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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
拍品描述 翻译
PROPERTY FROM A BEL AIR, CALIFORNIA ESTATE ATTRIBUTED TO ZHAO MENGFU (1254-1322) Blue/Green Landscape with Travellers Hanging scroll, ink and mineral pigments on silk, with an inscription signed Zhao Mengfu, and dated Yuanzhen 2nd year (1296) with two artist's seals and a fragment of a collector's seal. 69 5/8 x 33 5/8in (177 x 85.5cm) Footnotes (款)趙孟頫(1254-1322) 湖上暮歸 設色絹本 立軸 款識:春蔭柳絮不能飛,雨足蒲芽綠更肥。正恐前呵驚白鷺,並騎款段繞湖歸。元貞二年(1296)三月二十四日,余與宋齊彥學士於湖上暮歸,時天作陰將雨,青山遠近,可愛而可畫。明日於鷗波亭中作此,以盡餘興也。子昂畫並題。 鈐印:趙子昂氏、趙孟頫印 鑒藏印一:漫漶難辨 Provenance: Purchased from a Bel Air, California Estate Published: Ze, Lang (1747-1813). "San Wan Liu Qian Qing Huzhong Huachuan Lu," completed in 1795. In Zhao Dai Congshu (Collectanea of the Glorious Dynasty), edited by Zhang Chao (1659-1709), Yang Fuji (1747-1820), Shen Maode et al., first edition 1697, reprinted with additions in 1844, "Gui Ji," Vol. 32, p. 3. (Fig.1) 來源: 購於加州貝萊爾市(Bel Air)遺產拍賣 著錄: 迮朗(1747—1813)著,《三萬六千顷湖中畫船錄》, 成書於1795年;收錄於張潮(1659-1709)、楊復吉(1747-1820)、沈楙惪等編《昭代叢書》,初版1697年,迮朗文為1844年重刊時收錄,癸集,卷第三十二,頁三 (圖1) A LOST LANDSCAPE FROM THE YUAN DYNASTY With the fall of the capital Lin'an (present day Hangzhou) in 1276, the final collapse of the Southern Song dynasty was an inevitable certainty. In the north of China, the Yuan dynasty had been established five years earlier in 1271, and by the end of the decade, the Mongol conquest of China was complete. Over the course of the next century, residents of China were subjects of the nomad conquerors, whose language, culture and manner of governance stood in stark contrast to the familiarities of the past. The formidable class of educated elite, whose Confucian education prepared them for a lifetime of government service, found themselves disenfranchised from the system and bureaucracy they had been trained to run. Zhao Mengfu (1254-1322) was a princely descendant of the imperial lineage that ruled the Song and profoundly affected by the national upheaval. As a learned and accomplished scholar, Zhao Mengfu's knowledge was vital to the new government, and when he was called to serve, he relocated to the Yuan capital Dadu (present day Beijing), despite many of his southern peers who preferred exile, refusing to cooperate with the Mongol invaders. Within this scenario, Zhao Mengfu emerged to become one of China's most impactful and important artists, whose legacy would be called upon by countless painters and calligraphers in the centuries that followed, including his own family, with his younger brother Zhao Mengyu, his sons Zhao Yong (1289-1362) and Zhao Yi (14th century), and grandson Zhao Lin (d. 1367). Concurrent with the profound political changes in China, the idea of painting as an expression of the self was becoming increasingly prevalent. For centuries prior calligraphy assumed this role, but after the fall of the Song, the art of painting evolved to become a similar vehicle, a means to offer personal, subtle commentary through visual imagery. For Zhao Mengfu and his artistic contemporaries, employing deliberate visual archaisms in their paintings and calligraphy allowed them to nostalgically reference a glorious, albeit distant past. In his calligraphy, Zhao Mengfu often referenced Jin (265-420) and Tang (618-907) dynasty models, thus forming a synthesis of styles; for his paintings, he relied on deliberate archaistic references, with the palette and brush techniques evoking the golden age of the Tang dynasty. To a 13th century audience, these antiquarian references would have been patently obvious. In the present lot, a landscape on silk dating to the 13th/14th century, the brilliant luminosity of blue and green colored washes creates an otherworldly appearance, and recalls the color scheme of Tang dynasty painting. The blue (石青) is derived from the stone azurite and the green (石綠) is prepared from malachite, and together these two mineral pigments would endow the Blue/Green landscape style with its name. However, in addition to the blue and green hues, other mineral pigments are also employed to colorize this image. The earthen banks that line the water are rendered in umber (赭石), a variety of iron oxide that yields a distinct terracotta hue. In contrast to their surroundings, the foreground figures and horses are highlighted in lead white (鉛粉), the brightness spotlighting the horses' and figures' presence amid the landscape. The vivid mineral pigments imbue the painting with a magical aura, and despite the 700 years of age, the brilliant colors are little diminished, in contrast to the amber-hued patina of the silk. In addition to the palette that mimics an antique style, a second overt archaism employed in this painting is the 'fish-net' waves in the foreground. Neatly drawn with fine, rhythmic strokes from the artist's brush, this pattern defines the water's movement with repeated, overlapping lines. When this landscape was painted, artists and connoisseurs were not only aware of the Tang dynasty foundations for this approach, but intentionally promoted the antique appearance as a statement of dissent on the current political reality in which they were living. It is often stated that Zhao Mengfu's greatest contribution to future generations of Chinese painting is the emphasis of brushwork in the creation of a painting. Deeply informed by calligraphic study, the artist masterfully made use of the versatility of the brush in rendering a pictorial image. In this scroll, the conscientiously painted foreground trees are individually enhanced with unique, appropriate foliage, and the artist carefully denotes each tree with its own leafy personality. The foliage for the middle ground trees uses a second vocabulary of brushwork, and the bare tops of the foreground trees, and scattered groups of reeds demonstrate the full range of brushwork a calligraphically trained artist possessed. In a similar fashion, the small travelling party consisting of two gentlemen riding horses, accompanied by two attendants on foot are a minute detail in this monumental composition, but the energetic brushwork distinguishes their presence. Although dwarfed by the scale of the huge trees and faceted hills that envelop them, the figures are set apart by the delicate, wiry brushwork that possesses an animated energy. The careful precision of the detailed rendering of the men and their horses contrasts with the natural world surrounding them. In the deep distance, spits of land are painted in expertly layered washes on the silk, as the far banks and remote hills quietly fade into the mist. Underneath the blue and green washes, the mountains are constructed with long texture strokes. Each line that composes this complex composition is distinguishable and readable on its own. To an informed eye, these individual brushstrokes are also archaisms, citing from the tradition of Chinese painting. For example, the bare, defoliated foreground treetops reference the Li Cheng (919-967) / Guo Xi (1001-1090) tradition of the 10th-11th century, and the intertwined ground strokes which underlay the blue green washes of the hills, are a nod to the approach of Dong Yuan (active 934- 962) /Juran (active 960-980) of the Southern Tang dynasty (937-976). A calligraphic inscription compliments the scene, casually inscribed in running script, and dating the painting to the Yuan dynasty, second year of Renzhen (1296), with the signature and seals of Zhao Mengfu. However, it is likely that the seals and the inscription were added later as an embellishment, in an attempt to directly connect the painting to the hand of Zhao Mengfu. Although the calligraphy and seals do not pass close scrutiny, the painting itself is convincing as a 13 or 14th century work. Successfully expressing Zhao Mengfu's painting style, and based on a stylistic analysis, we can assert that this painting is possibly a work by Zhao Mengfu or his progeny. The skillful, varied brushwork demonstrates a virtuosity informed by calligraphic training, and the overt archaisms evoke a nostalgic for the past. Unfortunately, most of the history of ownership with this painting is lost, with only one illegible fragment of a collector's seal remaining. However, the painting is referenced based on its composition and inscription in a late 18th-century painting catalog San Wan Liu Qian Qing Huzhong Huachuan Lu by Ze Lang 迮朗 (1747-1813), entitled 趙松雪山水 (Landscape by Zhao Songxue). The catalog describes the painting as: 絹本高八呎,兩人騎而同歸,隔水觀山,有緩轡揚鞭之致。 A painting on silk, standing eight chi (approximately 100in or 250cm) tall, depicting two equestrians returning home together. They gaze across the river at the distant mountains, relishing their leisurely ride." This is followed by an inscription identical to that on the present lot, and ends with "朱文印二,曰趙子昂氏,曰趙孟頫印,又引首朱文長印,一曰松雪齋。There are two relief-carved seals, one reading Zhao Zi'ang shi and the other Zhao Mengfu yin. Additionally, a vertical seal reading Songxue Zhai is located in the upper right corner of the inscription." This suggests that the present lot has been trimmed on the right and top sides, which accounts for the placement of the inscription close to the paper's edges. Aside of this, the description of the subjects and the first two seals correspond well with those of the present lot. 失而復得的千峰翠色 景炎元年(1276),元軍兵臨臨安城下,南宋王朝日落西山。早在蒙古國至元八年(1271),忽必烈已定國號「大元」並落都漢地大都(今北京)。其後不到十載,偏安一隅的宋廷只剩苟延殘喘,至至元十六年(1279),元滅南宋。在元朝國祚近百年期間,以蒙古族為首的色目民族成了中原大地的主人,其所言所行與漢文化大相徑庭。長期以科舉致仕為營的儒漢文人階層,遭遇了前所未有的身份割裂與屈滯。 宋亡後,宗室後裔所遇困境大同小異,隱而不仕者比比皆是。趙匡胤第四子趙德芳十世裔孫赵孟頫(1254-1322)亦是趙宋遺孤中的一員,但二十出頭的他在面對求賢若渴的新王朝伸來的橄欖枝時,卻出人意表地選擇奔赴大都,一展抱負。一念之間的抉擇,趙孟頫也成就了自己百世流芳的一生。其於文學藝術上的造詣宗旨,不啻陶染歷代書家畫人,便連同趙氏一族幾代宗親,如其弟趙孟籲、其子趙雍(1289-1362)及趙奕、並其孫趙麟(歿於1367)等,倶得其蔭。 由於元代華夷矛盾空前強烈,借繪畫表抒胸臆便愈來愈為文人墨客所用。至遲至魏晉(220-589),書法藝術便已漸具此功用,但以畫言情,則直至宋方始濫觴,又由於宋亡而有了更為深刻的發展,畫者開始更普遍地於視覺意象中針砭時弊,寄興寓意。趙孟頫及不少元代漢儒,便於書畫中以復古之風追念故朝煙柳。在書法上,趙氏提倡師法晉唐書風;而在繪畫上,則追溯隋唐青綠。而如此行事的言外之意,在十三世紀的觀者看來,是不言而喻的。 本幅設色絹本立軸,大約作於十三至十四世紀間。以青綠鋪罩山石,清逸絕塵,古雅直追盛唐。鑲綴於石端山尖的石青產自藍銅礦(azurite),而用以渲染石塊山體的石綠則來自孔雀石(malachite),此即餘韻流風千年不泯的「青綠山水」之主色調。除了石青石綠,本幅也用了其它礦物顏料,如用產自赤鐵礦的赭石填岸渚,再用能與背景跳脫開來的鉛粉點前景人馬。諸色斑駁,氤氳如在巖岫。縱絹布已泛黃至色焦,覆色則經百世尚明麗。 除了使用復古的青綠色調,此畫以網巾紋處理水波或也借鑒了早期繪畫手法。畫家以乾淨流暢的細線,描勒出湖水回波密而不紊之態。與是幅畫作同時期的鑒賞家、藝術家等觀者群體能敏感地洞察出其呼應早期青綠山水的創作動機,並著意推崇此法,將其作為慕古薄今、逃避政治現實的藝術手段。 趙孟頫對後代藝術家的最大貢獻莫過於「書畫同源」論,即強調繪畫需有筆法。作為一名法書習得者,趙氏自覺將不同的運筆方式融入圖像創作過程中。如本拍品前景所繪高低錯落,展曲有致的四株樹木,勾勒點描以形態各異的葉子,仿若四位性情有別的君子。而左側中景崖壁上的樹群,又以不同的筆法展現。再看裸露的岩地上蟹爪狀的地毯草、雙鉤填彩的苔蘚、間或新長的細矮枝椏以及岸邊簇生的水草,完全體現了該藝術家所受過的書法運筆訓練之周全。 前景以細筆刻畫騎行文士及書童一行四人,與巍峨巒壁及闊遠江面相比,正是「丈山尺樹,寸馬豆人」。乍瞥之,觀者自會為畫面正中挺拔的樹群及嶒峵的峭壁而駐目,但其下盈寸之縑內的小巧人馬,亦因靈動的線條不為所掩。雖為點景之用,但撇除背景,其得當的比例和精到的細節,與等比放大的人馬圖無異,在嶢山寂水中,自成一番趣味。 而深遠景處,繪者以層次分明的淡色在絹布上細細暈染河岸洲溆,遙岑遠渚漸次隱入幽晦雲霧中。若細看,可見山石所鋪罩的青綠色下,有細長中鋒皴線。此畫中哪怕寸草點葉,都有思量和態度。這在當時有繪畫史知識的觀者看來,筆筆都有來處,古人寫文章有「引經據典」,而到畫者這裡便可以是「橅古仿賢」。如前景處之禿樹虬枝用五代宋初李成(919-967)、郭熙(1001-1090)法,而山石用皴則是對董源(活躍於934-962)、巨然(活躍於960-980)一脈南唐山水的致敬。 畫面右上角為行書題跋一則,落款「元貞二年」,即1296年,款署「子昂」,並兩方趙孟頫鈐印。然觀其字結體運筆,當非趙氏手事,應為後加款,但畫作本身仍極有可能為十三至十四世紀之作。該作所繪馬匹人物,與趙氏〈秋郊飲馬圖〉相仿,覆色一如〈幼輿丘壑〉,構圖上則類〈江村漁樂〉。該作繪者或為趙氏後人或子弟,當受過良好的法書訓練,亦深諳當時流行的青綠復古之風。 可惜的是,該軸遞藏史現無從考究,軸上僅一方漫漶難辨鑒藏殘印,似該軸在重裱時被裁縮過。所幸該軸著錄於迮朗(1747-1813)所著《三萬六千顷湖中畫船錄》,該書成於1759年,於1844年被收錄於於沈楙惪等增編的《昭代叢書》中,軸題曰〈趙松雪山水〉,並謂:「絹本高八呎,兩人騎而同歸,隔水觀山,有緩轡揚鞭之致。」錄跋文,無一字與本軸差。末則記印文,曰:「朱文印二,曰趙子昂氏,曰趙孟頫印,又引首朱文長印,一曰松雪齋。」前兩方印倶同,惟不見引首章,當為重裱時被切去,以致本軸現右邊緣及頂部邊沿過滿。 For further information about this lot please visit the lot listing

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