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「默齋」曹仲英先生舊藏中國書畫 (編號101-143)
REN YU (1853-1901) Lotus
Sold for HK$28,160 inc. premium
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Jingjing Qiao
Head of Department

Rex Lin
Senior Specialist
Jian Wang
Senior Specialist

Jennifer Wang
Specialist

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REN YU (1853-1901)
Ink and colour on paper, hanging scroll
Inscribed and signed Lifan Ren Yu, with one artist's seal and three collector's seals
Titleslip by Ma Gongyu (1890-1969)
140 x 36.5cm (55⅛ x 14⅓in)
Footnotes
Published:
Collection of Modern Chinese Paintings-Collection of Cao Mozhai, Vol. II, Shanghai Paintings and Calligraphy Publishing House, Shanghai, July 2010, p. 374-375
任預 荷 設色紙本 立軸
馬公愚署簽
簽條:任立凡荷花真跡。馬公愚題簽。
款識:
留得殘荷聽雨聲。白陽山人晚年之筆,立凡任預摹之。
鈐印:立凡
藏印:鏡塘藏荷、數青草堂、錢鏡塘收藏印、公愚書畫、冷翁
出版:
《近現代中國繪畫集萃——曹氏墨齋藏》(二),(上海)上海書畫出版社,二〇一〇年七月,頁374至375
註:此幅荷花圖軸與任預慣常花鳥畫風有所區別,基本以寫意筆法爲之,所取題材、筆墨形態以及構圖樣式都更近於吳昌碩、王震一路,受海上畫壇金石寫意的主流風格影響在保持爽朗挺拔氣質的同時,又微妙而生動地表現了荷葉的光感、質感和層次。畫面另有款題「白陽山人晚年之筆」揭示其筆墨技法源自陳淳,從葦草穿插的率意、挺勁筆致以及中鋒勾勒的綫條可以窺知一二,但變陳淳晚年筆墨的縱逸和敏感爲整飭與俊朗,增強了墨色的細膩變化以及蒼潤相濟的厚重感。畫幅中部濃淡荷葉的強烈對比襯托出荷花的明潔以及滑潤的質感,重墨用得極爲狠辣,以此保持了物形各目的獨立和相互之間明晰的關係,淺墨綫條畫荷葉背面,極富深淺陰陽對比,這可謂是任氏宗族吸取民間畫風後的典型特點﹔而柄、葉、花之間的穿插、縱勢構圖中的黑白分佈以及題款的方式又極具十九世紀晚期的金石派風格,這與任預疏愧的性情及貫穿於整體畫風中的文人氣質有一定關係。從此幅作品語言形態的綜合運用上既可以看出任預是如何將各種不同寫意技巧進行整合的,又能感受到海上時風的明顯特徵,而這些又統一於個人的性情趣味之中,殊爲難得。——鄧鋒

