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ATTRIBUTED TO ZHAO MENGFU (1254-1322)
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
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PROPERTY FROM A PRIVATE COLLECTION ATTRIBUTED TO ZHAO MENGFU (1254-1322) Song of the Playing Fields Mounted, framed and glazed, ink and color on silk, with an inscription in running script signed Zhao Mengfu, with three artist's seals, and a 'double dragon' collector's seal. 8 1/4 x 34 3/8in (21 x 87cm) Footnotes (款)趙孟頫(1254-1322) 球場曲 設色絹本 鏡心 款識:軟紅十里平如掌,馬蹄踏沙輕不響。金袍玉帶五陵兒,飛騎擊球珠作賞。身輕臂捷馬如龍,綵仗低昂一點紅。倏忽飛星入雲表,據鞍回袖接春風。有時聯轡香茬滾,楊花亂撲桃花粉。就窩奪得咲歸來,月牙輕旋驪珠穩。一生嬌貴厭朝天,不信人間有倒懸。但得人間風月好,少年場裡自年年。吳興趙孟頫畫並書 鈐印:松雪齋圖書印、大雅、趙氏子昂、肖形印 Provenance: Collection of United States Senator Theodore Francis Green (1867-1966), by repute Published: Barnhart, Richard M. "Song of the Playing Fields: A Lost Painting by Zhao Mengfu Rediscovered." Orientations vol. 55, no. 1, January/February 2024, pp. 29-38. 來源: 據傳為美國參議院議員西奧多·弗朗西斯·格林(1867-1966)舊藏 出版: 班宗華(Richard M. Barnhart)撰,〈球場曲:失而復得的趙孟頫畫卷〉(A Lost Painting by Zhao Mengfu Rediscovered),收錄於《美成在久》卷55,2024年第一期,頁29-38 "Song of the Playing Fields", a Handscroll Attributed to Zhao Mengfu Zhao Mengfu (1254-1322) was a virtuoso of Chinese art, highly praised in his own time, and his legacy remained evergreen in the centuries that followed. His talents were multi-faceted and his impact widespread. He was one of the most important calligraphers in the long history of the esteemed tradition, and his style of regular script calligraphy became the standard typeface for most printed books in China from the Ming period onward. His instruction to painters to depict a stone with a "flying white" brush stroke, an old tree with large seal script technique, and bamboo in bafen clerical script, presented a path to merging the art of writing words with the art of creating images, and thus provided a mantra that was repeated by artists over the centuries. In painting animals, and specifically horses, Zhao Mengfu found his greatest renown, and several of his horse-related compositions stand among the most lauded in the canon of Chinese painting history. The present scroll Song of the Playing Fields (lot 362) patently illustrates the reasons for Zhao Mengfu's high reputation as a skillful horse painter. The artist relies on lively, linear brushwork to present a procession of five horses and their riders arranged along a horizontal stretch of silk. The execution is pared down and simple. Absent of a setting, the viewer's attention is focused on the skillfully balanced composition, with the figures' interplay commanding our attention. The horses appear energetic and engaged, and the artist's prowess is displayed in capturing their skittish energy. The details are subtle yet exquisite, with even silk-thread lines defining the contour of the horses, their manes and tails, as well as the figures, their clothing and facial hair. Each horse is differently posed and uniquely colored, and each rider is similarly individualized. Although the concept of integrating calligraphy, poetry and painting—the Three Perfections—into a single, unified work, predates Zhao Mengfu, artists of the Yuan dynasty embraced this ideal and further refined the ideal. In the present scroll, the poem Song of the Playing Fields, written in running script compliments the painting, and recounts the story of the Wuling fellows, a group of young members of the privileged elite that lived at the end of the Tang dynasty (618-907). Their pursuit of aristocratic hobbies--hunting for pleasure, playing polo, and pursuing women--occurred while the empire was on the verge of collapse, and as such offers a cautionary tale of their hedonistic lifestyle. For Zhao Mengfu and his contemporaries, the story of the Wuling fellows was particularly poignant, as they witnessed the slow but certain demise of the Song dynasty in the face of the Mongol takeover of China. The poem reads: Red dust for ten li, flat as a palm, Horse hooves trample sand lightly, making no sound. Golden robes, jade belts-the Wuling fellows, Flying riders strike the ball, pearls for a prize. Bodies light, shoulders strong—horses like dragons, Colorful mallets up and down, a dot of red. Suddenly a meteor enters the cloud bank— Firm in saddle, sleeves swept back, they greet the spring wind. Sometimes, riding together, fragrant dust rolls by, Willow catkins, roll and clash, peach blossoms powder. Afterwards, stealing a smile, they return. New Moon turns nimbly, Black Jade stands firm. These lords serve the court for a lifetime, Never believing that the human world could be turned upside down. They only wish to be among friends in fine wind and moonlight And for their youth on the playing fields to last forever. ——Translation by Richard M. Barnhart The depiction of horses and their grooms had a long history in China prior to Zhao Mengfu, although he was a key figure in perpetuating the tradition during the Song/Yuan transition. The great Tang dynasty poet Du Fu's (712-770) poem "Praise for a Horse Painting", which lauded a work by Han Gan (active 742-756) evinces not only the long history of horse painting in China, but also reveals the warm cultural reception of the art form. We know from the historical records that Zhao Mengfu himself saw at least three paintings of horses by Han Gan, and although his use of the subject matter may have been a reference to an earlier period, the topic of horses and their grooms took on a new significance and symbolism with the establishment of the Yuan dynasty following the Mongol conquest. Following Zhao Mengfu, his sons and grandsons also embraced the subject matter, further perpetuating the motif in Zhao Mengfu's style. The painting currently lacks the seals and colophons that disclose the collecting history, and it is likely these were separated from the original horizontal scroll format when the painting was framed in the early 20th century. The scroll was formerly in the collection of United States Senator Theodore Francis Green (1867-1966), a major collector of Chinese paintings in the United States in the first half of the 20th century. After his death, the T.F. Green collection was dispersed in a series of sales at New York's Parke-Bernet galleries between 1967 and 1968, and other objects from his collection were passed down to family members and descendants. Song of the Playing Fields has been the subject of two recent focused academic studies. The first, by Professor Emeritus Richard M. Barnhart of Yale University, "Song of the Playing Fields: A Lost Painting by Zhao Mengfu Rediscovered" was publishing in Orientations magazine in the January/February 2024 issue and offers enlightening comments about this painting and its place in the remarkable oeuvre of Zhao Mengfu. Following Professor Barnhart's focused study, Percival David History of Art Professor Shane McCausland of the University of London School of Oriental and African Studies and the author of the comprehensive overview Zhao Mengfu Calligraphy and Painting for Khubilai's China (Hong Kong University Press, 2011) , wrote his in-depth scholarly analysis, The Zhao Mengfu 'Five Drunken Princes' scroll (a.k.a. 'Song of the Playing Fields') in a private collection, in July 2024. The two articles present different perspectives on the scroll. While Professor Barnhart argues for a confident attribution to Zhao Mengfu, Professor McCausland is more cautious, presenting a range of scenarios that link this painting to a lost work by the master, and the potential for a 14th century dating. Both the Barnhart and McCausland articles are available on our website and in the condition report folder for this auction. 五陵衣馬自輕肥 趙孟頫(1254-1322)書畫文史倶佳,在其所處時代便已是聲名顯赫,對後世更是影響深遠。作為元代法書領袖,其趙氏楷題是明以後書籍印刷商所最青睞的字體之一。而其所倡「書畫同源」論,即所謂「石如飛白木如籀,寫竹還於八法通。若也有人能會此,方知書畫本來同」,更是讓百世後來者奉為圭臬。趙孟頫還擅畫馬,其所作馬圖佳構不少都是繪畫史上的傳摹範本。 本幅以流暢生動的細膩線條在絹本上寫人馬五組,橫幅構圖,依次駛入眼簾。極簡的佈局不設背景雜飾,使觀者更好地聚焦於其位置經營之得當,人馬互動之微妙。五匹馬姿態各異,毛色不一,有靜佇者、躍如者,有緩行,亦有驚錯,此見畫者應物象形能力之精到。而其骨法用筆,以高古游絲描為主,自馬匹輪廓鞍墊、鬃髮尾毛,至人物衣裝眉鬚,無不毫釐入微。 以詩題畫,所謂「詩書畫三絕」,在元以前已有之,但入元以後,這一理念的實踐愈瑧佳境。本幅卷末以行書題〈球場曲〉一首,追想唐末長安城五陵年少的奢靡生活。他們遊獵山林、肆意球場,亦也爭送纏頭。然而這一切鮮衣怒馬少年時,都只能襯以「西風殘照,漢家陵闕」的末世悲音,因而這一意象也就有了一絲警世譏諷的意味。對於趙孟頫及其宋室同儕而言,「五陵少年」這一文學藝術形象還別有蒼涼之感,仿佛影照自身目視大宋王朝在元軍的金戈鐵馬下溫緩卻必然的傾覆命運。 「圉人馭馬」這一繪畫母題淵源已久,趙孟頫是宋末元初深入鑽研這一圖式的藝術家之一。唐代詩人杜甫(712-770)曾作《畫馬贊》譽韓幹(活躍於742-756)馬作之「毫端有神」,可見該題材至晚至唐已臻成熟,且頗受文士喜愛。趙孟頫在其作於元貞丙申歲(1296)的《人騎圖》(北京故宮博物院藏)上有跋文曰:「吾自小年便愛畫馬,爾來得見韓幹真跡三卷,乃始得其意之。」可見,趙氏畫馬能師古人,但在蒙元統治時期,人馬圖又有了新的寓意和重要性。受趙孟頫影響,其子孫亦延續了該傳統,在此一母題上做更多嘗試。 本拍品上未見可追溯該卷早期收藏史的鑒藏印,極可能其於二十世紀初重裱時,卷跋分離。該卷曾為二十世紀上半頁中國書畫收藏大家美國參議院議員西奧多·弗朗西斯·格林(1867-1966)舊藏,其辭世後,部分藏品分批次於1967至1968年間在紐約帕克-博內拍賣行(Parke-Bernet Galleries)釋出,而其餘藏品則由後人遞藏。 關於本卷的學術論文已有二篇,其一為耶魯大學榮休教授班宗華(Richard M. Barnhart)所撰〈球場曲:失而復得的趙孟頫畫卷〉(A Lost Painting by Zhao Mengfu Rediscovered),收錄於《美成在久》2024年第一期。該文嘗試將本卷置於趙孟頫現存作品中作研究比對,並提出獨特見解。其二為倫敦大學亞非學院藝術史教授馬嘯鴻(Shane McCausland)於2024年7月所撰深入剖析本卷的未發表文稿〈論私人所藏趙孟頫「五王醉歸」(球場曲)卷〉(The Zhao Mengfu 'Five Drunken Princes' Scroll [a.k.a. 'Song of the Playing Fields' in a Private Collection)。馬教授潛心研究趙孟頫藝術已久,著有全面解讀趙氏創作的《忽必烈一統中原時期的趙孟頫書畫》(Zhao Mengfu Calligraphy and Paintin for Khubilai's China)(香港:香港大學出版社,2011年)一書。班教授認為將本卷定為趙孟頫真跡未為不可,而馬教授則有所保留,從不同方面探索本卷與或已遺失的趙孟頫原作之間的關係,更傾向於將本卷定為基於趙本的十四世紀作品。 班宗華與馬嘯鴻兩位教授的撰文,可於本卷的拍品網頁及品相報告文件夾中查閱。 For further information about this lot please visit the lot listing

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