Qi Baishi (1864-1957)  Plantain Forest (6)
Lot 212
Qi Baishi (1864-1957)
Plantain Forest
Sold for HK$ 6,060,000 (US$ 774,308) inc. premium

Lot Details
THE FENG WEN TANG COLLECTION OF CHINESE PAINTINGS

奉文堂珍藏中國書畫

Lots 201-219

繼2014年10月《古雅至臻──奉文堂藏中國古代陶瓷》專拍大獲成功之後,邦瀚斯中國書畫部本季幸獲所託,檢其舊藏十九件,匯成一輯,以饗仝好。奉文堂主人陳淑貞女士自幼雅好藝術,上世紀七、八十年代起,舉凡書畫、陶瓷、玉雕、文房清玩,皆悉力蒐求,逾仨載不倦,遂成大觀。二十世紀書畫家當中,奉文堂主尤鍾愛齊白石,本輯逾半乃齊氏佳構小品,最早紀年作品為1925年,最晚為五十年代初白石老人91歲所製,時間跨度近三十年。這三十年,正是白石衰年變法、自成一格、創作力鼎盛時期,如1929年寫於金絹之上的〈蕉林清夏〉六幅屏風(編號212)以及1938年寫贈胡佩衡的〈舍利函齋圖〉(編號211)可謂白石山水之典型。其餘舉凡拂塵、柴耙、漁具、筆硯、葵扇蓮蓬等,將日常平實之物件入畫,生趣盎然,看似信手拈來,實最能彰顯白石功力所在。
Qi Baishi (1864-1957)  Plantain Forest (6)
Qi Baishi (1864-1957)
Plantain Forest
Ink on gold silk, six-panelled screens
Inscribed and signed Qi Huang, with two seals of the artist
Dated jisi year (1929)
196cm x 60cm (77in x 23½in) each. (6).

Footnotes

  • Provenance:
    The Feng Wen Tang Collection

    Exhibited:
    Paintings and Calligraphy by Qi Baishi: The Feng Wen Tang Collection, Grand Hall, Hong Kong Convention and Exhibition Centre, Hong Kong, 21 November to 15 November 2013

    Published:
    Christie's Hong Kong, Exhibition Catalogue for Paintings and Calligraphy by Qi Baishi: The Feng Wen Tang Collection, Christie's, Hong Kong, 2013, pp. 98-9

    齊白石 蕉林清夏 水墨金絹 屏風六幅 一九二九年作

    款識:己巳(1929)龝,齊璜。
    鈴印:白石翁、甑屋

    來源:
    奉文堂珍藏中國書畫

    展覽:
    「奉文堂藏齊白石書畫」,香港會議展覽中心,香港,2013年11月21日至11月25日

    出版:
    香港佳士得,《奉文堂藏齊白石書畫》展覽圖錄,佳士得,香港,2013年,頁98-9

    註:在鄉友郭葆生鼓勵下,1902至1909年間,齊白石自湘潭老家出發,數年間「五出五歸」,遍遊大江南北,北至西安,南至香港。在1907年「四出四歸」中,還邁出國門,自廣西東興過北侖河鐵橋至越南的芒街,他在自述中說「野蕉數百株,映得滿天都成碧色。我畫了一張〈綠天過客圖〉,收入〈借山圖卷〉中」,這是白石以蕉林入畫之肇端。異域風光顯然給白石留下深刻印象,此後他屢屢取蕉林、蕉樓入畫。翻閱《齊白石》全集(湖南美術出版社,1996年10月)第二卷,〈蕉屋圖〉(圖版253,1925年作)、〈芭蕉書屋圖〉(圖版258,首都博物館藏)、〈綠天野屋圖〉(圖版259,1925年作,炎黃藝術館藏);《齊白石》全集第三卷,〈白蕉山居〉(圖版8,1928年作,炎黃藝術館藏)、〈綠天野屋 ─ 山水條屏之五〉(圖版166,重慶市博物館藏)、〈蕉葉樓居 ─ 山水冊頁之七〉(圖版180,約1932年作);以及《齊白石》全集第四卷,〈蕉屋圖〉(圖版30,約30年代初期),可見白石處理這一主題的習慣,大片蕉林皆用白描,線條古拙而生意盎然,蕉樓野屋則以工筆施之,背景遠山多以大筆拖染而成,形成白石稚拙古樸的特有風貌。本幅署年己巳(1929),以日式金絹屏風的形式,頗為罕見,近年釋出市場惟日人舊藏山水、花卉金屏風一對,作於1922年,參見香港蘇富比,中國書畫拍賣,2012年4月3日, 編號1251。
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