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FU BAOSHI (1904-1965)
PROPERTY FROM A PRIVATE BRAZILIAN COLLECTION (Lots 1194-1198)
FU BAOSHI (1904-1965)

Waterfall in the Deep Mountains

Details
FU BAOSHI (1904-1965)
Waterfall in the Deep Mountains
Scroll, mounted and framed, ink and colour on paper
90 x 51.5 cm. (35 3⁄8 x 20 1⁄4 in.)
Inscribed and signed, with three seals of the artist
Literature
Twentieth Century Chinese Painting Masters, Galeria Jean Boghici, Brazil, 1982, p.55.
Exhibited
Brazil, Rio de Janeiro, Galeria Jean Boghici, Mestres da Pintura Chinesa Sec. XX, 16 September - 8 October, 1982.
Post lot text
In 1982, the landmark exhibition Mestres da Pintura Chinesa Sec. XX (Twentieth Century Chinese Painting Masters) took place in the Jean Boghici Gallery in Brazil. It was the first large scale exhibition of Chinese art in the history of Brazil. The show was sponsored by Brazilian diplomat Josias Leão and his wife Ruth and featured important 20th-century Chinese ink paintings, such as works by Qi Baishi, Xu Beihong and others. These works came from various private collections in Hong Kong. Artists and collectors Ding Yanyong, Luis Chan, and renowned cultural figure Lau Siu Lui all supplied paintings to the exhibition, with many paintings dedicated to them.
The present lots were part of a private Brazilian collection, of which four works were showcased in the exhibition and illustrated in the exhibition catalogue. Apart from these four, the collector also acquired work by Lin Fengmian. The collection has remained in Brazil ever since, emerging in the market for the first time in four decades.

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Lot Essay

Jingangpo Landscape series is a milestone and the first pinnacle in Fu Baoshi’s art career. In the Preface for Renwu Painting Exhibition, the artist writes: “Within the tens-li radius around Jingangpo, there are countless beautiful sceneries. The grass and trees, hills and gullies, are all ideal subjects for painters to sketch from. The shrouding mist, blocking fog and the boundless, magnificent landscapes they create is beyond the perception and imagination of a south-eastern dweller.”
The present work, with an expansive vertical format, is of profound significance. The composition has a sense of monumentality similar to the grand and immense landscape painting established in the Northern Song. The artist depicts the mountain peak covered by greenery with relaxed and dynamic strokes, which consists two-thirds of the painting. Here Fu emphasizes the momentum and is not concerned about the details. The waterfall directs the eye to the lower part of the painting where the mountainside and mountain foot are located, and the scene becomes more complex. Towers and pavilions spread along the mountainside while streams run above and underneath the bushes. Under the gigantic tree crown, two scholars are in conversation. While they are at the bottom of the composition, they are the focal point of the work.
Fu Baoshi is meticulous regarding composition. Everything in the painting corresponds to another—mountain peak and mountain foot, the organic and the man-built, nature and humanity, imagination and reality. The consequent landscape is simultaneously unrestrained and precisely arranged, manifesting the skills and capability of the artist.
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