Page 30 - Beyond Compare Christie's Hong Kong RU WARE .pdf

BEYOND COMPARE: A Thousand Years of the Literati Aesthetic

PROPERTY OF A JAPANESE PRIVATE COLLECTOR

8003
BADA SHANREN (1626-1705)
LANDSCAPES AND CALLIGRAPHY
A set of twelve album leaves, mounted as six hanging scrolls, ink on paper
Each leaf measures 24 x 13.5 cm (9 ƒ x 5 ‚ in.)
Six leaves of painting, each leaf with an artist’s seal
Six leaves of calligraphy, five leaves signed and one leaf inscribed and signed,
with a total of seven seals of the artist
HK$6,000,000–10,000,000 US$780,000–1,300,000

PROVENANCE
Previously in the collection of Matsubayashi Keigetsu
The inscriptions on each wooden box of Lot 8003 were written by
Matsubayashi Keigetsu (1876- 1963) and signed Ounto which is his studio
name after moving to Setagaya-ku, Tokyo in 1925.
Matsubayashi was a Nanga-style painter during the Meiji, Taisho, and early
Showa periods. His stage names included Gyokuko Itsujin and Kogaikyo
Shujin. In 1944 Matsubayashi was appointed as an imperial court painter
(Teishitsu gigei-in). He received the Japanese Cultural Order in 1958, and
became President of Nihon Nanga-in in 1961.
Familiar with Chinese calligraphy and poem which influenced his artworks,
Matsubayashi was known as “the last literati artist” in Japanese art history.
LITERATURE
Zhang Heng, Notes on the Authentication of Painting and Calligraphy from the
Muyan Studio, Cultural Relics Publishing House, Beijing, December 2000,
pp.981-984.
Wang Chaowen, Full Collection of Bada Shanren, Vol. 4, Jiangxi Fine Art
Publishing House, Nanchang, 2000, pp. 840-845.
Yiyuan Duoying, No. 17, People Fine Arts Publishing House, Shanghai, 1982.
Zhang Daqian, Masterpieces of Chinese Painting from Ta Feng Tang (The Great
Wind Hall) Collection, Vol. 3, Benrido, Kyoto, 1955, pl. 31-36.

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