Jin Cheng, Spring Scenery of Jiangnan | 金城　江南春色　設色紙本　立軸　一九二四年作

Sotheby’s Hong Kong, Fine Chinese Painting, April 2011, Lot 1202

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香港蘇富比，二○一一年四月，中國書畫拍賣，編號1202

Hui Chong, an artist from Jianyang, Fujian, was renowned in the late 10th century for his exquisite depictions of the beauty of the Jiangnan region. Although few of his paintings survived and none carry his signature, his influence on the development of Chinese paintings is far-reaching. Executed in the later period of the Jin Cheng’s artistic career, the artist stated that this work was painted in the style of Hui Chong’s “Jiangnan Spring”. It captures the exuberance of Spring with the undulating verdant mountains and riverside cottages that nestled among peach blossom and willow trees. Two scholars are enjoying their solitude, one leisurely strolling through the forest while the other indulges in fishing.

This painting stands as a testament to Jin Cheng’s thorough understanding and representation of Hui Chong's style. 

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註：惠崇，福建建陽人，約活躍於十世紀中晚期。能詩善畫，畫以小景著稱，筆下江南秀色，最為人道。惟傳世畫迹極稀，皆無款印，宋畫有相類題材者，多託名其下。

本幅謂略師惠崇〈江南春〉卷意，乃北樓晚期之作。畫中青山橫亙，溪岸鄉舍依偎於桃紅柳綠間；林中高士曳杖，湖上釣翁垂綸；水禽翔泳，燕子輕颺，入眼處正是一片江南春色。故無須深究所師是否惠崇真本，但確是上世紀初期鑽研古畫透徹的金城對惠崇的理解與重現。其規模宋人山水法度森嚴，筆墨與設色皆參融了文人畫的飄逸恬淡，故寫來自然見生機不息，顯示了民國初期山水畫的時代氣息，汲古而呈新貌矣！其實這種對惠崇畫風的體會認知，應不局限於北樓一人，雖或未必受其影響，在同期或稍後的畫家中，從事此類風格者亦可見與本幅之接近性。如吳琴木在一九四六年作〈柳堤春曉〉，謂「擬惠崇小景」，即可見其端倪。

參考資料：

吳琴木〈柳堤春曉〉可參見〈吳琴木畫集〉(上海書畫出版社，二OO三年八月)，頁87