1) The document shows a photograph of Gao Jianfu and his friends and followers taken in Guangzhou.
2) It describes Gao Jianfu collecting illustrations as references for his work, including a painting of a peacock by Japanese artist Hobun Kikuchi.
3) Gao traveled to Japan from 1906 to 1908 to study painting and was influenced by Japanese styles, and the peacock painting may have been a reference for his later works depicting peacocks.
Gao Jianfu traveled extensively through India and South Asia from 1930-1931, sketching landscapes and customs. This included climbing in the Himalayas and sketching a sunrise lookout in Tiger Hill at 8,500 feet. He also drew a 270-foot rope bridge over a raging river in the Himalayas. In Bombay, he documented the Persian sky burial ground where bodies were left for birds until only bones remained. Gao made detailed notes in his sketchbook to serve as valuable references of his travels.
1) The document shows a photograph of Gao Jianfu and his friends and followers taken in Guangzhou.
2) It describes Gao Jianfu collecting illustrations as references for his work, including a painting of a peacock by Japanese artist Hobun Kikuchi.
3) Gao traveled to Japan from 1906 to 1908 to study painting and was influenced by Japanese styles, and the peacock painting may have been a reference for his later works depicting peacocks.
Gao Jianfu traveled extensively through India and South Asia from 1930-1931, sketching landscapes and customs. This included climbing in the Himalayas and sketching a sunrise lookout in Tiger Hill at 8,500 feet. He also drew a 270-foot rope bridge over a raging river in the Himalayas. In Bombay, he documented the Persian sky burial ground where bodies were left for birds until only bones remained. Gao made detailed notes in his sketchbook to serve as valuable references of his travels.
This document contains sketches from Gao Jianfu's travels through South Asia from 1930-1932, including:
1) A sketch of a Parsi sky burial ground in Mumbai with annotations about the burial customs and structures.
2) Sketches from the Himalayas including a sunrise lookout in Tiger Hill and a 270 foot long rope bridge over a river.
3) Background that Gao traveled extensively in places like India, Sri Lanka, Burma, Bhutan, and Nepal during this time, sketching landscapes, people, and customs.
This document contains photographs and drawings from the collection of Mr. Lai Ming and Ms. Wong Wing-yin. The first photo shows teacher Ju Lian and his students and friends, including Gao Jianfu, photographed in Guangzhou. The following drawings and sketches include wildlife studies from Gao Jianfu's travels in Japan, as well as sketches of chickens and other subjects, some annotated with notes on color or condition. A reproduction of a painting by Japanese artist Hobun Kikuchi of peacocks is also included, which Gao may have referenced in his own works.
1) The document contains sketches from Gao Jianfu's travels through South Asia from 1930-1932, including landscapes and cultural sites in India, Nepal, and the Himalayas.
2) Two sketches depict a Parsi sky burial ground in Mumbai, with annotations about the burial customs and structures.
3) Gao traveled extensively during this period, meeting Tagore in Darjeeling and holding exhibitions in Sri Lanka and Mumbai to share his sketches and observations from the region.
The document describes a photograph of Gao Jianfu and his friends and followers taken in Guangzhou. It then discusses two of Gao's artworks - a painting of a peacock by a Japanese artist that inspired Gao, and a sketch of a peacock's tail that Gao did after studying painting in Japan from 1906 to 1908 and being influenced by Japanese styles. The document provides details on Gao's travels and studies in Japan, and notes that the sketch is part of a series and demonstrates Gao's close study of animals. It comments that peacocks became a popular theme for painters of the Lingnan School like Gao's student Yang Shanshen.
This document discusses several works related to the Chinese artist Gao Jianfu including:
1) A collection of his poems and records of his tours compiled by his students
2) A brochure from an exhibition of his works in Macao with price listings
3) A collection of his poems titled "A Collection of Poems of Frog's Sound"
Gao Jianfu's sketch of a chicken was broken and torn but was carefully collected and conserved by Liming Laoshi and his wife Huang Yingxian over many years to preserve it for exhibition. In 1912, Gao Jianfu established the 'Aesthetics Press' with his brothers where they published The True Record: Illustrated Magazine, which featured a cooperative painting of an owl by Gao Jianfu and his brother Gao Jianseng. Gao Jianfu often casually sketched objects he saw, such as the sketch of ants on a torn piece of paper.
In July 1939, the Chinese Faculty of the University of Hong Kong held an exhibition of works by ten artists from the Spring Slumber Art Academy. In June 1939, the Chamber of Commerce of Macao also held an exhibition of works by members of the Spring Slumber Art Academy to raise funds for disaster victims. The exhibitions were reported on in local Chinese newspapers at the time.
1) The document contains sketches from Gao Jianfu's travels through South Asia from 1930-1932, including landscapes, structures, and customs he observed.
2) One sketch depicts a Parsi sky burial ground in Mumbai, where corpses are left for birds to consume, leaving only bones.
3) Gao took detailed notes of what he sketched to serve as valuable references for his work.
Gao Jianfu often brought sketchbooks on his travels to depict scenes and objects he saw for future reference in his painting. In late 1930, he traveled to India to attend an education conference in January 1931. This document contains press reports from India in 1931 describing Gao Jianfu's travel to India and South Asia where he purchased sketchbooks. The sketchbooks contained drawings and annotations of landscapes and wildlife.
1) The document shows a photograph of Gao Jianfu and his friends and followers taken in Guangzhou.
2) It describes Gao Jianfu collecting illustrations as references for his work, including a painting of a peacock by Japanese artist Hobun Kikuchi.
3) Gao traveled to Japan from 1906 to 1908 to study painting and was influenced by Japanese styles, and the peacock painting may have been a reference for his later works depicting peacocks.
4. 127 火燒阿房宮（畫稿） 129 火燒阿房宮
Draft of Afang Palace on Fire Afang Palace on Fire
無年款Undated 無年款Undated
水墨紙本 設色絹本直幅
Ink on paper Vertical scroll, ink and colour on silk
高：37.9 厘米闊：29.9 厘米 高：39 厘米闊：27.5 厘米
H： 37.9 cm W：29.9 cm H： 39 cm W：27.5 cm
香港中文大學文物館藏（藏品編號：2019.0009） 香港中文大學文物館藏（藏品編號：1973.0843）
張頌仁先生（漢雅軒）惠贈 何耀光先生、霍寶材先生、黎德先生及其他人士惠贈
Collection of Art Museum, The Chinese University of Hong Kong Collection of Art Museum, The Chinese University of Hong Kong
(Acc. No.: 2019.0009) (Acc. No.: 1973.0843)
Gift of Mr Chang Tsong-Zung (Hanart TZ Gallery) Gift of Mr Ho Iu-kwong, Mr Huo Pao-tsai, Mr Lai Tak and others
鈐印：「高崙」（朱白文四靈方印） 款識： 「劍父」
藏印： 「斑園供奉劍父百品之一」（朱文方印）
With one artist seal
With artist’s signature and one collector seal
此圖與展品127，128描畫楚漢相爭時期項羽（前232-前202）火燒秦始皇
（前259-前210）所建阿房宮的歷史故實。展品127為白描畫稿，勾描火焰
起於宮內。展品圖版128為黎氏伉儷所藏設色畫稿，描畫火燒阿房宮一
角。此圖則繪阿房灰劫，烈焰滔天，並以濃墨重設色渲染畫面，令人感到
烽煙瀰漫的災劫，並加署款。三圖並列，反映高劍父由畫稿發展至完整畫
作的過程。
This work, with Exhibits 127 and 128, describe the historical incident in
which King Xiang Yu (232-202 BC) of the revived Chu State set fire to and
destroyed the Grand A Fang Palace built by the First Emperor of the Qin
Dynasty (259-210 BC). Exhibit 127 is a sketch with plain outlines of the fire
rising from the palace. Exhibit 128 (collected by the lender Mr and Mrs
Lai) portrays, in ink and colour, the fire burning part of the palace. This is
a completed work showing the historical incident. It is inscribed with
Gao’s signature. The comparison of the three works fully illustrates the
development from sketches to a completed work.
128 山水
Landscape
無年款Undated
水墨設色紙本
Ink and colour on paper
高：34 厘米闊：24.5 厘米
H： 34 cm W：24.5 cm
題款： 「劍父」
With artist’s inscription
黎明．黃詠賢伉儷藏品
Collection of Mr Lai Ming and Ms Wong Wing-yin
複印本Replica
