Sotheby’s Hong Kong, Important Classical Chinese Paintings and Calligraphy, 31 O꧙ctober 1999, Lot ℱ47

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香港蘇富比，中國古代書畫， 1999年10月31日，拍品編號 47

The Leshan Tang Collection of Classical Chinese Painting and Calligraphy, Leshan Tang, Taipei, July 2006, pp. 62-67, 150

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〈樂山堂藏古代書畫〉(臺北，樂山堂，二〇〇六年七月)，頁62-67、 150

Dai Ku🐷i (1388-1462), courtesy name Wenjin and sobriquet Jing'an and Yuquan Shanren, was a native of Hangzhou, Zhejiang province. He served in the Imperial Painting Academy during the reign of Emperor Xuande in the Ming dynasty, and worked at the Hall of Benevolence and Wisdom (Renzhidian) with Xie Huan (active between 1403-1435), Li Zai (active between 1426-1468), Shi Rui (active between 1426-1469) and Zhou Wenjing (active between 1426-1463). Later, he left the court as he was accused of being disrespect f𝓡or painting a red-robed man fishing beside the river. He was proficient in landscape, figures, bird and flower painting with vigorous, smooth and powerful brushwork. He received many disciples, thus influencing the whole Ming dynasty. He was regarded as the founding master of the Zhejiang School of Painting.

Lu Shen (1477-1544) once said, "Dai Wenjin of Qiantang is the No. one painter of our dynas🔥ty." Lang Ying (1487-1566) said, "After the death of Dai Jin, there are only dozens of people🦂 known for their paintings... Each has their own strengths. But who master all genres like him? He is the painting saint." Wang Shizhen (1526-1590) once praised him, "It is clear that Dai Jin is the best painter of the Ming dynasty." There is no doubt about his artistic prowess.

The brushwork of this piece is both powerful and smooth. The painting scroll starts with the vigorous pine trunk, then extends to the thick root on the hillside, dotted with rocks and flowing water. It ends with dynamic pine branches in front of the waterfall. The elaborate composition offers infinite imagination of the pine wood. The postscript by Wang Chong (1494-1533) and annotation by Wen Zhengming (1470-1559) praised the exquisite composition of pines and rocks, calling it "t🅷he wonder of brushwork". According to the collectors' seals, this piece was successively collected by Li Tingxiang (1481-1544), the NO. Three Scholar in the Ming dynasty, Jin Chuansheng (1813-1866), the epigraphist in the Qing dynasty, and Jing Jianquan (tꩲhe 19th century), the great collector in the late Qing dynasty.

It is rare to find Dai Jin's hand scroll painting of pine trees, the only instance is the Pines and Bamboos (Songzhu hebi tujuan) scroll collaboratively created by Dai Jin and Zhu Kongyang, which is held by the Palace Museum in Beijing. See the Complete Collection of Cultural Relics and Treasures in the Palace Museum - Paintings of Zhejing School in Court Art Style, editor-in-chief, Shan Guoqiang, the Commercial Press, 2007, page 114-117, No. 61. The first section is the ink pine painted by Dai Jin. ℱAlthough it is shorter than this piece, it also reflects the old branches the vigorous green pines in the narrow space.

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註：戴進 （1388-1462） 字文進，號靜庵、玉泉山人，浙江杭州人，明宣德間為畫院待詔，與謝環(活動於1403-1435)、李在(活動於1426-1468)、石銳(活動於1426-1469)、周文靖(活動於1426-146🐎3) ⛎同值仁智殿。後因畫紅袍人垂釣水濱見讒爲失禮，放歸。於山水、人物、花鳥無一不精，用筆遒勁蒼潤、頓挫有力，其門下弟子甚眾，影響遍及有明一代，被尊為浙派之祖。

陸深(1477-1544)有云：「本朝畫手，當以錢唐戴文進為第一。」郎𒊎瑛(1487-1566)說道：「先生歿後，顯顯以畫名世者，無慮數十…… 各得其一支之妙。如先生之兼美眾善，又何人歟？誠畫中之聖。」王世貞(1526-1590)曾讚之：「然令具眼觀之，尚是我明最高手。」其꧋造詣無庸置疑。

本幅筆法勁健，渾厚兼有之。畫卷先以蒼勁松幹為開端，伸廷出山坡上的粗壯松根，穿插在石塊與流水間，尾段以瀑布前的靈動松枝作結，😼佈局精心，予人對松林無限的想像空間。跋尾有王寵(1494-1533)及文徵明(1470-1559)之題跋，均讚嘆其松石處理之精湛，謂「何筆端造化之妙」也。據鑑藏印可知，此卷先後經明代探花李廷相(1481-1544)、清金石家金傳聲 (💎1813-1866)及晚清大藏家景劍泉(十九世紀)之手，流傳有緒。

戴進以松入畫之手卷例子不多，唯可參考北京故宮博物院藏戴進、朱孔暘《松竹合璧圖卷》，見單國強主編《故宮博物院藏文物珍品全集——院體浙派繪畫》，商൩務印書館，2007，頁114-117，編號61。此卷前段為戴進繪墨松圖，雖較本幅略短，但同樣地，在窄長的空間中表現老朽的枝幹，體現出蒼松宏大的氣勢。