Jin Cheng (1878-1926)   Landscapes after Old Masters, 1905 (12)

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Lot 27
Jin Cheng (1878-1926)
Landscapes after Old Masters, 1905

Sold for HK$ 1,875,625 (US$ 238,940) inc. premium
Jin Cheng (1878-1926)
Landscapes after Old Masters, 1905
Album of twelve leaves, ink and color on paper, each leaf inscribed by the artist, last leaf with a dedication to the artist's son Jin Kaihua (1899-1943), indicating the album painted in yisi (1905), later inscribed and given to his son in dingsi jiuyue ershiliu ri (the 26th of the ninth lunar month, 1917), with fourteen artist's seals reading Jingfu, Gongbo, and one collector's seal.
Preface inscribed by Wu Changshuo (1844-1927) and dated yisi (1905), followed with one seal reading Wu Jun zhi yin; the first colophon by He Weipu (1842-1922), followed by one seal reading Weipu changshou, the second colophon by Jin Ruyi and dated bingwu (1906), with two seals reading Jin Ruyi yin and Yiyun.
26.4 x 36.5cm (10 3/8 x 14 3/8in) each (12).

Footnotes

  • Exhibited:
    New Songs on Ancient Tunes, Honolulu Museum of Art, Honolulu, HI, August 30-October 28, 2007

    Between the Thunder and the Rain, Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, San Francisco, CA, October 25, 2000-January 14, 2001

    Published:
    Teisuke Toda and Hiromitsu Ogawa comp., Comprehensive Illustrated Catalogue of Chinese Paintings, Third Series, Volume 1: American and Canadian Collections, University of Tokyo Press, 2013, A50-47, p.201

    Little, Stephen, and J. May Lee Barrett, New Songs on Ancient Tunes: 19th-20th Century Chinese Paintings and Calligraphy from the Richard Fabian Collection, Honolulu: Honolulu Museum of Art, 2007, pp.408-411

    Andrews, Julia Frances, Michael Knight, and Pauline Yao, Between the Thunder and the Rain: Chinese Paintings from the Opium War Through the Cultural Revolution, 1840-1979, San Francisco: Echo Rock Ventures, in association with the Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, 2000, pp.139-141

    Provenance:
    Far East Fine Arts, San Francisco, California

    金城 仿古山水冊 水墨、設色紙本 冊頁十二開 一九〇五年作
    吳昌碩題扉頁
    何維樸、金汝益題跋

    扉頁:
    湖海氣。歸來滄海上,相見一軒渠。讀畫神飛動,知君飽讀書。乙巳(1905)重九後十日,經郛先生自倫敦遊倦歸,出示法繪,欽佩已極,為之瑑耑。安吉吳俊卿。

    款識:
    (一)仿曹雲西。
    (二)仿柯敬仲。
    (三)仿大痴老人。
    (四)仿米虎兒。
    (五)仿郭河陽。
    (六)仿叔明。
    (七)仿北苑。
    (八)仿趙漚波。
    (九)仿盛子昭。
    (十)仿王洽。
    (十一)仿李營丘。
    (十二)仿沈石田。此冊余乙巳(1905)歲所作也。南北遨遊,每攜之行箧中,忽忽已十有一年矣。華兒乞作稿本,即以付之。丁巳(1917)九月廿六日,北樓題記。

    題跋:
    (一)鞏伯仁兄出示所臨宋元諸家畫冊,運思精妙,筆無纖塵,真能得神似者。竊謂臨摹古人,始欲與古人合,終乃欲與古人離。平日博覽名蹟,融會胸中,到落筆時,吐棄一切,自出機杼。千巖萬壑,雲煙渺瀰,應手而來。諸法具備,則直以造化為師。不知我似古人,抑古人似我。鞏伯謂為何如?維樸。
    (二)吾家冬心老,筆墨萬古空。奇氣羅中懷,運腕負神通。生平愛之如性命,欲得其正羌無從。丙午(1906)歸津門,鞏伯先生適相值,觀其臨本幾亂真,令我怡恍神安逸。我遊中國數萬里,自謂足跡亦遠矣。君乃西自倫敦回,我卻汗顏顙有疵。把筆索墨強書此,白吾愛敬斯已矣。丙午(1906)閏月,讀鞏伯宗兄所臨畫冊,心曠神怡,數月塵襟一洗而淨。索然口占,書之後幅,以誌相識之原因云,揖雲金汝益敬題。

    鈐印:經郛、鞏伯、金城之印、金城、鞏伯畫信、鞏伯、城、金城、鞏伯作畫、鞏伯、拱北、金城印、拱北、鞏白
    (吳)吳俊之印
    (何)維樸長壽
    (金)金汝益印、揖雲
    藏印:蔥石觀☐

    展覽:
    《古調新歌:費立哲神父珍藏十九及二十世紀中國書畫》,檀香山藝術博物館,夏威夷,2007年8月30日至10月28日

    《風雲際會:從鴉片戰爭到「文革」(1840-1979)的中國繪畫》,亞洲藝術博物館,舊金山,加州,2000年10月25日至2001年1月14日

    出版:
    戶田禎佑、小川裕充,《中國繪畫總合圖錄》三編,第一卷,東京大學出版會,東京,2013年,A50-47,頁201

    Little, Stephen, and J. May Lee Barrett, 《古調新歌:費立哲神父珍藏十九及二十世紀中國書畫》,檀香山藝術博物館,夏威夷,2007年,頁408-411

    Andrews, Julia Frances, Michael Knight, and Pauline Yao,《風雲際會:從鴉片戰爭到「文革」(1840-1979)的中國繪畫》,亞洲藝術博物館,李鐘文亞洲藝術文化中心,舊金山,加州,2000年,頁139-141

    來源:
    美國加州舊金山遠東藝術中心

    上款:「華兒」即金開華(1899-1943),字樸盫,號述湖。金城次子。在湖社中襄助其兄開藩處理會務,出版《湖社月刊》以「提倡藝術、闡揚國光」。兄弟二人曾於民國二十六年(1937)三月十一日於北平舉辦〈金北樓遺作展覽〉。樸盫亦曾涉足養蜂業,創辦華北養蜂協會。繪畫專攻麻雀,然傳世作品極罕。

    註:金城幼嗜丹青,「課餘握管,輒迥異於常人」。光緒二十二年(1896),金城十九歲,應童子試不第,但畫名早已艷稱鄉黨。金城自述亦曰「從事畫學幾三十年,無一師承。或聞之顯不以為異。然溯自晉唐以來,凡工繪事者,罔不出於閉戶自精。」無庸置疑,這「閉戶自精」的底氣,或曰先決條件,天賦之外,博覽名跡、大量臨摹應為不二法門。

    然而,以所見資料與傳世畫跡,北樓三十歲前作品寥若晨星,署年最早者,乃南京博物院所藏〈春明四契圖〉,作於丁未(1907)。其鼎革之前臨古之作,亦集中於文、沈、四王等明清諸家,一般認為北樓上追宋元始自民國出仕北平時期,尤其古物陳列所設立後,得睹武英殿藏宋元巨蹟,「日攜筆研,坐臥其側,累年月臨摹殆遍,畫益大進」。

    以上述故,本冊署年「乙巳」(1905),乃目前所見北樓傳世最早畫跡。畫家「南北遨遊,每攜之行箧中,忽忽已十有一年矣」,十餘年間畫不離身,自珍之情,溢於言表,若非愛子乞作畫稿,恐仍藏之篋笥,祕不示人。十二開所臨,自唐王洽、五代董源至宋元李成、郭熙、趙孟頫、黃公望、王蒙諸家,而以沈周收尾,顛覆既往認知,堪補畫史不足,其稀罕自不消言說也。

    至於此冊原跡何在,尚未得考。北樓故里南潯,地處湖州,自唐開元年間,蠶絲已成貢品,南宋遠銷海外,《嘉泰吳興志》有「湖絲遍天下」之說。至清末光緒年間,經營湖絲發跡的富商,以「南潯四象八牛」為最,而「四象」之一龐家次子虛齋龐萊臣,精鑑別,富收藏,又素與金家交好,以北樓對繪事之耽著,虛齋所藏名跡,應早已近水樓台、先摹為快矣。

    又,以傳世印章考,吳昌碩與金城相識,不遲於光緒十九年(1893),時缶翁年剛半百,而北樓尚仍束髮。待本冊題耑時,缶翁年逾耳順,而北樓負笈英倫三載,壯遊十國,翩翩少年長成風流宇俊。「乙巳重九後十日」乃西曆一九〇五年十月十七日,北樓返國未幾,出任上海公共租界會審公廨襄讞委員,此時距發生著名的「黎黃氏一案」,已不足一月。缶翁篆「湖海氣」三字,神完氣足,非云畫藝,實是讚其個性豪俠,這與陳寶琛墓誌所云北樓「行事近俠」不謀而合。而北樓在「黎黃氏一案」審理中,因「勇敢正義、不畏強梁」,得「金大刀」雅號,缶翁識人之功,以及二人忘年之交深,字裡行間盡現矣。

    北樓臨古之勤,畫格之高,「運思精妙,筆無纖塵,真能得神似者」,又見識廣博,融貫中西,領略古法生新奇,已為定論,本冊不啻為顯證,實無須贅言。

    參考資料:
    邱敏芳著,《領略古法生新奇——金城繪畫藝術研究》,台北,歷史博物館,二〇〇七年十月
Contacts
Jin Cheng (1878-1926)   Landscapes after Old Masters, 1905 (12)
Jin Cheng (1878-1926)   Landscapes after Old Masters, 1905 (12)
Jin Cheng (1878-1926)   Landscapes after Old Masters, 1905 (12)
Jin Cheng (1878-1926)   Landscapes after Old Masters, 1905 (12)
Jin Cheng (1878-1926)   Landscapes after Old Masters, 1905 (12)
Jin Cheng (1878-1926)   Landscapes after Old Masters, 1905 (12)
Jin Cheng (1878-1926)   Landscapes after Old Masters, 1905 (12)
Jin Cheng (1878-1926)   Landscapes after Old Masters, 1905 (12)
Jin Cheng (1878-1926)   Landscapes after Old Masters, 1905 (12)
Jin Cheng (1878-1926)   Landscapes after Old Masters, 1905 (12)
Jin Cheng (1878-1926)   Landscapes after Old Masters, 1905 (12)
Jin Cheng (1878-1926)   Landscapes after Old Masters, 1905 (12)
Jin Cheng (1878-1926)   Landscapes after Old Masters, 1905 (12)
Jin Cheng (1878-1926)   Landscapes after Old Masters, 1905 (12)
Jin Cheng (1878-1926)   Landscapes after Old Masters, 1905 (12)
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