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PREVIOUSLY FROM THE COLLECTION OF YAMAMOTO TEIJIRO (LOT 842)
HUANG DAOZHOU (1585-1646)
Small-Character Calligraphy in Standard Script
Details
HUANG DAOZHOU (1585-1646)
Small-Character Calligraphy in Standard Script
Scroll, mounted and framed, ink on paper
28 x 153.5 cm. (11 x 60 3/8 in.)
Signed and dated third month, yihai year of Chongzhen period (1635), with three seals of the artist
Ten collector’s seals
Colophon by Nagao Uzan (1864-1942), dated yimao year (1915), signed with one seal
Colophon by Luo Zhenyu (1866-1940), dated jiayin year (1914), signed with two seals
Titleslip by Nagao Uzan, signed with one seal
Small-Character Calligraphy in Standard Script
Scroll, mounted and framed, ink on paper
28 x 153.5 cm. (11 x 60 3/8 in.)
Signed and dated third month, yihai year of Chongzhen period (1635), with three seals of the artist
Ten collector’s seals
Colophon by Nagao Uzan (1864-1942), dated yimao year (1915), signed with one seal
Colophon by Luo Zhenyu (1866-1940), dated jiayin year (1914), signed with two seals
Titleslip by Nagao Uzan, signed with one seal
Provenance
Property of Shen Fenqiu (17th Century).
Hua’s collection (18th-19th Century).
Collection of Chen Shijin (?-1867).
Collection of Luo Zhenyu (1866-1940).
Collection of Yamamoto Teijiro (1870-1937).
Hua’s collection (18th-19th Century).
Collection of Chen Shijin (?-1867).
Collection of Luo Zhenyu (1866-1940).
Collection of Yamamoto Teijiro (1870-1937).
Literature
Epitome of Cathay, Vol. 4 (aka National Glory Collection of Cathay, Vol. 25), National Glory of Cathay Society, Shanghai, 20 June 1913.
Yamamoto Teijiro, Chokaido shoga mokuroku, Vol. 4, Bunkyudo, Tokyo, 1932, pp.76-78.
Huang Daozhou, Collection of Huang Zhangpu, Vol. 22, in Wang Deyi ed., Integrated Book Series –Third Series, Book 52, Xin Wenfeng Publishing Company, Taipei, March 1997, p.504.
Wang Wenjing ed., Literary Collection of Huang Zhangpu, Book 1, International Chinese Literary Works Publishing, Sydney, August 2006, p.320.
Huang Daozhou, Collection of Huang Zhangpu, Vol. 22, in Shen Naiwen ed., Literary Collection of the Ming Dynasty, Series V, Vol.45, Huangshan Bookstore, Hefei, March 2016, p.7.
Yamamoto Teijiro, Chokaido shoga mokuroku, Vol. 4, Bunkyudo, Tokyo, 1932, pp.76-78.
Huang Daozhou, Collection of Huang Zhangpu, Vol. 22, in Wang Deyi ed., Integrated Book Series –Third Series, Book 52, Xin Wenfeng Publishing Company, Taipei, March 1997, p.504.
Wang Wenjing ed., Literary Collection of Huang Zhangpu, Book 1, International Chinese Literary Works Publishing, Sydney, August 2006, p.320.
Huang Daozhou, Collection of Huang Zhangpu, Vol. 22, in Shen Naiwen ed., Literary Collection of the Ming Dynasty, Series V, Vol.45, Huangshan Bookstore, Hefei, March 2016, p.7.
Further details
Lectures at Banyan Forum: Story Behind Huang Daozhou’s Small-Character Calligraphy in Standard Script
Huang Daozhou (1585-1646) wrote his Small-Character Calligraphy in Standard Script with exquisitely fine brush strokes, in the third month of 1635, when he was lecturing in the country. According to his chronicle, he resigned from his official post and left the capital (Beijing) in 1632. Two years later, when he was living and teaching in Beishan of Zhangpu county (in Fujian province), a judge of Zhangzhou named Cao Weizhi invited him to teach at the Ziyan School in Zhangzhou. Huang Daozhou was methodical in his instructional style: he would teach the classics before the biographies and chronicles, the records before histories; and he would answer his students’ questions in order of increasing difficulties. His students complied these lessons which took place over a year into 18 volumes titled Rongtan wenye (Lectures at Banyan Forum), which became fundamental in understanding Huang Daozhou’s philosophy and scholarship. The characters “Rongtan wenye” can be found at the lower-left of the original handscroll, as this type of paper was used during his tenure at Ziyan School.
The text of this work is included in Chapter Twenty-Two of Huangzhang puji, where the analogy of the connectivity and convergence of all the waterways is used to illustrate the importance of the rhythm of literary writing. Such rhythm emerges from a canal and eventually flows into the sea. It is also an analogy for the balance between the recommendation in an essay with the allegory it uses to illustrate the point. Originally, it was composed as the preface of the book Hexuan bamin wenye, compiled by the Magistrate of Jianyang, Shen Fenqiu (17th Century). As the original recipient of Huang Daozhou’s masterfully executed preface, Shen Fenqiu treasured the piece and brought it home with him to Jiangyin when he retired. Then it entered the collection of someone with the surname Hua (18th-19th Century), who lived in Qingxishan during the Qing dynasty. Other owners of the paintings include Chen Shijin (?-1867) of Jiangyin and Luo Zhengyu (1866-1940). In 1912, it was published in the fourth volume of Shenzhou daguan (Epitome of Cathay), a series of books featuring collotype reproductions of important paintings and calligraphy. After 1914, it entered the collection of Yamamoto Teijiro (1870-1937) in Japan, where Nagao Uzan (1864-1942) has shown his approval by inscribing and placing his seal on it in 1915. It also appears in the 1932 Chokaido shoga mokuroku (The Catalogue of the Calligraphy and Paintings of Chokaido).
Huang Daozhou (1585-1646) wrote his Small-Character Calligraphy in Standard Script with exquisitely fine brush strokes, in the third month of 1635, when he was lecturing in the country. According to his chronicle, he resigned from his official post and left the capital (Beijing) in 1632. Two years later, when he was living and teaching in Beishan of Zhangpu county (in Fujian province), a judge of Zhangzhou named Cao Weizhi invited him to teach at the Ziyan School in Zhangzhou. Huang Daozhou was methodical in his instructional style: he would teach the classics before the biographies and chronicles, the records before histories; and he would answer his students’ questions in order of increasing difficulties. His students complied these lessons which took place over a year into 18 volumes titled Rongtan wenye (Lectures at Banyan Forum), which became fundamental in understanding Huang Daozhou’s philosophy and scholarship. The characters “Rongtan wenye” can be found at the lower-left of the original handscroll, as this type of paper was used during his tenure at Ziyan School.
The text of this work is included in Chapter Twenty-Two of Huangzhang puji, where the analogy of the connectivity and convergence of all the waterways is used to illustrate the importance of the rhythm of literary writing. Such rhythm emerges from a canal and eventually flows into the sea. It is also an analogy for the balance between the recommendation in an essay with the allegory it uses to illustrate the point. Originally, it was composed as the preface of the book Hexuan bamin wenye, compiled by the Magistrate of Jianyang, Shen Fenqiu (17th Century). As the original recipient of Huang Daozhou’s masterfully executed preface, Shen Fenqiu treasured the piece and brought it home with him to Jiangyin when he retired. Then it entered the collection of someone with the surname Hua (18th-19th Century), who lived in Qingxishan during the Qing dynasty. Other owners of the paintings include Chen Shijin (?-1867) of Jiangyin and Luo Zhengyu (1866-1940). In 1912, it was published in the fourth volume of Shenzhou daguan (Epitome of Cathay), a series of books featuring collotype reproductions of important paintings and calligraphy. After 1914, it entered the collection of Yamamoto Teijiro (1870-1937) in Japan, where Nagao Uzan (1864-1942) has shown his approval by inscribing and placing his seal on it in 1915. It also appears in the 1932 Chokaido shoga mokuroku (The Catalogue of the Calligraphy and Paintings of Chokaido).
Brought to you by
Jessie Or (柯少君)