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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Nov 20, 2018 | China Guardian | Beijing | Grand View: Chinese Painting Highlight•modern | 349 | $****** - ****** | Dwelling In Spring |
Works on Paper
57 x 41 cm (22.44 x 16.14 in)
ink and colour on paper
Signed Binhong, dated 1948, with two artist seals; titleslip by Wang Guichen
Signed Binhong, dated 1948, with two artist seals; titleslip by Wang Guichen
来 源
1.陶铸、曾志旧藏。陶铸（1908-1969），湖南省祁阳人，党和国家杰出领导人，原国务院副总理。曾志（1911-1998），湖南宜章人。杰出的无产阶级革命家，中共中央组织部原副部长。
2.中国嘉德1998秋季拍卖会，第548号拍品。
此幅《春山雅居》 作于1948年，当时黄宾虹已是八十五的高龄，其艺术接近大成之境。题识中写道：“唐画刻划而少趣，宋人笔趣墨趣其最佳者，皆自书法中来，浑厚华滋细而不纤。董玄宰谓唐画不足学以此”。可见，黄宾虹有意在画中去除刻画雕琢之技巧，而以挥洒的书法性用笔来探求浑厚华滋的画境。
黄宾虹早年和晚年的绘画呈现出截然不同的两种风格。早年的“白宾虹”效法新安画派，干笔淡墨而疏淡清逸；晚年的“黑宾虹”则黑密厚重，浑厚华滋。黄宾虹的晚年风格之变原因是多方面的，机缘之一是他晚年的蜀地之游，他自称“入蜀方知画意浓”。另一个极为重要的原因就是他对宋画的理解。 “宋之画家俱于实处取其气，米元章于虚中取气虚中之实，节节有呼吸、有照应，要一笔不乱，不知者当为草草不经意，不知其美藏于笔中，而气韵着于笔之外。此境娄东、虞山未悟”。透过黄宾虹的言论，我们可以得知他对宋画和董其昌都是极为推崇，而推重董其昌就在于他对宋画真精神的继承。
图中布局巧妙，留白适宜，前绘水域坡岸，然后由房舍河桥过渡到山中赏景阁楼，人物点缀其间，极富生意；中景以浓墨绘山，绵延而上，山脉在晚年愈发纯熟的“五笔七墨”运作下显得厚重深沉，古树、幽居、山石诸般意象安排妥帖，而画幅右侧因大量留白而显得清丽灵动，一虚一实，两相对比，实处更显山林幽谧之趣味，而虚处更现飘渺灵动之风致。此画极为明显的体现了黄宾虹“冲和”的绘画旨趣。此画可以说既有早期清丽的画风，又有晚期浑厚之气，黄宾虹在师造化与师古人的基础上将二者完美的呈现于同一作品之中。
本件拍卖标的处于保税状态下，详情请见本图录《保税拍品竞买须知》。
