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REN YI (1840-1895) Figures in a Landscape, 1881 (4)
美国
2023年03月21日 开拍 / 2023年03月19日 截止委托
拍品描述 翻译
PROPERTY FROM THE REVEREND RICHARD FABIAN COLLECTION
REN YI (1840-1895)
Figures in a Landscape, 1881
Set of four hanging scrolls, ink and color on paper, each scroll inscribed and dated by the artist xinsi, signed Shanyin Ren Bonian, Shanyin Bonian Ren Yi, Bonian Ren Yi, Shanyin Ren Yi Bonian, and each scroll with one artist's seal reading Yi yin, outer titleslip with a collector's seal of Tsao Jung Ying (1929-2011).
58 5/8 x 15 5/8in (149 x 39.7cm) each (4) (4).
任頤(1840-1895) 人物圖 設色紙本 立軸四屏 一八八一年作

款識:
(一)溪山觀瀑,仿新羅山人筆。辛巳夏六月,山陰任頤伯年。
(二)辛巳六月,山陰伯年任頤。
(三)師新羅山人,辛巳六月,伯年任頤。
(四)光緒辛巳六月望後,山陰任頤伯年。

鈐印:頤印(四鈐)

Provenance:
Far East Fine Arts, San Francisco, California
Collection of Tsao Jung Ying (1929-2011)

Published:
Soong, James H. and Jung Ying Tsao. Chinese Paintings by the Four Jens: Four Late Nineteenth Century Masters. San Francisco: Far East Fine Arts, 1977, no. 21a-d.

Andrews, Julia Frances, Michael Knight, and Pauline Yao. Between the Thunder and the Rain: Chinese Paintings from the Opium War Through the Cultural Revolution, 1840-1979. San Francisco: Echo Rock Ventures, in association with the Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, 2000, pp.60-61 (two illustrated)

Little, 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.270-273.

Toda, Teisuke and Hiromitsu Ogawa comp. Comprehensive Illustrated Catalogue of Chinese Paintings, Third Series, Volume 1: American and Canadian Collections. Tokyo: University of Tokyo Press, 2013, A50-062, p.207.

Exhibited:
The Four Jens, Far East Fine Arts, San Francisco, California, May 4, 1977.

Between the Thunder and the Rain, Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, San Francisco, CA, October 25, 2000-January 14, 2001.

New Songs on Ancient Tunes, Honolulu Museum of Art, Honolulu, HI, August 30-October 28, 2007.

來源:
加州舊金山遠東藝術中心
曹仲英(1929-2011)舊藏

出版:
宋漢西(James H. Soong)、曹仲英,《海上四任》,舊金山:遠東藝術中心,1977年,圖錄編號21a-d

Julia Frances Andrews、Michael Knight 及 Pauline Yao,《風雲際會:從鴉片戰爭到「文革」(1840-1979)的中國繪畫》,舊金山:亞洲藝術博物館、李鐘文亞洲藝術文化中心,2000年,頁60-61

Stephen Little、J. May Lee Barrett, 《古調新歌:費立哲神父珍藏十九及二十世紀中國書畫》,夏威夷:檀香山藝術博物館,2007年,頁270-273

戶田禎佑、小川裕充,《中國繪畫總合圖錄》三編,第一卷,東京:東京大學出版會,2013年,圖錄編號A50-62,頁207

展覽:
《海上四任》,遠東藝術中心,舊金山,加州,1977年5月4日

《風雲際會:從鴉片戰爭到「文革」(1840-1979)的中國繪畫》,亞洲藝術博物館,舊金山,加州,2000年10月25日至2001年1月14日

《古調新歌:費立哲神父珍藏十九及二十世紀中國書畫》,檀香山藝術博物館,夏威夷,2007年8月30日至10月28日

This well-published and exhibited set of four panels exemplifies Ren Yi (Bonian) as a mature artist, and a celebrated master of the Shanghai School. Fluent in nearly any genre of painting, Ren Yi's figural depictions brought him the greatest fame, and they were in high demand among Shanghai's thriving merchant class. His personalized portraits were reserved for a few close friends and personal connections. His portrait of the Monk and fellow artist Xugu (1823-1896) Sharing Karma with the Buddha also from the Fabian Collection and sold in these rooms March 21, 2022 as lot 40, revealed the artist painting with verisimilitude and influenced by the newly introduced media of photography.

In this four-panel set, the figures are characters, not intended to be specific portraits. With his characteristically thin brushwork he describes their faces and attire, exaggerating their pendulous jowls and bulbous foreheads, Ren Yi recalls the approach of Chen Hongshou (1598-1652), as well as his forebears in the Shanghai School, Ren Xiong (1823-1857) and Ren Xun (1835-1893). Each of the four panels are familiar tropes in Chinese landscape painting, 'gazing at a waterfall near a mountain stream', 'returning home by boat in a storm', 'seeking a phrase under the shade of wutong', and 'resting in the shade the pines', a descriptive expression of a poetic moment. Yet in Ren Yi's rendering, the figures take center stage, sharing the spotlight with the landscape surrounding them. In each panel, nature's repeating patterns create a rhythmic tapestry to accompany the figures, and the wide variety of different brush and ink techniques seen in the four scrolls underscores Ren Yi's talent and virtuosity.

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