Fu Baoshi's painting style in the 60s of the last century has indeed changed to a considerable extent compared with the early period, and a new painting style has been established, which can be seen as the inevitable result of Fu Baoshi's change in the painting of the 60s.
After the 60s of the last century, with Fu Baoshi's deepening understanding of Chinese painting and the accumulation of many years of practical experience, his understanding of painting style has become more and more new. In particular, Fu Baoshi's experience and feelings of objective and subjective beauty have become more and more in-depth and concrete, and his insights and understanding of the ideal artistic conception have become more and more profound and unique, which has invisibly promoted the changes in his painting style in the 60s, and a new painting style category has been formed. Fu Baoshi believes that the spirit of the times determines the new characteristics of the style of painting, "the times are different, the brush and ink are different", which is also a declaration that his painting style will change, announcing the inevitable arrival of a new painting style. It is precisely because of the different times that Fu Baoshi's aesthetic concept has changed, and his painting style has undergone new changes, even drastic changes. The changes in Fu Baoshi's painting style in the 60s have been deeply marked by the times, making his works present new characteristics that are different from those of the earlier stage.
The tiger is better than the past
Fu Baoshi's painting style in the 40s of the last century mostly presents the characteristics of personal subjective expression and individuality, focusing on the expression of self-spiritual emotions, and also blending some historical and literary elements, with the artistic and spiritual characteristics of self-expression, extroverted and unrestrained, the expression of self-emotion and the subtle observation of nature are integrated into it, which is particularly typical in the painting of the Jingangpo period in Sichuan, thus establishing the characteristics of the unrestrained, chic and beautiful, majestic and steep painting style. After the 50s, with the gradual stabilization of life, especially in Nanjing's long-term settlement and continuous travel to other places and even overseas to sketch scenic spots, his mood was much more cheerful and pleasant, and the objects depicted in his paintings were further expanded, and the scope of his creation continued to increase, which made Fu Baoshi's paintings show the characteristics of combining the characteristics of self-subjective expression with the characteristics of the times, and the characteristics of the painting style were further strengthened by the deep and secluded, concise and beautiful and majestic painting style. Eastern European sketches add a fresh and bright aesthetic tone to the painting, and the painting style is fresh, concise, beautiful, and full of strong exotic customs.
After entering the 60s of the last century, Fu Baoshi began to face a new era situation and new historical opportunities, and further burst out the vitality of painting creation, the picture showed a strong new style characteristics, and more distinctive personal appearance, spiritual emotions and aesthetic realm began to appear, full of majestic and broad, heavy and condensed, romantic and fantastic aesthetic atmosphere. Relying on his outstanding aura, talent, and cultural literacy, Fu Baoshi gradually transitioned the painting style of the 60s from the slender, graceful, and chic of the early years to the majestic, heavy, and romantic fantasy. In particular, the unique magnificent scenery of mountains and rivers in Northeast China has brought different visual feelings, spiritual experiences and creative inspiration to Fu Baoshi, the brushwork of painting has continued to change significantly, the characteristics of painting style have changed more strongly, the layering of painting is richer, the expression effect of dry and wet ink is more obvious, the use of dry ink and thick ink is more free and unrestrained, and the aesthetic characteristics of the object of calm and fantasy, majestic and lush in Northeast China are vividly presented on the picture, completing the 40s, A major leap forward in the style of painting in the 50s.
Huayue Songyun
In the 60s of the last century, the formation of Fu Baoshi's painting style and characteristics was not only related to his growing age and rich life experience, but also related to his many years of life experience, and also related to the continuous discovery of new painting themes and themes in the 60s. Different life experiences and feelings at different stages have different natural painting styles, and the emergence of new painting themes and themes has undoubtedly brought new painting style characteristics. In particular, the new themes and themes of painting creation can be regarded as one of the main motivations for the change of Fu Baoshi's painting style in the 60s. In particular, he went to various parts of the motherland to sketch and create, "searched all the strange peaks to make drafts", and constantly traveled, understood, memorized, and wrote, increasing new experience and insight and new experience in creative practice. Fu Baoshi's perception of landscapes and social life in the famous mountains and rivers that he had never experienced before brought new insights and aesthetic elements to his painting creation, and greatly promoted the formation of his new style and characteristics of painting.
At this stage, Fu Baoshi has a very deep and systematic understanding of the relationship between art and science, the relationship between brush and ink techniques and painting objects, the perception of history, culture and the aesthetic connotation of painting, and the role and influence of the characteristics of the times and the creation of painting creation, so that he can constantly find a new brush and ink language in the thousands of natural scenery and social life, so as to form his own new painting style characteristics. In Fu Baoshi's view, the emergence of painting style characteristics is the expression of the new era spirit and self-personality characteristics, and only by profoundly combining one's own spiritual emotions with objective objects can there be an ideal artistic conception and the emergence of ideal painting style characteristics. It can be said that the experience, experience and perception of the painter's life brought about by Fu Baoshi's personal age during this period, the development of the painter's subjective spirit, self-thoughts and emotions, and the changes and needs of the times have all become important elements and driving forces for the formation of the characteristics of the new painting style. In the 60s of the last century, the formation of a series of new painting style characteristics of Fu Baoshi has the true embodiment of the art and spirit of Fu Baoshi himself and the times, like a prelude to the progress of his personal life and the times, and played a symphony of life and the changes of the times. Style is people, Fu Baoshi's strong personal personality charm, humanistic quality, and pursuit of ideal spiritual value have created the characteristics of his new painting style in the 60s, becoming a symbol and symbol of the mountains and rivers of the motherland, and also becoming the external carrier of Fu Baoshi's new aesthetic image.
Scold! Changbai Mountain
From the above analysis, it can be seen that whether Fu Baoshi's sketches or poetic paintings, whether they are figure paintings or landscape paintings, whether they are domestic sketches or foreign sketches, his paintings in the 60s of the last century do show different painting style characteristics than in the past, mainly in the new painting themes, painting themes, and aesthetic images. During this period, Fu Baoshi paid more attention to the reckless and vast space characteristics of the mountains and rivers in different regions, paid attention to the subtle feelings of different scenes in different regions and the expression of spatial mood, and paid attention to the treatment of large space in the picture, and used the traditional mainland method of painting and creation with a large view and a small method, and received the picture effect that was close at hand and thousands of miles away, and introduced into the picture from different angles such as looking down, looking up, and looking up, bringing a different aesthetic touch. Fu Baoshi pays full attention to the characteristics of mountains and rivers in different regions, pays attention to the differences and differences between mountains and rivers in different regions of the south and the north, the east and the west, and the domestic and foreign regions, and has different cognitions, understandings and perceptions of them. In different objective mountain and river scenes, Fu Baoshi fully expresses his painting ideals and spiritual space images, injecting strong ideological concepts and self-spiritual emotions into his paintings, joys, sorrows, spiritual anguish, pleasure and feelings are quietly poured out under his brush, like flowing notes and beating words, revealing the spirit of this moment on the picture, which has brought very rich constituent elements to the formation of his painting style in the 60s.
Fu Baoshi's painting ideas and styles in the 60s of the last century are still in considerable changes, some of which continue his early painting ideas and make further expansion and deepening, and some are newly created painting ideas. The continuous integration of traditional literati consciousness, national consciousness, the spirit of the times and the concept of modern painting, and even the cosmic consciousness and cosmic spirit have been introduced into the picture by Fu Baoshi, creating a romantic, fantastical, and magnificent aesthetic scene of painting, which has become the inner conceptual support of Fu Baoshi's profound and rich aesthetic conception in Chinese painting in the 60s, especially in landscape painting, which has invisibly increased the strong spiritual radiation and visual impact of the picture.
Fu Baoshi's painting in the 60s has once again made a new breakthrough, in his paintings, you can feel the close relationship between the painter and the country, nature and the universe, with the painter's self-consciousness to further awaken, with the cosmic spirit, national consciousness and the explosion of self-romantic feelings, elegant, liberal and agitated spiritual feelings are very naturally expressed in the picture, which is obviously related to the continuous expansion and innovation of Fu Baoshi's rich, profound and advanced painting ideas and concepts in the 60s. The unique spiritual atmosphere of Fu Baoshi's time deeply infected him, prompting Fu Baoshi to constantly match and adapt his changing ideological concepts, spiritual emotions and social reality, so as to complete new breakthroughs, new changes and new leaps in his own art.
(Zhao Qibin)