Jin Cheng (1878-1926)

signed JIN CHENG, dated 1917, inscribed, and with four seals of the artist

〈領略古法出新奇 ─ 金城繪畫藝術研究〉，邱敏芳著（台北，國立歷史博物館，二○○七年十月），彩圖9
〈中國近代繪畫叢刊 ─ 金城〉（台北，雅墨文化事業有限公司，二○○八年一月），圖版16
〈中國近現代畫家 ─ 金城〉（天津人民美術出版社，二○一二年五月），圖版38

-Foxing could be found on the painting. Generally 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

註：趙元活躍於元末明初，以山水見長，與崑山收藏家顧德輝友善，常參加其玉山草堂雅集，〈合溪草堂圖〉即為顧氏而作。畫中所寫景物，乃顧氏築於合溪之別業，故畫上具其題詩並跋，述其淵源。此畫原為清宮舊物，著錄於「石渠寶笈」，流出民間後，轉入吳興龐元濟氏「虛齋」所藏，今歸上海博物館。

民國初年，金城請設「古物陳列所」，集瀋陽故宮及承德故宮所藏之文物，公開展覽於武英殿，創中國現代博物館之先河。一九一四年，「古物陳列所」正式開放，他亦得以觀摩目賞歷代劇迹，並專心臨摹，鑽研前人古法，兼覽遍民間珍藏，故筆下所臨，逼肖原迹，又不失自家氣韻。

本幅臨自趙元，取全臨形式，畫中佈局構圖，一樹一石，人物屋舍，位置細節，幾近原迹，僅設色稍見差別。原畫具趙元、顧阿瑛分別以篆書、楷書題跋，亦一一臨出，只在趙氏原題左側，以字體略小之篆書署本款及日期。又鈐「金城所臨石渠秘本」，具此印者，約見於「古物陳列所」成立後少數所臨之本，多寫於一九一四至一九年間，如臨李山〈風雪松杉卷〉、臨錢穀〈竹林高士〉、臨王時敏〈晴嵐暖翠卷〉等，述明所臨出處，下筆時當格外慎之。另具「蘇伐羅迦耶迦業」白文方印，印文乃梵語，即「金城」之意，偶有鈐蓋矣。

參考資料：
一九一四年臨李山〈風雪松杉卷〉可參見〈京華煙雲 — 民國初年北方畫壇〉（台北，羲之堂文化出版事業有限公司，二○○二年十月），頁16-17
一九一七年臨王時敏〈晴嵐暖翠卷〉可參見〈中國近現代畫家 ─ 金城〉（天津人民美術出版社，二○一二年五月），圖版37
一九一九年臨錢穀〈竹林高士〉可參見〈中國近現代繪畫叢刊 ─ 金城〉（台北，雅墨文化事業有限公司，二○○八年一月），圖版23