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FROM THE MOZHAI COLLECTION (LOT 101-143)
「默齋」曹仲英先生舊藏中國書畫 (編號101-143)
Lot 120

REN XIONG (1823-1857)
Camellias and Parrot, 1851

24 October – 7 November 2025, 12:00 HKT
Hong Kong, Six Pacific Place

Sold for HK$153,600 inc. premium

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REN XIONG (1823-1857)

Camellias and Parrot, 1851
Ink and colour on paper, hanging scroll
Signed Ren Xiong, with two artist's seals
Dated Xinhai year (1851)
125 x 38.4cm (49¼ x 15⅛in)

Footnotes

Published:
Collection of Modern Chinese Paintings-Collection of Cao Mozhai, Vol. I, Shanghai Paintings and Calligraphy Publishing House, Shanghai, July 2010, p. 238-241

任熊 山茶鸚鵡 設色紙本 立軸 一八五一年作

款識:
辛亥秋日,蕭山任熊作。

鈐印:任熊、渭長

出版︰
《近現代中國繪畫集萃——曹氏墨齋藏》(一),(上海)上海書畫出版社,二〇一〇年七月,頁238至241

註:此圖採用明清文人畫家常闖之條幅格式與北宋花鳥畫全景式取景與畫法,亦有陳洪綬勾織法組合而成,反映任熊花鳥畫典型風格。在構圖上,繁枝盛開之山茶花自奇石側延伸而出,勾描塗彩瀟灑地安排於畫面中下方。花後老幹盤旋而上,枝葉、花朵開合相間,疏密有致。鸚鵡立於石上,一爪彎弓,正在理羽小憩。鸚鵡處於畫面右上部,乃視覺中心。鸚鵡與環繞的山茶花和太湖石相得益彰,盡顯出自然天真生機。此畫技法頗爲獨特,無論枝葉、花朵,還是羽毛、奇石,都以勁挺且曲張之綫條勾勒,行筆流暢,一絲不苟。這種筆法源自於晚明畫家陳洪綬,極具個性之鐵綫筆法。任熊在畫法上深受陳洪綬影響,但以這種且剛且柔之綫條表現花鳥,在中國花鳥畫史上獨具一格。與陳洪綬一樣,任伯年也曾作木刻版畫畫稿並親自刻版,故而筆下綫條有着迥異之面貌。因而,這幅作品給人耳目一新的感覺。畫面中,大片青色葉子以淡色輕染,具有海上畫家特點。每筆皆精心揮灑、一氣呵成,形成有虛實變化之趣。頑石的表現,在勾綫之後,以淡墨輕輕擦染,可能受到西畫影響,石頭某些部位以留白而表現出高光,極具層次感。鸚鵡之描繪更精工細緻,片片羽毛爲一筆一畫地用綫條勾勒和色彩輕染。總體而言,色彩的運用非常純淨,因此畫面顯得清雅、秀逸。任熊畫風深深地影響任伯年等其他海上畫家,爲海上繪畫形成與發展奠定了基礎。
從作品的題跋「辛亥秋日」看,此作乃1851年作,時任熊年僅二十八歲,遊歷蘇杭一帶,以賣畫自給。此年,他得到嘉興名士周閑推薦,赴南京為向忠武作畫。其時,任熊在江南已經名聲鵲起,《蕭山縣志稿》有載︰「尺幅片褚,人成珍之。」亦在此年,任熊與張熊相識,兩人友誼甚篤。二人與朱熊一起,以「海上三熊」名揚畫史。——左昕陽

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