The Leshantang Collection – Treasures of Chinese Art from the Tsai I-Ming Collection

The Leshantang Collection – Treasures of Chinese Art from the Tsai I-Ming Collection

View full screen - View 1 of Lot 132. Fu Baoshi, Scenery of Qutang | 傅抱石 早隨煙月上瞿塘 設色紙本 立軸 一九六二年作.

Fu Baoshi, Scenery of Qutang | 傅抱石 早隨煙月上瞿塘 設色紙本 立軸 一九六二年作

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Auction Closed

October 8, 04:16 AM GMT


4,000,000 - 6,000,000 HKD

Lot Details


Fu Baoshi


Scenery of Qutang

ink and colour on paper, hanging scroll

signed, dated 1962, with two seals of the artist

137 x 41.6 cm 54 x 16 3/8 in.


傅抱石 (1904-1965)


設色紙本 立軸 一九六二年作



Paintings of Fu Baoshi, Musuem of History, Taipei, December 1994, pl. 49

Fu Baoshi: 20th Century Chinese Painting Master, exhibition cat., Tokyo, Shoto Museum of Art, 1999, pl. 88

Han Mo, Fu Baoshi – Paintings Inspired by Classical Poetry, Han Mo Xuan Publishing Co. Ltd., Hong Kong, August 2004, p. 108-109

The Chronicle of Fu Baoshi’s Life, Ye Zonggao ed., Shanghai Classics Publishing House, September 2004, p. 255

The Leshantang Collection of Modern Chinese Painting, Leshantang, Taipei, July 2006, p. 49, 87

The Complete Works of Fu Baoshi, vol. Ⅳ, Guangxi Fine Arts Publishing House, March 2008, p. 249








Taipei, Museum of History, Exhibition of Fu Baoshi’s Paintings, December 1, 1993 to January 2, 1994

Tokyo, Shoto Museum of Art, Fu Baoshi: 20th Century Chinese Painting Master, October 12 to November 21, 1999




Along the river, sail masts gently sway,

Defying the west wind, my hair adorned with ice.

Yet homesickness remains, steadfast in its stay,

With mist and moon as guides, to the shore of Qutang it flies.

- Lü Qian "Viewing the River"

Lü Qian (1621-1706), also known as Ban Yin, had his roots in Suining, Sichuan. The turbulent transition from late Ming Dynasty to early Qing was plagued with frequent wars and turmoil. Such misfortunes made Lü choose to dedicate himself to a secluded life of poetry and literature in Jiangnan rather than a career of politics. The poem above, Viewing the River, encapsulates a wandering soul’s deep yearning for his hometown.                                                                                  


Fu Baoshi was a scholar specializing in art history of late Ming to early Qing Dynasties. The outbreak of the War of Resistance Against Japan forced Fu and his family to abandon their home and seek refuge in Sichuan. The psychological anguish that came with such a destabilizing period in Fu’s life caused the scholar to deeply resonate with Lü Qian, whose hardships paralleled that of his own. His residence in the region of Chongqing, where “Qutang” is located, further inspired him to turn his desolation into a form of art. Starting from the 1940s onwards, the melancholic and bleak expression of a drifting rootless soul, as conveyed in Viewing the River, becomes a recurring motif in Fu’s other works. This painting, created in 1962, utilizes a bird’s-eye view perspective to capture the monumental spectacle of the precipitous Qutang and roaring waves. The brushwork in this piece marks a departure from the style used in Fu’s works during the 1940s; carrying with every stroke is a remarkable amalgamation of composedness and profound sentiment.