Page 12 - Sotheby's Part I Collection of Sir Joeseph Hotung Collection CHINESE ART , Oct. 9, 2022
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               ௩         FU BAOSHI (1904-1965)
               ׬         Scholar under the Pine Tree
               ͩ         ink and colour on paper, framed
                         signed, dated 1943, inscribed, with a dedication and 2 seals of the artist, one of which is handpainted
                         Inscription:
           (1904-1965)
                         The sound of running stream is reminiscent of cool jade, and the shade of pine diffuses a delicate fragrance. The scholar sits for a long
                         time, alone and unknown. Dedicated to Mr. Xianzhou. Painted on the first day of the twelfth lunar month of guiwei year at Xueweng
                         [Chen Zhifo]'s Liuqi Lu in Shapingba, Chongqing. Fu Baoshi.

                        LITERATURE                                       松下高士
                        The Chronicle of Fu Baoshi’s Life (Revised Edition), Ye Zonggao   設色紙本  鏡框  一九四三年作
                        ed., Shanghai Classics Publishing House, December 2012, p.110
                                                                         ಛᗆm
                        PROVENANCE                                       ݰᑊ౳ఫ͗dؒ௕౳૶ځi
                        Christie’s Hong Kong, Fine Nineteenth and Twentieth Century   ৷ɛѬԸɮdᏐ݊੕ೌၲf
                        Chinese Paintings, 12 January 1987, lot 23.      ᎈЋ΋͛ج࢕઺͍fު͊ɤɚ˜ࣤdᄳ׵ࠠᅅӍջᜠ௛ॽݴኰ
                        26.8 x 21 cm 10½ x 8¼ in.
                                                                         ᕽf௩׬ͩf
                        HK$ 700,000-1,400,000                            ඕΙm˜௩™e˜ު͊™€˓ᖭf
                        US$ 89,500-179,000                               ഹ፽m
                                                                         ”௩׬ͩϋᗅ•€ᄣࠈ͉d໢֚ᕅഹ €ɪऎ̚ᘬ̈وٟdɚ
                                                                         〇ɓɚϋɤɚ˜dࠫ110
                                                                         Ը๕m
                                                                         ࠰ಥԳɻ੻dɤɘЇɚɤ˰ߏʕ਷ࣣ೥שርd1987ϋ1˜12˚d
                                                                         ᇜ໮23


                         The present work was dedicated to “Xianzhou”, which was the   ɪಛm˜ᎈЋ™уЎਃ€1890-1955dࡡΤശآdοᎈЋdಳ
                         style name of Ai Wei (1890-1955, original name Hua Yong). Born   ̏Ϫ௒ɛdഹΤ઺ԃːଣኪ࢕fɪऎ໋ߒጫɽኪଭุdܝࠌߕҸ
                         in Jiangling, Hubei Province, Ai was a prominent educational   ːଣኪdᐏࡩࡐˢԭɽኪ၂ɻeശସ཭ɽኪ௹ɻმfɓɘɚʞϋ
                         psychologist. After graduating from St. John’s University in Shanghai,   ڏ਷dዝ΂؇یɽኪeɽࢀɽኪ઺બձʕ̯ɽኪ઺ԃኪ৫৫ڗf
                         he went to study in the United States and obtained his Master of   Ҥ኷ࠏጳdᎇʕ̯ɽኪቋಽd௴઺ԃːଣ޼ӺהԨ΂הڗdɓɘ
                         Psychology at Columbia University and Ph.D. at the University of   ̬ɓϋᐏ઺ԃ௅։΂މ˜௅໌઺બ™f
                         Washington. Following his return to China in 1925, he taught as
                         Professor at Southeast University and The Great China University   ൗj͉షᖭ׵˜௛ॽݴኰᕽ™dуᄳ׵೥࢕௓ʘНҤ኷ࣛಂίࠠ
                         respectively, and later became the chair of the education department   ᅅʘభהf೥ɪ˜ު͊™ɓΙdᏐމ௩ˤуࢩЪ೥d͊௪ྡ௝d
                         at National Central University. With the outbreak of the Second   ˓ᖭϾϓf
                         Sino-Japanese War and the subsequent relocation of National
                         Central University to Chongqing, Ai also moved to the same city
                         and founded the Research Centre of Educational Psychology and
                         served as its director. Later in 1941, he attained a distinguished
                         professorship “appointed by the Ministry of Education”.
                         According to the artist’s inscription, the work was painted at Chen
                         Zhifo’s apartment in Chongqing during the Second Sino-Japanese
                         War. The seal mark “guiwei”, instead of imprinted, was hand drawn
                         by Fu, suggesting that the artist had improvised the work without
                         having his stone seal at hand.











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