FU SHAN (1605-1690) AND FU MEI (1628-1684)
FU SHAN (1605-1690) AND FU MEI (1628-1684)
FU SHAN (1605-1690) AND FU MEI (1628-1684)
11 更多
FU SHAN (1605-1690) AND FU MEI (1628-1684)
14 更多
PROPERTY FROM THE YE GONGCHUO FAMILY COLLECTION (LOTS 820-839)
FU SHAN (1605-1690) AND FU MEI (1628-1684)

Landscapes / Flowers

细节
FU SHAN (1605-1690) AND FU MEI (1628-1684)
Landscapes / Flowers
Album of six leaves and one loose leaf, ink and colour on paper / silk
Each leaf measures 25.5 x 23.5 cm. (10 x 9 1⁄4 in.)
(2)Five leaves signed and two leaves inscribed and signed, with a total of seven seals of the artists
Colophons by Dai Tingzhi (1618-1691), Zeng Xi (1861-1930) and Ye Gongchuo (1881-1968), with a total of eight seals
Frontispiece by Dai Tingzhi, with three seals
出版
Teisuke Toda and Hiromitsu Ogawa ed., Comprehensive Illustrated Catalogue of Chinese Paintings: Second Series Vol. 1 American and Canadian Collections, University of Tokyo Press, Tokyo, August 1998, p.I-227 and I-352, pl. A46-001.
Bai Qianshen, Fu Shans World: The Transformation of
Chinese Calligraphy in the Seventeenth Century, Harvard University Asia Center (Cambridge, 2003), Rock Publishing (Taiwan, 2003), Joint Publishing Company (Beijing, 2006), pls. 4.25, 4.26 (two leaves).
更多详情
REVERED AND EXEMPLARY — PROPERTY FROM THE YE GONGCHUO FAMILY COLLECTION

Born in Tianjin in 1916, Julia Yeh was the only child of the statesman, scholar, connoisseur and poet Ye Gongchuo (1881-1968). She attended the Qiming School for Girls in Shanghai where her schoolmates included Yang Jiang (1911-2016), the renowned essayist and translator. As a girl, Julia was a known for her adventurous spirit – she practised archery, played golf, performed in plays and was a keen equestrian. She was extremely close to her father; much of his personal poetry was dedicated to her. In the late 1930s, she lived briefly in Kunming where she was neighbours with the architects and architecture historians Liang Sicheng (1901-1972) and Lin Huiyin (1904-1955). Together with her cousin Ye Gongchao (George Yeh, 1904-1981), she played a significant role in the safe passage of the archaic bronze vessel, the Mao Gong Ding, during the war.
Julia joined her father in Hong Kong in 1948 and in March 1950, Ye Gongchuo returned to Beijing. The father and daughter remained in touch through letters and friends until his passing in 1968. Like her father and cousin, Julia was deeply committed to the preservation of China’s art and culture. In the four decades that followed she became a devoted custodian of the family collection of Chinese paintings, calligraphy and works of art, some of which are now housed in prestigious institutions in China and the US including the Palace Museum in Beijing, the Shanghai Museum, and the Asian Art Museum in San Francisco. Residing in North America, she returned to China in the 1990s to bequeath her father’s manuscripts and letters to the public. The present collection of cherished paintings and calligraphy, featuring twenty classical and three modern works, have remained in the family to date. The modern works will be offered in the Fine Chinese Modern and Contemporary Ink Paintings auction (Lots 1074-1076) on 30 November, 2021.

拍品专文

Pure, Simple and Reclusive — Characteristics of Landscapes by Fu Shan and Fu Mei

Originated from the Yangqu county of Shangxi province, Fu Shan (1607-1685) and his son Fu Mei (1628-1684) lived as a recluse after the fall of the Ming dynasty. Proficient in Confucianism, Buddhism and Daoism, as well as poems, verses, paintings and calligraphy, martial arts and medicine, Fu Shan was known as a Renaissance man of his time. Being a Taoist priest, he was imprisoned in 1654 and later rescued by his friends Wei Yi’ao (1613-1692) and Dai Tingshi (1618-1691). He then travelled in the mountains and eventually inhabited in the Quwei temple in his late years. Fu Mei was good at poems and seal carving, and died a year before his father’s passing.
Owned by Ye Gongchuo (1881-1968) and thence by descent, Landscapes/Flowers by Fu Shan and Fu Mei consists of an album of six leaves (the father and son each created three leaves) and a loose leaf executed by Fu Shan (Ye inscribed a colophon on it in 1941). Fu Shan employed simple brushwork and applied refreshing light colours in his paintings, which attested his tribute to the sentiments of the Song works, and simultaneously expressed his personal style. Under the tutorship of his father, Fu Mei’s paintings appeared finer and more delicate: he adopted ox’s hair textual strokes for his landscapes; and boneless method for his flowers. Minimalism and simplicity are key in their landscapes.
Based on the colophons, the lineage of the album can be traced back from Dai Tingshi, then followed by Shen Hanguang (1619-1677), Zeng Xi (1861-1930) and Ye Gongchuo. This is a very rare extant work by Fu Shan and Fu Mei, thoroughly researched and documented by Bai Qianshen (b. 1955). The loose leaf of landscape is even more delicate in compared with those found in the album, which indicates that it could possibly be an early work by Fu Shan. Since the 1940s, Landscapes/Flowers has been part of the family collection of Ye Gongchuo, treasured by Ye and his descendants who sojourned in Shanghai, Hong Kong and the United States.

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