Abstract Landscape, 1952 Large album leaf mounted as a hanging scroll, ink and color on paper, inscribed by the artist, dated renchen, and signed Binhong, with an artist's seal Huang Binhong. 12 5/8 x 17 7/8in (32 x 45.2cm) 黃賓虹 抽象山水 設色紙本 冊頁裝裱為立軸 一九五二年作Provenance/來源:Far East Fine Arts, San Francisco, California 加州舊金山遠東藝術中心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, A50-72, p. 208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，A50-72，頁208 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. 214Andrews, 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214 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. 552-553Little, 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552-553 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In his inscription, Huang Binhong cites the profound innovations of the Jinshi movement artists of the Daoguang and Xianfeng periods (1821-1861) who were active a hundred years prior to this painting's conception. In his words, Huang Binhong deems their contribution to Chinese painting as a 'renaissance' fuxing, as the reintroduced brush methods would transform the approach to landscape painting in a profound manner. See Wan Qingli, "Huang Binhong yu 'Dao Xian huaxue zhongxing", Wenyi yanjiu, 2004:6.黃賓虹於本幅題款：前清道咸金石學盛，繪畫稱為復興。其認為，將金石書法中的筆法運用到山水繪畫中實為「復興」，點出了金石學對繪畫的重大意義。參見萬青力"黃賓虹與道咸化學中興"，發表於《文藝研究》，2004年第6期，頁106-107