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拍品 2286
FU BAOSHI (1904-1965)
Sketch of "Mao's Correspondence-Die Lianhua, Reply to Li Shuyi"
已结束2011年11月29日
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HKD 6,020,000
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FU BAOSHI (1904-1965)
Sketch of "Mao's Correspondence-Die Lianhua, Reply to Li Shuyi"
No artist's signature
One collector's seal
Scroll, mounted and framed, ink and colour on paper
220 x 105.5 cm. (86 5/8 x 41 1/2 in.)
20th Century
Sketch of "Mao's Correspondence-Die Lianhua, Reply to Li Shuyi"
No artist's signature
One collector's seal
Scroll, mounted and framed, ink and colour on paper
220 x 105.5 cm. (86 5/8 x 41 1/2 in.)
20th Century
FU BAOSHI (1904-1965)
Sketch of "Mao's Correspondence-Die Lianhua, Reply to Li Shuyi"
No artist's signature
One collector's seal
Scroll, mounted and framed, ink and colour on paper
220 x 105.5 cm. (86 5/8 x 41 1/2 in.)
20th Century
Sketch of "Mao's Correspondence-Die Lianhua, Reply to Li Shuyi"
No artist's signature
One collector's seal
Scroll, mounted and framed, ink and colour on paper
220 x 105.5 cm. (86 5/8 x 41 1/2 in.)
20th Century
Collection of the artist's family
In 1957 Fu visited military commander and politician Chen Yi's home. Upon hearing his recitation of a new poem by Chairman Mao, Fu was inspired to create a masterpiece based on its lyrics. Yet upon returning to Nanjing, Fu found difficulty in putting image to word, and continued to feel perplexed in the formation of such a composition.
According to Fu Yixuan, Fu's second daughter, Fu met with Guo Moruo in the spring of 1958, and brought up the subject of Mao's poetry. Guo mentioned that Mao's lines were not purely a reminiscence of the past, but carried with it undercurrents of a revolutionary message. (This view was similarly expressed in Guo's third publication of "The Red Flag" in 1958)
Up till mid-July, as time came close to the invitational exhibition of the Communist Countries Joint Art Exhibition held by the Soviet Union, Fu fervently made sketches based on Mao's poem in various sizes - this present piece is most similarly sized to the final, complete piece. Evident in its size and use of paper from the Qianlong period, one can extrapolate that Fu was fairly confident in the execution and portrayal of this sketch, and very close to creating his final pi?ce de r?sistance.
With a brush impregnated with moisture, Fu applied bold, swift strokes to create a 'rain splash' effect. In its incompleteness, this important piece allows one to experience the development of Fu's thought process from idea to composition, sketch to finished product.
According to Fu Yixuan, Fu's second daughter, Fu met with Guo Moruo in the spring of 1958, and brought up the subject of Mao's poetry. Guo mentioned that Mao's lines were not purely a reminiscence of the past, but carried with it undercurrents of a revolutionary message. (This view was similarly expressed in Guo's third publication of "The Red Flag" in 1958)
Up till mid-July, as time came close to the invitational exhibition of the Communist Countries Joint Art Exhibition held by the Soviet Union, Fu fervently made sketches based on Mao's poem in various sizes - this present piece is most similarly sized to the final, complete piece. Evident in its size and use of paper from the Qianlong period, one can extrapolate that Fu was fairly confident in the execution and portrayal of this sketch, and very close to creating his final pi?ce de r?sistance.
With a brush impregnated with moisture, Fu applied bold, swift strokes to create a 'rain splash' effect. In its incompleteness, this important piece allows one to experience the development of Fu's thought process from idea to composition, sketch to finished product.