Sunset at Changjiang with a Hundred Poems, 1845Horizontal handscroll, ink on paper, titled by the artist in clerical script and signed Renshan,with artist's seals reading Renshan and Su Changchun, with a second inscription by the artist dated yisi and signed Su Changchun with the artist's seals Changchun and Huadong xiao shenxian, mounted with four colophons, the first by Wu Xuezao (19th century) dated wuxu (1898), the second by He Zuogan (19th-20th century) dated wuxu, the third by Du Ruji (19th century) dated wuxu, and the fourth by Li Changxi (1851-1932) dated Guangxu bingwu (1906). 12 1/2 x 97 1/4in (32 x 247cm), the painting only, exclusive of the colophons 蘇仁山 長江夕照 水墨紙本 手卷 一八四五年作Provenance/來源:Sotheby's Hong Kong, 28 April 1997, lot 185蘇富比香港，1997年4月28日，拍品編號185 Published/出版: Toda, Teisuke and Hiromitsu Ogawa comp. Comprehensive Illustrated Catalogue of Chinese Paintings, Third Series, Volume 1: American and Canadian Collections, University of Tokyo Press, 2013, A50-36, pp. 194-195戶田禎佑、小川裕充，《中國繪畫總合圖錄》三編，第一卷，東京大學出版會，東京，2013年，A50-36，頁194-195 Andrews, Julia Frances, Michael Knight, and Pauline Yao. Between the Thunder and the Rain: Chinese Paintings from the Opium War Through the Cultural Revolution, 1840-1979, San Francisco: Echo Rock Ventures, in association with the Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, 2000, p. 66Andrews, Julia Frances, Michael Knight, and Pauline Yao,《風雲際會：從鴉片戰爭到「文革」（1840-1979）的中國繪畫》，亞洲藝術博物館，李鐘文亞洲藝術文化中心，舊金山，加州，2000年，頁66 Little, Stephen, and J. May Lee Barrett. New Songs on Ancient Tunes: 19th-20th Century Chinese Paintings and Calligraphy from the Richard Fabian Collection, Honolulu: Honolulu Academy of Arts, 2007, pp. 474-475Little, Stephen, J. May Lee Barrett,《古調新歌：費立哲神父珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年，頁474-475 Exhibited/展覽: Between the Thunder and the Rain, Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, San Francisco, California, October 25, 2000-January 14, 2001 《風雲際會：從鴉片戰爭到「文革」（1840-1979）的中國繪畫》，亞洲藝術博物館，舊金山，加州，2000年10月25日至2001年1月14日 New Songs on Ancient Tunes, Honolulu Art Academy, Honolulu, Hawaii, August 30-October 28, 2007 《古調新歌：費立哲神父珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年8月30日至10月28日Su Renshan's Sunset at Changjiang with a Hundred Poems, 1845 is a rare horizontal handscroll by the artist, and a fabulous record of his calligraphy and poetry. This painting opens in dramatic fashion with a foreground fanning cluster of trees and bamboo surrounded by boulders and the steep riverbank. In the upper right corner, the artist titles the painting in a bold, angular calligraphy reminiscent of Han clerical script, "Sunset at Changjiang". As the foreground recedes, revealing the deep distance, Su Renshan begins a second inscription along the lower edge of the composition. He writes:In the winter of the yisi (1845) during the tenth month on the 22nd day, I finished this painting by theafternoon. I then picked up my brush and composed one hundred poems below the river scene...Thereupon the artist begins an outpouring of words, following the river's course, with the land eventually dwindling to two faint lines. The calligraphy completely takes over the composition, encroaching still further into the foreground and the artist's words wrapping around to fill the sky. Su Renshan closes the composition by signing the scroll again, this time in seal script.本幅為蘇仁山作於1845年之《長江夕照》圖卷，是畫家筆下罕見之橫幅手卷，亦是其詩書作品的珠聯璧合之作。畫面起首頗具戲劇性，前景為巨石及峭岸環繞之竹叢與樹林。畫家在畫幅右上角自題畫題《長江夕照》，粗獷曲崛，有隸書筆意。當前景退去，畫面顯出深遠之處，蘇仁山的第二處題跋便於構圖邊緣處展開："乙巳之冬十月下旬二日画成，將午援筆，題百詠於下⋯⋯"從此處開始，畫家沿著河流寫下如密林般的文字。當河岸則逐漸褪為兩條模糊的界線，書法題跋則逐漸進入了前景，甚至填滿了天空，最終佔據了整個構圖。蘇仁山最後以再次署款收束全圖，而這次的題款則是以篆書寫就。