- 669
Zhang Shibao 1805-1879
Estimate
60,000 - 80,000 USD
bidding is closed
Description
- Zhang Shibao
- LANDSCAPE AFTER MING AND QING MASTERS
- ink and color on paper, album of twelve double leaves
signed Juru Zhang Shibao, Juru, Zhang Shibao, all inscribed, various dates, with twenty-one seals of the artist, shi bao (5), shen shi cang sang, chen bao (7), li sheng, da yong, ju ru, shang xin, hua pi, ju ru, men wai han, one other (illegible), and forty collectors' seals, including shen zhao lin yin, lang ting, zhao lin si yin, chen ben yan po yi diao tu, yu tang ran han, de yi, li hong zao yin. Frontispiece by Huang Junshi (1934- ), signed Huang Junshi; and Shen Zhaolin (1801-1862), signed Qiantang Shen Zhaoling
Provenance
From the family collection of a direct descendant of Zhang Zhiwan (1810-1897), who inscribed one of the opposite leaves of the album.
Catalogue Note
Artist's inscriptions:
1. Lodging in Yantai, I copied Li Xigu’s (Li Tang, 1066-1150) painting Gazing into the Distance at an Autumn River. Two days after the Duanwu Festival of the wushen year, painted for my dear friend Hequan's viewing, Juru Zhang Shibao.
2. Such scenic sites are not scarce in the world, but as I paint this here and now, I feel a boundless sorrow. Third month of the jiayin year (1854), inscribed by Juru.
3. Staying in the library of Xiayou, I carefully copied a small album by Weng Shouru whenever I took a break from my studies. When I imitated the intensity of his brushwork too much, I failed to capture his elegance. Very difficult, very difficult! Painted for my dear friend Heweng’s correction, Zhang Shibao.
4. In autumn, on the first day of the seventh month, I imitated Shitianweng’s (Shen Zhou, 1427-1509) style. Juru Zhang Shibao.
5. In autumn of the renzi year (1852), I imitated Lutai’s (Wang Yuanqi, 1642-1715) method. Juru Zhang Shibao.
6. With pines and the moon outside my window, I halfheartedly copied an album by Shen Langqian. An inscription on it says, ‘For ten years I have not understood the word ‘empty.’’ Having tried harder and failed, I succeeded by accident, and now write this with a laugh. Juru. After I finished this copy, I put it in a case. This summer it had been overcast and raining every night. How strange was this hardship of having a bed but having to sleep in it wet! I feared the painting would sullied by leakage in my house, and so I got up and placed it on the window. Who could have known that when I looked in the morning, the case would remain dry, but the painting would be blotted by lamp fuel! I inscribe this to confess my crime of carelessness. The twenty-first day of the sixth month.
7. After a passage in Fang Xiaoshi’s painting scroll Walkway Through Clouds.
8. In the twelve month, melting frozen ink with my breath, I painted this after Dai Ying’a (Dai Benxiao, 1621-1693). Juru Zhang Shibao.
9. Here I first painted two trees and a rock, and I already hated it. I wanted to toss it away, but if I did I would have labored in vain. To replace this piece of paper with another would have created an inconsistency with the other leaves. So I freely smeared dark ink with a worn brush. When that was done, I took a look and thought perhaps it had a little merit. For my dear friend Hequan’s correction. Is this acceptable or not in the end?
10. The mountains are cold, the rocks lean, the trees old, and the clouds ashen. Where is this? The old drunkard has come here and looks on, tall and proud, seeming to have no regard for the universe or its profundities. Who? Who? I know myself. My dear friend Hequan refuses to do this. Juru imitating the style of Cheng Muqian. In spring, the second month of the jiayin year (1854). This paper is too slippery, but its back side is just right for painting. In the affairs of the world, how can one adhere strictly to rules?
11. On the third day of the ninth month, I imitated the style of Yanke (Wang Shimin, 1592-1680) at the Huanan Studio.
12. Dong Xiangguang (Dong Qichang, 1555-1636) painted this scene, as can be seen in Zhou Leyuan’s anthology. In the album You Xitang commented, ‘Closely resembling Huabuzhu Mountain in Shandong.’ Copied by Juru at the Xiaqiu Studio.
1. Lodging in Yantai, I copied Li Xigu’s (Li Tang, 1066-1150) painting Gazing into the Distance at an Autumn River. Two days after the Duanwu Festival of the wushen year, painted for my dear friend Hequan's viewing, Juru Zhang Shibao.
2. Such scenic sites are not scarce in the world, but as I paint this here and now, I feel a boundless sorrow. Third month of the jiayin year (1854), inscribed by Juru.
3. Staying in the library of Xiayou, I carefully copied a small album by Weng Shouru whenever I took a break from my studies. When I imitated the intensity of his brushwork too much, I failed to capture his elegance. Very difficult, very difficult! Painted for my dear friend Heweng’s correction, Zhang Shibao.
4. In autumn, on the first day of the seventh month, I imitated Shitianweng’s (Shen Zhou, 1427-1509) style. Juru Zhang Shibao.
5. In autumn of the renzi year (1852), I imitated Lutai’s (Wang Yuanqi, 1642-1715) method. Juru Zhang Shibao.
6. With pines and the moon outside my window, I halfheartedly copied an album by Shen Langqian. An inscription on it says, ‘For ten years I have not understood the word ‘empty.’’ Having tried harder and failed, I succeeded by accident, and now write this with a laugh. Juru. After I finished this copy, I put it in a case. This summer it had been overcast and raining every night. How strange was this hardship of having a bed but having to sleep in it wet! I feared the painting would sullied by leakage in my house, and so I got up and placed it on the window. Who could have known that when I looked in the morning, the case would remain dry, but the painting would be blotted by lamp fuel! I inscribe this to confess my crime of carelessness. The twenty-first day of the sixth month.
7. After a passage in Fang Xiaoshi’s painting scroll Walkway Through Clouds.
8. In the twelve month, melting frozen ink with my breath, I painted this after Dai Ying’a (Dai Benxiao, 1621-1693). Juru Zhang Shibao.
9. Here I first painted two trees and a rock, and I already hated it. I wanted to toss it away, but if I did I would have labored in vain. To replace this piece of paper with another would have created an inconsistency with the other leaves. So I freely smeared dark ink with a worn brush. When that was done, I took a look and thought perhaps it had a little merit. For my dear friend Hequan’s correction. Is this acceptable or not in the end?
10. The mountains are cold, the rocks lean, the trees old, and the clouds ashen. Where is this? The old drunkard has come here and looks on, tall and proud, seeming to have no regard for the universe or its profundities. Who? Who? I know myself. My dear friend Hequan refuses to do this. Juru imitating the style of Cheng Muqian. In spring, the second month of the jiayin year (1854). This paper is too slippery, but its back side is just right for painting. In the affairs of the world, how can one adhere strictly to rules?
11. On the third day of the ninth month, I imitated the style of Yanke (Wang Shimin, 1592-1680) at the Huanan Studio.
12. Dong Xiangguang (Dong Qichang, 1555-1636) painted this scene, as can be seen in Zhou Leyuan’s anthology. In the album You Xitang commented, ‘Closely resembling Huabuzhu Mountain in Shandong.’ Copied by Juru at the Xiaqiu Studio.