Huang Binhong (1865-1955) Abstract Landscape, 1952

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Lot 12
Huang Binhong (1865-1955)
Abstract Landscape, 1952

US$ 50,000 - 80,000
HK$ 390,000 - 620,000
Huang Binhong (1865-1955)
Abstract Landscape, 1952
Large album leaf mounted as a hanging scroll, ink and color on paper, inscribed by the artist, dated renchen, and signed Binhong, with an artist's seal Huang Binhong.
12 5/8 x 17 7/8in (32 x 45.2cm)

Footnotes

  • 黃賓虹 抽象山水 設色紙本 冊頁裝裱為立軸 一九五二年作

    Provenance/來源:
    Far East Fine Arts, San Francisco, California
    加州舊金山遠東藝術中心

    Published/出版:
    Toda, Teisuke and Hiromitsu Ogawa comp. Comprehensive Illustrated Catalogue of Chinese Paintings, Third Series, Volume 1: American and Canadian Collections, University of Tokyo Press, 2013, A50-72, p. 208
    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,A50-72,頁208

    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, p. 214
    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214

    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 Academy of Arts, 2007, pp. 552-553
    Little, Stephen, 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552-553

    Exhibited/展覽:
    Between the Thunder and the Rain, Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, San Francisco, California, October 25, 2000-January 14, 2001
    《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

    New Songs on Ancient Tunes, Honolulu Art Academy, Honolulu, Hawaii, August 30-October 28, 2007
    《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

    In his inscription, Huang Binhong cites the profound innovations of the Jinshi movement artists of the Daoguang and Xianfeng periods (1821-1861) who were active a hundred years prior to this painting's conception. In his words, Huang Binhong deems their contribution to Chinese painting as a 'renaissance' fuxing, as the reintroduced brush methods would transform the approach to landscape painting in a profound manner. See Wan Qingli, "Huang Binhong yu 'Dao Xian huaxue zhongxing", Wenyi yanjiu, 2004:6.

    黃賓虹於本幅題款:前清道咸金石學盛,繪畫稱為復興。其認為,將金石書法中的筆法運用到山水繪畫中實為「復興」,點出了金石學對繪畫的重大意義。參見萬青力"黃賓虹與道咸化學中興",發表於《文藝研究》,2004年第6期,頁106-107
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