Fu Baoshi: A Model of Grandmasters in the 20th Century Chinese Painting In the 20th century in China, there were many famous masters, such as Qi Baishi, Xu Beihong, Zhang Daqian, Huang Binhong, Pan Tianshou, Lin Fengmian, Gao Jianfu, Wu Hufan, Liu Haisu, Fu Baoshi, etc., all of whom were grandmasters.
A grandmaster is a person who has made extraordinary achievements in a certain professional field, started a sect, set up his own door, and is respected by everyone and can be regarded as a teacher. Among the ten great masters, Fu Baoshi is respected as a generation of grandmasters for his outstanding achievements in art history research and painting techniques, as well as his pioneering of the New Jinling School of painting and the breakthrough of landscape painting.
Fu Baoshi, the owner of Bouldering Zhai, was born in Nanjing in 1904 and died of illness in 1965. He is a famous modern painter, good at landscape and figure painting, especially the scenery of springs, waterfalls, rain and mist in landscape paintings, and the figure paintings are mostly based on ladies and coats, and the image is ancient.
Fu Baoshi's academic contributions are also outstanding. He is the author of many academic works such as "Research on Ancient Chinese Painting" and "Outline of the History of Chinese Painting", which has conducted in-depth research on ancient Chinese painting and made significant contributions to the study of the history of Chinese painting.
In general, Fu Baoshi has become a model of a generation of grandmasters in the 20th century Chinese painting world with his outstanding artistic achievements and academic contributions, as well as his pioneering of the New Jinling School of painting and the breakthrough of landscape painting.
Fu Baoshi's book "The Picture of Ruan" records his early life and artistic enlightenment. Fu Baoshi was born in Nanchang in 1904 to a poor family, his father was an umbrella repairer, and his mother was a runaway child daughter-in-law.
His childhood was full of hardships and challenges, but he began his artistic career with his love and talent for painting. His early life experiences provided inspiration and material for his later artistic creations, and his works also reflect his deep understanding of life and human nature.
The Picture of the Ruan is a precious historical document that records Fu Baoshi's early life and is also an important part of his artistic career.
When Fu Baoshi was young, there was an engraving stall on the left side of his umbrella repair shop and a painting shop on the right. There, he was self-taught, and almost as soon as he saw it, he could carve stones. Because of his keen interest in painting and carving stones, his mother sent him to an apprenticeship in a porcelain shop in the hope that he would learn to paint porcelain patterns.
However, his boss only let him do manual work, and the overwork caused him to suffer from lung disease and he was dismissed from his home to recuperate. Fortunately, he met a noble man at home, Mr. Zhang from the Primary School Affiliated to Jiangxi No. 1 Normal School, who discovered his talent and enrolled him in the school for free.
When he graduated from high school, Fu Baoshi was admitted to the art department of Jiangxi No. 1 Normal School with the first place in the school. However, his family's financial situation could not support the cost of further education.
As a result, he began to try to use seal carving techniques to make money, and Zhao Zhiqian's "Two Golden Butterfly Seals" became his initial model and textbook.
Fu Baoshi's early work "Boiling Tea Picture" imitated and learned the seal carving to the point of being fake, so that the seal of "Zhao Zhiqian" frequently appeared in Nanchang City, which also provided him with a way to learn and make a living.
His talent for seal carving at the First Normal College made him a well-known figure in the city of Nanchang. During his time at the school, he began to read extensively on the history and theory of ancient painting, including Gu Kaizhi's "Praise of Wei and Jin Shengliu Paintings" and Shi Tao's "Quotations on Bitter Melon Monk Paintings".
His name "Fu Baoshi" comes from his admiration for Qu Yuan's feelings of "bouldering and bouldering" and his admiration for Shi Tao, a famous painter of the Qing Dynasty. In 1925, at the age of 22, Fu Baoshi completed his first book, "An Overview of the Origins of Chinese Painting".
Fu Baoshi, a talented artist. In 1926, he graduated from the Provincial First Normal School and stayed on to teach in the Affiliated Primary School. He began to write "The Study of Seals", incorporating his own experience in seal management.
In 1928, he was hired as an art faculty member at Jiangxi Provincial No. 1 High School, where he lectured on Chinese painting, seal carving, and Chinese art history, and completed the book "Outline of the History of Chinese Painting Changes" for teaching purposes.
While teaching at Jiangxi Provincial No. 1 Middle School, he met Luo Shihui, his art and his confidante in life. Luo Shihui is a quiet, lively, and a bit of a bad girl, her father Luo Hongbin was the tax commissioner and court president in the ** period, with a profound literary and historical accomplishment.
Fu Baoshi was once admired by the student Luo Shihui, once led the students to appreciate the lotus sketch, Luo Shihui took this opportunity to ask Fu Baoshi to make up the lotus leaves for the lotus flowers he painted, and inscribed on the painting.
Luo Shihui hung this painting in the boudoir, and Fu Baoshi also noticed Luo Shihui's feelings for him. After mutual appreciation and heart-to-heart, Luo Shihui visited Fu Baoshi for the first time on New Year's Day in 1929 and paid tribute to his mother.
Fu Baoshi and Luo Shihui: A Love Story Spanning Age and Poverty Fu Baoshi and Luo Shihui are two talented artists who have come together because of their common hobbies and pursuits.
However, this relationship is not favored by everyone. Fu's mother often burst into tears because Fu Baoshi's living conditions were too poor when she was a child; Luo's father opposed the relationship because of the age gap and the poverty of the family.
Despite the difficulties, Fu Baoshi and Luo Shihui still walked together firmly. They learned to paint and write together, and lived together, and their feelings became deeper and deeper.
However, the romance did not end well. Luo's father resolutely opposed their marriage, and Fu Baoshi and Luo Shihui were forced to separate. However, this experience did not erase Fu Baoshi and Luo Shihui's feelings for each other.
They kept in touch until Fu Baoshi died. Fu Baoshi's life is full of pain and hardship, but his love story is full of courage and tenacity. Their stories teach us that true love is worth pursuing, and that you can't give up even in the face of difficulties and challenges.
During Fu Baoshi's "Moonfall and Black Cry", although he was hired to teach and had a certain income, his meager salary was only enough to pay for his mother's medical expenses, and his life was still very difficult.
Luo Shihui deeply admired Fu Baoshi's talent and character, she persuaded her father, and even argued with him about it, but the stubborn Luo Hongbin did not waver. Although Fu Baoshi's mother supports her daughter's decision, she has limited power because she is the third aunt.
In this case, Luo Shihui and Fu Baoshi decided to adopt the strategy of "roundabout operation" and "backyard fire". Funded by Luo Shihui, Fu Baoshi bought gifts or invited them to play according to the interests of her eldest and second mothers to win their favor, and then they said good things behind their backs.
The strategy worked!
Fu Baoshi and Luo Shihui's love road Luo Hongbin finally set up a banquet at home and invited Fu Baoshi to come to his house as a guest. At the family banquet, Fu Baoshi toasted Luo Hongbin, saying that he was willing to marry Luo Shihui and promised to treat her well for the rest of his life.
Luo Hongbin smiled and nodded, and motioned for everyone to pick up their wine glasses and drink them all. The love between Fu Baoshi and Luo Shihui has finally been recognized. In the Spring Festival of 1930, the two held a wedding in Nanchang.
This year, Luo Shihui was only 19 years old, and Fu Baoshi was 26 years old. Luo Shihui gave up a superior life for the sake of love, and faced the hardships and hardships of life with Fu Baoshi.
In the summer of 1933, Fu Baoshi, a young man nearly 30 years old, came to Nanchang. He wore an old kaftan with a small bag under his arm.
He took out a few stamps and a few paintings, hoping to find someone who would appreciate his talent. After some searching, Fu Baoshi found Xu Beihong, a professor of the Art Department of Nanjing ** University and a well-known master in the art world.
He bowed deeply and showed Xu Beihong his work. Xu Beihong looked at the rubbing of the stamp and found that it was well engraved, and looked closely at the signature of the side paragraph as "Zhao Zhiqian".
He asked, puzzled, "These stamps?" Fu Baoshi replied: "I imitated it." In order to live, I imitate Zhao Zhiqian's stamp and sell." Xu Beihong listened and appreciated Fu Baoshi's talent and skills very much, and said: "You don't need to imitate it at all.
You've carved it yourself! Then, he looked at Fu Baoshi's paintings, which were landscapes, not large, but magnificent, and as soon as he unfolded the scroll, it seemed that there was a wave of aura coming to his face.
Xu Beihong stared for a long time, nodded silently, and spoke highly of Fu Baoshi's artistic talent. Before leaving, Xu Beihong asked Fu Baoshi to leave his name, and he replied: "Fu Baoshi."
This opportunity allowed Fu Baoshi to meet Bole, get recognition and opportunities, and start his artistic career.
Fu Baoshi, the author of "Visiting Friends with the Piano". He is talented and has won high praise from Xu Beihong. Xu Beihong once found Jiangxi Provincial Chairman Xiong Shihui and suggested that he sponsor Fu Baoshi to go to Japan for further study, but Xiong Shihui was not interested in this because he was busy "suppressing the Communist Party".
However, Xu Beihong still insisted on offering the funding, and left a painting as a proof. In the end, Xiong Shihui reluctantly agreed to fund Fu Baoshi, and nominally to "study the process, patterns, and improve Jingdezhen ceramics".
In March 1933, with a deep attachment to his hometown, Fu Baoshi traveled to Japan alone to study at the Tokyo Imperial Academy of Fine Arts, where he studied under the art historian Kanehara Seigo.
Through the translation of Jin Yuan Shengwu's "Paintings of the Tang Dynasty" and "Paintings of the Song Dynasty", Fu Baoshi began a systematic study of the history of Chinese painting. In order to correct the misunderstanding of Chinese Jin Dynasty painting art in the Japanese historical circles, he focused on the study of Gu Kaizhi in the Eastern Jin Dynasty and completed "On the History of Gu Kaizhi to Jinghao Landscape Painting".
Then, he began to write a biography of Shi Tao, hoping to connect the development of the history of Chinese painting and express his admiration for this famous painter. He then completed the research and writing of "The Theory of Chinese Painting" and "On the Relationship between Qin and Han Dynasty Art and the West".
During this period, his achievements in art history filled many gaps in domestic research.
During his studies in Japan, Fu Baoshi made a special trip to visit Guo Moruo, who was in exile in Japan because of the "April 12" coup, and the two established a deep friendship. The success of Fu Baoshi's solo exhibition of calligraphy, painting and seal carving in Tokyo is inseparable from Guo Moruo's extensive knowledge and influence in Japan.
He once consulted Guo Moruo in his historical research, and also received criticism and guidance from Guo Moruo in his painting creation. The interaction between the two made Guo Moruo discover Fu Baoshi's artistic talent and talent, and every time he saw Fu Baoshi's masterpieces, he would inscribe a song for him, and also wrote the title of his first art exhibition, giving him great encouragement.
Fu Baoshi is a famous modern Chinese painter, and he is unique in the painting world with his unique painting style and profound attainments. In June 1935, after learning the news that his mother was critically ill, Fu Baoshi immediately returned from Japan to attend his mother's funeral.
However, due to the unpredictable situation at that time, he could not raise enough funds, so he had no choice but to interrupt his studies in Japan. After the funeral, Fu Baoshi decided to hold a solo exhibition in Nanchang to show his talent and love for art.
The exhibition, titled Fu Baoshi Chinese Painting Exhibition, was successfully held in Nanchang in July 1936, which was also his first solo exhibition in China. After the exhibition, Fu Baoshi received an invitation from his mentor Xu Beihong to become a teacher in the Art Department of Nanjing ** University.
During his tenure as a teacher, Fu Baoshi focused on the study of Shi Tao's artistic thoughts, and published a number of articles, including "Shi Tao's Chronology Examination", "Shi Tao's Cong Examination", "Da Qizi Inscription Poetry Proofreading", "Shi Tao's Painting Theory", and "Shi Tao's Life and Death Examination".
These essays laid a solid foundation for his later development of a unique style of painting. Although Fu Baoshi encountered many difficulties in the process of learning and artistic creation, he always insisted on his own way and insisted on his own beliefs, and made great contributions to the development of Chinese art.
His story inspires us to constantly strive for excellence, keep innovating, and make our own contribution to the progress of society.
Fu Baoshi: King Kong under the night rain of Bashan practice "Bashan Night Rain" III, practice King Kong, full of vitality In 1937, with the outbreak of the Anti-Japanese War, Fu Baoshi was invited by Guo Moruo to enter the third hall of the Political Department of the National Revolutionary Committee, and served as Guo Moruo's secretary, and then he followed the third hall to Chongqing.
In Chongqing, Luo Shihui came to him with his children, and the family lived in Jingangpo in Shapingba. Since then, Fu Baoshi often inscribed on the painting "King Kong Slope Descending Mountain Zhai".
During the "King Kong Slope" period, he ushered in the first peak of painting creation. In August 1940, the Political Department was reorganized, and Fu Baoshi withdrew with Guo Moruo. At this time, Nanjing ** University and the National Academy of Arts had moved to Chongqing, and he returned to the Department of Fine Arts of CUHK to continue teaching, and at the same time held a part-time teaching position at the National College of Arts.
The two schools are separated by the Jialing River, about 20 miles away.
Fu Baoshi - "Da Yi Thatched Cottage" Fu Baoshi loves to walk and often shuttles between the two schools. He reveled in the majesty and vastness of the Bashu landscape, but felt that traditional painting techniques could not fully convey this magnificent scene.
After a long period of contemplation and tempering, he invented a unique painting method called "bouldering", which was his "first step to break the shackles of brush and ink". This technique draws on the grand composition of Song painting and the ink atmosphere of Yuan painting, as well as the traditional Chinese painting methods of "chaotic firewood", "chaotic hemp", "lotus leaves", "cirrus clouds" and "dragging mud and water", etc., and integrates various methods together, depicting the form of mountains and rocks and the magnificence of water and sky with scattered brushstrokes.
Fu Baoshi - "Ten Thousand Rods of Smoke and Rain" Fu Baoshi after the cultivation of King Kong Mountain, detached from the traditional painting method, forming a unique style of painting, his painting style is majestic, heavy, pungent and bold, which is a turning point on the road of Fu Baoshi's art.
During this period, Fu Baoshi not only used "bouldering" to paint landscapes, but also innovated the expression techniques of figure painting, drawing on the techniques of Gu Kaizhi of the Eastern Jin Dynasty, Yan Liben of the Tang Dynasty, Chen Hongshou of the Ming Dynasty and Shi Tao of the Qing Dynasty, seeking God with form and deliberately expressing the inner temperament of the characters.
His works are rich in content, including influential characters and stories from history, as well as excellent ancient poems.
Fu Baoshi's masterpiece "Qu Zixing's Yintu" was created in June 1942, in which Qu Yuan, with a haggard face and a withered face, walks alone on the endless smoke waves, as if he can hear his earth-shattering, weeping ghosts and gods.
This painting is based on the theme of "Hundreds of generations are sad for this person, and they are also sad for themselves." China will never die, Qu Zifang is incomparable" as the theme, injecting powerful strength into the nation's War of Resistance Against Japanese Aggression.
Guo Moruo praised this painting for its similarity with his historical drama "Qu Yuan", and wrote poems for this painting, which became a beautiful talk at that time.
Fu Baoshi's "Summer Mountain" is his representative landscape painting, created in September 1944. This work shows the beautiful scenery of the mountains and rivers in Shuzhong, narrow and long, high and wide, lush and magnificent.
Fu Baoshi uses the pen as a medium to perfectly combine the poetry of the Tang Dynasty with the beauty of the landscape, and the brushwork in the picture is changeable, and the pen is chic and atmospheric, which fully reflects the classic characteristics of his brush.
At the same time, he integrates water, ink and color, the thick ink is dark and translucent, and the light ink is beautiful and hazy, forming the organic rhythm of the picture of the work, giving people a visual enjoyment.
"Summer Mountain Map" is a rare and large-scale Luotuo, which is worth savoring.
Fu Baoshi's masterpiece - "Beauty Walking" Part 1 In September of the same year, Fu Baoshi was inspired by Du Fu's masterpiece "Beauty Walking" to create the century masterpiece "Beauty Walking".
The work depicts the prosperous scene of Yang Guifei's family when they went out on an outing on March 3, showing the prosperous style of "Dolly people by the water in Chang'an", as well as the image of a lady who is "true and far-reaching, and true", which truly reflects the mediocrity of the king and the corruption of the political situation at that time.
Xu Beihong praised this painting as "a great symphony of sound, color, spirit and flesh", revealing its true meaning. Zhang Daqian praised this painting as "unprecedentedly strange in thousands of years" and considered it to be a real work of saints.
Her use of color and line depiction are like Tang Dynasty line carvings, dwarfing even Chen Laolian's works.
Fu Baoshi is a famous painter in modern China, and "Beauty Walking" is one of his masterpieces. The work was created in August 1945, when the Japanese invaders announced their surrender, and Fu Baoshi raised a glass to celebrate the liberation of the nation.
He and his family left Chongqing's "Jingangpo Xiashan Zhai", where they had lived for nearly seven years, and moved back to Nanjing with ** University, where they continued to teach in the art department of ** University. Fu Baoshi held a joint exhibition with Xu Beihong, Chen Zhifo and others in Nanjing, and in 1947 published a speech entitled "The Spirit of Chinese Painting".
In October of the same year, he held the "Fu Baoshi Painting Exhibition" at the "China Art Garden" in Shanghai, exhibiting more than 180 works, of which half were figures and landscapes. In January 1948, his meticulous work "The Annals of Master Shi Tao" was officially published, and a solo exhibition was held again in his hometown of Nanchang.
Fu Baoshi: Keeping up with the times and promoting cultureAfter the founding of New China, Fu Baoshi kept up with the pace of the times, was close to life, and put forward the view that "if the thinking changes, the pen and ink cannot remain the same".
He began to create a series of Chinese paintings with the theme of poetry, such as "Seven Laws: Long March", "Qinyuan Spring, Snow", "Qingpingle, Liupan Mountain", etc., which were highly praised in the "First Nanjing Art Exhibition".
In June 1951, he was elected as a member of the Standing Committee of the Nanjing Federation of Literary and Art Circles. In 1952, the national colleges and universities were adjusted, and he was appointed as a professor of the Department of Fine Arts of Nanjing Normal University. When Guo Moruo celebrated his 60th birthday, Fu Baoshi specially painted a second Zhang's "Nine Old Pictures" to congratulate, showing his love and respect for traditional culture.
In September 1953, the "First National Chinese Painting Exhibition" was held in Beijing, and Fu Baoshi's works "Rushing to Crossing the Dadu River" and "Thousands of Miles of Snow in Minshan Mountain" participated in the exhibition, which attracted wide attention.
He also deliberately brought Guo Lao's favorite "Beauty Walk" to the Chinese Painting Exhibition during his time in Chongqing, and presented it to Guo Moruo. Guo Moruo cherishes this painting very much, and often invites old friends to enjoy it together, which also shows that Fu Baoshi's works have high artistic value and historical significance.
Fu Baoshi is a prolific and highly regarded artist who is actively involved in various artistic activities. In 1954, he wrote "Dongfang Hong" for the Chinese Committee for the Defense of World Peace, which was published in Beijing"The 2nd National Art Exhibition"Two figure paintings, "Xiangjun" and "Mountain Ghost", were exhibited.
Fu Baoshi not only achieved great success in art, but also actively engaged in political activities. In 1956, he was co-opted as a member of the Second National Committee of the Chinese People's Political Consultative Conference (CPPCC) and participated in the Second Session of the Second National Committee of the Chinese People's Political Consultative Conference.
In 1957, as the head of the first artist delegation in New China, he led a delegation to Czechoslovakia and Romania for a friendly visit, and carried out sketching and holding art exhibitions, and his works were warmly welcomed by artists of the two countries.
Fu Baoshi: "Cloud and Mountain Picture" and Shaoshan Group of Paintings Fu Baoshi is a leader in the Chinese painting world, in 1958, "Fu Baoshi Painting Collection" was published, Guo Moruo wrote a preface for it, commenting on his paintings: "Bouldering painting has a unique style, the characters are good at conveying the spirit, the landscape is unique, covering the old method on the basis of absorbing the new method, and can get out of the trap and reflect nature."
In the same year, Guo Moruo's handwritten book "Nanshi Zhai" was given to Fu Baoshi, which marked the publication of "Fu Baoshi's Painting Collection" and established Fu Baoshi's status in the Chinese painting circle. In June 1959, at the invitation of Hunan People's Publishing House, Fu Baoshi visited and sketched in Changsha, Shaoshan, Hunan, and created more than 20 works such as Shaoshan Group Painting and "** Former Residence", and this "Cloud Mountain Map" is also one of them.
Fu Baoshi's paintings, with their unique style and profound artistic skills, have won the love and respect of the audience, and have become a bright star in the Chinese painting world.
Fu Baoshi and Guan Shanyue's collaboration "The Mountains and Rivers Are So Beautiful" was created to celebrate the 10th anniversary of the founding of the People's Republic of China. The picture is inspired by the word "Qinyuan Spring Snow", and the magnificent scenery of the rivers and mountains is drawn.
This painting was exhibited at the north gate of the Great Hall of the People, and the Prime Minister personally inscribed it. Due to its huge influence, Fu Baoshi has also gained a high reputation.
He participated in the celebration of the 10th anniversary of the founding of the People's Republic of China and held a National Day military parade on the Tiananmen Square viewing platform.
Fu Baoshi, a superstar in the Chinese painting industry, his work "So Many Delicate Rivers and Mountains"** only reflects the peak of his career, but also reveals the trough of his life. In March 1960, the Jiangsu Provincial Academy of Traditional Chinese Painting was formally established, and Fu Baoshi was elected as the president; In April, the Jiangsu Branch of the Chinese Artists Association was formally established, and he was elected as the chairman; In the same month, he was also elected as the vice president of the Jiangsu Calligraphy and Seal Research Association.
In August, he was re-elected as the vice chairman of the Chinese Artists Association and a member of the All-China Federation of Literary and Art Circles. However, the 23,000-mile trip in September became a low point in his life.
He and nine painters, including Qian Songrong, Ya Ming, Song Wenzhi, Wei Zixi, Zhang Wenjun, Yu Tongfu, Zhang Jin, Ding Shiqing, etc., began a three-month, 23,000-mile journey of sketching.
They visited more than a dozen large and medium-sized cities in six provinces, toured scenic spots, paid homage to revolutionary holy sites, and visited the achievements of the motherland's construction. This trip not only pushed the movement of traditional Chinese painting that began in the early 50s to a new height, but also had a positive impact on the development of new landscape painting in the mid-20th century.
Fu Baoshi - "Mountains and Rivers New Look Painting Exhibition" Mr. Fu Baoshi created a series of representative works in his travel sketching, such as "Pictures of the Rivers and Mountains to be Detailed", "Xiling Gorge", "Yellow River Love", "Spring in the Zaoyuan Garden", etc., which together with the works of other painters constitute the "New Look of Mountains and Rivers Painting Exhibition".
The exhibition was exhibited at the National Art Museum of China in Beijing in May 1961 and was an unprecedented success, marking the official establishment of the "New Jinling School". Since then, the New Jinling School of Painting has echoed with the Chang'an School of Painting in the northwest, and has successfully solved the major problem of "how Chinese brush and ink reflect real life" by creating Chinese paintings with distinctive spirit of the times and national characteristics.
Fu Baoshi, the founder of the New Jinling School, and other nine painters, are known as the "top nine" of the founding of the New Jinling School.
Fu Baoshi's "Spring in the Jujube Garden" is one of the representative works of his Northeast travel sketches. During this journey, he made the most of both nature and society.
"Spectacular Coal Capital" is a representative work of his social theme, showing the perfect integration of landscape and industry, and setting a model for the development direction of modern landscape painting.
"Mirroring Flying Spring" represents his works on natural themes, which is a profound shock and spiritual reflection of the northern landscape. Fu Baoshi, a southern painter with a northern temperament, his bold personality and unrestrained brushstrokes were inspired by the magnificent scenery of Jingpo Lake, so he sighed affectionately: "I can forget this situation and this scene, can I not paint?" ”
Fu Baoshi's painting art reached his second peak in the early 60s, but his body was facing a serious crisis. This was mainly due to his excessive alcohol consumption.
On the wall of his living room hangs a couplet of the Qing people's official calligraphy, the upper one is "the left wall view of the picture and the right wall of the view of history", and the lower one is "there is wine to learn immortals and no wine to learn Buddhism", from which it can be seen that he loves wine.
Fu Baoshi has an amazing amount of wine, and often holds a wine glass when painting, and a large number of works are completed under the wine. During the creation of the Great Hall of the People in Beijing in cooperation with Guan Shanyue, he even drank the Moutai provided by the cultural department, and also "stole" Mr. Guan's share.