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Fu Baoshi went to study in Japan in 1933 and returned to China in 1935. Although he only stayed in Japan for about two years, this experience had exerted a tremendous impact on his work. Even as there have been some researches on the relationship between Fu Baoshi and Japanese painting, there are still rooms for discussion in terms of the impact of Japanese painting on Fu Baoshi.
Fu’s subject matter, composition, space, as well as the posture and style of the figures are all deeply influenced by his study in Japan. As the very foundation of the methodology of art history is stylistic analysis, this thesis focuses on discussing Fu Baoshi’s pictorial style to clarify the relationship between his style and Japanese painting in order to expound the relationship. Fu Baoshi’s certain idiomatic language—such as framing and screening, the layout of space and the atmospheric rendition—are discussed along with his connection with Japanese painting.
Fu Baoshi not only achieved superb attainments in ink painting, he also excelled in art history, painting theory and painting practice. His viewpoints on art history and unique artistic ideas are discussed along with his pictorial style to better understand Fu’s integration of art history and artistic creativity.
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