Fu Baoshi Landscape Album

Author: Fu Baoshi (Illustrator)
Publisher:
Publication Date: 2002-09-01
Features: This collection of Mao Zedong's poetry and painting, consisting of eight pages, includes some paintings with dates marked on the back, namely: "Ascending Lu Mountain" (1964 January), "Jinggangshan" (1964 March), "The Blue Mountains Like the Sea" and "In the Land of Hibiscus, All Is Dawn" (both from November 18, 1964). In just eight pages, the creation spans an entire year, showcasing the author's meticulous effort! Quietly reading through, one discovers endless wonders.
(1) "Infinite Scenery Lies at the Dangerous Peak," with towering pines and rising suns, all peaks dyed in hues of ascent, exuding an uplifting atmosphere.
(2) "The Autumn Wind Is Still So Drifting, But the World Has Changed," amidst thundering rain and waves, sails dance with falling leaves, as if bathed in wine, cleansing the soul.
(3) "Poetic Thoughts on Ascending Lu Mountain," ink splashes form mountains, slight strokes reveal pine forests and fields, brushstrokes evoke rain, light lines depict distant slopes and boats. With the realm in mind and creation in hand, it flows effortlessly—truly divine!
(4) "Vast River and Sky, Ten Thousand Li of Frost," sharp edges gather and break, strokes like endless marching, layered forests frosted. Though simple in style, the technique varies, and so does the emotion and scene.
(5) "Jinggangshan," with dry and wet ink strokes, the brush moves like waves, creating layers. The overlapping distant mountains reveal profound depth—this is the essence of the painting.
(6) "The Blue Sea Like the Sea, Sunset Like Blood," the magic lies in distant mountains like waves, a touch of evening glow, with near clouds and cliffs serving as companions.
(7) "In the Land of Hibiscus, All Is Dawn," near mountains and distant islands, orange groves and bamboo thickets, villages and industrial areas—people farm in fields, boats sail in Dongting, all bathed in dawn, brimming with vitality. Complex content rendered in spare brushwork, a tiny painting holds the grandeur of thousands of miles.
(8) "In the Spring of Qin Garden, Changsha," boats on the Xiang River carry companions, exuding the grandeur of "Guiding the World." Distant mountains and sails are painted in blush, like clouds and brocade, symbolizing a glorious future. This painting resembles one created in June 1965 and is likely Fu Baoshi's late-life self-satisfying experiment. Small paintings are easy to draw, but capturing (spirit and momentum) is hard. The greatest feature of this album lies in its simplicity with substance, small yet grand. If "The Beautiful Land Is So Magnificent" is the grandest Mao Zedong poetry painting, this album can be called the smallest—both embody the same noble passion and majestic aura.
In terms of artistic realm, this album serves as a visual supplement and expansion of the poetry, reflecting both the poet's intent and the painter's interpretation. In terms of technique, it is a summation of Fu Baoshi's mature methods, a classic representation of his landscape style. The success of Fu Baoshi's poetic paintings also stems from an important emotional factor. He once said, "When I first read Chairman Mao's masterpiece 'In the Spring of Qin Garden, Snow,' I was deeply moved. The grandeur of its spirit, the boldness of its tone, the height of its imagery, and the richness of its imagination profoundly inspired me." Such stirring power of poetry, when aligned with the painter's heart, becomes the painter's subjective pursuit, and the creation naturally becomes full of charm. Let us savor it closely!