拍品 531
  • 531

姚文燮 1628-1693

估價
10,000 - 20,000 USD
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招標截止

描述

  • Yao Wenxie
  • 丹崖翠閣
  • 設色綾本 立軸
款識:巍峨高閣五雲封,樹擁丹崖翠靄重。銀漢會須霖雨出,沙堤久已待元龍。庚子(一六六〇)秋奉送,翁老年臺先生大詞宗并請教正。姚文燮寫。鈐印:雲閣、臣燮、字經三、羹湖

題畫心:(姚元之)七世子孫元之謹藏。鈐印:元之、姚氏收藏



題盒蓋:(姚元之)先十二世祖精寫山水,兼用兒、沈兩家意,筆墨為世所重。惜當日不輕為人,作故流傳絕少。此幅越百六十年,乃歸於元,豈非幸哉。嘉慶庚辰(一八二〇)七月廿有二日,元之謹記。鈐印:伯昂書畫、南齋舊史



鑒藏印:茮翁、□□齋鑒賞金石書畫之章

展覽

《筆翰之遺—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》,鳳凰城藝術博物館,一九八九年三月十八日—五月七日;西北大學瑪麗和利布洛克藝術博物館,一九九〇年三月八日—四月廿二日;哈佛大學阿瑟 · 赛克勒藝術博物館,一九九一年九月廿八日—十一月廿四日;堪薩斯大學史賓賽藝術博物館,一九九二年十月廿五日—十二月廿七日;俄亥俄州哥倫布藝術博物館,一九九三年四月十八日—六月二十日;威斯康辛大學艾維翰藝術博物館,一九九四年一月廿九日—三月二十日;加利福尼亞州克羅克藝術博物館,一九九七年十月三十日—十二月卅一日;喬治亞大學喬治亞藝術博物館,一九九九年一月卅一日—三月廿八日;佛蒙特大學弗萊明藝術博物館,二〇〇〇年十月三日—十二月十日

出版

一、鈴木敬(編),《中國繪畫總合圖錄》(第四卷:日本篇II—寺院 · 個人),東京大學出版會,一九八三年,圖版JP14-020,第IV-257頁
二、《筆翰之遺—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》,鳳凰城藝術博物館,一九八九年,圖錄編號17,第66—67頁

Condition

- Satin bears tanned tone due to age. - Scratches and wear can be found here and there on the scroll. - Restoration of satin loss and ink loss can be found.
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:
Rocky hills and a high pavilion are sealed by five(-colored) clouds;
Trees embrace the purple cliff under layers of blue mist.
From the Milky Way comes continuous rain;
By the sandy embankment, (I) await the descent of the dragon.
- Translation courtesy of Jane Wai-yee Leong

Yao Yuanzhi's inscription:
My ancestor of twelfth generations ago was an expert at painting landscapes and used the brush ideas of Ni and Shen. His brush and ink were valued by all. Unfortunately life was difficult during his time, and so extremely few of his works have survived. This work dates from over a hundred and sixty years ago and has just returned to me [his descendant]. Isn't this fortunate?