古琴拍賣仲尼式

【古琴拍卖】南宋仲尼式「獲麐」琴

2016年6月1日，香港即將拍賣南宋仲尼式「獲麐」琴，估價港幣600至800萬元。...

2016年６月１日舉行的香港佳士得春季拍賣【開元大觀】專場當中，即將上拍一床南宋仲尼式「獲麐」琴，是為近年來國際拍場當中上拍的較為矚目的一床古琴。

估價：６百萬~８百萬港幣

拍賣時間：2016年6月1日

拍賣地點：香港會展中心

Estimate: HK$6,000,000-8,000,000

Auction Date: 1 Jun 2016

Auction Site: Hong Kong Convention and Exhibition Center

預展時間:

5月 26日~31日, 10:30am - 6:00pm

Preview Date：

26 ~31 May, 10:30am - 6:00pm

南宋仲尼式「獲麐」琴

來源

移雲齋硯琴齋,1998年前入藏

展覽

香港大學美術館,《古琴薈珍:硯琴齋宋元明清古琴展》,1998年10月14日至12月5日,香港,編號12

著錄

《古琴薈珍:硯琴齋宋元明清古琴展》,香港,1998年,圖錄編號12

《中國古琴民間典藏》,北京,2013年,圖錄編號70

全長 113.7cm

有效弦長106.2cm

肩闊16.8cm

尾闊12.7cm

仲尼式,蚌徽,黑色間栗殼色漆。琴面渾圓,琴㡳微隆,通體皆現蛇腹,牛毛和冰裂等斷紋。琴軫、嶽山、承露、焦尾、冠角和雁足等,皆為紫檀木所製。琴底頸處刻有篆書: 「獲麐」是為琴名,龍池下刻有一大方粗邊篆印: 「金聲玉振」,狀其聲也。

此琴原為移雲齋之舊藏,幾經琴家輾轉割愛,或相互易琴,後歸硯琴齋。

此琴比一般常見宋明琴略短,但其尺寸尤合南宋《楊祖雲琴製》之所記。後世琴家因崇尚琴體寬長之制,此短小制式逐微。楊祖雲活躍於1210年前後,詳見《大音大全集》、《琴書大全》。

此琴名「獲麐」。「麐」同「麟」,為麒麟雌獸。相傳,麒麟只於太平盛世或世有聖人時方才現世。《漢書·武帝紀》謂:「元狩元年,冬十月,行幸雍,祠五畤,獲白麟,作《白麟之歌》。」白麟降世被武帝視為祥瑞之兆,因而作歌詠嘆。《史記》曾記載,魯哀公十四年春,叔孫氏於西狩捕獲一獸,以為不祥將之遺棄而死,
孔子得知前往觀看,辨其為麟後落淚曰:「吾道窮矣」,認為麒麟降世卻無人知曉,實世道不興、不幸也,並藉此聯想到自身的懷才不遇。傳世有《獲麟》琴曲,收錄於明朱權《神奇秘譜》,傳為孔子所作。曲分為六段:傷時、西狩、獲麟、長嘆、幽憤、絕筆,將事件發生的過程及孔子感嘆悲憤的情緒以音樂完整又婉轉得表達出來。此琴名為「獲麐」,或許反映了某任琴主相仿的人生歷程。

AN IMPORTANT ‘HUOLIN’ CONFUCIUS- STYLE LACQUERED QIN

SOUTHERN SONG DYNASTY (1127-1279)

The qin is of Confucius type, gracefully waisted along two ends of the body, the upper surface gently convex and inlaid with thirteen mother-of-pearl studs, hui. The underside has two rectangular sound holes, termed as the ‘Dragon Pool’ and the smaller as the ‘Phoenix Pond’. The name of the qin is inscribed above the ‘Dragon Pool’, Huolin, ‘The capture of lin’. Above the ‘Phoenix Pond’ is carved a four-character seal mark, Jinshen Yuzhen, ‘The sound of bronze and echo of jade’. The instrument strings are threaded through seven tasselled tuning pegs, zhen. Each string is arranged over the upper surface and tied to either of the two larger pegs,yanzu, ‘Wild Geese Feet’. The lacquer surfaces are suffused with ne burst ice cracks interspersed with ‘snake belly’ crackles.

PROVENANCE

Yiyun Zhai
Yanqin Zhai, acquired prior to 1998

EXHIBITED

The University Museum and Art Gallery, The University of Hong Kong, Gems of Ancient Chinese Zithers: Shum’s Collection of Ancient Qin from the Last Millenium, Hong Kong, 14 October - 5 December 1998, no. 12

LITERATURE

Gems of Ancient Chinese Zithers: Shum’s Collection of Ancient Qin from the Last Millenium, Hong Kong, 1998, p. 88, no. 12

Catalogue of Chinese Ancient Qin in Private Collections, Beijing, 2013, Cat, no. 70

In Confucian philosophy the practice of rituals and music, notably the playing of the qin, are inextricably linked to the pursuit of lofty ideals of a learned scholar. The form of the present qin is of Confucius style as characterised by its austere shape with simple straight sides, and differs from a type known as Fuxi which is rounded on the side closest to the tuning pegs. The style Fuxi was named after the mythological king who was reputed to have made the rst musical instrument from the wutong tree. In most cases this type of instruments was given poetic names as in this instance,Huo lin, ‘The capture of lin’. Lin is a female qilin, which is a mythical animal purported to appear only during the reign of a virtuous Emperor or the appearance of a Sage. According to Book of Han, the Emperor Wu (r. 141BC-87BC) once captured a whitelin and composed a song to commemorate the event. The nameHuo lin, however, is associated with an event recorded in Records of the Grand Historian, where a mysterious beast was captured but left to die for it was regarded as inauspicious. Confucius later identi ed the animal as lin, and expressed great sorrow over people’s inability in recognising this virtuous animal, for it re ected the lack of discernment amongst rulers and also pointed to his own lack of recognition in life. A qin composition inspired by this event and titled Huo lin, is included in Shenqi mipu, an anthology of ancient qin compositions compiled by Zhu Quan of Ming dynasty, where it is recorded to have been composed by Confucius himself. The name of the current qin may re ect the similar life story of one of the previous owners, if not the original owner of this instrument, a life punctuated by disappointment and lack of recognition, as experienced by many of the literati in ancient China.

資料源自網絡

Data is from Internet

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