Artistic, stylistic and thematic features of the disclosure of the image of man in the painting by Fu Baoshi

Fu Baoshi (1904–1965) was a renowned Chinese painter whose creative method is marked by both ideological and artistic-plastic modernization. Although he is best known for his landscape paintings in the traditional «mountains-and-water» (shan-shui) style, his body of work also systematically incorporates compositions in which the human figure plays a significant role. Fu Baoshi’s distinctive style of depicting the human form emerged under the influence of geopolitical and social upheavals. In his artistic pursuits, Fu synthesized the traditions of classical Chinese painting with elements drawn from Japanese and European art. His portrayals of the human figure were rooted in classical narratives and often referenced prominent characters from Chinese history and literature.
This article analyzes Fu Baoshi’s artistic legacy as pivotal for the transformation of the human image in mid-20th-century Chinese painting. The study focuses on his synthesis of traditional Chinese visual language with stylistic features of the Japanese nihonga school, which contributed to the renewal of figural representation within national art. It is demonstrated how Fu avoided academic schematization of the human form, instead emphasizing emotional expression and cultural memory. Special attention is given to his depictions of historical figures and cultural heroes. The research employs visual analysis, iconological interpretation, and comparative methodology. The article concludes that Fu Baoshi made a substantial contribution to shaping a modern vision of the human figure within the Chinese artistic tradition.