LOT 601
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A black-lacquered qin, Early Ming dynasty｜明初 黑漆仲尼式琴
作品估价：HKD 50,000 - 100,000
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成交状态：待拍
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20%
图录号：
601
拍品名称：
A black-lacquered qin, Early Ming dynasty｜明初 黑漆仲尼式琴
拍品描述：
A black-lacquered qin,
Early Ming dynasty
明初 黑漆仲尼式琴
of Confucius (Zhongni) style, the narrowing body with a gently curved upper side flanked by delicately indented edges running along the neck and waist, all supported by two zitan feet (yanzu), the front inlaid vertically with thirteen studs (hui), the reverse with a longer rectangular soundhole (longchi) and a shorter one (fengzao), covered with black lacquer, Japanese wood box
l. 119 cm; string l. 111 cm
Covered with a fine network of crackles that developed over time, this zhongni-style qin, with its relatively short size, was designed as a ‘knee zither’ (xiqin). The number of surviving knee qin is far fewer than standard larger ones, likely due to common damages from being portable. Due to its shorter form, achieving optimal resonance is particularly challenging, making its construction more difficult than standard scale. This current qin has a flatter and thinner shape, with sharp edges at the neck and waist, slightly raised shoulders, reminiscent of the those from the Souther Song dynasty. Compare a Confucius-style ‘Haiyue Qinghui’ qin from the Southern Song dynasty, in Palace Museum, Beijing, illustrated in Zhongguo guqin zhencui [Chinese Guqin Masterpieces), Beijing, 1998, pl. 38; and another Southern Song Confucius-style ‘Suxin’ qin sold in these rooms, 1st December, 2006, lot 558. This flatter shape of Southern Song style remained popular until the mid-Ming Dynasty, becoming rarer after the Jiajing or Wanli period when a more rounded upper soundboard became more fashionable. A Hongzhi mark and period Confucius-style qin in the Palace Museum, Beijing also shares some Southern Song style characteristics with the present qin, with the shoulder and waist curved at almost identical position to studs, although its upper soundboard is slightly arched, illustrated in Gugong guqin tudian [Classics of the Forbidden City: Zithers of the Forbidden City], Beijing, 2010, pl. 19.
琴仲尼式，黑髹，漫發冰裂斷及流水斷，蚌徽，肩起二徽半，腰收八徽三及十一徽，紫檀岳山、冠腳及雁足，護軫及七軫佚失。
此琴隱間較短，為方便攜帶之膝琴。膝琴存世數量遠少於標準古琴，蓋因方便攜帶而常見折損，且因形體較短，要取得較好共振十分困難，製作難度遠高於標準古琴。此琴形制較為扁薄，項腰棱角鑿然，肩部微聳，乃有南宋遺韻，可參考北京故宮藏南宋仲尼式「海月清輝」琴，其項腰處理及整體扁薄之態與本琴想為呼應，見《中國古琴珍萃》，北京，1998年，編號38；又可比較香港蘇富比2006年12月1日售出一床南宋仲尼式「素心」琴，編號558。此類較為扁平之南宋風格一直延續到明代中葉，嘉萬之後較為少見，明代晚期之琴面大多較為渾圓。 北京故宫藏另一張明弘治仲尼式琴，與本琴屬同類顯具南宋風格之作品，其起肩、收腰之徽位幾乎相同，然而其面板略微拱圓，見《故宮古琴圖典》，北京，2010年，編號19。