- 497
石濤（原濟） 1642-1718
Estimate
1,000,000 - 1,500,000 USD
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Description
- Shitao (Yuanji)
- 詩書畫三絕 設色紙本 廿四開冊
- ink and color on paper, album of twenty-four leaves
- 24 x 16.6 cm
（一）鈐印：老濤
（二）釋文：一杖蕭蕭對落暉，殘山秋染落紅肥。夢中常憶金陵勝，寫出依然筆盡非。
款識：清湘大滌子濟。鈐印：清湘石濤
（三）鈐印：原濟、石濤
（四）釋文：新長龍孫過屋檐，曉雲深處露峯尖。山中四月如十月，烏帽憑欄冷翠霑。
款識：入山採茶寫於雲齊閣下，石濤濟。鈐印：瞎尊者
（五）鈐印：老濤
（六）釋文：年來踪跡罕人世，半在山鄉半水鄉。小閣臨溪暑退早，晴天雲氣透衣涼。
款識：東廬壽國之松軒，大滌老人濟。鈐印：清湘石濤
（七）鈐印：原濟、石濤
（八）釋文：寒煙漠漠曉春天，流水桃花意杳然。漁父愛看新柳色，拋竿何自肯開舩。
款識：清湘陳人濟澄江蘭惹。鈐印：前有龍眠濟、阿長
（九）鈐印：老濤
（十）釋文：澹葉踈花映筆床，依然瀟灑見王郎。此情更倍靈稐桺，不盡流風拂面香。
款識：重過江上友人畱宿中，更盡不寐寫此。濟。鈐印：清湘老人
（十一）鈐印：前有龍眠濟
（十二）釋文：山石隨雲斷，幽居籍樹連。有時籬落畔，得藥保長年。
款識：石濤。鈐印：瞎尊者
（十三）鈐印：清湘老人
（十四）釋文：一艇盪中流，青山兩岸浮。桃花峰下客，招我賦春鷗。
款識：清湘老人濟真州江上。鈐印：贊之十世孫阿長
（十五）鈐印：原濟、石濤
（十六）釋文：龝澗石橫泉韻細，埜花從蝶怯陰寒。殘紅霜打詩中畫，輸與空山冷眼看。
款識：苦瓜老人濟。鈐印：膏肓子濟
（十七）鈐印：苦瓜和尚濟畫法
（十八）釋文：沙際菰蒲深，飛來鷗鷺語。絕非名利舟，載雲偶過此。風遇便帆輕，瞬目知千里。囘望秋山重，長歌入邨裏。
款識：江上訪友，舟中題此。大滌子濟。鈐印：頭白依然不識字、清湘石濤
（十九）鈐印：膏肓子濟
（二十）釋文：幽居情自勝，竟日柴□關。竹粉含新綠，松麟破舊顏。身依江渚癖，心共水雲閑。未審年來夢，如何只追山。
款識：清湘石道人濟，大滌艸堂。鈐印：清湘老人
（廿一）鈐印：原濟、石濤
（廿二）釋文：種閒亭上花如字，種閒主人日多事。多事如花日漸多，如字之花太遊戲。客來恰是種閒時，雨雪春寒花放遲。滿空晴雪不經意，砌根朵朵誰為之。主人學書愛種花，花意如人字字嘉。我向花間獻一字，眾花齊咲日西斜。
款識：大滌子種閑亭上。鈐印：前有龍眠濟
（廿三）鈐印：原濟、石濤
（廿四）釋文：醒癡香罷澆愁茗，助我幽懷二千頃。招手啣桮風雪來，仰天大咲摩冰冷。此時對雪呼高人，吾欲隨之飄有神。閣小風高恐吞去，濃香苦茗心無塵。
款識：大雪作畫題此，瞎尊者濟。鈐印：阿長、清湘老人
題跋：（請登入Sothebys.com參閱詳文）右調「一絡索」，集吳夢牕詞句，題清湘老人山水冊十二頁。清湘畫不名一家，尤得力於黃鶴山樵。就余所見不下百數十本，無一本雷同者。胸中當有丘壑，故自出機杼，不主故常。此冊蒼深秀逸，無一豪粗獷習氣。每頁對題，語多超妙。雖未署年日，决為晚年經意之作。同治十一年（1872）暮春之月，艮蓭并識。鈐印：文彬私印、艮龛
署簽：苦瓜和尚山水畫冊。樊山題。
題扉頁：石濤畫天馬行空，不事依傍。余見最夥，無一重複，非具有真寔本領未易夢見。是冊用筆工緻，在石師畫中極經意之作。向為顧氏過雲廔物，而紙墨如新，尤為難得。昔王奉常云「大江以南，畫家無出石師右者」。觀此益信前贒推許之不繆也。甲寅（1914）春二月燈下，瓢叜并記于津門。鈐印：顏世清、韻伯
鑒藏印：（金）秀水金氏蘭坡過目、金傳聲
（凌）雙佳樓（册頁背面共六鈐）
注：樊增祥（1846-1931），字嘉父，號樊山，湖北恩施人。光緒年間進士，曾任陝西布政使、護理兩江總督等職。袁世凱時期，官參政院參政。
凌叔華（1900-1990），原名瑞棠，筆名叔華、素心，廣東番禺人。早年先後任教與武漢大學（「雙佳樓」即其在武大時之寓名）、燕京大學，後在新加坡、加拿大等地任教，晚年寓居英國。1942年泰戈爾訪華時結識徐志摩，并產生一段情愫，但終嫁給與魯迅筆戰而轟動一時的陳西瀅。旅居國外期間鍾情書畫，於1962年在巴黎舉辦個人畫展，并展出其古代書畫收藏。
（二）釋文：一杖蕭蕭對落暉，殘山秋染落紅肥。夢中常憶金陵勝，寫出依然筆盡非。
款識：清湘大滌子濟。鈐印：清湘石濤
（三）鈐印：原濟、石濤
（四）釋文：新長龍孫過屋檐，曉雲深處露峯尖。山中四月如十月，烏帽憑欄冷翠霑。
款識：入山採茶寫於雲齊閣下，石濤濟。鈐印：瞎尊者
（五）鈐印：老濤
（六）釋文：年來踪跡罕人世，半在山鄉半水鄉。小閣臨溪暑退早，晴天雲氣透衣涼。
款識：東廬壽國之松軒，大滌老人濟。鈐印：清湘石濤
（七）鈐印：原濟、石濤
（八）釋文：寒煙漠漠曉春天，流水桃花意杳然。漁父愛看新柳色，拋竿何自肯開舩。
款識：清湘陳人濟澄江蘭惹。鈐印：前有龍眠濟、阿長
（九）鈐印：老濤
（十）釋文：澹葉踈花映筆床，依然瀟灑見王郎。此情更倍靈稐桺，不盡流風拂面香。
款識：重過江上友人畱宿中，更盡不寐寫此。濟。鈐印：清湘老人
（十一）鈐印：前有龍眠濟
（十二）釋文：山石隨雲斷，幽居籍樹連。有時籬落畔，得藥保長年。
款識：石濤。鈐印：瞎尊者
（十三）鈐印：清湘老人
（十四）釋文：一艇盪中流，青山兩岸浮。桃花峰下客，招我賦春鷗。
款識：清湘老人濟真州江上。鈐印：贊之十世孫阿長
（十五）鈐印：原濟、石濤
（十六）釋文：龝澗石橫泉韻細，埜花從蝶怯陰寒。殘紅霜打詩中畫，輸與空山冷眼看。
款識：苦瓜老人濟。鈐印：膏肓子濟
（十七）鈐印：苦瓜和尚濟畫法
（十八）釋文：沙際菰蒲深，飛來鷗鷺語。絕非名利舟，載雲偶過此。風遇便帆輕，瞬目知千里。囘望秋山重，長歌入邨裏。
款識：江上訪友，舟中題此。大滌子濟。鈐印：頭白依然不識字、清湘石濤
（十九）鈐印：膏肓子濟
（二十）釋文：幽居情自勝，竟日柴□關。竹粉含新綠，松麟破舊顏。身依江渚癖，心共水雲閑。未審年來夢，如何只追山。
款識：清湘石道人濟，大滌艸堂。鈐印：清湘老人
（廿一）鈐印：原濟、石濤
（廿二）釋文：種閒亭上花如字，種閒主人日多事。多事如花日漸多，如字之花太遊戲。客來恰是種閒時，雨雪春寒花放遲。滿空晴雪不經意，砌根朵朵誰為之。主人學書愛種花，花意如人字字嘉。我向花間獻一字，眾花齊咲日西斜。
款識：大滌子種閑亭上。鈐印：前有龍眠濟
（廿三）鈐印：原濟、石濤
（廿四）釋文：醒癡香罷澆愁茗，助我幽懷二千頃。招手啣桮風雪來，仰天大咲摩冰冷。此時對雪呼高人，吾欲隨之飄有神。閣小風高恐吞去，濃香苦茗心無塵。
款識：大雪作畫題此，瞎尊者濟。鈐印：阿長、清湘老人
題跋：（請登入Sothebys.com參閱詳文）右調「一絡索」，集吳夢牕詞句，題清湘老人山水冊十二頁。清湘畫不名一家，尤得力於黃鶴山樵。就余所見不下百數十本，無一本雷同者。胸中當有丘壑，故自出機杼，不主故常。此冊蒼深秀逸，無一豪粗獷習氣。每頁對題，語多超妙。雖未署年日，决為晚年經意之作。同治十一年（1872）暮春之月，艮蓭并識。鈐印：文彬私印、艮龛
署簽：苦瓜和尚山水畫冊。樊山題。
題扉頁：石濤畫天馬行空，不事依傍。余見最夥，無一重複，非具有真寔本領未易夢見。是冊用筆工緻，在石師畫中極經意之作。向為顧氏過雲廔物，而紙墨如新，尤為難得。昔王奉常云「大江以南，畫家無出石師右者」。觀此益信前贒推許之不繆也。甲寅（1914）春二月燈下，瓢叜并記于津門。鈐印：顏世清、韻伯
鑒藏印：（金）秀水金氏蘭坡過目、金傳聲
（凌）雙佳樓（册頁背面共六鈐）
注：樊增祥（1846-1931），字嘉父，號樊山，湖北恩施人。光緒年間進士，曾任陝西布政使、護理兩江總督等職。袁世凱時期，官參政院參政。
凌叔華（1900-1990），原名瑞棠，筆名叔華、素心，廣東番禺人。早年先後任教與武漢大學（「雙佳樓」即其在武大時之寓名）、燕京大學，後在新加坡、加拿大等地任教，晚年寓居英國。1942年泰戈爾訪華時結識徐志摩，并產生一段情愫，但終嫁給與魯迅筆戰而轟動一時的陳西瀅。旅居國外期間鍾情書畫，於1962年在巴黎舉辦個人畫展，并展出其古代書畫收藏。
Provenance
Gu Wenbin (1811-1889), Yan Shiqing (1873-1929), and Ling Shihua (1900-1990) collection.
Exhibited
1. Quelques Peintures De Lettres: Da collection Ling Su-hua, Paris: Musee Cernuschi, November 1962-February 1963, cat. 14
2. Artful Recluse: Painting, Poetry, and Politics in 17th-Century China, NY: Asia Society, March 6-June 2, 2013
2. Artful Recluse: Painting, Poetry, and Politics in 17th-Century China, NY: Asia Society, March 6-June 2, 2013
Literature
1. Old Leaves Turning, London: Sydney L. Moss, 1995, no. 95, pp. 278-307
2. Shitao: Painting and Modernity in Early Qing China, Jonathan Hay, NY: Cambridge University Press, 2001, pp. 55, 266
2. Shitao: Painting and Modernity in Early Qing China, Jonathan Hay, NY: Cambridge University Press, 2001, pp. 55, 266
Condition
- Overall in good condition except that paper bear a darkened tone, minor stain spots on some leaves.
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 inscription:
(2) A solitary staff faces the setting sun;
Barren mountains that autumn dyes with rich touches of red.
In dreams, I often remember the sights of Jin-ling (Nanjing),
But when I try to paint them my brush never gets it right.
(4) Newly grown bamboo taller than the eaves,
And deep in morning clouds, the tip of a mountain peak emerging.
In the mountains, the fourth month is like the tenth;
Wearing a black cap I lean on a railing, feeling the dampness of cold greenery.
(6) In recent years my footsteps have rarely entered the world of men,
Half the time among mountain hamlets, the other half among waterside villages.
Where my small cottage adjoins a stream, summer recedes early;
Even on a sunny day the mist is cool through my clothes.
(8) Wintry mist lies silent in the spring dawn,
Peach blossom floating on the water evokes remote places.
A fisherman, in admiration of the willow's fresh colors,
Puts down his fishing rod, unable to take his boat further.
(10) Pale leaves and sparse flowers reflect in the brush rest --
My untrammeled calligraphy can still face up to Master Wang's!
This feeling adds itself to the magical autumn willows
Whose fragrance, in the breeze, endlessly wafts my way.
(12) The rock of a mountain cloven by clouds,
A secluded dwelling linked up by trees.
From time to time beside the fence
One finds plants that ensure long life.
(14) A boat moving along in the middle of the current,
Green mountains floating by on both banks;
Someone living at the foot of Peach Blossom Peak,
Invites me to compose a poem on spring gulls.
(16) A ravine in autumn, toppled rocks, a stream that runs quietly;
Wild flowers, like butterflies, dread the cold of shady places.
Left-over red, struck by frost -- in the poem is a painting --
I transpose it to empty mountains, observing them with detached regard.
(18) Along vast sands where wild rice and reeds are dense
Are heard the cries of arriving gulls and herons.
It is not in any boat of fame or profit,
But carried by clouds that I happened to come to this place.
When the wind rises the sail is light
And in the blink of an eye one discovers a thousand li.
Looking back, there are layers of autumn mountains.
And drawn-out songs as people enter the villages.
(20) Living in seclusion, enjoyment comes naturally;
All day long I keep the wooden gate closed
The powder on the bamboo concealing fresh green,
The pine's scaly bark the color of a broken mortar.
Living near to rivers and lakes
My heart has taken on the freedom of water and clouds.
I don't understand my dreams of recent years -
Why am I only close to mountains?
(22) The flowers in the Leisure-of-Planting Pavilion grow like written characters;
The master of the Leisure-of-Planting Pavilion is busy every day.
His commitments, like the flowers, are more numerous every day,
But the character-like flowers furnish real pleasure.
Guests arrive, just as he is engaged in the leisure of planting;
Flowering has been delayed by the rain and snow of a cold spring.
Paying no attention to the clean snow that fills the sky
Everyone joins in setting the roots, one by one.
The master is a student of calligraphy and loves to cultivate flowers;
The flowers seem to understand the man, and each grows like a fine character.
While I ponder one character among the flowers
All of the flowers, smiling, bend towards the setting sun.
(24) Waking from my illusions, after burning incense I brew tea against melancholy;
To comfort me in somber thoughts there are the two thousand qing (planted with tea).
By way of salute I lift the bowl to my mouth, and the wind and snow arrive.
I look up at the sky and laugh heartily, feeling the cold's icy touch.
Just as this moment, facing the snow, I call on the adepts,
Wanting to follow them and float away amid the spirits.
The cottage is small, the wind strong: will I be swallowed up?
Heavy fragrance and bitter tea have removed all dust from my heart.
(2) A solitary staff faces the setting sun;
Barren mountains that autumn dyes with rich touches of red.
In dreams, I often remember the sights of Jin-ling (Nanjing),
But when I try to paint them my brush never gets it right.
(4) Newly grown bamboo taller than the eaves,
And deep in morning clouds, the tip of a mountain peak emerging.
In the mountains, the fourth month is like the tenth;
Wearing a black cap I lean on a railing, feeling the dampness of cold greenery.
(6) In recent years my footsteps have rarely entered the world of men,
Half the time among mountain hamlets, the other half among waterside villages.
Where my small cottage adjoins a stream, summer recedes early;
Even on a sunny day the mist is cool through my clothes.
(8) Wintry mist lies silent in the spring dawn,
Peach blossom floating on the water evokes remote places.
A fisherman, in admiration of the willow's fresh colors,
Puts down his fishing rod, unable to take his boat further.
(10) Pale leaves and sparse flowers reflect in the brush rest --
My untrammeled calligraphy can still face up to Master Wang's!
This feeling adds itself to the magical autumn willows
Whose fragrance, in the breeze, endlessly wafts my way.
(12) The rock of a mountain cloven by clouds,
A secluded dwelling linked up by trees.
From time to time beside the fence
One finds plants that ensure long life.
(14) A boat moving along in the middle of the current,
Green mountains floating by on both banks;
Someone living at the foot of Peach Blossom Peak,
Invites me to compose a poem on spring gulls.
(16) A ravine in autumn, toppled rocks, a stream that runs quietly;
Wild flowers, like butterflies, dread the cold of shady places.
Left-over red, struck by frost -- in the poem is a painting --
I transpose it to empty mountains, observing them with detached regard.
(18) Along vast sands where wild rice and reeds are dense
Are heard the cries of arriving gulls and herons.
It is not in any boat of fame or profit,
But carried by clouds that I happened to come to this place.
When the wind rises the sail is light
And in the blink of an eye one discovers a thousand li.
Looking back, there are layers of autumn mountains.
And drawn-out songs as people enter the villages.
(20) Living in seclusion, enjoyment comes naturally;
All day long I keep the wooden gate closed
The powder on the bamboo concealing fresh green,
The pine's scaly bark the color of a broken mortar.
Living near to rivers and lakes
My heart has taken on the freedom of water and clouds.
I don't understand my dreams of recent years -
Why am I only close to mountains?
(22) The flowers in the Leisure-of-Planting Pavilion grow like written characters;
The master of the Leisure-of-Planting Pavilion is busy every day.
His commitments, like the flowers, are more numerous every day,
But the character-like flowers furnish real pleasure.
Guests arrive, just as he is engaged in the leisure of planting;
Flowering has been delayed by the rain and snow of a cold spring.
Paying no attention to the clean snow that fills the sky
Everyone joins in setting the roots, one by one.
The master is a student of calligraphy and loves to cultivate flowers;
The flowers seem to understand the man, and each grows like a fine character.
While I ponder one character among the flowers
All of the flowers, smiling, bend towards the setting sun.
(24) Waking from my illusions, after burning incense I brew tea against melancholy;
To comfort me in somber thoughts there are the two thousand qing (planted with tea).
By way of salute I lift the bowl to my mouth, and the wind and snow arrive.
I look up at the sky and laugh heartily, feeling the cold's icy touch.
Just as this moment, facing the snow, I call on the adepts,
Wanting to follow them and float away amid the spirits.
The cottage is small, the wind strong: will I be swallowed up?
Heavy fragrance and bitter tea have removed all dust from my heart.