Page 90 - Christie's Fine Chinese Modern and Contemporary Ink Paintings hk may 226 27 2021

PREVIOUSLY FROM THE COLLECTION OF MADAME LUO NING (HUALI) 華麗羅凝女士舊藏書畫 (LOT 1069-1079)

The New Expression of the Lingnan School

折衷中外，融合古今

“ To sketch nature candidly is not to purely obey what you “ 要忠實寫生取材大自然，即又不是一味服從自然，是由
observe. One must form your own opinion, absorb and 自己主見，經過心靈化合提鍊而出，取捨美化，增強效
transform ideas, to pursue a higher level of aesthetic. ” 果。”
– Gao Jianfu. ─高劍父
The historical and traditional training of Chinese painting gave heavy 中國傳統書畫在發展過程中，向來重視師承與臨摹。至清末民初，
emphasis on strict pedagogy and copying of the ancient masters. At 西風東漸，文化界掀起“詩界革命＂、“文界革命＂、“小說界
the end of the Qing dynasty, influences from the West emerged with
artists attempting to revolutionize this practice and explored the ways to 革命＂，“美術界革命＂也隨之形成時代旋風，許多藝術家開始思
modernize Chinese ink paintings. 變，探索中國畫的現代化，展開對傳統書畫的革新運動。
The Guangdong-based Lingnan School began with flower-and-bird 嶺南畫派，從地域上來說，主要是以廣東地區的藝術家為中心；
painters Ju Chao (1811-1865) and Ju Lian (1828-1904), with the mission 就其風格淵源，可上朔至晚清花鳥畫家居巢（1811-1865）、居廉
to combine the best of Chinese and western, ancient and modern （1828-1904）；而在理論上，則以“折衷中外，融合古今”為其繪
elements of paintings. The most representative of the first generation of 畫理念。第一代嶺南畫派以“三高一陳＂為代表人物，高劍父及陳
Lingnan artists include Gao Jianfu, Gao Qifeng, Gao Jianseng and Chen
Shuren. Gao Jianfu and Chen Shuren were students of Ju Lian and studied 樹人都出自居廉門下，從日本學成歸國後，他們對於當時中國繪畫
in Japan before returning to China. Against the pedagogy to blindly copy 長期停滯於臨摹仿古的現象，提出了師法自然、重視寫生，以跳脫
ancient masterpieces, they proposed a revised and naturalistic painting 傳統的窠臼。
method based on sketching from nature.
第二代嶺南畫家又與前代不同，代表人物是“嶺南四大家＂的趙少
The second generation of Lingnan artists includes Zhao Shao’ang, Li 昂（1905-1998）、黎雄才（1910-2001）、關山月（1912-2000）
Xiongcai, Guan Shanyue, and Yang Shanshen. These artists expanded 與楊善深（1913-2004），他們更注重於重大題材的開拓，以及時代
the repertoire of traditional subject matters and expressed their
contemporaneity through the interchanging use of Chinese and Western 精神的體現，以“筆墨當隨時代”、“古為今用、洋為中用”，在
technique in their practice. The characteristics of the Lingnan School 美術界開拓出別樹一幟的風格。嶺南畫派繪畫特點是：佈局重視空
include the importance given to the negative space and the use of bone 白，用筆注重骨法，畫面賦色艷麗，背景著色渲染，在畫面上創造
method brushwork. The Lingnan artists are known for their excellent 出有別於傳統的效果，營造成氣韻生動的境界。
rendition of colours which demonstrates the vitality of the subject.
羅凝女士，別號華麗，畢業於廣州執信女子中學，為廣州名士羅博
Luo Ning, sobriquet Huali, was the third daughter of renowned Guangzhou 聞先生之三女。羅博聞先生兼習書畫有成，愛好收藏歷代名家墨
gentleman Luo Bowen. Luo Bowen practised painting and calligraphy and
was a collector himself. Luo Ning carried on with the family tradition 寶。羅凝女士繼承父親對於書畫藝術之喜愛，亦建構了質量皆豐的
with a passion for art and a rich paintings collection. Christie’s is honoured 收藏，此次佳士得隆重呈獻數幅由嶺南藝術家如趙少昂、楊善深、
to offer part of her collection of exquisite works by Zhao Shao’ang, Yang 鄧爾雅等創作之佳構，皆來自羅凝女士之珍藏（拍品編號1069-
Shanshen, and Deng Erya in this auction (Lots 1069-1079). 1079）。

1069
YANG SHANSHEN (1913-2004) 楊善深 雨打芭蕉 設色紙本 鏡框
Plantain and Bird
題識：善深寫生於馬來亞安順。
Scroll, mounted and framed, ink and colour on paper
93.4 x 45.4 cm. (36 Æ x 17 √ in.) 鈐印：楊氏
Inscribed and signed, with one seal of the artist 畫家題簽：雨打芭蕉。楊善深筆。
Titleslip inscribed and signed by the artist
展覽： 北京，中國美術館，“楊善深書畫展”，2006年7月13至20日。
EXHIBITED:
Beijing, National Art Museum of China, Paintings by Yang Shanshen, 出版： 《楊善深畫集》，天津人民美術出版社，2006年，第22頁，
13-20, July 2006. 圖版12。
LITERATURE:
The Art of Yang Shan Shen, Tianjin People’s Fine Arts Publishing
House, 2006, p. 22, pl. 12.
HK$800,000-1,200,000 US$110,000-160,000

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