趙孟頫(款) 明妃出塞圖 水墨紙本 手卷 Ink on paper. Calligraphy and figure. Handscroll. Signed with eight seal marks. 引首：明妃出塞圖，鳳石陸潤庠 印章：陸潤庠印 畫心：款識：子昂，印文：趙氏子昂 鑑藏印：唐兆麒印，容齋秘笈，魯庵。崇正堂圖書記，唐氏兆麒家藏。題跋1：滿面胡沙滿鬢風，眉銷殘黛臉銷紅。愁苦辛勤憔悴盡，如今卻似畫圖中。漢使卻回憑寄語，黃金何日贖蛾眉。君王若問妾顏色，莫道不如宮裡時。羣山萬壑赴荊門，生長明妃若有村。一去紫臺連朔漠，獨留青冢向黃昏。畫圖省識春風面，環珮空歸月夜魂。千載琵琶作胡語，分明怨恨曲中論。飄飄秀色奪春祇恐丹青畫不真。能為君王罷征戍，甘心玉骨葬胡塵。草黃沙白馬如雲，落日悲笳處處聞。此去妾心終許國，不勞辛苦漢三軍。落款：可莊王仁堪題，鈐印。王仁堪印，晚清光緒狀元。 題跋2：馬上琵琶塞上風，分明入玉關中。妾身本是鄉村女，不解金錢買畫工。驪山舉火因褒姒，蜀道蒙塵為太真。能使明妃嫁胡虜，畫師應是漢功臣。明妃初出漢宮時，淚濕春風鬢腳垂。低徊顧影無顏色，尚得君王不自持。歸來卻誅畫工手，妾身入眼平生幾。當時意態由來畫，不成當時枉殺毛延壽。一去心知更不歸，可憐著盡漢宮衣。寄聲欲問塞南事，祇有年年鴻雁飛。家人萬里傳消息，好在氈城莫相憶。君不見咫尺長門閉阿嬌，人生失意無南北。落款：章梫題，鈐印。章梫，晚清民國詞臣、書家。
Zhao Mengfu is renowned for his extensive painting skills, excelling in landscapes, figures, and bamboo and stone subjects. His family of painters had a profound influence on later generations, particularly his son Zhao Yong and grandson Zhao Lin. Zhao Mengfu admired the Tang dynasty's style of painting horses, avoiding the awkwardness of depicting Mongolian figures. His works focus not only on the form of the horse but also on capturing its temperament, showcasing unique insight.(Total length 190 cm, width 55 cm; core 92 cm, width 41 cm)
Total Length Size L 448 cm W 32.7 cm (176.38in , 14.70ft, 12.87in , 1.07ft),Mineral pigment landscape on silk by Zhao Mengfu, titled on frontispiece. Depicts literati gathering amid pine-covered hills, with elegant figures. Extended connoisseur colophons attached, original brocade wrapper covered with successive collection seals.
Attributed to Zhao Mengfu (Chao Meng-fu). Landscape. Ink and color on silk, hanging scroll. 93 x 52 cm. Condition: Creases, stains and yellow spots on the mounting and the painting. Note: By repute, from the collection of Qian Jingtang.
Attributed to Zhao Mengfu. Lady. Ink and color on silk, hanging scroll. 112 x 41 cm. Condition: Creases, stains and yellow spots on the mounting and the painting. Note: By repute, from the collection of Aoyama San'u.
L:660cm(259.84in) W:38cm(14.96in)A precious combined masterpiece of Song and Yuan masters, it features elegant vivid desert travel landscape painting and bold unrestrained ancient calligraphy of Su Shi. With complete postscripts and clear provenance, it possesses profound artistic value and cultural historical collection value.
L:700cm(275.59in) W:36cm(14.17in)A master comprehensive calligraphy work of Zhao Mengfu, it integrates multiple scripts with mild rounded elegant brushstrokes inheriting ancient Jin-Tang calligraphy traditions. Combining rigorous rules and unrestrained graceful charm, it represents the pinnacle of calligraphy revival art in the Yuan Dynasty.
Attributed to Zhao Mengfu. Visiting Friend in Deep Mountains. Ink and color on silk, hanging scroll. 88.5 x 50 cm. Condition: Creases, stains and yellow spots on the mounting and the painting. Note: By repute, from the collection of Yue Jun.
A Chinese handscroll of five horses on silk attributed to Zhao Mengfu (1254-1322) With five inscriptions and three seals, and it is mounted on a silk backing with dowels. Sight dimensions: H: 12, W: 95 1/2 in. (H: 30.5, W: 242.6 cm.) Copy the following link for high resolution images: oag.smugmug.com/190-March-Painting
AFTER ZHAO MENGFU (CHINESE, 1254-1322) TWO CHINESE INK PAINTINGS 趙孟頫款 愛馬圖 水墨設色絹本 立軸 及 歸漢圖 水墨絹本 卷軸（共兩幅）款識：愛馬圖。皇慶四年秋八月朔，越一日寫於松雪仙房。之雨窗右，子昂鈐印：子昂款識：歸漢，𠧧涯。子昂鈐印：一枚漫漶不辨one ink and colour on silk, depicting a man on horseback leading a dappled mare, with inscription and seal, hanging scroll; and one ink on silk, depicting the return of Cai Yan from the Turkic Tribes to China, with inscriptions, signature and seal, handscroll (2) 24cm x 127cm; 81cm x 405cm The ‘Man on Horseback Leading a Dappled Mare’ painting was acquired by Sir James Stewart Lockhart (1858-1937); The ‘Return of Cai Yan from the Turkic Tribes to China’ handscroll was a gift to Sir James Stewart Lockhart (1858-1937) from Sir George Sinclair Moss (1882-1959) when District Officer in Weihaiwei, Christmas 1913 (Sir James Stewart Lockhart, Notebook, dated 1910-1921, p. 17, NLS Acc. 12695/26c); Both gifted to his daughter, Mary Stewart Lockhart (1894-1985); Presented by the above to George Watson’s College, Edinburgh in 1967; Lent to the National Museums of Scotland, Edinburgh (2003-2025). Sold to Benefit George Watson's College, Edinburgh捐助愛丁堡喬治沃森學院義賣
Attributed to Zhao Mengfu. Calligraphy. Ink on silk, hanging scroll. 90 x 42 cm. Condition: Creases, stains and yellow spots on the mounting and the painting. Note: By repute, from the collection of Dafengtang.
ZHAO MENGFU (1254-1322) AS CATALOGUED IN SHIQU BAOJI Washing Horses Ink and colour on silk, handscroll Inscribed and signed Wuxing Zhao Mengfu, with one artist's seal Dated autumn, seventh month, first year of the Zhizheng era (1341) Annotation inscribed and signed by Emperor Qianlong (1711-1799), with three of his seals Dated autumn, seventh month, first day, yimao year (1735) Four collectors' seals of Emperor Qianlong and one of Emperor Jiaqing (1760-1820) Annotation: 37.9 x 98.4cm (14⅞ x 38¾in) Painting: 37.9 x 301cm (14⅞ x 118½in)
Attributed to Zhao Mengfu (1254-1322), Calligraphy in Running Script. Ink on silk, hanging scroll. 90 x 42 cm. Condition: Creases, stains, and foxing on the mounting and painting. Note: By repute, from the old collection of Dafeng Tang.
趙孟頫 Zhao Mengfu (1254-1322 AD) of the Yuan Dynasty, “Horse inspection”, - Large antique Chinese painting, certified The painting was framed under plexiglass, many years ago. It appears to be in ink and color on silk; may be laid down on board (I have not had it out of the frame). Some toning and minor cracks in silk, none affecting main scene. • 尺寸 Dimensions：画芯 painting area 93 x 39 cm; • 画芯包含题字 Painting area including all inscriptions around: 145 cm x 55 cm; • 卷轴 overall size including frame: 159 cm x 63 cm Provenance and location: Private collection in Alabama, USA. Acquired in Europe or the Middle East shortly after WW II. The painting is surrounded by inscriptions by Zhao Mengfu and another 9 famous painters and calligraphers from Yuan and Ming dynasties: 1. Inscription from Zhao Mengfu (courtesy name: Zi Ang): 大德二年秋七月画于松雪斋 子昂 It was painted by Zi Ang in Song Xue Zhai in July of the autumn of the second year of Da De Yuan dynasty. 2. 天马西来入帝关，风騣雾鬣驳文班。房星一夜光如水，却怨龙媒万里还。泰定二年冬十月既望日观并题袁桷 This poem was inscribed by Yuan Jue in Oct. of the winter of the second year of Da De Yuan dynasty, it depicts a picture of Pegasus returning from afar, and although it brings brilliance, it carries a resentful emotions. 3. 永乐三年岁在乙酉五月二十八日，使臣颁到御书浩诫一道，又赐臣棡真德秀大学衍义一部、赵孟頫画马一轴。臣棡对使三肅望阙叩恩敬谨祇领讫，仰见皇上，亲亲之谊有加，无已谨识，岁月俾子孙世守 This is a message from government of May.28th of the third year of Yong Le period of Ming dynasty, the officer was very honored to receive an official letter Yu Shu Hao Jie, a book Gang Zhen De Xiu Da Xue Yan Yi and this painting from government, the officer is very grateful to emperor and will keep well of these with his descendants. 4. 松雪聪明冰雪姿，尤欢画马称当时。以其余力墨痕扫，电掣星驰曷过之。许生何幸得品骘，牝牡骊黄具真识。大梁市肆杂风尘，一时相顾惊物色。世问每叹知音稀，千载云龙迹欲飞。常郡邵宝观并题 This is a poem inscribed by Shao Bao in Shao Bao Guan of Chang Jun area, Shao Bao thought Zhao Mengfu was very talented especially in painting horses, and this painting was one of the best horses paintings Zhao Mengfu painted in his life, he felt very honored to see it. 5. 隅目晶荧耳竹披，江南流落乘黄姿。千金价重无人识，笑看胡儿买去骑。延陵吴宽题 This poem was inscribed by Wu Kuan in Yan Lin area, by depicting a neglected horse, although it is worth a thousand gold, but because it is not known by the world, it is lost to the south of the Yangtze River, and is finally bought by the Hu people to ride. The poem's "Bamboo Drape with Crystal Eyes and Ears" vividly depicts the horse's physical characteristics, while "Jiangnan Wandering Ride Yellow Posture" expresses the situation of this horse wandering to Jiangnan because it is not appreciated. Then, "The price of a thousand gold is unrecognized" emphasizes the high value of this horse, but no one can recognize its true valueFinally, "Laughing at Hu'er to buy and ride" is a detached attitude, watching this good horse being bought and ridden by people who don't know how to appreciate it, revealing a feeling of impermanence and the uselessness of heroes. 6. 天启二年夏五月余在吴门客观得眺赵荣禄此轴不忍释手因识以记岁月耳竹嬾李日华This message means Li Rihua was very honored to see this amazing painting in Wu Men area in May of Summer of the second year of Tian Qi period of Ming dynasty, Li Rihua left the message and stamp to this memory. 7. 大宛直在玉阙西，万里风沙入骏蹄。一自殿前随杖立，垂头不肯向人嘶。嘉靖壬寅清和上澣茂苑文嘉题 In the twenty-first year of Jiajing in the Ming Dynasty (1542 AD) in the first fourth lunar month, Wen Jia inscribed this poem in the area of Suzhou. The poem depicts a picture of the horse and its condition, and it contains a deep meaning. We can parse its meaning sentence by sentence: Dawan is straight in the west of Yuque, and thousands of miles of wind and sand enter the horse's hooves. 8. 嘉靖壬寅初夏同王禄之得观于双桂堂中，彭年 This message means Peng Nian saw this painting with Wang Luzhi together in Shuang Gui Tang in Summer of Ren Yin year of Jia Jing period of Ming dynasty. 9. 王孙画马世无敌，一画一回飞霹雳。千里长风入彩毫，平沙碧草春无迹。砚池想走渥洼产，突然走出白鼻䯄。翻涛浴浪动光彩，云影满身堆玉花。玉花连钱汗血流，骏尾捎风蹄踣铁。何时骑得似画中，踏破阴山古时雪.长洲沈周题 This poem was inscribed by Shen Zhou in Chang Zhou area, it depicts a vivid picture of horses. The first sentence "Wang Sun's painting of horses is invincible" praises the painter Zhao Songxue's superb painting skills, which no one can match. The following "Flying Thunderbolt" vividly shows the dynamic power of the horses in the painting, as if galloping like thunder on the canvas. "A Thousand Miles of Wind into Color" depicts horses galloping in the wind, with vivid brushstrokes, as if the wind was also captured in the painting. Then, "Flat Sand and Green Grass in Spring" depicts the vast grassland and the breath of spring, highlighting the scene of horses galloping freely. 10. 雾鬣云鬃出帝闲，谁将图画落人间。奚官饱牧无余事，独立春风忆丛山。吴门张渥题 This poem was inscribed here by Zhang Wo from Wu Men area. The poem depicts a vivid picture of the emperor's leisure time and an official's independent thinking in the spring breeze. 11. 草细泉香野色新，五花骄气散春云。昂头似忆当年事，立仗淩寒夜正分。至正十年八月梅途人吴镇题 This poem was inscribed by Wu Zhen in August of the tenth year of Zhi Zheng perod of Yuan dynasty, it depicts a vivid picture of horse herding, full of pastoral and historical charm. Auction results: 1) Zhao Mengfu (attributed to) - Essay in running script, Ink on silk, 9.7” x 5.6”= 24.7 cm x 14.2 cm, Sotheby’s, China, Hong Kong, Estimate: 600,000 -900,000 HKD = $778,200 - $1,167,300 USD; 2) Zhao Mengfu, Horses and grooms, ink colors, 35”x 63”, -Bonham’s Hong Kong, 04/03/2018- Sold for 800,000 HKD = 1,037,600 USD; 3) Zhao Mengfu, Duren Sutra, -Christies, China, Hong Kong, 05/29/2006, ink 10” x 12”, - Sold for 200,000 HKD = $259,400 USD; 4) Zhao Mengfu (attributed to), Horse and groom, Christie’s, China, Hong Kong, ink and color on silk, 13” x 10.6” = 33cm x 27cm, Sold for 162,500 HKD = $210,762 USD; 5) Zhao Mengfu. Correspondence 05/28/2018, Ink, - Sold for 80,000 HKD = $103,760 USD; 6) Zhao Mengfu. Running script calligraphy, Christies, China, Hong Kong, 05/28/2018, Sold for 437,500 HKD = $567,437 USD; 7) Zhao Mengfu. Eight horses hand rolled, Est-Ouest Auctions, Hong Kong, 05/31/2014, painting, 78”x13”, - Sold for $38,210 USD Zhao Mengfu (Chinese: 趙孟頫; pinyin: Zhào Mèngfǔ; Wade–Giles: Chao Meng-fu; courtesy name Zi'ang (子昂); pseudonyms Songxue (松雪, "Pine Snow"), Oubo (鷗波, "Gull Waves"), and Shuijing-gong Dao-ren (水精宮道人, "Master of the Water Spirits Palace"); 1254–1322), was a Chinese calligrapher, painter, and scholar during the Yuan dynasty.[1] He was a descendant of the Song dynasty's imperial family through Emperor Xiaozong's brother Zhao Bogui who married a lady surnamed Song who was the granddaughter of Emperor Huizong. Zhao Bogui was a descendant of Emperor Taizu, through his son Zhao Defang. He was recommended by the Censor-in-chief Cheng Jufu [zh] to pay an audience with Kublai Khan in 1286 at the Yuan capital of Dadu, but was not awarded an important position in office. His work was however, greatly appreciated later by the Confucian-inspired Yuan Emperor Renzong. Zhao was a member of the "Academy of Worthies".[2] He was married to Guan Daosheng, who was also an accomplished poet, painter and calligrapher. His rejection of the refined, gentle brushwork of his era in favour of the cruder style of the eighth century is considered to have brought about a revolution that created the modern Chinese landscape painting. He was known for his paintings of horses. His landscapes are also considered to be done in a style that focuses more on a literal laying of ground. Rather than organizing them in a foreground, middle ground, and background pattern he layers middle grounds at various heights to create a sense of depth. This pattern of organization makes his paintings appear very simple and approachable. It was this characteristic that so many people valued about his style. One of his most celebrated landscape paintings is exhibited at the Princeton University Art Museum with the title “The Mind Landscape of Xie Youyu” (幼輿丘壑), an allusion to the nature-loving scholar-official Xie Youyu (280–322). However, in 2019 Dutch scholar Lennert Gesterkamp argued that the colophon attached to the painting and mentioning Xie Youyu is a forgery, and that in fact Zhao Mengfu's intention was to honor his own spiritual master, Daoist scholar Du Daojian (1237–1318), who also celebrated nature.[3] Zhao Mengfu had several sons with his wife Guan Daosheng. His second son, Zhao Yong, also became a famous painter and calligrapher. He was also the maternal grandfather of Wang Meng, another famous painter. Zhao Mengfu was related to the later Ming dynasty literary figure Zhao Yiguang and his son Zhao Jun.[4]
趙孟頫 Zhao Mengfu (1254-1322 AD) of the Yuan Dynasty, “Horse inspection”, - Large antique Chinese painting, certified The painting was framed under plexiglass, many years ago. It appears to be in ink and color on silk; may be laid down on board (I have not had it out of the frame). Some toning and minor cracks in silk, none affecting main scene. • 尺寸 Dimensions：画芯 painting area 93 x 39 cm; • 画芯包含题字 Painting area including all inscriptions around: 145 cm x 55 cm; • 卷轴 overall size including frame: 159 cm x 63 cm Provenance and location: Private collection in Alabama, USA. Acquired in Europe or the Middle East shortly after WW II. The painting is surrounded by inscriptions by Zhao Mengfu and another 9 famous painters and calligraphers from Yuan and Ming dynasties: 1. Inscription from Zhao Mengfu (courtesy name: Zi Ang): 大德二年秋七月画于松雪斋 子昂 It was painted by Zi Ang in Song Xue Zhai in July of the autumn of the second year of Da De Yuan dynasty. 2. 天马西来入帝关，风騣雾鬣驳文班。房星一夜光如水，却怨龙媒万里还。泰定二年冬十月既望日观并题袁桷 This poem was inscribed by Yuan Jue in Oct. of the winter of the second year of Da De Yuan dynasty, it depicts a picture of Pegasus returning from afar, and although it brings brilliance, it carries a resentful emotions. 3. 永乐三年岁在乙酉五月二十八日，使臣颁到御书浩诫一道，又赐臣棡真德秀大学衍义一部、赵孟頫画马一轴。臣棡对使三肅望阙叩恩敬谨祇领讫，仰见皇上，亲亲之谊有加，无已谨识，岁月俾子孙世守 This is a message from government of May.28th of the third year of Yong Le period of Ming dynasty, the officer was very honored to receive an official letter Yu Shu Hao Jie, a book Gang Zhen De Xiu Da Xue Yan Yi and this painting from government, the officer is very grateful to emperor and will keep well of these with his descendants. 4. 松雪聪明冰雪姿，尤欢画马称当时。以其余力墨痕扫，电掣星驰曷过之。许生何幸得品骘，牝牡骊黄具真识。大梁市肆杂风尘，一时相顾惊物色。世问每叹知音稀，千载云龙迹欲飞。常郡邵宝观并题 This is a poem inscribed by Shao Bao in Shao Bao Guan of Chang Jun area, Shao Bao thought Zhao Mengfu was very talented especially in painting horses, and this painting was one of the best horses paintings Zhao Mengfu painted in his life, he felt very honored to see it. 5. 隅目晶荧耳竹披，江南流落乘黄姿。千金价重无人识，笑看胡儿买去骑。延陵吴宽题 This poem was inscribed by Wu Kuan in Yan Lin area, by depicting a neglected horse, although it is worth a thousand gold, but because it is not known by the world, it is lost to the south of the Yangtze River, and is finally bought by the Hu people to ride. The poem's "Bamboo Drape with Crystal Eyes and Ears" vividly depicts the horse's physical characteristics, while "Jiangnan Wandering Ride Yellow Posture" expresses the situation of this horse wandering to Jiangnan because it is not appreciated. Then, "The price of a thousand gold is unrecognized" emphasizes the high value of this horse, but no one can recognize its true valueFinally, "Laughing at Hu'er to buy and ride" is a detached attitude, watching this good horse being bought and ridden by people who don't know how to appreciate it, revealing a feeling of impermanence and the uselessness of heroes. 6. 天启二年夏五月余在吴门客观得眺赵荣禄此轴不忍释手因识以记岁月耳竹嬾李日华This message means Li Rihua was very honored to see this amazing painting in Wu Men area in May of Summer of the second year of Tian Qi period of Ming dynasty, Li Rihua left the message and stamp to this memory. 7. 大宛直在玉阙西，万里风沙入骏蹄。一自殿前随杖立，垂头不肯向人嘶。嘉靖壬寅清和上澣茂苑文嘉题 In the twenty-first year of Jiajing in the Ming Dynasty (1542 AD) in the first fourth lunar month, Wen Jia inscribed this poem in the area of Suzhou. The poem depicts a picture of the horse and its condition, and it contains a deep meaning. We can parse its meaning sentence by sentence: Dawan is straight in the west of Yuque, and thousands of miles of wind and sand enter the horse's hooves. 8. 嘉靖壬寅初夏同王禄之得观于双桂堂中，彭年 This message means Peng Nian saw this painting with Wang Luzhi together in Shuang Gui Tang in Summer of Ren Yin year of Jia Jing period of Ming dynasty. 9. 王孙画马世无敌，一画一回飞霹雳。千里长风入彩毫，平沙碧草春无迹。砚池想走渥洼产，突然走出白鼻䯄。翻涛浴浪动光彩，云影满身堆玉花。玉花连钱汗血流，骏尾捎风蹄踣铁。何时骑得似画中，踏破阴山古时雪.长洲沈周题 This poem was inscribed by Shen Zhou in Chang Zhou area, it depicts a vivid picture of horses. The first sentence "Wang Sun's painting of horses is invincible" praises the painter Zhao Songxue's superb painting skills, which no one can match. The following "Flying Thunderbolt" vividly shows the dynamic power of the horses in the painting, as if galloping like thunder on the canvas. "A Thousand Miles of Wind into Color" depicts horses galloping in the wind, with vivid brushstrokes, as if the wind was also captured in the painting. Then, "Flat Sand and Green Grass in Spring" depicts the vast grassland and the breath of spring, highlighting the scene of horses galloping freely. 10. 雾鬣云鬃出帝闲，谁将图画落人间。奚官饱牧无余事，独立春风忆丛山。吴门张渥题 This poem was inscribed here by Zhang Wo from Wu Men area. The poem depicts a vivid picture of the emperor's leisure time and an official's independent thinking in the spring breeze. 11. 草细泉香野色新，五花骄气散春云。昂头似忆当年事，立仗淩寒夜正分。至正十年八月梅途人吴镇题 This poem was inscribed by Wu Zhen in August of the tenth year of Zhi Zheng perod of Yuan dynasty, it depicts a vivid picture of horse herding, full of pastoral and historical charm. Auction results: 1) Zhao Mengfu (attributed to) - Essay in running script, Ink on silk, 9.7” x 5.6”= 24.7 cm x 14.2 cm, Sotheby’s, China, Hong Kong, Estimate: 600,000 -900,000 HKD = $778,200 - $1,167,300 USD; 2) Zhao Mengfu, Horses and grooms, ink colors, 35”x 63”, -Bonham’s Hong Kong, 04/03/2018- Sold for 800,000 HKD = 1,037,600 USD; 3) Zhao Mengfu, Duren Sutra, -Christies, China, Hong Kong, 05/29/2006, ink 10” x 12”, - Sold for 200,000 HKD = $259,400 USD; 4) Zhao Mengfu (attributed to), Horse and groom, Christie’s, China, Hong Kong, ink and color on silk, 13” x 10.6” = 33cm x 27cm, Sold for 162,500 HKD = $210,762 USD; 5) Zhao Mengfu. Correspondence 05/28/2018, Ink, - Sold for 80,000 HKD = $103,760 USD; 6) Zhao Mengfu. Running script calligraphy, Christies, China, Hong Kong, 05/28/2018, Sold for 437,500 HKD = $567,437 USD; 7) Zhao Mengfu. Eight horses hand rolled, Est-Ouest Auctions, Hong Kong, 05/31/2014, painting, 78”x13”, - Sold for $38,210 USD Zhao Mengfu (Chinese: 趙孟頫; pinyin: Zhào Mèngfǔ; Wade–Giles: Chao Meng-fu; courtesy name Zi'ang (子昂); pseudonyms Songxue (松雪, "Pine Snow"), Oubo (鷗波, "Gull Waves"), and Shuijing-gong Dao-ren (水精宮道人, "Master of the Water Spirits Palace"); 1254–1322), was a Chinese calligrapher, painter, and scholar during the Yuan dynasty.[1] He was a descendant of the Song dynasty's imperial family through Emperor Xiaozong's brother Zhao Bogui who married a lady surnamed Song who was the granddaughter of Emperor Huizong. Zhao Bogui was a descendant of Emperor Taizu, through his son Zhao Defang. He was recommended by the Censor-in-chief Cheng Jufu [zh] to pay an audience with Kublai Khan in 1286 at the Yuan capital of Dadu, but was not awarded an important position in office. His work was however, greatly appreciated later by the Confucian-inspired Yuan Emperor Renzong. Zhao was a member of the "Academy of Worthies".[2] He was married to Guan Daosheng, who was also an accomplished poet, painter and calligrapher. His rejection of the refined, gentle brushwork of his era in favour of the cruder style of the eighth century is considered to have brought about a revolution that created the modern Chinese landscape painting. He was known for his paintings of horses. His landscapes are also considered to be done in a style that focuses more on a literal laying of ground. Rather than organizing them in a foreground, middle ground, and background pattern he layers middle grounds at various heights to create a sense of depth. This pattern of organization makes his paintings appear very simple and approachable. It was this characteristic that so many people valued about his style. One of his most celebrated landscape paintings is exhibited at the Princeton University Art Museum with the title “The Mind Landscape of Xie Youyu” (幼輿丘壑), an allusion to the nature-loving scholar-official Xie Youyu (280–322). However, in 2019 Dutch scholar Lennert Gesterkamp argued that the colophon attached to the painting and mentioning Xie Youyu is a forgery, and that in fact Zhao Mengfu's intention was to honor his own spiritual master, Daoist scholar Du Daojian (1237–1318), who also celebrated nature.[3] Zhao Mengfu had several sons with his wife Guan Daosheng. His second son, Zhao Yong, also became a famous painter and calligrapher. He was also the maternal grandfather of Wang Meng, another famous painter. Zhao Mengfu was related to the later Ming dynasty literary figure Zhao Yiguang and his son Zhao Jun.[4]
Mengfu, Zhao (nach). Ziegenbock. Chinesischer Farbholzschnitt nach einer Pinselzeichnung Zhao Mengfus auf Faserpapier. 51 x 38 cm. China 20. Jahrhundert. -- Zhao Mengfu (1254-1322) war ein chinesischer Kalligraph, Maler und Gelehrter der Yuan-Dynastie und entstammte der kaiserlichen Familie der Song-Dynastie. Berühmt wurde er vor allem durch seine Pferdedarstellungen und die innovative Struktur seiner Landschaften, die durch eine grobe Pinseltechnik geprägt und stilbildend für die chinesische Malerei wurden. – Sehr guter Zustand. – Beiliegt: Schmetterling. Chinesischer Farbholzschnitt auf blauem Faserpapier. 50,5 x 37 cm. China 20. Jahrhundert. - Überaus minimalistische Komposition - ein filigraner Falter zentral auf blauem strukturiertem Chinapapier, daneben rote Kalligrafie. - Links mit kleinem Randknick. --
