Page 114 - September 20 2021 Fabian Collection of Chinese Paintings Art Bonhams NYC

50
CHEN HENGKE (1876-1923)
Autumn Landscape
Hanging scroll, ink and color on paper, inscribed by the artist and
signed Hengke, with one artist’s seal xiu.
54 x 13 1/8in (137.2 x 33.2cm)
$3,500 - 5,000
陳衡恪 秋山圖 設色紙本 立軸

Provenance/來源:
Shanghai Duoyunxuan, 31 May 1996, lot 246
上海朵雲軒，1996年5月31日，拍品編號246

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, A50-092, p. 219
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，A50-092，頁219

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. 123
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213

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. 430-431
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430-431

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

Wondrous Ink, Kalamazoo Institute of the Arts, Kalamazoo, MI, August
28-December 5, 2010
《水墨神韻》，卡拉馬祖藝術學院，卡拉馬祖，密歇根州，2010年8
月28日至12月5日

Although Chen Hengke was deeply concerned with the fate of
traditional Chinese art and believed in the value of traditional Chinese
painting, he himself was not strictly conservative in art. Indeed, this
painting has vividly shown his departure from the orthodox approach
of the “Four Wangs”. Within a traditional composition of Chinese
landscape, he has used short and bold lines to outline the shapes of
trees and mountains. When it came to the textures of mountains and
rocks, he has used an array of different shades of color rather than the
traditional cun textural strokes.

儘管深信中國傳統繪畫的價值並為其未來發展之命運憂心忡忡，陳衡
恪本人在技法和風格上卻並不保守。本幅即體現他與”四王”完全不同
的個人風格。在傳統的山水構圖中，用於造型勾勒的線條短促有力。
50 在塑造山石形體與紋理時，他使用的是大片深淺不同的著色而非傳統
的皴法。
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