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ZHANG DAQIAN (1899-1983)
美国 北京时间
09月17日 晚上9点 开拍 / 09月15日 下午3点 截止委托
拍品描述 翻译
PROPERTY FROM THE COLLECTION OF ROBERT AND LISA KESSLER ZHANG DAQIAN (1899-1983) Lady, 1929 Mounted, framed and glazed, ink and color on silk, with three inscriptions by the artist, the first dated jisi (1929) and signed Zhang Daqian, the second with a dedication Xitao, dated gengwu (1930) and signed Daqian Jushi Yuan, with four artist's seals, and three collector's seals. 39 1/8 x 15 1/2in (99.5 x 39.5cm) Footnotes 張大千(1899-1983) 仕女 設色絹本 鏡框 一九二九年作 款識一: 老聃至西域而效夷言,夏禹入躶國而解下裳,墨子見荆王而文錦吹笙。非苟違性,随時所好也。大千遠适異域,耳聞目覩,皆與中土異,偶一為此,毋乃為儕輩所笑耶?己巳(1929)八月,蜀人張大千。 鈐印:西蜀張爰字大千 款識二: 此予去年客东京之所作也,希濤仁兄出帋属畫,而予又将東行,且戒程矣,匆侷無以應命,因檢此奉貽博笑。庚午(1930)五月,大千居士爰。 鈐印:張爰印、大千居士 款識三: 此袁簡齋印,曼生、秋堂合作,當時頗為尹文端所訶,往歲得於海上,今移魏塘,將世為浙人矣,輒復以此印鈐之,蘇小有知,不將笑予妄攀風雅耶? 鈐印:泉唐蘇小是鄉親 鑒藏印:吳興悲智勇脩盦主蔡文潛字希陶號踽厂所藏金石書畫之記、南王帶生、沽上趙蘭亭藏 Provenance: Collection of Yuan Xitao (1866-1930), Shanghai Collection of Cai Wenqian, Zhejiang Province Collection of Zhao Lanting, Tianjin Christies, Hong Kong, Fine Modern and Contemporary Chinese Paintings, 2 November 1998, lot 86 Chongyuan Auction, Shanghai, Chinese Paintings and Calligraphy, 22 April 2008, lot 450 Christies, Hong Kong, Fine Chinese Modern Paintings, 2 December 2008, lot 1518 The Robert and Lisa Kessler Collection Published: Jiao, Tianlong. Fantastic Brush: Twentieth-Century Chinese Ink Art from the Robert and Lisa Kessler Collection. Denver: Denver Art Museum, 2021, no 7, pp.50-51; a complimentary copy of the Denver Art Museum exhibition catalog will be provided to the buyer of this lot. Exhibited: Denver, Colorado, USA, Denver Art Museum, Fantastic Brush: Twentieth-Century Chinese Ink Art from the Robert and Lisa Kessler Collection, 24 October 2021 - 12 November 2023. 來源: 袁希濤(1866-1930)舊藏,上海 蔡文潛舊藏,浙江吳興 趙蘭亭舊藏,天津 香港佳士得,「中國近現代畫」,1998年11月2日,拍品編號86 上海崇源,「中國書畫」,2008年4月22日,拍品編號450 香港佳士得,「中國近現代畫」,2008年12月2日,拍品編號1518 羅伯特及麗莎·克瑟勒伉儷(Robert and Lisa Kessler)珍藏 著錄: 焦天龍編著,《妙筆:羅伯特及麗莎·克瑟勒伉儷藏二十世紀中國水墨》(Fantastic Brush: Twentieth-Century Chinese Ink Art from the Robert and Lisa Kessler Collection),丹佛:丹佛藝術博物館,2021年,圖錄編號7,頁50-51;本行將隨此拍品附贈買家一本該展覽圖錄。 展覽: 《妙筆:羅伯特及麗莎·克瑟勒伉儷藏二十世紀中國水墨》(Fantastic Brush: Twentieth-Century Chinese Ink Art from the Robert and Lisa Kessler Collection),丹佛藝術博物館,美國科羅拉多洲丹佛市,2021年10月24日至2023年11月12日 While there are no recorded interactions with Zhang Daqian, the commissioner of this effortlessly graceful portrait is likely Yuan Xitao 袁希濤 (1866-1930), the younger brother of Yuan Xilian 袁希濂 (?-1950), a painter of the Shanghai School and a Buddhist layman. Yuan Xitao was born in Baoshan, Jiangsu Province (now part of Shanghai), and served as an education official in Shanghai and Beijing. He was a founding member of the predecessor of today's Fudan University. Given that Zhang Daqian moved to Shanghai in 1923 to advance his career, it is plausible that he encountered the Yuan brothers during this period. According to the artist's inscription, the painting was commissioned and executed in Tokyo in 1929, suggesting the subject could be a Japanese lady. Yuan Xitao had previously visited Japan in 1908 for observation and study, and it is conceivable that he made subsequent visits. The inscription in the lower right corner of the painting holds considerable interest. It reveals that the square seal stamped below, which reads Qiantang Su Xiao shi Xiangqin 錢塘蘇小是鄉親 (Su Xiao from Qiantang [Hangzhou, Zhejiang Province] is from my hometown), was once in Yuan Mei 袁枚 (1716-1797)'s collection, and that the seal was carved by Chen Mansheng 陳曼生 (1768-1822) and Chen Yuzhong 陳豫鐘 (1762-1806), two reputable scholar artists from Qiantang. The line on the seal is the fourth line of a Tang dynasty poem, and Su Xiao refers to Su Xiaoxiao 蘇小小, a renowned courtesan and poet from Qiantang during the Southern Qi Dynasty (479-502). Celebrated in literature throughout history as an ideal intellectual woman, Su Xiaoxiao captured the admiration of Yuan Mei among others. This anecdote is recorded in Yuan Mei's anthology Suiyuan Shihua 隨園詩話 (Poetry Talks from the Sui Garden). The subject of the present lot, therefore, may have been a Japanese courtesan, whom the artist likened to the historical figure Su Xiaoxiao. Interestingly, the artist noted that he acquired the seal last year in Shanghai and subsequently relocated to Weitang 魏塘, a serene small town in Jiashan County 嘉善, Zhejiang Province. Zhang Daqian moved from Shanghai to Weitang with his family in 1928 and remained there until around 1933. The exhibition 從江南走向世界——張大千文獻展 (From the Jiangnan to the World: A Documentary Exhibition on Zhang Daqian) was held from August to September in 2023 at the Jiashan Museum 嘉善縣博物館, displaying Zhang Daqian's early works created in the area. The painting 仕女執梅圖 (Lady Holding a Sprig of Plum Blossom) (Fig.1), in the collection of the Haining Museum in Jiaxing, Zhejiang Province, features a composition similar to that of the present lot. It depicts a lady in a green headscarf and red robe, standing in a posture and with drapery folds reminiscent of those seen in the current piece. One of the collector seals on this painting belongs to Zhao Lanting 趙蘭亭, a collector from the Tianjin area who was active around the mid-20th century. His collection notably includes works by masters from the Qing dynasty and the 20th century. Among these is a 1946 portrait of an arhat 渡水頭陀 by Zhang Daqian, illustrated in Shen C.Y. Fu, The World of Chang Dai-Chien, Taipei, 1998, no. 23. 張大千於跋文中稱「希濤仁兄出帋属畫」者,當為袁希濤(1866-1930),即海派書畫家袁希濂(?-1950)。袁希濤為江蘇寶山(今屬上海市)城廂人,祖籍浙江寧波,清末民初教育家,曾於北平及上海任要職,並參與創立復旦公學(復旦大學的前身)。史料並無記載張大千與袁希濤過從事跡,然大千居士於1923年始往來海上,與同行袁希濂當有交集。跋文又稱「此予去年客东京之所作也」,即張袁二人俱在東京,則所繪仕女或為東瀛女子,觀其墮髻寬袍,參差如是。袁希濤亦於1908年便已赴日交流考察教育事業,或後再往。 此幅構圖精簡,然有大千居士跋文三則,右下一則尤為有趣,提及文下所鈐朱文方印,印文「泉唐蘇小是鄉親」者,乃錢塘袁枚(1716-1797)舊藏,為錢塘篆刻名手陳曼生(1768-1822)及陳鐘豫(1762-1806)合作所製。印文出自唐代詩人韓翃七言律詩《送王少府歸杭州》頷聯下闋,原句應為「錢唐蘇小是鄉親」。蘇小,即傳為南北朝時南齊錢塘歌妓蘇小小,向是歷代文人騷客樂於著墨寄情者,袁枚更是對其仰慕有加。鑄印一事在《隨園詩話》中亦有載:「余戲刻一私印,用唐人『錢塘蘇小是鄉親』之句。某尚書過金陵,索余詩冊,余一時率意用之,尚書大加訶責。余初猶遜謝,既而責之不休,余正色曰『公以為此印不倫耶?在今日觀,自然公官一品,蘇小賤矣。誠恐百年以後,人但知有蘇小,不復知有公也。』一座輾然。」(《隨園詩話》卷一,清乾隆十四年刻本)大千居士於此幅畫作上引此趣然軼事,或所畫女子亦為當時有名望之藝妓,堪可借比蘇小。 而更為有趣的是,大千居士又提及,此印乃「往歲得於海上,今移魏塘」。魏塘即浙江嘉善魏塘鎮,該鎮現已取消,改為魏塘街道。該鎮清靜逸懷,大千居士自1928年初次拜訪後,便頻頻小住,後索性舉家搬遷,至1933年方因戰事不得不挪往蘇州。2023年8月至9月間,恰逢嘉善縣博物館推出「從江南走向世界——張大千文獻展」,集中呈現了大千居士盤桓此地時留下的雪泥鴻爪。中有一幅嘉興市海寧博物館所藏人物掛軸,題曰〈仕女執梅圖〉者(圖1),其構圖氣韻,與本拍品絕似。軸繪一女子頭覆綠巾,身披紅袍,臂間輕夾白梅一枝,側身婉宛,頗有寶琴立雪之態。而其衣褶紋理,曳地袍梢的處理方式,以及煙眉罥掛、眼瞼半垂的含情神態亦差可比擬。 For further information about this lot please visit the lot listing

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