- 655
Yun Shouping 1633-1690
Estimate
150,000 - 250,000 USD
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Description
- Yun Shouping
- INK PLAY
- ink on paper, album of twelve leaves
four signed Shouping, or Dongyuan Shouping, dated jiachen (1664), the third lunar month, all inscribed, with twenty-five seals of the artist, zheng shu (11), shou ping (14). Titleslip by Wu Hufan (1894-1968), signed Wu Hufan, dated guiwei (1943), the sixth lunar month, with one seal of his, qian an. Colophons by Yang Bingchun, signed Yang Bingchun, dated renyin (1842), with three seals, bing chun zhi yin, juan, han ying; and Wu Hufan, dated guiwei (1943), the seventh lunar month, with one seal, qian an
Catalogue Note
Frontispeice:
Ink Play album by Nantian. Guiwei year (1943) sixth month, inscribed by Wu Hufan.
Artist's inscription:
(1) The rainbow night colors dance around the palace, exposing the soles in clear light and scattering along the jade plates. Painted by Shouping.
(2) Holding a true trace of Monk Mi.
(3) Old trees and level sands. In imitation of Yunxi (Cao Zhibai, 1272-1355).
(4) Wind through the forest, clouds in the valley.
(5) Misty threads reveal stalks, knotting the green in a playful way.
(6) Luofu dreaming under a fragrant moon.
(7) There is a path where one listens to the wind along the stream, and no one can distinguish cloud from tree there. The mist is jade-green and fills the empty pavilion, and it rains along the ashen mountains. Looking at the rain I inscribe its colors using the brush method from Gentleman Huang's Rivers and Mountains handscroll.
(8) Water harmonizes through the many valleys, and the thousand villages are altogether a jade-green color. Spring clouds appear to be endless, listening to the rain pass west of the bridge. Jiachen year (1664), the tip of spring, sitting under the red orchid window, cutting the wick and breaking the ink.
(9) White clouds of all types fill the skies and land, at times leaving the mountains to drop their remaining rains. Rain in the mountains passes and the clouds do not return, and the guest, reciting his poems, looks at the clouds coming and going. Using old language to write a new idea, in the distance the seas and peaks humiliate me, and nearby the gaps in the clouds slander me. Quickly I think on the vast abyss as it stirs at the boundaries, and its reach is inexhaustible. These ideas part from my brush and paper.
(10) River and sky are reverse on the emptiness of raw silk, the apple blossom breeze fills the building that awaits the day. The rivers and mountains are unequal to the hand of Wang Wei, blue-green grasses and red forests mark an end to this autumn. Rivers and Mountains, painted by Shouping.
(11) The winds wrap the clouds in rosy colors, and the water scatters the echoing reeds. Paddling through mists under a bright moon, I sing loudly on the deep blue waves. Pure and remote streams and mountains, inscribed by Dongyuan Shouping.
(12) Light clouds float over the riverbank, a slight breeze enters the forest. Mists and sunlight focus the eye, and calm air lies across the bosom of the land. The spirit is dreary, how is it the king can be reduced to a single mound? Thoughts appear boundless, extending to the poles of the heavens. The brush is vital and the ink flourishes, but I know it not. Appended to the Breezy forest and misty banks painting, Dongyuan Shouping.
Ink Play album by Nantian. Guiwei year (1943) sixth month, inscribed by Wu Hufan.
Artist's inscription:
(1) The rainbow night colors dance around the palace, exposing the soles in clear light and scattering along the jade plates. Painted by Shouping.
(2) Holding a true trace of Monk Mi.
(3) Old trees and level sands. In imitation of Yunxi (Cao Zhibai, 1272-1355).
(4) Wind through the forest, clouds in the valley.
(5) Misty threads reveal stalks, knotting the green in a playful way.
(6) Luofu dreaming under a fragrant moon.
(7) There is a path where one listens to the wind along the stream, and no one can distinguish cloud from tree there. The mist is jade-green and fills the empty pavilion, and it rains along the ashen mountains. Looking at the rain I inscribe its colors using the brush method from Gentleman Huang's Rivers and Mountains handscroll.
(8) Water harmonizes through the many valleys, and the thousand villages are altogether a jade-green color. Spring clouds appear to be endless, listening to the rain pass west of the bridge. Jiachen year (1664), the tip of spring, sitting under the red orchid window, cutting the wick and breaking the ink.
(9) White clouds of all types fill the skies and land, at times leaving the mountains to drop their remaining rains. Rain in the mountains passes and the clouds do not return, and the guest, reciting his poems, looks at the clouds coming and going. Using old language to write a new idea, in the distance the seas and peaks humiliate me, and nearby the gaps in the clouds slander me. Quickly I think on the vast abyss as it stirs at the boundaries, and its reach is inexhaustible. These ideas part from my brush and paper.
(10) River and sky are reverse on the emptiness of raw silk, the apple blossom breeze fills the building that awaits the day. The rivers and mountains are unequal to the hand of Wang Wei, blue-green grasses and red forests mark an end to this autumn. Rivers and Mountains, painted by Shouping.
(11) The winds wrap the clouds in rosy colors, and the water scatters the echoing reeds. Paddling through mists under a bright moon, I sing loudly on the deep blue waves. Pure and remote streams and mountains, inscribed by Dongyuan Shouping.
(12) Light clouds float over the riverbank, a slight breeze enters the forest. Mists and sunlight focus the eye, and calm air lies across the bosom of the land. The spirit is dreary, how is it the king can be reduced to a single mound? Thoughts appear boundless, extending to the poles of the heavens. The brush is vital and the ink flourishes, but I know it not. Appended to the Breezy forest and misty banks painting, Dongyuan Shouping.