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Property of a Private Collector (Lots 780-793)
KANG SHENG (1898-1975)
Calligraphy – Dan Dao Hui
Details
KANG SHENG (1898-1975)
Calligraphy – Dan Dao Hui
A set of twenty-six unmounted leaves, ink on paper
Each leaf measures 25.5 x 36 cm. (10 x 14 1⁄8 in.)(26)
Without signature and seal
Calligraphy – Dan Dao Hui
A set of twenty-six unmounted leaves, ink on paper
Each leaf measures 25.5 x 36 cm. (10 x 14 1⁄8 in.)(26)
Without signature and seal
Further details
Kang Sheng Manuscripts and Other Calligraphy and Old Books from a Private Collection
Kang Sheng (1898–1975), originally named Zhang Zongke, bore many sobriquets, including Zhang Yun and Zhang Shaoqing. The name “Kang Sheng” originated from the Chinese translation of his Russian name during his time in the Soviet Union. A passionate connoisseur of traditional arts, he excelled in calligraphy, painting, opera, and ancient books. He had a deep appreciation for textual studies, often inscribing notes and colophons in the ancient books he collected. A notable example of his scholarship was a painting by Gao Fenghan, Smoke Pavilion and Wild Watchtower, sold at Christie’s Spring Auction in 2024. The piece featured Kang Sheng’s handwritten inscription on the frontispiece and several of his collector’s seals, highlighting his dedication to calligraphy and connoisseurship.
This autumn, Christie’s is honoured to present a collection of Kang Sheng’s manuscripts and annotated ancient books from the same provenance. The collection includes his handwritten transcriptions of Yuan dynasty opera scripts, such as Bu Fu Lao (Not Submitting to Old Age), Ku Cun Xiao (Crying for Cunxiao), Bao Jian Ji (The Tale of the Precious Sword), and Dan Dao Hui (The Single Saber Meeting). His meticulous and refined handwriting reflects his profound passion for opera.
The collection also features two rare books: a four-volume Ming dynasty printed edition of Mengxi Bitan (Dream Pool Essays) and a manuscript of Caoshu Jiyun (a cursive script manual based on the text of a poem) by Ming scholar Dong Kewei. Both books contain Kang Sheng’s handwritten annotations, where he meticulously verified historical figures and textual editions. His extensive knowledge and precise research methodology command great respect, reflecting an academic calibre on par with professional scholars.
The final piece in the collection is a 1965 calligraphy work by Shen Yinmo, dedicated to Kang Sheng, featuring Mao Zedong’s Lyrics to the Water Melody. Shen Yinmo executed the piece using a baisha maolong brush—a notoriously stiff and coarse brush that does not easily hold ink. Despite this challenge, Shen’s calligraphy exhibits both strength and fluidity, achieving a perfect balance between structure and suppleness. His technique demonstrates a mastery akin to “tempering steel into silk,” showcasing exceptional refinement and control.
Kang Sheng (1898–1975), originally named Zhang Zongke, bore many sobriquets, including Zhang Yun and Zhang Shaoqing. The name “Kang Sheng” originated from the Chinese translation of his Russian name during his time in the Soviet Union. A passionate connoisseur of traditional arts, he excelled in calligraphy, painting, opera, and ancient books. He had a deep appreciation for textual studies, often inscribing notes and colophons in the ancient books he collected. A notable example of his scholarship was a painting by Gao Fenghan, Smoke Pavilion and Wild Watchtower, sold at Christie’s Spring Auction in 2024. The piece featured Kang Sheng’s handwritten inscription on the frontispiece and several of his collector’s seals, highlighting his dedication to calligraphy and connoisseurship.
This autumn, Christie’s is honoured to present a collection of Kang Sheng’s manuscripts and annotated ancient books from the same provenance. The collection includes his handwritten transcriptions of Yuan dynasty opera scripts, such as Bu Fu Lao (Not Submitting to Old Age), Ku Cun Xiao (Crying for Cunxiao), Bao Jian Ji (The Tale of the Precious Sword), and Dan Dao Hui (The Single Saber Meeting). His meticulous and refined handwriting reflects his profound passion for opera.
The collection also features two rare books: a four-volume Ming dynasty printed edition of Mengxi Bitan (Dream Pool Essays) and a manuscript of Caoshu Jiyun (a cursive script manual based on the text of a poem) by Ming scholar Dong Kewei. Both books contain Kang Sheng’s handwritten annotations, where he meticulously verified historical figures and textual editions. His extensive knowledge and precise research methodology command great respect, reflecting an academic calibre on par with professional scholars.
The final piece in the collection is a 1965 calligraphy work by Shen Yinmo, dedicated to Kang Sheng, featuring Mao Zedong’s Lyrics to the Water Melody. Shen Yinmo executed the piece using a baisha maolong brush—a notoriously stiff and coarse brush that does not easily hold ink. Despite this challenge, Shen’s calligraphy exhibits both strength and fluidity, achieving a perfect balance between structure and suppleness. His technique demonstrates a mastery akin to “tempering steel into silk,” showcasing exceptional refinement and control.
Brought to you by
Carmen Shek Cerne (石嘉雯)
Vice President, Head of Department, Chinese Paintings
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