Page 184 - Beyond Compare Christie's Hong Kong RU WARE .pdf

BEYOND COMPARE: A Thousand Years of the Literati Aesthetic

POWERFUL AND BOLD, ̚ඩ◂ۊ ڲ਄ʔɭ
YET ELEGANT

he Japanese collector Linyushanren began collecting ˚͉ϗᔛ࢕ᑗρʆɛ੽ɪ˰ߏ ϋ˾ක֐ϗᔛʕ਷ᖵஔd
TChinese art in the 1970s and has been considered a І ϋ։ৄԳɻ੻࠰ಥשርՉᔛۜd΍ආБə̬ϣਖ਼ఙש
connoisseur with an extremely discerning eye. Since 2015,
Christie’s has held a series of four dedicated auctions, offering ርd஗Ⴉމ݊ɓЗᄲߕ଻Έ฽৷ٙ˚͉ϗᔛ࢕fהᔛ̚ନε
objects from his collection. Since many of the ceramics ӼԈޜۜdԨԸ๕Ϟၫdމשር̹ఙʕ৷̚ନኜٙ˾ڌɛيf
are extremely rare with good provenance, Linyushanren is ႭՑ৷̚dᑗρʆɛ࿁ʕ਷ࣣ೥ٙϗᔛɰڢ੬ᑺӺd˼̥ഹ
synonymous with ancient and high ancient ceramics in the
auction world. He was also a collector of Chinese paintings and ଻ሯ९৷֠dᘌࣸᔫฐٙЪۜdˈՉᒤઋ҂ʩࣣ೥f
calligraphy, with a focus on rare and exceptional works from
the Song and Yuan dynasties. வషෂੵуʘࣣجdϞйɓছࣣ֭dࣣ֭˓ᛡd݊ᛡ֛࢕ί
ᄲ֛̚˾ኈ༦ࣛٙਞ๫ձˢ࿁༟ࣘdਗ਼ዝ˾ഹΤኈ༦ʱ௲ϓ
This work of the shoujian type, which is attributed to Zhang ᅰБdਂϓ̅ࠫԴ͜dɽεʔ݊ҁ዆Ъۜfவషᗭ੻ʘஈd
Jizhi, is quite different from the usual shoujian. A shoujian is the
collected authentic calligraphy of a specific calligrapher that ݊ˢ༰ҁ዆ٙɓࡈЪۜd՟І̶షdࡡ΁ٙ˂ή௅΅ॎฦəd
a connoisseur uses to authenticate ancient calligraphic works. वɨՉʕࡡλೌฦٙɤɚࡈɽοdᛘৎԸᒱʔޟන࿫dʥ޶
Since it is usually made from cutting and pasting certain lines ੻̈݊ԸІɓ࠯̂တ͛ሳٙ൚dࠬࣸҦ̷฽Ч݊҂˾ੵуʘ
or characters, the majority of shoujian are fragmented pastiches.
˓അf
Lot 8020, however, is a rare piece as it was taken from a work
of monumental size, trimming off the damaged top and
bottom portions and preserving most of the original. While ੵуʘ dο๝˃d໮⤀ᄰdی҂ձψ ʦ᙮τᏏ ɛf
the remaining twelve large characters do not read smoothly, ֜Ї̡༵υͮdબٜ।ტdࣣ֚ࡥɛdഐ᜗ᘌᔫdഅجᎈۊd
together they form a poem of lively joy and demonstrate the ࿁຅ࣣࣛእᅂᚤܘɽf˸ኸᄳɽοБฺ࿮ࣣϾഹ၈dՉݴෂ
characteristics of Zhang Jizhi’s hand nevertheless.
ЇʦٙЪۜʕఱϞ஢ε᙮׵৷᎘ɽ՜dν̏ԯ݂ࢗ௹ي৫ᔛ
Zhang Jizhi (1186-1266), whose style name is Wenfu and ฺࣣᕐؒྡဂ‘՜ʿॲߒɽேึ௹ي᎜ᔛБࣣӁӱᆀ༷
sobriquet Chuliao, was a native of Hezhou (present day ࡡ་ಞ՜‘ൿ€Ԉڝྡf
Anhui province). He held an official position in the Ministry
of Agriculture. His calligraphy is rooted in the styles of the Ϥ՜ӊБɧοdοοɽνມɹfο᜗՟ᕙॆࡠeරࢬ਺ࣣج
Tang dynasty masters: disciplined structure and forceful brush
strokes. As an influential calligrapher of his time, Zhang Jizhi ٙतᓃdᄱ௹˙዆dБഅඪѯ࡝਄dॆंᘝဘf˸ӹഅᄳɽ
was renowned for his large-scale standard and running scripts. οd݊ਗ਼೷ቜٙഅ૩൨׵ॷɪdߧഅɨᇞૢ࿁ˢ༰މ੶डd
Many of his extant works are monumental in size, such as Song ᇞૢһމ།ੵdंැྮɛdۃɛፗ¨ν೷ֺሸᇋdۊ᚛Ϝვ©f
of Twin Pines in Standard Script at the Beijing Palace Museum
ί֭ኪସБٙی҂dੵуʘ਺ܵෂוᕙ᜗dڌତ̈Չዹतٙ
and Excerpt from “Song of Leyou Park” at the Metropolitan
Museum of Art in New York (see Illustration). ࡈ׌f

There are three characters in each vertical line and each
character has the size of the opening of a rice bowl. Following
the unique qualities of Yan Zhenqing and Huang Tingjian,
the form is balanced and square, the brushwork is strong and
confident, and the qi (the spiritual ether) of the calligrapher
is pervasive. Using a brush lacking fullness to write large
characters entails pressing the brush hard on the paper, forcing
a sharper contrast in line thickness and more exaggerated lines.
Zhang Jizhi’s adherence to Yan Zhenqing’s calligraphy, amid the
popularity of Wang Xizhi, Wang Xianzhi, and their followers
during the Southern Song dynasty, further illustrates his unique
character.
Excerpt from Song of Leyou Park by Zhang Jizhi,
Collection of the Metropolitan Museum of Art, New York
⟞४♈☼૯㓅ᕒښḵ㩉ⳉ཯ڭ̃Ǘ⻍ᕊᖗស㐽ۈたᣏڰǘ㍞

172 ʔɭ { ҂˾ߕኪɓɷϋ