- 630
文徵明 1470-1523
Estimate
300,000 - 500,000 USD
bidding is closed
Description
- Attributed to Wen Zhengming
- 文徵明（款） 空巌琴思 設色紙本 立軸 一五四六年作楊文驄、袁思韠題跋
- ink and color on paper, hanging scroll
款識：
嘉靖丙子秋日，仿趙松雪〈空巌琴思圖〉。徵明。
題跋：
趙魏公此圖真本向為白雪齋甲觀，余及見之。茲文太史摹倣逼真廬山面目，古今大手筆吻合乃爾，後乎此者，未識又誰為之繼耶。庚戌（1610）夏五，後學楊文驄。
此幅為白厓山人藏，甲戌春，寄都裝潢，見之，喜其雋逸，臨一過旋寄蜀，以臨本懸齋中。越二年，陸生久香堅欲得之，乃再摹一幅，未脫藁而陸生又攜臨本入蜀。今年余亦至蜀道，古資山人出觀，遂補臨前年未完之稿，於是此幅凡三見而兩橅矣。幅端舊署龍友先生跋，有「後誰為繼之」語。每一搦管，為遲回者久之，而追慕古人之心不能自己，若以云繼，則何敢矣。光緒八年壬午（1882）秋仲，青樗散人稚巌摹竟並識。
鈐印：「文徵明印」、「衡山」、「停雲」。
藏印：「楊文驄」、「龍友」、「青樗散人」、「高香舲秘笈印」、「袁培所藏」、「少野審定」、「稚崖鑑賞」、「林村審是」、「益堂」、「香舲珍藏」。
嘉靖丙子秋日，仿趙松雪〈空巌琴思圖〉。徵明。
題跋：
趙魏公此圖真本向為白雪齋甲觀，余及見之。茲文太史摹倣逼真廬山面目，古今大手筆吻合乃爾，後乎此者，未識又誰為之繼耶。庚戌（1610）夏五，後學楊文驄。
此幅為白厓山人藏，甲戌春，寄都裝潢，見之，喜其雋逸，臨一過旋寄蜀，以臨本懸齋中。越二年，陸生久香堅欲得之，乃再摹一幅，未脫藁而陸生又攜臨本入蜀。今年余亦至蜀道，古資山人出觀，遂補臨前年未完之稿，於是此幅凡三見而兩橅矣。幅端舊署龍友先生跋，有「後誰為繼之」語。每一搦管，為遲回者久之，而追慕古人之心不能自己，若以云繼，則何敢矣。光緒八年壬午（1882）秋仲，青樗散人稚巌摹竟並識。
鈐印：「文徵明印」、「衡山」、「停雲」。
藏印：「楊文驄」、「龍友」、「青樗散人」、「高香舲秘笈印」、「袁培所藏」、「少野審定」、「稚崖鑑賞」、「林村審是」、「益堂」、「香舲珍藏」。
Catalogue Note
Note:
The present painting is inscribed with a cyclical date bingzi, which does not exist for the Jiajing reign period. Presumably the artist mistakenly inscribed the characters bingzi instead of bingwu (1546). There are two paintings with nearly identical compositions in the collection of the National Palace Museum, Taipei. The first is also ascribed to Wen Zhengming and is inscribed in regular script "Copied after Songxue daoren's (Zhao Mengfu) ' Playing the Qin in the Empty Cliffs', Jiajing bingwu, sixth month, Wen Zhengming of Changzhou." The second version is ascribed to Ren Renfa (1255-1328), and is entitled 'Scholar Playing the Qin.' The size of these two paintings is also very close to that of the present scroll. Both paintings are recorded in the Shiqu baoji Imperial catalogue, but scholars believe that both of the Palace Museum paintings are copies based on a lost Zhao Mengfu original.
The present painting is the third version of the composition. The most recent remounting was done by Master Yan Guirong of the Shanghai Museum conservation department. According to Master Yan, when he remounted the painting he observed that some pigments were added to strengthen the backing, a practice which he claimed was not used after the Ming dynasty.
Colophons:
Yang Wencong: Zhao Weigong¿s original painting was the foremost treasure of the White Snow Studio, and I managed to see it. This copy by Wen Taishi verges on the true form of the original. The ancient and modern masterpieces are equal! Among those who have come afterwards, who can succeed him? Fifth month in summer of the gengxu year, the student Yang Wencong.
Yuan Sibi: This painting belonged to Baiya Shanren. In spring of the jiaxu year, it was sent to the capital to be mounted. I was pleased by its transcendental quality and made a copy of it before sending it to Shu. I hung the copy in my studio. After two years, Lu Jiuxiang insisted on having it, and therefore I started another copy, but before I could finish it Lu brought my first copy to Shu. This year I also went to Guzi in Shu. When Shanren showed the painting, I completed my unfinished copy from two years ago. In all I have copied this painting three times and held it in my hands twice. The edge of the scroll bears an old colophon by Master Longyou asking who could be Wen Zhengming¿s successor. Every time I picked up my brush I would be mired in long hesitations, overwhelmed by a yearning for the ancient masters. But to speak of succeeding them - how dare I? Mid-autumn of the renwu year, eighth year of the Guangxu reign (1882). Inscribed by Qingchu sanren Zhiyan after completing a copy.
The present painting is inscribed with a cyclical date bingzi, which does not exist for the Jiajing reign period. Presumably the artist mistakenly inscribed the characters bingzi instead of bingwu (1546). There are two paintings with nearly identical compositions in the collection of the National Palace Museum, Taipei. The first is also ascribed to Wen Zhengming and is inscribed in regular script "Copied after Songxue daoren's (Zhao Mengfu) ' Playing the Qin in the Empty Cliffs', Jiajing bingwu, sixth month, Wen Zhengming of Changzhou." The second version is ascribed to Ren Renfa (1255-1328), and is entitled 'Scholar Playing the Qin.' The size of these two paintings is also very close to that of the present scroll. Both paintings are recorded in the Shiqu baoji Imperial catalogue, but scholars believe that both of the Palace Museum paintings are copies based on a lost Zhao Mengfu original.
The present painting is the third version of the composition. The most recent remounting was done by Master Yan Guirong of the Shanghai Museum conservation department. According to Master Yan, when he remounted the painting he observed that some pigments were added to strengthen the backing, a practice which he claimed was not used after the Ming dynasty.
Colophons:
Yang Wencong: Zhao Weigong¿s original painting was the foremost treasure of the White Snow Studio, and I managed to see it. This copy by Wen Taishi verges on the true form of the original. The ancient and modern masterpieces are equal! Among those who have come afterwards, who can succeed him? Fifth month in summer of the gengxu year, the student Yang Wencong.
Yuan Sibi: This painting belonged to Baiya Shanren. In spring of the jiaxu year, it was sent to the capital to be mounted. I was pleased by its transcendental quality and made a copy of it before sending it to Shu. I hung the copy in my studio. After two years, Lu Jiuxiang insisted on having it, and therefore I started another copy, but before I could finish it Lu brought my first copy to Shu. This year I also went to Guzi in Shu. When Shanren showed the painting, I completed my unfinished copy from two years ago. In all I have copied this painting three times and held it in my hands twice. The edge of the scroll bears an old colophon by Master Longyou asking who could be Wen Zhengming¿s successor. Every time I picked up my brush I would be mired in long hesitations, overwhelmed by a yearning for the ancient masters. But to speak of succeeding them - how dare I? Mid-autumn of the renwu year, eighth year of the Guangxu reign (1882). Inscribed by Qingchu sanren Zhiyan after completing a copy.