- 525
Shen Zongjing 1658-1725
Estimate
20,000 - 40,000 USD
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Description
- Shen Zongjing
- VIEWS OF THOUSANDS OF MILES
- 水墨紙本 十一開冊
(1) signed Shuanghe Daoren, with two seals of the artist, zong jing, nan ji shi; (2) signed di Zongjing, with two seals of the artist, zong jing, nan ji shi; (3) signed Shifeng, with one seal of the artist, shi feng; (5) with one seal of the artist, qiu lai; (6) signed Shifeng Jing, with one seal of the artist, zong jing; (7) signed Shifeng Jing, with one seal of the artist, ke ting; (9) dated renchen (1712), winter
(11) signed Shifeng Jing, dated guisi of the Kangxi reign (1713), with two seals of the artist, zong jing, nan ji shi
Colophons by Cao Sancai (active early 18th century) (1) signed Lianrang Cai, with four seals, zi zhong chan, san cai, er liang, jia zhu tian jia; (2) signed Erliang Jushi, with three seals, ya zhen, san cai fu, er liang
With one collector's seal of Cao Sancai, zi sun hou shi jia chuan zhi bao (3) and two collector's seals of Cheng Qi (1911-after 1988), shuang song lou, cheng bo fen zhen cang yin
(11) signed Shifeng Jing, dated guisi of the Kangxi reign (1713), with two seals of the artist, zong jing, nan ji shi
Colophons by Cao Sancai (active early 18th century) (1) signed Lianrang Cai, with four seals, zi zhong chan, san cai, er liang, jia zhu tian jia; (2) signed Erliang Jushi, with three seals, ya zhen, san cai fu, er liang
With one collector's seal of Cao Sancai, zi sun hou shi jia chuan zhi bao (3) and two collector's seals of Cheng Qi (1911-after 1988), shuang song lou, cheng bo fen zhen cang yin
Exhibited
一、《墨韻—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，鳳凰城藝術博物館，一九九四年九月二日—十月九日；弗吉尼亞州克萊斯勒藝術館，一九九四年十一月十三日—一九九五年一月八日；柏林東亞藝術博物館，一九九五年九月九日—十一月十一日；漢堡工藝美術館，一九九五年十二月十五日—一九九六年二月十八日；華美協進社，一九九八年二月四日—六月十日
二、《墨韻—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，巴黎亞洲藝術博物館，一九九九年九月廿三日—十二月三十日
二、《墨韻—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，巴黎亞洲藝術博物館，一九九九年九月廿三日—十二月三十日
Literature
一、《墨韻—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，鳳凰城藝術博物館，一九九四年，圖錄編號24，第74—81頁
二、《墨韻—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，巴黎亞洲藝術博物館，一九九九年，圖錄編號26，第91—96頁
著錄
《萱暉堂書畫錄》，程琦，香港萱暉堂，一九七二年，第181—183頁
二、《墨韻—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，巴黎亞洲藝術博物館，一九九九年，圖錄編號26，第91—96頁
著錄
《萱暉堂書畫錄》，程琦，香港萱暉堂，一九七二年，第181—183頁
Condition
- Paper bear tanned tone due to age.
- Folding mark in the middle of each album leaf from previous mounting.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
Artist's inscription on the last leaf:
These small pictures contain the sweeping force of views of over tens of thousands of li. It is not necessary to impress others by painting many layers of cliffs and trees. If you can achieve the effect of void within solids, how can anyone fault you.
In the guisi year of Kangxi, by chance I stayed at Yanshan (Beijing) and was able to discuss painting with Master Lianrang (Cao Sancai) day and night. He had had these papers for many decades already. [One day] he produced them and requested paintings from me. I sketched these from my mental images and thus did not lose the natural state of exhilaration [I had experienced]. It is not likely that it will endure a lack of appreciation!
- Scent of Ink, p. 80
These small pictures contain the sweeping force of views of over tens of thousands of li. It is not necessary to impress others by painting many layers of cliffs and trees. If you can achieve the effect of void within solids, how can anyone fault you.
In the guisi year of Kangxi, by chance I stayed at Yanshan (Beijing) and was able to discuss painting with Master Lianrang (Cao Sancai) day and night. He had had these papers for many decades already. [One day] he produced them and requested paintings from me. I sketched these from my mental images and thus did not lose the natural state of exhilaration [I had experienced]. It is not likely that it will endure a lack of appreciation!
- Scent of Ink, p. 80