Das beliebteste Gemälde von Fu Baoshi ist Washing a Horse (1943). The Poet Qu Yuan (1942) und The Three Laughers at Tiger Creek (1945) folgen als die nächsten Leinwände, die den Lesern am besten bekannt sind. Unser Katalog umfasst 74 Werke von Fu Baoshi: Hier sind die 74 berühmtesten, jeweils mit ihrem Entstehungsjahr, ihrem Museum und dem, was sie so besonders macht.
Die Rangfolge basiert auf unserem Popularitäts-Score, der Suchanfragen, Besuche und Bestellungen für jedes Werk kombiniert. Aktualisiert am November 2026.
This painting alludes to the lofty scholar-artist Ni Zan (1306–1374) and his obsession with cleanliness. But Fu’s depiction of this moral paragon may also be read as a metaphor for sweeping away worldly concerns in the pursuit of virtuous conduct and self-cultivation—ideals long cherished by literati artists.
The poet-statesman Qu Yuan (343–278 B.C.) drowned himself to prove his moral purity and loyalty in the face of slander. Fu created this compelling image in response to a modern play about Qu Yuan by the historian, poet, and playwright Guo Moruo (1892–1978). Guo revived this historical theme to express both patriotic sentiments and criticism of China’s wartime politics. Capturing the psychological suffering of the poet before his suicide, Fu’s…
The Buddhist monk Huiyuan (334–416) led a reclusive life and forbade himself from going beyond Tiger Creek. One day he was visited by the Confucian poet Tao Qian (365–417) and the Daoist Lu Xiujing (406–477), and the three men became deeply absorbed in conversation. When Huiyuan strolled with his guests to say farewell, he did not realize he had walked over the creek, causing his tiger to raise a roar…
Here, three women listen intently to the strains of a lute-like ruan. Their pensive expressions, leaning poses, and tight-knit triangular grouping reflect the art and theories of the Eastern Jin master Gu Kaizhi (ca. 345–406), who advocated “capturing the spirit through the form.” Fu’s fluid, curving brushlines also capture something of Gu’s musical “iron wire” draftsmanship.
This painting was inspired by a shamanistic song from the ancient literary work Nine Songs, attributed to Qu Yuan (343–278 B.C.). It describes a mountain spirit “driving tawny leopards and striped lynxes” who takes a perilous path to meet a lover but is late for the tryst. The poem describes the scene: The thunder rumbles; rain darkens the sky:The monkeys chatter; apes scream in the night:The wind murmurs sadly and…
This painting depicts the Red Army crossing the Dadu River in Sichuan Province during the Long March (1934–36). Together with the capture of the Luding Bridge, this achievement enabled Mao’s troops to continue their northward retreat toward Yan’an in Shaanxi Province. The political message of struggling against all odds is also applicable to Fu’s effort to find new ways of negotiating Chinese painting under the changed political order. When Eastern…
Fu created this propaganda painting based on a line from Mao Zedong’s poem “The Long March.” Included in the First National Chinese Painting Exhibition, held in Beijing in 1953, it caught the attention of visiting artists from Romania, Czechoslovakia, Poland, and the German Democratic Republic, who requested a meeting with Fu after seeing the exhibition.
This painting captures an unforgettable scene from Fu’s journey. On the way to the Yanbian Korean Autonomous Prefecture, looking out from the train window, Fu saw that the sky and surface of the water appeared bright red, almost the color of blood. Dawn had come, and he would soon be in Yanbian. He immediately made a sketch. Fu was dissatisfied with this work because of its rich red tint, but…
The speed and motion of soldiers and horses, as well as the flames and smoke swirling into the sky, convey a powerful sense of the urgency of battle. Fu’s image is only loosely based on Mao’s poem: Mountain.The sea collapses and the river boils.Innumerable horses raceInsanely into the peak of battle.
This painting was inspired by the first of two poems by Mao on eradicating disease: And if the cowherd who lives on a starAsks about the god of…
Fu illustrated Mao Zedong’s 1925 poem “Changsha” in which Mao portrayed himself as a thoughtful scholar with noble aspirations, moral responsibilities, and deep feelings for the country. Fu…
In Mao Zedong’s poem “Reply to Comrade Guo Moruo,” the Monkey King, a character in the classical novel Journey to the West, is invoked in the battle against…
Fu Baoshi’s inscription reads: Ni Zan [1306–1374] said, “What I call painting does not exceed the joy of careless sketching with the brush. I do not seek formal…
Fu covered almost the entire surface of this painting with dilute ink washes to evoke the moisture-laden atmosphere of a spring day when willow trees sprout new leaves…
This set of fan paintings offers glimpses into Fu Baoshi’s private world and differs from the state-commissioned works painted to fulfill his social duty. Whether depicting travelers in…
This set of fan paintings offers glimpses into Fu Baoshi’s private world and differs from the state-commissioned works painted to fulfill his social duty. Whether depicting travelers in…
This set of fan paintings offers glimpses into Fu Baoshi’s private world and differs from the state-commissioned works painted to fulfill his social duty. Whether depicting travelers in…
This set of fan paintings offers glimpses into Fu Baoshi’s private world and differs from the state-commissioned works painted to fulfill his social duty. Whether depicting travelers in…
Fu’s inscription reads: Qing [1644–1911] landscapes painted before the Qianlong [1736–1796] and Jiaqing [1796–1820] periods tended to focus on deep mountains and remote valleys. But Gong Xian [1619–1689],…
The series of waterfalls that cascade through a mountain valley in this painting exemplify Fu Baoshi’s equal mastery of describing both rocky masses and flowing water. Only a…
The heroine of “Mountain Spirit,” an ancient ode from the shamanistic Nine Songs, a literary cycle attributed to Qu Yuan (343–278 B.C.), was a major inspiration for Fu…
Painting materials were not easy to acquire during the war, but kindred souls still shared them. Fu’s inscription tells us that he painted this landscape after receiving a…
Invoking tradition to create a new Chinese art that served contemporary needs, Fu practiced figure painting to explore the different qualities of brush lines, which he regarded to…
This painting was inspired by a sudden rainstorm that Fu experienced while strolling on a mountain path. Struck by the scene’s beauty, he later created this painting. In…
This simple, spare painting captures the pure delight of communing with nature. It is based on the comment by the renowned calligrapher Wang Xianzhi (344–386) about the beautiful…
Level Sands and Descending Geese was one of the “Eight Views of the Xiao and Xiang Rivers” that were first painted in the Northern Song era (960–1127) following…
At the center of this intriguing work is a voyeuristic vision of a beautiful lady sitting pensively in candlelight on a stormy night. We gaze into her boudoir…
The soaring peaks and overhanging cliff of this painting convey the scenic drama of Mount Huang (Yellow Mountain) in Anhui Province, where the legendary Yellow Emperor was said…
In the 1950s, images of fuming smokestacks, high-rise buildings, and broad highways were signs of progress. Fu’s depiction of Gottwaldov (present-day Zlìn, Czech Republic), celebrates these promises of…
The image of an airport is here transformed into a symbol of international relations, as the artist explained in his inscription: Hub of Chinese and Soviet civil aviation—my…
In June 1959, at the invitation of the Hunan People’s Publishing House, Fu spent nine days in Shaoshan to highlight two major sites: Mao Zedong’s former residence and…
The remote Changbai Mountain in Jilin Province, on the border with North Korea, is not a familiar tourist destination nor is it a common theme for artists. As…
Both the painting’s diagonal composition and the streaks of blue wash used to depict the water help convey the swift flow of the river, where huge log rafts…
To Fu, some of the happiest times in his life occurred during his wartime sojourn in Chongqing. Twenty years later, experiencing Chongqing with a new purpose, Fu focused…
Recalling his visit to the coal capital Fushun, in Liaoning Province, and the motivation for this painting, Fu wrote: I still remember vividly what the Party Secretary told…
Mao Zedong’s poem alludes to the Red Army’s advance on Huichang, Jiangxi Province, where it established a southern revolutionary base in 1929. A Jiangxi native, Fu expressed his…
On May 31, 1956, Mao Zedong swam across the Yangzi River from Wuchang to Hankou. He ventured across the river many other times, finding in it the inspiration…
This painting illustrates a poem Mao Zedong composed for Guo Moruo that alludes to the Sino-Soviet conflict. Mao’s poem ends with the lines: The four oceans boil and…
This superb painting of the Three Gorges of the Yangzi River captures the force, sweep, and flow of the river, and the light and atmosphere of the landscape.…
Yan’an, the wartime base of the Chinese Communist Party, is here depicted with a sensitivity to both atmospheric and coloristic effects. The red-tinged Yan’an Pagoda Hill stands prominently…
Fu Baoshi’s interest in art history is demonstrated by this work, a pictorial reconstruction of an ancient text by Gu Kaizhi (ca. 345–406) titled “Essay on Painting Yuntai…
Fu’s original conception of the goddess of the Xiang River was based on two poetic lines from the Nine Songs: Gently the wind of autumn whispers;On the waves…
Fu Baoshi was born in Xinyu, Jiangxi province. His original names included Changsheng and Ruilin and his literary name was Baoshizhaizhuren. In 1933, he went to study at…
One of the few extant works demonstrating Fu’s early style before he traveled to Japan, this painting bears the artist’s inscription: “At the height of the summer, the…
The Seven Sages of the Bamboo Grove were a group of third-century scholars who indulged in wine, music, poetry, and metaphysical discussions to keep a safe distance from…
The Qutang Gorge, located along the upper reaches of the Yangzi River in western China, has long been celebrated in literature and art for its grandeur and danger.…
Yuhuatai, or the Raining Flowers Terrace, in Nanjing was once a Nationalist execution ground where many Communist Party members and soldiers were killed. After liberation it became a…
This painting depicts the dense primeval forest that Fu encountered on his way to the snow-covered Changbai Mountain—barely visible between the tall pine trees. Despite the many hours…
This set of fan paintings offers glimpses into Fu Baoshi’s private world and differs from the state-commissioned works painted to fulfill his social duty. Whether depicting travelers in…
In 1957 Mao Zedong dedicated a poem to Li Shuyi (1901–1997), whose husband was killed fighting the Nationalists in 1933, about the time Mao’s first wife died. The…
This set of fan paintings offers glimpses into Fu Baoshi’s private world and differs from the state-commissioned works painted to fulfill his social duty. Whether depicting travelers in…
This set of fan paintings offers glimpses into Fu Baoshi’s private world and differs from the state-commissioned works painted to fulfill his social duty. Whether depicting travelers in…
This set of fan paintings offers glimpses into Fu Baoshi’s private world and differs from the state-commissioned works painted to fulfill his social duty. Whether depicting travelers in…
This set of fan paintings offers glimpses into Fu Baoshi’s private world and differs from the state-commissioned works painted to fulfill his social duty. Whether depicting travelers in…
The mausoleum of the founder of the Republic of China was a famous landmark in Nanjing, the city where Fu Baoshi lived during the final two decades of…
This set of fan paintings offers glimpses into Fu Baoshi’s private world and differs from the state-commissioned works painted to fulfill his social duty. Whether depicting travelers in…
Here, Fu rendered a panorama of a snowy landscape in an impressionistic manner. Mountains and rivers are conveyed with swift, scribbling strokes over blank areas of shimmering white—all…
Die vier Motive, die auf diesen Leinwänden am häufigsten vorkommen, jeweils mit ihrem beliebtesten Beispiel.
Das Museum, in dem sich die meisten der auf dieser Seite aufgeführten Gemälde befinden.
| Museum | Stadt | Werke von Fu Baoshi | Gemälde aus dieser Liste |
|---|---|---|---|
 Long Museum West Bund |
Shanghai | 1 | The Latter Painting of the Red Cliff |
Fu Baoshi’s inscription reads: Ni Zan [1306–1374] said, “What I call painting does not exceed the joy of careless sketching with the brush. I do not seek formal…
One of the few extant works demonstrating Fu’s early style before he traveled to Japan, this painting bears the artist’s inscription: “At the height of the summer, the…
This painting alludes to the lofty scholar-artist Ni Zan (1306–1374) and his obsession with cleanliness. But Fu’s depiction of this moral paragon may also be read as a…
This painting depicts the Red Army crossing the Dadu River in Sichuan Province during the Long March (1934–36). Together with the capture of the Luding Bridge, this achievement…
This painting captures an unforgettable scene from Fu’s journey. On the way to the Yanbian Korean Autonomous Prefecture, looking out from the train window, Fu saw that the…
Washing a Horse (1943), gefolgt von The Poet Qu Yuan (1942) und The Three Laughers at Tiger Creek (1945).
Fu Baoshi, geboren in 1904, war 39 Jahre alt: Washing a Horse stammt aus dem Jahr 1943.
Washing a Horse, The Poet Qu Yuan, The Three Laughers at Tiger Creek, Beauty under a Banana Palm, Playing the Ruan, Mountain Spirit, Crossing the Dadu River, The Far Snows of Minshan Only Make Us Happy, Approaching Yanbian und Song of Sixteen Characters: Poem by Mao Zedong. Jede Leinwand in der obigen Rangliste wird mit ihrem Entstehungsjahr und dem jeweiligen Museum aufgeführt.
74 Werke von Fu Baoshi sind in unserem Katalog enthalten, datiert von 1925 bis 1965.
Meistens in Long Museum West Bund (Shanghai); die obige Liste führt jedes Museum und seine Leinwände auf.
In 1960s, die 25 der 74 Werke auf dieser Seite ausmachen, darunter Approaching Yanbian.
Die früheste Leinwand hier ist Walking with a Staff and Carrying a Zither (1925); die jüngste ist Changsha: Poetic Thoughts of Mao Zedong (1965).
Chinese landscape (8), Traditional art (5) und Mountains (4), verteilt auf die 74 Werke auf dieser Seite.
Contemporary realism, wie die Leinwände auf dieser Seite zeigen.
