Landscape and Calligraphy, 1892Folding fan, ink and color on ld paper, inscribed by the artist with a dedication and signed Qing daoren, with an artist's seal reading Qing daoren, reversed by calligraphy in Northern Wei style script, ink on ld paper, dated renchen, and signed Qing daoren with two artist's seals. 7 x 19 1/4in (18 x 49cm) 李瑞清 山水書法 成扇 設色/水墨金箋 一八九二年作Provenance/來源:Shanghai International Auction, 13 December 2000, lot 184上海國際商品拍賣有限公司，2000年12月13日，拍品編號184Published/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, A50-16, p. 184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，A50-16，頁184Exhibited/展覽:Wondrous Ink, Kalamazoo Institute of the Arts, Kalamazoo, MI, August 28th-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The calligraphic inscription on the reverse of the fan is copied from a shrine on the ceiling of the Guyang cave at the Buddhist site Longmen. Originally inscribed to accompany an image of Maitreya, the text documents that the sculpture was sponsored by Lady Gao, and it was built as a votive offering for her grandson Bao, who died young. The original calligraphic inscription is one of the "twenty stone inscriptions of Longmen", (Longmen ershipin) and hailed as the pinnacle of Northern Wei dynasty stele script during the middle and late Qing dynasty. Li Ruiqing's use of the inscription demonstrates the Jinshi calligrapher's interest in the aesthetics of the early script style, rather than the specific content of the text.本扇面另面的題跋節錄自龍門石窟古陽洞頂部造像龕的《北海王國太妃高為亡孫保造像記》。造像龕內主尊為交腳彌勒菩薩。據該造像記所述，此龕及佛像為北海王國太妃高氏為其愛孫元保而造，以祈願夭折的愛孫能"永脱百苦"。該造像題記為"龍門二十品"之一，在清代中晚期被譽為魏碑書法之巔峰。李瑞清於此節錄該題記，表明這位金石書法家所著眼的乃是這種早期書體之美感，而非其文字所述具體內容。