Page 57 - September 20 2021 Fabian Collection of Chinese Paintings Art Bonhams NYC

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FENG CHAORAN (1882-1954)
Scholar Gazing at Plum, 1944
Hanging scroll, ink and color on paper, inscribed by the artist and
dated jiachen, signed Shende Feng Chaoran with three artist’s seals
Songshan jushi, Feng Chaoran and Bai he qi ren.
26 5/8 x 13 3/8in (67.5 x 34.1cm)
$5,000 - 8,000

馮超然 觀梅圖 設色紙本 立軸 一九四四年作

Provenance/來源:
Far East Fine Arts, San Francisco, California, 4 December 1987
加州舊金山遠東藝術中心，1987年12月4日

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, A50-11, p. 211
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，A50-11，頁211

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. 201
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 Academy of Arts,
2007, pp. 374-375
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374-375

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

Feng Chaoran, whose given name was Jiong, used the sobriquet
Songshan jushi, was a calligrapher and painter of the twentieth
century. He studied painting with Zhang Luqian in Suzhou. Later the
artist moved to Shanghai and established his own studio named
Songshan caotang. Together with Wu Hufan, Wu Daiqiu, and Wu
Zishen, the four artists were known as “San Wu yi Feng” (Three 20
Wus and One Feng) in Shanghai. In early his years, Feng Chaoran
specialized in figure painting in the manner of Tang Yin and Qiu
Ying, but focused on landscape in the traditional literati style in his
later years. This painting dated to 1944 can be considered as a
later creation in the artist’s career. It exemplifies the artist learning
from both figure and landscape genres -- an integration of a figure
with detailed facial rendering and a landscape with more expressive
brushwork.
FINE CHINESE PAINTINGS | 53