于非闇 遊騎圖

款識：
右〈遊騎圖〉，人七騎五，皆唐時裝。予數年前曾見之，殘破不完，疑人馬不止此數，題曰〈唐人遊騎圖〉，是宋人筆也。嚮在故內，〈石渠寶笈重編〉著錄，而不見於阮文達隨筆。喜其用唐人游絲描法，臨成此卷，聊以志一時興會耳。時壬午初冬小雪節後。非闇。

鈐印：「于照之印」、「遊戲翰墨」。

香港蘇富比，二○○八年十月，中國書畫拍賣，編號1059

-Paper has turned slightly greyish and it is more visible along the edges. 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：于非闇以宋元花鳥為世人熟悉，惟其造詣與同期畫家般，既有專精，亦具多元多樣之貌。他筆下或鮮有白描人物，但白描乃其作畫之基礎，狀物傳神之功皆不能脫離此道。他的人物畫俱師古法古，以唐宋為宗，傳世畫迹所見〈臨顧愷之女史箴圖〉、〈臨韓幹照夜白、李伯時五馬圖合卷〉等，皆屬典範。無論考研前人設色、筆墨、線條等均有領會而重現筆端。本幅題跋已述淵源及個人觀點，故不拘執於或唐或宋，所喜者乃唐人游絲描法耳！署年為「壬午初冬小雪節後」，即西曆一九四二年十一月廿三日後。上述〈韓李合卷〉乃寫畢於同年夏，而〈女史箴圖卷〉則臨峻於一九四○年底，由此察之，四十年代上半期無疑屬其用功人物畫最深之時。

本幅諸較上述兩卷更著重於人物描法，出筆尖細，綫條纖巧含勁，但馬匹骨骼關節處卻圓潤自然，絲毫無突兀之弊。他狀物精準，髮眉眼神以至馬尾束捲皆攝神而質感畢現，雖曰師古，實窮盡自然之神韵矣。

參考資料：
〈臨韓幹照夜白、李伯時五馬圖合卷〉可參見〈京華煙雲 ─ 民國初年北方畫壇〉（台北，羲之堂文化出版事業有限公司，二○○二年十月），頁66 至67
〈臨顧愷之女史箴圖卷〉可參見中國嘉德二○○八年春季拍賣會，〈海唐精舍藏近現代繒畫〉目錄，編號710