- 597
Yun Shouping 1633-1690
Estimate
20,000 - 30,000 USD
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Description
- Yun Shouping
- CALLIGRAPHY AFTER JIN AND TANG MASTERS
- ink on satin, album of forty-two leaves
signed Kunling Yun Shouping, dated wushen (1668), the fifth lunar month, summer, with six seals of the artist, er an, yun ge, shou ping (2), yun ge, zheng shu, dong yuan. Inscriptions by Xu Naipu (1787-1866), signed Qiantang Xu Naipu, with two seals, chen xu nai pu, dian sheng; and Xu Pengshou (1821-1866), signed Pengshou, with one seal, ren shan
Condition
-Satin darkened from age.
-Considerable number of wormholes throughout the album, mainly on the mounting boarders.
-Minor stain spots throughout.
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.
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.
Catalogue Note
Artist's inscription:
1. My fellow townsman Mr. Tang Yunke owned a Song-dynasty rubbing of Thirteen Lines, which I borrowed to copy. It bore a postscript by Dong Wenmin. Truly a priceless treasure, it was like a teacher who taught without words! Each character was formed as a world unto itself. By turns sparse and dense, clustered and clenched, the calligraphy was as transcendent as it was collected and grounded. Every dot and every stroke had interest and favor. As (Dong) wrote, the calligraphy was“like a concealed blade and a hidden weapon” and “eccentric and yet orthodox”-- indeed! In his standard-script calligraphy, Wenmin captured the spirit and marrow of Zijing’s Thirteen Lines, and thus managed to surpass masters like Wen Zhengming and Zhu Yunming. From this we know that anyone learning the standard script should begin with this piece and not suffer mere scrawlings by others.
2. The Dingwu inscription of the Preface to the Orchid Pavilion Anthology is the best, but I have not obtained a good rubbing of it. The Yingshang inscription is of course also excellent. If one can copy it for a thousand times, one can probably benefit from it.
3. Madam Wei’s piece collected in Model Calligraphies from the Imperial Archives of the Chunhua Era may not be authentic.
4. Whiling away the summer on the Pavilion of High Clouds, I playfully copied several model calligraphies in my collection. It is a shame that I am no brush virtuoso and have no devilish wrist to wield the brush as effortlessly as drawing in sand or stamping mud.
1. My fellow townsman Mr. Tang Yunke owned a Song-dynasty rubbing of Thirteen Lines, which I borrowed to copy. It bore a postscript by Dong Wenmin. Truly a priceless treasure, it was like a teacher who taught without words! Each character was formed as a world unto itself. By turns sparse and dense, clustered and clenched, the calligraphy was as transcendent as it was collected and grounded. Every dot and every stroke had interest and favor. As (Dong) wrote, the calligraphy was“like a concealed blade and a hidden weapon” and “eccentric and yet orthodox”-- indeed! In his standard-script calligraphy, Wenmin captured the spirit and marrow of Zijing’s Thirteen Lines, and thus managed to surpass masters like Wen Zhengming and Zhu Yunming. From this we know that anyone learning the standard script should begin with this piece and not suffer mere scrawlings by others.
2. The Dingwu inscription of the Preface to the Orchid Pavilion Anthology is the best, but I have not obtained a good rubbing of it. The Yingshang inscription is of course also excellent. If one can copy it for a thousand times, one can probably benefit from it.
3. Madam Wei’s piece collected in Model Calligraphies from the Imperial Archives of the Chunhua Era may not be authentic.
4. Whiling away the summer on the Pavilion of High Clouds, I playfully copied several model calligraphies in my collection. It is a shame that I am no brush virtuoso and have no devilish wrist to wield the brush as effortlessly as drawing in sand or stamping mud.