Wang Hui Wang Hui, Landscapes | 王翬 山水冊 水墨紙本 十六開冊

Wang Hui (1632-1717)
Landscapes
ink on paper, album of sixteen leaves

All leaves inscribed, one signed Wang Hui, dated bingxu (1706), dedicated to the artist’s disciple Xu Rong (1662-1735), and with a total of twenty-three seals of the artist.
Annotations by the artist’s contemporaries and subsequent admirers including Zhu Yizun (1629-1709), Xu Yi (1636-1708), Dai Xi (1801-1860), Cheng Tinglu (1796-1858) and Wu Huayuan(1893-1972), dated and with a total of ten seals of them.
Titleslip by Dai Xi, dated bingchen (1856) and with one seal of his
with one collector’s seal
each 18.6 x 19.2 cm. 7⅜ x 7½ in. (16)

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王翬 山水冊
水墨紙本 十六開冊

簽書：〈戴〉耕煙墅老畫冊十六頁。丙辰(1856)九秋重裝書籤。戴熙藏玩。鈐印：「醇士心賞」
款識：
(一)倣范中立〈巖居圖〉鈐印：「王翬」
(二)〈蒙蕭〉開軒僅尋丈，水竹亦蕭疏。客來須起敬，題榜了翁書。楊鐵崖詩。鈐印：「王翬之印」
(三)堂後林陰密，堂前湖水源。感君懷我意，千里夢相尋。〈麗澤堂〉，晦翁。鈐印：「王翬之印」
(四)高丘復層觀，何日去登臨。一目長空盡，寒江列莫岑。〈南阜〉，晦翁句。鈐印：「王翬之印 」
(五)危欄明倒景，靣靣湧金波。何處無佳月，惟應此地多。〈月榭〉，鐵崖詩。鈐印：「石谷子」、「王翬之印 」
(六) 〈卷雲亭〉西山雲氣深，徙一舒嘯。浩蕩忽搴開，爲君展遐眺。右晦翁句。鈐印：「石谷子」、「王翬之印」
(七)湖平秋水碧，桂棹木蘭舟。一曲菱歌晚，驚飛欲下鷗。〈采菱舟〉，晦翁。鈐印：「王翬」、「耕煙墅老時年七十有五」
(八) 〈山齋〉藏書樓上頭，讀書樓下屋。懷哉千載心，俯仰數椽足。 晦翁句。鈐印：「王翬」
(九)鶴林圖。鈐印：「王翬」
(十)八杉草堂圖。丙戌(1706)清和朔，為雲滄社兄畫。耕煙散人，王翬。鈐印：「石谷子」、「王翬之印」
(十一)輕舟南垞去，北垞淼難即。 隔浦望人家，遙遙不相識。 摩詰詩。鈐印：「石谷子」、「王翬之印」
(十二)北垞湖水北，雜樹映朱欄。逶迤南川水，明滅青林端。 鈐印：「石谷子」、「王翬之印」
(十三)吹簫凌極浦，日暮送夫君。湖上一回首，山青卷白雲。右丞句。鈐印：「王翬」
(十四) 秋山歛餘照，飛鳥逐前侶，彩翠時分明，夕嵐無處所。鈐印：「石谷子」、「王翬之印」
(十五)幽谷竹成陰，懸流著石清。不妨風月夕，來此聽琮琤。琮琤谷。鐵崖。鈐印：「王翬之印」
(十六)米元暉海岳菴圖。鈐印：「王翬」
題跋：
〈朱〉竹垞老人真賞。鈐印：「彝尊」
〈徐〉陶弘景之言曰：偃賽園巷，從容郊邑。守一介之志，非敢蔑榮嗤俗，自致雲霞。蓋任性靈而直往，保無用以得閑。瓏薪井汲，樂有餘歡。切松煮木，此外何務。今觀雲滄寄意，為八杉草堂并耕煙散人所繪諸圖，俱超升有獨出塵表之想，山中宰相不是過也。其善藏之，以為子孫永寶。康熙丙戌(1706)十一月，松風老人鈐題，時年七十有一。鈐印：「舊史徐釚」、「松風老人」、「第四橋」
〈戴〉咸豐壬子(1852)九月，錢唐戴熙獲觀耕煙晚年蓄意之作，手摹一過附識數字於後。鈐印：「醇士」
〈程〉石谷晚年之作，世已不多見。此尤精之精品，仲蘺自袁浦携來展玩一日，夜還之，惜不及臨摹也。壬子(1852)十一月三日，嘉定程庭鷺坿誌。鈐印：「序伯之藏」
〈戴〉張浦山〈畫徵錄〉載：徐溶，字雲滄，號杉亭，吳江人，自號白洋山人。初亦泛學無宗主，中歲得師王石谷，遂大變積習。由其天資高，銳於振刷，亦鑑戒者多也。石谷此冊，迺師弟商略繪事之筆，故非汎汎酬應者比。前年仲蘺蔣二兄來杭出示，假臨十一頁還之。今年復來，割愛寵賜而索臨本去。余獲此冊，靜觀累月，其勝處當與元四家絜長較短，非文、沈諸賢匹也。然觧人未易，猝遇臨風獨展而已。原冊聯寫十六頁已綻裂不相屬，因依次重裝而識於後。咸豐五年(1855)乙卯九月，井東戴熙記。
朱彝尊，號竹垞，秀水人；徐釚，字電發，吳江人，俱康熙十八年(1679)博學鴻詞。錢凝，未詳。又記。
〈吳〉軍興以來，見耕煙真蹟不下二十餘種。而筆酣墨暢，融洽無際，卷冊中當以此為最。乃知戴文節一生得力在此，展讀數過，不勝歎服。辛巳(1941)九月既望，後學吳華源書於沽氣軒。鈐印：「吳華源印」、「子深書畫」
藏印：「錢凝珍賞」
each 18.6 x 19.2 cm. 7⅜ x 7½ in. (16)

Catalogue Note:
In these sixteen album leaves, executed entirely in ink wash, there are inspirations from the selections of poetry from Tang, Song, and Yuan dynasties, as well as imitations of paintings from Song dynasty artists. One leaf features a painting titled Xu Rong’s (1662-1735) "Eight Cedars Cottage". Just as mentioned in the colophon by Dai Xi (1801-1860): “Wang Hui shows and discusses the matter in painting to his student Shanglue (Xu Rong) in this album, hence not merely perfunctory imitations”. It truly demonstrates the intention of practicing various styles to instruct disciples. At the time of writing this, Wang Hui was already seventy-five years old and was highly inspired to paint "Reading Pavilion among Deep Willows" on a fan in color. Upon completion of this album, there were inscriptions by his artistic friends Zhu Yizun (1629-1709) and Xu Yi (1636-1708). Zhu signs on the album page entitled "Southern Hill", while Xu writes a lengthy inscription at the end of the album, narrating about the management of Xu Rong’s Eight Cedars Cottage and the elegant paintings by Wang Hui. Xu Jian (1636-1708), also known as Dianfa, later called himself Fengjiang Fisher, was from Wujiang. He was skilled in ancient poetry, prose, and landscape painting. Zhu Yizun (1629-1709), from Xiushui, was a renowned scholar and proficient in calligraphy as well. Both of them took the public examination in the eighteenth year of Kangxi's reign (1679) and become Wang Hui’s close friends.

From the annotations by Dai Xi, it's known that this album belonged to Jiang Zhongli in Changshu. Jiang Zhongli, also known as Jiang Ziyansheng, was the son of Jiang Baoling (1781-1840). He inherited the family tradition from a young age, excelling in landscape painting and greatly benefiting from the teachings of Qian Du (1764-1845) and Tang Yifen (1778-1853). In the autumn of the second year of Xianfeng's reign (1852), Jiang brought this album to Hangzhou to show Dai Xi. Dai meticulously copied the eleven album leaves and returned. Three years later, Jiang returned, intending to sell it, only seeking Dai Xi's copy of the original. Dai was delighted and added another annotations on a separate paper, detailing the process, and then reassembled the album, writing the titleslip to show his affection.

The album currently seen is a remounted version by Dai Xi in the sixth year of Xianfeng's reign (1856). According to traces in the middle of each album leaf, the original album was likely in the form of narrow folding sheets. When Dai reassembled it, he spread it out into a square shape. The paper used for the additional annotation during the reassembly is different in texture and color from the original paper.

Furthermore, the version of Dai Xi's copy obtained by Jiang Zhongli eventually made its way to the former...