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全球拍卖首页 > Bonhams HK > 中国古董及乐器 > Lot 30
'Wannian Qing': A very fine and rare 'Confucius-style' lacquered guqin Song/Yuan 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
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'Wannian Qing': A very fine and rare 'Confucius-style' lacquered guqin Song/Yuan Dynasty The flat elongated body with two waisted sections on both sides, lacquered black, the surface slightly ice-cracked and worn due to age, the top with thirteen inlaid-gold studs (hui), seven strings threaded through tasseled white jade pegs (qinzhen) running over the top and tied to either of the two button-like jade pegs (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, box. 126.5cm (49 3/4in) long x 21cm (8 1/4in) wide (2). 注脚 宋/元 鐵保舊藏仲尼式「萬年清」琴Provenance: Tie Bao (1752-1824) (inscription) An important Asian private collection 來源：鐵保（1752-1824）（銘文）亞洲重要私人收藏Published and Illustrated: Xu Jian, Zhongguo guqin minjian diancang (Chinese Qin in Folk Collections), Beijing, 2013, pp.198-200, no.79.出版及著錄：許建編，《中國古琴民間典藏》，北京，2013年，編號79，頁198-200The present guqin is in the Zhongni form – also known as the Confucius style – as this was the shape supposedly used and favoured by the Sage. Besides the name of the musical instrument 'Wannian Qing' which may be translated as 'Purity of Ten Thousand Years', there is another five-character poetic inscription: 'Tie Mei'an zhencang' which may be translated as 'Treasure of the Iron Blossom Hut'. A further inscription gives the date as the 'Second year of Yuanfeng' corresponding to 1079 AD, and 'Yin chun', 'Spring'. A further poetic inscription partially reads: '...Jade and gold;...; bowing to the distant chant; lofty mountains and flowing waters, white snows in Spring; accomplishment..., cultivate one's mind and joyous mood, distant antiquity becomes one with the mind. ' Tie Mei'an refers to the literatus Tiebao (1752-1824), styled Zhiting, sobriquet Mei'an. His calligraphy followed the style of Yan Zhenqing and together with Prince Cheng, Liu Yong and Weng Fanggang, he was one of the four great masters of Qing dynasty calligraphy. His calligraphy was as famous as that of Lu Yong. Tiebao was also very fond of the qin. From the titles of many poems in his collected works 'Tao'an quanji', one can see the qin plays a significant role, for example, 'Listening to qin by the window in the rain', 'After the Rain', 'Plantain and Paulownia', etc. In 'Listening to qin by the window in the rain' he wrote: 'Laid out on the table, for me to play once more;I strum once and my heart yearns for purity,Strum twice and my hands yearn to dance.Following my orders, the multitude of sounds;Deep and still, enter distant antiquity. At this moment the rain has not rested,So I patter on in the studio.' The sound of the present qin is subtle and even, encapsulating the four desired characteristics of 'calmness, smoothness, fullness and uniformity'. The instrument is relatively large, resembling qins of the Tang dynasty. See for example, the qin, 'Jiu xiao huan pei, Tang dynasty, 125cm long, 21.8cm wide illustrated in Gugong guqin tudian, Beijing, 2011, pp.24-29, no.1. See also the Song dynasty qin, 'Wan he song' in the Place Museum, Beijing, of comparable size to the present lot (128.6cm long x 20.4cm wide); and also the Southern Song dynasty qin, 'Ben lei', 126cm long x 20cm wide, illustrated in ibid., pp.74-77, 88-89, nos.10 and 13. Compare with two other qins in the Palace Museum, Beijing; the Northern Song dynasty 'Jin zhong', and the Yuan dynasty qin belonging to Zhu Zhiyuan, illustrated in ibid., pp.54-57 and 98-101, nos.6 and 15. The head and tail of the present qin shows traces of early alteration which made the dating difficult, but its wide waist and shoulders like the 'Jin Zhong' qin, reveal a strong feature of qins dating to the Northern Song dynasty. The present lot also has a fine crackle on the lacquer which is not comparable to qins made after the Yuan dynasty. The shape of the present qin features broad shoulders and a wide waist, resembling the form of Tang dynasty qins. However, the lower section is flatter and angular, and more closely resembles Song dynasty qins; hence the descriptive term 'Flat Song' style qins. The flat and generous style was popular from the Northern Song dynasty to the beginning of the Ming dynasty. During the Southern Song dynasty, the Zhongni or 'Confucius-style' qin, had narrower shoulders and a thinner waist. By the end of the Yuan dynasty, the qin connoisseur Zhu Zhiyuan preferred executing the style of qin with wider shoulders and wider waist and perhaps intended to follow the older style of the Northern Song dynasty. However, the head and tail of the shoulders are still relatively flat compared to the typical Northern Song dynasty qin, which is characterised by sloping shoulders. 琴仲尼式，肩起二徽六分，腰收七徽八分，硬木岳山、軫足與龍齦、冠角，冠角鏟地雕卷草紋，朱漆間褐色，漆面發冰裂紋及流水斷，長方形龍池、鳳藻，龍池口沿嵌湘妃竹一周，天地柱位於龍池納音上下，龍池軫池之間漆書篆字「萬年清」三字及「銕梅盦珍藏」五字，雁足之下填漆題款數行，多漫漶不清，可辨者有隸書「元豐二年」於正中，左側尚餘行書「寅春」二字，右側隸書四十八字，存見「□□□□、□□石金、□□□□，俯唱遙吟、高山流水、白雪陽春、養□□□□、陶情怡性、太古為心」諸字。銕梅盦即鐵保（1752-1824），字冶亭，號梅庵，書法脫胎於顏體，與成親王、劉墉、翁方綱并稱為清代四大書家，其書法尤與劉墉齊名。鐵保愛琴，從詩中可窺一二，《梅庵全集》中便有《雨窗聰仲梧彈琴分得雨字》《雨後》《焦桐》等詩以琴入題，《雨窗聰仲梧彈琴分得雨字》讀來可見其於琴理之通透，詩情之天真：「......展琹置案上，為我一再鼓。一彈心欲清，再彈手欲舞。遂令萬籟寂，淵淵入太古。此時雨未休，淅瀝灑廊廡。」琴聲内斂均勻，頗具九德之「靜、潤、圓、勻」四種特點。此琴體量頗大，儼然唐琴氣度，尺寸接近北京故宮博物院藏唐「九霄環珮」琴，通長125釐米，肩寬21.8釐米，見故宮博物院編，《故宮古琴圖典》，北京，2011年，編號1，頁24-29。北京故宮所藏有明確斷代的宋琴，體量能和「萬年清」相當者，唯有北宋「萬壑松」琴，通長128.6釐米，肩寬20.4釐米，南宋「奔雷」琴，通長126.6釐米，肩寬20釐米，見前書，編號10及13，頁74-77及88-89。此琴形制屬於闊肩寬腰一路，有唐琴氣度，然而此琴底部扁平，邊角直棱，是北宋以來典型的平扁風格，即所謂「宋扁」。平扁寬厚的風格北宋至明初頗為流行，又多有流變。南宋仲尼式多聳肩瘦腰，至元末朱志遠又喜用闊肩寬腰的款式，或有追摹北宋舊風的意圖，然而肩部首尾處較之北宋典型，仍然較為高平，不似北宋琴肩部一溜而下。可比較另外兩床宋元舊斵，一為北宋「金鐘」琴，一為元代朱志遠斵琴，見前書，編號6及15，頁54-57及98-101。「萬年清」琴額及焦尾有改動痕跡，不復原貌，然而溜肩寬腰，頗似「金鐘」琴。又「萬年清」琴鹿角灰胎極為厚實，所開斷紋細密而齊整，非元以後琴所能比也。

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