- 601
Qian Feng 1740-1795
Estimate
5,000 - 8,000 USD
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Description
- Qian Feng
- CALLIGRAPHY IN RUNNING SCRIPT
- ink on paper, hanging scroll
signed Nanyuan Feng, and with two seals of the artist, qian feng, nan yuan. Titleslip and colophon by Yuan Jiagu (1872-1937), signed Yuan Jiagu, dated jisi (1929), winter
Catalogue Note
Colophon:
Master Qian Nanyuan's calligraphy is rapid like Bingzhou scissors and precious like Tianqiu jade. Robust and upright, eccentric and transcendent, it gives the viewer an expansive feeling of virtuous loftiness. This has long been agreed by all in this country. The master from Yunnan changed his calligraphy a total of three times. Before entering the Hanlin Academy, Qian was steeped in the styles of Zhong (Zhong You, 151-230) and Wang (Wang Xizhi, 303-361) and additionally incorporated those of Ou (Ouyang Xun, 557-641) and Zhao (Zhao Mengfu, 1254-1322). This was his calligraphy before the age of thirty. After long service in the capital, he had combined Yan (Yan Zhenqing, 709-784), Mi (Mi Fu, 1051-1107) and Henan's (Chu Suiliang, 596-659) merits. Whenever he returned to Yunnan to visit his family, people would fight for his writings and keep them as treasures. The present piece was created before Qian turned fifty. After the age of fifty, he returned to his hometown to mourn his parents' passing. His calligraphy became all idiosyncratic and innovative, no longer bound by the rules of the ancients. It was the culmination of his art, and made him a true master. It was around the xinhai year (1791) of the Qianlong reign. The present work is uninhibited and energetic, and was probably created during the xinhai (1791) to guichou (1793) years. Master Renji obtained this in central Yunnan. It is truly precious to the utmost. In winter of the jisiyear (1929), Yuan Jiagu.
Master Qian Nanyuan's calligraphy is rapid like Bingzhou scissors and precious like Tianqiu jade. Robust and upright, eccentric and transcendent, it gives the viewer an expansive feeling of virtuous loftiness. This has long been agreed by all in this country. The master from Yunnan changed his calligraphy a total of three times. Before entering the Hanlin Academy, Qian was steeped in the styles of Zhong (Zhong You, 151-230) and Wang (Wang Xizhi, 303-361) and additionally incorporated those of Ou (Ouyang Xun, 557-641) and Zhao (Zhao Mengfu, 1254-1322). This was his calligraphy before the age of thirty. After long service in the capital, he had combined Yan (Yan Zhenqing, 709-784), Mi (Mi Fu, 1051-1107) and Henan's (Chu Suiliang, 596-659) merits. Whenever he returned to Yunnan to visit his family, people would fight for his writings and keep them as treasures. The present piece was created before Qian turned fifty. After the age of fifty, he returned to his hometown to mourn his parents' passing. His calligraphy became all idiosyncratic and innovative, no longer bound by the rules of the ancients. It was the culmination of his art, and made him a true master. It was around the xinhai year (1791) of the Qianlong reign. The present work is uninhibited and energetic, and was probably created during the xinhai (1791) to guichou (1793) years. Master Renji obtained this in central Yunnan. It is truly precious to the utmost. In winter of the jisiyear (1929), Yuan Jiagu.
From an Important American Collection (Lots 601-625)
This group of twenty-seven lots are from a collection that was formed mainly in Shanghai during the 1930s to mid-1940s. The collection was gradually dispersed during the 1980s, when several important pieces appeared on the international market, including Dong Qicheng’s Wanluan Thatched Hall.