Page 43 - Christie's FIne Chinese Paintings HK May 26 27 2021

of the rhythm of literary writing. Such rhythm emerges from a canal 㿩㙣ॶἓ⢵᪃ཎᥓ⠢ᝧǶभ㚁ݨ㨒ᙔ᥉ᘯǷ卿ᖬ༵ᝧᎰᙻ࿶◘ԨՓ
and eventually flows into the sea. It is also an analogy for the balance 卻 卼Ӳᝲ卿㙴㙃⒢䁗㛮཰㌌ໝឆ㧿ǯᗌǶ㿩⒢䁗ݎ⊂ჺ㍆Ƿ㉃
between the recommendation in an essay with the allegory it uses to 㖊卿ᚺ࿶◘Նჺ卻 卼卿㿩㙣ॶ㗧໶㫘՗ǯӮჺ卻 卼卿㛮཰
illustrate the point. Originally, it was composed as the preface of the ᷄᱒࢈ྒྷ㌌ໝ卿Նᝲई᷄႔ᓠ໶ᝨዂᏝԠ㋇卿ᇁᆳ႔⡻㪈ໝలğ⎉
book Hexuan bamin wenye, compiled by the Magistrate of Jianyang, ⎑⪛ໝĠ卿ݎ⣌ᇌ۔卿ݎ⟐ᇌट卿㪪ᅾຽਮ㫙卿᪖✄୪✣卿ᛓ㋵
Shen Fenqiu (17th Century). As the original recipient of Huang ğᥤ೉ਮ᥉Ġ卿᫓ᛞӬჺᝳ㱛ǯᅾຽս㌌ໝݤ༏㖩ᎰǶᥤ೉ਮ᥉Ƿ
Daozhou’s masterfully executed preface, Shen Fenqiu treasured the ࢦݨ࣍卿ἃ㿩⒢䁗㞒㇝ໝワሲዏǯទ❩ᝧᯧថ⊤᪃ംӴᙹᝳğᥤ೉
piece and brought it home with him to Jiangyin when he retired.
Then it entered the collection of someone with the surname Hua ਮ᥉Ġ୨ໃ卿࣊ἃ⋁ᛞ㌌ໝᝧ༵⊇⡮ǯ
(18th-19th Century), who lived in Qingxishan during the Qing Ƕभ㚁ݨ㨒ᙔ᥉ᘯǷᘘݣǶ㿩᷄᱒㫀Ƿ࣍ՀࢦՀ卿ս഍Ӵ᭢㙣Ԡ♥
dynasty. Other owners of the paintings include Chen Shijin (?-1867)
of Jiangyin and Luo Zhengyu (1866-1940). In 1912, it was published ⪝㘻㙤卿ᬘ઀ᙔ㙛Ԡ⊂ǯ⊐ᅤ᭢Ԡ㘻㙤ݣᱡ卿ࣽ઀㋏ᅤԋᙔ⛌㑷⯝
in the fourth volume of Shenzhou daguan (Epitome of Cathay), a series ༡ݤᙔ⛌⏟ᐘヹǯǶभ㚁ݨ㨒ᙔ᥉Ƿἃᛞ֌ᅤ㪈⥂ռԠᮅ㩽ᮨᅬӾ
of books featuring collotype reproductions of important paintings Ꮢ⤔⦕卿㿩㙣ॶἃݯս⠢ᥓᖬᘯ卿ᮨ᭄ᇌ׹ᘁ᫔㛮㞑Ⅷ⻦卿᪖✄ἃ
and calligraphy. After 1914, it entered the collection of Yamamoto ᳖㢻ྒྷⵖ᭄ğ┡᢫ᝧྲྀⅧ⻦ĠǮ᳖ᮅ㩽㪀ᅴ㞖卻 卼㙬⻦卿⯍
Teijiro (1870-1937) in Japan, where Nagao Uzan (1864-1942) has ᭆߝἃ⧲ᑾℱ卻 卼Ꮢᝳ卿߅‸ᙻǶ▵႔ഌ㈊Ƿ✄୨⽚ǯ
shown his approval by inscribing and placing his seal on it in 1915. It ჺᇌ卿㖴㖿᱁ݣែẃ卿ἃᚚ՞ྒྷទኂՀ㚿卻 卼⻦卿Ԇ
also appears in the 1932 Chokaido shoga mokuroku (The Catalogue of the ⊐ᚚទᶴໝ།㧩ཫ⊑卻 卼ᙻഌ᫈Ԩࣆ卻 卼㯪㒉㯪⟃㊘
Calligraphy and Paintings of Chokaido). ज卿 ჺⶬ㢙ᙻǶḅ᎜లᝧ⊺⏖㢙Ƿ࣍୨ǯ

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