- 587
Dai Yiheng 1826-1891
Estimate
8,000 - 12,000 USD
Log in to view results
bidding is closed
Description
- Dai Yiheng
- LANDSCAPES AFTER ANCIENT MASTERS
- ink and color on paper, a pair of hanging scrolls
(1) signed Quantang Dai Yiheng Yongbai, dated bingyin, the fifth year of the Tongzhi reign (1866), the forth lunar month, with three seals of the artist, he ye hou ren, yi heng yong bai; inscription on painting by the artist, with four seals, qiao guo, dai yi heng yin, yong bai, wen jie jia fa
(2) with four seals of the artist, he ye hou ren, yi heng, yong bai, yong bai yi zi da tian
(2) with four seals of the artist, he ye hou ren, yi heng, yong bai, yong bai yi zi da tian
Provenance
Sotheby's Hong Kong, Fine Modern and Contemporary Chinese Paintings, October 30, 1995, lot 119
Exhibited
Journeys on Paper and Silk: The Roy and Marilyn Papp Collection of Chinese Painting, Phoenix Art Museum, February 28-April 19, 1998
Literature
Journeys on Paper and Silk: The Roy and Marilyn Papp Collection of Chinese Painting, Phoenix Art Museum, 1998, cat. 51, pp. 163-165
Condition
- Overall in good condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
Artist's inscription:
(1) In the past, there were three stages of transformation in rendering clouds. Of these, the most provocative may be the evocation of floating mists amidst [the tangible images], where brush and ink traces are the most apparent. Regarding the Wangchuan Villa by Wang Wei, once I saw Song Xu's copy of Wang Meng's rendition of it, and I regretted that Master Song's was deficient on account of [his predilection for] sharp-cutting contour lines. As a consequence, his is not able to evoke the effect of the dispersing and gathering of mists and clouds. [In his work] I am trying to recreate a segment of the Wangchuan scroll from memory.
(2) Li Yingqiu's (Li Cheng) snow landscape is [truly] the most inspiring of all. In recent times, there are few capable of carrying on his heritage. Some of the painters in the past were able to realize samadhi through [having understood] his discourses on the art of painting. I have seen Wen Zhengming's hanging scroll of Old Trees and Cold Spring, and privately believed that he has done so. Thereupon I tried to imitate his approach and painted this Waning Moon in the Cold Forest. I also added a little bit of the method of Ni Zan in painting the rocks [and shores].
- Journeys on Paper and Silk, p. 163
(1) In the past, there were three stages of transformation in rendering clouds. Of these, the most provocative may be the evocation of floating mists amidst [the tangible images], where brush and ink traces are the most apparent. Regarding the Wangchuan Villa by Wang Wei, once I saw Song Xu's copy of Wang Meng's rendition of it, and I regretted that Master Song's was deficient on account of [his predilection for] sharp-cutting contour lines. As a consequence, his is not able to evoke the effect of the dispersing and gathering of mists and clouds. [In his work] I am trying to recreate a segment of the Wangchuan scroll from memory.
(2) Li Yingqiu's (Li Cheng) snow landscape is [truly] the most inspiring of all. In recent times, there are few capable of carrying on his heritage. Some of the painters in the past were able to realize samadhi through [having understood] his discourses on the art of painting. I have seen Wen Zhengming's hanging scroll of Old Trees and Cold Spring, and privately believed that he has done so. Thereupon I tried to imitate his approach and painted this Waning Moon in the Cold Forest. I also added a little bit of the method of Ni Zan in painting the rocks [and shores].
- Journeys on Paper and Silk, p. 163