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초록· 키워드
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This study explores the art and artistic vision of Fu Baoshi (傅抱石, 1904~1965) as a prominent twentieth-century Chinese figure painter, with a focus on the period of the Sino-Japanese War (1937~1945). It was during Fu Baoshi’s years in the war capital Chongqing that he enjoyed the most productive and creative period of his artistic life. By focusing on the wartime context, the study also investigates his active role in revitalizing Chongqing’s artistic community, a factor which contributed significantly to his artistic development and the growth of his professional reputation during that period.
While studying in Japan from 1932 to 1935, Fu Baoshi’s research on Gu Kaizhi and lines, as well as his encounters with various foreign painting styles, played an important role in his search for his own figure painting style. Through his experience in Japan and his exchange with the artistic community in Chongqing, he developed his art and artistic vision which were embodied in his paintings during the war. During that time, Fu Baoshi promoted the national spirit that was expressed in Chinese painting in his writings and addressed the significance of reforming Chinese painting, a subject which became the foundation of his artistic thoughts.
The major characteristics of Fu Baoshi’s figure painting were themes from the past. In particular, he chose themes that symbolized patriotism and national identity and expressed the suffering of intellectuals in ancient China. For instance, his paintings of Qu Yuan and related subjects not only seem to share visual similarities with the Japanese painting style called Nihonga but also reflect Chinese figure painting traditions.
Fu Baoshi also chose the late Ming and early Qing painter Shitao as a national and patriotic symbol in his figure painting, having deepened his interest in the painter while studying in Japan. He had originally approached figure painting as a feature of landscape, but gradually began to use landscape as a background setting for his figure paintings. This approach is evident in his paintings of Shitao, with attention paid to both the depiction of background and the subtle emotional expressions of the figures. In addition to Qu Yuan and Shitao, Fu Baoshi depicted Su Wu and Wen Tianxiang, as well as Buddhist figures such as Guan Yin and the flying apsaras in his painting.
The figure paintings that Fu Baoshi produced during the war highlight Chinese traditional values. A major characteristic of his figure paintings is that he did not depict the ancient intellectuals and heroes in an idealized manner but instead emphasized the situation they faced at that time by effectively conveying their mental and physical suffering. Even his Buddhist figures are depicted as secular and realistic rather than idealized and religious. This artistic approach to ancient historical and religious subjects is a distinctive feature of Fu Baoshi’s figure painting.
While studying in Japan from 1932 to 1935, Fu Baoshi’s research on Gu Kaizhi and lines, as well as his encounters with various foreign painting styles, played an important role in his search for his own figure painting style. Through his experience in Japan and his exchange with the artistic community in Chongqing, he developed his art and artistic vision which were embodied in his paintings during the war. During that time, Fu Baoshi promoted the national spirit that was expressed in Chinese painting in his writings and addressed the significance of reforming Chinese painting, a subject which became the foundation of his artistic thoughts.
The major characteristics of Fu Baoshi’s figure painting were themes from the past. In particular, he chose themes that symbolized patriotism and national identity and expressed the suffering of intellectuals in ancient China. For instance, his paintings of Qu Yuan and related subjects not only seem to share visual similarities with the Japanese painting style called Nihonga but also reflect Chinese figure painting traditions.
Fu Baoshi also chose the late Ming and early Qing painter Shitao as a national and patriotic symbol in his figure painting, having deepened his interest in the painter while studying in Japan. He had originally approached figure painting as a feature of landscape, but gradually began to use landscape as a background setting for his figure paintings. This approach is evident in his paintings of Shitao, with attention paid to both the depiction of background and the subtle emotional expressions of the figures. In addition to Qu Yuan and Shitao, Fu Baoshi depicted Su Wu and Wen Tianxiang, as well as Buddhist figures such as Guan Yin and the flying apsaras in his painting.
The figure paintings that Fu Baoshi produced during the war highlight Chinese traditional values. A major characteristic of his figure paintings is that he did not depict the ancient intellectuals and heroes in an idealized manner but instead emphasized the situation they faced at that time by effectively conveying their mental and physical suffering. Even his Buddhist figures are depicted as secular and realistic rather than idealized and religious. This artistic approach to ancient historical and religious subjects is a distinctive feature of Fu Baoshi’s figure painting.
목차
I. 머리말
II. 傅抱石 인물화의 형성과 사상적 배경
III. 傅抱石 인물화의 주요 소재와 특징
Ⅳ. 맺음말
참고문헌
Abstract
참고문헌 (71)
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