Page 72 - 2020 December 1 Bonhams Hong Kong, Eternal Music in Chinese art
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PU RU (1896-1963)
Sage playing qin
Ink and colour on paper, inscribed by the artist with a poem reading
shideng lianyuqi, huanhui chumiaoming, niaofei choubuxia, dishou
wangkongqing, signed Xinyu with three artist’s seals, reading Songchao
ke, Puru zhiyin, Jiangshan weizhu bizongheng, frame and glazed.
132.5cm (52in) high x 33.5cm (13 1/4in) wide.
HKD420,000 - 480,000
US$54,000 - 62,000
溥儒(1896-1963) 臨崖撫琴圖 水墨紙本 鏡框
Published and Illustrated:
Chew’s Culture Foundation, A Fine Collection of 100 Chinese Painting
of Hong–Gah Museum, 2006, p.104
出版及著錄：
財團法人邱再興文教基金會，《欣於所遇—鳳甲美術館館藏水墨百選
集》，2006年， 頁104。
款識：石磴連雲起，盤迴出渺冥。鳥飛愁不下，低首望青空。
鈐印：松巢客、溥儒之印、江山為助筆縱橫
The poem inscribed on the painting is included in Pu Ru’s Xishan ji
(Poems of Xishan) in a volume of his complete works, the Hanyu tang
shiji (Poems of Hanyu Tang). It is titled Hutian ge (Pavilion of Hutian)
and was written after a visit to Mount Tai in Shandong in Yimou year
(1915). The poem may be translated as:
‘Rocky ledges piercing the clouds,
Twisting and turning in the dark realm of apricot blossoms,
Birds fly up fearing they will not land again,
Looking down they see only the azure sky.’
The painting was executed with an unusual composition. The main
figure, a sage playing a qin by a ledge, is not placed in the usual space
in the lower section of a Chinese painting, but rather occupies the
upper section. This immediately draws the viewer’s eyes up to the
musician, creating a sense of height and quiet solitude.
Compare with a joint work with Zhang Daqian (1899-1983) dated
1945, also inscribed with the same poem and depicting two sages on
Taishan Mountain, in the Sichuan Provincial Museum, illustrated in the
catalogue of the Liaoning Provincial Museum and Sichuan Provincial
Museum, Daqian yu duanhuang sichuan bowuyuan cang zhangdaqian
huihua jingpingji (Zhang Daqian and Dunhuang Caves: A Selection of
Zhang Daqian’s Painting), Shenyang, 2012, pp.140-141.
溥儒(1896~1963)，字心畬，號西山逸士，清宗室。自1915年後數登
泰山，并作詩歌。此畫所題詩見 《寒玉堂詩集·西山集》《壺天閣》
詩，即1915年登岱所詠：「石磴連雲起，盤迪人杏冥。鳥飛愁不下，
低首望空青。（乙卯）」此畫構圖另闢蹊徑，一反中國山水畫中人物
偏安畫面角落的陳臼，將彈琴高士至於畫面頂部三分之一處，營造出
臨崖操縵的淡然安穩意境。心畬對此詩及畫面鋪排頗為滿意，曾數度
以類似形式作畫，可比較四川博物院藏一件《松山高望圖》（與張大
千合作），題同詩，畫面亦類似，見遼寧省博物館，四川博物院編，
《大千與敦煌—四川博物院藏張大千繪畫精品集》，瀋陽，2012年，
頁140-141。
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