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全球拍卖首页 > Bonhams HK > 中国古董及乐器 > Lot 33
A very rare inscribed Kunqu opera bamboo flute, dizi Signed Zhao Gaozi, cyclically dated to the Guichou year, corresponding to 1553 and of the period (3)
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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A very rare inscribed Kunqu opera bamboo flute, dizi Signed Zhao Gaozi, cyclically dated to the Guichou year, corresponding to 1553 and of the periodOf long cylindrical form, carved from a length of bamboo with a bone flute head and end, each end carved in openwork with a butterfly, pierced along the length with a blowing hole, a membrane hole, six finger holes, two sound holes, and two opposing tassel holes underside, the upper part finely incised in cursive calligraphy with poetic inscriptions dated 'Spring month, Guichou year of Jiajing at Yinhong Pavilion of Wumen' the lower part incised with three characters Zhao Gaozi, the bamboo with a reddish-brown tone patina, box. 72.2cm (28 7/16) long (3). 注脚 明嘉靖 嘉靖癸丑（1553年）趙高子銘王之渙詩崑笛Published and Illustrated:N.Chow, The Literati Aesthetic, Hong Kong, 2018.出版及著錄：仇國仕，《無盡意》，香港，2018年The name Zhao Gaozi does not appear to be recorded. However, the finely-carved and dated inscription, especially with reference to Wumen (Suzhou), suggests that Zhao Gaozi was closely associated with a group of literati-artists active in Suzhou during the Ming dynasty, known as the Wu School. This was during the period when kunqu opera became the dominant form of theatre in Southern China. Bamboo dizi such as the present lot were used as the lead melodic instrument, as they were known for their lingering and more mellow lyrical tone.The dizi is a transverse flute and one of the longest surviving major Chinese musical instruments used in many genres of Chinese folk music and opera. The earliest playable dizi was made of bone and excavated from the Jiahu Neolithic site in central Henan Province, attributed to the Peiligang Culture (circa 7000–5000 BC), now in the Henan Provincial Museum, illustrated by S.Yingying, zhongguo xinshiqi shidai chu tu yueqi yanjiu, (The Study of Excavated Musical Instruments of the Chinese Neolithic Period), Beijing, 2012, p.45, fig.2-21.Although bamboo later became the common material for the dizi, very few examples would have survived due to the fragile organic nature of the material. See a related iron dizi, Ming dynasty, of similar form in the Palace Museum, Beijing, illustrated in zhongguo yinyue wenwu daxi Beijing juan, (The Complete Collection of Chinese Musical Instruments Cultural Relics in Beijing), Zhengzhou, 1999, fig.1-14-1. The box of the present lot is inscribed with a Kanshi (Sino-Japanese) poem on its cover, which can be translated as: 'Playing the flute in the breeze, the moon casts shadows on the fence; sweeping the snow and brewing tea, a few plum blossoms scatter on the edge of the fence.' Following is a signature which can literally be translated as 'Written by Ehu Shanren (Gako Sanjin in Japanese) at my friend's study in the breeze of pines, at a day when the summer heat has gone away.' There were two Japanese literati known by the literary name of Gako Sanjin, referred to in the inscription. Both were active in the first half of the 19th century. One possibility is that it could refer to Matsuzawa Yoshiaki (1791-1861), a scholar of the classics and also a komamono (fancy goods) merchant; another possibility is that it refers to Gako Suzuki (1816-1870), a Nanga master, who learned painting at an early stage from the renowned Tani Bunchō (1763-1840). In many works he signed himself as Gako Sanjin. Compare with signatures on two of his works, one on a painting of 'Red Cliffs' in the collection of the Sakano Family, Joso, Japan (acc.no.0460); the other in a book by him in the National Diet Library, acc.no.toku 1-807. The Japanese connection is not so unusual considering that during the late Ming dynasty there was an influx of musical instruments being brought into Japan. Wei Zhiyan (1671-1689), a native of Hebei Province, and a merchant who travelled between China, Japan, and Vietnam, was also an expert of classical Chinese music. He developed close connections with many Japanese scholars, monks, and émigré Chinese monks in Japan such as Ingen (1592-1673) who founded the Obaku Zen sect. His disciples recorded and compiled fifty pieces of music inherited from him in the Gishi gakuhu (Wei's Music Scores), which was published in Edo, Osaka, and Kyoto in 1768. In 1780, Wei's disciple Iku Tsutusi compiled Wei's collection of di, xiao, sheng, gongs, pipa, yueqin and other instruments that he brought from China to Japan in the Illustrations of Wei's Musical Instruments. Holes of Ming dynasty flutes are slightly closer to each other than those of flutes made in the Qing dynasty. Chinese bamboo flutes of the Ming dynasty rarely survived in China, however, they survived in Japan in relatively larger numbers. Compare with a closely-related bamboo dizi from the Hosokawa collection, in the Eisei Bunko Museum, Tokyo, illustrated by M.Hosokawa, Eisei Bunko meihinsen: bungu, Tokyo, 1978, p.129, where the author notes that although its form is related to the early Qing dynasty, the tight arrangement of the finger holes indicates a late Ming dynasty date.竹質，色蜜黃，竹絲細長如牙色，兩端嵌骨質首尾，首尾鏤空蝴蝶，笛吹、笛膜孔各一，按孔六，出音孔二，背面近笛尾處開二孔穿流蘇，笛首刻宋之問詩：「一年又過一年春，百歲曾無百歲人。能向花間幾回醉，十千沽酒莫辭貧。」落款：「嘉靖癸丑小春月 刻於吳門吟紅館之南窗」笛尾刻「趙高子」三字。嘉靖癸丑，即公元1553年。趙高子其人不查，似是道人名。吳門即蘇州，明代嘉萬時期，魏良輔改良崑山腔為昆曲，此地正是昆曲最為流行的地區，家班遍地，曲聲充廛。此笛調性較近現代標準的崑曲曲笛稍低，或因嘉靖時昆曲方肇始，律制並不嚴謹，然而並不影響和曲伴奏，其聲清遠透潤，數百年仍可完整發音演奏，實數難得。音孔周圍呈色較深，或為長期演奏所致。此笛原配日本舊盒，蓋内書「臨風弄笛，欄杆上桂影一輪；掃雪烹茶，籬落邊梅花數點。」落款「鵞湖山人書，此日松風稷稷，滿我弟齋，暑氣已避三舍矣。」以「鵞湖山人」為號者有二，一為松沢義章（1791-1861），江戸時代後期的國学者，著有《春秋大意》《洲羽国考》等書。二為鈴木鵞湖（1816-1870），南畫畫家，師從谷文晁、相沢石湖。畫作常題「鵞湖山人 雄」或「鵞湖山人木雄」，前者題款見日本常総市坂野家藏鈴木鵞湖畫《赤壁圖》館藏編號0460， 後者見日本國立國會圖書館藏《もゝのたね》（1861）一書扉頁，館藏編號特1-807。笛子為最古老的中國樂器之一，史前時代多用鳥獸長骨做笛，如河南省博物院藏一件裴李崗文化時期十孔骨笛，見申瑩瑩著，《中國新石器時代出土樂器研究》，北京，2012年，圖2-21，頁45。後世則多以竹木為之，因此少有傳世。北京故宮藏有一隻明代鐵笛，形制與本笛類似，見《中國音樂文物大系北京卷》，鄭州，1999年，圖1-14-1。明代晚期以來，中土音樂傳至日本，中國明清時期流行的樂器也隨之渡海。明代鉅鹿人魏之琰（1617-1689），字雙侯，雖為商賈往來中日越三國，然而雅好清音，廣交日本耆宿，與隱元隆琦等人多有詩詞唱和往來。傳曲五十首，編為《魏氏樂譜》，明和五年（1768）在江戶、大阪、京都等地刊行。安永九年（1780）魏氏門人筒井郁將魏之琰從中國帶至日本的笛、簫、笙、雲鑼、管琵琶、月琴、瑟、檀板等樂器編為《魏氏樂器圖》。由此可見中國樂器播傳日本之一斑。明代曲笛開孔較清代曲笛間距稍短，日人以明笛稱之，習傳至今。中國本土極少存留明代竹笛，惟日人惜物，加之國内承平日久，尚多有留存。日本永青文庫藏有一隻竹笛和本件近同，細川護貞認為雖然其形制近清代，但是其孔距較窄，又是明代特征，見細川護貞編著，《永青文庫名品選：文具》，東京，1978年，頁129。

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