By Li Yiyun, China Times

The painting Song of the Pipa by modern Chinese artist Fu Baoshi was auctioned for HKD 204.85 million in 2017, reflecting the continued surge of his works in the art market. As one of the elite painters whose works often fetch billions, Fu Baoshi is celebrated for his unique “Baoshi Cun” brushstroke technique and his masterful depiction of rain, mist, and snow in landscapes. Recently, Fu Baoshi and his daughter Fu Yiyao showcased their family’s artistic legacy in Taiwan through the exhibition Artistic Transmission – Art Exhibition of Fu Baoshi & Fu Yiyao, revealing their family aesthetics and techniques.

As the curator of the exhibition and founder of the Mo Hai Lou International Art Research Group, Dr. Ye Guo-Shin noted that most of Fu Baoshi’s works on display are family heirlooms or private collections that have never been publicly exhibited. Among them is Mountain Spirit from Songs of the Nine States by Qu Yuan, featuring a ghostly spirit with flowing garments and a melancholic expression—quintessentially Fu Baoshi in style.

Fu Yiyao, Fu Baoshi’s eldest daughter, recalled her father’s fascination with Qu Yuan’s Songs of the Nine States. This particular piece was created in Fu Baoshi’s later years, with the figure complete but the rain scene unfinished, as he felt the character was already too exquisite. She explained that Fu Baoshi’s paintings of beauties evolved over different periods: during his early years at Jingangpo, he used meticulous brushwork and bold colors, creating figures with shorter necks and fuller bodies. Also on display is the Xiang Jun fan painting, the last artwork Fu Baoshi created as a birthday gift for his wife, carrying profound sentimental value.

Fu Baoshi’s landscape paintings underwent a transformative phase during his time at Jingangpo, where he honed his techniques for capturing rain, mist, and snow. Inspired by Japanese and Western art, his use of light and color became more nuanced. Dr. Ye highlighted Fu Baoshi’s innovative use of alum sprinkled across the canvas to create layers of white streaks for rain. Fu Yiyao mastered this technique and, blending her 40 years of life in Japan, added further innovation. Her snow scenes incorporate alum sprinkling with sprayed alum water, creating a striking icy landscape. In her work Li Bai Mourns Chao Heng, Fu Yiyao interprets her father’s aesthetics with a contemporary twist, illustrating the poet Li Bai’s grief upon learning that his Japanese friend Chao Heng died in a shipwreck during his return voyage.

“Ms. Fu Yiyao, now in her seventies, has followed her father in painting since childhood. Such a family legacy deserves greater public recognition in the modern era,” said Dr. Ye. Fu Yiyao continues to use the same rice and leather paper her father collected and is known for her artistic style, which closely resembles her father’s. She recalls that the poet Guo Moruo once praised her landscapes as “nearly indistinguishable from her father’s.” Early in her career, she often declined requests from dealers to imitate her father’s work.

In recent years, Fu Yiyao has undertaken a special “Imitating Father’s Brush” series to preserve and extend his legacy. Works like Imitating Father’s Brush: Song of the Pipa and Imitating Father’s Brush: Xiang Jun Crossing the River aim to recreate their family’s artistic tradition through detailed replicas. She shared her experience recreating Lady Under Willow Trees, originally painted by Fu Baoshi as a 35th birthday gift for her mother. The inscription on the painting reads: “This painting is my most beloved work. Every time I see it, I am astounded. Such ethereal tranquility, yet so vibrant and fiery—how could it be achieved without divine assistance?” Fu Yiyao reflected that while completing her replica, she felt as though she could hear her parents laughing, realizing her efforts still fell short of their mastery. In her words, it was a spiritual reunion with her father through their shared artistic connection.