- 672
She Jiahui (active 18th century)
Estimate
35,000 - 50,000 USD
bidding is closed
Description
- She Jiahui
- GHOST AMUSEMENT
- ink on paper, album of eight double leaves
signed She Jiahui, dated jiazi (1804), the second lunar month, with sixteen seals of the artist, you yi wu yi zhi jian, si yuan zhu ren, qi xiang xuan, jia hui zhi yin, han jiang she shi, ying si die wu, yang ru, qi xiang xuan, chen jia hui, jiang na chun, yi ting, yang ru, mo hua, qing yan tang, si yuan zhu ren, jia hui, and four collectors' seals, shui pei xin shang, yun hu chang shou, hu shan feng yun, fen. Colophon by Zhang Wentao (1764-1814)
Literature
Comprehensive Illustrated Catalogue of Chinese paintings, Vol.4, Japanese Collections: Temples and Individuals, complied by Teisuke Toda and Hiromitsu Ogawa, University of Tokyo Press, June 1983, pp. IV-199-200, pl. JP7-065
Catalogue Note
Note:
Liangfeng’s Ghost Amusement scroll is a renowned work of art. Immediately after completing it around 1766, Luo Pin put it inside a portable case and kept it close to himself for over thirty years. He invited famous literati and gentlemen all over China to inscribe it. When the last colophon was written in 1918, the painting had collected a total of 160 colophons and was well-known all over China. She Jiahui was not mentioned in histories of painting, and the present album is the only work by him known to have survived. Comparing it with Luo Ping’s original, one sees that it is not a direct copy. The leaf with the skeleton is compositionally closest to the original, whereas Wu’s landscape backgrounds are very different from Luo’s. Substituting Luo Ping’s wildly bizarre style with a refined elegance and subtlety, the present album is indeed interesting in its own right.
Liangfeng’s Ghost Amusement scroll is a renowned work of art. Immediately after completing it around 1766, Luo Pin put it inside a portable case and kept it close to himself for over thirty years. He invited famous literati and gentlemen all over China to inscribe it. When the last colophon was written in 1918, the painting had collected a total of 160 colophons and was well-known all over China. She Jiahui was not mentioned in histories of painting, and the present album is the only work by him known to have survived. Comparing it with Luo Ping’s original, one sees that it is not a direct copy. The leaf with the skeleton is compositionally closest to the original, whereas Wu’s landscape backgrounds are very different from Luo’s. Substituting Luo Ping’s wildly bizarre style with a refined elegance and subtlety, the present album is indeed interesting in its own right.