Zhang Daqian (Chang Dai-chien, 1899-1983)

with four seals of the artist, and two collector’s seals, one on the titleslip. Titleslip by Kao Ling-mei

Inscription:
Imitating the brush manner in the Retuming Boat on a Snowy River by Emperor Daojun (Emperor Huizong, Zhao Ji),
Nearly the wang day of the second lunar month of the dinghai year, Chang Yuan Dai-chien from Shujun.
Thousands of trees and flowers are all gone, so is spring; The distant peaks are themselves pieces of rugged jade.
The forlorn boat driven by short oars drifts to and fro; On board is not a visitor from Shanyin after the snow.
Dai-chien Jushi.

Hong Kong, City Hall Art Gallery, Recent Paintings by Chang Dai-chien, 21 April-9 May 1962
Singapore, Victoria Memorial Hall, Exhibition of Paintings by Chang Dai-chien, 12-17 March 1963
Malaya, Kuala Lumpur, Dewan Bahasa Dan Pustaka, Exhibition of Paintings by Chang Dai-chien, 24-30 June 1963
Malaya, Ipoh, Ku Kong Chow Kung Wai, Exhibition of Paintings by Chang Dai-chien, 9-16 November 1963
Malaya, Penang, Penang Museum, Exhibition of Paintings by Chang Dai-chien, 20-29
December 1963
Thailand, Bangkok, Kai Shou Hall & Metropolitan Bank, Exhibition of Paintings by Chang Dai-chien, 12-25 September 1964
Thailand, Haadyai, Hakkas Association Auditorium, Exhibition of Paintings by Chang Dai-chien, 2-8 February 1965
Hong Kong, The Chinese University of Hong Kong, Art Gallery, The Mei Yun Tang
Collection of Paintings by Chang Dai-chien, 17 April-23 May 1993
Japan, Tokyo, Shoto Museum of Art, The Mei Yun Tang Collection of Paintings by
ChangDai-chien, 5 April-21 May 1995
Singapore, Singapore Art Museum, The Mei Yun Tang Collection of Paintings by Chang Dai-chien, 28 February-27 April 1997

Exhibition of Recent Works by Zhang Daqian, exhibition catalogue, Exhibition Gallery of the City Hall, Hong Kong, April 1962, no. 98
Exhibition of Paintings by Chang Dai-chien, exhibition catalogue, East Art Co., Hong Kong, March 1963, Singapore exhibit no. 89
Exhibition of Paintings by Chang Dai-chien, exhibition catalogue, East Art Co., Hong Kong, June 1963, Kuala Lumpur exhibit no. 89
Exhibition of Paintings by Chang Dai-chien, exhibition catalogue, East Art Co., Hong Kong, November 1963, Ipoh exhibit no. 89
Exhibition of Paintings by Chang Dai-chien, exhibition catalogue, East Art Co., Hong Kong, December 1963, Penang exhibit no. 89
Exhibition of Paintings by Chang Dai-chien, exhibition catalogue, East Art Co., Hong Kong, September 1964, Bangkok exhibit no. 89
Exhibition of Paintings by Chang Dai-chien, exhibition catalogue, East Art Co., Hong Kong, February 1965, Haadyai exhibit no. 89
The Mei Yun Tang Collection of Paintings by Chang Dai-chien, edited by Kao Mayching, The Chinese University of Hong Kong, Art Gallery, Hong Kong, 1993, pl. 79
The Mei Yun Tang Collection of Paintings by Chang Dai-chien, Shoto Museum of Art, Japan, 1995, pl. 77

- There appears to be signs of wrinkles and creases throughout the painting, especially at the lower section of the painting, probably due to the paper's age which the artist deliberately choose. Otherwise, generally in fair to 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."

Snow Scenes
Snow scenes, of which I am not a master, are difficult to paint. Their colour
scheme is simple, yet the painter’s brush-stroke must manifest itself here
and there in the hills, rocks and trees, and the problem of shading the sky
and leaving blank space for the snow is particularly baffling.

In ordinary landscapes, the sky above and the waters below are
represented by blank space; in snow scenes they must be shaded with
pale ink in order to bring into relief the predominant white….

In painting snow scenes, we should model after the great masters of
the T’ang and Sung Dynasties. Though few T’ang paintings are in
existence, we may still refer to the extant masterpieces of Sung. The
scroll entitled Home-coming Boats in Snowbound River by Emperor
Hui Tsung is a truly good example.

Apart from leaving blank space for the snow, flake white is also applied
to the top of hills and trees. A little crimson on the balustrades and
door-frames of temples will break up the general bleakness with a
touch of warmth and make the picture interesting….

Extracted from Chinese Painting with the Original Paintings and
Discourses on Chinese Art by Professor Chang Dai-chien
Edited and compiled by Kao Ling-mei
Translated by Yao Hsin-nung