- 739
馮超然 1882-1954
估價
20,000 - 25,000 USD
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招標截止
描述
- Feng Chaoran
- 馮超然 臨惲壽平山水 水墨紙本 立軸 一九二八年作
- ink on paper, hanging scroll
款識：
古塔斜陽幾歲年，無人能共賞蒼煙。寒柯偃蹇風篁濕，此是雲林水墨禪。南田翁此作筆墨荒率，意在雲林、六如之間。偶擬大意，愧無合處。戊辰（1928）閏月，雲溪馮超然並記。
蕭疏幾竿竹，矯立湘江曲。君味甘且和，君懷若虛谷。閒雲往復來，清響戞寒玉。剪燈數晨夕，知君知我腹。近仿吾鄉南田草衣小幅，聊布齋壁。適鏡波道兄顧草堂，見而愛之，屬余儗此，並書近句請正。嵩山居士又記。
是作忽忽已越十載，慚余學不精晉，而鬢已星星，回顧家山能無慨嘆，鏡波應有同情也。庚辰（1940）夏初，慎得又識。
鈐印：「馮超然」、「馮超然」、「滌舸」、「馮超然」。
上款：「鏡波」即朱鏡波（1889-1968），蘇州人，齋號月波樓，書畫金石咸擅，嗜收藏，與馮超然、吳湖帆等交往尤深。
古塔斜陽幾歲年，無人能共賞蒼煙。寒柯偃蹇風篁濕，此是雲林水墨禪。南田翁此作筆墨荒率，意在雲林、六如之間。偶擬大意，愧無合處。戊辰（1928）閏月，雲溪馮超然並記。
蕭疏幾竿竹，矯立湘江曲。君味甘且和，君懷若虛谷。閒雲往復來，清響戞寒玉。剪燈數晨夕，知君知我腹。近仿吾鄉南田草衣小幅，聊布齋壁。適鏡波道兄顧草堂，見而愛之，屬余儗此，並書近句請正。嵩山居士又記。
是作忽忽已越十載，慚余學不精晉，而鬢已星星，回顧家山能無慨嘆，鏡波應有同情也。庚辰（1940）夏初，慎得又識。
鈐印：「馮超然」、「馮超然」、「滌舸」、「馮超然」。
上款：「鏡波」即朱鏡波（1889-1968），蘇州人，齋號月波樓，書畫金石咸擅，嗜收藏，與馮超然、吳湖帆等交往尤深。
Condition
- Patches of light watermarks can be found on the upper part of the painting, which are also visible in the illustration.
- Actual color of the paper tone appears to be much whiter than that of the illustration.
- Dark-colored watermarks can be found on the mounted borders, which may need to be removed or remounted by professional restorers or mounters due to the degree of the watermark.
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.
拍品資料及來源
Artist's inscription:
An ancient pagoda in the setting sun: how many years have passed like this? There is nobody to enjoy the ashen mist with me. The wintry trees are tall and erect, the bamboo grove windswept and wet--this is what Yunlin (Ni Zan, 1301-1374) called Chan in water and ink. This painting by Nantianweng (Yun Shouping, 1633-1690) is insouciant in brushwork. Its idea is between Yunlin and Liuru (Tang Yin, 1470-1523). By chance I have imitated its rough aspect, and I am ashamed that my rendition fails to match the original. In the intercalary month of the wuchen year (1928), recorded by Feng Chaoran of Yunxi.
Sparse and desolate are these few bamboos, standing along the winding Xiang River. Your taste is sweet and harmonious. Your bosom is like the Great Void. Clouds freely float to and fro. Crisp bird calls sound like cold jades. Conversing with you under candlelight for several nights and days, I know you are my bosom friend. Recently I copied a small painting by my fellow townsman Nantian Caoyi as meager decoration for a wall in my study. It happened that Jingbo came for a visit and took a liking to it. He ordered me to inscribe this and write a few recent poems for his instruction. Inscribed again by Songshan jushi.
Since I painted this, over ten years have quickly gone by. I am ashamed that though my painting is not proficient my hair is already thin. Viewing the mountains of my home, how can I not sigh in sorrow? Jingbo should share my feelings. In early summer in the gengchen year (1940), inscribed again by Shende.
An ancient pagoda in the setting sun: how many years have passed like this? There is nobody to enjoy the ashen mist with me. The wintry trees are tall and erect, the bamboo grove windswept and wet--this is what Yunlin (Ni Zan, 1301-1374) called Chan in water and ink. This painting by Nantianweng (Yun Shouping, 1633-1690) is insouciant in brushwork. Its idea is between Yunlin and Liuru (Tang Yin, 1470-1523). By chance I have imitated its rough aspect, and I am ashamed that my rendition fails to match the original. In the intercalary month of the wuchen year (1928), recorded by Feng Chaoran of Yunxi.
Sparse and desolate are these few bamboos, standing along the winding Xiang River. Your taste is sweet and harmonious. Your bosom is like the Great Void. Clouds freely float to and fro. Crisp bird calls sound like cold jades. Conversing with you under candlelight for several nights and days, I know you are my bosom friend. Recently I copied a small painting by my fellow townsman Nantian Caoyi as meager decoration for a wall in my study. It happened that Jingbo came for a visit and took a liking to it. He ordered me to inscribe this and write a few recent poems for his instruction. Inscribed again by Songshan jushi.
Since I painted this, over ten years have quickly gone by. I am ashamed that though my painting is not proficient my hair is already thin. Viewing the mountains of my home, how can I not sigh in sorrow? Jingbo should share my feelings. In early summer in the gengchen year (1940), inscribed again by Shende.