Page 6 - Fine Chinese Paintings, Asia Week Christies 2015

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

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WEN SHU (1595-1634) 出版：葛金烺, 《愛日吟廬書畫錄》, 1881年。
鈴木敬，《中國繪畫總合圖錄,》，第2卷，圖版S10-007。
RISING EARLY IN SPRING TO LAMENT FLOWERS 印第安納波利斯美術館，《 Views from Jade Terrace:
Chinese Women Artists》， 印第安納波利斯美術館，
Hanging scroll, ink and color on silk 1988年，第38-39頁，圖版39。
Inscribed and signed, with fve seals of the artist 耶鲁大學藝術館，《玉齋珍藏明清書畫精選》，班宗華、高居
Dated xinwei year (1631) 翰等編著，紐約，1994年，第157-159頁，圖版41。
Five collectors’ seals; two of Liu Shu (1759-1861), one each of Ge Sydney L. Moss Ltd,，《Escape from the Dusty World:
Jinlang (1837-1890), Wu Puxin (1897-1987), and the Wuqi An Chinese Paintings and Literati Works of Art》，倫
collection (20th century) 敦，1999年，第22-25頁，圖版2。
Titleslip by Xie Zhiliu (1910-1997) 田洪，《二十世紀海外藏家：王南屏藏中國古代繪畫》天津人
44 x 22 Ω in. (111.8 x 57 cm.) 民美術出版社，2015年，中卷，第243頁，圖版76。
註：文淑，明代最著名的女畫家之一，其《惜花春起早圖》的
$70,000-100,000 題材來自於唐朝著名詩人白居易（772-846）的詩。畫的構圖
靈感則來自於她丈夫的前輩趙孟頫（1254-1322）。畫中所描
PROVENANCE: 繪的服飾為唐裝，與同時期的明代畫家仇珠所作的《畫唐人詩
意》（現藏於臺北故宮的）及陸燦/薛䲖於1768年所作之畫
Formerly in the collection of Wong Nan-p’ing (1924-1985). （現藏於北京故宮博物館）中的服飾造型有異曲同工之處。
Private Collection, US.

LITERATURE:

Ge Jinlang, Airiyinlou shuhualu, 1881.
Suzuki Kei, Comprehensive Illustrated Catalogue of Chinese Paintings,
vol. 2, no. S10-007.
Indianapolis Museum of Art, Views from Jade Terrace: Chinese Women
Artists, Indianapolis, 1988, pp. 38-39, note 39.
Yale University Art Gallery, The Jade Studio: Masterpieces of Ming and
Qing Painting and Calligraphy from the Wong Nan-p’ing Collection, New
Haven, 1994, pp. 122-127, no. 26.
Sydney L. Moss Ltd, Escape from the Dusty World: Chinese Paintings
and Literati Works of Art, London, 1999, pp. 22-25, no. 2.
Tian Hong, Overseas Collectors in the Twentieth Century: Wang
Nanping’s Collection of Ancient Chinese Paintings, Tianjin, 2015, vol. 2,
p. 243, no. 76.

This painting by Wen Shu, one of the most important women artists of the Ming
dynasty, depicts the poetic theme “Rising Early in the Spring to Lament Flowers,”
as indicated by her inscription. This subject was made popular in literature by the
Tang dynasty-poet Bai Juyi (772-846). As Wen Shu also noted in her inscription,
her composition was inspired by Zhao Mengfu (1254-1322), whose descendant
was her husband. The painting by Zhao Mengfu of this theme is no longer
extant. The clothing of the lady recalls Tang dynasty fashions and is echoed in
similar paintings of this theme, such as one by Miss Qiu (active mid-late 16th
century) in the National Palace Museum, Taipei and another painted in 1768 by
Lu Can and Xue Chou (both 18th century) in the Palace Museum, Beijing.

明 文俶 惜花春起早圖 設色絹本 立軸 一六三一年作
題識：辛未榖雨臨松雪翁畫。文俶。
鈐印：文俶、端容、端操有蹤幽閑有榮、喬葉貞蕤、寒山蘭閨
畫史
劉恕藏印：寒碧莊收藏印、蓉峯劉恕鑒賞、
葛金烺藏印：平湖葛氏愛日吟廬入錄之品、
吳普心藏印：思學齋
其它藏印：無笈庵收藏印
謝稚柳題簽：明趙文淑□松雪惜花春起早圖真跡妙品。謝稚柳
題。

來源： 王南屏 (1924-1985) 舊藏 (detail)

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