Autumn Landscape Hanging scroll, ink and color on paper, inscribed by the artist and signed Hengke, with one artist's seal xiu. 54 x 13 1/8in (137.2 x 33.2cm) 陳衡恪 秋山圖 設色紙本 立軸Provenance/來源: Shanghai Duoyunxuan, 31 May 1996, lot 246上海朵雲軒，1996年5月31日，拍品編號246Published/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, A50-092, p. 219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，A50-092，頁219Andrews, 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, pp. 123Andrews, 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213Little, 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. 430-431 Little, 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430-431Exhibited/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Wondrous Ink, Kalamazoo Institute of the Arts, Kalamazoo, MI, August 28-December 5, 2010《水墨神韻》，卡拉馬祖藝術學院，卡拉馬祖，密歇根州，2010年8月28日至12月5日Although Chen Hengke was deeply concerned with the fate of traditional Chinese art and believed in the value of traditional Chinese painting, he himself was not strictly conservative in art. Indeed, this painting has vividly shown his departure from the orthodox approach of the "Four Wangs". Within a traditional composition of Chinese landscape, he has used short and bold lines to outline the shapes of trees and mountains. When it came to the textures of mountains and rocks, he has used an array of different shades of color rather than the traditional cun textural strokes.儘管深信中國傳統繪畫的價值並為其未來發展之命運憂心忡忡，陳衡恪本人在技法和風格上卻並不保守。本幅即體現他與"四王"完全不同的個人風格。在傳統的山水構圖中，用於造型勾勒的線條短促有力。在塑造山石形體與紋理時，他使用的是大片深淺不同的著色而非傳統的皴法。