Page 28 - September 20 2021 Fabian Collection of Chinese Paintings Art Bonhams NYC

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LI RUIQING (1867-1920)
Landscape and Calligraphy, 1892
Folding fan, ink and color on gold paper, inscribed by the artist with
a dedication and signed Qing daoren, with an artist’s seal reading
Qing daoren, reversed by calligraphy in Northern Wei style script, ink
on gold paper, dated renchen, and signed Qing daoren with
two artist’s seals.
7 x 19 1/4in (18 x 49cm)

$3,000 - 5,000
李瑞清 山水書法 成扇 設色/水墨金箋 一八九二年作

Provenance/來源:
Shanghai International Auction, 13 December 2000, lot 184
上海國際商品拍賣有限公司，2000年12月13日，拍品編號184

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, A50-16 p. 184
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，A50-16，頁184

Exhibited/展覽:
Wondrous Ink, Kalamazoo Institute of the Arts, Kalamazoo, MI, August
28th-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

The calligraphic inscription on the reverse of the fan is copied from a
shrine on the ceiling of the Guyang cave at the Buddhist site Longmen.
Originally inscribed to accompany an image of Maitreya, the text
documents that the sculpture was sponsored by Lady Gao, and it was
built as a votive offering for her grandson Bao, who died young.

The original calligraphic inscription is one of the “twenty stone
inscriptions of Longmen”, (Longmen ershipin) and hailed as the
pinnacle of Northern Wei dynasty stele script during the middle and
late Qing dynasty. Li Ruiqing’s use of the inscription demonstrates the
Jinshi calligrapher’s interest in the aesthetics of the early script style,
rather than the specific content of the text.

本扇面另面的題跋節錄自龍門石窟古陽洞頂部造像龕的《北海王國太
妃高為亡孫保造像記》。造像龕內主尊為交腳彌勒菩薩。據該造像記
所述，此龕及佛像為北海王國太妃高氏為其愛孫元保而造，以祈願夭
折的愛孫能”永脱百苦”。

該造像題記為”龍門二十品”之一，在清代中晚期被譽為魏碑書法之巔
峰。李瑞清於此節錄該題記，表明這位金石書法家所著眼的乃是這種
早期書體之美感，而非其文字所述具體內容。

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