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.
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.