2. 99 雲峰遠眺
Distant Cloudy Mountains
1906
水墨紙本立軸
Hanging scroll, ink on paper
高：133 厘米闊：46 厘米
H： 133 cm W：46 cm
鈐印： 「明之鉥」（朱文長方印）
With collector’s two seals
黎明．黃詠賢伉儷藏品
Collection of Mr Lai Ming and Ms Wong Wing-yin
高劍父早年山水畫作多借鏡於古代畫法而予以個人演繹。此作注重國畫中
的「黑白」、「虛實」對比相生的美學意念。前景以濃墨積染樹木，深淺
變化深得「墨分五色」之妙，中景留空營造空間層次，遠景勾描山巒輪
廓，衹以淡墨表現群山向背，反映傳統山水畫法對他的影響。
此圖為其東渡日本翌年，攜弟高奇峰赴日，與弘一法師（1880-1942）及
友人鍾卓佳在橫濱發起籌賑粵、湘、贛三省水災慈善展，自捐作品十四幀
其中一幀。傳承有緒，殊為難得。
In Gao Jianfu’s early days, he often borrowed ancient painting techniques
and styles for reference and as artistic cultivation for creating his own
personal style. In this work, the contrast of black and white, void and solid
demonstrates the aesthetic concept of Chinese painting. The trees in the
front are depicted in dense ink washes and the modulation from deep to
light ink tones fully reveal that Gao mastered the belief that “ink should
have five colours”, an aesthetic notion in Chinese painting. The multidimensional
spatial composition with plain emptiness in the centre and
the light ink washes of distant mountains reflect the influence of
traditional landscape painting style.
After returning from Japan, he again travelled to Japan with his brother
Gao Qifeng the following year and launched a charity exhibition in
Yokohama with his friends Zhong Zhuojia and Monk Hong Yi (1880-1942),
aiming to raise funds for relief of victims of a flood in Guangdong, Hunan
and Jiangxi. This work is one of the fourteen works donated for this
charity exhibition, with provenance recorded.
