The Leshantang Collection (II) – Treasures of Chinese Art from the Tsai I-Ming Collection
The Leshantang Collection (II) – Treasures of Chinese Art from the Tsai I-Ming Collection
Dai Xi
Dai Xi, Landscape after Early Qing Master Wang Hui | 戴熙 臨石谷山水冊 水墨紙本 十二開冊
Auction Closed
April 9, 04:51 AM GMT
Estimate
1,000,000 - 2,000,000 HKD
Lot Details
Description
Dai Xi (1801-1860)
Landscape after Early Qing Master Wang Hui
ink on paper, album of twelve leaves
Ten leaves of landscape paintings, two leaves of annotations by the artist and others including famous painter Tao Qi (1814-1865). One signed Chunshi (twice), dated renzi (1852) and a total of seventeen seals of the artist
Titleslip by Zhao Shuru (1874-1945), dated xinwei (1931) and with two seals of his
each 19.2 x 19.4 cm. 7½ x 7½ (12)
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戴熙 臨石谷山水冊
水墨紙本 十二開冊
簽書：〈趙〉戴文節仿石谷冊精品。百鏡齋珍藏，辛未(1931)春日，趙叔孺署。鈐印：「趙叔孺印」、「叔孺」
款識：
(一)倣范中立〈巖居圖〉鈐印：「戴熙」
(二)〈蒙蕭〉開軒僅尋丈，水竹亦蕭疏。客來須起敬，題榜了翁書。楊鐵崖詩。鈐印：「醇士」
(三)堂後林陰密，堂前湖水源。感君懷我意，千里夢相尋。〈麗澤堂〉，晦翁。鈐印：「醇士」
(四)高丘復層觀，何日去登臨。一目長空盡，寒江列莫岑。〈南阜〉，晦翁句。鈐印：「戴熙」
竹垞老人真賞。
(五)危欄明倒景，靣靣湧金波。何處無佳月，惟應此地多。〈月榭〉，鐵崖詩。鈐印：「醇士」、「戴熙」
(六) 〈卷雲亭〉西山雲氣深，徙𠋣一舒嘯。浩蕩忽搴開，爲君展遐眺。右晦翁句。鈐印：「戴熙」、「醇士」
(七)湖平秋水碧，桂棹木蘭舟。一曲菱歌晚，驚飛欲下鷗。〈采菱舟〉，晦翁。鈐印：「戴熙」、「吉祥止止室」
(八) 〈山齋〉藏書樓上頭，讀書樓下屋。懷哉千載心，俯仰數椽足。 晦翁句。鈐印：「戴熙」
(九) 鶴林圖。鈐印：「醇士」
(十)八杉草堂圖。丙戌(1706)清和朔，為雲滄社兄畫。耕煙散人，王翬。鈐印：「醇士」、「戴熙」
(十一)（錄王翬冊中第十一至十六開款識，詳文不錄）昭文蔣仲蘺來杭，出示石谷聯冊十六版，〈采菱舟〉一版，有「耕煙墅老時年七十有五」小印，脫略高古，老年蕃意之作。仲蘺行期甚迫，手臨十版，餘六版，稍涉頹唐者，姑置焉，而摹其題字於後。咸豐二年壬子(1852)九月，醇士記於吉祥止止室。鈐印：「吉祥止止室」
後有松風老人徐釚跋，〈南阜〉一幅，有朱竹垞題字并小印。〈月榭〉有「錢凝珍賞」印，又記。鈐印：「戴熙」、「醇士」
(十二)雲滄姓徐氏，名溶，松江人，石谷高弟也。蔣仲蘺為予言，醇士又記。
(陶紹原、鍾步崧等四家題跋，詳文不錄）
(每開) 19.2 x 19.4 cm. 7½ x 7½ (12)
Sotheby’s Hong Kong, Fine Chinese Paintings, 9 April 2007, lot 1082
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香港蘇富比，中國書畫，2007年4月9日，拍品編號1082
This album is Dai Xi's copy of the landscape paintings gifted by Wang Hui (1632-1717) to his student Xu Rong (1662-1735). Initially, Dai had the opportunity to view it through Jiang Zhongli. He painted a copy but only managed to complete the first ten album leaves before returning it. Three years later, Jiang decided to sell it and obtained the Dai's copy for himself. Dai elaborated extensively on this provenance in several inscriptions on the original album by Wang Hui. What is remarkable is how the previous owner fortuitously acquired both albums from Wang and Dai separately, which can be considered a serendipitous occurrence in the art world. Moreover, the owner of Leshan Tang managed to acquire both at the auction, a testament to the efforts of past collectors.
Dai Xi, following Wang Hui's style, praised him for capturing the essence of nature and earning acclaim in his time. By juxtaposing the two albums for comparison, one can appreciate their exceptional quality. The composition, brushwork, and calligraphy are all remarkably faithful to the originals. Even the placement and number of seals, as well as Zhu Yizun's inscription on the album page untitled "Southern Hill", are meticulously followed. The only omission is Xu Jian's colophons from the original album! Dai Xi explained that due to Jiang Zhongli's imminent departure, he only managed to replicate ten leaves, leaving the remaining six with only inscriptions. Nevertheless, his meticulous brushwork not only captures the essence of Wang Hui's style but also embellishes the finer details, revealing a deliberate effort in managing the two albums.
The annotations by Tao Qi (1814-1865) and others at the end were all written around the fifth year of Xianfeng's reign (1855), shortly after Jiang Zhongli obtained the album.
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註：本冊乃戴熙對臨王翬贈雲滄山水冊。醇士初獲觀於蔣茞生，假臨一遍，祇及前十開，遂歸還。三年後，蔣氏割愛轉讓並取此臨本為念，整個淵源詳敘於戴氏在石谷原冊上的數跋。難能可貴者乃前藏者機緣巧合下將王戴兩冊先後購置，堪稱藝壇奇遇，而樂山堂主人在拍賣場上同時投得二冊，不枉前人苦心。
醇士取法石谷，攝其形神而稱譽當世，若把兩冊併列同觀，無疑屬上佳說明。構圖、筆墨、書法皆逼真肖似外，每開鈴印多寡甚至朱竹垞的觀款俱一併依循，僅未錄原冊徐釚的尾跛而已！戴熙稱因蔣茞生「行期甚迫」，祇臨十開，餘下六開僅錄題識。即使如此，他筆墨精嚴，得石谷規模外，對局部細節更加整飾，兩冊對比他筆下更見刻意經營。
冊末具陶淇(1814-1865)等跋皆於咸豐五年（1855）亦即蔣苣生取得本冊後不久期間。