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書畫有緣，自會遇合：王南屏家族收藏今年秋季，佳士得香港十分榮幸為藏家呈獻一批來自中國最後一位傳統文人鑒藏家王南屏先生（1924-1985）及其家族所珍藏之珍罕鉅作。王南屏出生於書香門第，原籍江蘇常州。1937年他隨家人至上海，與當地經營染織廠生意的父親王有林（1900-1988）重聚。他在復旦大學修讀中國文學；1942年結識了比鄰而居的大收藏家葉恭綽先生（1881-1968），開啟了他的收藏生涯。儘管兩人年齡相差四十二歲，葉恭綽對同樣愛好文史藝術的王南屏傳授心得如師徒一般，成為忘年之交，奠定了王南屏書畫收藏與鑑賞的深厚基礎。在父親王有林的協助之下，王南屏的首批收藏，便是從葉恭綽手中購得一批明清書畫作品。葉公綽還為其引薦，收藏重要書畫名作，其中包含了現藏於北京故宮博物院的米友仁《瀟湘奇觀圖卷》。1940年代末，王南屏移居香港，數十年來往返於港、台之間，拜訪當地收藏家，欣賞與購藏流傳在海外的名家精品。1970年代，王南屏旅居於美國及香港，參與在紐約及香港逐漸蓬勃發展的中國書畫拍賣。旅美期間，與當地學界人士交流甚廣，更多次將自己的收藏借予當地博物館舉辦展覽，並資助朋友的孩子赴美留學。此時，亦有眾多藝術收藏團體，如敏求精舍、求知雅集與扶輪社等，邀請王南屏先生舉辦書畫專題相關座談。此外，王南屏素來與眾多中國近現代藝術大師保持著密切的往來與交情，如張大千、溥儒及遠親謝稚柳等，常常向他們慷慨展示其收藏，與藝術家們一同鑒賞與研究作品，可見其在海外書畫收藏圈舉足輕重的地位。王南屏以其廣博的中國書畫與文學知識，孜孜不倦地探尋和鑽研，建立起被公認為最卓越的中國古代書畫收藏。近期出版的《玉齋鑑藏記》中收錄了他的遺稿，內容詳述了他極為嚴謹的收藏原則與心得：與收藏界人士培養良好的關係，以重質不重量為原則，用獨到的眼光及不受市場潮流左右的主見評斷作品，並能以不計較購買價格是否高於市場價格的態度，集中精力收藏精品。如此不僅能獲得專業鑒賞經驗與資訊，亦能提高自己的鑒賞眼光，更能吸引到高價值的作品主動上門。這些原則與態度，皆得自他生命中的良師益友葉恭綽及上海書畫界巨擘孫伯淵（1898-1984，集寶齋）和錢鏡堂（1907-1983，六瑩堂）的指導。半個世紀以來，玉齋王南屏家族的收藏廣受博物館及藝術學者的推崇。其許多藏品已捐贈給北京故宮博物院等國家級文化機構，特別是王安石（1021-1086）唯一存世的書法作品《楞嚴經旨要卷》，以及南宋版《龍舒本王文公全集》，由家屬依其遺志捐予上海博物館。另有精品借予聖塔巴巴拉藝術博物館、耶魯大學美術館、密西根大學美術館、香港中文大學文物館和斯賓賽美術館等機構展出。此外，由耶魯大學美術館出版的《玉齋珍藏明清書畫精選》，匯集了班宗華、高居翰、傅申等中外藝術史重量級學者的研究，被各大學圖書館所購藏，足見其收藏在藝術史領域的重要性。“書畫有緣，自會遇合，如無緣雖到手亦不成。”這是王南屏對藝術收藏所下的經驗總結與最佳寫照。對他而言，“收”與“藏”是兩回事，有些人有法收而無力藏，有些人有力藏卻無法收；而財富並不能保證收藏的品質與長久，因此當確定了收藏目的後，便要研究“收”與“藏”的方法。王南屏中國古代書畫收藏之成就確是達到了他那個世代的頂點，他的收藏品味和為人處事的態度也反映出他的內在特質，體現出一種樂善好施、慷慨、高雅以及無私的人生面貌。他超越了收藏家、鑒賞家、行家、文人、藝術家與學者的身分界線，獨樹一幟的人格特質，深受親朋好友、學術界及收藏圈的敬愛。王南屏家族收藏 (LOTS 854-873)
元 柯九思（傳）
墨竹圖
細節
元 柯九思（傳）
墨竹圖
水墨絹本 立軸
147.5 x 100.8 cm. (58 1/8 x 39 5/8 in.)
題識：
丹丘柯九思敬仲臨石室先生戲墨。
鈐印：
柯氏敬仲、敬仲畫印、縕真齋、濟（陽）郡圖（書）印、縕真之齋圖書之府吾存其中遊戲今古松窗棐几萬鍾為聊寓意於物適有涯之生
藏印：
張子英（14世紀）：張子吳藏
梁清標（1620-1691）：蕉林、觀其大略
蔣祖詒（1902-1973）：蔣穀孫、顯堂真鑑
王南屏（1924-1985）：王南屏印、南屏珍藏
其他：開泰私印
高星紫（19世紀）題簽：
元柯丹邱墨竹真蹟，無上逸品。小有山亭秘玩。毘陵高星紫毗題簽。
鈐印：高星紫印
墨竹圖
水墨絹本 立軸
147.5 x 100.8 cm. (58 1/8 x 39 5/8 in.)
題識：
丹丘柯九思敬仲臨石室先生戲墨。
鈐印：
柯氏敬仲、敬仲畫印、縕真齋、濟（陽）郡圖（書）印、縕真之齋圖書之府吾存其中遊戲今古松窗棐几萬鍾為聊寓意於物適有涯之生
藏印：
張子英（14世紀）：張子吳藏
梁清標（1620-1691）：蕉林、觀其大略
蔣祖詒（1902-1973）：蔣穀孫、顯堂真鑑
王南屏（1924-1985）：王南屏印、南屏珍藏
其他：開泰私印
高星紫（19世紀）題簽：
元柯丹邱墨竹真蹟，無上逸品。小有山亭秘玩。毘陵高星紫毗題簽。
鈐印：高星紫印
出版
王世傑等編，《藝苑遺珍》第2輯，香港開發股份公司，香港，1967年，編號31。
余毅編，《元柯九思墨竹畫冊及其竹譜》，中華書畫出版社，台北，1976年元月，第1頁。
聖巴巴拉藝術博物館，《王南屏珍藏中國書畫》，聖巴巴拉，1978年，編號1，封底。
班宗華等，《玉齋珍藏明清書畫精選》，耶魯大學美術館，紐黑文，1994年，第276頁，圖1。
田洪編著，《王南屏藏中國古代繪畫》上卷，天津人民美術出版社，天津，2015年7月，第33頁，圖版6。
王樸仁，《玉齋鑒藏記-王南屏先生事略》，中華書局，香港，2019年，第119頁。
余毅編，《元柯九思墨竹畫冊及其竹譜》，中華書畫出版社，台北，1976年元月，第1頁。
聖巴巴拉藝術博物館，《王南屏珍藏中國書畫》，聖巴巴拉，1978年，編號1，封底。
班宗華等，《玉齋珍藏明清書畫精選》，耶魯大學美術館，紐黑文，1994年，第276頁，圖1。
田洪編著，《王南屏藏中國古代繪畫》上卷，天津人民美術出版社，天津，2015年7月，第33頁，圖版6。
王樸仁，《玉齋鑒藏記-王南屏先生事略》，中華書局，香港，2019年，第119頁。
展覽
聖巴巴拉，聖巴巴拉藝術博物館，“王南屏珍藏中國書畫”，1978年2月25日 - 5月28日。
更多詳情
Serendipity Shall Bring the Paintings to You — The Wong Nan-ping Family Collection
This autumn, Christie’s Hong Kong is proud to present selected paintings from the family collection of the last true traditional literati collector—The Master of the Jade Studio, Mr. Wong Nan-ping (1924–1985).
As a progeny of Qing literati originated from Changzhou, Wong Nan-ping reunited with his father Wong Youlin (1900–1988), a successful textile businessman in Shanghai in 1937. He studied Chinese literature at Fudan University and in 1942, he became a close friend and pupil of the famed collector Ye Gongchuo (1881–1968). Despite a 42-year age difference, Ye delighted in providing guidance to his young neighbour. This mentorship laid the foundation for Wong Nan-ping’s enduring passion for collecting and connoisseurship.
Wong Nan-ping acquired his first paintings before he reached the age of 20. With the aid of his father Youlin, he purchased a group of Ming and Qing works from Ye Gongchuo and other important works, including Mi Youren’s Spectacular Views of the Xiao and Xiang, now at the Beijing Palace Museum. In the late 1940s he relocated to Hong Kong and continued to acquire major works, sometimes even made trips to Taipei for masterpieces. Living in the U.S. and Hong Kong in the 1970s, he participated in auctions, received scholars and fellow collectors, and gave talks at private collectors’ clubs and institutions like Min Chiu Society, Kau Chi Society and the Rotary Club. With the assistance of his American friends who were university professors, he sponsored many children of his friends who were then able to attend college in the States. A close friend of Chinese modern masters such as Zhang Daqian, Pu Ru and Xie Zhiliu (who was also a relative), he always granted requests from artists who wished to view and study works in his collection.
Wong Nan-ping’s collection was built over a lifetime of devoted searching and studying, and recognized by all as one of the most distinguished collection of Chinese classical painting and calligraphy. In his manuscript—recently published in Record of Jade Studio’s Connoisseurship and Collecting—Wong elaborates on his disciplined approach and insights learnt from his mentors Ye Gongchuo and top dealers in Shanghai like Sun Boyuan (1898-1984) of Jibao Zhai and Qian Jingtang (1907-1983) of Liuying Tang. They include: make friends with those in the field; look more and buy fewer; have your own conviction and do not blindly follow trends; be willing to make higher-than-market offers on the best works; and serendipity shall bring the paintings to you.
The Jade Studio Collection has been sought after by museums and scholars for over half of a century. Many works from the collection have been donated and are currently housed at top-notch museums. Notably, Wang Anshi’s (1021–1086) only extant calligraphy and the Sothern Song Longshu version of his complete works, were donated to the Shanghai Museum, a long-held wish fulfilled by his family posthumously. Exhibitions of selected works have been held at Santa Barbara Art Museum, Yale University Art Gallery, University of Michigan Museum of Art, Art gallery at the Chinese University of Hong Kong, and Spencer Museum of Art, among others. Seminal publications on the collection, especially The Jade Studio: Masterpieces of the Ming and Qing Painting and Calligraphy from the Wong Nan-p’ing Collection—authored by the preeminent scholars of the field including Richard M. Barnhart, James Cahill, Shen Fu and published by Yale University Art Gallery—can be found in any university or museum library, attesting to its significance.
“Without serendipity, even if you have it in hand, it will not stay.” To Wong Nan-ping, collecting’s two components—acquiring and preserving—are two separate aspects. Money alone does not guarantee quality nor longevity of a collection. His artistic taste reflects an inner self possessing the same qualities as the artists he admires and works he treasures. Along his collecting journey Wong Nan-ping cultivates a life of benevolence, generosity, refinement and selflessness. Beloved by families, friends, academic and museum communities, he transcends the boundaries of collectors, connoisseurs, dealers, literati, artists and scholars, and stands in a class of his own.
This autumn, Christie’s Hong Kong is proud to present selected paintings from the family collection of the last true traditional literati collector—The Master of the Jade Studio, Mr. Wong Nan-ping (1924–1985).
As a progeny of Qing literati originated from Changzhou, Wong Nan-ping reunited with his father Wong Youlin (1900–1988), a successful textile businessman in Shanghai in 1937. He studied Chinese literature at Fudan University and in 1942, he became a close friend and pupil of the famed collector Ye Gongchuo (1881–1968). Despite a 42-year age difference, Ye delighted in providing guidance to his young neighbour. This mentorship laid the foundation for Wong Nan-ping’s enduring passion for collecting and connoisseurship.
Wong Nan-ping acquired his first paintings before he reached the age of 20. With the aid of his father Youlin, he purchased a group of Ming and Qing works from Ye Gongchuo and other important works, including Mi Youren’s Spectacular Views of the Xiao and Xiang, now at the Beijing Palace Museum. In the late 1940s he relocated to Hong Kong and continued to acquire major works, sometimes even made trips to Taipei for masterpieces. Living in the U.S. and Hong Kong in the 1970s, he participated in auctions, received scholars and fellow collectors, and gave talks at private collectors’ clubs and institutions like Min Chiu Society, Kau Chi Society and the Rotary Club. With the assistance of his American friends who were university professors, he sponsored many children of his friends who were then able to attend college in the States. A close friend of Chinese modern masters such as Zhang Daqian, Pu Ru and Xie Zhiliu (who was also a relative), he always granted requests from artists who wished to view and study works in his collection.
Wong Nan-ping’s collection was built over a lifetime of devoted searching and studying, and recognized by all as one of the most distinguished collection of Chinese classical painting and calligraphy. In his manuscript—recently published in Record of Jade Studio’s Connoisseurship and Collecting—Wong elaborates on his disciplined approach and insights learnt from his mentors Ye Gongchuo and top dealers in Shanghai like Sun Boyuan (1898-1984) of Jibao Zhai and Qian Jingtang (1907-1983) of Liuying Tang. They include: make friends with those in the field; look more and buy fewer; have your own conviction and do not blindly follow trends; be willing to make higher-than-market offers on the best works; and serendipity shall bring the paintings to you.
The Jade Studio Collection has been sought after by museums and scholars for over half of a century. Many works from the collection have been donated and are currently housed at top-notch museums. Notably, Wang Anshi’s (1021–1086) only extant calligraphy and the Sothern Song Longshu version of his complete works, were donated to the Shanghai Museum, a long-held wish fulfilled by his family posthumously. Exhibitions of selected works have been held at Santa Barbara Art Museum, Yale University Art Gallery, University of Michigan Museum of Art, Art gallery at the Chinese University of Hong Kong, and Spencer Museum of Art, among others. Seminal publications on the collection, especially The Jade Studio: Masterpieces of the Ming and Qing Painting and Calligraphy from the Wong Nan-p’ing Collection—authored by the preeminent scholars of the field including Richard M. Barnhart, James Cahill, Shen Fu and published by Yale University Art Gallery—can be found in any university or museum library, attesting to its significance.
“Without serendipity, even if you have it in hand, it will not stay.” To Wong Nan-ping, collecting’s two components—acquiring and preserving—are two separate aspects. Money alone does not guarantee quality nor longevity of a collection. His artistic taste reflects an inner self possessing the same qualities as the artists he admires and works he treasures. Along his collecting journey Wong Nan-ping cultivates a life of benevolence, generosity, refinement and selflessness. Beloved by families, friends, academic and museum communities, he transcends the boundaries of collectors, connoisseurs, dealers, literati, artists and scholars, and stands in a class of his own.