拍品 587
- 587
戴以恒 1826-1891
估價
8,000 - 12,000 USD
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招標截止
描述
- Dai Yiheng
- 輞口莊圖、寒林落月
- 設色紙本 立軸
（一）款識：同治五年丙寅（一八六六）四月，摹古二幀，應澹如大公祖大人命，泉唐戴以恒用柏并記。鈐印：隺野後人、以恒、用柏
題畫心：古來畫雲之法凡三變。以有筆墨處取滃欎之致者為最。王右丞輞川卷曾見宋石門臨王叔明臨本，惜筆致刻露，未得烟霏霧結之趣。此背摹卷中輞口莊一角。鈐印：譙國、戴以恒印、用柏、文節家法
（二）款識：李營邱寒林有振裘挈領之妙。惜近世無李徒淂子昔賢，論畫語中領畧箇中三昧。曾見文徵仲《古木寒雅》立軸，竊謂得之因。倣其意作《寒林落月》，畧參清秘閣石法。鈐印：隺野後人、以恆、用柏、用柏弌字大田
題畫心：古來畫雲之法凡三變。以有筆墨處取滃欎之致者為最。王右丞輞川卷曾見宋石門臨王叔明臨本，惜筆致刻露，未得烟霏霧結之趣。此背摹卷中輞口莊一角。鈐印：譙國、戴以恒印、用柏、文節家法
（二）款識：李營邱寒林有振裘挈領之妙。惜近世無李徒淂子昔賢，論畫語中領畧箇中三昧。曾見文徵仲《古木寒雅》立軸，竊謂得之因。倣其意作《寒林落月》，畧參清秘閣石法。鈐印：隺野後人、以恆、用柏、用柏弌字大田
來源
香港蘇富比，中國近現代及當代繪畫，一九九五年十月三十日，拍品編號119
展覽
《絹紙行旅—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，鳳凰城藝術博物館，一九九八年二月廿八日—四月十九日
出版
《絹紙行旅—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，鳳凰城藝術博物館，一九九八年，圖錄編號51，第163-165頁
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.
拍品資料及來源
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