Lot 2921
傅抱石 1904~1965
Yutaka Nishi
Mirror heart, ink and color on paper
144×363 cm. Approximately 47.0 sq. ft
RMB: 40,000,000-60,000,000
Seal: Fu Baoshi seal
Guan Shanyue (1912-2000) inscription: This picture is the legacy of Fu Baoshi after his trip to the Northeast in 1961, and in August 1983, Guan Shanyue visited and recorded in Wuyangcheng. Seals: Moyang, Guanshan Moon Seal
Publication:
1. "His Destiny is New: A Collection of Paintings to Commemorate the 100th Anniversary of Fu Baoshi's Birth", pp. 46-47, Shanghai Ancient Books Publishing House, 2004.
2. The Complete Works of Fu Baoshi, Vol. 4, pp. 112-113, Guangxi Fine Arts Publishing House, 2008.
3. Chinese Art Master Fu Bouldering, p. 214, Hebei Fine Arts Publishing House, 2010.
4. Hundred Generations of Style: Collection of Chinese Modern Painting Art Collection, pp. 276-277, Xiling Seal Publishing House, 2012.
5. "Reading Fu Baoshi", pp. 206-207, Jiangsu Phoenix Fine Arts Publishing House, 2018 edition.
6. Fu Baoshi Landscape Painting, p. 38, Shanghai People's Fine Arts Publishing House, 2022 edition.
7. "His Life is Only New - Fu Baoshi's Centennial Commemorative Anthology", with pictures on the inside page, Henan Fine Arts Publishing House, 2004 edition.
Description: In March 1963, Fu Baoshi, who accompanied his eldest daughter to recuperate in Hangzhou, was invited by Li Yiyu, deputy director of the Foreign Affairs Office of the State Council and Chinese ambassador to Myanmar, to paint a decoration painting for the Diaoyutai State Guesthouse, which had been officially opened for less than four years. He painted a large-scale "Majestic Posture of Xiyue" with the theme of Huashan, which was later arranged at the Diaoyutai State Guesthouse in Beijing. At the same time, this "Xiyue Majestic" was also created by Fu Baoshi at the same time as Li Yiyu's appointment, the size is almost the same as the above, and the composition, brushwork, and artistic conception are also similar. In his later years, Fu Baoshi repeatedly tempered and worked hard for large-scale layout paintings. At the same time, the most satisfactory ones are selected and delivered to the relevant institutions. The view is as vast as a milestone.
Publication cover
To be carefully pictured
Appreciation of Fu Baoshi's "Xiyue Majestic".
Wan Xinhua is the deputy director of Jiangsu Art Museum
On September 15, 1960, with the support of the Propaganda Department of the Jiangsu Provincial Party Committee of the Communist Party of China, Fu Baoshi led a group of Jiangnan painters who had lived in the "grass grows and warblers fly" for many years to form a group of 13 people from the Jiangsu Provincial Chinese Painting Sketching Working Group to leave Nanjing, "open their eyes, expand their minds, and grow their knowledge", which lasted for three months, and successively visited more than a dozen large and medium-sized cities in Henan, Shaanxi, Sichuan, Hubei, Hunan, Guangdong and other six provinces, which became an extremely sensational event in the Chinese painting circle at that time At the same time, it also pushed the Chinese painting sketching activity since 1950 to a historical climax.
On October 12, 1960, Fu Baoshi and others were in Shaluoping, Huashan
During the trip, Fu Baoshi was full of interest, paying homage to the revolutionary memorial sites, visiting scenic spots, visiting industrial and mining enterprises, painting all the way, deeply moved by the magnificent natural scenery, and constantly injecting personal subjective feelings and the theme of praising the new era into the painting. On October 12th, the sketching team arrived at Yuquan Courtyard and marched to Huashan, stayed overnight at Shaluoping Taoist Temple, and climbed Qingkeping through 18 plates the next day to enjoy the beautiful scenery of Xiyue. Along the way, he also talked with great interest with the painters of the sketching group about the creation of Wang Lu's "Huashan Tu" in the Ming Dynasty.
On October 13, 1960, Fu Baoshi and others were in Keping, Huashan
Xiyue Huashan, located in Huayin City, Shaanxi Province, connects the Qinling Mountains in the south, overlooks Huangwei in the north, and guards the gateway to the Central Plains in the northwest. Its altitude is more than 2,150 meters, the mountain is steep and dangerous, since ancient times, it has the reputation of "Huashan is dangerous in the world", "the first mountain in the world of strange dangers". It has five peaks in the east, west, south, north and middle, the south peak "falling geese", the east peak "Chaoyang", the west peak "lotus", the three peaks are Dingzhi, and they are called "the three peaks outside the sky". There are also Yuntai, Jade Girl two peaks complement each other on the side, 36 small peaks are listed in front, the weather is forested, because the climate on the mountain is changeable, form "Yunhua Mountain", "Yuhua Mountain", "Wuhua Mountain", "Xuehua Mountain" is beautiful.
The sketching group is in the Yuquan Courtyard at the foot of Huashan Mountain
In the face of all this, Fu Baoshi, who has lived in Jiangnan for many years, was strongly shocked in his heart, and witnessed the majestic posture of the west peak and the changing smoke and clouds of Taihua, and sighed: "For the landscape painters who have lived in the Jiangnan water town for thousands of miles for a long time, and for the landscape painters who have been immersed in the scroll for a long time, once you set foot on the 'dangerous world' Huashan, can you not help but be surprised?" He stayed in Qingkeping for several hours, observed its momentum, observed its form, sketched the west peak, Qingkeping and the peaks on the east and west sides, and sketched many sketches with concise and concise lines, which accumulated rich materials for later Huashan creations.
Fu Baoshi, "The Majestic Posture of Xiyue", 145×360cm, March 1963, collection of Diaoyutai State Guesthouse, Beijing
The real scene of the conference hall of Building 18 of the Diaoyutai State Guesthouse
On November 1, Fu Baoshi wrote "Roaming Taihua" in Chengdu after several days of thinking, with the inscription: "Gengzi autumn is deep, the first day of roaming Taihua, Suqing Keping." It was written in Chengdu, bouldering and remembering", which is its first picture of Huashan. It is true that Mount Huashan is steep and steep, straight up and down, and lacks changes, which is more difficult to enter the painting. But in Fu Baoshi's pen, it was unexpected. Although the picture is an album sketch, it is very exciting. The straight mountains, overlapping and overlapping, enhance the majesty of the overall momentum, and the clouds and mist flying in the mountains make the picture smart and lively.
Fu Baoshi, Roaming Taihua, 28.1×40.3cm, 1960, Collection of Nanjing Museum
Later, Fu Baoshi created a number of pictures of Mount Hua during the journey, all of which were wonderful, such as "Mount Hua Qing Keping", "Mount Hua Towering Cui", etc., although it did not completely depict the whole picture of Mount Hua, but the precipitous, strange and vigorous weather of Mount Hua was successfully expressed. In April 1961, after returning to Nanjing, Fu Baoshi was completely immersed in the operation of Huashan Map, repeatedly scrutinized, changed his draft, and finally completed the "Picture of the Mountains and Rivers", which truly reproduced the majestic momentum of the steep mountain posture of Mount Huashan, and the inscription cloud: "The pictures of the rivers and mountains are to be detailed." In the late autumn of Gengzi, he roamed Taihua with the painters of Jiangsu, returned to write this, and inscribed Jiaxuan words. In April 1961, Fu Baoshi Nanjing. Here, the mountain peaks go straight into the sky, the momentum is pressing, and the clouds and mist are shrouded, illusory and ethereal, the trees in the close-up are lush, the houses, vehicles, and visitors are in good order, and they can set off the precipitousness of the mountain. According to the structural texture of Huashan, Fu Baoshi uses the original bouldering style lotus leaf tree, with the pen is extremely arrogant, flying up and down, light and heavy, vertical and horizontal, such as chaotic firewood accumulation, and the rugged mountain rock, the texture of the strength and health, but it is very detailed. The wonder of its flux and change is really unfathomable! Since May 1961, when the "New Look of Mountains and Rivers - Jiangsu Province Chinese Painting Sketching Working Group Report Exhibition" was exhibited in Beijing, "Pictures of Rivers and Mountains to be Detailed" has aroused excellent responses and has become one of the most influential works in Fu Baoshi's later landscape paintings.
Fu Baoshi, Pictures of the Rivers and Mountains to be Detailed, 100×112cm, 1961, Collection of the National Art Museum of China
Indeed, the 23,000-mile sketch inspired Fu Baoshi's great creative enthusiasm. He brought the natural landscape to the extreme, and his painting art was further sublimated. The natural themes represented by "Huashan" and "Three Gorges" are the shock and reflection of the magnificent northern landscape and the beautiful southwest scenery in Fu Baoshi's soul, which had a profound impact on his painting creation in the last five years of his life. Later, Fu Baoshi often created a large number of works with the theme of "Huashan" to pursue romantic temperament, or vertical scrolls, or long scrolls, or albums, or fans, never tired of it, slamming and sweeping, chaotic and lawful, law but not board, chic and healthy, broad and elegant, the style developed in the direction of abstract freehand, and "bouldering" was enriched and perfected again. In these works of ups and downs, there is a little more free and frank, less restrained and stagnation, and Fu Baoshi has returned to the passionate image of "often drunk" in the past. The Nanjing Museum has many such "Huashan Pictures".
On the way to sketch 23,000 miles
Fu Baoshi, Huayue Songyun, 89.5×96.7cm, 1960s, Collection of Nanjing Museum
In March 1963, Fu Baoshi, who was in Hangzhou to accompany his eldest daughter to recuperate, was invited by Li Yiyu, deputy director of the Foreign Affairs Office of the State Council and Chinese ambassador to Myanmar, to paint the layout of the Diaoyutai State Guesthouse, which had been in operation for less than four years. He wrote a large-scale "Xiyue Majestic" with the title of Huashan, and the inscription said: "In March 1963, Fu Baoshi wrote in Hangzhou. Later, "The Majestic Posture of Xiyue" was arranged at the Diaoyutai State Guesthouse in Beijing, where it still exists.
In October 1960, Fu Baoshi made a sketch in Qingkeping, Huashan
Speaking of Li Yiyu, Fu Baoshi met him through Guo Moruo as early as 1955. Li Yiyu (1903-1990) was a native of Peng County, Sichuan. In his early years, he studied in France, participated in the Northern Expedition and the Nanchang Uprising, and later served as the Propaganda Minister of the Shaanxi-Gansu-Ningbo Provincial Party Committee and the Secretary-General of the New Fourth Army. After the founding of the People's Republic of China, he served as an executive director and resident secretary of the World Peace Council. From April 1958 to September 1963, he served as Ambassador of the People's Republic of China to Burma, and after 1962, he also served as Deputy Director of the Foreign Affairs Office of the State Council. In May 1960, Fu Baoshi was invited by Li Yiyu to decorate the hall of the Chinese Embassy in Myanmar with a large painting "The Great Wall".
The untitled "Xiyue Majestic" to be highlighted here was also created by Fu Baoshi at the same time as Li Yiyu's appointment, the size is almost the same as the above, and the composition, brushwork, and artistic conception are also similar, but the title is not reached. In his later years, the well-known Fu Baoshi was often invited to paint large-scale layout paintings for various halls, hotels, airports and other buildings, running around the north and south of the river, for which he generally chose the subjects he was familiar with and carefully created. It is necessary to explain that in Fu Baoshi's later painting career, the phenomenon of multiple drafts and multiple copies of one painting abounds, especially for large-scale layout paintings such as "The Majestic Posture of Xiyue".
Fu Baoshi, "Xiyue Majestic" detail
According to Fu Baoshi's creative habits, Wu's "Xiyue Majestic" is undoubtedly an important work he left behind in March 1963. Its chapter structure basically follows the composition mode of "Roaming Taihua" and "Pictures of the Rivers and Mountains to be Detailed" in the past two years, and the west peak towers out of the painting, and at the same time strengthens the mountain pattern of the west peak, showing the beauty of Huashan. There are two peaks on the left, one low and one high, with the peak towering out of the painting. At the foot of the hill, the houses are almost in the center, and to the right the trees are lush and extend to the outside of the painting. Just because it is a large hall arrangement, Fu Baoshi has increased the left and right mountain parts in the size, and the mountains are stacked, towering and straight, and the momentum is shocking, and the brush and ink are almost the same as the above-mentioned "Huashan Map". Compared with the Diaoyutai collection in Beijing, there are only clouds and mist and a number of distant peaks, and the latter lacks the depiction of houses at the foot of the mountain.
Fu Baoshi, "Xiyue Majestic" detail
As far as technique is concerned, Fu Baoshi first wrote the general outline of the mountain with light ink in "Xiyue Majestic", rendered it with light ochre on the outline of light ink, and then drew the direction and texture of the mountain stone with medium ink and ochre. The mountain in the center of the picture is a combination of lotus leaf and leaf method, the mountain in the near background is split with an axe, and the texture and texture of the mountain are drawn in the distance. Fu Baoshi uses the pen to be unrestrained, alternating with a large piece of heavy ink and a unique bouldering lotus leaf method, which not only draws the luxuriance of the forest on the mountain, but also makes the mountain have rich changes, which not only embodies the "Huashan world risk", but also expresses the unique special beauty of Huashan, full of romantic passion. Here, "bouldering" expresses the diverse variations of the structure, texture and vegetation of the rocks. It is more vivid and dynamic than the flax, which can better show the texture of the rocky mountains, and can be used freely and varied more than the axe splitting, and can show the various characteristics of the weathered stony mountain; It is richer than the chaotic firewood, the lines are curved and straight, chaotic and orderly; It is more expressive than cirrus clouds, soft with rigidity, strong sense of space, it can really be described as "the vigor in the majestic, the beauty of the Tibetan beauty in the grandeur, the collection of generalization and richness, the pen power and ink rhyme isomorphism".
Fu Baoshi "The Majestic Posture of Xiyue"
It is precisely because of "the abnormal feeling and excitement of nature, almost the mood of bitter love", Fu Baoshi is obsessed with the natural beauty of Huashan, and also loves the creation of "Xiyue Majestic". From a series of "Huashan Maps", we see Fu Baoshi's thoughtfulness and dismal management. He summed up the experience of creating Huashan, constantly tempered the picture, concentrated on the majestic momentum of Huashan, and fully showed its unique magnificent scenery, and the majestic show of Huashan is in line with Fu Baoshi's bold and honest talent, but also contributed to his unrestrained and uninhibited attitude when he wrote. To a certain extent, Huashan has achieved Fu Baoshi, and Fu Baoshi has also achieved Huashan!
Fu bouldering stone carving Ruishi Niu Shoushan stone white text seal "Fu bouldering stone seal"
There is no doubt that "Xiyue Majestic" can be said to be a rare and excellent composition, whether it is the size of the size or the essence of the pen and ink, it is worthy of a book. Although Fu Baoshi did not meet the inscription, it was a "fly in the ointment", but the Fu family made up the "Fu Baoshi Seal" in Baiwen, which can be regarded as making up for the lack of regret! This 1962 Fu Baoshi personally carved the Ruishi Niu Shoushan Stone White Text Square Seal "Fu Baoshi Seal", which has now been donated by Fu Baoshi's six children into the Nanjing Museum.
Guan Shanyue's inscription
Fu Baoshi and Guan Shanyue took a group photo
In August 1983, Guan Shanyue (1912-2000), who had collaborated with Fu Baoshi on "So Many Delicate Rivers and Mountains", and later sketched in Northeast China, saw "The Majestic Posture of Xiyue" in Guangzhou, and happily inscribed: "This picture is the last ink of Fu Baoshi after he traveled to Northeast China in 1961." In August 1983, Guan Shanyue visited and recorded it in Yangcheng", and solemnly printed Zhu Wenfang "Moyang" and Bai Wenfang "Guanshan Moon Seal". Although the time is basically the same, and in connection with the common experience of Fu and Guan, it is easy for people to misunderstand Guan's work and think that "The Majestic Posture of Xiyue" is a work of sketching in the Northeast. In fact, it is no wonder that Guan Shanyue witnessed Fu Baoshi's impromptu creation of Huayue Qianxun (fig. 11) on his way to sketch in Northeast China, which was kept by the Jilin Branch of the Chinese Artists Association as a souvenir, thus evoking his fond memories many years ago. In October 2004, the Jiangsu Provincial People's Government and the Ministry of Culture of the People's Republic of China jointly held a series of activities to commemorate the 100th anniversary of Fu Baoshi's birth. Fu Baoshi's untitled "The Majestic Posture of Xiyue" is recorded on pages 46-47 of the album. In February 2008, Chen Lusheng's The Complete Works of Fu Baoshi was published by Guangxi Fine Arts Publishing House, and Xiyue Majesticism was again recorded on pages 112-113 of the fourth volume of the complete works. It should be noted, however, that the editors are incorrect in assigning it as "1961". Based on Fu's creative habits and the close relationship between this picture and the Diaoyutai collection of Xiyue Majestic, the author can conclusively conclude that the same date of creation is "March 1963", which is hereby corrected in the hope of attracting the attention of his colleagues.
There are so many delicate rivers and mountains
Fu Baoshi's "Maoshan Majestic" Beijing Auction 2017 Spring Auction No. 2245, sold for 187 million yuan