Su Manshu

signed MANSHU, and with one seal of the artist. Annotations on the mounting by Deng Erya and Cai Shou, with three seals of Deng and one seal of Cai

-Paper turns a little yellowish due to age. A obvious sign of crease can be found at the central part, because it is one leaf of albums before. Otherwise, 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：蘇曼殊工繪事，曾習藝於日本上野美術學校，筆下非有感不作，非友不贈，從未鬻畫，作品存世極稀，今人衹能從零散圖文中管窺其畫風：以山水為主，亦作佛像、人物、歷史故實題材，皆有寄意，少大幅立軸，風格則近蕭疏澹遠一路。本幅一江寒水，無橋樑蹊徑，似隔絕人境；遠近汀洲，樹禿草枯，扁舟一葉，似泊似漂，野渡無人，恰是史載曼殊畫中意境。

畫中鈐鄧爾雅藏印，蓋兩人同籍同庚，結識於港島，鄧氏廿餘歲時曾「親目上人作畫」，有詩寫蘇畫「意思精微出世間，偶然順筆寫煙鬟。略參我法非西笑，海外從來無此山」，可謂知音之言。

存世者有另幅曼殊畫跡，與本幅尺寸相若，惟裝潢稍異，似出於同冊。該幅具鄧爾雅跋，說明乃一九三三年得見於學者鄧之誠京華寓所，應為其收得曼殊殘冊中二頁，與到訪的鄧爾雅相與賞析，轉讓其一，爾雅攜回，又經蔡守過眼，翌年題跋贈婿黃般若。