拍品 1422
  • 1422

李可染 千巖競秀萬壑爭流

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描述

  • 李可染
  • 設色紙本 立軸 一九七八年作
  • ink and colour on paper, hanging scroll
款識:
千巖競秀萬壑爭流。
吾昔年至紹興蘭亭寫生,過山陰道遇雨,得見崇山茂林,蔥鬱華滋,奔流急湍,如奏管弦,深感山川生氣,茲寫其大意。一九七八年歲始,可染作於北京。

鈐印:「可染」、「李」、「在精微」、「河山如畫」。

來源

香港著名收藏家楊永德舊藏
現藏者一九九○年十一月得於香港

展覽

東京,西武百貨池袋店,〈中華人民共和國建國三十周年:中國榮寶齋展覽會〉,一九七九年十一月二日至七日
香港,中文大學文物館,〈求知雅集珍藏近代中國書畫〉,一九八七年八月廿九日至十月四日

出版

著錄:
〈中華人民共和國建國三十周年:中國榮寶齋展覽會〉展覽圖錄(東京,西武百貨店,一九七九年十一月),頁28
〈李可染畫論〉,王琢輯錄(台北,華正書局,一九八七年二月),圖版39
〈求知雅集珍藏近代中國書畫〉展覽圖錄(香港中文大學文物館,一九八七年七月),頁245,圖版113
〈求知雅集珍藏近代中國書畫〉展覽場刊(香港中文大學文物館,一九八七年七月),圖版113

Condition

- A paper foldline could be seen at the upper section of the painting. This is not a condition problem as this was the situation when the artist created this piece. - There are several areas on the painting where the artist removed certain details which he did not find satisfactory, on which he replaced the area with new paper and re-painted. The process was completed by the artist himself, and is a usual practise of Li Keran, thus not considered to be a condition problem, but part of the art itself. - Generally in good condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

拍品資料及來源

千巖萬壑──李可染誕辰110周年紀念

註:一九七八年底,「十年動亂」已過,政局趨穩定,改革開放政策甫經製訂,對外文化交流漸次恢復,在此背景下,榮寶齋與日本西武百貨店洽商,得中國文化部對外文化司批核,確定於一九七九年底在東京舉辦大型藝術推廣活動,以賀中華人民共和國成立三十周年,由榮寶齋負責人及專家、畫家代表,以及文化部工作人員組成的十二人代表團赴日參加。時任該團秘書長的米景揚先生撰文回憶:「這次展覽會是……具有三百年歷史的文化老店榮寶齋首次在海外的展覽。它得到中國文化部的支持,並以中國國際書店、日本國際貿易促進協會、日本東方書店為後援,引起了中日文化界的廣泛矚目」。是次展覽遴選、組織三十五位最能代表當時中國畫創作水平的藝術家作品參展,同時展覽有木版水印、文房四寶,共三萬件展品,三天之內觀眾逾十萬,所有書畫作品售罄。此後,兩地藝術交流活動日漸活躍,是次展覽開山之功不可泯沒。

李可染參展作品九幅,本幅〈千巖競秀萬壑爭流〉編號293,定價一千二百萬日元,無論水準、尺幅、以至訂價,在參展作品中,最為矚目。

「千巖競秀萬壑爭流」句出〈世說新語〉,乃晉顧愷之答客問,稱會稽之山川秀美處。一九五六年,李可染有八省寫生之旅,在浙江會稽境內,過山陰道中,偶然遇雨,見茂林蔥郁,聽奔流如管弦,已成心中意象,再讀前賢名句,遂有感而發,日後引此為創作題材,遂成「千巖萬壑」之圖。

李可染山水畫,構圖、筆墨、設色、風格獨特,筆下盡見山河大地之雄闊壯麗,亦攝山川氤氳自然之美,「李家山水」在二十世紀中國畫壇中獨樹一幟,洵非虛言。見諸本幅,畫家重拾北宋范寬〈谿山行旅圖〉為代表之「豐碑式山水」,只見主峰堂堂,峻嶺蜿蜒,氣勢渾然,山高林茂,鬱乎蒼蒼,用筆少乾皴,多積墨,用色亦然,色墨交融,雄強之外得渾厚華滋。溪水數條,環抱山峯,由遠而近,曲折迂迴,山嵐水氣,氤氳滋潤,烟霧交融中,層林漸顯,溪澗乍見,亟得蒼茫之意;溪水依山勢貫流成瀑,突出白練直下三千尺之勢;山腳喬木挺拔,瀑流急湍,穿插奔流石間,直是前人句意與胸中山水意象經提煉重現筆端,「千巖萬壑」之氣象於此見矣!

一九七八年初,李可染以此題材寫有鉅製兩幅,皆近六尺整幅大中堂,堪稱「千巖萬壑」入畫之始。本幅署「一九七八年歲始」,另幅署「一九七八年一月」,故本幅似屬先作者,畫家態度嚴謹,千錘百煉,首創此題材、構圖,寫畢,稍有未符其意者,親作修改,並挖去局部,重繪補上,此亦其筆下部份重要作品常見者。寫成後,榮寶齋因有赴日大型藝術展覽之舉,遂應邀提供本幅代表作參加。

參考資料:
榮寶齋赴日展覽概況,可參見〈榮寶瑰夢〉,米景揚著(北京出版社,二○○七年二月),頁147-150