Page 101 - Christies Alsdorf Collection Part 1 Sept 24 2020 NYC

order are: Li Bai (AD 701-762), Gao Lian (1573-1620), Zhang Ruitu, Chen Jiru 為：唐代李白（701-762）、明代高濂（1573-1620）、明
(1558-1639), Lu Lun (AD 739-799), Tao Qian (Yuanming, AD 365-427), Tao 代張瑞圖（1570-1644）、明代陳繼儒（1558-1639）、唐
Hongjing (AD 456-536), Zhang Hu (Ca. AD 785-849), Liu Zongyuan (AD 773-819), 代盧綸（739-799）、晉代陶潛（淵明，365-427）、南朝
Jiao Dao (AD 779-843) and Su Shi (1037-1101). 梁之陶弘景（456-536）、唐代張祜（約785-849）、唐代柳
宗元（773-819）、唐代賈島（779-843）、以及宋代蘇軾
There are six double-leaf paintings in the album, five of which are accompanied by
（1037-1101）。
poetic couplets. It is reasonable to assume that Zhang Ruitu’s creative process began
with selecting the desired poems, and then illustrating them. The opening vignette 本作有六幅對開的山水畫作，並有五幅題有詩句。畫面與詩
serves as a fine example: Zhang Ruitu inscribed Li Bai’s verses: “A house near the Blue 文相互呼應，顯示出張瑞圖在創作過程中將所慎選詩句之意
Mountain similar to that of Xie Tiao; willow branches drape over the door like those 境轉化於畫境中，達到「詩中有畫、畫中有詩」的境界。在
of Tao Yuanming.” The Blue Mountain is located southeast of Dangtu county in
首幅對開畫作中，張瑞圖摘錄李白《題東谿公幽居》中的詩
Anhui province. Xie Tiao (464-499) was a literatus of the Qi Kingdom of the Southern
句：「宅近青山同謝脁，門垂五柳似陶潛。」青山位於安徽
Dynasty and once held the governorship of Xuan city. While he was there, he built a
省當塗縣東南方，南齊文人謝朓任宣城太守時，曾築室於青
house in the southern part of the Blue Mountain. Five willow trees near the front door
山之南；「門垂五柳」中的五柳意味著自稱「五柳先生」的
refers to the reclusive residence of Tao Qian, who had five willows planted next to his
陶淵明。畫面深遠處，有一棟民宅座落於深山中，幾棵巨大
house. Deep in the pictorial space, Zhang Ruitu situated a residential compound in the
的柳樹不合比例地矗立在前門旁。相同意象的構圖重複出現
background mountains, where willow tress—disproportionally oversized for emphasis—
are prominently featured near the front entrance. The same iconography of willows is 於畫面中遠處，有兩位高士在湖邊的涼亭中清談著，一棵柳
repeated in the middle ground, with one willow arching over and framing a lakeside 樹的拱形枝幹從涼亭上方越過屋頂，形成一種框架效果。
pavilion where two figures have gathered.
另外六幅對開的書法詩文如同其山水作品的意象，同樣以隱
Echoing the landscape imagery in the album, the stand-alone poems without 居山林和探訪深山古寺的文人視角描述自然的景緻與聲響。
illustrations also share the same recurring theme—they are mostly narratives that 從詩文與畫作的意境中，不難發現張瑞圖對於自然、寧靜和
describe the observations of nature's sights and sounds, from the perspectives of hermit 簡樸的嚮往，以及遠離政治、世事的紛擾、擺脫虛偽裝飾的
mountain dwellers and visitors to solitary temples in the mountains. The longing for 心願。這類型的主題長久以來頗受中國歷代文人所喜愛，反
nature, tranquility, and simplicity, away from politics, worldly entanglements, and 映出文人歷經宦海浮沉與政治紛擾後尋求脫離俗世的心境。
artificial ornaments, is clearly reflected through both the text selection and pictorial 張瑞圖細膩地透過詩意與畫意的處理，將一個老調重彈的主
interpretations. While themes like this—a perennial favorite among the traditional
題轉化成一系列令人耳目一新，並且呈現出中國傳統文人理
literati—could easily appear to be a trope, nuances articulated by Zhang Ruitu have
想心境的作品。
transformed the scene into a refreshing presentation of a literati ideal.
縱觀全冊，集中體現了張瑞圖筆勢生動、峻峭奇逸的書法風
Throughout the album, Zhang Ruitu, one of the most highly regarded calligraphers
格及其重抒宋元以來文人畫筆墨濃淡寄情於山水之間的繪畫
of the Ming dynasty, wrote with his signature style: angular, geometric, energetic,
理想。此外，京都學派的創始人之一，思想、文化影響深遠
and keeping the size of the characters uniform. His paintings hark back to the literati
的歷史學家、漢學家內藤虎（內藤湖南）為此卷作題引首；
tradition of the Song and Yuan dynasties, where the ink monotone delineations of
the mountains and streams emphasize evocation of nature rather than verisimilitude. 卷尾還附有著名漢學家、書法家、畫家、收藏家、篆刻家長
This album is accompanied by a titleslip written by Naito Tora (1866-1934). Better 尾甲鈐印。長尾甲曾於二十世紀初受聘於上海商務印書館，
known as Naito Konan, he was a renowned historian and sinologist whose research 參與編纂中國小學教科書；在其定居中國的十餘年間廣收中
and publications became very influential culturally as well as politically. He was a 國書畫作品，並以其精通中國文化為傲。
co-founder of the Kyoto School of historiography. The concluding pages bear a
colophon by Nagao Uzan (1864-1942), an accomplished sinologist, calligrapher, painter,
collector, and seal carver. In the early twentieth century, he worked in the Commercial
Press in Shanghai, where he participated in the editing of textbooks for elementary
schools in China. As a result of his decade in China and rich collection of Chinese
paintings and calligraphy, Nagao Uzan was proud of his expertise in Chinese culture.

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