Page 80 - Fine Classical Chinese Paintings SOthebys Hong Kong April 1 2019

In the later years of his life, Bada Shanren experienced a 八大山人心境至暮年略有改變，於憤恨、孤獨及淒涼之
slight change on his state of mind, where a hint of tranquil- 間，添增一份趨於恬靜安寧、企求穩定之意，此時好作
lity and yearning for peace can be seen aside from his usual 大幅立軸，以濃塗大抹，洩胸中之氣，寥寥數筆，皆有
grudge, loneliness and grief. During this period, he favoured 其意，情感深邃，餘味不盡，題材多有鶴、蘆雁、鴛鴦
large-scale hanging scrolls, where he channelled his raw emo- 等文人野趣，雖因賣畫及交往需求，常有構圖相似或相
tions through broad brushstrokes. Though there are so few 同之作，卻同時強化其繪畫造型之特色。
strokes involved, they carry unfathomable depth and evokes
lingering inexplicable emotions. Wildlife favoured by littera- 《芙蓉蘆雁圖》即為此例，本幅高逾六尺，寬約二尺，
teurs, such as cranes, geese and mandarin ducks were the 設色鮮明，構圖簡略而厚實，得天然之趣，畫中芙蓉出
most common subjects in these works. Similar compositions 於山崖，略顯生機，蘆雁蹲坐危石，縮頸瞪目，亦與之
or even identical works were commonplace due to requests 融為一體，居危而安，反映畫家心境。此外，本幅之構
from friends and customers; nonetheless, this in turn high- 圖與上海博物館收藏同名軸相似，皆為大幅立軸，有二
lights the characteristics of his late artistic forms. 禽於左下，其一仰望低垂芙蓉， 特色強烈而明顯，如李
Boasting a size of over 6 ft tall by almost 2 ft wide, Geese 瑞清於邊跋所述：「其意皆工，無不中繩墨者，故贗者
by the Hibiscus can be seen as a prominent example. The 一見即辨之。不徒其荒率高逸之致為不可及耳」。
work features vibrant colours and a simplistic yet well-
balanced composition, capturing the joy of nature. Geese by 《芙蓉蘆雁圖》流傳有序，並經展覽出版，依年代序整
the Hibiscus protrude and dangle from the cliff, exuberant 理，本幅鈐有郎廷佐之鑑藏印「廷佐鑑賞圖書」，郎氏
with life. A goose retracts its neck and glares at the blos- 字一柱，順治時官至國史院侍讀，後拔擢至江南江西總
soms while sitting on and essentially becoming one with 督，或與八大有交往，可能直接購自藝術家。其後，或
the hovering rock; such intricate position, being at ease 由羅振玉東渡至日本，經晚清大儒李瑞清題跋，藏於日
despite amidst imminent danger, reflects the psyche of the 籍收藏家關信太郎處，1920年受日本著名學者森鷗外（
painter. Moreover, resembling a collection of the same title 時任日本帝室博物館館長）（fig.1）邀請，於東京帝室
in Shanghai Museum, this work is also a large-scale hang- 博物館（今東京國立博物館）展覽，出版於《美術繪葉
ing scroll featuring two geese at the bottom left, with one of 書第五回》且印行明信片，又於1935年經八幡關太郎專
which glaring at the dangling Geese by the Hibiscus. They 文《狂畫人八大山人》(刊於《傳記-名人特輯號》)出版
possess such a vivid character, echoing the colophon at the 並詳細介紹。
mounting border by Li Ruiqing, “The composition is so well-
calculated it fits right with the forms; One will never achieve 據陳佩秋先生依其鑑定經驗及八大山人作畫、落款、鈐
this level without following his path and pursuing utmost 印之習慣考證，本幅應是四屏春、夏、秋、冬之第三屏
spontaneity and refinement.” 「秋景」，蕭平先生附議，認為本幅為「失群之大屏」
，然而本幅構圖清晰完整，亦有相似獨立之作，不失為
Passed on from one eminent provenance to another, Geese
by the Hibiscus was well exhibited and catalogued in various 八大山人暮年繪畫之一典型作品。
publications, hereby chronologically presented. The work
is stamped with a seal of Lang Tingzuo (act. 1644-1661),
who would later be promoted to Viceroy of Jiangxi; it is pos-
sible Lang was acquainted with and acquired the work from
the artist. After that, it was probably brought to Japan by
epigrapher Luo Zhenyu, and then had a colophon written by
famous scholar of late Qing era, Li Ruiqing, before ending
up in the collection of Japanese collector Seki Shintaro. In
1920, renowned scholar and director of Imperial Household
Museums of Japan, Mori Ogai (fig.1), issued an invitation for
this work to be exhibited at the Imperial Household Museum
of Tokyo (now Tokyo National Museum). The work was
printed into a postcard, and was published in Bijutsu Ehagaki
Vol.5. In 1935, the work was explicated by Yahata Sekitaro’s
feature essay “Bada Shanren the Mad Painter”(possible
Japanese transcription: Kyou Gajin Hachidai sanjin), pub-
lished in Denki: Meijin Tokushu Gou (Biographies: Celebrities
Special Edition).
Relying on her expertise experience and her extensive
research on Bada Shanren’s habits of painting, inscriptions
and seals, Chen Peiqiu concluded that this work should be
one of the four-panel assemble depicting four seasons, this
work being the third one depicting “autumn sights”. This was
agreed by Xiao Ping, who argued that this work was “one
panel with missing companions”. Nonetheless, this work has
a clear and self-contained composition. As it comes with
many similar standalone masterpieces, this work can be seen
as a typical piece of Bada Shanren’s late style.
fig.1 森鷗外（時任帝室博物館館長）親筆致關信太郎展覽證明文書

78 SOTHEBY ’S FINE CLASSICAL CHINESE PAINTINGS