View full screen - View 1 of Lot 62. Calligraphy and landscape, ink on gold-flecked paper (calligraphy), ink and color on silk (painting), album of eight leaves | 董其昌(款) 書畫合璧 水墨金箋(書) 設色絹本(畫) 各八開冊.
62

Attributed to Dong Qichang 1555-1636

Calligraphy and landscape, ink on gold-flecked paper (calligraphy), ink and color on silk (painting), album of eight leaves | 董其昌(款) 書畫合璧 水墨金箋(書) 設色絹本(畫) 各八開冊

Attributed to Dong Qichang 1555-1636

Attributed to Dong Qichang 1555-1636

Calligraphy and landscape, ink on gold-flecked paper (calligraphy), ink and color on silk (painting), album of eight leaves | 董其昌(款) 書畫合璧 水墨金箋(書) 設色絹本(畫) 各八開冊

Calligraphy and landscape, ink on gold-flecked paper (calligraphy), ink and color on silk (painting), album of eight leaves | 董其昌(款) 書畫合璧 水墨金箋(書) 設色絹本(畫) 各八開冊

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Attributed to Dong Qichang 1555-1636

Calligraphy and landscape, ink on gold-flecked paper (calligraphy), ink and color on silk (painting), album of eight leaves

董其昌(款) 書畫合璧 水墨金箋(書) 設色絹本(畫) 各八開冊


ink on paper (calligraphy), ink and color on silk (painting), album of eight leaves


Height 9⅝ in., 24.4 cm; Width 8⅞ in., 22.6 cm


董其昌(款) 書畫合璧 水墨金箋(書) 設色絹本(畫) 各八開冊


冊套題簽:董思白書畫真跡。澹靜山房珍藏

引首:蟾蜍水戲。董其昌書

鈐印:玄賞齋、玄宰


畫款:

(一) 平地風雲橫白鳥,半山雲木捲蒼藤。董玄宰畫。鈐印:董其昌印

(二) 玄宰。鈐印:董其昌印

(三) 仿小米筆。玄宰。鈐印:董其昌印

(四) 玄宰。鈐印:董其昌印

(五) 此圖成後,天地陡黯,雷闐雨冥,似畫欲飛去也。玄宰。鈐印:

董其昌印

(六) 谿亭秋霽。董玄宰畫。鈐印:董其昌印

(七) 玄宰寫。鈐印:董其昌印

(八) 寒林圖。玄宰畫。鈐印:董其昌印


書法:

(一) 門前洛陽道,門裡桃花路。塵土與煙霞,其間十餘步。其昌。鈐

印:太史氏、董玄宰氏

(二) 石泉澈瓊瑤,纖麟亦浮沉。作必紛與升,山水有清音。其昌。鈐

印:太史氏、董玄宰氏

(三) 天上瑤池覆五雲,玉麟金鳳好為群。不須更飲人間泉,直是清流

也點君。其昌。鈐印:董其昌印

(四) 黃麻朝下紫宸居,玄武名傳赤伏書。此去三台臨北斗,九□秋色

盡迴車。其昌。鈐印:太史氏、董玄宰氏

(五) 幽娟松篠徑,月出寒蟬鳴。散髮臥其下,誰知孤隱情。董其昌。

鈐印:董玄宰氏、太史氏

(六) 郭思雲有可遊者,有可居者,以居者為勝,此圖可使一丘一壑人

有之。董其昌。鈐印:太史氏、董玄宰氏

(七) 渡水傍山尋絕壁,白雲深處洞天開。幽人來往行無蹤,石邊春陰

長紛苔。其昌。鈐印:太史氏、董玄宰氏

(八) 昔時齷齪不足夸,今朝曠蕩春無涯。東風得意高蹄就,一日看盡

長安花。其昌。鈐印:太史氏、董玄宰氏

鑒藏印:吉塞島吳蓮伯博物館收藏印 (三方)、乾隆御覽之寶、延陵、

吳衡之

Very good condition. Some staining. Fitted brocade box and blue cotton cover.


Because this lot was imported into the United States after September 1, 2020, it is subject to an import tariff of 7.5% of the value declared upon entry into the United States. $30,000, plus applicable sales tax will be included on your invoice unless you instruct Sotheby's to arrange shipping of the lot to a foreign address. For more information on the import tariff, please review the Symbol Key in the back of the catalogue. If you have any questions, please contact tariffs@sothebys.com.


由於本拍品在2020年9月1日之後進口到美國,所以買家可能需就本拍品支付進口關稅,金額為拍品進口美國當時申報價值的7.5%。除非您要求蘇富比安排運送拍品到美國境外之地址,否則發票上將包括30,000美元以及相關的銷售稅。如欲查詢進口關稅的更多信息,請查閱目錄背面的附錄。 如有任何疑問,敬請聯繫tariffs@sothebys.com。


For more information on and additional videos for this lot, please contact asiaweek@sothebys.com.


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.

我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員,在此敦促您徵詢其他專業修復人員,以獲得更詳盡、專業之報告。



準買家應該檢查每件拍品以確認其狀況,蘇富比所作的任何陳述均為主觀看法而非事實陳述。雖然本狀況報告或有針對某拍品之討論,但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。

Collection of Dr Wou Kiuan (1910-1997).

Wou Lien-Pai Museum, 1970-present, coll. no. 224.


吳權博士 (1910-1997) 收藏

吳蓮伯博物院,1970年至今,編號224

Dong Qichang was a native of Huating (present-day Shanghai), who came from a poor but scholarly family and displayed a precocious intellect as a child, passing the prefectural civil service exam at the age of twelve. This allowed him a to receive good education that prepared him for a career in the Ming government bureaucracy. He eventually held a position within the Ministry of Rites, but his fame is based on his artistic achievements.


Dong Qichang was the most influential painter, calligrapher, and theorist of the late Ming dynasty. Dong was a disciplined calligrapher who mastered the writing styles of earlier masters through a systematic approach of studying and copying the works of Jin and Tang period models. In painting, he followed the lineage that began with the 10th century landscape painters Dong Yuan and Juran and continued through the Four Masters of the Yuan, Huang Gongwang, Wu Zhen, Ni Zan, and Wang Meng. In his painting practice, even more so than for his calligraphy, emulating the old masters did not mean merely copying the superficial aspects of their styles, but rather involved thoroughly absorbing, through copy and study, the essential elements and spirit of each artist’s work, and transforming their best qualities into a personal vision. Dong’s paintings display an aesthetic that avoids outward displays of beauty, preferring instead an awkwardness and depth of feeling that is often anti-decorative. In this sense, Dong Qichang was the quintessential wenren, or 'literati painter,' who painted for enjoyment and self-cultivation.


His theory of the Northern and Southern Schools of painting (analogous to Schools of Buddhism, not geographic divisions), which emphasized a preference for an intuitive, natural approach to painting, rather than a stilted, mechanical approach, dominated Chinese art history throughout the Qing dynasty and into the modern period. Remarkably, Dong Qichang was equally venerated by later painters associated with both the Orthodox School, such as the Four Wangs, and the Individualists, such as Shitao and Bada Shanren. 


Dong Qichang frequently created albums such as this one, pairing landscape paintings with calligraphy. Sometimes the paintings and calligraphy are brushed on different surfaces—in this case the paintings are on silk, and the calligraphies on gold-flecked paper. Dong enjoyed painting and writing on different types of paper and silk presumably because each type of surface offered a different technical challenge and created a varied tactile experience.