View full screen - View 1 of Lot 2531. Jin Nong 1687 - 1763 金農 | Ink Plum Blossom 墨梅.

Property from an Important private Asian collection | 重要亞洲私人收藏

Jin Nong 1687 - 1763 金農 | Ink Plum Blossom 墨梅

Auction Closed

October 9, 03:18 PM GMT

Estimate

1,200,000 - 2,200,000 HKD

Lot Details

Description

Property from an Important private Asian collection

Jin Nong 1687-1763

Ink Plum Blossom

ink on paper, hanging scroll


signed Jin Nong, dated the twenty-first year of Qianlong reign(1756) and with two seals of the artist

Inscription on the mounting border by Zhang Jingyu(1916-1974) twice, dated jichou(1949) and with three seals of his in total; by Wu Cheng(1878-1949), dated wuzi(1948) and with two seals of his; by Ruan Xingshan(1891-1974), dated wuzi(1948) and with one seal of his; and by Gao Yehou(1878-1952), dated wuzi, and with two seals of his

with one collector’s seal of Ge Changying(1892-1963) and one of Gao Yehou

Titleslip by Ge Changying, dated guihai(1923) and with one seal of his

128 x 39.7 cm. 11 x 15⅝ in.


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重要亞洲私人收藏

金農 1687-1763

墨梅

水墨紙本 立軸


署簽:(葛昌楹)金冬心墨梅逸品真蹟。癸亥(1923)始冬得於扈,寶之寶之,當湖葛書徵記。鈐印:昌楹審定

釋文:吾郡孤山下荒亭之中,有梅十數,相傳逋仙手植。每花時,余必吟賞其側。今客揚州,若號寒之蟲,墐戶不出,追想風格,呵凍寫此,尚不失其古貌也。恨無薛家筆法,添畫襹褷六鶴于左右耳。畫畢又題一詩:「硯水生冰墨半乾,畫梅須畫晚來寒。樹無醜態香沾袖,不愛花人莫與看。」乾隆二十一年(1756)十二月小除夕,畫於九莭菖蒲憩館,七十翁金農記。鈐印:金氏壽門、龍虎丁卯

題跋:

(章勁宇)

(一)側理如雲墨似烟,亂頭麤服化梅僊。何當霜雪千年候,獨立東風態更研。己丑(1949)元旦題冬心翁梅幅,勁宇長物也。鈐印:章松齡印、勁宇所得

(二)冬心絕句《歲暮複寓吳興姚大蓮花莊》歐波亭外水濛濛,記得今秋攜釣筒。消受白蓮花世界,風來四面臥當中。以不經意之筆,流露真性情,而別有所得之趣,余最喜愛之,今於此幅亦然。翌日又記。鈐印:勁

(阮性山)冬心師白玉蟾,兩峰師冬心,所謂皆不食人間煙火味者,此幅當見其師承。戊子(1948)九月鄉後學院阮性山識於章氏勁寓。鈐印:阮、性、山(連珠印)

(吳澂)張瓜田云:「冬心精鑑賞,年五十始從事於畫,涉筆即古,脫畫家之習,良由所見古蹟多也!」余則以為冬心翁情性逋峭,畫似其詩,詩一如其情性。勁宇主人與余同具斯意,今出示新得墨梅,筆墨寒儉,點染閒逸,尤非塵俗者所可夢見也。戊子(1948)冬仲,七十一叟吳抱鋗題記。鈐印:抱鋗居士、吳待秋

(高野侯)冬心翁畫梅,初師逃禪,繼宗白玉蟾,晚年之作使筆運墨蒼渾入神,兩峰師之,而以煮石變其面目。前賢自立不願拘有囿於師,所謂青出於藍,有勝藍之志,然刻意之作終不及師之純任自然。冬心此幀摹白叟之意趣,寫梅花之精神,得意筆蹤兩峰何能企及?鑑真匪易悠悠者何可與言?勁宇喜收藏,寀辨獨異,亟以敦煌梁書懺悔文卷鄭重相易,遂割予愛,予藏畫梅五百本,自宋至清都銘心之品,此其一也!漫題以為記驗。戊子(1948)九秋高野侯識於梅王閣,時年七十有一。鈐印:高野侯、梅王閣

鑑藏印:(葛昌楹)平湖葛昌楹書徵考藏金石書畫之印

(高野侯)五百本畫梅精舍

Christie's Hong Kong, Classical Chinese Paintings and Calligraphy, 1 Nov 1996, Lot 304


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香港佳士得,中國古代書畫,1996年11月1日,拍品編號304

1) Richard M. Barnhart ed., The Jade Studio : Masterpieces of Ming and Qing Painting and Calligraphy from the Wong Nan-P'ing Collection, Yale University Art Gallery, 1994, cat. no. 74

2) Tian Hong, Oversea Collectors in the Twentieth Century: Wang Nanping’s Collection of Ancient Chinese Paintings, Tianjin Renming Meishu Chubanshe, Tianjin, 2015, pl. 654, pl. 202


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1)班宗華編,《玉齋珍藏明清書畫精選》,耶魯大學藝術出版,1994年,編號74

2)田洪,《二十世紀海外藏家:王南屏藏中國古代繪畫》,天津人民美術出版社,天津,2015年,頁654,圖版202

The Jade Studio : Masterpieces of Ming and Qing Painting and Calligraphy from the Wong Nan-P'ing Collection, Yale University Museum of Art, 1994


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《玉齋珍藏明清書畫精選》展覽,耶魯大學美術館,1994年

注:

金農墨梅取自生活,古雅盎然,有天真之趣,亦有風骨之勝,常用以比喻自身境遇。本幅作於晚年,七十歲歲末之交,是他藝術面貌最成熟之時。題識中在在顯露出他的孤高寂寞,如「恨無薛家筆法,添畫襹褷六鶴于左右耳」,表達往來無人知心的境遇,又如「樹無醜態香沾袖,不愛花人莫與看。」展示其高潔文人的自信,可謂文人畫中逸筆。本幅流傳有序,自葛昌楹降,分別經章勁宇、高野侯、王南屏遞藏,此皆近代精鑑之人,於1994年展覽於耶魯大學美術館,並出版於班宗華為玉齋所著書中,紙之精墨之妙,往來中外皆識。