- 525
沈宗敬 1658-1725
估價
20,000 - 40,000 USD
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招標截止
描述
- Shen Zongjing
- 尺幅千里
- 水墨紙本 十一開冊
款識：
（一）蒼松本具干霄勢，欲陰幽居枝下垂。秋夜月明人獨坐，濤聲謖謖若催詩。雙鶴道人。鈐印：宗敬、南季氏
（二）家有瘦古木，寫其一以贈。弟宗敬。鈐印：宗敬、南季氏
（三）見馬文璧筆意如此，獅峰。鈐印：獅峰
（四）謂以思翁筆耶，有倪黃法在，明眼人能辨之。
（五）洞庭東山相近處，有名三山者也。此對之不覺煙波萬頃，宛在目矣。鈐印：秋來
（六）學巨然法。獅峰敬。鈐印：宗敬
（七）石學雲林，樹似子畏，吾鄉顧元之極力為之，恐無此秀色也。獅峯敬。鈐印：恪庭
（八）燕子磯頭得此瀑更佳。
（九）倦遊知止客，帶雨未歸船。一路營丘樹，連村海岳烟。眼中參盡理，筆底結詩緣。莫問家何在，蕭條澗似仙。此余壬辰（一七一二）冬底道中作也，燕山寓齋書此，能無悵然。
（十一）尺幅具千萬里勢，不必巖樹重複見。長若能於實中有虛致，又何足病。康熙癸巳（一七一三）偶留燕山，得与廉讓主人朝夕論畫。此紙為主人所藏幾十年矣，出以索筆，作意為之，不失天趣，可無暗投之㗼。獅峯敬。鈐印：宗敬、南季氏
題跋：
（曹三才）（一）獅峯畫冊自癸丑（一七一三）至乙未（一七一五）成十二頁，蒼深秀逸，豈食人間煙火者所能擬其萬一。得兩截人品，高千古雲烟。筆底收天留閑，曠迹坐臥此中遊。我意行古法，層巒落硯田。胷無適俗韻，神肖是迂㒹。廉讓才自題。庶甘夫才。鈐印：字中禪、三才、而兩、家住田家萬義邨
（二）雙鶴疊惠，書画留寓齋，劇飲歸途再題，用醉於馬上往來輕為韻。
別緒越十秊，神情默還往。伊人天一方，舊事存懷想。君本曠世才，豈樂墮名網。倪黃驅筆端，人擬義皇上。橫琴伴書帙，泉石何悠哉。恭逢獻壽期，歡宴黃金臺。出處行吾志，非漫隨去來。去來人所爭，與我何重輕。定力苦不堅，怨望滋縈盈。清風搖翠裾，澹泊不求餘。深山閉門是，良友幸相於。試觀伇伇者，孰真而孰假。夢幻同泡影，塵埃等野馬。清樽故人思，鳥弄花間翠。萬事擲浮雲，陶然且一醉。東海而兩居士畫於寓居之開遠堂。钤印：崕珍、三才印、而兩
鑒藏印：
（曹三才）子孫後世家傳之寶（三鈐）
（程琦）雙宋樓、程伯奮珍藏印
（一）蒼松本具干霄勢，欲陰幽居枝下垂。秋夜月明人獨坐，濤聲謖謖若催詩。雙鶴道人。鈐印：宗敬、南季氏
（二）家有瘦古木，寫其一以贈。弟宗敬。鈐印：宗敬、南季氏
（三）見馬文璧筆意如此，獅峰。鈐印：獅峰
（四）謂以思翁筆耶，有倪黃法在，明眼人能辨之。
（五）洞庭東山相近處，有名三山者也。此對之不覺煙波萬頃，宛在目矣。鈐印：秋來
（六）學巨然法。獅峰敬。鈐印：宗敬
（七）石學雲林，樹似子畏，吾鄉顧元之極力為之，恐無此秀色也。獅峯敬。鈐印：恪庭
（八）燕子磯頭得此瀑更佳。
（九）倦遊知止客，帶雨未歸船。一路營丘樹，連村海岳烟。眼中參盡理，筆底結詩緣。莫問家何在，蕭條澗似仙。此余壬辰（一七一二）冬底道中作也，燕山寓齋書此，能無悵然。
（十一）尺幅具千萬里勢，不必巖樹重複見。長若能於實中有虛致，又何足病。康熙癸巳（一七一三）偶留燕山，得与廉讓主人朝夕論畫。此紙為主人所藏幾十年矣，出以索筆，作意為之，不失天趣，可無暗投之㗼。獅峯敬。鈐印：宗敬、南季氏
題跋：
（曹三才）（一）獅峯畫冊自癸丑（一七一三）至乙未（一七一五）成十二頁，蒼深秀逸，豈食人間煙火者所能擬其萬一。得兩截人品，高千古雲烟。筆底收天留閑，曠迹坐臥此中遊。我意行古法，層巒落硯田。胷無適俗韻，神肖是迂㒹。廉讓才自題。庶甘夫才。鈐印：字中禪、三才、而兩、家住田家萬義邨
（二）雙鶴疊惠，書画留寓齋，劇飲歸途再題，用醉於馬上往來輕為韻。
別緒越十秊，神情默還往。伊人天一方，舊事存懷想。君本曠世才，豈樂墮名網。倪黃驅筆端，人擬義皇上。橫琴伴書帙，泉石何悠哉。恭逢獻壽期，歡宴黃金臺。出處行吾志，非漫隨去來。去來人所爭，與我何重輕。定力苦不堅，怨望滋縈盈。清風搖翠裾，澹泊不求餘。深山閉門是，良友幸相於。試觀伇伇者，孰真而孰假。夢幻同泡影，塵埃等野馬。清樽故人思，鳥弄花間翠。萬事擲浮雲，陶然且一醉。東海而兩居士畫於寓居之開遠堂。钤印：崕珍、三才印、而兩
鑒藏印：
（曹三才）子孫後世家傳之寶（三鈐）
（程琦）雙宋樓、程伯奮珍藏印
展覽
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
出版
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.
拍品資料及來源
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