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Lot 2194
From A Private Malaysian Collection
胡姫花
徐悲鴻
細節
徐悲鴻 胡姫花 設色紙本 鏡框 一九三九年作
題識：仙女蹁躚偶降凡，嘉名號幹茉亞。
有人顛倒神魂醉，萬裡投荒為看花。
櫻口深深白翼寒，數枝翠杖出尊前。
如此色相誰禁得，舞與如來千眼看。
花白心紅照眼明，雙翅燁燁貫羣星。
嫦娥應自悲論讁，遂披羽衣出太清。
認識前因又一回，相逢太晚每驚猜。
何時得乘仙槎去，重到卿家月窟來。
星洲陳君溫祥好蓄奇卉 Cattleya 一種尤為美麗，
驚豔之餘，對寫數過並賦短章伸我贊嘆
不盡之情，且幸花必有知也。廿八年 (1939) 春日，
悲鴻。張星橋夫人謝美香女士清賞。
鈐印：悲鴻、上清淪謫、比諸鬼神而无疑
題識：仙女蹁躚偶降凡，嘉名號幹茉亞。
有人顛倒神魂醉，萬裡投荒為看花。
櫻口深深白翼寒，數枝翠杖出尊前。
如此色相誰禁得，舞與如來千眼看。
花白心紅照眼明，雙翅燁燁貫羣星。
嫦娥應自悲論讁，遂披羽衣出太清。
認識前因又一回，相逢太晚每驚猜。
何時得乘仙槎去，重到卿家月窟來。
星洲陳君溫祥好蓄奇卉 Cattleya 一種尤為美麗，
驚豔之餘，對寫數過並賦短章伸我贊嘆
不盡之情，且幸花必有知也。廿八年 (1939) 春日，
悲鴻。張星橋夫人謝美香女士清賞。
鈐印：悲鴻、上清淪謫、比諸鬼神而无疑
更多詳情
In 1925, Xu Beihong met Huang Menggui (1885-1965) in Paris. Huang, a master's degree holder of Columbia University, was on a study tour in Europe. Knowing that Xu had financial difficulties due to irregular government funding from China, Huang asked his second younger brother Huang Manshi (1890-1963) for help. A general manager of Nanyang Brothers Tobacco Co. Ltd. in Singapore, Huang Manshi was a generous man and an art collector. Eventually he invited Xu for a short stay in Singapore at his residence of colonial style, the Hundred-Fan Studio, which was also known as Jiang Xia Tang. Huang was so kind that he converted a small living room on the second floor into a studio for Xu. Through the introduction of Huang Manshi, Xu painted portraits for the local senior officials and the rich, so as to support the living of his wife Zhang Manwei in Paris. Since then, Xu regarded the Huang brothers as the bosom friends of his life and stayed in Jiang Xia Tang whenever he visited the country.
Huang Manshi was a lover of tropical flora, especially orchids. Precious and rare species of orchids filled his garden at Jiang Xia Tang. Influenced by the passion of his friend and physically surrounded by the colourful blooms, Xu became very interested in the orchids and they became his subject matter for painting.
Painted in the spring of 1939, Cattleya exemplifies Xu's artistic talents stemmed from the East and influenced by the West. Depicted in the traditional baimao method, the exotic orchid cattleya trianae flourishes gracefully in a Chinese jardini?re. While the skilful play on light, colour and form is an evidence of Xu's solid foundation in modern Western painting techniques, the composition with the orchid occupying one-third of the painting at the bottom and the long inscriptions one-third on the top is reminiscent of the flower painting of the Chinese literati in the past. These, together with the exotic origin of the orchid, make Cattleya an intriguing work of art and a memory of Xu Beihong in Singapore.
Huang Manshi was a lover of tropical flora, especially orchids. Precious and rare species of orchids filled his garden at Jiang Xia Tang. Influenced by the passion of his friend and physically surrounded by the colourful blooms, Xu became very interested in the orchids and they became his subject matter for painting.
Painted in the spring of 1939, Cattleya exemplifies Xu's artistic talents stemmed from the East and influenced by the West. Depicted in the traditional baimao method, the exotic orchid cattleya trianae flourishes gracefully in a Chinese jardini?re. While the skilful play on light, colour and form is an evidence of Xu's solid foundation in modern Western painting techniques, the composition with the orchid occupying one-third of the painting at the bottom and the long inscriptions one-third on the top is reminiscent of the flower painting of the Chinese literati in the past. These, together with the exotic origin of the orchid, make Cattleya an intriguing work of art and a memory of Xu Beihong in Singapore.
榮譽呈獻
Yanie Choi
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