Page 76 - September 20 2021 Fabian Collection of Chinese Paintings Art Bonhams NYC

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PU HUA (1832-1911) Pu Hua, who often used the courtesy names Zuoying, was a native of
True Meaning of Mountains and Streams, 1884 Jiaxing, Zhejiang Province. A candidate for the imperial examinations,
Hanging scroll, ink and color on paper, inscribed by the artist and he only passed at the county level as xiucai, so he ceased the pursuit
dated jiashen and signed Pu Hua, with an artist’s seal Xiushui of an official career and devoted himself to poetry, calligraphy and
Pu Hua Zuoying. painting. He had a wild and creative soul, at the age of 30, following
71 1/4 x 37in (181 x 94cm) his wife’s passing, he started travelling with his brushes and inkstones
around Ningbo, Hangzhou and Shanghai, where he had neither a
$25,000 - 40,000 permanent residence nor job. He also travelled to Japan, where
his works were admired. At 60, he finally settled in Shanghai and
蒲華 溪山真意 設色紙本 立軸 一八八四年作 continued his career as a painter and calligrapher. Pu Hua, together
with Ren Bonian, Wu Changshuo and Xu Gu, were known as the “Four
Provenance/來源: Outstanding Painters of the Shanghai School”.
Far East Fine Arts, San Francisco, California
加州舊金山遠東藝術中心 After returning from Japan in 1881, Pu Hua travelled extensively
through the beautiful landscapes of Taizhou, Hangzhou, and Ningbo
Published/出版: in eastern China. This compelling landscape, painted in 1884,
Toda, Teisuke and Hiromitsu Ogawa comp. Comprehensive Illustrated is undoubtedly a result of these visits and represents his mature
Catalogue of Chinese Paintings, Third Series, Volume 1: American and technique. With vigorous and saturated brushstrokes, this landscape
Canadian Collections, University of Tokyo Press, 2013, presents an imposing yet intricate composition, perfectly exemplifying
A50-245, p. 223 the ‘deep distance’ method among the classic ‘three axis of distance’
戶田禎佑、小川裕充，《中國繪畫總合圖錄》三編，第一卷，東京大 (level, deep, and high) of Chinese landscape painting, as argued by
學出版會，東京，2013年，A50-245，頁 223 master painter Guo Xi of the Northern Song dynasty. However, in
contrast to the bold brushwork throughout the painting, Pu Hua
Little, Stephen, and J. May Lee Barrett. New Songs on Ancient Tunes: has used much finer brushstrokes to depict the foliage and jagged
19th-20th Century Chinese Paintings and Calligraphy from the Richard tree trunks of the pine trees – a characteristic of Pu Hua’s
Fabian Collection. Honolulu: Honolulu Academy of Arts, large-scale landscapes.
2007, pp. 300-301
Little, Stephen, J. May Lee Barrett,《古調新歌：費立哲神父珍藏十九 蒲華 字作英，浙江嘉興人。早歲參加科舉，僅中秀才，遂絕念仕
及二十世紀中國書畫》，檀香山藝術博物館，夏威夷， 途，潛心詩詞書畫。而立之年髮妻病逝，蒲華遂攜筆硯出遊，往來寧
2007年，頁 300-301 波、杭州、上海一帶，居無定所，遊食四方。亦曾赴東瀛，頗得日人
賞識。六十歲後始定居於滬上，繼續筆硯生涯。與任伯年、吳昌碩、
Exhibited/展覽: 虛谷合稱「海派四傑」。
New Songs on Ancient Tunes, Honolulu Art Academy, Honolulu,
Hawaii, August 30-October 28, 2007 自1881年訪日歸國後，蒲華長年雲遊於台、杭、甬等地山水間。本幅
《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 大型山水作於1884年，無疑是其閲山水無數後視野與技法的結晶之
術博物館，夏威夷，2007年8月30日至10月28日 作。全圖筆墨蒼潤，氣勢恢弘，構圖繁複，淋漓盡致地體現出北宋大
家郭熙所提出的中國山水畫”三遠”中的”深遠”之法。在全畫的粗放筆
墨間，蒲華卻特以工細筆觸寫出針葉及嶙峋樹幹。這也是蒲華大型山
水作品的特色之一。

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