- 724
Ma Yuanyu 1669-1722
Estimate
40,000 - 60,000 USD
bidding is closed
Description
- Ma Yuanyu
- FLOWER AND BIRDS
- ink and color on silk, album of twelve leaves
signed Fufeng Ma Yuanyu, Ma Yuanyu, Fuxi, Qixia Sanren, Yuanyu, Nansha, Nansha Ma yuanyu, Qixia, all inscribed, with thirty-four seals of the artist, fu (2), xi (2), qi xia san ren, yuan (4), yu (4), yun gen xiao zhu (3), chen yuan yu (3), nan sha ju shi (3), yuan yu (2), yuan yu (2), nan sha (2), qi xia zi (4), fu xi, yi shan tang, one other (illegible), and five collectors' seals, zhou yi si yin, tai yi shi, huang ye shan zhuang, gu huan xuan, jian quan er shi nian jing li suo ju. Colophon by Zhou Yi, signed Quezhai Di Yi, dated xinwei (1811), the eighth lunar month
Catalogue Note
Artist’s inscriptions:
(1) Divine peach blossoms. After Cui Chuangbai’s method. Fufeng Ma Yuanyu.
(2) Shen Mengjian studied Qian Shunju’s (Qian Xuan) style, which is both descriptive and impressionistic. In its pervasive beauty there is not a whiff of vulgarity. Though I have endeavored to imitate it, I cannot match it. Ma Yuanyu.
(3) Reflected in the river, the moon wavers; fragrance invites the boatman’s songs. Fuxi.
(4) Mist floats in the rain on Cold Food Festival; swallows dart in the wind through apricot blossoms. Ma Yuanyu.
(5) Flowers look especially striking in a field of autumn grasses. It is best to view them through a screen after rain. After Qingnian’s (Zhou Ting) method. Painted and inscribed by Xixia sanren.
(6) A cricket, spurring weavers on, cries bitterly into the frosty night. But in the east is a lazy woman, and no loom can be heard. Inscribed by Yuanyu at a mountain hut.
(7) The rising sun shines over Qin Tower. The hanging branches are still covered by dewdrops. The hungry silkworm is of course anxious, not able to finish its make-up. The auspicious moon opens a scene of harmony; every place stirs with the spirit of spring. One cannot hang the basket until it is full of leaves. One cannot rest but under the branches’ shade. Yuanyu painted this scene of a silkworm on a mulberry tree and inscribed Xiaozi’s poem.
(8) Qiu Qingyu of the Northern Song was an expert in painting plants and insects. He could capture their appearance extremely accurately and had an elegant style, and was known for such. In his youth he studied the work of Teng Changyou, and in his old age he surpassed him. In this painting I tried to imitate Qiu’s style, but my brush failed to grasp it. I know I have not captured his spirit. Nansha.
(9) Imitating Xu Chongsi’ use of color. Nansha Ma Yuanyu.
(10) The scenery beyond Tao Qian’s fence, the fragrance within Luo Han’s house. After Huang Yaoshu. Yuanyu.
(11) Once in Hanjiang I saw Chen Zhongren’s Singing Cicadas on a Tall Willow, which was insouciant and transcendent. When I unrolled and viewed it, I felt the sudden chill of the time when summer rain had just stopped and autumn wind had begun to blow. Imitating the essence of his style on the fifth day of the sixth month. Ma Yuanyu.
(12) The butterflies have an inkling of spring, and following the bees circle the green moss. A sudden wind gust flares, but they still veer towards the flowers. On the fifteen day of the fourth month of the renwu year. Qixia.
(1) Divine peach blossoms. After Cui Chuangbai’s method. Fufeng Ma Yuanyu.
(2) Shen Mengjian studied Qian Shunju’s (Qian Xuan) style, which is both descriptive and impressionistic. In its pervasive beauty there is not a whiff of vulgarity. Though I have endeavored to imitate it, I cannot match it. Ma Yuanyu.
(3) Reflected in the river, the moon wavers; fragrance invites the boatman’s songs. Fuxi.
(4) Mist floats in the rain on Cold Food Festival; swallows dart in the wind through apricot blossoms. Ma Yuanyu.
(5) Flowers look especially striking in a field of autumn grasses. It is best to view them through a screen after rain. After Qingnian’s (Zhou Ting) method. Painted and inscribed by Xixia sanren.
(6) A cricket, spurring weavers on, cries bitterly into the frosty night. But in the east is a lazy woman, and no loom can be heard. Inscribed by Yuanyu at a mountain hut.
(7) The rising sun shines over Qin Tower. The hanging branches are still covered by dewdrops. The hungry silkworm is of course anxious, not able to finish its make-up. The auspicious moon opens a scene of harmony; every place stirs with the spirit of spring. One cannot hang the basket until it is full of leaves. One cannot rest but under the branches’ shade. Yuanyu painted this scene of a silkworm on a mulberry tree and inscribed Xiaozi’s poem.
(8) Qiu Qingyu of the Northern Song was an expert in painting plants and insects. He could capture their appearance extremely accurately and had an elegant style, and was known for such. In his youth he studied the work of Teng Changyou, and in his old age he surpassed him. In this painting I tried to imitate Qiu’s style, but my brush failed to grasp it. I know I have not captured his spirit. Nansha.
(9) Imitating Xu Chongsi’ use of color. Nansha Ma Yuanyu.
(10) The scenery beyond Tao Qian’s fence, the fragrance within Luo Han’s house. After Huang Yaoshu. Yuanyu.
(11) Once in Hanjiang I saw Chen Zhongren’s Singing Cicadas on a Tall Willow, which was insouciant and transcendent. When I unrolled and viewed it, I felt the sudden chill of the time when summer rain had just stopped and autumn wind had begun to blow. Imitating the essence of his style on the fifth day of the sixth month. Ma Yuanyu.
(12) The butterflies have an inkling of spring, and following the bees circle the green moss. A sudden wind gust flares, but they still veer towards the flowers. On the fifteen day of the fourth month of the renwu year. Qixia.