A SCROLL PAINTING OF A SCHOLAR IN A LANDSCAPE, AFTER PENG YANG A SCROLL PAINTING OF A SCHOLAR IN A LANDSCAPE, AFTER PENG YANG China, 20th century. Ink, watercolors, and gouache on silk. Mounted as a hanging scroll on a silk brocade frame with wooden handles. Depicting a scholar with his attendants in tow carrying bundles of scrolls along, as they walk through a verdant landscape with flowering trees and tall craggy rocks. Inscriptions: Inscribed to the top right ‘Written by Peng Yang, a resident of Danling Mountain in southern Sichuan’ 蜀南丹稜山民彭暘寫 and signed with seals ‘Lao Peng’ 老彭 and ‘Chun gu liu shi hou zuo’ 春谷六十後作 . One red seal to a label suspended from the ties. Provenance: From a private collection in Zagreb, Croatia. Condition: Very good condition with minor wear. Tiny stains, few creases, and some soiling. The frame with signs of wear and age. Dimensions: Image size 130 x 31.5 cm, Size incl. mounting 206 x 44 cm

Estimate 200 - 400 EUR

Starting price 200 EUR

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For sale on Thursday 05 Sep : 11:00 (CEST)

vienna, Austria

Galerie Zacke
+4315320452

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A SCROLL PAINTING OF A SCHOLAR’S ROCK UNDER A PINE TREE, AFTER URAGAMI SHUNKIN A SCROLL PAINTING OF A SCHOLAR’S ROCK UNDER A PINE TREE, AFTER URAGAMI SHUNKIN Japan, late 19th to early 20th century Ink and watercolors on silk. Mounted as a hanging scroll on a silk brocade frame with wooden handles. Depicting a porous scholar’s rock under a tall, gnarled pine tree. Inscriptions: Signed ‘sha’寫, ‘Shunkin’ 春琴 with seal. Dated ‘Kanoeko Seiwagetsu’ 丙甲清和月 (corresponding to 1836). Image SIZE 109 x 33.5 cm, SIZE incl. mounting 200 x 46.3 cm Condition: Very good condition with minor wear. Some soiling and minor folds and creasing. The mounting with usual traces of wear and age. With a wood tomobako storage box. (2) Uragami Shunkin (1779-1846) was a Japanese nanga (literati) painter who lived during the late Edo period. He was born in Bizen Province (present-day Okayama Prefecture) as the first son of Uragami Gyokudo, who was a samurai for the Ikeda daimyo at the time. He learned painting and calligraphy from his father when he was a child. Around 1792, the art dealer Nyoi Dojin began buying Gyokudo’s as well as Shunkin’s works. Uragami Shunkin later settled in Kyoto, establishing himself as a Literati painter conversant in the related arts of poetry, calligraphy, and playing the koto, the musical instrument that had been one of his father’s fortes. Shunkin, who was active in the intellectual and literary circle of Rai Sanyo (1780–1832) and others in Kyoto, also achieved a reputation as a connoisseur of antique paintings, calligraphies, inkstones, and metalwork, all of which he collected himself.

Lot 791

Estim. 150 - 300 EUR

A SCROLL PAINTING OF TENJIN VISITING CHINA, AFTER MARUYAMA OKYO, c. 1900s A SCROLL PAINTING OF TENJIN VISITING CHINA, AFTER MARUYAMA OKYO, c. 1900s Japan, late 19th to early 20th century Ink, watercolors, and gouache on paper. Mounted as a hanging scroll on a silk brocade frame and wooden handles. Depicting a monk dressed in voluminous robes clutching a pruned branch of plum. Inscriptions: Signed ‘Maruyama Okyo’ 円山応挙 . One inscription to the back ‘Toto Tenjin Zo’ 渡唐天神像 . Image SIZE 56.5 x 22.5 cm, SIZE incl. mounting 133 x 29 cm Condition: Good condition with minor wear and slight browning of paper. Creasing, folds, and tiny tears. The frame with age related wear and wormholes. The theme Tenjin Visiting China is one of the most complex and revealing subjects in the Chan/Zen figural canon. Tenjin, an indigenous Japanese kami (sacred spirit), was imagined by medieval Japanese communities to have visited the Chinese Chan master Wuzhun Shifan (1177–1249), becoming the recipient of his authentic dharma transmission. The painting Tenjin Visiting China seen here is one of many dozens of examples that depict the deity in accordance with this popular legend. Usually depicted against a blank background, Tenjin is dressed in Daoist robes, with his hands folded together and a flowering plum branch in his arms; a Chinese scholar’s headgear completes the ensemble. The plum branch refers to a famous episode in Tenjin’s legendary biography. Maruyama Okyo (1733-95) is pivotal to Japanese art history for being one of the first artists to paint directly from nature rather than from paintings and sketches.

Lot 1621

Estim. 600 - 1 200 EUR

A SCROLL PAINTING OF SCHOLARS IN A MOUNTAINOUS LANDSCAPE, AFTER WEN JIA, c. 1900s A SCROLL PAINTING OF SCHOLARS IN A MOUNTAINOUS LANDSCAPE, AFTER WEN JIA, c. 1900s China, late Qing Dynasty (1644-1912) to Republic period (1912-1949). Ink, watercolors, and gouache on silk. Mounted as a hanging scroll on a silk brocade frame with wooden handles. Depicting an impressive and idyllic landscape featuring a meandering river, fishing huts, and two scholars in deep discussion, all within a verdant landscape with pine trees framed by imposing rocks and mountains. Inscriptions: Inscribed and signed to the top margin by Wen Jia (1501-1583) and Chen Jiru (1558-1639), with an excerpt from the writings of Liu Ji (1311-1375). Further inscribed, ‘A Great General in Tang Dynasty, Li Si-Xun’. Provenance: From a Hungarian private collection, acquired from a private collection in Germany. Condition: Very good condition with wear. Soiling, stains, and very minor flaking. The frame with wear and soiling. Dimensions: Image size 143 x 51.5 cm, Size incl. mounting 244 x 73 cm Wen Jia (1501-1583) was a Chinese painter of landscapes and flowers during the Ming Dynasty. He came from a family of painters. He was the second son of Wen Zhengming, and his brother Wen Peng became a painter as well.

Lot 1959

Estim. 250 - 500 EUR

A LARGE FAMILLE-VERTE ‘KUI XING’ BRUSHPOT, BITONG A LARGE FAMILLE-VERTE ‘KUI XING’ BRUSHPOT, BITONG Expert’s note: The figures depicted in this brushpot are both scholarly and immortal in their appearance. The standing scholar holding a scroll represents Wenchang Wang, the God of Literature. The elderly man riding the mule depicts Zhang Guolao, whose epithet ‘Lao’ added at the end of his name means ‘old’, and who is often shown riding a donkey or mule. The two attendants holding a lotus flower (‘he’) and box (‘he’) are the Hehe Erxian, typically depicted as boys. The true star in this scene, however, is Kui Xing standing in characteristic pose within a cloud emanating from Zhang Guolao’s head, perhaps mentioned by the elderly scholar in conversation to his colleague, thereby revealing the significance and meaning that this brush pot once had for its original owner. China, Qing dynasty or later. Well potted with gently waisted sides, the exterior painted in bright enamels with gilt highlights to depict two scholars engaged in conversation, one standing and holding a large scroll, his attendant carrying a sack filled with scrolls, the other riding a mule and holding a ruyi scepter, a cloud emanating from his head enclosing Kui Xing, all within a verdant mountainous landscape with gnarled trees, craggy rockwork, and wispy clouds. Provenance: Dutch trade. Condition: Good condition with expected old wear and firing irregularities, including pitting, glaze recesses, firing cracks, and dark spots. Few shallow chips and fritting to the rim. Weight: 2,081 g Dimensions: Diameter 18.9 cm Identified by the writing brush held in his right hand and his iconic 'back-kick' posture, Kui Xing (‘Chief Star’) is a Daoist deity worshipped to obtain academic success. It therefore was auspicious for a scholar to have an item decorated with this figure on his desk, to inspire him in his writing and achievement of examination success. The Chinese character ‘Kui’ is composed of the ideographs for ‘demon’ and ‘ladle’ (or ‘dipper’, as Kui Xing is also associated with the North Star). Kui Xing is often portrayed with a demonic appearance, a hideous face, a horn-like protuberance on his head, and a sinewy body. According to legend, he was once a mortal scholar with outstanding literary skills but was repeatedly failed in the civil service examinations due to his repulsive appearance. Out of frustration and humiliation, Kui Xing threw himself into a river, where he was saved by a mythical beast called ao. He then ascended to the Big Dipper and became the stellar patron of the literati and the God of Literature. Dreaming of Kui Xing the night before the exams was considered an auspicious sign. The candidate who obtained the highest results, known as the First Scholar (zhangyuan), would walk first on a staircase decorated with the ao. Representations of Kui Xing are thus a symbol of literary success and highest achievement at the Imperial examinations. Auction result comparison: Type: Related Auction: Christie’s New York, 30 March 2005, lot 399 Price: USD 10,200 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A famille verte brushpot, bitong, 18 th/19 th century Expert remark: Compare the closely decoration and manner of painting with similar sparse surroundings and blue enamel as well as the related size (17.7 cm). Note that considering recent findings, this brush pot more likely dates to the 19 th than the 18 th century. Auction result comparison: Type: Related Auction: Sotheby’s New York, 17 March 2009, lot 108 Price: USD 20,000 or approx. EUR 26,500 converted and adjusted for inflation at the time of writing Description: A large ‘famille-verte’ brushpot, Kangxi period Expert remark: Compare the related decoration and manner of painting with similar gilt highlights. Note that this bitong dates from an earlier period than the present lot.

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