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Lot Essay
In the painting, Fu Baoshi portrays an old pavilion nestled beneath towering trees. Within, three scholars open a painting amidst conversation, accompanied by attentive young attendants behind the screen. Nearby, two scholars engage in discussions. The foreground features two scholars gesturing towards the pavilion, while on the right, a poignant reunion unfolds between two scholars and an attendant carrying a qin, evoking a sense of long-awaited connection. The scene exudes an air of refined elegance under the shelter of the Tong trees.
The Orchid Pavilion Gathering holds a central place in the hearts of Chinese literati, offering Fu Baoshi solace during the societal upheaval when he was in Chongqing. This influence is palpable in this piece, where Fu deftly employs splashed ink and layered brushstrokes to depict towering trees alive with vitality. Subtle hues of green and ochre evoke a buzzing summer, juxtaposing the serene figures against the lively setting.
The painting brims with lush brushstrokes, effortlessly blending reality and abstraction—both vague and natural, yet precise and evocative—vividly capturing the elegance and leisure of literati gatherings. Each character exudes a distinct demeanour, radiating a noble and refined aura. Notably, their eyes convey lifelike emotions, adding depth to the scene. His work focuses on bold strokes, meticulous refinement, and profound contemplation, resulting in a whimsical piece infused with meticulous thought.
In April 1939, Fu Baoshi and his family settled in Chongqing’s western suburbs near Jingangpo for nearly eight transformative years. This period marked a zenith in Fu’s artistic journey as he embraced his distinctive methodology, transcending the limitations of ink and brush. Alongside other creations from his Chongqing era, this painting stands as the pinnacle of his lifelong artistic endeavours.
The Orchid Pavilion Gathering holds a central place in the hearts of Chinese literati, offering Fu Baoshi solace during the societal upheaval when he was in Chongqing. This influence is palpable in this piece, where Fu deftly employs splashed ink and layered brushstrokes to depict towering trees alive with vitality. Subtle hues of green and ochre evoke a buzzing summer, juxtaposing the serene figures against the lively setting.
The painting brims with lush brushstrokes, effortlessly blending reality and abstraction—both vague and natural, yet precise and evocative—vividly capturing the elegance and leisure of literati gatherings. Each character exudes a distinct demeanour, radiating a noble and refined aura. Notably, their eyes convey lifelike emotions, adding depth to the scene. His work focuses on bold strokes, meticulous refinement, and profound contemplation, resulting in a whimsical piece infused with meticulous thought.
In April 1939, Fu Baoshi and his family settled in Chongqing’s western suburbs near Jingangpo for nearly eight transformative years. This period marked a zenith in Fu’s artistic journey as he embraced his distinctive methodology, transcending the limitations of ink and brush. Alongside other creations from his Chongqing era, this painting stands as the pinnacle of his lifelong artistic endeavours.