This year marks the 10th anniversary of Yokohama International, and the enthusiasm of senior collectors across Japan to send auctions is particularly high, making this season's auctions full of treasures and wonderful appearances, especially in the Buddhist scripture writing. Among them, the leading auction, Li Shengduo, was the thirteenth year (250) of the Chiwu Thirteenth Year (250) of the three kingdoms era of the old Tibetan Monk Kang, who wrote a long volume of "Manjushri Bodhisattva Sayings and Seals", which will refresh the upper limit of dunhuang's writing of the scriptures, directly going back to 1771, fixing the Three Kingdoms Eastern Wu Jiangnan First Temple and its founding mountain Dade Kang Monks' Association translation of the Wenshu Fayin Scripture handwriting, becoming the groundbreaking and deserved "Jiangnan First Writing Sutra" in the history of Chinese Buddhism. Its appearance is not only a vivid confirmation of the buddhist historical relics of Cave 323 of the Dunhuang murals of the early Tang Dynasty, "Kang Monk Association Jianye Transmission Map", but also the most powerful documentary evidence of buddhism's transmission to the east through the Maritime Silk Road so far, and its value and significance cannot be described as great.
——Yokohama International Auction Co., Ltd., Japan
President Zhang Shudun
- Yokohama International , Japan -
10th Anniversary Autumn Auction
- Auction Time -
October 23-29
- Two Sessions Multiple Topics -
More than 2,100 treasures
Including antique treasures, Chinese paintings and calligraphy
Western oil painting, Buddhist scripture writing, etc
Blockbuster Lots Highlights Quick Look
Immortalized in 1771
Southern Chinese Buddhism "Jiangnan First Writing Sutra"
This ink-and-washed edition of the Manjushri Bodhisattva Sutra was written on paper by the famous translator monk of the early eastern transmission of Buddhism, the Kaishan Dadekang monk of Jianchu Temple, on June 15, 250, in the thirteenth year (250) of the Eastern Wu Sun Quan Chi Wu. The beginning and end of the volume are complete, and the beginning of the volume has a colorful hand-painted manjushri bodhisattva picture and the title of the volume "Manjushri Bodhisattva Saying Seal Sutra", and the end of the volume contains the name of the person who wrote the sutra and the time and address of the scripture. At the end of the tail, there are items such as the Republic of China and the mounting of Li Shengduo. The whole volume contains the three-party Zhu Wenyin of "Dehua Li Shi Fan General Pavilion Collection", "Mu Zhai Approval" and "Mu Zhai".
LOT 2337
Famous monks Kang monks will pen
The Manjushri Bodhisattva Dharma Seal Sutra is written in long volumes
31×355.5cm
Ink on paper
Source: Li Shengduo's Old Collection The old collection of important private collectors in Japan
Starting price: JPY 5,000,000
Inscription: Manjushri Bodhisattva Says The Seal Sutra. On June 15, the thirteenth year of Chi Wu, the monks of Jianchu Temple, Shamen Kang, wrote offerings
Seal: Dehua Li Shifan General Ge Juezang (Zhu Wen), Mu Zhai (Zhu Wen), Mu Zhai (Zhu Wen)
Later: Kao Chi Wu is the name of Sun Quan, the Emperor of Wu in the Three Kingdoms, the Kang monks will come to China to preach Buddhism to Jianye, for the Wu people's faith, Emperor Wu for the establishment of the first temple, painting Buddha statues to provide for the way, is the early days of Buddhism in China into the folk, and for Wu translation to write a lot of scriptures. The front of this volume depicts three Buddha statues, with an ancient shape and exquisite painting work, which is exactly the same as the main beginning scroll, so it is hidden in the treasure of the Second Beginning. MuZai is careful
Note: Wooden box included
illustrate:
This volume is Li Zhenduo's old Dunhuang manuscript, which can be known as one of the oldest complete scriptures in existence, and it appears 6 years earlier than the fragments of the Dunhuang Scriptures of the First Year of Cao Wei Ganlu (256) in which Nakamura did not fold the Cao Wei Ganlu (256). At the same time, it is also the earliest and most complete translation and writing of the scriptures in the jianchu temple in the birthplace of Buddhism in southern China, at the beginning of the establishment of the temple in Nanjing.
Moreover, it can also be said that it is the only copy of the signature handwriting seen so far by the Kang Monk Association, the ancestor of the founding sect of Southern Buddhism in China, which is at least 30 years earlier than the original handwriting of the earliest surviving calligraphy master, the Western Jin Dynasty Lu Ji's "Pingfu Ti".
The Manjushri Bodhisattva picture that appears at the beginning of this sutra is also the earliest manjushri bodhisattva image style and writing form system in the ancient scriptures that appear at present, reflecting the original situation of the spread of the Manjushri faith in southern China in the 2nd and 3rd centuries AD. This is also the first work of the Kham Sangha Society to inherit and annotate the translation of the manjushri bodhisattva scriptures by his master, His Holiness the Great Anshi. The spread of Buddhism in the Three Kingdoms period has always received less attention due to the scarcity of literature, especially the literature on the Eastern Maritime Silk Road of Buddhism is even rarer, so this sutra has immeasurable documentary value and far-reaching significance from the perspective of Buddhist classics and the re-understanding of the history of Chinese calligraphy.
The whole book is packed on scrolls, and is written on gray and white linen paper (or liuhe paper) from the unstained period of yellow barberry. The font is regular, and the style of writing is a new style popular between the late Eastern Han Dynasty and the Northern Wei Dynasty. The title paintings are of Manjushri and The Two Masks, and are painted in detail. The shape is complete and solemn, the history is clear and orderly, the binding is quaint and simple, and the ink paper is fragrant for thousands of years. Li Shengduo's posthumous journey and Tibetan seal showed his academic knowledge and wrote a copy of the important treasures in the old collection for his Dunhuang. The whole volume is shining, the gods are radiant, and the supreme sacred treasure of the Sincere Buddha Gate is sincere!
See:
1. "The Photograph of the Dharma Treasure", III. Chinese Version The Eighth Dunhuang Thousand Buddha Cave Scripture Tokyo Nakamura No FoldIng (A) Metaphor Sutra Written in the first year of Ganlu, Taisho All Sutras published in the Guild, 1926, National Diet Library Collection
2. "Rare and Rare Chinese Ancient Books and Shadows Series of Japanese Collections" (all seven volumes), Photo of the Treasure [Japan] Compilation of the Taisho All Sutras In the Fourteenth Year of Taisho (1925), Colo Edition Photocopy 399, Selected by NanJiangtao, National Library Press, 2014 edition
3. "The Kang Monks and Kenchu-ji Temple: On the Origin of the Temple Name", In Chikako Ito, in Studies on Buddhist Teaching in India, Vol. 63, No. 2, March 2015
Tibetan: Li Shengduo (1859-1935), Zi Jiaowei, No. Mu Zhai, Jiangxi Dehua people. In the fifteenth year of the Qing Dynasty (1889), he served as an editor of the Hanlin Academy, an assistant to the National History Museum, a member of the Faculty, the General Office of the Kyoshi University, the Inspector of Jiangnan Province, and the Minister of the Embassy in Japan. At the end of the Qing Dynasty, a famous bibliophile, he collected more than 9,000 kinds of engraveds, manuscripts, school books, and manuscripts of the Song, Yuan, Ming, and Qing dynasties, and later his son sold all the books in the Muxixuan collection to the library of Peking University. In 1936, Li Shengduo's old Collection of Dunhuang scriptures, Buddhist paintings and other documents totaled 432 documents, which were resold by his son Li Huan to Professor Haneda Heng of Kyoto University, and later owned by the Takeda Science Promotion Foundation Xingyu Bookstore.
concentrate:
1. Statue of His Holiness the Wu Kang Monk. Kangju was a high monk during the Three Kingdoms period. In the tenth year of Chiwu (247), he crossed the sea to Jianye to set up a statue walkway, which was valued by Sun Quan, and built the first temple for the construction of the first temple, which was the beginning of the Jiangnan Buddhist Temple, and thus established Jiangnan Buddhism. Translation of "Wu Pin", annotating Buddhist scriptures such as "Anban Shouyi". The relevant biographies are recorded in volume 13 of the Collected Works of the Three Treasures and volume 1 of the Biography of the High Monk. The statue of the Kang Monk Society is taken from the 1935 edition of the Monk of the Void Cloud, "The Shadow of the Buddha's Path".
2. Early Tang Dynasty Dunhuang Cave 323 mural "Kang Monk Association Jianye Transmission Map". The east side of the north wall uses 4 sets of pictures to show the story of the Kang Monk Society: the Kang Monk will cross the sea and raft to Jianye; the Kang Monk will pay tribute to Sun Quan; Sun Quan will build the Jianchu Temple for the Kang Monk Society; and Sun Haojiao will welcome the Kang Monk to receive the Five Precepts. The whole story is freely combined, interspersed with natural scenery crisscrossed by mountains and rivers. This group of Buddhist historical sites mainly illustrates the significance of the Kang monks in the history of the southern transmission of Buddhism, and at the same time indicates that at the beginning of the eastern transmission of Buddhism, in addition to the overland spread, there was also an important sea transmission route.
3. Jianchu Temple, the birthplace of Buddhism in Jiangnan, is the second Buddhist temple in China after the White Horse Temple in Luoyang in the north. In the tenth year of Chi Wu (247), His Holiness the Kham Monks crossed the sea from Jiaotong (present-day Vietnam) to Jianye (present-day Nanjing) to spread Buddhism, and at the request of Sun Quan, he asked for the relics of induction, and Sun Quan built a pagoda for him, giving him the name Jianchu, which was the beginning of the Buddhist temple with three treasures in the Jiangnan region, known in history as the "First Temple of Jiangnan". His Holiness translated Buddhist scriptures and spread the Brahma sutras inside the temple, and Jiangnan Buddhism flourished.
This Diamond Sutra Mantra silk long scroll, 832 cm in length and 32.5 cm in width, is. The beginning and end of the whole volume are complete, the title paintings are simple and solemn, the scriptures are ancient and clumsy, the combination and compromise of the dual charm of the engraved and handwritten books, the whole volume adopts the technique of "through the warp and weft", interweaving the dark blue bottom and the hard yellow warp paper color light brown characters, the weaving is exquisite and exquisite, with the gorgeous and elegant characteristics of the silk fabric, which is the official version of the Song Dynasty imperial production.
LOT 2345
The long scroll of the Diamond Sutra Mantra
32.5×832cm
Source: The old collection of a japanese temple
Starting price: JPY 20,000,000
Remarks: With wooden box with envelope
Exhibition Reference:
1. "Through Time and Space, Dharma Treasure Reproduction: Special Exhibition of Buddhist Scripture Writing and Engraving", August 8-November 7, 2019, Fo Guang Shan Buddha Memorial Hall.
2. "Dyeing and Weaving Silk in China", July 4-24, 2017, Room 5, Toyokan, Tokyo National Museum.
The Diamond Sutra is one of the representative texts of early Mahayana Buddhism and an outline of the Prajnaparamita Sutras. According to different translations, the full name is slightly different, and the full name of the translation by Kumarosh is the Vajrapani Prajnaparamita Sutra, which is the most widely circulated, and its version changes and partial modifications also have the most traces. The diamond sutra is divided into three periods, namely the 824 Liu Gongquan version as the early version, the 868 Xiantong version as the middle version, and the Ming Dynasty Zhu Di ben as the late version. From the perspective of the blueprint from which the Kaoben Silk Scroll is derived, from the fact that there are appendices to the end of the scroll and the appearance of "mantras" at the beginning and end of the scriptures, it can be concluded that the period of this blueprint is the middle version represented by the 868 Xiantong carving version.
At the same time, the font of the silk version is similar to the font of the Northern Song Dynasty Kaibao Seventh Year (974) "Kaibao" engraving, and the layout size, line style, boundary column and other layouts are also similar. It is particularly important that this edition is consistent with the kaibao engraving standard of 14 characters per line, which completely breaks the established norm of 17 characters per line from the Tang Dynasty to the early Song Dynasty. This is the most important basis for the discontinuation of the Ben Silk Version as the Song Ben. The Song Carved Classic", "Kai Treasure", originally belongs to the Northern Song Dynasty official version of the Great Tibetan Classic, the whole Tibetan line is loose, the grandeur, fully embodies the prosperity of the Northern Song Dynasty in the early years of the Wenzhi, the prosperity and development of Buddhism, and the broad mind and spirit of Han culture.
As a weaving technique, also known as carved silk, silk originated in the Uighurs and was introduced to the Central Plains during the Western Han Dynasty. The Silk System of the Song Dynasty was developed from the Tang Dynasty woven into brocade, and after absorbing the artistic expression techniques and ornamental methods of painting, it presented a new style, and the techniques of painting and painting complemented each other and complemented each other. The Silk Reeling Process of the Song Dynasty was used by the most widely woven calligraphers and painters, and the achievements were also the greatest. Zhang Yingwen, a Ming dynasty, recorded in the "Qing Secret Collection": "The Song people carved silk, regardless of landscapes, characters, flowers and birds, every trace was cut, and the business was muddy, and it was not controlled by chance. ...... If Song embroidery has extreme craftsmanship, yuan carving is not as good as Song Ye." Tao Jiucheng also commented: "Between Song Xuanhe and Song Xuanhe, he also painted Han with carved silk wisps, like pen and ink, and what he did could be called the magic of chemical industry." (Records of Inscribed Silk Calligraphy and Painting, vol. 1). It can be seen that the silk reeling process has entered a decisive stage of progress to the Song Dynasty.
From the fragments of the title painting at the beginning of the volume, it is enough to see the superb artistic level of the silk reeling process of the Song Dynasty. The title painting part has a group portrait of a warrior holding a vessel and a group of servants, and its character layout is similar to the "Buddha Says the Tree to the Lonely Garden" in the Ninth Year (868) engraving of the Diamond Sutra in the British Museum, which is one of the earliest and most mature prints in existence, and the content is the story of Shakyamuni Buddha's explanation to the elder Subhuti at the Gion Jingsha. At the same time, the gun weapon held by this volume is similar to the "Statue of the Great Saint Heavenly King" organized and printed by Cao Yuanzhong of the Fifth Dynasty in Dunhuang.
According to the records of silk works in the Song and pre-Song dynasties, such as the Records of Carved Silk Calligraphy and Painting in Qingnei Province, the Notes on Silk Embroidery, Volume 3, and the Shiqu Baodi Volume 40, the earliest example of making Buddhist scriptures from silk is only one volume of the Five Generations of Liang Carved Silk Diamond Sutra, which is "September 18 of the second year of Zhenming", that is, the late Liang Emperor Zhu Youzhen period after 915 AD. But this Silk Diamond Sutra is only recorded, and the object has been scattered. This Song Dynasty Silk Diamond Sutra Is a volume of Buddhist scriptures that has been seen and passed down to this day. Its emergence can be called a rewrite of the history of the Song Dynasty, which has important historical documentary value, and its preciousness is self-evident.
The Hunting Sect is treasured for two hundred years
From the Edo period to the end of the Meiji period, the tokugawa shogunate's imperial painter Edo Kimanmachi Ikano school of painting was kept secret for nearly 200 years from the fourth to the tenth generation of the family masters.
The Kano School is the longest-lasting and most influential samurai family of painters in the history of Japanese painting, dominating the Japanese painting world for more than 400 years from the middle of the Muromachi period (15th century) to the end of the Edo period (19th century).
From the beginning of the 18th century to the end of the 19th century, this work was handed over to the Edo Kinocho Kano school of the Kano school, it is like the Kano school of the Northern Song Dynasty character painting secret book, has had a considerable influence on the creation of the school's historical figure paintings, especially the mid-Edo kano school of the sixth Kano no nobu, he as a very transformative spirit of the Kano school of painting, in the expression of figure painting is unique, especially good at painting Tang children (Note: Japanese painting terminology often call such works "Tangzi", so the lid box has the ink pen book "Tang Zi Tu") on the lid box), his representative work "Tang Zi Tu" Tang Ziyou Picture Screen (Collection of Itabashi District Museum of Art) can clearly feel the influence of children's painting in this work.
LOT 2734
Li Gonglin (biography) "Cargo Lang Tu"
19.5×16cm
Vertical shaft Colored silk
Starting price: JPY 300,000
Remarks: With triple wooden box with information
This colored silk book depicts a vivid picture of the customs of selling fans in early summer. Under the green shade ancient tree protruding from the upper right corner of the picture, a scribe-dressed cargo man sits in an elegantly constructed and well-decorated fan pavilion, holding a pen in his right hand and a fan in his left hand, as if in the conception of the fan surface, looking comfortable and serene. On the left and right of the fan pavilion, there are three children with general horns standing or leaning on the front of the booth to watch, and another child in front of the fan pavilion is rushing forward. Full-width sketch, the picture layout is rigorous, and the primary and secondary are clear. With line modeling, the pen is delicate and vigorous, the brushwork is subtle as the flowing water, the characters are dynamic and the proportions are accurate, and the expression portrayal is delicate; the various types of fans displayed on the kiosk are also depicted intricate and orderly, showing the author's superb realism ability. Then the color is supplemented by pale and elegant colors such as clam white, stone green, and flower blue, so that the whole picture tends to be more simple and calm, elegant and elegant. This work is passed down as the work of Li Gonglin of the Northern Song Dynasty, and its subtleties see the temperament of the soul, which is indeed in line with the handwriting of the dragon sleep.
Inscription Evaluator:
Hashimoto Masabun (1835-1908) was a Japanese painter of the Meiji period. His real name is Nagago, his maiden name is Chitaro, he is known as Katsuen,100 Yan Zhai (十雁斋), Ke Ji Zhai (克己斋), Drunken Moon Painting Student, etc. The Ten Generations of the Kano Sect were disciples of The Master Kano Masanobu (Katsukawa-in), and together with Kano Yoshiya, Kano Katsutama, and Kimura Tachita, they were known as the Four Heavenly Kings of Katsukawa-in, and together with Yoshiya, they were known as the "Two Divine Feet of Katsukawa-in" and "The Dragon and Tiger of Katsukawa-in". Later, he worked with Yoshiya on the revival of traditional painting and the exploration of new Japanese painting, and co-founded the Tokyo Art School with Okakura Tenshin. After the establishment of the Tokyo Fine Arts School in Meiji 23 (1890), Hashimoto Yabang served as the director of the painting department, and in the same year became one of the first members after the establishment of the imperial craftsman system, establishing his supremacy in the Japanese painting world. He later led his disciples Yokoyama Daikan and Ryota Haruso to resign from the Tokyo Academy of Fine Arts and found the Japan Academy of Fine Arts. His paintings absorb the traditional realism of the Kano school and the focal perspective and chiaroscuro method of Western painting, forming an eclectic new Japanese painting style. His works include "Autumn Landscape" and "Eight Views of Xiaoxiang".
Collectors and Box Readers:
Kano Konobu (栄川院) (1696-1731) was a painter of the Kano school in the mid-Edo period and the Kano family IV of Kibancho. The Tokugawa shogunate's eighth shogun, Yoshimune, was Yoshimune's favorite painter after Kano Tanuyu. Gifted, he died early at the age of 36, and there are few works passed down, such as "Imperial Eagle Raw Land Take - Volume I" in the Tokyo National Museum, "Lin and Yasuzuru Turtle Map" in the Itabashi City Museum of Art. First named Shosaburo, Katsukawa, and Kasugakawa-in. The eldest son of Kano III, Shunobu Kawa. Kokibancho Kanoya V was received by Genshin Kawa and Kanoji VI Kanekawa-in Nobunobu of Kimanomachi (passed on to Konobu as an adopted son). A native of Edo (present-day Tokyo).
Kano Nobubu (1730-1790), a mid-Edo period painter of the Kano school, was the 6th Emperor of the Kano family in Kibancho. The name of the letter, the number of the river, the temple of the river, the nickname of the white jade. Kano Konobu's eldest son, Kokano Nobuyuki. The Tokugawa shogunate was a royal Okuma painter who was well received by the Tokugawa shoguns of the Yoshimune and Ieharu generations, and was the most famous painter of the Kano school in Kibancho. Representative works include murals of the Edo Castle Imperial Shrine and Korean gift screens.
Masanobu Kano (1823-1879), imperial painter and flag master of the Edo shogunate, was active in the last generation of the Kano sect from the end of the shogunate to the Meiji period, and was the 10th Kano family of Kibancho. His maiden name was Jiro Katsukawa, Katsukawa-in, and Sushosai. The eldest son of Yasunori Kano, born in Edo (Tokyo). His works were deeply loved by Tokugawa Ieyasu, the fourteenth shogun of the Tokugawa shogunate. After the end of the shogunate, he continued to engage in painting and related work in the new government, participating in the 1878 Universal Exposition in Paris. There are many disciples, including Kano Kataya, Hashimoto Masamune, Kimura Tachibana, Kano Tomonobu, and Masaaki Yuki.
Lin Lang An Old Collection
The Modern and Contemporary Japanese Calligraphy Community greatly respected the calligraphy of the late Ming and early Ming Dynasties with Wang Duo as the core, and put forward the theory of "Hou Wang (Wang Duo) Sheng Xian Wang (Wang Xizhi)", which also evolved into a special school of calligraphy "Ming and Qing Tone". This painting is the old collection of the great collector Lin Lang'an Treasure Song Room, which is famous in modern China and Japan, and the inner box contains the inscription and stamp of the old collection of the Japanese modern calligrapher and politician Yamanaka Jingyi (Albatross), which is a rare cursive book of Wang Duo in the modern market.
LOT 2532
Wang Duo《Linwang Xi's Cursive Writing II》
184×40.5cm
Vertical axis Ink Ayamoto
Source: Lin Lang'an, Yamanaka Albatross Old Collection
Starting price: JPY 500,000
This painting of Wang Duo's cursive writing Linwang Xizhi's "Xie Sheng Duo Zai" and "Sam Chao" two posts, the interpretation is: "Xie Sheng duo is not under the mountain? Seeing the book again, the sickness and coldness, the grumbling. If you want to count and ask, although you can pay back, you can't count, but you can sigh. If nothing happens, it will be the case. Goodbye. Wang Duo".
Title: Wang Duo
Plutonium printing:
Seal of Wang Duo (white text), painful drinking and reading (white text)
Lang An Over the Eyes (Zhu Wen), Zeng Treasure Song Room (Zhu Wen)
Wooden box inscription: Albatross Record Jing (Bai Wen), Yi (Bai Wen), Ershui (Zhu Wen)
Description: Double wooden box with mountain albatross inscription with information belt cloth
Wang Duo was very diligent in studying Wang Xi's Fa Ti, and You Xi used his Fa Ti as the material for his own re-creation. The two posters of "Xie Sheng Duo Zai" and "Sam Chao" are letters, and Wang Duo is the author of the ancient thesis, the law and its state, and its general outline, and the Aya book, which is full of ink, and successfully transforms it into a calligraphy axis with independent display significance. Viewed throughout, the pen is out of one's own mind, the Dharma is contained in it, the indulgence contains steadiness, and the depression is full of spirituality. Its chapters are rich in variations, the knots are unpredictable, and the lines are dry and echoed, showing the arrogance of "the wind and the horses, the pen walks the dragon and snake". Sincerely for Wang Duo's cursive masterpiece.
The lower part of this painting bears the "Seal of Wang Duo", along with the seal engraver Su Xuan (c. 1553-1626), whose contemporaries su Xuan (c. 1553-1626) inscribed the seal of "Drinking and Reciting Sorrows". In the lower left corner, the two Tibetan seals of "Lang An Passing Eye" and "Zeng treasure Song Room" were also hidden.
Tibetans:
Lin Lang'an (1897-1971), known as Xiong Guang, Lang An, Lei Zhai, room name "Bao Song Room". Originally from Zhangzhou, Fujian Province, he was born in the Lin family of Banqiao, Taiwan, and his mother was the younger sister of the last emperor Chen Baochen. He crossed to Japan in his early years. After graduating from the Faculty of Economics, Tokyo Imperial University, he founded Asahi Koxing Company co., Ltd., and later became the president of Dentons Fire Marine Insurance Co., Ltd. He is fond of Chinese painting and calligraphy antiques, is deep in epigraphy, and has many traces of drama. Its "Bao song room" is derived from the collection of Xu Xi's "Cicada Butterfly Diagram", Mi Youren's "River Map", Li Gonglin's "Spring Feast Map", and Yan Wengui's "Summer Mountain Travel Map". He is the author of "Notes on the Treasure Song Room" and "Selected Seals of Lei Zhai".
Box Signers:
Yamanaka Albatross (1822-1885), known as Jingyi and Albatross. Politician, calligrapher, and collector of the Late Restoration. In his later years, he lived in seclusion in Kyoto, "Nisumizuso" and "Torashiyama House".
Luo Zhenyu's old collection
Mt. Koyasan is handed over by Zen master Takami Inuyaku
Produced by Tokyo Art Club
Shi Tao's "Ten Landscape Paintings", this is two of them. Most of the paintings are from the poems of qu Dajun, a poet of the late Ming and early Qing dynasties, such as "The Mountain In the Middle of the Waves Knows that it is a Sea Loach Hui", which is from Qu Dajun's "Every Luzi on the Yangjiang Road Returns to Qiongzhou to Give Three". Qu Dajun traveled extensively throughout his life, known as "Lingnan Xu Xiake", poetry "has the will of the "Nine Songs" and "Nine Debates", the realm is vast, the integrity is magnificent, and later he was defeated in the struggle against the Qing Dynasty and the Restoration of the Ming Dynasty, and he shaved his life to avoid disasters and finally released his life. Shi Tao (after about 37 years old) traveled with him very deeply while in Nanjing, and this landscape painting was composed about this period.
LOT 2613
Shi Tao (1) Wave in the middle of the mountain (2) one water two three miles double width
44×31.5cm×2 (each)
Vertical axis Colored paper
Source: 1. Luo Zhenyu Old Collection;
2. Koyasan shrouded in the collection of the Black Master of the Imperial Household;
3. Tokyo Fine Arts Club September 30, 1944
"Koyasan Shōshū-in Meguroshi /Aoshima Tenryō-dong."
Inoue: Collection into the Auction, No. 18
Starting price: JPY 2,000,000
Inscription: (1) Wave in the mountain Know is the sea loach back (2) one water two three miles along the back to the purple xia
Seal: (1) Qingxiang Shitao (Bai wen) (2) Anointing Zi Ji (Bai Wen)
Description: Attached to the samurai Koji Shitoku inscription triple wooden box
Publication: Koyasan All-Shōnen-in Meguro-shi /Aoshima Ten-akai-dong Inoue: Collections in the Collection, "Shitao Landscape Painting Posters Ten Sheets" (from right), edited and published by the Tokyo Art Club, September 30, 1944
Exhibition: "Koyasan All-Teru-in Meguro-shi / Aoshima Tenrai-dong Inoue: Collections", Tokyo Art Club, Showa 1944, September 28-29
See also: Koyasan Cultural Chronology
According to the catalogue and preface of the Directory and Preface of Ito Daiyoshido, president of the Tokyo Art Club, in the September 1944 edition of "Koyasan All-Teru-in Temple, MeguroShi/Qingdao Ten Heavenly Caves: Collections into the Collection", this "Ten Landscape Painting Posters" was an old treasure collected by Luo Zhenyu when he returned from Japan and settled in Tianjin (1919-1928), when Yang Xiaogu, a famous scholar of the Sichuan Restoration, and various famous artists had comments to record, and later returned to the Japanese Buddhist holy site Takayama All-Tsuen Shōnen Abbot Muro Takami Zen Master.
Zen Master Meguro's collection of Buddhist art includes many of Japan's national treasures, such as the Statue of King Ai-Akira (designated as an important art in Showa 9) and the Shoshu Shoshu of the Master of the Hirohatsu, which are part of Mt. Koyasan's important cultural property. Beginning around the end of Taisho, Zen Master Meguro vowed to revive the Zen Monastery in Shōgun Temple, and in order to raise funds, he began to sell his own collections one after another. Shi Tao's ten landscape paintings were auctioned at the Tokyo Art Club in 1944 and have since flowed into the market. This colored double-length paper, clear source, orderly collection, and recorded publication, is a rare treasure of Shi Tao's existence.
Sedoku Takeji (1885-1976) was a Japanese novelist, playwright, and painter. He studied at the University of Tokyo but dropped out of school. When he was young, he was fascinated by Tolstoy. Promote humanitarianism. In 1910, he founded the magazine Shirakaba with Takero Arishima and Naoya Shiga, and became one of the representative writers of the Shirakaba school. In 1951, he was awarded the Order of Japanese Culture.
1. "Koyasan All-Shōshū-in Meguro Division / Aoshima Ten Ten Paintings of Landscape Paintings" (from right), Edited and published by the Tokyo Art Club, September 30, 1944
2. "Koyasan All-Illuminati Temple, MeguroShi/Qingdao Ten Ten Ten Pictures of Landscape Paintings" in "Ten Paintings of Shitao Landscape Paintings" in Qingdao Ten Ten Books
3. "Koyasan All-Illuminati Temple, MeguroShi/Qingdao Ten Ten Heavenly Caves InoueJia: Collections into the Collection", "Shi tao Landscape Painting Posters" 9th figure
Dong Qichang and Wang Hongxu's old collection
Modern multi-publication
Zhao Mengfu wrote the two poems of the Yuan Dynasty monk Zhongfeng Monk "Qingshan Yin" and "Baiyun Yin", which are representative works of the middle-aged (40-year-old) intention book. Its knot body is deep and stable and rigorous in Ou Shu, and the pen has the dignified and handsome posture of the second king, and the line of qi is euphemistic and continuous, and the circle is smooth. Whether in terms of rhyme, penmanship, knots, and chapters, this post forms a perfect whole with the two poetic conceptions, giving people a sense of elegance and coolness, which can be called the perfect work of Zhao Ti xingshu.
This post, also known as "The Peak and Shang Poems in the Book of Yuan Zhao Mengfu", has been published in many modern books. From the Ming Dynasty to the beginning of the Qing Dynasty, Dong Qichang, Wang Hongxu and other love were re-handed over to Tibet, which can be described as an orderly inheritance and a rare treasure.
LOT 2551
Zhao Mengfu's "Qingshan Baiyun Post" album
22×13cm×22
25.5×30cm
Twelve open ink on paper
Source: Wang Hongxu's Old Collection
Commentary:
Aoyama Yin. I love Qingshan Qing, a thousand and one like a splash. Husband's eyes widened. I don't know that qingshan is often looking at the face, and qingshan is not high or low. Qingshan can't help pedestrians return. Since the guest forgot the guest, the guest was silent about the green mountain. The noisy waterfall rhymes with loose waves, startling the iron bull to ride the stone tiger. Daoists don't care to stretch their feet to sleep, and Qingshan pours out his eyebrows. Without dialing the vientiane body alone, Shakya drunkenly fell before the spring breeze. Have you asked how many years has this mountain been coming? Why did the ancients buy gold? Gold has daily dust, but the green mountains have not changed. Sending words to the mountains and mountains all over the world, Mo just painted five colors into the void. White Cloud Groan. I love white clouds, the same color. The unwashed body is self-evident, and the void spirit is not spread. Taoists live in Baiyun Township, and Baiyun is a house or a house. If you are hungry, you will cook white clouds for food, and if you are cold, you will cut white clouds for clothing. The heart is no different from the white clouds, and ren yun qiankun has nothing to do with it. If you don't learn to emit the light between your eyebrows, you will not be able to imitate Shaolin drumming into porridge and begging. Only the Zen moon refused to be light, and the white cloud laughed and said that it would not meet with the wind and rain. When Mexicon was not out of the snowy mountains, there were few taikoo with ice muscles. After the snow is blown out for no reason, it is pity, and the pieces are dusty and muddy. Rotten brocade bed screen filling embroidery mattress, Zhu Si jade pipe followed. The drunken ears could not wake up, and the white clouds covered the high house.
Inscription: Zhongfeng and Shangzuo, disciple Zhao Mengfu Shu, three days after the Mid-Autumn Festival. Qichang.
Seals: Zhao Zi Ang (Zhu Wen), Huating Wang's True Reward (Zhu Wen), Zhao (Zhu Wen)
Inscription: Pengcheng Gong inscription, Pengcheng (Zhu Wen)
Collectible Seals:
Dong's Xuanzai (Bai Wen), Xuan Xiangzhai (Bai Wen), Chen's Calligraphy and Painting (Zhu Wen)
The Tale of the Guangcai Hall of the Nearest Of Peace (Zhu Wen)
Wang Hongxu's Collection Seal: Seal of Hongxu (Bai Wen), Hengyun ShanRen (Bai Wen), Yu Zhai (Zhu Wen)
Yunjian Wang Hongxu identification seal (Zhu Wen), Yu Zhai Zhen play (Zhu Wen)
Description: With publications
publication:
(1) Tianjin Ancient Books Publishing House, "The True Poems of Zhao Mengqian Zhongfeng monks" (1988)
(2) Huangshan Book Club,"Poems of the Monks in the Book of Yuan Zhao Mengqian" (1999)
(3) Huaxia Publishing House, "Two Kinds of Inkblots of Zhao Mengqian" (Qingshan Yin, Baiyun Yin) (2002)
(4) Qunyan Publishing House, The Complete Calligraphy of Zhao Mengqian (P383-404) (1995)
Zhao Mengfu (1254-1322), ziang, Han chinese, Songxue Daoist, also known as Shuijinggong Daoist, Oubo, middle-aged Mengqian. A native of Wuxing, Zhejiang (present-day Huzhou, Zhejiang). The 11th grandson of Zhao Kuangyin, the grandfather of the Song Dynasty, and the grandson of Zhao Defang, the King of Qin. Zhao Mengfu is erudite and versatile, can write poetry, understands economics, works calligraphy, fine painting art, is good at gold stones, tonglulu, and appreciates. With the highest achievements in calligraphy and painting, he created a new style of painting in the Yuan Dynasty, known as the "Crown of yuanren". His calligraphy is good at seals, li, zhen, xing, and grass, especially in the world, and is known as the "Zhao Body", which together with Ouyang Qing, Yan Zhenqing, and Liu Gongquan is called the "Four Great Masters of Kai Shu".
Collector: Wang Hongxu (1645-1723), Qing Dynasty official, scholar, and calligrapher. The word Jiyou, the number of Yu Zhai, alias Hengyun Mountain people. Kangxi twelve years into the soldier, teaching editing, official to the Ministry of Works Shangshu. One of the revisions for the "Peiwen Yunfu". Later, he hired Vance to jointly approve and compile the 310 volumes of the Ming History Manuscript. lifetime
Proficient in collecting calligraphy and paintings. The study of mi fu and Dong Qichang has the interest of ancient Xiurun. Dong Qichang re-passed on his disciples, and wrote "Hengyun Mountain People's Collection" and so on.
The Prajnaparamita Sutra, abbreviated as the Great Prajnaparamita Sutra, is a compilation of Mahayana Prajnaparamita texts that proclaim the meaning of emptiness in all dharmas. 600 volumes, translated by Tang Xuanzang.
LOT 2599
The Prajnaparamita Sutra 3006 writes a long scroll
25.5×856cm
Inscription: Prajnaparamita Sutra 3006. Hatsuki ken et al. pinyin 57-5. The Three Tibetan Master Xuanzang was translated. Katsushikatsu Iimori Temple
The Prajnaparamita Sutra includes 16 Prajnaparamita texts (i.e., the Sixteen Traditions). Among them, the second society ("Twenty-five Thousand Odaksha Prajna"), the fourth Society ("8,000 Odaks Prajna"), and the Ninth Society (Vajrapani Prajnaparamita) are the basic ideas of the Prajnaparamita Sutra, which were probably written around the 1st century BC, and the others were written in the following centuries. It is generally believed to have first appeared in South India, later spread to West and North India, and was widely popular during the Kushan Dynasty.
This is the sixth volume of the 300th volume of the Prajnaparamita Sutra, the font is quaint, the writing is smooth, the words are loose and orderly, the collection is intact, and the British Library also has a fragment manuscript similar to the Dunhuang fragment of the Tang Dynasty, number: Or.8210 S.877.
Katsuki-mino: An old place name from the Asuka period of Japan, recorded during the Heian period, located in the area of Mt. Koya, Wakayama Prefecture. Iimori Temple: Koyasan Shingon Sect Temple.
LOT 2564
The Vajrapani Prajnaparamita Sutra writes the booklet
24×22.5cm×36 (each)
Thirty-six open on gold paper
Starting price: JPY 3,000,000
Inscription: Prince Taibao Bingbu Shangshu and Du Chayuan Right Capital Imperial Envoy Hu Zongxian pre-wrote a diamond sutra with his heart: May the unfortunate people of woe be cut off from Anbang. The dead are reincarnated and eternally separated from the three difficulties. Therefore, I wish the Emperor Zuo Yonglong and the soldiers to rest. All the Buddhas are invited to surrender, and at my request, they are enshrined at six o'clock. The monk Ming wrote the chant. Emperor Ming Jiajing's diary of November 8, 40 years
Remarks: With wooden box with cloth
In the forty years of Ming Jiajing (1561), Xin You, a famous minister who resisted the Wu Dynasty and the governor of Zhejiang, Hu Zongxian, resisted the Great Victory at Liangtou Cave (Shuangheshan Island) and Jianshan (Dachangtu Mountain). Since the beginning of the year, the plague has basically subsided. A generation of Confucian generals Hu Zongxian wrote this "Diamond Sutra" with the intention of praying for the blessings of the unfortunate people, for the requiem of the soldiers who died in the war against the enemy, and praying for the emperor of the country, Zuo Yonglong, and the rest of the soldiers. Since then, the sea and the river have been clear, and the world has been peaceful and peaceful.
This sutra is written on clay cyanotic paper, folded, and translated by Yao Qinjiu Morosh. The whole volume is written strictly, the pictures are gorgeous and dazzling, the binding is exquisite, and the cover is specially decorated with a gorgeous sandalwood cassette as the cover, and the material is expensive and elegant, in order to express the meaning of piety, which has the meaning of caution and respect. This "Diamond Sutra" is a translation of the Ming Dynasty classics and Buddhist scriptures, and at the same time it contains a deep and magnificent important historical situation, which has special significance and value.