ZHANG DAQIAN (1899-1983)Landscape, 1940
Horizontal handscroll, ink and color on paper, inscribed by the artist and signed Daqian Jushi Yuan, dated gengchen year (1940), with four artist's seals reading Daqian hao meng, Zhang Daqian Xishu Zhang Yuan and Daqian wei yin danian; the titleslip, frontispiece and the first colophon written by Wu Ping (1920-2019), followed by colophons by Wang Beiyue (1926-2006) and Zhou Cheng (1941-2022), all executed in 2003.
Frontispiece: 5 5/8 x 24 3/4in (14.3 x 63cm)
Painting: 5 5/8 x 124 5/8in (14.3 x 316.5cm)
Colophons: 5 5/8 x 40 1/2in (14.3 x 103cm)Footnotes張大千（1899-1983） 曹能始遊山記山水卷 設色紙本 手卷 一九四〇年作
題簽：
張大千翁山水卷，堪白吳平。
鈐印：吳平、堪白
引首：
題識一：三千大千世界
題識二：大千先生寫曹能始遊山記山水卷五十年（應在六十三年後）後，癸未（2003）敬署，餘姚後學，堪白吳平。
鈐印：吳平、堪白
畫心：
款識：曹能始遊山記云，"（山）中橋非一，此可稱（橋），一橋受水，一水自一洞來，有黑白之分。若挾而舞，若摶而赴，勢不相下。過橋始狎，久之乃濟。有石狀如牛心，受水所激而成"，有前者白水，後也。庚辰二月，大千居士爰。
鈐印：大千好夢、張大千、西蜀張爰、大千唯印大年
跋尾一：
大千先生欵署庚辰二月，則為西元一九四〇年，民國二十九年，蓋先生四十二歲。是年亦先生方前赴敦煌，旋因其二兄善孖逝世，復倉促返渝，則是卷或成於往返之前也。予既署引首，再考其歲次如此。九十二年癸未九月，堪白再識。
鈐印：吳平、堪白
跋尾二：
大千先生畫作前期以學石濤、八大為主，一九三六年前，曾三上黃山竝關注黃山畫派，吸取漸江、梅瞿山、查二瞻、蕭尺木、程穆倩、孫疏林等之長，二揉入石濤、八大畫法中用筆瘦勁、意境清逸、一種幽寂深邃之氣，正是山水畫中之高深境界。此冊所繪既在民廿九年，則顯然係受黃山畫派影響後之作品。至先生晚年僑居海外，創傾墨披潑彩之法，使畫面蒼渾沉厚而自然天成，為中國畫開一新境。觀者於此正可窺見其茹古出新、開創來葉之精神，此亦大千之所以成大千者也。歲次癸未九月下澣，後學王北岳拜識。
鈐印：王、岳
跋尾三：
中國山水畫繪巨幛長幅雖難，而寫長卷尤難，蓋手卷佈局不同於立軸及橫幅，當卷攤開，每一段有一段之景，而通幅之結體又須氣貫景連，虛實掩映，遠近逶迤，無所不用，方見作者匠心獨運，情境交融。大千先生此卷寫曹能始遊山記，應為早年之作，筆墨精到，畫中每見筆斷還連，墨染漬濕之處而生熟交織、巧拙互用，一派荒率天真之趣。整卷一氣呵成，章法井然，頗為可觀。癸未初冬於居山堂，後學蓴波周澄拜識。
鈐印：周澄、蓴波
Provenance:
Sungari International Auction, Beijing, 22 April 2006, lot 744
Exhibited:
Special Memorial Exhibition for the Twentieth Anniversary of Chang Dai-Chien's Passing, Chan Liu Art Museum, Taoyuan City, 22 August-30 September 2003
來源：
中貿聖佳，北京，2006年4月22日，拍品編號744
展覽：
《張大千逝世二十週年紀念特展》長流美術館，桃園，2003年8月22日至9月30日
The height of the handscroll has seemingly been tailored to fit snugly within one's grasp. As its length unfolds, it unravels a mesmerizing journey through resplendent mountainscapes. The artist's inscription reveals the inspiration of the painting, descriptions of Mount Emei written by Cao Nengshi (Cao Xuequan, 1574-1646),1 a dignified late-Ming official, scholar and bibliophile who committed suicide after the collapse of the Southern Ming dynasty (1645-1646).
The portrayal of the majestic mountain visages is enriched with the masterful interplay of zhongfeng (centered-tip) strokes and washes of pale colors. The audacious composition and moist atmosphere within the handscroll's expanse evoke parallels not dissimilar to the awe-inspiring masterpiece Sou Jin Qifeng Da Caogao by Shitao (1642-1707), in the collection of the Palace Museum, Beijing, a predecessor Zhang Daqian studied rigorously in his formative years. The present lot was executed in February 1940, a vibrant encapsulation of the artist's initial trip to Mount Emei in June 1939 with Huang Junbi (1898-1991) and the artist's son Zhang Xinzhi (b. 1927). Mount Emei, a monumental mountain in the artist's native Sichuan, became an enduring subject that he reverently revisited in his later works.
Following the enthralling landscape are three colophons written in 2003, the year when the handscroll was displayed in Zhang Daqian's memorial exhibition at the recently inaugurated Chan Liu Art Museum in Taoyuan. The museum is associated with Chan Liu Gallery established in 1973 by Taiwanese artist Huang Ou Po (1917-2003). Zhang Daqian inscribed a signage of the gallery to commemorate its reopening after a renovation in 1979.2 The memorial exhibition in 2003 contained over 70 paintings by Zhang Daqian including the iconic Xi Qiao Wanse, dated 1970, which was presented in the 2016 G20 Hangzhou summit and was sold at Holly's Guangzhou on 4 June 2023, lot 948.
The first colophon, conveying that the handscroll was executed prior to Zhang Daqian embarking on his expedition to Dunhuang, was penned by Wu Ping (b. 1920), who also inscribed the title slip and the frontispiece. Hailing from Yuyao, Zhejiang Province, Wu Ping held the position of Director of Painting and Calligraphy at the National Palace Museum in Taipei during 1983-1991. Under his stewardship, the museum became the recipient of a momentous bequest according to the artist's will, which contained Zhang Daqian's paintings, calligraphy pieces, seals, and even the artist's residence Moye Jingshe (Abode of Illusions). The soapstone seal Daqian wei yin danian impressed at the lower left corner of the present lot, was crafted by the artist himself and was included in the 1983 donation (accession no. zeng yu 000372N000000000). Wu Ping's father Wu Kegang was a disciple of Li Shutong (1880-1942). Wu Ping himself pursued his artistic path under the tutelage of Deng Sanmu (1898-1963) and emerged as a versatile artist skilled in seal carving, calligraphy and painting.
The second colophon delves into the artist's assimilation of the styles of "Huangshan Huapai" (The Mount Huang School of Painting), Shitao and Bada Shanren (1626-1705). The calligrapher Wang Beiyue (1926-2006) was born in Wen'an, Hebei Province and graduated from Peking University. He worked for the National Palace Museum, taught art in universities and garnered fame for his skillful mastery of seal carving and calligraphy. The third colophon, resounding with admiration for the impeccable composition of the handscroll, was composed by Zhou Cheng (b. 1941), a Taiwanese artist who studied with Jiang Zhaoshen (Chao-shen Chiang, 1925-1996) and Wang Zhuangwei (Wang Chuang-Wei, 1909-1998). He served as a connoisseurship consultant for the National Palace Museum and National Museum of History in Taipei and held his retrospective exhibition at the National Dr. Sun Yat-Sen Memorial Hall in Taipei in 2020.
1 The text is quoted from "Shu Zhong Mingsheng Ji Juan Shiyi" (Records on Famous Sites in Sichuan Vol. 11) in Cao Xuequan, Shu Zhong Guang Ji (Extensive Records of the Central Sichuan). Erudition database, p. 505-506.
2 See the signage in Huang, Chen-chih et al. eds., Past with the Future: Memoir Album for Chan Liu's 40th Anniversary (Taipei and Taoyuan: Chan Liu Art Museum/Gallery), 2013, p. 450.
此卷卷高不足尺，正堪盈手一握。置於案頭逐節展開，空濛山色便迤邐而來。卷首題識言引曹能始（曹學佺，1574-1646）《蜀中廣記·蜀中名勝記卷十一》中對峨眉山之描述，曹能始為晚明時期以廉正著稱的清官，學富五車，藏書汗牛充棟，其"性喜遊，遇名山大川，莫不裹糧駐屐久之。"1 清兵入關，自縊殉節。
此卷多以中鋒點寫巒壁肌理，層勢奇險，水氣氤氳，幾可與清湘道人《搜盡奇峰打草稿》相類。此卷作於"庚辰二月"，即1940年初。1939年夏六月，大千居士攜子心智與黃君璧初遊峨眉、青城，盤桓匝月，此卷所繪當為是此遊山所見。卷中多有策杖而行、絮語不絕的高士及友人，莫不亦是親身遊歷之寫照。峨眉山是張大千作品中反復出現的母題，其數次造訪，大抵亦是一生追思不竭的靈感源泉。
卷後跋尾三，均由在台藝術家題於2003年。是年夏末，此卷於新落成的桃園長流美術館《張大千逝世二十週年紀念特展》中展出。長流美術館源自1973年由藝術家黃鷗波（1917-2003）所建的長流畫廊，該畫廊與一眾名家往來密切，其1979年修葺重開時，張大千更手書匾額相賀。2 2003年紀念特展展出70餘件大千居士精品，包括作於1970年的《溪橋晚色》，該作於1984年起便數次叱咤拍場，2016年被選為G20杭州峰會國賓接待展出作品，2023年6月4日於廣州華藝國際再度易手。
包首簽條、引首及跋尾一題者吳平（生於1920年），字堪白，浙江餘姚人，於1983-1991年間任台北故宮博物院書畫處處長，任職期間，主持張大千摩耶精舍及書畫印捐贈項目，本卷所鈐大千居士親冶"大千唯印大年"壽山石印（藏品編號：贈玉000372N000000000）便在捐贈之列。吳平之父吳克剛從李叔同習畫，吳平則隨鄧散木（1898-1963）學藝，精篆刻並書畫。
跋尾二題者王北岳（1926-2006），河北文安人，畢業於北京大學，曾任台北故宮典藏審查委員、師大美術系教授，兼事篆印及法書。跋尾三題者周澄（生於1941年），字蓴波，台灣宜蘭人，師從江兆申（1925-1996）及王壯為（1909-1998），曾任台北故宮典藏審查委員、台北歷史博物館美術文物評鑒員，2020年於台北中山畫廊舉行《蒸雲洗石：周澄八十回顧展》。
1 曹學佺《石倉文稿·卷一·洪崖遊稿序》明萬曆刻本，愛如生中國基本古籍庫，頁109；
2 匾額舊照見黃承志編《繼往開來：長流四十週年紀念專輯》（台北及桃園：長流美術館及長流畫廊），2013年，頁450
ZHANG DAQIAN (1899-1983)Landscape, 1940
Horizontal handscroll, ink and color on paper, inscribed by the artist and signed Daqian Jushi Yuan, dated gengchen year (1940), with four artist's seals reading Daqian hao meng, Zhang Daqian Xishu Zhang Yuan and Daqian wei yin danian; the titleslip, frontispiece and the first colophon written by Wu Ping (1920-2019), followed by colophons by Wang Beiyue (1926-2006) and Zhou Cheng (1941-2022), all executed in 2003.
Frontispiece: 5 5/8 x 24 3/4in (14.3 x 63cm)
Painting: 5 5/8 x 124 5/8in (14.3 x 316.5cm)
Colophons: 5 5/8 x 40 1/2in (14.3 x 103cm)Footnotes張大千（1899-1983） 曹能始遊山記山水卷 設色紙本 手卷 一九四〇年作
題簽：
張大千翁山水卷，堪白吳平。
鈐印：吳平、堪白
引首：
題識一：三千大千世界
題識二：大千先生寫曹能始遊山記山水卷五十年（應在六十三年後）後，癸未（2003）敬署，餘姚後學，堪白吳平。
鈐印：吳平、堪白
畫心：
款識：曹能始遊山記云，"（山）中橋非一，此可稱（橋），一橋受水，一水自一洞來，有黑白之分。若挾而舞，若摶而赴，勢不相下。過橋始狎，久之乃濟。有石狀如牛心，受水所激而成"，有前者白水，後也。庚辰二月，大千居士爰。
鈐印：大千好夢、張大千、西蜀張爰、大千唯印大年
跋尾一：
大千先生欵署庚辰二月，則為西元一九四〇年，民國二十九年，蓋先生四十二歲。是年亦先生方前赴敦煌，旋因其二兄善孖逝世，復倉促返渝，則是卷或成於往返之前也。予既署引首，再考其歲次如此。九十二年癸未九月，堪白再識。
鈐印：吳平、堪白
跋尾二：
大千先生畫作前期以學石濤、八大為主，一九三六年前，曾三上黃山竝關注黃山畫派，吸取漸江、梅瞿山、查二瞻、蕭尺木、程穆倩、孫疏林等之長，二揉入石濤、八大畫法中用筆瘦勁、意境清逸、一種幽寂深邃之氣，正是山水畫中之高深境界。此冊所繪既在民廿九年，則顯然係受黃山畫派影響後之作品。至先生晚年僑居海外，創傾墨披潑彩之法，使畫面蒼渾沉厚而自然天成，為中國畫開一新境。觀者於此正可窺見其茹古出新、開創來葉之精神，此亦大千之所以成大千者也。歲次癸未九月下澣，後學王北岳拜識。
鈐印：王、岳
跋尾三：
中國山水畫繪巨幛長幅雖難，而寫長卷尤難，蓋手卷佈局不同於立軸及橫幅，當卷攤開，每一段有一段之景，而通幅之結體又須氣貫景連，虛實掩映，遠近逶迤，無所不用，方見作者匠心獨運，情境交融。大千先生此卷寫曹能始遊山記，應為早年之作，筆墨精到，畫中每見筆斷還連，墨染漬濕之處而生熟交織、巧拙互用，一派荒率天真之趣。整卷一氣呵成，章法井然，頗為可觀。癸未初冬於居山堂，後學蓴波周澄拜識。
鈐印：周澄、蓴波
Provenance:
Sungari International Auction, Beijing, 22 April 2006, lot 744
Exhibited:
Special Memorial Exhibition for the Twentieth Anniversary of Chang Dai-Chien's Passing, Chan Liu Art Museum, Taoyuan City, 22 August-30 September 2003
來源：
中貿聖佳，北京，2006年4月22日，拍品編號744
展覽：
《張大千逝世二十週年紀念特展》長流美術館，桃園，2003年8月22日至9月30日
The height of the handscroll has seemingly been tailored to fit snugly within one's grasp. As its length unfolds, it unravels a mesmerizing journey through resplendent mountainscapes. The artist's inscription reveals the inspiration of the painting, descriptions of Mount Emei written by Cao Nengshi (Cao Xuequan, 1574-1646),1 a dignified late-Ming official, scholar and bibliophile who committed suicide after the collapse of the Southern Ming dynasty (1645-1646).
The portrayal of the majestic mountain visages is enriched with the masterful interplay of zhongfeng (centered-tip) strokes and washes of pale colors. The audacious composition and moist atmosphere within the handscroll's expanse evoke parallels not dissimilar to the awe-inspiring masterpiece Sou Jin Qifeng Da Caogao by Shitao (1642-1707), in the collection of the Palace Museum, Beijing, a predecessor Zhang Daqian studied rigorously in his formative years. The present lot was executed in February 1940, a vibrant encapsulation of the artist's initial trip to Mount Emei in June 1939 with Huang Junbi (1898-1991) and the artist's son Zhang Xinzhi (b. 1927). Mount Emei, a monumental mountain in the artist's native Sichuan, became an enduring subject that he reverently revisited in his later works.
Following the enthralling landscape are three colophons written in 2003, the year when the handscroll was displayed in Zhang Daqian's memorial exhibition at the recently inaugurated Chan Liu Art Museum in Taoyuan. The museum is associated with Chan Liu Gallery established in 1973 by Taiwanese artist Huang Ou Po (1917-2003). Zhang Daqian inscribed a signage of the gallery to commemorate its reopening after a renovation in 1979.2 The memorial exhibition in 2003 contained over 70 paintings by Zhang Daqian including the iconic Xi Qiao Wanse, dated 1970, which was presented in the 2016 G20 Hangzhou summit and was sold at Holly's Guangzhou on 4 June 2023, lot 948.
The first colophon, conveying that the handscroll was executed prior to Zhang Daqian embarking on his expedition to Dunhuang, was penned by Wu Ping (b. 1920), who also inscribed the title slip and the frontispiece. Hailing from Yuyao, Zhejiang Province, Wu Ping held the position of Director of Painting and Calligraphy at the National Palace Museum in Taipei during 1983-1991. Under his stewardship, the museum became the recipient of a momentous bequest according to the artist's will, which contained Zhang Daqian's paintings, calligraphy pieces, seals, and even the artist's residence Moye Jingshe (Abode of Illusions). The soapstone seal Daqian wei yin danian impressed at the lower left corner of the present lot, was crafted by the artist himself and was included in the 1983 donation (accession no. zeng yu 000372N000000000). Wu Ping's father Wu Kegang was a disciple of Li Shutong (1880-1942). Wu Ping himself pursued his artistic path under the tutelage of Deng Sanmu (1898-1963) and emerged as a versatile artist skilled in seal carving, calligraphy and painting.
The second colophon delves into the artist's assimilation of the styles of "Huangshan Huapai" (The Mount Huang School of Painting), Shitao and Bada Shanren (1626-1705). The calligrapher Wang Beiyue (1926-2006) was born in Wen'an, Hebei Province and graduated from Peking University. He worked for the National Palace Museum, taught art in universities and garnered fame for his skillful mastery of seal carving and calligraphy. The third colophon, resounding with admiration for the impeccable composition of the handscroll, was composed by Zhou Cheng (b. 1941), a Taiwanese artist who studied with Jiang Zhaoshen (Chao-shen Chiang, 1925-1996) and Wang Zhuangwei (Wang Chuang-Wei, 1909-1998). He served as a connoisseurship consultant for the National Palace Museum and National Museum of History in Taipei and held his retrospective exhibition at the National Dr. Sun Yat-Sen Memorial Hall in Taipei in 2020.
1 The text is quoted from "Shu Zhong Mingsheng Ji Juan Shiyi" (Records on Famous Sites in Sichuan Vol. 11) in Cao Xuequan, Shu Zhong Guang Ji (Extensive Records of the Central Sichuan). Erudition database, p. 505-506.
2 See the signage in Huang, Chen-chih et al. eds., Past with the Future: Memoir Album for Chan Liu's 40th Anniversary (Taipei and Taoyuan: Chan Liu Art Museum/Gallery), 2013, p. 450.
此卷卷高不足尺，正堪盈手一握。置於案頭逐節展開，空濛山色便迤邐而來。卷首題識言引曹能始（曹學佺，1574-1646）《蜀中廣記·蜀中名勝記卷十一》中對峨眉山之描述，曹能始為晚明時期以廉正著稱的清官，學富五車，藏書汗牛充棟，其"性喜遊，遇名山大川，莫不裹糧駐屐久之。"1 清兵入關，自縊殉節。
此卷多以中鋒點寫巒壁肌理，層勢奇險，水氣氤氳，幾可與清湘道人《搜盡奇峰打草稿》相類。此卷作於"庚辰二月"，即1940年初。1939年夏六月，大千居士攜子心智與黃君璧初遊峨眉、青城，盤桓匝月，此卷所繪當為是此遊山所見。卷中多有策杖而行、絮語不絕的高士及友人，莫不亦是親身遊歷之寫照。峨眉山是張大千作品中反復出現的母題，其數次造訪，大抵亦是一生追思不竭的靈感源泉。
卷後跋尾三，均由在台藝術家題於2003年。是年夏末，此卷於新落成的桃園長流美術館《張大千逝世二十週年紀念特展》中展出。長流美術館源自1973年由藝術家黃鷗波（1917-2003）所建的長流畫廊，該畫廊與一眾名家往來密切，其1979年修葺重開時，張大千更手書匾額相賀。2 2003年紀念特展展出70餘件大千居士精品，包括作於1970年的《溪橋晚色》，該作於1984年起便數次叱咤拍場，2016年被選為G20杭州峰會國賓接待展出作品，2023年6月4日於廣州華藝國際再度易手。
包首簽條、引首及跋尾一題者吳平（生於1920年），字堪白，浙江餘姚人，於1983-1991年間任台北故宮博物院書畫處處長，任職期間，主持張大千摩耶精舍及書畫印捐贈項目，本卷所鈐大千居士親冶"大千唯印大年"壽山石印（藏品編號：贈玉000372N000000000）便在捐贈之列。吳平之父吳克剛從李叔同習畫，吳平則隨鄧散木（1898-1963）學藝，精篆刻並書畫。
跋尾二題者王北岳（1926-2006），河北文安人，畢業於北京大學，曾任台北故宮典藏審查委員、師大美術系教授，兼事篆印及法書。跋尾三題者周澄（生於1941年），字蓴波，台灣宜蘭人，師從江兆申（1925-1996）及王壯為（1909-1998），曾任台北故宮典藏審查委員、台北歷史博物館美術文物評鑒員，2020年於台北中山畫廊舉行《蒸雲洗石：周澄八十回顧展》。
1 曹學佺《石倉文稿·卷一·洪崖遊稿序》明萬曆刻本，愛如生中國基本古籍庫，頁109；
2 匾額舊照見黃承志編《繼往開來：長流四十週年紀念專輯》（台北及桃園：長流美術館及長流畫廊），2013年，頁450
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