LOT 1508
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A lacquered Luoxia-style guqin, Signed Xie Fangde, Southern Song dynasty or later | 南宋咸淳甲戌（1274年）或以後 謝枋得製落霞式琴
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图录号：
1508
拍品名称：
A lacquered Luoxia-style guqin, Signed Xie Fangde, Southern Song dynasty or later | 南宋咸淳甲戌（1274年）或以後 謝枋得製落霞式琴
拍品描述：
A lacquered Luoxia-style guqin,
Signed Xie Fangde, Southern Song dynasty or later
南宋咸淳甲戌（1274年）或以後 謝枋得製落霞式琴
ofsunset glow' (Luoxia) style, the body carved of vibrant paulownia with its‘great mountain’ (high bridge) and ‘dragon gums’ (low bridge) accentuated in a contrasting hardwood, with mother-of-pearl studs (hui) and two long ovular cavities to act as the 'dragon pond'(longchi) and 'phoenix pool' (fengzao)soundholes, with an inscription translating to 'Autumn of thejiaxuyear of the Xianchun period (corresponding to 1274), Made by Dieshan Xie Fangde',lacquered black and covered with characteristic ‘snake-skin’ and ‘cow-hair’ crackles, Ming - Qing dynastyqinbed
qin l. 121 cm; string l. 111 cm
bed l. 128 cm
釋文
琴腹款識
「咸淳甲戌九秋。疊山謝枋得製。」（1274）
琴床銘文
「石泉淙淙若風雨，桂花松子常滿地。高適傳句」
「鶴壽不知其紀也。」
「是為黃庭曰內篇，琴心三疊舞胎仙，九氣英明出霄間，神蓋童子生紫煙。廬山藏坡公書。」「至人之心，如珠在淵。」
「園林勝事。」
「點秋江白鷺沙鷗。傲煞人間萬戶侯，我是不識字煙波釣叟。」
This elegantqin is in remarkably good condition, showing no signs of repair or damage, and the inscriptiondates it 1274, at the very end of the great Southern Song dynasty – regarded to this day as the zenith of cultural refinement and scholarly pursuits – and attributes its creation to Xie Fangde (1226–1289), a patriotic poet and one of the great qin masters of the era.
Extremely rare for a qin of this importance, the present lot is also accompanied by a custom-made bed from the Ming-Qing dynasty. Crafted in a matching luoxia style and covered in gilt-incised with poetic verses in running script.
Born in Yiyang in modern-day Jiangxi, Xie Fangde (fig. 1) – also known by his courtesy name Junzhi or as Dieshan – soon rose to greatness as a scholar amidst the fall of the Southern Song. A scholar, examiner, poet, musician, qin craftsman and inspector, Xie was an ardent supporter of the Song regime. With the rise of the Mongol Yuan army, Xie actively resisted the invasion but later went into hiding in Fujian. Despite numerous attempts made on behalf of the Mongol administrators to incorporate Han scholars and officials into their government,Xie remained loyal to his principles, rejecting bribes and threats from the Mongol administrators. Inspired by the words of the Grand Historian Sima Qian, Xie emphasised the universal nature of mortality and stood firm in his beliefs.
In the 26th year of Zhiyuan (1289), Xie was forcibly escorted to the Yuan capital of Dadu to take up an official position but, even then, he would not give up his loyalty. In a final act of defiance and self-sacrifice, he began a fatal five-day hunger strike, composed a ten-thousand-word treatise condemning the government, and sat playing his qin until his tragic passing. This defiant act of calm resistance, turning to ancient music in times of desperation, left a legacy celebrated even centuries later by patriotic poets and artists. Under the posthumous title ‘Master Xie Wenjie,’ his collected works Dieshan ji (Collected Works of Dieshan) andhis compilation Wenzhang guifan (Models of Literary Composition) have been passed down through the generations and his poetry and prose celebrated for their grandeur, boldness, and sublime nostalgia. As a later poet once put it, “Xie Wenjie died five hundred years ago, yet his qin remains perfectly intact. Even as he faced death, he strummed this instrument; the melody of Guangling San lives on, startling those who heard it in a mountain station. His heroic spirit lives on in heaven to this day.”[1]
Another qin once belonging to Xie Fangde is known: a Zhongni style qin known as ‘Haozhong’ (fig. 2)[2] Currently housed in the Zhejiang Provincial Museum, this blackqin is coveredwith snake-skin crackles and bears the name ‘Haozhong’ and a poetic inscription in clerical script by Xie Fangde. This qin was acquired by Wu Sujiang of Xin’an during the Qing dynasty, who regarded it as the finest of all qin, had it depicted in a painting, and collected numerous poetic inscriptions from hundreds of individuals under the title Xie qin shiwen chao (Collection of Poems and Essays on Xie’s Qin) celebrating the qin’s beauty and the honour and mastery of its earlier owner Xie Fangde.
Unlike the more minimalist design of ‘Haozhong,’ the present qin has an elegant curved form with fluid contour lines. Its body symmetrically curved from head to tail with the curvature gradually increasing towards the shoulders and tapering off again towards the tail, the careful design of this masterpiece echoes the rise and fall of musical notes. These connected curves resemble leaping fish and flowing water, and more importantly, a sunset glow– giving name to this style of instrument: Luoxia (‘sunset glow’).
The Luoxia style is one of the most coveted qin styles. Created by early literati, its arching curvaceous form resemblesa series of crescent moons and evokes the image of radiant clouds at sunset which has captured the attention of musicians and poets since antiquity. From emperors to recluses, the vibrant colours and ever-changing forms of the setting sun have captivated the artistic mind. However, these literati did not just compose poems inspired by crepuscular beauty;rather, they also imbued this beauty into their possessions and particularly their prized qin. Although the exact origins of this Luoxia style remain unknown, the name appears frequently in historical records from at least the Han and Tang dynasties. In the Taigu yiyin (The Lost Sounds of Remote Antiquity) – a finely illustrated compilation of instruments formed by Song scholar Tian Zhiweng – there is a record: "The Divine Maiden of the East played the Luoxia qin. The Divine Maiden was a fairy.”(fig. 3)[3]
A number of related Luoxia qin are known including the related ‘Colourful Phoenix Sings on a Rocky Mountain’ qin housed in the Zhejiang Provincial Museum, believed to have been made by Lei Wei, a famous Tang dynasty luthier, and possibly the oldest surviving qin of this type. According to scholarship, the majority of extant Luoxia-style qin appear to have been produced during the Jiajing reign of the Ming dynasty.The oscillating curved design of the Luoxia qin is not only aesthetically pleasing but also produces a broad, mellow, and bright tone and has been a favourite among modern qin masters such as Yang Zongji (1864-1931), Guan Pinghu (1897-1967), Zhang Ziqian (1899-1991), and Wu Jinglue (1907-1987).
[1]Yu Zhaopeng, "Dieshan zhi si" [The Death of Dieshan], Historical Monthly, no. 101, June 1996, p. 110.
[2]Plate adapted from: Wu Zhao, ed., Institute of Music, Chinese National Academy of Arts, Beijing Guqin Research Association, comp., Zhongguo guqin zhencui (zengding ban)[A Collection of Rare Chinese Ancient Qins (Augmented Edition)], Beijing, pp. 92-93.
[3]The plate of the “Qins without illustrations" is adapted from: (Song) Tian Zhiweng, comp., (Ming) Yuan Junzhe, annot., Taigu yiyyin [The Lost Sounds of Remote Antiquity], Taipei.
「南宋 謝枋得製 落霞式琴」，落霞式，琴身為桐木斫成，岳山、龍齦以硬木為之，螺鈿徽，龍池與鳳沼皆呈長橢圓形；琴面為深褐色間黑色漆，通體發蛇腹間牛毛斷。琴體完好，無破腹修斫痕跡，琴腹龍池內兩側刻有行書款識：「咸淳甲戌九秋。疊山謝枋得製。」咸淳是宋度宗趙禥（1240〜1274）的年號，咸淳甲戌為咸淳十年（1274），可知此琴為南宋愛國詩人、文人琴家謝枋得（號疊山，1226〜1289）所斲製。此琴造型靈秀優雅，輪廓線條流暢自然，琴體由首至尾左右兩側對稱作圓弧形，弧線曲度則漸次變化，自琴首向琴肩逐漸增大，向琴尾復漸次縮小，宛如呼應音律的起伏變化；圓弧相連如躍魚、流水，更似落霞，因而得名落霞式；又附有明代特製，用以陳設之專屬黑漆刻詩文填金琴床，亦為相應的落霞式造型，其制極為珍罕少見。琴床陰刻行書詩文：「石泉淙淙若風雨，桂花松子常滿地。高適傳句」、「鶴壽不知其紀也」、「是為黃庭曰內篇，琴心三疊舞胎仙，九氣英明出霄間，神蓋童子生紫煙。廬山藏坡公書」、「至人之心，如珠在淵。」、「園林勝事。」、「點秋江白鷺沙鷗。傲煞人間萬戶侯，我是不識字煙波釣叟。」
謝枋得（圖一：謝枋得（號疊山，1226〜1289）像），字君直，號疊山，信州弋陽（今江西弋陽）人。寶祐四年（1256）與文天祥（1236〜1283）同科中進士，曾為考官，以賈似道（1213〜1275）政事出題，遂被罷斥，遭貶為興國軍（今湖北陽新）安置。宋恭宗時任江東提刑、江西招諭使，並兼信州地方長官。時值蒙古元軍大舉南下進犯，謝枋得率兵抵抗，城陷後改名換姓，流亡隱居於福建建寧府建陽縣（閩北）等地，以卜卦、教書度日，不索錢財，惟取米、屨（草鞋）而已。南宋滅亡後，蒙古對於漢族士人與官員採取籠絡、收買政策，曾先後五次徵召謝枋得出仕為官，謝氏堅持民族氣節，堅辭不應，寫下《卻聘書》，以伯夷叔齊自況，並引司馬遷《報任少卿書》之語：「人固有一死，或重於泰山，或輕於鴻毛」，表明若遭逼迫降元，必慷慨赴死之志。
至元二十六年（1289）福建行省參政魏天祐奉元廷之命強迫謝枋得出仕，將其強行押往大都。謝枋得為保名節，決心殉國，在北上途中數度絕食。抵大都之後，被安置於燕山驛，謝枋得在此作萬言書控訴元朝官吏貪酷與百姓愁苦，並於京衢公開哭拜宋帝故主，表達忠臣不事二君的堅決意志。相傳其在絕食病危之際，仍從容彈琴，使元廷大為震怒。後人有詩曰：「謝文節亡五百年，遺琴完好宛如前，彼時絕命猶撫此，廣陵散得稽生傳。燕山驛內聳人聽，英靈至今猶在天。」[1] 明人《宋史記事本末》專立「文謝之死」一節，將謝枋得與文天祥並列，稱其「天資嚴厲，雅負奇氣，風岸孤峭，不能與世軒輊」，對其就義而死前數年的遭遇言行，有詳盡描述。謝枋得最終絕食五日而死，遺書自稱「大元制世，民物一新，宋室孤臣，只欠一死。」門人私諡「文節」，世稱謝文節公、文節先生。有《疊山集》，編著《文章軌範》等著作傳世，其詩文雄邁浩蕩．懷舊悲壯，流芳百世。
謝枋得精通古樂，通曉音律，寄意於山水林泉，以琴排遣憂悶；其琴學造詣更與文天祥齊名，20多歲時即能親手製作古琴。除此落霞式琴之外，又有另一仲尼式琴「號鐘」（圖二）[2] 傳世，今藏浙江省博物館，此琴通體呈黑色，琴體扁薄，琴面平整，通體蛇腹斷紋。琴背名「號鐘」，漢隸書體，渾厚莊重。池下刻謝枋得（號疊山）隸書銘文：「東山之桐，西山之梓，合而為一，垂千萬古。」下署：「疊山氏識」。「號鐘」琴於清代為新安吳素江所得，列為諸琴之冠，並繪成圖幅，遍徵題詠，題者不下數百人，編輯成卷，刊為《謝琴詩文鈔》，計文抄一卷、詩抄七卷、附聯吟一卷，由松風草堂刊刻行世。有多位文人題詠，如清•張廷壽〈謝文節號鐘琴歌〉：「其名一十有六字，言言如出公肺腑。其旁更有疊山字，云是當年公手補。」淸•于芳洲〈謝文節公號鐘琴歌為吳素江明經作〉：「吳君嗜古兼尚義，銘刻摩挲疊山字，解囊壞漆鬱蒼涼，斑斑盡是遺民淚。」淸•陳權巽〈謝疊山遺琴歌為吳素江明經賦〉：「吳君雅有古琴癖，摩挲拂拭生英風。抹眵檐前細審視，署名隱見疊山氏。銘辭十六自成文，東山之桐西山梓。快哉神物欣收藏。」王斯年〈宋謝文節遺琴詩為新安吳素江明經作〉：「予昔誦公文兮，今見公琴土蝕苔繡兮，淚血桐梓合兮，聲泠泠號鍾隸刻兮，署以嘉名吳君好古兮。」此外，晚清名臣張之洞（1837〜1909）有〈文山疊山二琴拓本〉詩云：「白雁來江南，海潮伏不起。降表簽臣妾，湖山亦蒙恥。伯厚且行避，子昂安足詆。重儒莫如宋，獨有文謝美。烈烈柴市風，湛湛橋亭水。無忝大丞相，豈愧小女子。誠知一木微，終為三綱死。幽情託朱絃，激昂作變徵。德音不可聞，遺此雙藤紙。超然汪元量，抱琴水雲裡。」可見作為愛國詩人、文人琴家的謝枋得，深受後人之景仰推崇。
落霞式是著名的古琴琴式之一，屬於文人造琴，以自然意象命名之：由琴首至琴尾兩側如波浪起伏、連綿不絕的凹凸圓弧線，作左右對稱性地分布，大小不一，變化豐富，似連續弧月之狀，造形仿若橫亙飄浮在無際的天邊，有著續斷逶迤之態，色彩燦爛絢麗、變幻萬千的晚霞。歷代騷人墨客多有歌詠，如南朝梁簡文帝《登城》詩曰：「落霞乍續斷，晚浪時回復。」唐代王勃（約650〜676）〈滕王閣序〉：「彩徹雲衢，落霞與孤鶩齊飛，秋水共長天一色」。古代文人由色彩、形態豐富變化的晚霞萌生靈感，不僅賦詩歌詠，更以此造琴。
落霞式始於何時、由誰所創已不可考，然「落霞琴」之名屢見於漢唐以來的文獻記載，如漢代郭憲（？〜約220）《洞冥記》曰：「握鳳管之簫，撫落霞之琴。」唐代皮日休（約834〜883）〈夜會問答〉詩：「落霞琴，寥寥山水揚清音。」陸龜蒙（？〜881）〈四明山詩 潺湲洞〉：「似吹雙羽管，如奏落霞琴。」宋人田芝翁撰，明人袁均哲音釋之明代精鈔彩繪本《太古遺音》於「歷代琴式」之後，列「有說無樣琴」，其中有：「落霞。《漢武內傳》莊女從東方來彈落霞之琴。」之記載（圖三）[3] 明清時期有十三種附「歷代琴式」的琴譜都出現落霞琴，如萬曆年間出版的《琴書大全》和清代康熙年間的《五知齋琴譜》等，均可見「落霞式」的記載。康熙三十年（1691）刊印的《德音堂琴譜》始畫出落霞琴式，不分項腰，自頭至尾寬窄一致，作大小相似的內收一四連弧形。在存世實物方面，浙江省博物館庋藏的「彩鳳鳴岐」古琴，據其琴腹款知其製作者為唐代製琴名師雷威，或為現存最早的落霞式古琴。據學者研究統計，目前存世落霞式古琴，數量最多為明代嘉靖年間製品，其頭尾較狹，中間較闊，由頭到肩作內收稍短之四連弧，中部作稍長之五連弧，腰下至尾作稍短之三連弧，共作十二連弧形。北京故宮博物院藏有三張明代「落霞式」古琴，分別為：「可伴琴」、「月明滄海琴」以及「無名琴」，可資參考。[4] 落霞式琴不僅形制優美，其琴音寬宏，溫潤透亮，音色絕佳，深受近代琴學宗師、著名琴家如楊宗稷（1864〜1931）、管平湖（1897〜1967）、張子謙（1899〜1991）以及吳景略（1907〜1987）等人之推崇。
[1] 俞兆鵬，〈疊山之死〉《歷史月刊》第101期（1996年6月號），頁110。
[2] 圖版引自：吳釗主編，中國藝術研究院音樂研究所、北京古琴研究會編，《中國古琴珍萃（增訂版）》（北京：文化藝術出版社，2015），頁92-93。
[3]「有說無樣琴」書頁圖版引自：(宋)田芝翁撰，(明)袁均哲音釋，《太古遺音》，台北：國家圖書館藏。
[4] 劉岐榮，〈試論「歷代琴式」的變化－－兼及故宮博物院落霞式古琴的斷代〉《故宮博物院院刊》2013年第6期，總170期，頁139-146。