| 中文版 English
书画 陶瓷 玉石 佛造像/唐卡 金属器 家具 漆器 竹木牙角 紫砂 鼻烟壶 钱币邮品 名酒 奢侈品 其它
Calendar
Today
< >

具体要求

其它要求

-
关闭
全球拍卖首页 > Bonhams HK > 中国古董及乐器 > Lot 13
'Taigu Yuanyin': An Important and rare 'Confucius-style' huanghuali and zitan-inlaid 'hundred-patch' guqin Ming Dynasty (2)
香港 北京时间
2020年12月01日 开拍 / 2020年11月29日 截止委托
上一件 下一件
拍品描述 翻译
'Taigu Yuanyin': An Important and rare 'Confucius-style' huanghuali and zitan-inlaid 'hundred-patch' guqin Ming DynastySuperbly constructed with various precious woods of warm and dark hues such as zitan, huanghuali, and hongmu cut hexagonally imitating Buddhist patchwork vestments, the flat elongated body with two waisted sections on both sides, the top with thirteen inlaid mother-of-pearl studs (hui), seven strings threaded through tasseled jade pegs (qinzhen) running over the top and tied to either of the two button-like 'goose-feet' (yanzu) on the back, with two rectangular openings, the large one termed 'dragon pool' (longchi) and the smaller 'phoenix pond' (fengzhao), the underside bearing an inscription 'Tai gu yuan yin' or 'Harmony of Remote Antiquity', and the seal 'Chuan shi zhi bao', 'Treasure passed down the generations', box. 117cm (46in) long, 18cm (7in) wide (2). 注脚 明 嵌黄花梨紫檀「太古元音」仲尼式百衲琴Provenance: Yu Bosun (1922-2013) collectionA Californian private collection, USA, acquired by the mother of the present owner from the above in 1981, and thence by descentPublished and Illustrated: Li Boqin, Zhongguo guqin zhenshang, Beijing, 1995, p.32, pl.11 Liu Qin, 115 Years of Memorial Birth Celebration for Mr. Chu Tunan, Beijing, 2014, p.131Liu Qirong, 'On the Dating of Qin Zithers of a Hundred Patches (baina qin) with Hardwood Marquetry' in Journal of Gugong Studies, 2015, May, pp.80-85. 來源：俞伯蓀（1922－2013）舊藏美國加州私人收藏，現藏家之母1981年購於上者，後由家人保存迄今出版及著錄：李伯琴著，《中國古琴珍賞》，北京，1995年，圖版11，頁32柳琴著，《紀念楚圖南誕辰115週年》，北京，2014年，頁131劉岐榮著，《試論鑲嵌硬木「百衲琴」製作年代》，載於《故宮學刊》，北京，2015年5月，頁80-85。This Zhongni style (also known as 'Confucius-style' as this was supposedly the form of qin which the Sage played on) guqin, decorated with various precious woods cut hexagonally, was crafted using an extremely rare technique known as 'bai na' (which may be translated as 'hundred patch'), referring to the patchwork vestment worn by Buddhist monks. At present, there are only two known bai na constructed qins in China's public museums that are similar in age and craftsmanship to the present lot. One is the Ming dynasty qin named 'E'mei song' (literally, 'Pine of E'mei [Mountain]') in the Palace Museum, Beijing, similarly decorated in a hexagonal tortoise-shell pattern with zitan; see Zheng Minzhong, Gugong guqin tudian, Beijing, 2010, no.26. The other is the Ming dynasty qin named 'Yin Feng' ('Attracting Phoenix') in the Sichuan Provincial Museum, inlaid with wood and bamboo; see Songshi jian yi: Bashu diqu diancang guqin jingpin ji, Beijing, 2015, pp.66-69. The earliest mention of bai na style qins date from the Tang dynasty. Tang dynasty bai na style qins were purportedly made of the finest specially selected wutong wood, as Wei Xuan (active around 840 AD) records in his 'Liu Bin Ke Jia Hua Lu': Mr Li Qian strove to use among the best silk and wutong wood, stitching and blending the various elements together, he called this the 'hundred patch' qin. Using snail shells for the hui [harmonic markers]. Its three sides are especially magnificent. The strings will not break for ten years.' See Xuehai leibian, Shanghai, 1920, p.10.Today there are no known bai na qins from the Tang dynasty, except for the 'Jiu xiao huan pei' qin in the Liaoning Provincial Museum. However, the only part of this qin which uses inlaid wood is the sound absorber section. The Song dynasty saw the emergence of imitation bai na qins including inlaying wood block to the sound absorber section or simply carving a tortoiseshell pattern on the surface of re-lacquered wood. Examples can be seen in the Jilin Provincial Museum, with the 'Song feng qing jie' qin, Song dynasty, as well as the Song dynasty qin 'Kunshan jade' in the Ye Shimeng (1863-1937) collection, see related discussion by M.Z.Zheng, Bainaqin kao (The Study of Bai Na Qins)in his Lice ouluji: guqin jianding ji qita (The Connoisseurship of Guqin and Other Studies), Beijing, 2010, p.87.In the late Ming dynasty qins were made of hexagonal wood sections and bamboo, also called bai na qin. However, these were merely decorative and considered unsuitable for playing. The Ming dynasty scholar Gao Lian (1573-1620) in 'Zunsheng bajian' wrote: 'Among those bai na qins, they are also made today. Sometimes they are made of leftover beautiful materials [that were too good to be just thrown away], and so were cut into pieces and used to make a qin that is extraordinarily beautiful. Among those made today, there are those which are patterned like a tortoiseshell, inlaid with tortoiseshell, ivory, scented wood, and various other woods, with patterns inlaid with bone. The shops are filled with these qins which are called treasure qins.' See Gao Lian, Zunsheng Bajian in Qianding Siku quanshu, 1782, juan 15, p.76. After the late Ming period, more precious hardwoods came to be used in making qins. This was related to the rise and popularity of using precious hardwoods and zitan for furniture; for further discussion, of the qins 'Tai gu yuan yin ['Harmony of Remote Antiquity']' and the 'E'mei song', late Ming dynasty, see Liu Qirong, 'Shilun xiangqian yingmu 'bai na qin' zhizuo niandai', in Gugong xuekan, Beijing, 2015, May, pp.80-85. 琴仲尼式，白石十三徽，紫檀岳山及冠角，以各色木料切成六角形薄片貼飾表面，可辨者有黃花梨、紫檀及黃楊木，此技稱為「百衲」，取百衲僧衣之形象。龍池上方刻隸書「太古元音」四字，龍池下方刻篆書「傳世之寶」方印。唐代文獻最早記錄百納琴，乃選取精良的桐木整體拼合而成，如韋絢（活躍於840年前後）所記《劉賓客嘉話錄》：「李汧公勉，取絲桐之精者，雜綴為之，謂之百衲琴。用蝸殼為徽，其閒三面尤絕異，謂之響泉、韻磬。絃一上，可十年不斷。」，見《學海類編》，上海，1920年，頁10。如今並無唐代百衲琴傳世，唯一可見有用木條鑲嵌的例子是遼寧博物館藏之唐代「九霄環珮」琴，然而此琴也只是納音部分用木條鑲嵌而已。宋代之後仿百衲琴的作品，學者稱之為「假百衲」。宋代假百衲係在木胎上用刀刻劃六角形龜背百納紋再填漆，如吉林省博物館藏宋代「松風清節」琴；亦有以木條拼嵌納音的例子，如葉詩夢（1863-1937）舊藏之宋代「崑山玉」琴。相關討論見鄭珉中著，《百衲琴考》，收錄於《蠡測偶錄集—古琴研究及其他》，北京，2010年，頁87。明代晚期出現表面以六角木片，也有用竹片貼面的所謂百衲琴，是為裝飾琴，理論上并不适合演奏。惟此琴張絃之後，散音圓潤，泛音空靈，而按走順暢，音色清透，實為罕見。蓋因年深日久，木理乾透，硬木材質的琴面起到了類似於漆胎的效果，傳振極佳。明代學者高濂（1573年-1620年）在《遵生八箋》中有清楚記載：「又如百衲琴者，亦近制也。偶得美材，短不堪用，因而裁成片段，膠漆綴長，非好奇也。今仿製者，以龜紋錦片，錯以玳瑁、象牙、香料、雜木，嵌骨為紋，鋪滿琴體，名曰寶琴。」見高濂，《遵生八箋》，《欽定四庫全書》本，1782年，卷十五，頁76。晚明以來用名貴硬木製琴，跟紫檀及硬木家具和仿古清玩的流行有莫大關係，故宮博物院研究員劉岐榮有專文就此探討此件「太古元音」琴及故宮所藏「峨嵋松」琴為明代晚期之作，見劉岐榮，《試論鑲嵌硬木「百衲琴」製作年代》，《故宮學刊》，北京，2015年5月，頁80至85。目前中國公立博物館現存兩件百衲琴與「太古元音」琴年代和工藝相近，一為北京故宮博物院藏明代「峨嵋松」琴，為木胎嵌紫檀六方龜背百衲，見鄭珉中編，《故宮古琴圖典》，北京，2010年，編號26；一為四川博物院藏明代「引鳳」琴，係木胎嵌竹質六方龜背百衲，見深圳博物館、四川博物院及重慶中國三峽博物館編，《松石間意：巴蜀地區典藏古琴精品集》，北京，2015年，頁66至69。

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
10
100
50
500
100
1,000
200
2,000
250
5,000
500
10,000
1,000
20,000
2,000
50,000
5,000
100,000
10,000
+

价格信息

拍品估价：1,500,000 - 2,000,000 港币 起拍价格：1,500,000 港币  买家佣金：
落槌价 佣金比率
0 - 1,200,000 25.00% + VAT
1,200,000 - 20,000,000 20.00% + VAT
20,000,000 - 以上 12.00% + VAT
服务费：平台服务费为成交总金额（含佣金）的3%

拍卖公司

Bonhams HK
Bonhams HK
地址： Suite 2001, One Pacific Place 88 Queensway, Admiralty Hong Kong
邮编： 0
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种：
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时，请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种：
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账，所以请您在汇款时，选择足额到账，或在汇款金额的基础上加上汇款手续费（如25美金）。
4. 国际转账汇款时， 您需要知道海外拍卖行以下汇款信息：
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码（8位字母数字组合，必填项， 如： BFKKAT2K）
* 收款银行清算码（9位数字组合，选填项）
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输， 您只需要支付相关的运费及保险费（如您需要）即可；有的海外拍卖行会推荐几家长期合作的运输公司， 这些运输公司有着良好的信誉和高质量的工作效率，您大可放心。您只需要提供您的收货地址， 竞得拍品账单。 运输公司会根据您提供的信息给您报价， 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了， 信用卡是最常用的支付手段， 当然还有其他像PayPal，转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税，需由包裹接受人（即买家）自行承担。 征收标准：具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品，如枪支、管制刀具、象牙、犀角等；中国买家不得通过本平台参与上述物品的拍卖活动；任何情形下，买家均须对自己的竞拍行为独立承担责任。
服务热线：400-608-1178
查看全部小贴士