Page 148 - Irving Collection Part II Chinese Art

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L A C Q U E R • J A D E • B R O N Z E • I N K T H E R V I N G C O L L E C T I O N 髹金飾玉 - 歐雲伉儷珍藏

1194 YU FEI’AN (CHINA, 1888-1959)
Narcissus and Rock 于非闇 水仙拳石 設色絹本 鏡框 一九三七年作

Scroll, mounted and framed, ink and color on silk 題識：
Inscribed and signed, with two seals of the artist 江妃虛卻蘂（珠）宮，銀漢仙人謫此中。
Dated dingchou year (1937) 偶趁月明波上戲，一身冰雪舞東風。珠。
宋刻絲水仙拳石軸，怡王舊物。丁丑（1937年）嘉平臨於玉山硯齋，非闇于
27√ x 15æ in. (71 x 40.2 cm.)
照。
$50,000-80,000
鈐印：一字非闇、非闇丁丑年作
PROVENANCE
The Irving Collection. 來源：
歐雲伉儷珍藏。
One of the 20th-century masters of the bird-and-fower genre, Yu Fei’an
creates his trademark calligraphic and painting style after emulating works 身為二十世紀花鳥畫大師之一的于非闇，從他喜愛的書畫家的風格中，萃取其
by the calligraphers and painters he admires. He models his calligraphy 精華而創造出他獨特的個人風格。在書法上，他以宋徽宗與其獨創的「瘦金體」
after the hand of Emperor Huizong of the Song dynasty (r. 1100-1126), who 為師。在此幅《水仙拳石》中，于非闇的題跋充分顯示出他對宋徽宗瘦金體的遵
invented his own highly individualistic “slender-gold” style. Yu’s adherence 循：從其纖細如一的筆法、到有棱有角的筆劃，處處可見。他的水仙受趙孟堅的
to Emperor Huizong’s slender gold is evident in his inscription on Narcissus 風格影響，花瓣柔軟，枝葉蔓蔓，十分生動。
and Rock, where the uniformity of the line thickness and the angularity of
the corners are pronounced. His narcissus suggests the infuence of Zhao
Mengjian (1199-1264), with sinuous leaves twisting and bending gracefully.

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