Zheng Min, A Panoramic View of Mountains and Rivers after Jianjiang after Huang Gongwang | 鄭旼　江山勝覽圖卷　水墨紙本　手卷

Christie’s New York, Fine Chinese Paintings and Calligraphy,1 December 1993, Lot 1742. Sotheby’s Hong Kong, Important Classical Chinese Paintings and Calligraphy, 1 May 2000, Lot 33

 ----------------------------------------------

1. 紐約佳士得，中國書畫，1993年12月1日，拍品編號174

2. 香港蘇富比，中國古代書畫，2000年5月1日，拍品編號33

1. The Leshan Tang Collection of Classical Chinese Painting and Calligraphy, Leshan Tang, Taipei, July 2006, pp. 92-95、157

2-3. Please refer to the Chinese literature

 ----------------------------------------------

〈樂山堂藏古代書畫〉(臺北，樂山堂，二〇〇六年七月)，頁92-95、157

著錄

1. 黃賓虹〈漸江大師事蹟佚聞（下）〉，見《中和月刊》，第１卷第６期（1940年6月），頁 53

2. 〈古書畫經眼錄〉，收錄於余紹宋《余紹宋書畫論叢》（北京：北京圖書館出版社，二〇〇三年），頁165-166

Zheng Min, courtesy name Muqian and sobriquet Yishu and Mudaoren, was born in Xixian, Anhui province. He was born in 1632. When the Ming dynasty collapsed, he was only twelve years old. With the influence of his ancestors, he appreciated national integrity and highly respect those died for the Ming dynasty. As a Ming loyalist, he "always cried his eyes out when recalling the past". He even changed his given name "旻" (sky) to "旼" (autumn) to commemorate the perished Ming emperor.

As an important painter in the second generation of Xin'an School of Painting, Zheng Min associated with many Anhui painters such as Wang Jiazhen, Wang Ran, Zhao Yin, and Wang Hongdu. He lived in poverty, selling paintings and seals for a living. He might be the monk painter Hong Ren's last disciple, being taught by Hong Ren personally. The Annals of Xixian County (Xixian zhi) recorded, "Zheng is the most accomplished one" learning after Hong Ren. His painting style inherited that of Hong Ren, as well as the four masters of the Yuan dynasty, especially Huang Gongwang and Ni Zan with a powerful, refined and fresh brushwork. The mountain view in his paintings is upright and magnificent with grotesque rocks and stones, highlighting the beautiful scenery of Mount Huangshan. His calligraphy is also similar to that of Hong Ren, initially imitating the style of the Tang calligrapher Yan Zhenqing, then obtaining the essence of Ni Zan. This piece demostrates all these features.

This work was created in the Guimao year (1663) when he was thirty years old. It is the earliest one among all his existing compositions. It was originally a copy of Huang Gongwang's Landscape (Jiangshan Shenglan) scroll painting made by his teacher Hong Ren, who lent it to him for a scaling-down copy version. Later that year, Hong Ren died of illness, making it not only the latest work of Zheng Min under Hong Ren's guidance, but also his earliest painting passed down to the present day.

Zheng Muqian's works are extremely rare today, only about 40 pieces collected by various museums. During the Republic of China, Deng Shi said, "Mudaoren's paintings are not well known, and not included in the painting and calligraphy records. I've tried my best to collect his paintings...A few brush strokes of the hermit express infinite meanings beyond the painting, deserving appreciation." This statement can serve as a note for the ornamental, artistic, and collectible value of Zheng's works.

----------------------------------------------

註：鄭旼，字慕倩、穆倩，號遺甦、慕道人，安徽歙縣人。生於明崇禎五年(1632)，明亡時年僅十二，受先輩影響，重民族氣節，對殉明之人萬分尊敬，「觸往事，輒哭不休」，遺民之心非等尋常，並將本名「旻」改作「旼」，取無君之痛意。

鄭旼為新安畫派第二代的重要畫家，與汪家珍、汪然、趙尹、汪洪度等多位安徽畫家往來，以賣畫、治印爲生，生活貧困。曾得弘仁親自指點，或為關門弟子，《歙縣志》曾論其於弘仁「造詣最深純」。本幅畫風承接師範，取法元四家，尤以黃公望、倪瓚為主，筆墨蒼煉，以清新取勝，所繪山景挺拔雄奇，危巖怪石，得意於黃山勝景。書法方面，亦與漸江相近，以顏真卿入手，得倪雲林神韻。

綜觀鄭旼傳世畫跡，以本幅最為年少，寫於癸卯(1663)八月，時年三十，本為漸江臨黃公望《江山勝覽》卷，後借予學生縮臨成此本，此年終時弘仁病逝，即本幅為弘仁教導下最晚，卻也是傳世最早的鄭旼畫作。

鄭慕倩作品至今極為罕見，目前已知各大博物館一共僅四十餘件，民國時鄧實曾言：「慕道人畫名不甚，諸家書畫錄幾遺之，余極力蒐羅…逸人隱士寥寥數筆，畫外自有無限意味，耐人尋賞不盡也。」此言或可作為鄭旼作品於觀賞性、藝術性及其收藏價值之註腳。