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In the calligraphy and painting special session, Fu Baoshi's masterpiece "Looking up at the mirror" appeared on the scene. It should be shot at 30.8 million Dirham. After intense competition, it was finally sold at 35 million Dirham, becoming the most expensive auction in the calligraphy and painting special session. WeChat: HBSB1826
Lot 2038 Fu Baoshi's "Looking up at the Mirror Center on High Mountain"
Starting price: AED 30800000
Transaction price: AED 350000000
Specification: 178 * 96.5cm
Auction Company: Habsburg International Auction Co., Ltd
In the early 1960s, Fu Baoshi's painting reached a personal peak. In October 1962, Fu Baoshi went to Hangzhou for recuperation with his wife Luo Shihui and eldest daughter Fu Yishan due to his arm disease. This painting "Stop at a High Mountain" was painted just before Fu Baoshi left for Hangzhou.
Fu Baoshi, the main body of the picture in "High Mountain Uprising", uses ink brush to quickly texturize the mountain rocks, and the long lines and short lines are simultaneously slashed down, which is similar to the axe texturing and the messy wood texturing, showing the steepness of the mountain; At the foot of the mountain, the pen rises horizontally and then turns and folds down to highlight the scattered and rugged rock walls, similar to the folds and cracks; Yuanshan wiped out a light ink block with the tip of the pressed pen, scraped horizontally with the side edge of the pen, and then used a broken pen to touch the moss. The continuous branches and leaves, neat and dense, seem to contain eternal waves. In the entire painting, the brushstrokes from the bristles of the brush are as fine as a hairline, while the strokes from the belly to the root of the brush are in a white or rough linear shape. Between the movements of the brush, various changes such as straightness, squareness, rigidity, and softness create a sharp and dynamic effect. In this painting, "Baoshi Cun" appears particularly unrestrained, casual, and hearty, which contains the essence of traditional brushwork, but is vastly different from it. It is unprecedented and includes traditional and unprecedented brushwork. As the Fu brothers wrote for their father in "Memories and Drips", "Sometimes the pen spreads and sometimes it folds; sometimes the lying pen wipes out large ink stains, and sometimes the lifting pen hooks out straight lines. The dry and wet intensity of the ink brush, the order of the pen's use, the thickness, hardness, and softness of the lines, and the faintness of the objects are all magically manifested under that brush
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Among many reformers, Fu Baoshi has made great breakthroughs in tradition. His original technique of "Baoshi Cun" is to break the brush and scatter the sharp edges to the extreme. Through the rich changes in the movement of the pen, such as smoothness, lifting and pressing, speed, weight, and jerkiness, it fully utilizes the expressive power of the pen tip, belly, and root. It guides according to the situation and grows according to the situation. "The lines from the tip are as fine as hairline; those from the belly and root of the pen have flying white and block like scratches, or rough and sharp lines." When the pen moves and rotates, With a single tube, one can perform all the functions of being square and round, convex and concave, yin and yang, thick and small, and flexible and dynamic. It flies fiercely, with qi flowing like a rainbow, as deep as water, and as hot as fire. It can be swallowed and exhaled freely, with qi flowing through the bullfight and turning into paper and clouds and smoke. However, when one sees smoke floating, the universe is vast, and the mysteries of heaven are mysterious and inexplicable. The 'scattered front brushstroke' showcases the traditional procedures of texturing, wiping, dotting, and dyeing in a single simple stroke. At the same time, with its bouncing and agile brushstroke, the subtle natural changes in ink color density, dryness, wetness, and dryness, as well as the random display of the density, opening and closing, virtual and solid structure of the brush and ink block, perfectly portraying the regional characteristics of changing light and color, moist air, and smoke and mist in the mountains and rivers, The inherent texture structure of mountains, rocks, plants, and the infinite vitality of natural mountains and rivers, the simplicity of technical procedures, and the richness of artistic effects are harmoniously unified. Fu Baoshi realized the inner rhythm of life in nature, and used the unorthodox "free front writing" - later generations called it "Baoshi Cun" because of its empty and close proximity, which shows the unstoppable passion for life like the wind of the sky and the waves of the sea.
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Fu Baoshi, the main body of the picture in "High Mountain Uprising", uses ink brush to quickly texturize the mountain rocks, and the long lines and short lines are simultaneously slashed down, which is similar to the axe texturing and the messy wood texturing, showing the steepness of the mountain; At the foot of the mountain, the pen rises horizontally and then turns and folds down to highlight the scattered and rugged rock walls, similar to the folds and cracks; Yuanshan wiped out a light ink block with the tip of the pressed pen, scraped horizontally with the side edge of the pen, and then used a broken pen to touch the moss. The continuous branches and leaves, neat and dense, seem to contain eternal waves. In the entire painting, the brushstrokes from the bristles of the brush are as fine as a hairline, while the strokes from the belly to the root of the brush are in a white or rough linear shape. Between the movements of the brush, various changes such as straightness, squareness, rigidity, and softness create a sharp and dynamic effect. In this painting, "Baoshi Cun" appears particularly unrestrained, casual, and hearty, which contains the essence of traditional brushwork, but is vastly different from it. It is unprecedented and includes traditional and unprecedented brushwork. As the Fu brothers wrote for their father in "Memories and Drips", "Sometimes the pen spreads and sometimes it folds; sometimes the lying pen wipes out large ink stains, and sometimes the lifting pen hooks out straight lines. The dry and wet intensity of the ink brush, the order of the pen's use, the thickness, hardness, and softness of the lines, and the faintness of the objects are all magically manifested under that brush
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The Gao Shi and the scholar who climb up the stairs in the painting are the finishing touches of the entire picture. Gao Shi was wearing a wide robe with large sleeves, and his staff was in front. The bookboy was carrying a box and cage, following suit. The characters are clearly delineated, and the clothing patterns, eyebrows, and threads are meticulously carved, with a divine form resembling a zodiac figure. From the perspective of the overall layout of the painting, the layout of the mountains and rivers in the Northern Song Dynasty forms an effect of covering the sky and the ground, while the point character design is located in the lower right corner of the screen, fresh and refined in the dense forests of mountains and rivers, creating a strong contrast between the meticulousness of the characters and the towering mountains. The so-called 'high mountains stand still, the scenery moves in stillness' should be like this. WeChat: HBSB1826
Inheriting art, paying tribute to collectibles, let's continue to work together and create great achievements. When autumn comes, we will meet again in Singapore!