至樂樓藏八大山人山水畫及其相關問題

Landscape Paintings by Chu Ta in the Chih-lo Lou Collection and Related Problems

饒宗頤(JAO TSUNG-I)

《中國文化研究所學報》 8卷2期 (1976/12) Pp. 507-517+ap1-2

https://doi.org/10.29708/JCS.CUHK.197612_8(2).0007

並列摘要

Of the four items of landscape painting by Chu Ta in the collection of Mr. Ho Iu-kwong, the album of eleven landscape leaves is the most worthy of note. The twelfth leaf in the album is a poem: Among the texture strokes of Kuo (Hsi), the ＂cloud-head＂ is inconspicuous. Old Tung's (Tung Yuan) hemp fibre stroke is often seen on the trees. To those who understand painting today, A single peak* is still the landscape of the Sung. At the end of the album, there is a colophon by Huang Yen-lü: The wonderful paintings by Pa-ta are without peer in the modern or ancient periods. For long I sought for one but lacked the channel. In the spring of ting-ch'ou, I received word from Fu-chai, and I sent all the money at my disposal together with twelve sheets of palace paper to a distance of a thousand li and then waited. After one year, in the summer of wu-yin, I received the album. When I open it, my mind is soothed and my eyes are dazzled, and I do not know what in the whole world can surpass the pleasure [of looking at these paintings]. Then, of course, Fu-chai is a man of letters, and his words were sincere. Pa-ta shan-jen would surely not have given me rough sketches as he would the salt merchants of Hsi-chiang. Those who appreciate art will treasure it with me. Recorded by Yen-lü in the beginning of summer of the year wu-yin, north of the prunus tree in Shuang-ch'ing-kuan, at the time it was drizzling. ＂Fu-chai＂ 袚齋 is Ch'êng Ching-ê 程京萼, father of Ch'êng T'ing-chuo 程廷祚, the scholar of the classics. This colophon confirms Ch'êng T'ing-chuo's record that his father was instrumental in publicizing the paintings of Chu Ta and to obtain commissions for him (see Ch'êng T'ing-chuo's Ch'ing-ch'i chi 青溪集, chüan 12). Useful information on Huang Yen-lü is provided by Li Kuo-sung's 李國宋 colophon in the Shih-tao album of landscapes illustrating Huang Yen-lü's travel poems which is also in the Chih-lo Lou Collection. According to this colophon Huang Yen-lü visited Kuangtung twice, the second time being in kuei-wei (1703, 42nd year of K'ang-hsi). In 1708, Li Kuo-sung, Hung Chia-chih 洪嘉植, and Hsien Chu 先著 viewed the album together. Li comes from a scholarly family in Hsing-hua 興化, Hung Chia-chih (tzu Ch'ü-wu 去蕪) is the uncle of Hung Chêng-chih. There is a colophon by Hung Chia-chih on Tao-chi's portrait of Hung Chêng-chih (xxII in Marilyn and Shen Fus' Studies in Connoisseurship). Hsien Chu was a poet and a calligrapher from Szechuan and in his later years lived in Yangchou where he befriended Tao-chi. The landscape hanging scroll by Chu Ta in the Chih-lo Lou Collection is inscribed with a poem referring to Tsung Ping 宗炳. The same poem appears on several other landscapes by Chu Ta including the one in the An-wan 安晚 album in the Sumitomo Collection. The An-wan album is dedicated to ＂Tui-weng＂ who was identified as Li Hung-ch'u 李洪儲 by Ku Wên-pên 顧文彬 in his catalogue Kuo-yün Lou shu-hua chi 過雲樓書畫記. Wang Fang-yu questions this identification as the paintings were dated (1694 and 1702) after Li Hung-ch'u's death in 1672. There were several well-known men of letters contemporary with Tao-chi who could be called ＂Tui-weng,＂ but the most likely candidate is Wang Shih-hung 汪士鈜 whose hao was Tui-ku. There is a fan in the Wah Kwong Collection (of Mr. T. Y. Chao) with a painting by Tao-chi on one side and calligraphy by Wang Shih-hung on the other side, both dedicated to a ＂Wên-yeh.＂ Tao-chi's painting is dated 42nd year of K'ang-hsi. Wang's inscription mentions Hung Chia-chih (Ch'ü-wu) which is proof that Wang was contemporary with Tao-chi and a friend of Hung Chia-chih.