- 636
藍瑛 1585-1666
Estimate
1,200,000 - 2,200,000 USD
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Description
- Lan Ying
- 藍瑛 仿吳鎮山水 淡設色紙本 手卷倪元璐、范允臨、陳繼儒、楊文驄、楊學愿、張學良題跋
- ink on paper, handscroll
簽書：
藍田叔仿梅道人山水卷。戊辰秋日，靜逸主人珍賞。
題跋：
〈倪〉使梅道人見此必一揖一拜，揖其通而拜其變也。惟變廼通，善臨摹者只寫自照，足返他魂，字畫皆如此。庚辰（1640）臘月，始寧倪元璐觀，為昭如辭兄。
〈范〉董玄宰嘗語予，世之仿梅道人畫者，皆作粗重墨點，面目且未，如何論骨髓。予家藏有梅道人〈古木高士圖〉一幀，筆墨蒼潤而細，與玄宰語同。今得見田叔此卷，以〈高士圖〉覆之，如出一手，使玄宰而立，品此兩圖，不知誰作江貫道高座弟子矣。戊寅（1638）八月九日，范允臨題。
〈陳〉江貫道有〈長江萬里圖〉，幾四丈許，為思翁所藏，梅道人畫師也。見江貫道畫過，方知藍田叔不妄下筆，若云仿仲圭，仲圭未肯點胸，在曰：「吾與田叔同參江公來耳」。八十一翁陳繼儒題於古香庭院。
〈楊〉梅道人避兵武塘，自署其墓曰「梅華和尚」，及亂兵至，而草木無恙，其智識超卓，已通於仙，故其一筆一墨俱帶仙氣。田叔生於神仙山水之鄉，日與逋仙西子為伍，孤山之陽，種梅花千樹，以香魂洗其鐵筆。吾知和尚再來，此卷留天地間，因當有仙靈呵護耳。崇禎戊寅（1638）八月一日題，吉州楊文驄。
〈楊〉己卯（1639）秋氣晶瑩，偕友人入北山，選石三日，繼又偕田叔尋南山石，亦逾三日，繼又登勝果尋石，多為蔓草所縈，未能盡窺。大約高山蒼鬱之致，不出董、巨範圍；而玲瓏、勝果兩處，宋人之中雜以梅花庵主。田叔先北宋而後放情於梅花，收拾武林山川盡矣！但玲瓏已有韻衲為之主，勝果石丈猶零落榛莽寒煙之中，尚望田叔以筆墨開彼生面，梅老芳魂時可於其中招也。因閱所作梅道人卷，欣賞之餘，附識於此。吉州楊學愿。
〈張〉廿一年（1932）四月，以墨洋三千元易於友人手中，乃金鞏伯舊藏品，漢卿誌於北平看畫軒。
鈐印：〈倪〉「倪元璐印」、「鴻寶」、「且園寓公」。
〈范〉「石公」、「灌園叟」。
〈陳〉「陳繼儒印」、「陳眉公書畫記」。
〈楊〉「文驄」、「龍友氏」。
〈楊〉「楊學愿印」、「沆石」、「古春園」。
藍田叔仿梅道人山水卷。戊辰秋日，靜逸主人珍賞。
題跋：
〈倪〉使梅道人見此必一揖一拜，揖其通而拜其變也。惟變廼通，善臨摹者只寫自照，足返他魂，字畫皆如此。庚辰（1640）臘月，始寧倪元璐觀，為昭如辭兄。
〈范〉董玄宰嘗語予，世之仿梅道人畫者，皆作粗重墨點，面目且未，如何論骨髓。予家藏有梅道人〈古木高士圖〉一幀，筆墨蒼潤而細，與玄宰語同。今得見田叔此卷，以〈高士圖〉覆之，如出一手，使玄宰而立，品此兩圖，不知誰作江貫道高座弟子矣。戊寅（1638）八月九日，范允臨題。
〈陳〉江貫道有〈長江萬里圖〉，幾四丈許，為思翁所藏，梅道人畫師也。見江貫道畫過，方知藍田叔不妄下筆，若云仿仲圭，仲圭未肯點胸，在曰：「吾與田叔同參江公來耳」。八十一翁陳繼儒題於古香庭院。
〈楊〉梅道人避兵武塘，自署其墓曰「梅華和尚」，及亂兵至，而草木無恙，其智識超卓，已通於仙，故其一筆一墨俱帶仙氣。田叔生於神仙山水之鄉，日與逋仙西子為伍，孤山之陽，種梅花千樹，以香魂洗其鐵筆。吾知和尚再來，此卷留天地間，因當有仙靈呵護耳。崇禎戊寅（1638）八月一日題，吉州楊文驄。
〈楊〉己卯（1639）秋氣晶瑩，偕友人入北山，選石三日，繼又偕田叔尋南山石，亦逾三日，繼又登勝果尋石，多為蔓草所縈，未能盡窺。大約高山蒼鬱之致，不出董、巨範圍；而玲瓏、勝果兩處，宋人之中雜以梅花庵主。田叔先北宋而後放情於梅花，收拾武林山川盡矣！但玲瓏已有韻衲為之主，勝果石丈猶零落榛莽寒煙之中，尚望田叔以筆墨開彼生面，梅老芳魂時可於其中招也。因閱所作梅道人卷，欣賞之餘，附識於此。吉州楊學愿。
〈張〉廿一年（1932）四月，以墨洋三千元易於友人手中，乃金鞏伯舊藏品，漢卿誌於北平看畫軒。
鈐印：〈倪〉「倪元璐印」、「鴻寶」、「且園寓公」。
〈范〉「石公」、「灌園叟」。
〈陳〉「陳繼儒印」、「陳眉公書畫記」。
〈楊〉「文驄」、「龍友氏」。
〈楊〉「楊學愿印」、「沆石」、「古春園」。
Provenance
Previously in the collection of renowned painter Jin Cheng (1878-1926)
Previously in the collection of the legendary collector Zhang Xueliang (1901-2001)
Private American collection
Previously in the collection of the legendary collector Zhang Xueliang (1901-2001)
Private American collection
Literature
Sotheby's Taipei, Fine Chinese Paintings from the Dingyuanzhai Collection, April 10, 1994, lot 114
This Single Feather of Auspicious Light: Old Chinese Painting and Calligraphy (7 Volumes), Sydney L. Moss, Ltd., London, 2010, vol II, pp. 170-194, p. 204
This Single Feather of Auspicious Light: Old Chinese Painting and Calligraphy (7 Volumes), Sydney L. Moss, Ltd., London, 2010, vol II, pp. 170-194, p. 204
Catalogue Note
Colophons:
(1) Ni Yuanlu: If Mei Daoren (Wu Zhen, 1280-1354) could see this, he would certainly give one bow and one obeisance, bowing to its comprehension (of his style), and giving obeisance to its transformation (of his style). Every transformation he comprehends; thus he is excellent at copying (earlier works). He need only depict a reflection from within himself and this will suffice to retrieve the soul of another and lodge it in the painting. All who do so are like this.
(2) Fan Yunlin: Dong Xuanzai (Dong Qichang, 1555-1636) once said to me that all those who attempt to copy the paintings of Mei daoren (Wu Zhen) all use thick, heavy ink, but are simply indifferent in their capturing the fine essence of his true appearance. In my house there is collected a ‘Painting of a Noble Scholar among Ancient Trees’ by Mei dao-ren, which indeed has heavy ink richly deployed, and yet there is a delicacy consistent with the words of Xuanzai.
Now I have managed to see this hand scroll by Tian-shu (Lan Ying); if you were to place it side by side with the Noble Scholar picture, they would appear to have emerged from the same hand! If Xuanzai could see these two paintings, he would not be able to do better than to say that these two painters were acting as disciples, responding to the style of Jiang Guandao.
(3) Chen Jiru: Jiang Guandao had a painting of ‘A Painting of Ten Thousand Li of the Yangtze River’ which several times in texts has been stated to have been in the collection of Siweng (Dong Qichang), and the ‘teacher-of-painting’ to Mei Dao-ren. When one examines the painting and calligraphy of Jiang Guandao, one comes to realize that Lantian Shu (Lan Ying) has not purposelessly put brush to paper. If you say he is ‘imitating Zhong Gui (Wu Zhen)’, Zhong Gui himself would not have been willing to take issue, but would have said, ‘Tian-shu and I are both disciples of Master Jiang!
(4) Yang Wencong: Mei Daoren evaded the troops by travelling to Wutang, inscribing his own tombstone with the name, ‘Plum Blossom Monk’. When the rampaging troops (the Mongol invaders) arrived, his tomb with its plants and trees went unharmed. His knowledge and awareness were transcendent, and he had already penetrated to the level of an Immortal, so that every single brushstroke or ink-daub of his fully possesses the spirit of the Immortals. Tianshu (Lan Ying) was born in a country of Immortals and wondrous landscape, and was daily a companion to Immortal Pu (the great poet Lin Pu (967-1028), famed for his poems on plum blossoms, and for living at West Lake’s Solitary Mountain as a hermit) and ‘Xi Shi’ (West Lake itself, famously compared by Su Dongpo to the beautiful woman, Xi Shi). On the sunny side of Solitary Mountain he planted one thousand flowering plum trees, cleansing his ‘iron brush’ with their fragrant souls! I am certain that the Monk (Wu Zhen) has returned in this hand scroll, long to reside between Heaven and Earth, and that therefore there must be divine beings protecting it with their breath.
(5) Yang Xueyuan: In the autumn of the year yimao (1639) the air was crisp and clear, so I accompanied a friend into the Northern Mountain to select rocks, for a period of three days. And I then accompanied Tian-shu (Lan Ying) to go in search of Southern Mountain rocks, again taking a period of three days for this. Following this, I further climbed to Shengguo (Temple) in search of rocks, but most of them were overgrown with vines and weeds, so that not all of them were visible. In general, these tall mountains with their extremely dense appearance presented none other than the stylistic sphere of Dong and Ju (the mid to late 10th century masters Dong Yuan and Ju Ran), but in two spots - at Linglong and Shengguo Temples – in the midst of the (styles of the) Song artists there seemed to be mixed in some of the (style of the Yuan dynasty) Master of the Plum Blossom Hermitage (Wu Zhen).
Tianshu at first (studied) the Northern Song, but later gives his whole heart to old man Mei (Wu Zhen), as in his work he has absorbed completely the mountains and streams of the Wulin region. However, although Ling-long Temple now has (the monk) Yunna acting as master there, Shengguo Temple and the Shizhang Shrine are still dilapidated and overgrown, enshrouded in a cold mist. And now we have seen Tianshu use his brush and ink to open up the living visage of this scene, and the fragrant soul of old man Mei (Wu Zhen) can from time to time be summoned from its midst. As I happened to open up this Mei daoren scroll which he (Lan Ying) has done, after enjoying it I have inscribed this here.
(1) Ni Yuanlu: If Mei Daoren (Wu Zhen, 1280-1354) could see this, he would certainly give one bow and one obeisance, bowing to its comprehension (of his style), and giving obeisance to its transformation (of his style). Every transformation he comprehends; thus he is excellent at copying (earlier works). He need only depict a reflection from within himself and this will suffice to retrieve the soul of another and lodge it in the painting. All who do so are like this.
(2) Fan Yunlin: Dong Xuanzai (Dong Qichang, 1555-1636) once said to me that all those who attempt to copy the paintings of Mei daoren (Wu Zhen) all use thick, heavy ink, but are simply indifferent in their capturing the fine essence of his true appearance. In my house there is collected a ‘Painting of a Noble Scholar among Ancient Trees’ by Mei dao-ren, which indeed has heavy ink richly deployed, and yet there is a delicacy consistent with the words of Xuanzai.
Now I have managed to see this hand scroll by Tian-shu (Lan Ying); if you were to place it side by side with the Noble Scholar picture, they would appear to have emerged from the same hand! If Xuanzai could see these two paintings, he would not be able to do better than to say that these two painters were acting as disciples, responding to the style of Jiang Guandao.
(3) Chen Jiru: Jiang Guandao had a painting of ‘A Painting of Ten Thousand Li of the Yangtze River’ which several times in texts has been stated to have been in the collection of Siweng (Dong Qichang), and the ‘teacher-of-painting’ to Mei Dao-ren. When one examines the painting and calligraphy of Jiang Guandao, one comes to realize that Lantian Shu (Lan Ying) has not purposelessly put brush to paper. If you say he is ‘imitating Zhong Gui (Wu Zhen)’, Zhong Gui himself would not have been willing to take issue, but would have said, ‘Tian-shu and I are both disciples of Master Jiang!
(4) Yang Wencong: Mei Daoren evaded the troops by travelling to Wutang, inscribing his own tombstone with the name, ‘Plum Blossom Monk’. When the rampaging troops (the Mongol invaders) arrived, his tomb with its plants and trees went unharmed. His knowledge and awareness were transcendent, and he had already penetrated to the level of an Immortal, so that every single brushstroke or ink-daub of his fully possesses the spirit of the Immortals. Tianshu (Lan Ying) was born in a country of Immortals and wondrous landscape, and was daily a companion to Immortal Pu (the great poet Lin Pu (967-1028), famed for his poems on plum blossoms, and for living at West Lake’s Solitary Mountain as a hermit) and ‘Xi Shi’ (West Lake itself, famously compared by Su Dongpo to the beautiful woman, Xi Shi). On the sunny side of Solitary Mountain he planted one thousand flowering plum trees, cleansing his ‘iron brush’ with their fragrant souls! I am certain that the Monk (Wu Zhen) has returned in this hand scroll, long to reside between Heaven and Earth, and that therefore there must be divine beings protecting it with their breath.
(5) Yang Xueyuan: In the autumn of the year yimao (1639) the air was crisp and clear, so I accompanied a friend into the Northern Mountain to select rocks, for a period of three days. And I then accompanied Tian-shu (Lan Ying) to go in search of Southern Mountain rocks, again taking a period of three days for this. Following this, I further climbed to Shengguo (Temple) in search of rocks, but most of them were overgrown with vines and weeds, so that not all of them were visible. In general, these tall mountains with their extremely dense appearance presented none other than the stylistic sphere of Dong and Ju (the mid to late 10th century masters Dong Yuan and Ju Ran), but in two spots - at Linglong and Shengguo Temples – in the midst of the (styles of the) Song artists there seemed to be mixed in some of the (style of the Yuan dynasty) Master of the Plum Blossom Hermitage (Wu Zhen).
Tianshu at first (studied) the Northern Song, but later gives his whole heart to old man Mei (Wu Zhen), as in his work he has absorbed completely the mountains and streams of the Wulin region. However, although Ling-long Temple now has (the monk) Yunna acting as master there, Shengguo Temple and the Shizhang Shrine are still dilapidated and overgrown, enshrouded in a cold mist. And now we have seen Tianshu use his brush and ink to open up the living visage of this scene, and the fragrant soul of old man Mei (Wu Zhen) can from time to time be summoned from its midst. As I happened to open up this Mei daoren scroll which he (Lan Ying) has done, after enjoying it I have inscribed this here.