- 2765
Jin Cheng
估價
1,200,000 - 1,800,000 HKD
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招標截止
描述
- Jin Cheng
- Drifting along the Tiao Stream
- ink and colour on silk, handscroll
signed JIN CHENG, inscribed, and with four seals of the artist. Inscribed by the artist again on mounting, and dated 1914. Inscribed on the brocade cover and titleslip by the artist himself. Frontispiece by Zhuang Yunkuan. Annotations by thirteen artists including Zhu Yifan, Lin Shu, and Bao Xi
來源
香港蘇富比，一九九四年十月，中國書畫拍賣，編號942
Condition
-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."
"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."
拍品資料及來源
註：一九一四年三月，北京成立督辦全國煤油開發事宜公署，勘探於陝西延安之油礦。時任全國煤油督辦之前內閣總理熊希齡，以金城具新知，通洋務，與前赴探勘之美商美孚石油公司人員較易商討，邀之襄助。七月，金氏與長子開藩赴延安，翌月，父金燾病逝，遂返滬奔喪。
本幅無年款，按一九一五年裝裱成卷跋於隔水之內容，可知寫於一九一四年客居延安之時。陝境覊旅期間，北樓先生未疏筆墨，藉畫消暇，其跋曰「因念吾鄉，山水清遠……意會閑寫，輒復點筆，以庽懷歸之思」，取「苕溪秋泛」之意，即淵源於此。時間關隔涉，未聞父喪，寫竟，未及循禮守制，畫上仍鈐朱印，如斯狀況，亦見諸同期別幅，故創作之期或可訂於八月初。
卷上題「仿唐子畏」，按金氏目遇公私收藏書畫劇迹極夥，多有臨摹，以作鑽研學習，若循此線索追踪，或效法自清宮舊藏之唐寅〈溪山漁隱圖〉，引首具乾隆題大字「漁隱」。
本幅與該卷同屬絹本，尺幅相若，按圖中佈局，起首處密樹夾岸，沿江延伸，見水榭清話，孤舟歸棹，重巖瀑瀉，攜琴訪友，徜徉於其中，山重水複，起承轉接，規整中見自然法度。兩卷頗類近，惟畫家非一板一眼地對臨，實規模其概，截取剪裁，如添綴遠山蜿蜒，見雲飄嵐盪，上接天際，將畫面上方推遠，擴闊空間，刪掉江上漁笛及垂釣之舟子，減省景物構接之稠密，令全畫更得疏曠之致。用筆取法六如，上接李唐，惟山石斧劈剛勁銳利，略作修飾，免陷刻露之弊，設色温潤蘊藉，入眼處一片江南秀色，清朗曠遠。畫家汲古而生新貌，於此見矣。故他題「仿唐子畏」，於錦套外署「北廔自畫仿唐子畏〈苕溪秋泛圖〉卷」，曰「仿」、曰「自畫」，並捨原題，取「苕溪秋泛」，其旨清晰不過，實寄家鄉山水之思。翌年，返京後重裝，廣邀京華文壇名宿題咏張之，歷七載，得十三家跋，亦盛事也。
一九二五年，北樓再寫一卷，未署畫題，鈐「北樓摹本」印，內容與本卷幾無二致，應為對臨本。卷尾具伊立勳一九三八年跋，曰「題金君北樓〈谿山高隱圖〉」。直到七十年代，由其侄金勤伯付梓刊印，題「金北樓橅唐六如〈溪山漁隱圖〉卷」。
參考資料：
唐寅〈溪山漁隱圖〉可參見〈明四大家特展 ─ 唐寅〉（台北，國立故宮博物院，二○一四年七月），圖版15
金城一九二五年〈溪山漁隱圖〉卷可參見〈金北樓橅唐六如《溪山漁隱圖》卷〉（台北，中華書畫出版社，一九七七年）
本幅無年款，按一九一五年裝裱成卷跋於隔水之內容，可知寫於一九一四年客居延安之時。陝境覊旅期間，北樓先生未疏筆墨，藉畫消暇，其跋曰「因念吾鄉，山水清遠……意會閑寫，輒復點筆，以庽懷歸之思」，取「苕溪秋泛」之意，即淵源於此。時間關隔涉，未聞父喪，寫竟，未及循禮守制，畫上仍鈐朱印，如斯狀況，亦見諸同期別幅，故創作之期或可訂於八月初。
卷上題「仿唐子畏」，按金氏目遇公私收藏書畫劇迹極夥，多有臨摹，以作鑽研學習，若循此線索追踪，或效法自清宮舊藏之唐寅〈溪山漁隱圖〉，引首具乾隆題大字「漁隱」。
本幅與該卷同屬絹本，尺幅相若，按圖中佈局，起首處密樹夾岸，沿江延伸，見水榭清話，孤舟歸棹，重巖瀑瀉，攜琴訪友，徜徉於其中，山重水複，起承轉接，規整中見自然法度。兩卷頗類近，惟畫家非一板一眼地對臨，實規模其概，截取剪裁，如添綴遠山蜿蜒，見雲飄嵐盪，上接天際，將畫面上方推遠，擴闊空間，刪掉江上漁笛及垂釣之舟子，減省景物構接之稠密，令全畫更得疏曠之致。用筆取法六如，上接李唐，惟山石斧劈剛勁銳利，略作修飾，免陷刻露之弊，設色温潤蘊藉，入眼處一片江南秀色，清朗曠遠。畫家汲古而生新貌，於此見矣。故他題「仿唐子畏」，於錦套外署「北廔自畫仿唐子畏〈苕溪秋泛圖〉卷」，曰「仿」、曰「自畫」，並捨原題，取「苕溪秋泛」，其旨清晰不過，實寄家鄉山水之思。翌年，返京後重裝，廣邀京華文壇名宿題咏張之，歷七載，得十三家跋，亦盛事也。
一九二五年，北樓再寫一卷，未署畫題，鈐「北樓摹本」印，內容與本卷幾無二致，應為對臨本。卷尾具伊立勳一九三八年跋，曰「題金君北樓〈谿山高隱圖〉」。直到七十年代，由其侄金勤伯付梓刊印，題「金北樓橅唐六如〈溪山漁隱圖〉卷」。
參考資料：
唐寅〈溪山漁隱圖〉可參見〈明四大家特展 ─ 唐寅〉（台北，國立故宮博物院，二○一四年七月），圖版15
金城一九二五年〈溪山漁隱圖〉卷可參見〈金北樓橅唐六如《溪山漁隱圖》卷〉（台北，中華書畫出版社，一九七七年）