黃河 （活躍于17世紀後期）

款識：晉水黃河寫。鈐印：黃河、一印漫漶不辨

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
三、《詞意流傳—跨越四百年的中國繪畫》，納什維爾弗里斯視覺藝術中心，二〇〇七年六月廿二日—十月七日

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17，第56—57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18，第72—73頁

- Overall in good condition except silk bears tanned tone with restoration.
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.

'As with most of the professional artists, Huang He’s birth and death dates are unknown. But since he was included in the Tuhui Baojian Xuzuan, with which Feng Xianshi was closely connected, his historic setting would have been the Kangxi era. This is borne out also by the style of his painting in the Papp collection which is marked by the presence of the dragon vein, a pictorial phenomenon most apparent during the late seventeenth to early eighteenth centuries in which mountains and hills flow and flux in a fully integrated and serpentine manner. After the Kangxi era, the artistic impulses bypassed that lively movement in favor of carefully coordinated layers of images. Tangdai, a Manchu and disciple of Wang Yuanqi, exemplified the latter trend.
For the setting in the Papp painting, Huang He must have depicted an actual location which includes such landmarks as a tall and slender pagoda and the nearby rapids. Huang He travelled extensively, even to as far as the frontier. The anecdotal details are vividly cast and the presence of boats and houses encourage comparison with Zhang Zeduan’s Qingming Shanghe though far later in time and distant in style and approach. Other than its genre quality, the landscape itself is reminiscent of such Southern school masters as Dong Yuan and Juran, from which come the pima cun (hemp fiber) and the resultant paralleling folds and fissures in the hills carried to a far greater level than would orthodox masters like Wang Jian and Wang Shimin.' 
- Scent of Ink, p. 56