黃賓虹 (1864-1955)

設色紙本 立軸 一九四六年作

款識：
寂寞寒皋帶淺灘，幽人時共夕陽還；
水禽飛去青煙滅，間送秋光入斷山。
丙戌。賓虹。

鈐印：「黃賓虹」、「興到筆隨」。

天津美術出版社舊藏
畫背貼有「天津美術出版社藏畫」標籤。

-A crease can be found on the painting, which can be improved by restoration. Otherwise, generally in good condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

註：本幅作於一九四六年，黃賓虹已蟄居故都九年，深居簡出，惟埋頭於故紙堆中，終日研究金石書畫，曾自取別號「蝶居士」，將燕京十年視為倦游困學，功虧翰墨，竭其苦功，以成一藝的繭中歲月；期間他所觀故宮及坊間古今畫跡甚多，所著畫學畫理文章亦夥，山水面貌常常隨著思考問題的轉移而有微妙變化。是年賓虹致黃居素、鮑君白等友人書札中多次提及擬法宋畫，「近來拙作取法北宋為多，因其用筆力之沉著，墨采之渾厚」，正是本幅所呈現面貌：黝黑如椎碑，用墨淋漓，元氣渾淪；渲染少而用筆多，筆力遒勁，肥不臃腫，瘦不枯羸，視同儕畫家專務鬆秀、趨於薄弱者，迥然有別。藝事之外，是年北京物價飛漲，時局日惡，生活境遇對畫風亦生影響，在四月致傅雷書中提及：「……兼時事心緒不寧，胸臆鬱塞，每作一畫，竣工之後總覺不夠，愈加愈多，什居其九。」故存世畫作中，是年之作，用墨尤重者居多。出於歷史淵源，津沽一地公營收藏黃賓虹畫作頗多，天津美術出版社亦其一，所收者不乏精品，本幅即其中之一。