- 630
Attributed to Wen Zhengming 1470-1523
Estimate
300,000 - 500,000 USD
bidding is closed
Description
- Attributed to Wen Zhengming
- FEELING OF MUSIC IN AN EMPTY MOUTAIN
- ink and color on paper, hanging scroll
signed Zhengming, inscribed 'in imitation of Zhao Songxue (Zhao Mengfu, 1254-1322)', dated bingzi (1516) of the Jiajing reign, autumn, with three seals of the artist, wen zheng ming yin, heng shan, ting yun, and eleven collectors' seals, including yang wen cong, long you, qing chu san ren, shao ye shen ding, yi tang. Colophons by Yang Wencong (1596-1646), signed Houxue Yang Wencong, dated gengxu (1610), summer; and Yuan Sibi (1838-1888), signed Qingchu sanren Zhiyan, dated renwu (1882) of the Guangxu reign, the eighth lunar month
Catalogue Note
Note:
The present painting is inscribed with a cyclical date bingzi, which does not exist for the Jiajing reign period. Presumably the artist mistakenly inscribed the characters bingzi instead of bingwu (1546). There are two paintings with nearly identical compositions in the collection of the National Palace Museum, Taipei. The first is also ascribed to Wen Zhengming and is inscribed in regular script "Copied after Songxue daoren's (Zhao Mengfu) ' Playing the Qin in the Empty Cliffs', Jiajing bingwu, sixth month, Wen Zhengming of Changzhou." The second version is ascribed to Ren Renfa (1255-1328), and is entitled 'Scholar Playing the Qin.' The size of these two paintings is also very close to that of the present scroll. Both paintings are recorded in the Shiqu baoji Imperial catalogue, but scholars believe that both of the Palace Museum paintings are copies based on a lost Zhao Mengfu original.
The present painting is the third version of the composition. The most recent remounting was done by Master Yan Guirong of the Shanghai Museum conservation department. According to Master Yan, when he remounted the painting he observed that some pigments were added to strengthen the backing, a practice which he claimed was not used after the Ming dynasty.
Colophons:
Yang Wencong: Zhao Weigong¿s original painting was the foremost treasure of the White Snow Studio, and I managed to see it. This copy by Wen Taishi verges on the true form of the original. The ancient and modern masterpieces are equal! Among those who have come afterwards, who can succeed him? Fifth month in summer of the gengxu year, the student Yang Wencong.
Yuan Sibi: This painting belonged to Baiya Shanren. In spring of the jiaxu year, it was sent to the capital to be mounted. I was pleased by its transcendental quality and made a copy of it before sending it to Shu. I hung the copy in my studio. After two years, Lu Jiuxiang insisted on having it, and therefore I started another copy, but before I could finish it Lu brought my first copy to Shu. This year I also went to Guzi in Shu. When Shanren showed the painting, I completed my unfinished copy from two years ago. In all I have copied this painting three times and held it in my hands twice. The edge of the scroll bears an old colophon by Master Longyou asking who could be Wen Zhengming¿s successor. Every time I picked up my brush I would be mired in long hesitations, overwhelmed by a yearning for the ancient masters. But to speak of succeeding them - how dare I? Mid-autumn of the renwu year, eighth year of the Guangxu reign (1882). Inscribed by Qingchu sanren Zhiyan after completing a copy.
The present painting is inscribed with a cyclical date bingzi, which does not exist for the Jiajing reign period. Presumably the artist mistakenly inscribed the characters bingzi instead of bingwu (1546). There are two paintings with nearly identical compositions in the collection of the National Palace Museum, Taipei. The first is also ascribed to Wen Zhengming and is inscribed in regular script "Copied after Songxue daoren's (Zhao Mengfu) ' Playing the Qin in the Empty Cliffs', Jiajing bingwu, sixth month, Wen Zhengming of Changzhou." The second version is ascribed to Ren Renfa (1255-1328), and is entitled 'Scholar Playing the Qin.' The size of these two paintings is also very close to that of the present scroll. Both paintings are recorded in the Shiqu baoji Imperial catalogue, but scholars believe that both of the Palace Museum paintings are copies based on a lost Zhao Mengfu original.
The present painting is the third version of the composition. The most recent remounting was done by Master Yan Guirong of the Shanghai Museum conservation department. According to Master Yan, when he remounted the painting he observed that some pigments were added to strengthen the backing, a practice which he claimed was not used after the Ming dynasty.
Colophons:
Yang Wencong: Zhao Weigong¿s original painting was the foremost treasure of the White Snow Studio, and I managed to see it. This copy by Wen Taishi verges on the true form of the original. The ancient and modern masterpieces are equal! Among those who have come afterwards, who can succeed him? Fifth month in summer of the gengxu year, the student Yang Wencong.
Yuan Sibi: This painting belonged to Baiya Shanren. In spring of the jiaxu year, it was sent to the capital to be mounted. I was pleased by its transcendental quality and made a copy of it before sending it to Shu. I hung the copy in my studio. After two years, Lu Jiuxiang insisted on having it, and therefore I started another copy, but before I could finish it Lu brought my first copy to Shu. This year I also went to Guzi in Shu. When Shanren showed the painting, I completed my unfinished copy from two years ago. In all I have copied this painting three times and held it in my hands twice. The edge of the scroll bears an old colophon by Master Longyou asking who could be Wen Zhengming¿s successor. Every time I picked up my brush I would be mired in long hesitations, overwhelmed by a yearning for the ancient masters. But to speak of succeeding them - how dare I? Mid-autumn of the renwu year, eighth year of the Guangxu reign (1882). Inscribed by Qingchu sanren Zhiyan after completing a copy.