Xu Beihong (1895-1953)  Jiufang Gao and the Horse
Lot 896
Xu Beihong (1895-1953)
Jiufang Gao and the Horse
HK$ 2,000,000 - 3,000,000
US$ 260,000 - 380,000

Lot Details
Xu Beihong (1895-1953)  Jiufang Gao and the Horse Xu Beihong (1895-1953)  Jiufang Gao and the Horse
Xu Beihong (1895-1953)
Jiufang Gao and the Horse
Ink and colour on paper, hanging scroll
Inscribed and signed Beihong, with one seal of the artist and one collector's seal
Dated twenty-ninth year of the Republic era (1940)
Poetry hall inscribed and signed Xie Songshan, dated gengzi year (1960), with one seal of his
Painting: 49.5 x 36cm (19½ x 14⅛in).
Poetry hall: 27.5 x 36cm (10⅞ x 14⅛in).

Footnotes

  • Provenance:
    Previously in the collection of a British gentleman, who worked for the British American Tobacco in Singapore from 1939-1941, and then after WWII till 1960s. According to the grandchild of the gentleman, the current lot was a gift from his business associate Huang Manshi(1890-1963). Huang was known as a great friend and patron of the artist in Singapore.

    徐悲鴻 九方皋 設色紙本 立軸 一九四〇年作
    謝松山題詩堂

    詩堂:
    張侯鑿空通西域,御苑當年求不得。神馬當從西北來,生駒汗血傳奇殖。大宛天馬出貳師,漢帝得之空冀北。畫馬昔稱曹將軍,妙筆傳神驚四國。喑鳴叱吒九花虯,紅衣美髯照夜白。今世畫工推徐子,胸中坵壑無窮極。烏絲腕下挾風雷,筆未到先氣已逼。憶昔邂逅在檳城,畫師數遺我寶墨。我獨愛君畫鞍馬,朝夕摩挲若拱璧。豈止屏障生光輝,亦如支遁重神力。世事滄桑感歲華,畫師已遊長側側。今年偶爾得新圖,大小兩幅壯行色。此圖雖小殊精絕,夭矯騰趠難覊勒。人間哪有真乘黃,世無伯樂誰賞識。而今世路已崎嶇,老驥徒然思伏櫪。第七十八庚子(1960)夏謝松山題。

    款識:
    廿九年(1940)五月喜馬拉雅山中。悲鴻。

    鈐印:(徐)徐悲鴻
    (謝)謝松山
    藏印:赤雅軒藏

    來源:
    英國私人珍藏,並傳之子孫寶藏至今。原藏家任職英美菸草公司新加坡分公司,一九三九至四一年居新加坡,二戰爆發短暫返英,戰事平息後重返獅城,直至六十年代。夫婦二人均雅好文藝,除書畫外,亦有涉獵玉器。據藏家孫輩述,本幅乃其祖父獲贈於生意夥伴黃曼士(1890-1963)。黃曼士乃南洋兄弟煙草公司新加坡分公司總經理,嗜好書畫,為人熱心,是悲鴻藝術的知音。

    註:「九方皋」出自《列子 ∙ 說符》,穆文公請求伯樂為其舉薦擅相馬之士,伯樂舉薦九方皋的故事。穆文公質疑九方皋無法分辨馬匹的公母,但恰恰是因為九方皋看到了馬的內在精髓,忽略了表面無關緊要的特徵,以去偽存真之慧眼,方識得千里馬。徐悲鴻以畫馬聞名於世,而〈九方皋〉將駿馬題材融於春秋典故中,是他表現特定歷史情境,以史鑑今,又具敘事意義的代表作之一。

    據徐悲鴻之子徐伯陽記載,自一九二八年起,徐悲鴻先後十九次創作〈九方皋〉,因此則典故,應了徐悲鴻「人須無傲氣,但必具傲骨」的精神。本幅作於一九四〇年,是他藝術鼎盛時期的作品。該年,徐悲鴻應印度詩人泰戈爾之邀,遍遊勝地,更在五月深入喜馬拉雅地區,感其雄偉壯觀。同年,徐悲鴻在其寫贈印度友人〈奔馬圖〉上題寫「孑然一身,良朋渺遠,故園灰燼,祖國苦戰,時興感慨耳」,可知抗戰進入最慘烈的階段,作此「九方皋」未嘗不是渴望天降良將、拯救蒼生之寄懷。

    本幅作品中,徐悲鴻將西方繪畫的造型與東方藝術的筆墨相結合,生動詮釋了九方皋與千里馬的形象。畫中長者即九方皋,身著藍衣,捋鬚頷首,欣慰地望著身前這匹駿馬,眼神中是肯定與讚許;而健碩的駿馬,高昂著馬頭,望向九方皋,似要騰空躍起,嘶鳴中流露欣遇識才者之喜悅。與九方皋的鎮定自若形成鮮明對比的,是馬首前一年輕男子,他面露驚慌之色,左手執馬鞭,右手握拳,似欲制服烈馬,豈不知千里馬何能為凡夫所馴服?畫面一張一弛,充滿戲劇性。現藏於徐悲鴻紀念館之〈九方皋〉,作於一九三一年,其九方皋的衣飾造型,尤其是其睿智而氣定神閒的姿態,與本幅乃出自同一稿;且兩幅良駒皆神采奕奕,馬牡而驪,符合史書所載。本幅作品尤重九方皋與千里馬知己相遇的瞬間描繪,傳神寫意,實乃「意與古會,思接千載」之作。

    本幅作品並謝松山(1894-1965)題詩堂。謝松山,檳城報界名人,筆名雪堂、伊凡,齋號赤雅軒。一九三四年,謝松山來到馬來西亞,任檳城《新報》主筆,之後陸續任職於《馬華日報》、《光華日報》,以日據時期創作的舊體詩集《血海》而聞名,是著名的愛國詩人。謝松山喜愛收藏,與悲鴻結識於檳城,多獲寫贈。本幅詩堂中「今世畫工推徐子,胸中坵壑無窮極」,又云「我獨愛君畫鞍馬,朝夕摩挲若拱璧」,可見他對悲鴻畫馬之推崇。
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