Fu Baoshi, who was creating landscape paintings in the 1950s
Fu Baoshi (1904-1965) was born in Nanchang, Jiangxi Province, with his ancestral home in Xinyu, Jiangxi.
He once served as a professor at Nanjing Normal University and the president of Jiangsu Academy of Chinese Painting.
Good at painting landscapes. Create "bouldering".
In his later years, he made many works of greatness, courage and strength, and a strong sense of the times.
20th century Master of Chinese Painting, Jin Shijia and Art Historian.
He pioneered the New Jinling School of Painting. Commenting on his paintings of landscapes and rivers as "wanton and vast", and commenting on his characters as "literary and rational, pure fire".
Guo Moruo said: "There are two stones in the north and south of China's painting boundary, the north stone is qi baishi, and the southern stone is Fu Baoshi."
《Shaoshan》
"Shaoshan Poetry"
Fu Baoshi came from a family of umbrella smiths, and at the age of 11 he began apprenticeship in a porcelain shop.
He taught himself calligraphy, painting and seal engraving, and at the age of 17, he was promoted to the provincial first normal school with the first place.
"So Many Petite Rivers and Mountains"
On the tenth anniversary of the founding of New China, the Great Hall of the People was completed.
Fu Baoshi and Mr. Guan Shanyue were specially invited to cooperate with Mao Zedong's "Qinyuan Spring and Snow" as the theme, and cooperate with the large-scale painting "So Many Delicacies in The Mountains and Mountains".
"Su Wu Shepherd"
The han dynasty generals welcomed Su Wu back to China
Su Shi muyang was composed in the late stage of the War of Resistance Against Japanese Aggression, and the painter used Su Wu's story to express the mighty and indomitable national integrity and confidence in the victory of the War of Resistance, which had far-reaching meanings.
"Aoyama Heights and Weights"
1947 "Aoyama Heights Several Weights"
His works are well conceived, profound, bold and majestic, and the pen and ink are full of flow.
He absorbed the essence of ancient landscape techniques and formed his own unique style.
"Hibiscus Kingdom of The Glory of the Rising Sun"
1964 "Hibiscus Country full of pilgrimage"
Guo Moruo once signed and handwritten the preface:
"Boulder painting has a unique style, the characters are good enough to convey the gods, the landscape is unique, and the new law is absorbed on the basis of the old law, and it can get rid of the trap and embody nature."
"Pipa Line"
"Pipa Xing" is an outstanding representative work of Fu Baoshi's character painting and poetic painting in its heyday, and its creative theme comes from the famous "Pipa Line" by the Middle Tang Dynasty poet Bai Juyi.
The poem writes that Bai Juyi degraded the official to Jiangzhou, and sent guests to the river at night and overheard the sound of pipa music.
The music and encounters of the pipa girl and the encounters of the poet contrast with each other, and the feelings of the same fallen people at the end of the world are vividly expressed.
Part of "Beauty Walk"
"Beauty Walk" (partial)
The spring light of the women is infinite, gentle and boundless, and the love is boundless, all of which are fused with Fu Baoshi's many ladies.
Fu Baoshi painted ladies, but he never said that women were weak and despised.
He has great respect for women, and when raising his daughter, he has always asked her not to be subordinate to others, but to live with character and self-improvement.
Landscape
Landscape (Chinese painting) 1960
He inherited the grand rules and regulations of Song paintings, took the ink and pleasure of the Fayuan people, and wrote the expression of water in the album.
And his painting method has also changed the traditional various methods, using scattered brush strokes to express the structure of mountain stones, forming a unique "bouldering".
This method of qi is powerful, majestic, natural, and natural, and it is also the first method of Fu Baoshi's "breaking the constraints of pen and ink".
《Rain Mountain Map》
Rain Mountain Map
Fu Baoshi's landscape paintings are different from traditional landscapes, and he notices the changes in different climates in different seasons in nature, and the differences in conditions are very distinct.
Paintings of the sea and waterfalls, outside of rendering, are sometimes used to express the undulating waves and torrential currents.
Painting mountain stones, hooks, wrinkles in addition to the aggravated wet dye to show the depression of the mountain.
《The Great Di Caotang》
The "Diagram of the Great Di Caotang" was originally the title of Shi Tao's letter asking the Bada Shanren to paint, and Baoshi made two paintings according to the contents of Shi Tao's letter.
The work in 1942 is quite interesting, the main body of the picture is a few large trees, large ink splashes, ink color blends; although the top of the plant is broken and the branches are luxuriant, rarely use lines, all expressed in ink color changes.
The grass hall on the left, in which a small portrait of Shi Tao standing on the back of the railing is outlined in a thin pen, creating a "clean" environment of compassion and deep release. Xu Beihong painted the title "Vitality is dripping, Zhen zai appeals" for this purpose.
In the late 1950s and early 1960s, he traveled several long distances to sketch, finding new fits that brought into play his artistic personality, bringing his landscape painting art to a new level, and establishing his historical status as a master of landscape painting in the 20th century.
"Sending the Plague God"
"Sending plague god poetic intentions"
Fu Baoshi's landscape stems from his long-term observation of the real mountains and real water, his paintings have profound meanings, novel chapters, good use of thick ink, rendering and other methods, the integration of water, ink and color, to achieve a magnificent effect.
On the basis of traditional techniques, it is unique and unique, and plays a role in carrying forward the past and opening up the future for landscape painting after liberation. His figure paintings, with strong lines, are deeply conveyed.
《Fuchun Xiaose》
Fuchun Xiaose (1963)
In Fu Baoshi's lifelong painting art creation, the only thing that cannot be separated is wine, when creating "So Many Delicacies in Jiangshan", there are interesting stories about writing letters to Premier Zhou asking for wine.
It is said that after painting this painting, he drank a total of 40 bottles of Moutai wine.
"Chairman Liu's Former Residence"
The Former Residence of Chairman Liu (1960)
While in Japan, he studied Japanese painting, and while inheriting the tradition, he also integrated Japanese painting techniques.
Inspired by the majesty of the landscape in Shuzhong, he carried out artistic changes, painted landscapes with broken pens on leather paper, and created unique methods of ----- bouldering.
《Erxiang》
《Erxiang Tu》
His figure paintings are greatly influenced by Gu Kaizhi and Chen Laolian, but they can be transformed and used in a way that is unique.
Most of the characters in his pen are based on ancient literary masterpieces as the theme of creation, and they are washed with pens and pay attention to the charm, which has achieved the effect of being fascinating.
Mao Zedong's Poetic Intentions in Replying to Friends (1964)
The lines of Mr. Fu Baoshi's figure paintings are extremely condensed, and the changes in the three elements of speed, pressure and area are emphasized in the outline, which is different from the traditional painting method of following the drawing spectrum.
He also integrated the techniques of landscape painting into his own figure paintings, changing the style of figure painting since the Qing Dynasty, showing a unique personality.
Fu Baoshi was a master of art of the Kaizong School.
"Yan'an Pagoda"
Fu Baoshi is good at discovering the poetry that flows in the depths of nature and blends with the poetry of the ancients.
This work synthesizes the scenes in the poem and the author's intuitive impression of Yan'an, taking novel meanings and avoiding the formalization of depicting the theme of revolutionary holy lands.
"The King in the Clouds"
Fu Baoshi suffered a sudden cerebral hemorrhage on May 29, 1965, and died in Nanjing Yuzhong at the age of 61. It is said to be related to the long-term alcoholism when painting.
Fu Guan painted the scene of "So Many Delicacies in The Mountains"
References: Fu Baoshi, Ink Qianjin