Preview time

Chinese calligraphy and painting

November 26th to 27th

9:00 a.m. to 6:00 p.m

Auction time

Chinese calligraphy and painting (I)

9:30 am, Friday, December 3

Chinese calligraphy and painting (II)

2:00 pm, Friday, December 3

place

Beijing Kunlun Hotel

2 Xinyuan South Road, Chaoyang District, Beijing

As a fan, “the exhibition of the surplus ruler, combined with only two fingers”, has become an object for literati to play with their sleeves. Famous calligraphers and painters all show their talents in this square inch world. It is pleasing to the eyes and has endless aftertaste.

The Chengxuan Autumn Auction brings together more than 60 high-quality calligraphy and painting fans, which are full of the elegance of fan painting, elegant poetry and exquisite fan bones.

During the period of the Republic of China, the northern region ushered in an active period of painting. Celebrities in the art world inherited and innovated on the basis of the essence and advantages of traditional art, and brought a continuous new trend to the painting world with their own personalized paintings.

Lot 330

Yu Feiyin (1889-1959) heard the sound of pine wind and waterfall

Zhang Daqian (1899-1983) on a Book

Fan ink paper book

Size: 19 × 52.5 cm。 About 0.9 square

Valuation (RMB): 5000-7000

Yu Feiyin’s landscape paintings are rare, and those that have been handed down to this day are even more precious. Qi Baishi was the first to publicly praise the non dark landscape, praising him for “working in the landscape”. In the 1930s, Yu Feiyan followed Zhang Daqian’s advice and began to transform his research on meticulous flowers and birds since 1935. In the middle-aged reform, he has been known as the flower and bird of Song academy since then.

In 1936, Yu Feiming (first from the right) and Zhang Daqian (second from the right) took a group photo in Peiping “relieving the extreme poverty in the western suburbs - Zhang Daqian and Yu Feiming painting exhibition”. In 1936, their exchanges were very frequent and in-depth, they often cooperated, and held joint exhibitions for several times to be made public to the world. When the Anti Japanese war was booming, their origins and circumstances were different. This fan brought together their special products, which was said to be rare.

The front of the auction was painted in 1936. It is the landscape in the early stage of Yu’s reform. The painting style, pen and ink are very different from the meticulous flowers and birds. The picture is made of pure ink and wash. The shape of the picture is Songgu house, with sharp strokes and simple spirit. The overall atmosphere is solemn, quiet and detached. It can be seen that his accomplishment and attainments in literati painting can be called Yu’s Yipin landscape masterpiece.

Leng Jun’s lines combine the two styles of Li Guo and Ma Xia, and see the influence of Jianjiang

On the back is Zhang Daqian’s comments on calligraphy, which is in the same period as the front. At this time, Zhang’s calligraphy style is in a critical transition period, showing the golden and stone appearance of the opening of long spear, halberd and chenxiong. The art circles usually regard Zhang’s calligraphy as “the yellow (Tingjian) surface of the tablet”, but from then on, it can be seen that he also studied Li Dongyang in the Ming Dynasty and Yi bingshou in the Qing Dynasty. This fan can be an important evidence for studying the development of Zhang’s calligraphy style.

Part of Zhang Daqian’s on a Book

The above “Dingchen” is Zhang Dingchen, an antique dealer in Liulichang during the period of the Republic of China. Zhang moved to Hong Kong in 1949.

Lot 367

Jincheng (1878-1926) is full of persimmon leaves and red autumn seeds

Fan colored paper book

Written by Guihai (1923)

Size: 20.3 × 54 cm。 About 0.99 square feet

Valuation (RMB): 15000-22000

Jincheng once claimed that he had the most experience in the creation of flower and bird paintings. His flower and bird paintings are of excellent quality and have a wide range of themes. Flowers, fruits and vegetables, fish and algae have tried. He emphasized the concept of painting from life and gave full play to it in his flower and bird paintings, especially the unique composition and layout.

Carefully examining the flower and fruit posture of this fan, the two persimmons in the center of the picture are huge and full. The author did not smear them with flat color blocks, but paid attention to the relationship between yin and yang to the back, which is full of round and three-dimensional feeling, beautiful color, flexible point and business.

Lot 318

Ma Jin (1899-1970) calligraphy and painting combination fan

Fan colored paper, ink and silver paper

Made by Jiazi (1924)

Size: 18.5 × 51 cm。 About 0.85 square feet

Valuation (RMB): 5000-7000

The auction was made in 1924, when Ma Jin’s art was widely solicited and won. On the one hand, he carefully studied the essence of Lang painting, on the other hand, under the guidance of Jincheng, he widely collected ancient heritage. In 1922, Jincheng took Ma Jinnan for half a year, returned to Wuxing Nanxun, visited Shanghai and Suzhou, which greatly broadened Ma Jin’s horizons.

It is a painting of two peonies, one with a drooping flower head and the other with a swaying posture. He continues to adhere to Jincheng’s concept of correcting copying by sketching, so the images painted in his works are full of vitality.

Part of Ma Jinlin’s “Xia Cheng stele”

Ma Jinbo is involved in calligraphy and seal cutting. On the back is Ma Jinlin’s “Xia Cheng stele”. The shape is square and neat, and the knot is well received and in high spirits.

Lot 492

Wang Xuetao (1903-1982) rich and noble swarm bee

Fan colored paper book

Record: Guangzhou auction, June 7, 2005, No. 609

Size: 75.5 × 49.5 cm。 About 3.4 square feet

Valuation (RMB): 40000-50000

In the works, one peony is in full bloom and the other is in bud. Wang Xuetao’s peony flower, drawing on the method of light and shadow in Western oil painting, emphasizes realism and three-dimensional sense. He uses gorgeous and thick magenta to show the petals, and skillfully uses the shade and white space to reflect the light sense, and then takes white powder, rattan yellow and green pistil to show the lofty spirit of flowers in full bloom. The branches and leaves first sweep out the flowers and leaves with green, and then hook the leaf veins with heavy ink. The writing method is flexible and decisive, showing a very high pen and ink control.

Painting peonies is easy to be sweet and vulgar. The reason why Wang Xuetao’s peonies are beautiful and not vulgar is that first, they are exquisite, sharp, accurate and powerful, and their strokes are fast, crisp and beautiful; The second is to compare the colors of flowers and leaves, with red flowers and green leaves. This painting is a combination of the two. It is a good structure of Wang’s peony.

The “younger brother of Qingsheng” in the above paragraph is Wang Qingsheng (b.1932), from Zunhua, Hebei Province. In 1958, he studied at Beijing Academy of Chinese painting and studied under Yu Feiyan and Wang Xuetao. Later, he was admitted to the graduate class of Beijing Academy of Chinese painting, focusing on meticulous flower and bird painting. He graduated in 1965 and stayed in the academy as a painter.

The painting styles of Zheng Wuchang and he Tianjian are very different from the Shanghai style painters represented by “three Wu and one Feng” and the “orthodox” style of Wu Yun, the four kings. Both of them turned from admiring the four kings to Huang Gongwang and Wang Meng, and went back to the Song Dynasty