Exploration Of Fu Baoshi’s Allusion-Oriented Paintings During His Stay In Sichuan

This dissertation is a case study of Fu Baoshi(1904-1965). Focusing on the period after the outbreak of Anti-Japanese War in 1937 when Mr. Fu lived in Sichuan and taking his allusion-oriented paintings which are of significant artistic value but are not fully concentrated as the research objects, this paper analyzed his artistic work from miltiple aspects through literature research and exploration of his personal life and the associated social background. Two main points of view were clearly presented in this paper. On the one hand, considering him as an individual full of personality, emotion and thinking, it checked and illustrated Mr. Fu’s allusion-oriented paintings which were created during this specific period and represented his feeling of existence and thinking of life, expecting to get a deeper understanding of a real and lively Mr. Fu through the systematic study of those artistic paintings derived either from his academic rationality or spiritual inspiration. On the other hand, considering him as a scholar and literator beyond a painter and exposing him to the background of the Chinese intellectual history, academic history and spiritual family tree of literators, it cut down the barriers of the traditional perspective to the understanding of Mr. Fu’s richness, showing his diverse personalities as a scholar and literator hidden in the allusion-oriented paintings.Based on a systematic study of the history of the allusion-oriented paintings and the artistic work of Mr. Fu, the introduction part of this paper defined the research objects and range and confirmed the value of the research theme after a retrospective literary review. The first chapter explored the themes of Mr. Fu’s allusion-oriented paintings. On the basis of the history and features of the allusion-oriented paintings, it analyzed the themes of Mr. Fu’s 265 allusion-oriented paintings created by him while living in Sichuan and had them carefully sorted, laying its emphasis on his rational creativity of this type of art. The second chapter focused on the illustration of the formation of Mr. Fu’s allusion-oriented paintings. It analyzed the forming conditions and reasons of those paintings from the internal and external aspects, exposing the formation of them to the comprehensive background of the internal qualities of Mr. Fu’s personality and accomplishment and the external aspects of society and associated enviroment. The third chapter illustrated the spirit of Mr. Fu’s allusion-oriented paintings. It revealed Mr. Fu’s state of mind, emotion and thinking through careful reading of his two series of allusion-oriented paintings focusing on "Wei, Jin, Southern and Northern Dynasties" and "Ming and Qing Dynasties" respectively, laying its emphasis on the understanding of the deep association between allusion-oriented paintings and the spirit of "Wei, Jin, Southern and Northern Dynasties" and the adherents of former "Ming and Qing Dynasties". Appendix one:"The Chronological Collection of Fu Baoshi’s Allusion-oriented Paintings (1930-1965) ". It is an achievement of literary collection in the initial stage of paper-writing and a chronological collection of Mr. Fu’s artistic work. Appendix two: "The Supplement to the Collection of Fu Baoshi’s Painting Inscriptions ". It adds 71 painting inscriptions to the already existing 53 ones collected in "The Sequel of the Collection of Fu Baoshi’s Artistic Essays".