Page 82 - 2020 December 1 Bonhams Hong Kong, Eternal Music in Chinese art

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PU RU (1896-1963)
Mountains, cyclically dated Jisi year, corresponding to 1929 and of the
period
Folding fan, ink and colour on gold-flecked paper, inscribed and signed
Pu Ru, with a dedication and three seals of the artist, the reverse
inscribed and signed Xinyu, with the same dedication and three seals
of the artist.
52.6cm (20 3/4in) across.

HKD120,000 - 180,000
US$15,000 - 23,000

溥儒 秋江詩意、行書五言詩 設色、水墨灑金紙本 成扇 一九二
九年作

款識：
雨過瀟湘霽色開，沙明天凈片雲回。蘆中人去秋江冷，野水蕭蕭鳬雁
來。己巳（1929）夏六月，畫〈秋江詩意〉以應子惠六兄教，溥儒。
（另面）
結茅傍幽壑，入門生遠情。千峰霽秋雨，孤館有餘清。灌木滋新綠，
奇花表獨榮。駕言采蕨薇，晨夕空山行。萬木轉幽谷，連山上寒日。
晨風吹天雲，微茫眾峰出。蒼蒼上方麓，渺渺徵禽疾。盤盤望摘星，
沉沉見兜率。暮色蔽丹林，鳴鐘發奧室。避觀范陽野，曠莽秋蕭瑟。
上方昔名六聘山，晉霍原隱處。子惠六兄兩正，心畬。

鈐印：溥儒、玉壺、長毋相忘、溥儒之印、省心齋、心畬書畫
(detail)

From 1919, Pu Ru lived in Jietai Temple, Xishan, in the western 1919年起，溥儒隱居於京西馬鞍山戒台寺十餘年。潛心學問期間，
suburbs of Beijing for over ten years. During this period of seclusion, 遍遊京西名跡，所到之處，收集、研究地方資料，經過整理，撰寫出
he finished chorographies of Shanfang Mountain, Baidai Mountain and 《上方山志》、《白帶山志》、《戒台山志》。1930年，溥儒編輯的
Jietai Mountain after a vast survey of local documents. He published 《上方山志》出版，扉頁由羅振玉題寫書名，釋自如「原序」，楊鐘
the Shangfang shan zhi (Chorography of Shangfang), for which Luo 羲（1865-1940）、清上方山兜率門清蓮池蓮舟撰「上方山志序」
Zhenyu (1866-1940) wrote the preface in 1930. 並溥儒自序。全書共分十卷，卷一山水田附，卷二儒釋，卷三考工，
卷四碑碣，卷五物產，卷六藝文一記，卷七藝文二紀，卷八藝文三
Shangfang Mountain is a branch of the Dafang Mountain, with an 詩，卷九藝文四詩，卷十藝文五詩，書畫附，補遺詩。
altitude of 880 meters above sea level. The steep mountain covered by
giant pines and cypresses was known by the name of ‘Nine Caves and 上方山乃大方山支脈，海拔八百八十米，山勢陡峭，古柏蒼鬱，有九
Twelve Peaks’ and had a close relationship with the family of Pu Ru. 洞十二峰名勝及以兜率寺為中心的十二茅庵等古蹟。《上方山志》對
This choreography also records poems written by Prince Gong (Yixin, 此有詳細介紹，書中還輯錄恭親王奕訢及溥儒、溥傅二人所詠詩句。
1833-1898) and Pu Ru’s brothers.
此扇書畫雙璧，扇骨亦佳。扇骨取玉竹為材，一面鏟地陽刻蘇子泛舟
The long poem on this fan was probably finished by the artist during 赤壁圖，圖分三段：上段雕山石樹木流雲煙霞；中段雕一舟子，舟中
his days in Jietai Mountain. He inscribed it Zihui liuxiong liangzheng, 雕二人，一人方冠是為東坡；下段雕山石汀芷，鏟地之上再以極細陰
literally ‘for Mr Zihui’s comment again’, which suggests that this poem 線刻劃細部。另一面則以同樣技法雕高山流水圖，畫分兩段：上段雕
might have been inscribed later than the painting on the other side, as 樵夫鐘子期，歇柴扶石而坐；下段雕伯牙泛舟湖面，撫琴舟中，人物
Zihui requested him to inscribe this poem some time after he painted 神態清和，刀法自然，略微留皮，又有明暗之變，所謂陰陽兼蓄。
the front of the fan.

The bamboo frame, shangu, is superbly carved with a scene of
Boya Ziqi, a classic story of Yu Boya and Zhong Ziqi who were two
legendary characters known for their friendship starting from music.
This story has many versions, while the main plot remains the same:

Boya was an accomplished qin musician but thought no one could
understand his music. He met a woodsman Zhong Ziqi. When Boya
played music which he felt captured the essence of high mountains,
Ziqi said: ‘How lofty; like Mount Tai!’. When Boya played music which
he felt captured the essence of flowing streams, Ziqi said: ‘How vast!
It is like a great river and the sea’. Whatever Boya was thinking (as he
played), Zhong Ziqi visualised it clearly in his music. When Zhong Ziqi
died, Boya broke his strings and never again played the qin, as he
knew there would never be another person who could understand him
and his music as deeply again.

80 | BONHAMS