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Details
FU BAOSHI (1904-1965)
Landscape Inspired by Dufu's Poetic Sentiments
Scroll, mounted and framed, ink and colour on paper
208 x 59.5 cm. (81 7/8 x 23 3/8 in.)
Inscribed and signed, with four seals of the artist
Dated eighth month, autumn, jiashen year (1944)
One collector's seal of He Yingqin (1889-1987)
Note:
This work was done in 1944 and is one of the peaks of his artistic endeavours. Measuring 208 by 59.5 cm, such a colossal painting is quite rare for the period. Fu Baoshi once comments on his working environment when living at Jinggangpo as follows: "I live next to Chenyugu Lane, in an extremely small hut on the hillside of Jinggangpo. It used to be a shack, and the area is not larger than a square yard. Its height is merely 8 or 9 feet. Light shines through only a few pieces of semi-opaque roof tiles... it is very inconvenient just to write a letter, let alone execute a painting. Out of necessity, after breakfast, the only square table in the hut needs to be hoisted next to the foyer, and I paint under the light shining from outdoors. After my work, the table has to be moved again back inside for meals and other purposes. Like this, I have to shift my working area twice a day - pick up used paper, wash my brush and ink stone, sweep the floor, and wipe the table everyday." Therefore such a distinctive and important masterpiece made in this period under such challenging condition is really exceptional.
Landscape Inspired by Dufu's Poetic Sentiments
Scroll, mounted and framed, ink and colour on paper
208 x 59.5 cm. (81 7/8 x 23 3/8 in.)
Inscribed and signed, with four seals of the artist
Dated eighth month, autumn, jiashen year (1944)
One collector's seal of He Yingqin (1889-1987)
Note:
This work was done in 1944 and is one of the peaks of his artistic endeavours. Measuring 208 by 59.5 cm, such a colossal painting is quite rare for the period. Fu Baoshi once comments on his working environment when living at Jinggangpo as follows: "I live next to Chenyugu Lane, in an extremely small hut on the hillside of Jinggangpo. It used to be a shack, and the area is not larger than a square yard. Its height is merely 8 or 9 feet. Light shines through only a few pieces of semi-opaque roof tiles... it is very inconvenient just to write a letter, let alone execute a painting. Out of necessity, after breakfast, the only square table in the hut needs to be hoisted next to the foyer, and I paint under the light shining from outdoors. After my work, the table has to be moved again back inside for meals and other purposes. Like this, I have to shift my working area twice a day - pick up used paper, wash my brush and ink stone, sweep the floor, and wipe the table everyday." Therefore such a distinctive and important masterpiece made in this period under such challenging condition is really exceptional.
Brought to you by
Rachel Chan
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