, the Third Department of the Political Department of the Military Commission of the National Government initiated the organization of the "All-China Association of Fine Arts to Resist the Enemy" in Wuhan. The meeting was presided over by Guo Moruo, and 43 people, including Pan Tianshou, Wu Fuzhi, Wu Zuoren, Fu Baoshi, Huang Junbi, Chen Zhifo, Lu Sibai, Xu Beihong, Chang Shuhong, Zhang Shanzi, Ni Yide, Ye Qianyu, Li Qun, and Luo Jimei, were elected as executive directors. In addition, Cai Yuanpei, Feng Yuxiang, Zhang Daofan, Guo Moruo, Tian Han, Chen Shuren, He Xiangning, Ye Gongxuan, Gao Jianfu and Teng Gu were elected as honorary directors. Guo Moruo ordered Fu Baoshi, Tian Han, and Yang Hansheng to write at the same time, and drafted documents such as "Letter to the World's Friends on the Anniversary of the Anti-Japanese War", which were all adopted.
Fu Baoshi's talent is not only good at writing, but also extraordinary in writing and engraving. Colleague Yang Hansheng recalled: At that time, Fu Baoshi's desk drawer was full of seal stones, in addition to often treating seals for colleagues and friends, he also engraved seals such as "the vast tobacco plains of the plain" and "infinite rivers and mountains", engraved Yue Fei's "Manjianghong" on the side of the "empty sadness", and engraved Wen Tianxiang's "Song of Righteousness" on the side of the "Ancient Road Shines on Color". It is also a famous seal for Yang Hansheng.
On October 21, 1938, after receiving an urgent notice from Zhou Enlai, then deputy director of the Political Department of the Military Commission of the Nationalist Government, all the staff of the Third Department evacuated Wuhan and moved south to Hengshan. More than 300 people were evacuated by boat overnight and arrived in Changsha, Hunan Province. Guo Moruo and Fu Baoshi also withdrew to Changsha with their families and joined the troops of the three halls. Before the "fire burned Changsha", the members of the three halls withdrew and went to Xiangtan and Hengyang.
Fu Baoshi's family took a group photo of Jingangpo down the mountain
Along the way, there is joy in the midst of hardship, full of optimism. Guo Moruo and Zhou Enlai met to climb Nanyue and visit the Iron Buddha. At the beginning of December, it was evacuated to Guilin and Sichuan. On the 27th, Guo Moruo and Yu Liqun left Guilin by plane to Chongqing. Other personnel from the third hall also arrived in Chongqing one after another. After the Spring Festival in February 1939, Fu Baoshi led his family to Guilin via Hengyang, and then to Sichuan via Guiyang. After wandering and wandering, he finally arrived in Chongqing, Sichuan, in April, and joined the other members of the Third Hall. In May, Chongqing was bombed. The staff of the three halls organized an ambulance team and a comfort team, and the artists painted slogans and murals. The three departments are stationed in urban and rural areas, and the first to third departments are all moved to the Santang courtyard and the whole family courtyard of Laijiaqiao under the suburb of Jingangpo, leaving only the fourth department in the city. Guo Moruo came and went.
The Santang Courtyard was originally a landlord's courtyard, and the winding mountain bypass was about 50 kilometers away from the city. The third hall rented more than 10 rooms from the owner for office use, and the staff lived in a nearby farmhouse. The leaders of the Anti-War League, Mr. and Mrs. Lu Digan, also lived here, and the headquarters of the League was located in the middle of Laijiaqiao and Santang courtyards. At the end of May, Guo Moruo and Yu Liqun's family moved to Santang Courtyard.
Fu Baoshi, Li Keran, Situ Qiao, Gao Longsheng, and Hu Feng were assigned to work in the township, located in Laijiaqiao, near Geyue Mountain in western Chongqing. Fu Baoshi's family lived in a farmhouse at the foot of the Jingang slope nearby. In the future, the famous "King Kong Slope Downhill Zhai" is his own residence. In September, Fu Baoshi was hired to be a part-time lecturer in the art department of the Teachers College of Central University, teaching Chinese art history, and the Central University had moved to Shapingba, Chongqing. It is dozens of miles away from the Diamond Slope. During his frequent travels, he was inspired by the cultivation of natural mountains and rivers, and opened the famous "King Kong Slope" style period.
Fu Baoshi and Guo Moruo
Settled in the "whole family yard", bumpy. In July 1930, the Kuomintang government forced the members of the three departments to join collectively, which was strongly opposed and resisted by most of the staff of the three departments, and Guo Moruo announced his collective resignation. On September 30, the three halls were reorganized, all the left-wing personnel were dismissed, Guo Moruo and everyone withdrew from the three halls, and Fu Baoshi officially returned to the art department of Central University as a teacher. Traveling with Situ Qiao and others, Li Keran often brought paintings to exchange and ask for advice.
In March of the following year, the Political Department of the Military Commission of the National Government established a Cultural Work Committee in order to detain the personnel of the former Third Department, with Guo Moruo as the chairman and Yang Hansheng as the vice chairman. In October, the Cultural Work Committee was formally established. The headquarters is located at No. 7, Tianguanfu Street, outside Tongyuanmen, Chongqing, and the rural office is still the "family yard" of Laijiaqiao. Guo Moruo is the chairman, Yang Hansheng and Liu Renzhao are the vice chairmen, and Zhou Enlai is the steering committee. The full-time committee members include Shen Yanbing, Shen Zhiyuan, Du Guoqi, Tian Shouchang, Jian Bozan, Hu Feng, etc. The concurrent committee members include Shu Sheyu, Tao Xingzhi, Deng Chumin, etc.
1942 Water Horse Painting Exhibition
Fu Baoshi is at Chung-Ang University and spends most of his time at home engaged in academic research and painting. Students often travel over the mountains to visit their teachers. Fu Baoshi always treats guests with tea, but he always has a cup of white wine. There is a wine vat in the hut, half buried in the ground, every Spring Festival, buy Luzhou Daqu, store a vat to meet the needs of a year. In 1940, Fu Baoshi completed the article "Research on the Tale of Taishan in the Painting of Gu Kai of the Jin Dynasty", and "Yuntai Mountain" and "Da Di Caotang" were completed during this period. At this time, Fu's status in the art world was already quite respected, and he successively served as a director of the National Art Society and a member of the National Art Exhibition Preparation and Review Committee. The impression of several solo exhibitions is that it is not "routine" and bold and innovative.
Fu Baoshi, "The Whole Family Yard", detail
At the end of July 1941, Zhou Enlai and Deng Yingchao went to the courtyard of the whole family, and together with the members of the Cultural Work Committee under the hundred-year-old white fruit tree at the entrance of Guo Moruo's apartment, held a party to commemorate the fourth anniversary of Guo Moruo's return to China, and had a dinner. In November, Guo Moruo celebrated his 50th birthday, and Yang Hansheng, Zhou Enlai and others initiated a large-scale nationwide celebration. This hundred-year-old ginkgo tree gathered many elites, usually Guo Moruo and Fu Baoshi, Li Keran and others under this tree to read paintings, appreciate paintings, talk about ancient and modern painting schools, every time take advantage of the mood to wave poems.
Sketch of "The Whole Family's Yard".
On December 19, 1953, he made "The Whole Family Yard under the King Kong Slope", 44.3×61cm. Gift Guo Moruo. Guo Moruo, Yu Liqun. (Now in the memorial hall of Guo Moruo's former residence in Beijing)
In August 1942, Guo Moruo inscribed poems for Fu Baoshi's "Qu Yuan" and "Tao Yuanming Statue", all of which were completed in the "Family Courtyard".
Unexpectedly, in such a hot season, Fu Baoshi still refused to put down his paintbrush. He also lived at the foot of the King Kong Slope, not far from Moruo's apartment. One day, he brought a stack of already framed paintings to Mo Ruo, saying that he would hold a solo exhibition in the fall. The "Portrait of Qu Yuan" and "Tao Yuan's Estimation of Wine" shown in the bouldering all have the meaning of the rise and fall of the family and the country. After three or four days of work, I don't know how much sweat I shed, Mo Ruo finally finished the bouldering painting.
In October, the "Professor Fu Baoshi Painting Exhibition", that is, the "Renwu Painting Exhibition", was grandly held, causing a sensation, and six or seven out of ten of the exhibits were from the foot of the Jingang Slope in Chongqing. Since then, Fu Baoshi has gained a reputation in the art world, and has been valued by international friends, and was deliberately acquired by the cultural director of the French Embassy.
In November 1944, Zhou En visited Guo Moruo at the "Family Yard" Literary Union on the side of Laijiaqiao, which coincided with Guo's birthday. Friendly to get together. Fu Baoshi and Li Keran each made recent works to watch. Fu presented Zhou with "Mrs. Xiang" written in 1943. Regarding this incident, Guo Pingying recorded in detail in "Guo Moruo and Fu Baoshi: The Soul of Poetry and Painting": The following year, on November 10, Zhou Enlai flew from Yan'an to Chongqing, and on the 16th, he went to visit Guo Moruo at the literary union of the whole family's courtyard on the side of Laijiaqiao in the western suburbs, and happened to meet Guo Moruo's 52nd birthday. On that day, Fu Baoshi and Li Keran, who lived at the foot of the nearby King Kong Slope, went to congratulate and brought their recent works for everyone to watch. Fu Baoshi and Li Keran both worked in the Third Department of the Political Department, Guo Moruo served as the director, and Zhou Enlai served as the deputy director of the Political Department, and they have long known each other. Fu Baoshi was originally going to give this frame "Mrs. Xiang" to Guo Moruo as a birthday gift, it happened that Zhou Enlai also took a fancy to the painting, Guo Moruo and immediately transferred it to Zhou Enlai, and on the 22nd, the inscription poem on this painting: Brother Enlai to November 10, from Yan'an to Chongqing, the 16th is suitable for the first day of the remaining fifty-three, friendly to the small collection of rural residents, bouldering, can dye the brothers to show their recent system, Brother Enlai to obtain this "Mrs. Xiang Picture", will be brought back to northern Shaanxi. Yu Sixiang has fallen, and Mrs. Xiang must be glad to be able to participate in guerrilla warfare.
Zhou Enlai cherished this frame very much, and after he brought it back to northern Shaanxi, it was preserved intact after the war and moved everywhere. After the 50s, this work has been kept in Zhongnanhai, and later transferred to the Palace Museum for collection.
Fu Baoshi's "Lady Xiang" is in the collection of the Palace Museum
A month earlier, Fu Baoshi created the famous "Beauty Walk" (later collected by Guo Moruo Memorial Hall), which was called by Xu Beihong "It is a great symphony of voice, color, soul and flesh." Mr. Bouldering's recent works are more and more unrestrained, vast and vast, the landscaping is endlessly changing, and the characters are Yu Wen Li Micha, the so-called perfect people. Guo Moruo was particularly fond of this painting when he was in Chongqing. In September 1953, when Fu Baoshi came to Beijing to participate in the first national Chinese painting exhibition, he brought it to enjoy it. Guo Lao was overjoyed and regarded it as a treasure. immediately invited Mr. Fu to eat at home, and also invited Lao She and Cao Yu. In November 1952, Fu Baoshi carefully created the "Nine Old Pictures" with the allusions of Bai Juyi and the Nine Elders of the Tang Dynasty to congratulate Guo Moruo on his birthday. In May 1955, Marshal Chen Yi went to Mr. Guo's home and took out "Beauty Walk" to admire. Knowing that Fu Baoshi was also in Beijing at this time, the marshal said happily: I will have a treat in two days, and everyone will set up a dragon gate formation together. Two or three days later, Marshal Chen invited Mr. Guo and Mr. Fu to dinner at his home and entertained them to watch a movie.
China Guardian Spring Auction 2023, Lot 732, Fu Baoshi's Yuntai Mountain Picture Scroll, inscribed by Guo Moruo, Xu Beihong, Shen Yinmo, etc.
In December 1953, recalling the eventful years of the past, Fu Baoshi made "The Whole Family Yard under the King Kong Slope" (44.3×61cm) as a gift to Guo Moruo. The above paragraph "rate is Mo Gong, Liqun Mrs. mend the wall." "Now in the memorial hall of Guo Moruo's former residence in Beijing. At that time, Fu Baoshi asked his friend Zhu Jiefu, who was a counselor of the Government Council, to convey it, and replied to ask him to convey his feelings to Guo Moruo: "Under the King Kong Slope" is the happiest stage of my life, and it is also the only stronghold of cultural workers in the Guotong Region under the leadership of Guo Lao. I am so ashamed that I have not helped in the slightest—I have people like you and Guo Lao who love me—and I can only serve the people as best I can for the rest of my life. Since liberation, subjectively I have tried my best, but of course it is not enough. After that, I will work hard and die.
At the beginning of 1946, Guo Youshou, the former director of the Sichuan Provincial Department of Education, was reappointed as the cultural counselor of the Embassy in France, and brought 60 of Fu Baoshi's works from 1943 to 1946 to the Musée d'Art Oriental in Paris, France. After the exhibition, a number of remaining works are stored in the vault of the Musée d'Art Est in Paris, France. It wasn't until 1970 that Luo Shihui sent a letter to Guo Moruo, hoping to find these paintings. Guo Moruo asked his secretary Wang Tingfang to find Guo Youshou, confirm his matter, and negotiate with the French government through the Ministry of Foreign Affairs to retrieve it, and finally donate it to the collection of the Palace Museum in Beijing.
Fu Baoshi accompanied Guo Moruo and Wang Tingfang to see the "New Look of Mountains and Rivers" exhibition
In September 1960, Fu Baoshi led the Jiangsu Provincial Chinese Painting Sketching Working Group to carry out 10,000 miles of sketching. On November 6, we visited the family yard of Laijiaqiao, Chongqing. In the face of the former position, under the emotional projection, Fu Baoshi was full of emotion, sketched on the sixth day, and drew "The Courtyard of the Whole Family" to Guo Moruo (38×48cm now in the collection of Guo Moruo Memorial Hall) title: "During the Mogong Anti-Japanese War, the main literary union was here. At the end, the house was slightly changed, but the ginkgo biloba still exists. The painting has since hung in Guo's bedroom, reminiscing him often of those difficult years. The next day, Fu painted "The Whole Family Yard" (i.e., the family collection) "Yesterday, I went to visit again, but I could hardly distinguish it, and the cover has been slightly rebuilt, and the Commune Agricultural Research Institute is located here, which is under construction." He described the current situation of the "family yard" and recalled the scene of gathering in the courtyard with many leaders and friends. Four years after "Izukawa ten years ago", the people in the hospital at that time had become the pillars of the country and society.
On November 6, 1960, he wrote "The Whole Family Yard" 38×48cm Question: On November 6, 196O, he visited the courtyard of the whole family on the side of Laijiaqiao in Chongqing. At the end, the house was slightly changed, but the ginkgo biloba still exists. Write it urgently, Bo Cang, bouldering rate. (Photo courtesy of Guo Moruo, now in the memorial hall of Guo Moruo's former residence in Beijing)
In 1962, Fu Baoshi, Guo Moruo and Pan Tianshou enjoyed the painting inscription poem together
The ginkgo tree in the center of the picture has a majestic, verdant and abundant appearance, standing tall and luxuriant. The family's courtyard is hidden in the shade of trees, the walls and houses are looming, the flag in front of the hall is bright and prominent, and the King Kong Slope of Geyue Mountain emerges in the background in the changing smoke and clouds. This is the place where Guo Moruo has lived in Chongqing for eight years and has naturally aroused strong resonance. Guo Moruo loved the ginkgo tree, and in 1942 he wrote the essay "Ginkgo", which was published in Xinhua Daily, calling it "the sage of the East" and "the living memorial tower of Chinese humanities", full of the optimistic spirit of "singing the triumphant song of victory on earth". It is the embodiment of truth, goodness and beauty, and its upright, solemn, non-tolerant, and unafraid of frost and snow are also symbols of strong and upright Chinese. Fu Baoshi fully grasped the ginkgo tree in the spiritual world for key portrayal, closely following the theme of nostalgia. The houses are like red flags, and this place has been transformed into a commune agricultural science research institute, and the sun and moon have changed into a new sky. In the old time of "the whole family's yard", the nostalgia for the family and the country and the eternal taste have become the strong emotional sustenance in Fu Baoshi's artistic life. Taste the sorrow together, and appreciate the art and culture. This may be his eternal spiritual home for the rest of his life.
The shadow of the tower rushes to the sky
Fu Baoshi (1904-1965) Tower Shadow Chong Xiao Han Mirror Heart, ink and color on paper
60×105 cm来源：傅抱石家族旧藏。
Publication:
1. "Fu Zhao Shi Sanshui: Character Technique", No. 62, Shanghai Shiqi Publishing House, 2007 edition. 2. "傅抱石山水中国画法要论", No. 66, Shanghai People's Bihui Publishing House, 2018 edition.
Publication of "Tower Shadow Rushing to the Sky".
On September 15, 1960, Fu Baoshi led a group of 13 people from the "Jiangsu Provincial Chinese Painting Working Group" to travel and sketch in China, passing through more than 10 cities in 6 provinces and traveling more than 23,000 miles. It arrives at Zhengzhou, Luoyang, Sanmenxia, Xi'an, Yan'an, Huashan, Chengdu, Leshan, Emeishan, Chongqing, Three Gorges, Wuhan, Changsha, Shaoshan and Guangzhou.
Fu Baoshi painted in Hangzhou, and Guo Moruo on the right
On September 29, Fu Baoshi led the sketching team to Yan'an and stayed at the guest house of the county party committee. Visit Yan'an Museum, Zao Garden, former residences of Mao Zedong, Liu Shaoqi, Zhou Enlai and other leading comrades. October 1 is the 11th anniversary of the founding of the People's Republic of China. Visit the Yangjialing Central Auditorium and the former residences of central leaders such as Wangjiaping and Fenghuangshan. The meeting place of the Political Bureau of the CPC Central Committee, etc. On October 2, we visited the former site of the Lu Xun Academy of Arts and Letters in Qiaoergou, which is also the site of the Sixth Plenary Session of the Sixth Central Committee of the Communist Party of China and the site of the Central Party School. From 1938 to 1945, Yan'an Luyi was the cradle of important cultural and artistic talents, and "The Origin of the Founding" pointed out that "art, drama, music, fine arts, and literature are the most powerful weapons for propaganda, agitation, and organization of the masses; Therefore, the training of cadres for the art work of the Anti-Japanese War is a task that cannot be delayed at present. "The old site now preserves a Catholic church (formerly Luyi Auditorium) and dozens of holes in stone caves. Fu Baoshi made many sketches in Yan'an. The annals have October 11, as "Tower Shadow Bells", "Yan'an" and so on.
Fu Baoshi, "Yan'an", collection of Nanjing Museum
"The shadow of the tower hangs in the sky, and the bell deducts the white clouds", Fu Baoshi researched "This is the Yan'an sentence of Xiao Mouyong, a native of Yi during the Wanli period of the Ming Dynasty." The monument is now in Yan'an Lu Xun reception center. That is, the Foreign Affairs Office of the Border District Government. The day after arriving in Yan'an, the camp was a map. This is a synthesis of the poetic situation of the ancients and the artist's intuitive impression of Yan'an, and the idea is novel, avoiding the drawbacks of formalization and formulaicness of the theme of depicting the holy land of the revolution. It can be called "unique, ambitious." It is the injection of these poetic factors that makes Fu Baoshi's sketches have a deeper spiritual connotation.
Jiangsu Provincial Academy of Chinese Painting was established
Located in the Pagoda District of Yan'an City, Shaanxi Province, Baota Mountain was built during the reign of Emperor Zong of the Tang Dynasty, and is an important part of the Yan'an Revolutionary Site, a landmark building of Yan'an City, and a symbol and symbol of the revolutionary holy land in the artist's mind. Historical relics and revolutionary sites are in one vein, integrating cultural landscapes and natural landscapes.
On New Year's Day in 1961, the travel sketches of the "Jiangsu Chinese Painting Working Group" were exhibited in Nanjing, with more than 230 exhibits. In May, the "New Look of Mountains and Rivers" exhibition opened at the National Art Museum of China in Beijing. Reflecting the mainstream values, works such as "Pictures of the Rivers and Mountains to be Detailed", "Spring in Zaoyuan", and "Scenery of Northern Shaanxi" were exhibited.
A view of the seaside in Dalian
Fu Baoshi (1904-1965), a scene by the sea in Dalian, ink and color on paper
47.5×54.5 cm.来源：
The old collection of the Fu Baoshi family.
Publisher: 《The Complete Works of Fu Hu Shi 4》, No. 377, 广西美术出版, 2008 edition.
Publication of "A View of Dalian Seaside".
After the creation of "So Many Delicate Rivers and Mountains" and the "23,000 Miles" travel sketch, Fu Baoshi gradually let go of the shackles and began a more active reform and exploration. In June 1961, under the arrangement of the General Office of the State Council, Fu Baoshi and Guan Shanyue went to the three northeastern provinces for a four-month trip to sketch.
On June 15, 1961, Fu Baoshi and Guan Shanyue were on their way to sketch in Changbai Mountain
Statement: In June this year, I got the opportunity to travel to Northeast China for a creative assignment. He has visited and browsed Changchun, Jilin, Yanbian Korean Autonomous Region, Changbai Mountain, Harbin, Jingpo Lake, Shenyang, Luda and other places. At the end of September, he returned to Beijing for nearly four months.
On June 15, 1961, Fu Baoshi sketched in Tianchi, Changbai Mountain
Fu Baoshi took a group photo with Wu Zuoren and Guan Shanyue on the shore of Jingpo Lake
This sketching is an important experience in Fu Baoshi's artistic creation: "The sketching works in Northeast China are a stage of rapid progress in painting, with great changes in painting style and many developments in techniques. Fu Baoshi was deeply touched by the unique landscapes and industrial bases in Northeast China, and he himself commented that this sketching trip was "a wonderful life".
In 1961, Fu Baoshi was on Bangmao Island in Dalian
Fu Baoshi and his entourage met Wu Zuoren, Xiao Shufang, Yu Ben, Yu Feng, etc. in Harbin. In August, they arrived in Dalian and then crossed the sea from Qingdao back to Beijing. At the end of August, he lived in the health resort at the eastern end of Dalian City for more than 20 days, and spent most of his time on Bangmao Island. "Dalian was the last city I visited in Northeast China. Due to the long detention along the way, it is planned to stay only a few days, see the city, see the museum, and then take the sea road around Laoshan and then return to Beijing through Qingdao. Thanks to the host for his kindness, it turned out to be a twenty-three day stay. I lived most of the time on Bangmallet Island, and in late August, it was still a good season for swimming, but I only wet my feet once, and I did not enter the water more than 10 centimeters, which caused the comrades to laugh. Wandering on the shore of the sea, the vast and magnificent scene deeply stirred Fu Baoshi's body and mind. During his sojourn in Dalian, Fu Baoshi reveled in the creation of many landscape paintings about seaside scenery. "Dalian's Tiger Beach, Xinghai Park, and many scenic spots in Lushun are enough to make people continue to describe. This period is the time when Fu Baoshi is closest to the sea and nature, and his works such as "Bangmao Island", "Songhua Lake", "Laohutan Fishing Port", "Xinghai Park", and "Looking East at Laoshan Mountain" are all in this period. Passing through Dalian to Qingdao, in the Mid-Autumn Festival, painting "Looking East at Laoshan Mountain" titled "I wanted to see the whole picture from the sea at the beginning, so I came by ship from Dalian." The sea shimmers, looking east at the mountains. Remember all the hearts, return to write this, remember the impression of the ear. ”
On August 30, 1961, Fu Baoshi and Guan Shanyue took a group photo at the Dalian seashore
At the end of September, we crossed the sea from Qingdao to Beijing, ending our trip to Northeast China. Fu Baoshi said with emotion: This time I went to the three northeastern provinces to sketch, and for the first time I saw the majestic and majestic rivers and mountains of the northern country, and the spirit was extraordinary, which was an eye-opener. Then he talked about it: The landscape paintings we have seen in the past dynasties have always thought that the southern sect is as peaceful and far-reaching, and the northern school is extremely lofty. In fact, in ancient times, the transportation was inconvenient, how could the painters in the north have the opportunity to travel to the white mountains and black waters like me, they have not seen the real magnificent northern scenery at all, and they have no personal feeling, it can be seen that some of the lofty mountains and mountains in ancient paintings are fictional by the author, and they must lack a sense of reality and natural momentum.
Xiling-hsien
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Fu Baoshi (1904-1965), Xiling Gorge Mirror Heart, ink on paper
124×169.5 cm来源：
The old collection of the Fu Baoshi family.
Publication: The Artist, p. 224, Artist Publishing House (Taiwan), 1990, No. 184 No. 9.
Xiling Gorge publication
In October 1960, Fu Baoshi set out from Nanjing and led the national painters of Jiangsu Province (13 people) to travel and sketch the great rivers and mountains of the motherland, passing through more than 10 cities in 6 provinces and traveling more than 23,000 miles. Arrive at Zhengzhou, Luoyang, Sanmenxia, Xi'an, Yan'an, Huashan, Chengdu, Leshan, Emeishan, Chongqing, Three Gorges, Wuhan, Changsha, Shaoshan, Guangzhou, and finally sort out the sketches in Conghua Hot Spring. At the end of the year, an exhibition was held, and a collection of paintings "New Look of Mountains and Rivers" was published. Visit the great industrial construction achievements of the motherland, visit the nationally renowned people's communes, pay homage to the revolutionary holy places and ruins, and browse the Longmen Grottoes, Huashan, Mount Emei and other scenic spots. Observation and discussion were held with fraternal associations and art academies from all over the country. This grand tour brought great shock, and the changes of the new era brought him many new creative materials.
Yellow River Sanmenxia sketch
The trip arrived at Sanmenxia in September, and in late October, there was a trip to Chongqing, painting "Smoke and Rain Jialing River" (Nanjing Museum). Revisiting the old place has changed dramatically from his perception in the 40s. When Emei arrived in Leshan, "Asan is now running a large iron and steel business, and the combination of soil and foreign is a novelty in technology." "The vigorous construction movement in various places made the sketching team feel refreshed. On November 8, he painted "The Yellow River Qing" in Chongqing: I went to Sanmenxia to sketch, and I was first excited by the magnificent scene of the water conservancy project. There are many things that can be painted by huge dams, flood gates, power plants, boiling construction sites, and happy crowds, but how to paint them more meaningfully? The sluice gate project has not yet been fully completed, and the billions of people will be blessed forever. How can it be glorified without a plan".
Xiling Gorge (74.4x107.5cm) by Xia Huan in December is in the collection of the National Art Museum of China. "Chen Chuanxi's Collected Works" commented: It represents another milestone in his change of law, and it also represents the establishment of the lawless law of "bouldering". In the past, his paintings were indeed impossible, and only with a fierce and agitated aura rushed out, so there was a general sense that could not be escaped, and the viewer looked at it and was photographed by its momentum, and the technique was not considered. Calmly analyzed, its painting book could not. But a painter can't when he is young, but he can shock the reader with a vigorous and fierce air, and when he is old, this breath is clear. When I was old, painting mainly relied on self-cultivation, and secondly, I had to have a little bit of my own unique method. Bouldering's "Xiling Gorge" has changed the "Roaming Taihua" that is chic but a little thin and slender, with his strong and sturdy pen and ink up and down, but unlike when he was young, his feelings were as uncontrollable as a wild horse, he was both unrestrained and always controlled, both serious and reckless, so the pen has both passion and law. In the majestic firmness and a little bit of horizontal lines, the dryness of the pen is also seen in both unity and change. This method does not belong to the traditional axe splitting, so the name is called "bouldering".
Xiling Gorge, collection of the National Art Museum of China, 74.4x107.5cm
After this sketch, he pondered and summarized the famous view that "if the thinking changes, the pen and ink cannot remain the same". He believes that only by going deep into life can we better understand, inherit and creatively develop traditions. The changes of the times make painters need to boldly give new life and find new techniques on the basis of the original brush and ink, so that the brush and ink can more effectively express the new era. It points out the theoretical core of the reform of landscape painting in the new era. In May 1961, the "New Look of Mountains and Rivers" exhibition opened at the National Art Museum of China in Beijing. Fu Baoshi's works such as "Pictures of the Rivers and Mountains to be Detailed", "Xiling Gorge", "The Yellow River is Qing", "The Majestic Posture of the Mountain City" and other works were exhibited in the exhibition, causing a sensation.
The Three Gorges of the Yangtze River starts from Baidi City, Fengjie County, Chongqing City in the west, and reaches Nanjin Pass in Yichang City, Hubei Province in the east, with a total length of 193 kilometers. As early as the 40s, bouldering borrowed the poetry of the Tang Dynasty to write "Early with the Smoke and the Moon on Qu Gorge" (1944) for the Three Gorges Danger, which was already superb. Entering the new era, "a bridge flying north and south, the moat becomes a thoroughfare." The stone wall of the Xijiang River is erected, the clouds and rain of Wushan are cut off, and the high gorge is out of the Ping Lake. The goddess should be unharmed, and the world should be shocked. Referring to the chairman's poetry, the theme creation of his "Xiling Gorge" is also an epic and hymn. On June 11, 1963, Fu Baoshi painted "Xiling Gorge" for Yishan and wished him a speedy recovery. Question: "The goddess should be unharmed, and the world should be shocked." The love and concern of a father is also evident here.
This work, 123 x 167 (18.5 feet), is inscribed "The Posthumous Work of Mr. Fu Baoshi." "The size is larger than that of the collection of the National Art Museum of China, or for the sake of careful consideration before the draft, the creation time should have been after 1960, when he frequently traveled in and out of Beijing, and he was constantly working every day. During this period, many large-scale creations appeared, which were extraordinary and vigorous, and had a strong atmosphere of the times.
In 1959, Fu Baoshi was in front of the Minzu Hotel in Beijing
In 1959, Fu Baoshi and Guan Shanyue discussed the painting of "So Many Delicate Rivers and Mountains".
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