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The Surging News has learned that the "Dahua Shocking High Wind: Fu Baoshi Works Exhibition" will open at the Wuhan Art Museum on September 2. The exhibition is mainly borrowed from the Fu Baoshi Collection of the Nanjing Museum, and a total of more than 60 pieces of Fu Baoshi are exhibited, including "Pipa Xing", "Jin Xian Tu", "ShuShan Tu", "Qu Yuan Portrait" and so on. Among them, there is a special exhibit "Sketch of Jiangshan Pictures to be Detailed", which was improvised in 1960 when Fu Baoshi led Jiangsu painters to sketch for 23,000 miles through Wuhan, witnessing and recording the special feelings between Fu Baoshi and Wuhan.
Fu Baoshi 《Linshitao Mountain Residence Map》
Fu Baoshi was one of the most outstanding Chinese painters of the 20th century, and his artistic practice is of extraordinary significance in the history of modern Chinese art. He devoted his life to the inheritance, reform and innovation of Chinese painting, had the courage to explore, was diligent in creation, and left many wonderful paintings. His paintings are outstanding, landscape paintings are full of vitality, and figure paintings are vast and ancient. Or vibrant, or fresh and delicate, all are super-majestic and poetic. In his later years, he combined life, closely followed the times, boldly innovated, gave Chinese painting a new realm, new ideas, new pen and ink, new content, became an outstanding representative of new Chinese painting, and led the development trend of Chinese painting in the mid-20th century with the important exposition that "thinking has changed, pen and ink cannot remain unchanged".
Fu Baoshi
Fu Baoshi's "Portrait of Qu Yuan"
For the first time, the Nanjing Museum borrowed more than 60 pieces of Fu Baoshi's works and exhibited them at the Wuhan Art Museum. From the three parts of "Intention and Ancient Meeting", "Heart and Wisdom", and "Jinghe", the exhibition exhibits a total of 27 works of Fu Baoshi landscape works, 25 works of characters, 3 albums of sketches, 5 seal seals, 3 sets of original manuscripts, as well as images and text materials of Fu Baoshi's introduction, chronology, quotations and other items, and an all-round overview of all aspects of Mr. Fu Baoshi's painting process. In this way, it shows Mr. Fu Baoshi's artistic trajectory of integrating the past and the present, the profound influence of Fu Baoshi on the history of contemporary Chinese art, and his noble artistic integrity.
According to the chronological order of Fu Baoshi's artistic creation practice, the exhibition is divided into three chapters, the first part, from the heart of the ancient master to the evolution of the trace Dahua "bouldering", the second part, Fu Baoshi and the ancient and modern scholars, the close knowledge, and the third part, Fu Baoshi's real mountain and true water as the painting realm zhiyin.
According to the museum, most of the exhibits in this exhibition are from the Nanjing Museum, and there is also a special "special guest" "Sketch of jiangshan pictures to be detailed". This work was improvised by Mr. Zhou Shaohua (a national first-class artist and now the chairman of the Hubei Provincial Federation of Literary and Art Circles) when Fu Baoshi led a 23,000-mile sketch by a Jiangsu painter in 1960, and also witnessed and recorded Fu Baoshi's special feelings with Wuhan.
Fu Baoshi's Sketch of Jiangshan Pictures to be Detailed
In September 1960, Fu Baoshi led the "Jiangsu Chinese Painting Working Group" to sketch for a long time, and successively visited more than a dozen large and medium-sized cities in six provinces of Henan, Shaanxi, Sichuan, Hubei, Hunan and Guangdong, visiting revolutionary holy places, visiting construction sites, and visiting scenic spots. The trip, which lasted 23,000 miles, was the longest sketch in history. Since then, the "New Jinling School" headed by Fu Baoshi has gained fame in the art world.
Sketching by the sketching troupe in Qingkeping, Huashan, from Huang Mingqian's "Pen and Ink Jiangshan - Fu Baoshi Led the Group to Sketch for 23,000 Miles"
There may be some interesting anecdotes on the way to these twenty-three thousand miles of sketching. Especially when passing through Wuhan, Hubei Province, Fu Baoshi painted on the spot and gave it to Zhou Shaohua. Knowing that Mr. Fu Baoshi loves to drink and often likes to draw while drinking, Mr. Zhou Shaohua spent a lot of effort to find a half-pound small bottle of Luzhou Daqu to give him. Fu Baoshi saw the great joy of the wine and offered to give him a work. Therefore, Mr. Zhou Shaohua picked a small manuscript that had been typed before, depicting the west peak of Huashan.
Fu Baoshi's sketch of Huashan Xifeng, derived from Huang Mingqian's "Pen and Ink Jiangshan- Fu Baoshi Led the Group to Sketch 23,000 Miles"
It is worth mentioning that Fu Baoshi likes to use leather paper to paint landscape paintings, because the ink color response is good and the thick paper can "eat and consume" his unique pen method: heavy pen, fast speed, violent brush sweeping, repeated processing. At that time, he used Japanese leather paper, which was thick in structure, with bone and flesh, good toughness and strong adsorption, which was suitable for the preservation of works. He also had two habits when using leather paper: one was to paint on the back of the leather paper, and the other was never to rub it. These characteristics have become an important basis for identifying the authenticity of Fu Baoshi's works.
"Sketching the Pictures of jiangshan in detail" shows the majestic and heroic, steep and majestic landform characteristics of Mount Hua, towering into the sky, and the next pen is not informal, arbitrarily and horizontally. The composition of the picture is vast, with layers of mountains and mountains, and smoke and clouds. The rapid flying brushwork makes the artistic conception in the painting come into being, and the combination of movement and static is combined. The most wonderful thing is that he uses scattered peaks to express the mountain stone structure, the large mountain stone structure is painted by thick and sparse brush and ink, and the majestic calligraphy is slightly added to the fine horizontal wrinkles to make the clear vertical and horizontal, points, lines, surfaces and water, ink, and color are integrated, forming a unique "bouldering". Fu Baoshi borrowed from the successive generations of landscape and water methods, combined with the study of geology, created and enriched the "bouldering" technique. This kind of brushwork is based on qi, natural and natural, wanton and majestic, becoming Fu Baoshi's "first method to break the constraints of pen and ink".
According to reports, since its opening, the Wuhan Art Museum has successively held a series of case study exhibitions of Chinese paintings in the twentieth century, such as "'Heavenly Opportunity Self-Reliance -- Qi Baishi's Artistic Conception', "Special Exhibition of Qi Baishi's Works collected by the Beijing Academy of Paintings", "Cross-Currents of the Sea - Liu Haisu Art Special Exhibition", "My Method: Jiang Zhaohe Painting Art Research Exhibition", "Cangshan Weiyue - Shi Lu Works Exhibition", "Seeing Neimei - Huang Binhong Works Exhibition", etc. This exhibition is a continuation of this series of research exhibitions, providing us with a comprehensive understanding of Fu Baoshi's creative thoughts. And its significance in the development of art history in the twentieth century provides an important opportunity.
Highlights:
Dialogue on Paper in the Temple and The Late 1940s
Fu Baoshi once said in the "Self-Introduction to the Noon painting exhibition", "For the needs of the landscape, I also occasionally painted characters" and "made a number of beautiful stories in the history of the camp", so he also continuously chose the subject matter and content of the character painting creation. "Dialogue in the Palace and Court" is a painting of historical figures created by Fu Baoshi, depicting the story of Zheng Zhuanggong and his mother Wu Jiang meeting in Huangquan, highlighting the situation of the mother and son of Zheng Zhuanggong meeting Huangquan in a specific picture, giving people a strong impact on their hearts. Through the full rendering of ink, the smooth and accurate lines of Fu Baoshi depicted the solemn and serious and dignified demeanor of Zheng Zhuanggong, and Wu Jiang's slightly restrained, kind, ashamed and relieved expression reproduced the subtle psychology of officials and attendants who were nervous and expectant. The full-width pen and ink are free and free, spontaneous and unrestrained, accurately washed with the pen, and highly summarize the specific characteristics of the characters and their spatial objects, which can be regarded as a classic of Fu Baoshi's historical figure paintings.
"Pipa Line" Color on paper, 1940
This is Fu Baoshi's "Pipa Line" according to Bai Juyi - "Xunyang Jiangtou Night Sending Guests, Maple Leaves Andi Flowers Autumn Serge." The host dismounted the horse and guest in the boat", "moved the ship to meet close to invite each other, added wine back to the lamp to reopen the banquet", "Mo Ci more sat and played a song" and other poems to create Tang poetry works. The host and guests listened to the wonderful performance of the pipa girl, and the entourage and horses stood quietly and listened attentively. The huge maple trees in the picture obscure the riverside, setting off the clean and dark space at night. The whole format expresses the mental state and picture atmosphere of the characters in the form of a combination of large freehand brush strokes and fine brush strokes, which is a masterpiece of the poetic theme of Fu Baoshi's "Pipa Line".
"A Thousand Mountains Show" color on paper, 1963
This is a famous work of Fu Baoshi's northeast sketch, which is a sketch of the northeast jiyou created in Nanjing based on memory and feelings, recording his impression and emotional experience of the mountains and rivers in northeast China. The full-scale close-up scene is boldly swept with thick ink and wet pen, depicting the specific impression of the Thousand Mountains Temple and tourist resort, and temples, trees, tourists, streams, and pavilions seem to come to mind. The middle and long-range parts are the synthesis and memory of the endless majestic, magnificent and beautiful mountains and rivers of thousands of mountains, summarizing Fu Baoshi's overall impression of the thousand mountains in the northeast, which is reckless and beautiful, different from the geomorphological characteristics of the southern landscape. This is a sketch of landscapes created by Fu Baoshi through the creative techniques of traveling, enlightening, remembering and writing landscape paintings, and it is also the most successful interpretation of his theory of landscape painting creation.
"Jinxian Tu" color on paper, 1945
This work is a work created by Fu Baoshi with the atmosphere of the Six Dynasties under the forest, which is a feast for the literati of the Six Dynasties, and through the depiction of the daily life of the literati of the Six Dynasties, he pins his lofty ambitions and spiritual feelings. There are several cases listed around the screen of the painting, with ten people in ancient clothes, or raising a glass to drink, or lying down in a few shadows, or walking with a staff, or listening with one ear, or holding a book and reading, or taking a break from sleep, or writing a new text, and the expression of the scribe of Yaji is full of pen. At the same time, it also shows the slightly drunk mood of feasting and drinking, which adds to the lively and real life atmosphere. The history of painting records that Mao Huiyuan once composed "Drunken Guest Map", and Fu Baoshi was justified by his meaning, showing his desire for cultural life and spiritual life in the context of the high-class gathering of the literati of the Six Dynasties. The whole width draws on the characteristics of the pen and ink used in the large-scale freehand landscape, which is both vivid and unrestrained, and at the same time pays attention to the subtle combination of fine brushwork, the lines are condensed and delicate, and the dashing and elegant feelings are seen in the unrestrained excitement, and the ink with the pen can be opened and closed, from which it can be seen that Fu Baoshi's ability to skillfully control the pen and ink techniques and the talent of talent, worthy of Fu Baoshi's proud work of character painting.
Seven Sages of the Bamboo Forest, colored on paper, 1950s
This is a typical historical story painting of Fu Baoshi, depicting the stories of historical figures Ji Kang, Ruan Yuan, Xiang Xiu, Liu Ling, Ruan Xian, Shantao and Wang Rong in The Wei and Jin Dynasties in China. Fu Baoshi is very fond of the theme of "Seven Sages of the Bamboo Forest", and has created many paintings around this theme, which vividly expresses the extraordinary artistic talent and moral realm of the Seven Sages of the Bamboo Forest in the picture. As a spiritual symbol of high elegance, sobriety and outstanding talent, transcending the world, the Seven Sages of the Bamboo Forest have always been the objects of expression of traditional literature and art. This painting of "Seven Sages of the Bamboo Forest" hovers between the quiet bamboo forests, or tastes tea and drinks, or Xu Xingyuan overlooks, or plays the piano, or considers the words, which is a specific portrayal of the scribes, very realistically portraying their rich inner world, and also pinning Fu Baoshi's self-value ideals and spiritual feelings. Bamboo bushes are sketched with light ink, freehand brushwork, green and green dyeing, creating a quiet and tranquil picture atmosphere, and the clothing pattern is outlined with fine brushes, which is simple and elegant, clean and smooth, giving people a sense of elegance and ethereality.
"Tiger Creek Send-off" is colored on paper and the year is unknown
This is an important historical story painting subject of the Wei and Jin dynasties that Fu Baoshi has always liked to draw, depicting the allusion that Huiyuan, Tao Yuanming, and Lu Xiujing of the Eastern Jin Dynasty met across the Tiger Creek: "Under the Liuquan Za Temple, enter the Tiger Creek." The former Yuanshi sent guests here, and the tiger trumpeted, so it was named Yan. Tao Yuanliang lived in Lili, and Shannan Lu Xiujing also had Daoist soldiers, and the distant master tasted to send these two people, and they were in harmony with the Tao, and they did not feel it, because of the phase and laughter." In fact, when Lu Xiujing arrived at Lushan, Hui Yuan and Tao Qian had already died, and there was no story of the Meeting of Tiger Creek. The emergence of the allusion of the three-person communion is obviously a kind of sustenance for the spiritual feelings of the literati of later generations. In this work, under the lush shaded tree, Hui Yuan talked intently with Tao and Lu Zheng. The surrounding space seems to be silent, listening to the dialogue between the master and the guest, giving people a strong feeling of rare encounter and encounter. This painting uses the pen to be unbridled, writing a far-reaching picture space with large strokes, and making a character with a thin brushstroke from a downward perspective, cutting out the subtle visual space like a switch shot, and very cleverly showing the picture space truly, worthy of being a master at creating the atmosphere of the picture space.
"Shushan Map" color on paper, 1944
Fu Baoshi has always preferred the creation of poetic paintings and spring and waterfall rain paintings, and often integrates the two into one, creating a dreamlike and beautiful picture spiritual space atmosphere. Fu Baoshi's work is based on the Tang Dynasty poet Li Shangyin's "Night Rain Sends North": "The return period of Junwen has not yet expired, and the night rain in Bashan rises in the autumn pool." He Dang cut the candle in the western window, but said that the poetic poetry of the Tang Dynasty created in the night rain of Bashan Mountain, the whole is majestic, very freely integrating the fantasy scenery of the rainy and foggy area of bashu with the poetic image described by the poet, expressing the homesickness, sojourn melancholy and sentimental mood of the situation brought about by the painter's long-term visit to Bashu. Using a paintbrush as a poem is nothing less than an elegant and beautiful "lyric poem".
"Twilight Rain" color on paper, 1945
This poetic painting is based on the Ming Dynasty poet Li Dongyang's "You YueLu Temple" "Dangerous peaks overlook the Chujiang River, the road is in the first few plates of sheep intestines." Ten thousand trees and pines double paths, four mountains wind and rain and one monk cold" poetic and poetic painting works, depicting the strange scene of bashu rain and fog. The mountains and rivers fell silent in the smoke and rain, the mountain pavilion hall was slightly exposed in the rain curtain and water vapor, and a red-clad man with a staff on the mountain path was hurrying forward. The full width completely reproduces the unique mountain and river landform characteristics of the Bashu region under the rainy conditions, organically integrates the poetry of the ancients with the creation of rainy scenes, and also has the expression of the painter's own hidden and agitated specific spiritual feelings, high and easy to rush away, giving people a strong inner impact.
Exhibition posters
(The content of this article is comprehensively compiled from Wuhan Art Museum)
Editor-in-Charge: Ruoxi Chen
Proofreader: Yan Zhang