Master's Heart Record

Author: He Huashuo
Publisher:
Publish Date: 2005-03-01
Features: Yu Guangzhong praised this book: The author has long admired the eight painting masters selected in the book: Ren Boren, Wu Changshuo, Qi Baishi, Huang Binhong, Xu Beihong, Lin Fengmian, Fu Baoshi, and Li Keran since childhood. As he grew older, he not only developed an emotional admiration for them but also engaged in intellectual research. Thus, when writing, although his academic analysis was rigorous, it was hard to conceal the deep affection in his tone. I read it twice and was deeply moved. Excerpt: Fu Baoshi—Historical Addiction Fu Baoshi was a painter, but his deep understanding of art history and theory was typical of a scholar. It was precisely because of his profound expertise in history and theory that he achieved original creative breakthroughs in painting. His strong sense of national self-esteem made him feel a strong sense of mission in an era of national decline and cultural decline. Learning from the past to understand the present, he made historical research a key project in his grand vision of reviving Chinese culture. He said, "I have a strong inclination toward history. I never tire of studying art and painting history, perhaps because of this inclination. Therefore, my brush often carries a strong historical flavor." It can be said that the formation of Fu Baoshi's painting style is closely related to his understanding and judgment of Chinese art history. His promotion and critique of art history established his own artistic philosophy, allowing him to absorb the essence and learn from the mistakes in his creations. From writing A General Overview of the Origins of Chinese Painting at the age of twenty-one to writing A Discussion on Zheng Banqiao in 1962, he nevered writing, translating, and editing for decades, with numerous individual works. According to his wife, the works included in The Artistic Collection of Fu Baoshi account for only one-third of his total writings, meaning his life's writings amount to approximately two million words. This is a substantial volume of work. What is particularly admirable is his unique insight and profound historical understanding. He once said, "I am particularly interested in two periods in Chinese painting history: the Eastern Jin and Six Dynasties, and the Ming-Qing transition. The former, starting with the study of Gu Kaizhi, provides a perspective on the Six Dynasties, while the latter, beginning with the study of Shi Tao, extends upward to the Ming Longwan and downward to the Qing Qianji. Over the past ten years, I have devoted considerable effort to these two great masters, which brings me great personal satisfaction. The Eastern Jin was a pivotal period in the transformation of Chinese painting, while the Ming-Qing transition was an era of blooming flowers and full moon in Chinese painting. These two periods linger in my mind, so the themes of my works mostly belong to one of these two eras. Fu Baoshi's research on the Eastern Jin Gu Kaizhi, through his examination of The Record of Painting Cloud Mountain, revealed that Gu Kaizhi was not only an outstanding figure painter but also a landscape painter, overturning the long-standing belief that landscape painting originated in the Tang, Six Dynasties, or Eastern Jin, and instead tracing it back to the Han and Wei dynasties. His admiration for Gu Kaizhi's artistic concepts, such as "transferring thoughts to achieve wonder," was similar to his admiration and reverence for Shi Tao's famous sayings, "brushwork should follow the times" and "search for all peaks to draft." Fu Baoshi's research in art history not only contributed his insights academically but also established his own artistic philosophy and methodology in creation. It was also a source of his creative inspiration and themes. Here, historical insight, academic ability, and talent intersect. His comprehensive understanding and integration of knowledge far surpass what other painters can achieve. Because of his deep understanding of historical events and figures, his sympathy for the ancients, and his ability to express himself through them, his works depicting scholars and beauties are unparalleled. In his preface to The 1942 Chongqing Painting Exhibition, he mentioned four sources of his creative themes: (1) drawing from nature; (2) incorporating poetic scenes into painting; (3) using historical anecdotes; (4) imitating the ancients. This article was written in 1942. In fact, when I look at Fu Baoshi's paintings, there is a fifth source: "expressing the heart directly, venting grievances." This is entirely from imagination and sentiment. Of course, one could also say that no matter which of the four sources Fu Baoshi's outstanding works draw from, they all contain this fifth element. Even when depicting historical figures, he is still expressing his sentiments, reflecting the zeitgeist, or using them as self-portraits. His paintings also reflect his "historical addiction," showcasing an artist who spans the past and present and integrates Daoist principles.