LOT 1510
上一件
下一件
A Duan inkstone, Late Ming - early Qing dynasty | 晚明清初 天然璞石端硯
作品估价：HKD 100,000 - 300,000
货币换算
成交状态：待拍
买家佣金拍卖企业在落槌价的基础上收取买家佣金
20%
图录号：
1510
拍品名称：
A Duan inkstone, Late Ming - early Qing dynasty | 晚明清初 天然璞石端硯
拍品描述：
A Duan inkstone,
Late Ming - early Qing dynasty
晚明清初 天然璞石端硯
skilfully and minimally carved preserving the form and skin of the stone, one side with a smoothed area forming the ink pool, below 'worm-eaten' pitting, the stone of an attractive blackish-purple colour, 19th century woodbox and cover
18.5 cm
The present inkstone was made from a superiorDuan stone from an old quarry. The blackish-purple stone was minimally carved by the artisan to preservethe original shape of the stone. The top 'forehead' and edges bear a craggy surface that resembles the burls and knots of a tree. Retaining the stone's original skin and form, the artisan skilfully carved the inkstone without adding any unnecessary touches to preserve the stone's natural state. A lower flat area in the inkstone was smoothed for the ink pool, while the other end has some natural “worm-eaten” veins that serve as the water pool. Paired with a wood box and cover, this exquisite studio object is a truly excellent example of an early Qing natural inkstone.
In ancient times, this type of inkstone was called a “grind[stone] from heaven” (tianyan), which referred to inkstones that preserved the original form of the quarried stone. The inkstones were simple and unadorned, designed based on a natural form, with no additional carving or only minimal intervention. Despite their natural appearance, these inkstones were formed with great intention. Not just any stone could be used; a stone made into an inkstone had to have a certain aesthetic appeal. This kind of object, which reflected the literati taste for elegance and modesty, was an indispensable part of a well-appointed studio. Legend has it that the form of these inkstones originated with Su Dongpo (1037-1101). The Song-dynasty Catalogue of Inkstones from Duan Creek (Duanxi yanpu) stated: “Grind[stones] from heaven. [Su] Dongpo enjoyed finding stones that did not need to be carved to be used as inkstones. Later scholars searched for stones that were naturally smooth to use in this way.”1The artisan used the stone’s original form and richly coloured skin, cleverly incorporating its veins, patterns, and rare “stone eye” or “worm-eaten” features in the design, and only minimally carved the current inkstone, creating a unique piece that represents the unity of man and nature.
1Anonymous, Duanxi yanpu (Catalogue of Inkstones from Duan Creek), in Wenlange qinding siku quanshu (Complete Books of the Four Storehouses Commissioned for the Wenlan Hall), Vol. 861, eds., Song Weiping and Xu Hairong, Hangzhou, 2015, p. 704.
取材老坑上等端石，隨形略加修飾，硯色青中泛紫。治硯藝匠度形取勢，匠心獨運，盡可能保存石材原形，硯額與硯邊四周滿佈皴皺，呈現猶如樹癭、節瘤般之石紋，係保留石皮等原有形態，不加多餘琢磨，以保存天然質樸之樣貌。硯面低平處略磨平為硯堂，硯額處適有一天然蟲蛀，因以為墨池，誠渾然天成之器，硯配紅木硯盒，洵為清初隨形硯之精品。
隨形硯，古稱「天研」，指採石後保留石材原形，依其天然形態進行設計製作，不施多餘斧鑿，或僅就其形略加雕琢成研，古樸天成。惟隨形並非隨意，並非任一硯石都能製成隨形硯，治硯必須符合審美意味、觀賞情趣。此類切合文人雅好平淡天真情懷的研品，歷來為書齋不可或缺之清翫雅物，其制相傳始於蘇東坡（1037〜1101）。宋人《端溪硯譜》載：「天研。東坡嘗得石，不加斧鑿以為硯，後人尋岩石自然平整者效之。」[1]藝匠運用硯石的天然石形、石皮的豐富色彩，巧妙利用硯石紋理、石品花紋或罕見的石眼、蟲蛀等，稍加雕琢與點綴，即成「天人合一」且獨一無二的藝術創作。
[1] (宋)佚名撰，《端溪硯譜》，收入(清)紀昀等奉敕編；宋衛平，徐海榮主編，《文瀾閣欽定四庫全書》（杭州：杭州出版社出版，2015），子部，第861冊，頁704。