Dahua Shocks the Wind: Fu Baoshi's Works Exhibition
Exhibition period: September 2, 2021 to October 31, 2021
Venue: Wuhan Art Museum, Halls 1, 2 and 3
Producer: Chen Yongjin
Curator: Song Wenxiang
Exhibition Executive: Lin Li
Organizers: Wuhan Art Museum, Nanjing Museum
Supported by: Zhou Shaohua Art Center of Hubei Province
|| @ This time"Dahua Shocking Wind: Fu Baoshi Works Exhibition", nanjing museum for the first time to borrow more than 60 pieces of Fu baoshi works on display at Wuhan Art Museum. From the three parts of 'Intention and Ancient Meeting', 'Heart and Wisdom', and 'Realm and Scenery', the exhibition exhibits 27 works of Fu Baoshi landscape works, 25 works of figures, 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 provides 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.
Foreword
---PREFACE---
Text | Director of Wuhan Art Museum Chen Yongjin
Fu Baoshi is an artistic master who has made outstanding achievements in the theory and practice of Chinese painting in the twentieth century. In the course of his limited life, he created a large number of ink paintings that reflected the new winds of the times and depicted the great changes in the mountains and rivers of the motherland, and these works and their painting ideas became an important part of our study of the art history of the twentieth century today.
In many of Fu Baoshi's works created in the 1940s, we can often see a seal with the content of "Trace Dahua". Looking at Fu Baoshi's life, this square seal is one of the key words of Fu Baoshi's determination to forge ahead and aspire to transform Chinese painting. To appreciate the "Dahua" in Mr. Fu Baoshi's works, we can enter from the perspective of "enlightenment", the Buddhist language has clouds, "the outline of preaching, the hoof of Dahua." That is, people can change themselves through education, which is also the result of indoctrination. We trace this trace from Fu Baoshi's early education experience, whether it is when he was a teenager, Fu Baoshi learned to engrave stamps and paint with his master, or embraced his love for the history of ancient painting and painting theory, and fell in love with Shi Tao's paintings, or the influence of Studying in Japan on his creative style, he can draw creative nutrients from it, and skillfully integrate into his own works, truly forming a unique artistic style, from teaching to evolution, turning gan into jade.
The theme of this exhibition is "Dahua Shocking the High Wind", which embodies mr. Fu Baoshi's artistic trajectory of integrating the past and the present, and also reflects Fu Baoshi's far-reaching influence on contemporary Chinese art history and his noble artistic integrity. From the three parts of 'Intention and Ancient Society', 'Heart and Wisdom', and 'Realm and Scenery', 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 mid-November 1960, Fu Baoshi led Jiangsu painters to travel through Wuhan for 23,000 miles, and during their time in Wuhan, they successively visited the Wuhan Yangtze River Bridge, the East Lake Scenic Area, the Peasant Movement Training Institute and Wuhan Iron and Steel, had in-depth exchanges with Zhang Zhenduo, Zhou Shaohua, etc., and established a deep friendship with the Jiangsu painters who were on this trip. In this exhibition, we are also fortunate to exhibit Mr. Fu Baoshi's impromptu painting of Mr. Zhou Shaohua during his time in Wuhan, which undoubtedly witnesses and records the special feelings between Mr. Fu Baoshi and Wuhan.
In view of this exhibition, curator Song Wenxiang divides the exhibition into three chapters according to the chronological order of Fu Baoshi's artistic creation practice, the first part, from the heart of Shigu to the evolution of the trace Dahua "bouldering", the second part, Fu Baoshi and the ancient and modern scholars, and the third part, Fu Baoshi's real mountain and true water as the sound of the painting realm. It is believed that through the display of these three parts, the audience can experience Fu Baoshi's noble artistic integrity and lofty artistic ideals.
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", "Zhan Wu Neimei - Huang Binhong Works Exhibition", and this exhibition "Dahua Shocking High Wind - Fu Baoshi Works Exhibition" is a continuation of this series of research exhibitions. Through this exhibition, it provides an important opportunity for us to fully understand Fu Baoshi's creative ideas and their significance in the development of art history in the twentieth century.
Thanks to the Nanjing Museum and Hubei Zhou Shaohua Art Center for their strong support for this exhibition, I wish the exhibition a complete success.
Excerpts from the exhibition works
---Selected Exhibition Works---
△ Pipa line
Coloring on paper | 143.2cm × 68.9cm | In 1940
△ Twilight Rain Monk Returns
Coloring on paper | 103.5cm × 59.4cm | In 1945
△ Jinxian figure
Coloring on paper | 137.2cm × 45.4cm | In 1945
△ Shushan Map
Coloring on paper | 92cm × 60cm | In 1944
△ Seven Sages of the Bamboo Forest
Coloring on paper | 64.7cm × 75cm | 1950s
△ Linshitao Mountain Residence Map
Coloring on paper | 150.5cm × 53.7cm | In 1943
△ Qu Yuan's image
Coloring on paper | 87cm × 59cm | In 1946