張穆一生充滿哀痛坎坷,十一歲失恃,十四歲失怙,十九歲而喪繼母,二十六歲二兄早逝,三十四歲髮妻病亡,三十五歲又遭禁考。道光二十八年(1848)二月,四十四歲的張穆又迭遭厄運。時京師瘟疫流行,九日之間,妻子雙亡,「十年營冓之巢,一日迅掃空之,人非木石,其誰堪比」。六月,三兄麗暹亦歿,張穆痛呼「「穆何辜於天」!歸耕田園之思益切,他請吳儁作〈煙雨歸耕圖〉(祁叔穎跋云見於石州遺物,或即為現藏山西博物院卷),畫中石州衣簑戴笠,芒鞋鋤禾,意態恬然自適。十月,張穆作《小棲雲亭記》,擬於其卜居之京北靁家橋築「小棲雲」亭,「雨眺晴耕,徜徉終老」,並倩好友戴醇士寫〈小棲雲亭圖〉,誰料「甫裝成卷,輒為偷兒持去,捕之累月不獲」,而「追懷妙墨,難遂忘情」,於是再賦詩索畫,次年春,鹿牀寫成本卷〈小棲雲亭第二圖〉以贈。祁叔穎跋云本卷乃鹿牀「極得意之筆,自謂勝於初本」,二稿勝於初稿,原是合情合理,況鹿牀與石州交誼匪淺,又兼此時鹿牀亦謀致仕,感同身受,豈不全力以赴哉!畫面以幾近滿幅的全景式構圖,寫崇山峻嶺,雲氣蒸騰,繁林茂樹間,「小棲雲亭」臨水而建,石州獨於亭中怡然趺坐,獨與天地精神往來。佈局開闔宏闊,取意荊、關;復以披麻皴輔以渴筆淡墨,得董、巨平淡天真之味,若視為鹿牀中年傑作,當不為過。此卷寫成數月後,鹿牀吿老歸邑,返杭州主講崇文書院,故叔穎八月既望跋有「今鹿翁將南歸,此畫尤難得矣」句,古時舟車不便,一別參與商,怎不令人感傷。卷後叔穎凡四跋,第一跋乃知交三人俱在京城,詩文唱和,何其融融。而再見此卷,忽忽十二載已逝,石州墓木已拱,而鹿牀則剛殉難於太平之亂。天人永訣,展卷能不惘然乎!張穆與祁寯藻乃姻親,其三兄麗暹妻叔穎之妹,張祁雖相差十二歲,但因志趣相投,亦師亦友,交情篤厚。石州身後,叔穎整理其所遺書稿,刊行多部,《蒙古遊牧記》即其一,序曰「著述卓然不朽者,厥有二端:陳古義之書,則貴乎實事求是;論古今之書,則貴科經世之用。二者不可兼得,而張石州《蒙古遊牧記》獨能兼之。」 石州所藏,大半散佚,任槐庭之後,此卷曾為詩夢齋葉鶴伏珍藏。吳慶坻(1848-1924)《蕉廊脞錄》中錄有此卷,未知是其所藏抑或其經眼者,吳氏以鹿牀「筆下無塵俗」甚為看重,《蕉廊脞錄》第七卷「書畫」篇錄歷代書畫共四十條,戴熙即佔其五。附題跋者簡介如下:祁寯藻(1793-1866)字叔穎,一字淳甫,號春圃、息翁,晚號??亭叟。山西壽陽人。嘉慶十九年(1814)進士,由庶吉士授編修。道光七年(1827)至十三年(1833)累官文淵閣校理、翰林院侍講學士、內閣學士兼禮部侍郎,道光二十年(1840)授兵部尚書,越九年值上書房總師傅,繼為體仁閣大學士、首席軍機大臣,並加賞太子太保銜。同治元年(1859),以大學士銜補禮部尚書,侍讀弘德殿。卒於北京,諡文端。祁氏精儒學、訓詁,善詩賦,為道、咸、同三代帝師。其書法由小篆入真行,師承二王,出顏柳,參以山谷,渾厚遒健,自成一格,「一時之最,人共寶之」。馮志沂(1814-1876),字魯川,號柏泉。山西代州(今代縣)人。道光十六年(1836)進士,年二十三歲,授刑部主事,累官安徽廬州府知府、安徽按察使。為官清廉剛正,禮賢課士,為曾國藩所器重。從桐城派梅曾亮遊。工詩文,藏書頗豐,與張穆交誼篤厚,曾比鄰而居。傳世有《微尚齋詩文集》、《西隃山房集》、《微尚齋遺文》等。 端木埰(1815-1887),字子疇。江蘇江寧(今南京)人。道光二十九年(1849)優貢,得祁寯藻薦於朝,授內閣中書,後擢至侍讀。性兀傲。喜經史、善詩工書,善小楷,尤擅倚聲,嘗與人結聽松詞社。編著有《宋詞賞心錄》、《碧瀣詞》、《楚辭啟蒙》等。葉詩夢(1863-1937),姓葉赫那拉,名佛尼音布。父瑞麟,曾任兩廣總督。北京人。民國後更名葉潛,字鶴伏,又字荷汀,號詩夢居士,又號師孟。清末民初著名琴家。琴從祝安伯、孫晉齋、李湘石、黃勉之等名家,能融匯諸派。弟子有楊時百、高羅佩、汪孟舒等。善書法,精於武術,亦通岐黃,頗具聲名。好收藏,曾有「崑山玉」、「九霄環珮」、「風入松」、「鳴玉」、「歸鳳」、「霹靂」六張古琴珍品。其中「九霄環珮」,現藏於北京故宮,乃公認唐代雷琴名品。編著有《詩夢齋琴譜》、《詩夢齋詩文集》、《詩夢齋日記》、《醫藥雜錄》等。
Dai Xi (1801-1860)
Little Resting Cloud Hut, 1849Horizontal handscroll, ink on paper, titled by the artist in seal script, dedicated to Zhang Mu (1805-1849), and signed Qiantang Dai Xi, with three artist's seals reading Dai Xi, Chunshi and Chushi Jiafeng, and with two collector's seals of Ye Hefu (1863-1937) on the painting; titleslip by Ye Hefu, dated bingshen (1896); a frontispiece in clerical script by He Shaoji (1799-1873), with one seal of his; three inscriptions written by the recipient Zhang Mu, the first dated the 28th year of the Daoguang reign (1848) and the last dated jiyou (1849), and with a total of nine collector's seals of his; two further inscriptions by the artist, dated the 28th year of the Daoguang reign (1848), and with four seals of his; followed by a further seven colophons: one by Ye Hefu, with another five collector's seals of his; four by Qi Junzao (1793-1866), the first two dated the 29th year of the Daoguang reign (1849) and xinyou and the 11th year of Xianfeng reign (1861), and with a total of five seals of his; one by Feng Zhiyi (1814-1867), dated jiyou (1849), and with one seal of his; and one by Duanmu Cai (19th century), dated renxu (1862), and with one seal of his.Frontispiece: 31.1 x 97.2cm (12 1/4 x 38 1/4in) Painting: 31.1 x 97.8cm (12 1/4 x 38 1/2in) Colophon: 31.1 x 405.1cm (12 1/4 x 159 1/2in)
注脚
Exhibited: New Songs on Ancient Tunes, Honolulu Museum of Art, Honolulu, HI, August 30-October 28, 2007Published: Teisuke Toda and Hiromitsu Ogawa comp., Comprehensive Illustrated Catalogue of Chinese Paintings, Third Series, Volume 1: American and Canadian Collections, University of Tokyo Press, 2013, A50-024, pp.188-189Little, Stephen, and J. May Lee Barrett, New Songs on Ancient Tunes: 19th-20th Century Chinese Paintings and Calligraphy from the Richard Fabian Collection, Honolulu: Honolulu Museum of Art, 2007, pp.100-103 Wu Qingchi, Jiaolang cuo lu: Volume 7, Zhonghua Shu Ju, Beijing, 2008, p.215Pro