Statue of Fu Baoshi

Fu Baoshi (1904- 1965), a native of Xinyu county, Jiangxi province, was a modern painter and art historian in China. His original name was Changsheng and Rui Lin, and he was the owner of Baoshizhai. As a teenager, he loved painting, calligraphy and seal cutting. 1933, Xu Beihong strongly recommended studying in Japan to study the history of oriental art and graduated from Imperial Art School in Tokyo. 1935 returned to China to teach in the Art Department of Central University; During the period of War of Resistance against Japanese Aggression, he settled in Chongqing and continued to teach at Central University. From 65438 to 0946, he moved to Nanjing. After the founding of New China, he served as a professor in the Fine Arts Department of Nanjing Normal University, the president of Jiangsu Traditional Chinese Painting Academy and the vice chairman of China Artists Association. Fu Baoshi was born in an umbrella repair family in Nanchang, Jiangxi, and lived in poverty in his youth. 192 1, without taking the first place in the exam, he was promoted to the provincial first normal school. During this period, he began to study the theory of ancient painting history after printing, especially when he saw Shi Tao's "I use my method", and he was very appreciative of Shi Tao's idea of "searching all the strange peaks and making a draft". Fu Baoshi advocated innovation in art, and his artistic creation achieved the greatest success in landscape painting. Landscape painting combined Japanese painting techniques, catching up with Liang Kai and Muxidi in the Southern Song Dynasty (the date of birth and death is unknown), and was deeply influenced by Shi Tao. While inheriting the tradition, inspired by the majestic scenery of Sichuan, he boldly carried out artistic changes, painted landscapes on leather paper with broken pens and scattered fronts, and created unique scattered fronts. He wrote very fast, but he also carefully cleaned up and created. Xu Beihong praised his painting as "the appearance of a dwarf in the cautious landscape for 300 years". Because of his long-term observation and understanding of the true mountains and waters, his paintings are profound and bold, and he makes good use of techniques such as scattered front, thick ink and rendering, so that water, ink and color are integrated into one, achieving a magnificent artistic effect. It is unique on the basis of traditional techniques and plays a connecting role for modern landscape painting. Influenced by Gu Kaizhi and Chen Hongshou, figure painting is unique. Most of the characters are based on classical masterpieces, practiced with brushwork, and pay attention to charm, which has achieved superb results. Characters seek God in form and deliberately express their inner temperament. Although I am confused, I am reserved and quiet. He also incorporated the techniques of landscape painting into figure painting, which changed the style of figure painting since the Qing Dynasty and showed his unique personality. The lines of figure painting are strong and vivid. To describe the image of the ancients or their anecdotes is to praise an ancient person or chant a poem about a certain scene. His paintings are all poems transformed into visual images. He is also a knowledgeable scholar, who has written more than two million words in his life, covering the history of Chinese painting and other aspects.

Artistic status:

Fu Baoshi is a representative figure of the transformation from traditional painting to modernization in China in the 20th century, a famous master of Chinese painting at home and abroad, and a representative painter of "New Landscape Painting". Fu Baoshi and Qi Baishi were once praised by Guo Moruo as "two stones in the north and south" in painting, which shows their artistic status at that time. In the history of modern art in China, Fu Baoshi is a unique figure. Tired of sticking to the rules, he reformed Chinese painting internally. From his painting style, we can see that his painting style, charm and style are classical, but his brushwork and momentum are novel, while his painting style and personality are unique and free. This extraordinary Chinese painting, like spring thunder, shocked the painting circles in China. As a banner of the New Jinling School of Painting, Fu Baoshi is a well-deserved pioneer. He not only put forward the slogan "Thought has changed, pen and ink cannot remain unchanged", but also created a number of landmark masterpieces that can reflect the spirit of this era, thus bringing China's landscape painting to a new height. Fu Baoshi's artistic creation not only made him a master, but also promoted the success of the New Jinling School. Wei Zixi Qian Songyan (19 15-2002), Song Wenzhi (191999) and Yaming (1929).

Technical features:

Brushwork: Fu Baoshi's landscape painting was studied by Shi Tao in his early years, and his pen was centered, with a golden stone flavor. In the mature period, the style is mainly broken and scattered, which is called "bouldering" by later generations. This brushwork first appeared in the paintings of Liang Kai and Muxi in the Southern Song Dynasty, but it was rarely used by China painters and did not become the mainstream. This style of writing with scattered front is neither centered nor biased, but with scattered strokes. After pressing down, the paper is stained with the root of the pen, and it is rubbed at any time, and it is scattered because of emotion. In fact, it is equivalent to several tiny halfbacks painting at the same time. The drawn lines not only have the roundness and beauty of the center, but also are more flexible and free than the center. It has the vastness, precipitousness and dryness of the flank, and it is more subtle, profound and rich than the flank. This kind of parting brushwork is to use rough and bold lines and deep ink blocks to form colorful images of mountains and rivers, and to create an artistic atmosphere that is vigorous and elegant, profound and charming, profound and meticulous, and open and spacious. Although this kind of atmosphere is related to the theme, artistic conception and composition of the work, the unique parting brushwork is the main factor. The greatest advantage of this style of writing is that it is smart and lively, free and easy, dripping and carefree, and can remove axe marks and guide the way. Although Fu Baoshi's figure line drawing comes from Gu Kaizhi and Chen Hongshou, it is mainly based on hairspring and iron line drawing, but some good works, on this basis, use flying frontal brushwork, only pay attention to its dynamic situation, not stick to the accuracy of modeling, but focus on the portrayal of the facial spirit of the characters. This kind of painting seems vague, but in fact it embodies the spirit of the face and glows with human elegance. Fu Baoshi often writes when he is half drunk, takes off his clothes, forgets everything and goes his own way. This pen-using feature, which began in the 1940s, has developed to a mature stage and has been perfected to the extreme, and has been consistent in his pen and ink career for more than 20 years.

Use ink and color: The brushwork is closely related to Fu Baoshi's brushwork. The rhythm of the pen is an extremely important feature of Fu's unique brushwork. This sense of rhythm is described on paper with ink and wash, which originates from the state of Fu Baoshi's painting, and forms Fu's unique "brushwork" together with the parting brushwork. There is ink in the pen, there is a pen in the ink, the ink color is bright and smooth, the light ink overlaps, the ink color accumulates repeatedly, the color and ink are mixed, both wet and dry, and the ink color is dyed, which are all unique features of Fu Baoshi's ink use. Especially after the ink has accumulated to a thick black color, it can be carefully cleaned and reminded by Jiao Mo to achieve a transparent and moist effect, giving the viewer a feeling of repeated management and wonderful craftsmanship, which can be described as "words must be expressed". Fu Baoshi paints mainly with ink, supplemented by color, and likes to splash ink and emphasize ink. When Jiao Mo and thick ink are used, they should be lightly dyed with light ink and finally rendered with a little color. But he pays great attention to the use of contrast colors, such as bright colors with red and green, to make the picture bright and eye-catching.

Modeling: The modeling of Fu Baoshi landscape painting is different from the traditional stylization and realism of western painting. He pays attention to the sketch of the real scene, often using hard pen and simple lines to outline the general outline of the landscape. When painting, he touched the manuscript. Finally, take off your clothes and finish with the pen and ink of "bouldering". Because I have been trained in western painting and have strong modeling ability, I can grasp the characteristics of painting famous mountains and rivers and achieve both form and spirit. Despite his strong style, the audience can still see what He Shan is painting, which Huang, who has poor modeling ability, can't do. Fu Baoshi's figure painting is mainly studied by Gu Kaizhi, and traces can be found in Gu Kaizhi's "The Goddess of Luo Fu Tu" and "The True Picture of Female History". In addition, Yan (about 60 1-673)' s "Kings of Past Dynasties" and "Travel Map" are also the basis of his study of figure painting. On this basis, he absorbed the advantages of Chen Hongshou's modeling and Shi Tao's attitude in the late Ming Dynasty, and formed his own highly classical, elegant and vivid artistic style. His ladies' paintings also use the plump and elegant images of ladies' paintings in Tang Dynasty to shape the gentle and elegant temperament of traditional women.

Figure 128 Fu Baoshi wrote 1925's "Drinking in Song Ya".

Composition: Fu Baoshi's landscape painting composition is also different from traditional landscape painting, emphasizing momentum, coherence, virtual reality and dynamic combination. There are many positive peaks in the landscape, which are unpredictable and have a strong overall aesthetic feeling. He broke the stereotype and composed in flexible and diverse forms. Panoramic, segmented, corner-and-corner natural boundary separation methods have been adopted, and they are not eclectic. Fu Baoshi's works mostly adopt the traditional scroll painting form, and at the same time, they also absorb the focus perspective in western painting according to the needs of the picture.

Disadvantages and regrets:

Fu Baoshi is a talented and fearless master of art, and his art matured in the Jingangpo period in Chongqing in the 1940s. After the founding of New China, he was purged by political movements again and again, and art must serve politics. Sometimes, he fell into depression and lost his creation. In this case, his paintings are not as emotional and vivid as his works during the Jingangpo period in Chongqing. Due to the influence of political environment and his love and worship for leaders, he painted many poetic paintings with great enthusiasm and hard work, but these works did not represent his highest artistic level. It is a great pity that he died suddenly because of long-term alcoholism in the heyday of artistic creation! But it also avoided the persecution and torture that may be suffered in the subsequent "Cultural Revolution".

Figure 129 Fu Baoshi1Imitating the brushwork landscape of Meiqu Mountain in the early 1940s.

Figure 130 Fu Baoshi writes seven sages of bamboo forest on 1943.

Painting review:

First of all, Fu Baoshi wrote Song Ya Dui in 1925 (Figure 128). This painting is an early landscape painting of Fu Baoshi. The composition is full, outlined with a variety of fine pens, and the brushwork is free and easy, quick and full of heroism. Learn from Shi Tao and have your own brushwork. Although the painting method is immature, we have seen the clue of "bouldering". If these fine lines are changed into large scattered fronts, it will be the later "bouldering".

Second, in the early 1940s, Fu Baoshi wrote "Imitating the brushwork landscape of Meiqu Mountain" (Figure 129). This painting is a poetic painting of Shi Tao's quatrains, using the brushwork of Mei Qushan. Meiqushan is a representative figure of Huangshan School in the early Qing Dynasty, Mei Qing. This is a typical work of Fu Baoshi in the early 1940s. It turns passionate with a pen and a plate. It looks rough and careless, but it can boldly put pen to paper and clean it carefully. Ink and wash are integrated, and rubbing and dyeing are used incisively and vividly, which perfectly expounds Shi Tao's poems and wins the charm of Mei Qing's "loose pen and dark ink". This painting is a masterpiece of bouldering.

Three, Fu Baoshi wrote seven sages of bamboo forest 1943 (figure 130). Ji Kang, Ruan Ji, Dan Tao, Xiang Xiu, Liu Ling, Ruan Xian, Wang Rong, etc. in Wei and Jin Dynasties often got together under the bamboo forest in Yang Shan (now Xiuwu, Henan) and returned drunk, so they were called "Seven Sages of Bamboo Forest". Most of them love vanity, despise etiquette and are open-minded, which is envied by outsiders. Since the Wei and Jin Dynasties, painters often put their own images into paintings to express their recognition of the lifestyle, personality spirit and life pursuit of the seven people. This painting was painted on 1943 during Fu Baoshi's "King Kong Po". The work highlights the elegant charm of Jin people's freedom and unrestrained. When people look at their faces, their facial expressions are no longer relaxed. The facial expressions of the Seven Sages are dull and seemingly carefree, but their eyes are dim and bring out a lot of sadness. Fu Baoshi's characters are ugly and unattractive, and his trademark expression is "indifference". Behind the indifference is the author's struggle, conflict and sadness to enrich his inner world. During the chaotic period of War of Resistance against Japanese Aggression, Fu Baoshi expressed his deep expectation for peace and tranquility through the image of seven sages in the bamboo forest, hoping for a happy and leisurely life and freedom of negotiation. Seven Sages of Bamboo Forest painted many boulders in his life, but this painting is the best!

Photo 13 1 Fu Baoshi wrote it was raining late 1943.

Fourthly, Fu Baoshi wrote "Late Rain" in 1943 (figure 13 1). Fu Baoshi is good at poetry and painting, and describes the implication of Li Shangyin's masterpiece Notes on a Rainy Night to a friend in the north. "You ask the return date is not fixed, and it rains late in autumn pond. When * * * cuts the candle at the west window, it talks about the rain at night. " This poem expresses the mood of a wanderer in Sichuan. Fu Baoshi painted with this poem, making the world boundless. At this time, it was already late autumn moonlit night, and it was rainy and rainy in Bashan, and there was no bright moon. Fu Baoshi's paintings are mostly arranged with mountains, forming an overwhelming majestic momentum. From the landscape of Jingangpo, the painter found that East Sichuan is a mountain range with mixed soil and stone, and there is no water at ordinary times, but after a heavy rain, the fog rises. At this time, rocks, trees and streams are mixed together to form a unique natural landscape. Bouldering boldly enters the painting by breaking the pen and dispersing the front, and even rubbing it, creating a vast and chaotic scene of heaven and earth. Through rendering, the line and the wall are unified on a plane, and the tone of the whole picture is harmonious, so the mountains and rivers meet and blend together, making a world of mountains and rains. This painting is one of the most passionate landscape paintings of bouldering.

Photo 132 Poetic picture of Du Fu's Nine-Day Blue Farmers' Association in Fu Baoshi.

Fifthly, Fu Baoshi wrote Poems and Paintings of Du Fu's Nine-Day Blue Peasant Association in 1944 (Figure 132). This painting is a banner, and such a big work is quite rare in the Jingangpo period when the conditions are too difficult. It's about Fu Baoshi's drunkenness, and it's so exciting! The painter used Sichuan facial paper, which is hairy and tough, adding a sense of vicissitudes and wildness. I chose two traditional landscape painting methods which are the most irregular, free and free-spirited-disorderly firewood and horse, and took the sloppy Shi Tao, whom I worshipped, and dyed it twice with water. This choice is not out of technical ingenuity, but because of the consistency of personality and temperament, so it can be naturally combined to become its own artistic style and symbol. Magnificent weather, dripping and endless charm, strong and fast rhythm are the overall feelings and impressions of this work to the audience. Below the painting, among the trees on the hillside, there are seven nobles and a child. Which one of Gao Shi is Du Fu remains to be verified in detail. The characters in the painting are all scrawled with free and easy thin lines, full of energy, patchwork and integrated with the foreground and background. Gu Kaizhi's ancient rhyme, Shi Tao's flourishing age, Fu Baoshi's * * *, and Du Fu's poems are all in one painting. This painting is a rare masterpiece of bouldering scenery.

Figure 133 Fu Baoshi 1945 Painting "Mrs. Liu Yin"

Photo 134 Fu Baoshi wrote Mrs Xiang on 1950.

Sixth, Fu Baoshi painted Madame Liu Yin on 1945 (Figure 133). Fu Baoshi's painting of ladies began after War of Resistance against Japanese Aggression. In the years after the outbreak of the Anti-Japanese War, the people were in dire straits and were displaced. Fu Baoshi's painting of ladies was born in this environment. What makes people have faith, warmth and hope in the most painful time, in the most depressed time, and in the struggle for death? That is beauty, which can influence and comfort people most. Feminine beauty combines all the beauty and is the sustenance of the soul. Fu Baoshi created his ideal beauty during the Anti-Japanese War, which shows that the fountain of hope in his heart has never dried up. With its free and natural brushwork, this painting can inadvertently portray the characters so delicately and peacefully, and the spirit of the characters is integrated with the painter, which makes this painting have a fascinating vitality. This painting is a passionate masterpiece in the paintings of ladies with bouldering stones.

Seventh, Mrs Xiang was written by Fu Baoshi in 1950 (fig. 134). "Lady Xiang" is a work of Qu Yuan's Nine Songs painted by Fu Baoshi before his death. Qu Yuan's "Mrs. Xiang" describes Xiang Jun's longing for Mrs. Xiang and his regret that he can't meet each other. This is a touching story. The theme of Fu Baoshi's painting "Nine Songs" was influenced by Guo Moruo, and Fu Baoshi admired Qu Yuan very much, so "Nine Songs" became the theme he often painted. According to the examination, his first "Mrs. Xiang" was written in 1943, and later he made several "Mrs. Xiang". Each painting reflects the painter's different moods. In this painting, Mrs. Xiang stands by the river in the autumn wind and outlines her body with light ink. It is certain that the lines are light and smooth, as if there is no * * * in Chongqing Jingangpo period. Clothes and braids fluttered in the wind, staring sideways, with longing and yearning in their eyes. Bao Shi's painting seems to be lacking. It should be general entertainment.

Eight is Fu Baoshi 1956 "Qing ying ya Ji" (fig. 135). 1956 Fu Baoshi was added as a member of the Second China People's Political Consultative Conference. At this time, * * *' s policy towards intellectuals is relatively loose and cheerful. In this mood, Fu Baoshi painted this beautiful landscape painting for Mr. Guang Wei. Hu Xiaoshi, a famous calligrapher, is an old friend of Fu Baoshi. Describe high mountains and flowing water, and elegant people watch waterfalls. Fu Baoshi used his unprecedented pen and ink to describe the spectacular mountains and rivers from near to far, and the running water hit the rocks outside the stream all the way, and the painting momentum between up and down suddenly caught our eye, making people feel as if they were in the painting. Close-up view of the dense forest reveals light, elegant literati chat in the waterfall pavilion, and several precious humanistic people act as painting eyes, dotted with ancient seclusion and profundity. This painting gives people a feeling that they don't know the past and the present in front of it, and it is the unprecedented "bouldering" of the painter that shows this vastness. This painting is a masterpiece carefully painted by Bao Shi for his friend.

Figure 135 Fu Baoshi 1956 Yin Qing Ji Ya Tu

Figure 136 Fu Baoshi wrote "A Flame Falling from the Sea and the Sky" in 1957.

Nine is Fu Baoshi 1957 "The Sea and the Sky Falling Flames" (Figure 136). 1957, Fu Baoshi led China artists to visit Romania and Czech Republic, and inadvertently escaped the anti-rightist movement. Otherwise, his frank personality is likely to be labeled as a rightist. This painting is a sketch based on a sketch. Generally speaking, sketching with pencil or pen is a rough sketch of the scene, and then a formal draft of Chinese painting is drawn on paper with pen and ink according to the draft and memory. This painting was completed in Bucharest according to the draft and memory of the hard-pen draft of the viewing hook three days later. The trees on the coast are rough.

Ten is 1963 Fu Baoshi's Flying Spring on the Mirror (Figure 137). In the early 1960s, Fu Baoshi completely got rid of political purges. At this time, his mood is quiet and his painting skills have reached the point of perfection. In the process of imitating nature, he enriched "bouldering". 196 1 year went to the northeast to sketch. According to sketch and memory, this painting should be painted two years later. Focus perspective combined with the traditional "lofty method" composition of Chinese painting shows the majestic momentum of the waterfall. The water in the waterfall flows down zigzag, forming a surging spring, dotted with steep cliffs. Cliffs and springs are dotted with modern figures, highlighting the surging waterfalls. The "bouldering" in the painting has been eliminated and replaced by being old and bold. This painting is Bao Shi's successful masterpiece and masterpiece in his later years. There are several paintings of Bao Shi with similar themes, which are not as exquisite as this one.

Figure 137 Fu Baoshi wrote "Spring on the Mirror" in 1963.

Figure 138 Fu Baoshi-style "Gao Shitu"

Photo 139 Fu Baoshi style "stormy Gui Zhoutu"

Figure 140 Fu Baoshi style scenery

Identification point:

In recent 20 years, counterfeiting has been rampant in Fu Baoshi. Some people even imitated calligraphy with inscriptions, paintings, printing, making old and fake publications, which were forged by a cooperative group. For thousands of years, vivid charm has always been an important criterion for judging the quality of Chinese painting, and it is also the touchstone for appraisers. Fu Baoshi's original works all have vivid verve and strong sense of pen and ink rhythm, but counterfeits have never felt this way. In addition, we must attach great importance to the details of paper, such as ink, color, seal, inkpad, color, seal and signature, and whether there are traces of old works. These are of great benefit to accurately identify the authenticity of Fu Baoshi's works. A work is circulated in an orderly way and the textual research is clear. Sometimes even other works can be judged as original works without examination, and can also be used as a "reference" for future identification. Fu Baoshi published many works when he was alive, all of which were published at that time. Undoubtedly, these are the standard references for identification. Although there have been examples of forging such reference printed matter, there are textual researches on "vivid charm", "definite brushwork" and "circular order", and this crime of perjury of false printed matter is also easy to be seen through.

Examples of fakes:

First, Fu Baoshi's "Gao Shitu" (Figure 138). The calligraphy of this painting inscription is somewhat similar to that of bouldering, but the seal is rough and obviously engraved with. Although the figure's painting method is slightly like bouldering, the line skill is insufficient, and the outline of the figure's clothes behind it is obviously a failure. The big tree behind the characters is even more weak, messy and impetuous. It should be a fake in the last ten years.

The second is Fu Baoshi's Wind and Rain Gui Zhoutu (Figure 139). The title of this painting, from font to pen, is far from the calligraphy of bouldering; Although there are many seals, they are all different from the original stones and are forged imitations. The imitation year is 1962, but the painting style is imitation of the stone-throwing style in the 1940s. The donkey's lips are not right for the horse's mouth, and the brushwork is chaotic and chaotic. There is no doubt that it is false.

Third, Fu Baoshi's Landscape (Figure 140). The title of this painting is similar, and the painting method is similar to that of "Bowing Stones", but the composition of the three mountains on the screen is not far from each other, and they are arranged in parallel on the screen, which feels very uncoordinated. A master painter would never have such a composition. This painting should be a high imitation made by learning the method of bouldering in recent years.