- 715
董源 ?-962
Estimate
50,000 - 70,000 USD
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Description
- Attributed to Dong Yuan
- 董源（傳） 夏山圖 淡設色絹本 手卷董其昌署簽及裱邊董其昌、方士庻、徐堅、胡璧城題跋
- ink and light color on silk, handscroll
簽書：
宋董北苑夏山圖。
裱邊：
董北苑夏山圖神品。
題跋：
予在長安三見董源畫卷，丁酉得藏〈瀟湘圖〉，甲子(1864年)見〈夏口待渡圖〉，壬申得此卷，乃賈似道物，有長字印。三卷絹素高下、廣狹相等，而〈瀟湘圖〉最勝。〈待渡圖〉有柯敬仲題、元文宗禦寶，今為東昌相朱所藏。昔米元章去董源時不甚遠，自云見源畫真者五本，予何幸，得收二卷，直追溯黃子久畫所自出，頗覺元人味薄耳。
董北苑畫，為元季大家所宗，自趙承旨、高尚書、黃子久、吳仲圭、倪元鎮各得其法，而自成半滿。最勝者趙得其髓；黃得其骨；倪得其韻；吳得其勢。余自學畫幾五十年，嘗寤寐求之。吳中相傳沈石田、文衡山，僅見半幅，為〈溪山行旅圖〉。歲癸巳入京，得之吳用卿，又於金吾邯鄲張公得巨軸一，至丁酉夏，同年林檢討傳言，長安李納言家有〈瀟湘圖卷〉，余屬其和會，復得之。而上海潘光祿有董源〈龍秀郊民圖〉，其婦翁莫雲卿所遺，並以售余，余意滿矣。比壬戌，余再入春明，因託收三種，此卷與巨軸、單條各一，皆希世之寶，不勝自幸，又自悔風燭之年，不能懇習，有負奇覯也。乙亥（1635）中秋書。
乾隆二年（1737）學畫人方士庻沐手敬觀。
桐城方貞觀、安東程嗣立、吳縣徐堅同觀。
不假雕琢，自然滿幅氣與筆俱和厚渾穆，南宗大師千古所獨。後小師道人題，百八十六年，歲在己未（1919）閏七月，安吳胡璧城盥手寫贊。
藏印：「劉氏寒碧莊印」、「花步劉氏家藏」、「蓉峰劉恕審玩」、「寒碧主人鑑賞」、「寒碧」（二鈐）、「蓉峰鑑賞」、「劉恕收藏」、「寒碧莊」（二鈐）、「蓉峰」、「劉恕之印」、「蓉峰秘玩」、「花步蓉峰氏印」、「劉恕習書」。
「裴氏世寶」（二鈐）、「裴伯謙秘笈書畫印」、「霍山裴景福弱冠後寓吳客燕所得書畫碑版」（兩鈐）、「景福私印」（三鈐）、「裴景福收入壯陶閣秘笈」（二鈐）、「伯謙所見書畫銘心絕品」、「睫庵精鑑」（二鈐）、「睫庵鑑賞」、「裴伯謙審定書畫印」（兩鈐）、「裴氏吟雲軒書畫之記」（兩鈐）、「伯謙寶此過於明珠駿馬」、「睫闇寶此過於明珠駿馬」、「裴氏壯陶閣藏」。
「二百蘭亭齋鑑藏」（兩鈐）、「平齋清玩」（二鈐）、「吳雲私印」、「吳平齋秘篋印」（二鈐）、「歸安吳雲平生珍秘」、「吳雲平齋」。
「吳氏讓之」、「湘文審定」、「頤情館著錄」、「何汝穆」、「某孫長壽」、「丹溪胡大」、「方士庻印」、「環山」、「三退樓寓公」、「陳鴻壽印」、「汪令聞氏秘藏」、「墨緣堂印」（三鈐）、「明袁樞鑑賞書畫之章」、「之萬」、「長」（二鈐）、「膠山張氏」、「黃琳美之」、「抱雷子」。
宋董北苑夏山圖。
裱邊：
董北苑夏山圖神品。
題跋：
予在長安三見董源畫卷，丁酉得藏〈瀟湘圖〉，甲子(1864年)見〈夏口待渡圖〉，壬申得此卷，乃賈似道物，有長字印。三卷絹素高下、廣狹相等，而〈瀟湘圖〉最勝。〈待渡圖〉有柯敬仲題、元文宗禦寶，今為東昌相朱所藏。昔米元章去董源時不甚遠，自云見源畫真者五本，予何幸，得收二卷，直追溯黃子久畫所自出，頗覺元人味薄耳。
董北苑畫，為元季大家所宗，自趙承旨、高尚書、黃子久、吳仲圭、倪元鎮各得其法，而自成半滿。最勝者趙得其髓；黃得其骨；倪得其韻；吳得其勢。余自學畫幾五十年，嘗寤寐求之。吳中相傳沈石田、文衡山，僅見半幅，為〈溪山行旅圖〉。歲癸巳入京，得之吳用卿，又於金吾邯鄲張公得巨軸一，至丁酉夏，同年林檢討傳言，長安李納言家有〈瀟湘圖卷〉，余屬其和會，復得之。而上海潘光祿有董源〈龍秀郊民圖〉，其婦翁莫雲卿所遺，並以售余，余意滿矣。比壬戌，余再入春明，因託收三種，此卷與巨軸、單條各一，皆希世之寶，不勝自幸，又自悔風燭之年，不能懇習，有負奇覯也。乙亥（1635）中秋書。
乾隆二年（1737）學畫人方士庻沐手敬觀。
桐城方貞觀、安東程嗣立、吳縣徐堅同觀。
不假雕琢，自然滿幅氣與筆俱和厚渾穆，南宗大師千古所獨。後小師道人題，百八十六年，歲在己未（1919）閏七月，安吳胡璧城盥手寫贊。
藏印：「劉氏寒碧莊印」、「花步劉氏家藏」、「蓉峰劉恕審玩」、「寒碧主人鑑賞」、「寒碧」（二鈐）、「蓉峰鑑賞」、「劉恕收藏」、「寒碧莊」（二鈐）、「蓉峰」、「劉恕之印」、「蓉峰秘玩」、「花步蓉峰氏印」、「劉恕習書」。
「裴氏世寶」（二鈐）、「裴伯謙秘笈書畫印」、「霍山裴景福弱冠後寓吳客燕所得書畫碑版」（兩鈐）、「景福私印」（三鈐）、「裴景福收入壯陶閣秘笈」（二鈐）、「伯謙所見書畫銘心絕品」、「睫庵精鑑」（二鈐）、「睫庵鑑賞」、「裴伯謙審定書畫印」（兩鈐）、「裴氏吟雲軒書畫之記」（兩鈐）、「伯謙寶此過於明珠駿馬」、「睫闇寶此過於明珠駿馬」、「裴氏壯陶閣藏」。
「二百蘭亭齋鑑藏」（兩鈐）、「平齋清玩」（二鈐）、「吳雲私印」、「吳平齋秘篋印」（二鈐）、「歸安吳雲平生珍秘」、「吳雲平齋」。
「吳氏讓之」、「湘文審定」、「頤情館著錄」、「何汝穆」、「某孫長壽」、「丹溪胡大」、「方士庻印」、「環山」、「三退樓寓公」、「陳鴻壽印」、「汪令聞氏秘藏」、「墨緣堂印」（三鈐）、「明袁樞鑑賞書畫之章」、「之萬」、「長」（二鈐）、「膠山張氏」、「黃琳美之」、「抱雷子」。
Literature
Zhuangtaoge shuhua lu, written by Pei Jingfu, Beijing, Xueyuan Publishing House, April 2006, pp. 59-60
Comprehensive Illustrated Catalogue of Chinese paintings: Second Series, Vol. 1, American and Canadian Collections, complied by Teisuke Toda and Hiromitsu Ogawa, University of Tokyo Press, April 1999, p. I-232-233, pl. A48-013
Comprehensive Illustrated Catalogue of Chinese paintings: Second Series, Vol. 1, American and Canadian Collections, complied by Teisuke Toda and Hiromitsu Ogawa, University of Tokyo Press, April 1999, p. I-232-233, pl. A48-013
Catalogue Note
Colophon:
Dong Beiyuan (Dong Yuan, ?-962) was venerated by the master painters of the Yuan dynasty. Zhao Chengzhi (Zhao Mengfu. 1254-1322), Gao Shangshu (Gao Kegong, 1248-1310), Huang Zijiu (Huang Gongwang, 1269-1354), Wu Zhonggui (Wu Zhen, 1280-1354), and Ni Yuanzhen (Ni Zan, 1301-1374) each learned from his style and developed it in their own directions. Foremost among them, Zhao obtained Dong¿s marrow. Huang obtained his bones, Ni his tone, and Wu his force. For the fifty years since I began studying painting, I have dreamt of owning a work by Dong. Rumor in Wu has it Shen Shitian (Shen Zhou, 1427-1509) and Wen Hengshan (Wen Zhengming. 1470-1559) saw only half a painting of Travelers Amongst Mountains and Streams. In the guisi year (1593) I went to the capital and obtained it from Wu Yongqing and also a large scroll from Jinwu Master Zhang of Handan. In summer of the dingyou year (1597), my fellow metropolitan graduate Lin Jiantao informed me that Li Nayan of Chang'an owned a scroll depicting Xiao and Xiang Rivers. I met him and obtained it also. Then Pan Guanglu of Haishang sold to me Dong Yuan's Longsu Village, which he inherited from his father-in-law Mo Yunqing (Mo Shilong, 1537-1587). How content I was! In the renxu year (1622), I entered the capital again, and was entrusted with three paintings, including the present work and two monumental scrolls, all rare masterpieces. I cannot believe how fortunate I am. I regret that in my waning years I cannot earnestly practice my painting and pay proper homage to these miraculous works. Written on mid-autumn in the yihai year (1635).
In the second year of the Qianlong reign, respectfully viewed by the student of painting Fang Shishu.
Viewed by Fang Zhenguan of Tongcheng, along with Cheng Sili of Andong and Xu Jian of Wuxian.
Free from ornate elaboration, the entire painting is infused with nature. The life force inhabits the brush, which is harmonious, profound, and unaffected. The great master of the Southern School is unique in all history. Inscribed by Xiaoshi daoren, at the age of eighty-six, in the intercalary seventh month in the jiwei year (1919). Respectfully inscribed by Hu Bicheng of Anhu.
Dong Beiyuan (Dong Yuan, ?-962) was venerated by the master painters of the Yuan dynasty. Zhao Chengzhi (Zhao Mengfu. 1254-1322), Gao Shangshu (Gao Kegong, 1248-1310), Huang Zijiu (Huang Gongwang, 1269-1354), Wu Zhonggui (Wu Zhen, 1280-1354), and Ni Yuanzhen (Ni Zan, 1301-1374) each learned from his style and developed it in their own directions. Foremost among them, Zhao obtained Dong¿s marrow. Huang obtained his bones, Ni his tone, and Wu his force. For the fifty years since I began studying painting, I have dreamt of owning a work by Dong. Rumor in Wu has it Shen Shitian (Shen Zhou, 1427-1509) and Wen Hengshan (Wen Zhengming. 1470-1559) saw only half a painting of Travelers Amongst Mountains and Streams. In the guisi year (1593) I went to the capital and obtained it from Wu Yongqing and also a large scroll from Jinwu Master Zhang of Handan. In summer of the dingyou year (1597), my fellow metropolitan graduate Lin Jiantao informed me that Li Nayan of Chang'an owned a scroll depicting Xiao and Xiang Rivers. I met him and obtained it also. Then Pan Guanglu of Haishang sold to me Dong Yuan's Longsu Village, which he inherited from his father-in-law Mo Yunqing (Mo Shilong, 1537-1587). How content I was! In the renxu year (1622), I entered the capital again, and was entrusted with three paintings, including the present work and two monumental scrolls, all rare masterpieces. I cannot believe how fortunate I am. I regret that in my waning years I cannot earnestly practice my painting and pay proper homage to these miraculous works. Written on mid-autumn in the yihai year (1635).
In the second year of the Qianlong reign, respectfully viewed by the student of painting Fang Shishu.
Viewed by Fang Zhenguan of Tongcheng, along with Cheng Sili of Andong and Xu Jian of Wuxian.
Free from ornate elaboration, the entire painting is infused with nature. The life force inhabits the brush, which is harmonious, profound, and unaffected. The great master of the Southern School is unique in all history. Inscribed by Xiaoshi daoren, at the age of eighty-six, in the intercalary seventh month in the jiwei year (1919). Respectfully inscribed by Hu Bicheng of Anhu.