LOT 1515
上一件
下一件
An inscribed circular 'Qiuchi' ink cake, By Fang Yulu, Ming dynasty | 明 方于魯製 仇池石圓墨
作品估价：HKD 500,000 - 1,000,000
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：
1515
拍品名称：
An inscribed circular 'Qiuchi' ink cake, By Fang Yulu, Ming dynasty | 明 方于魯製 仇池石圓墨
拍品描述：
An inscribed circular 'Qiuchi' ink cake,
By Fang Yulu, Ming dynasty
明 方于魯製 仇池石圓墨
carved on both sides with a raised border, one side enclosing a jagged scholar's rock shaped with tall peaks and surrounded by pebbles, the reverse with akaishupoem translating to "Qiuchi Rock. A fist-sized rock that is no longer than a foot, the lesser heavens hidden in its crevices, in its darkness and lustrousness, one sees no traces of fish at the bottom of the pond", all followed by a seal mark readingJianyuan, the edge of the ink cake further inscribed with a mark readingFang Yulu zhi(made by Fang Yulu)
11.5 cm
釋文
「仇池石。一拳石，不盈尺。小有天，藏其隙。墨色淋漓沈水碧，池底神魚幻無跡。」
「建元」印款
「方于魯製」
Acquired in Kyoto.
日本京都
(Ming) Fang Yulu, ed., Fangshi mopu [The Fang Family's Inkstick Catalogue] (Fang shi mei yin tang, 16th year of the Wanli reign), vol. 3, p. 40.
(明)方于魯編，《方氏墨譜》（明萬曆十六年方氏美蔭堂刊本），卷3，頁40
Fang Yulu (d. 1608), originally named Da’o, was a distinguished ink-maker from the late Ming dynasty who was known by his style names Yulu and Jianyuan. Hailing from Shezhou, Anhui, Fang was especially renowned for his craftsmanship of ink production, and he was also well-versed inChinese history and classics. Having immersed himself in poetry from a young age, he was held in high regard bysome of the most prominent individuals of his era, including poet Wang Daokun (1525-1593) and playwright Tu Long (1543-1605).
Having learnt ink-making under the tutelage of the esteemed ink-maker Cheng Dayue, also known as Junfang (1541–circa 1616), Fang dedicated himself entirely to mastering this craft. The ink he produced was of suchexceptional quality that it was later supplied to the imperial household and solidifiedhis reputation during the Wanli reign. Fang introduced numerous innovative techniques to ink production, including usingtung oil instead of pig fat for soot collection and replacing the conventional lacquer and ink combination with bovine gelatin. These advancements brought about praises from his contemporaries, including Wang Shizhen (1526-1590), who wrote inFang Yulu mozan/Eulogy of Fang Yulu's inkthat Fang's ink was "dark and lustrous, profound and black, sourced from the pinnacle of the tung tree and refined to its essence. Possessing a clear gloss, it stands firm as a wall and remains impervious to erosion when submerged in water."
Fang also learnt ink-making from Cheng Junfang butFang and Cheng eventually becamerivals, although the animosity between them fuelled them to push the boundaries of ink-making, and the pictorial depiction on ink cakes also became increasingly refined, especially from the mid-Ming period onwards. Elaborate designs were created with elements drawn from calligraphy, painting, and decorative arts, and Fang, in particular, focussed on crafting innovative designs that often harked back to antiquities and other themes of interest to the literati.
Designs illustrated by artists such as Ding Yunpeng, Wu Tingyu, and Yu Kangzhong would be built on and carved into ink cakes of various sizes and shapes, adding an innovative touch of archaism to scholarly settings where literati would use them.
Around the 17th year of the Wanli reign (1589), Fang Yulu compiled his ink cake designs into a comprehensive volume titledFangshi mopu[Fang's ink catalogue], which spannedsix volumes and featured a total of 385 illustrations, showcasing unparalleled craftsmanship and marking an unprecedented innovation in the history ofink production. The design of the current ‘Qiuchi’ ink cake was included in volume 3 under thebogu(antiquities) section, bearing the seal "Zuo Qian" (fig. 1), likely painted by the local artist Wu Tingyu from She County and inscribed by Fang Yulu himself, testifying to the superb quality and importance of the design.
The Qiuchi rocks, depicted in the intricate design of the ink cake, have their origins in the pebbles produced near Shaoyang in Guangdong. During the Southern Song dynasty, Du Wan documented in theYunlin Shiputhat Qiuchi was situated 70 to 80 miles southeast of Shaoyang and was known for the unique pebbles found in the local soil. Du also remarked that the peaks and caves were rugged and mesmerising, and that the moist rockwork would ring when struck.
The symbolism of the Qiuchi rocks portrayed in the ink cake, however, traces back to a significant event involving the eminent literary figure Su Shi. Su Shi's cousin Cheng Deru gifted him two remarkable rocks when Su Shi was serving as the Prefect of Yangzhou. One of the rocks was green, resembling mountain peaks with caves reaching through the back, while the other was so white that it shone like a mirror.
Upon receiving these rocks, Su Shi arranged them in his typical fashion. Placing the rocks in a basin of water and surrounding them with pebbles reminiscent of broken jade collected from the Denzhou coast, he displayed them on a stand for admiration. Su laterrecalled a dream he had while in Yingzhou, where he was invited to stay in an official residence named Qiuchi. Upon waking, Su recited apoem by Du Fu (712-770): "Ageless is the cave of Qiuchi/That connects underground to the Lesser Heaven."
Inspired by this dream, Su composed a poem titled "Twin Rocks and Preface" in the seventh year of the Yuanyou reign (1092):
It felt so real in the dream, so false when awake;
Drawing water to set them in a basin, I indulged in my foolishness.
Now I see the jade peaks stretching across Mount Taibai;
Then, following the bird route, I pass over Mount Emei.
Autumn wind brings forth mist and cloud;
Morning sun conjures up grasses and plants.
That dot of void with light coming through– where does it lead?
Now this old man really wants to live in Qiuchi.
This dream served as a pivotal link, bridging Su Shi's Qiuchi rocks with the imagery of Qiuchi depicted in Du Fu's poem. The Qiuchi official residence in his dream hinted at the lesser Heaven, in which one "really wants to live". In Su's poem, it was through the figurative "jade peaks stretching across Mount Taibai" and "Mount Emei" in his rocks that he found himself enteringQiuchi.Within the mountainous landscape, the caves revealed a "dot of void" leading to the Peach Blossom Spring, reflecting Su'syearning for solitude and a retreat from the tumultuous life of a government official.
圓形墨錠，周邊起框。兩面模印詩畫，一面為盆景奇石，奇石嶙峋，如峰巒兀立，其下小石如碎玉迤邐，盛以銅盆。另一面楷書銘文：「仇池石。一拳石，不盈尺，小有天，藏其隙，墨色淋漓沉水碧，池底神魚幻無迹。」下鈐篆印：「建元」。墨錠深黝堅緻，光潤可挹，墨面模印圖像、文字線條清晰朗潤，難得可珍，墨側有陽文楷款：「方于魯製」，為晚明製墨名家方于魯所製仇池石圓墨。
方于魯（？〜1608），初名大滶，字于魯，後以字行，另改字建元，安徽歙州人，晚明製墨名家。慧性天妙，綜覽經史，早年學詩，為當時詩壇領袖汪道昆（1525〜1593）備加獎掖，招入豐干社，有《佳日樓詩集》傳世。劇作家屠隆（1543〜1605）評品其詩作，稱其「詩調清遠，方駕唐人」，嘗曰：「語剖靈竅，理入玄機，意象雙冥，神情兩詣」、「建元文既斐然，兼精物理，其為千秋名下士，何疑？」[1] 其詩作被收錄於朱彝尊（1629〜1709）所編《明詩綜》。
方于魯後得著名墨家程大約（號君房，1541〜約1616）傳授墨法，改而製墨，在程氏良好的製墨基礎上多加改革，他專心致志，旦暮精思，舉室而專攻治墨，所製之墨以質地精良，深獲肯定，曾供御內府，名重於萬曆年間。其於製墨多有創新，例如用桐液取代狶膏（豬脂肪）取烟，以廣膠代替漆和墨，解膠不用梣皮（白蠟樹皮）而改用靈草汁等。王世貞（1526〜1590）作〈方于魯墨贊〉，譽其墨：「黝而澤，致而黑，桐自嶧，煉厥液；光可晰，堅於壁，置於水，久弗蝕。」時人更謂其墨：「詞林寶之，不啻圭璧。」方于魯受造墨法於程君房，爾後兩人反目，互不服氣，甚至「以名相軋為深仇」，因而展開墨業之競爭，於製墨技法、樣式等鬥新角異，更競相延請名士、名家，編輯出版墨之圖譜，兩人精益求精的高度競爭，促進了製墨與版畫的精進與發展，使徽州製墨更加聲名遠播，締造了製墨的高峰與黃金時代。[2]
方于魯製墨的最大特色，在於他擴展了文房墨錠賞玩的趣味性。方于魯與汪道昆、汪道貫（汪道昆胞弟，約明世宗嘉靖四十五年前後在世）和李維楨（1547〜1626）等文壇人士相善，更積極參與歙地的文人詩社活動，獲得汪道昆等有力人士的贊助支持，文人、詩社成員也不吝以詩文加以揄揚推薦，或參與製墨的策劃與設計。明代製墨技術進步，尤其在明代中葉以後對於墨模的文樣特別講究，設計者結合書畫或器物藝術，於墨錠表面裝飾花紋與造型上各逞巧思。方于魯尤其致力於墨樣的設計與變化，其製墨多以博物、博古等文人喜好的典故為題材，由丁雲鵬、吳廷羽、俞康仲等畫家繪圖，再以別出心裁的設計製成墨樣，刻入大小方圓變化多端的墨模中，故在文房用墨的同時，也能欣賞典雅的詩文書畫，品味其中的典故與意境。約在萬曆十七年（1589），方于魯將墨樣匯集成書出版，名為《方氏墨譜》，共計六卷，總共三百八十五式圖，洋洋大觀，分門別類，備極工巧，一開墨史未有之創舉。此「仇池石墨」之墨樣即收入《方氏墨譜》卷三「博古」，下方有「左千」之印（圖一），應為歙縣當地畫家吳廷羽繪製，題銘出方于魯之手，鏗鏘可誦。[3]
仇池石原是廣東韶州（今廣東省韶關市曲江縣）附近的仇池一地所產小石。根據文獻記載及地理位置推斷，仇池石其實就是著名的「英石」。根據南宋杜綰《雲林石譜》對於「仇池石」之描述：
仇州（池）石：韶州之東南七八十里地，名仇池，土中產小石，峰巒巖竇甚奇巧，石色清潤，扣之亦有聲，頗與清溪品目相類。[4]
「英石」產於英州（今廣東省英德市）一帶：
英石：英州含（浛）光、真陽縣之間，石產溪水中，有數種，一微青色有白脈籠絡，一微灰黑，一淺綠，各有峰巒嵌空穿眼，宛轉相通，其質稍潤，扣之微有聲。又有一種色白，四面峰巒聳拔，多棱角，稍瑩徹，面面有光可鑒物，扣之無聲，採之人就水中度竒巧處鏨取之。此石處海外遼遠，賈人罕知之。然山谷以謂象州太守，費萬金載歸，古亦然耳。頃年東坡獲雙石，一綠一白，目為仇池石。鄉人王郭夫亦嘗攜數塊歸，髙尺餘，或大或小，各有可觀，方知有數種，不獨白綠耳。[5]
可知仇池石與英石都具有石色清潤、扣之有聲的特點；英石有數種，東坡所獲雙石即是其一。就地理位置視之，盛產英石的英州北境正與乳源縣、曲江縣相接，曲江亦藴藏着豐富的英石，可知東坡所藏的仇池石即為「英石」。
此墨所繪的「仇池石」是大文豪蘇軾（1036〜1101）擔任揚州太守時，其表弟程德孺贈予的一對天然奇石：一為綠色，形如山岡峰巒迤邐，有穴達於背；一為白色，光可鑑人，如巍峨高峰。東坡受贈此石後，原本只是按照自己以往的賞石方式：將雙石漬以盆水，並將登州海濱所獲小石如碎玉般鋪於雙石足下，置於几案賞翫。忽一日，東坡想起自己在潁州時，曾經夢到有人請他入住一座官府，榜曰「仇池」，覺而誦杜甫詩曰：「萬古仇池穴，潛通小有天。」於是東坡在元祐七年（1092）作了一首《雙石•並序》詩：
夢時良是覺時非，汲水埋盆故自痴。
但見玉峰橫太白，便從鳥道絕峨眉。
秋風與作煙雲意，曉日令涵草木姿。
一點空明是何處，老人真欲住仇池。[6]
東坡的這個夢將自己收藏的仇池石與杜甫詩中的仇池山意象聯結起來，在夢中名曰「仇池」的官府，正是暗通小有洞天的福地，使人「真欲住」。在詩中他彷彿進入了雙石幻化而成的「玉峰橫太白」、「鳥道絕峨眉」的仇池山，山中池穴透出一點空明，指點著通往桃花源的秘徑，也透露宦海浮沉的東坡渴望避世隱逸之思。
[1] (明)方于魯編，吳有祥整理，《方氏墨譜》（濟南：山東畫報出版社，2004），〈序〉，頁1-2。
[2] 林麗江，〈晚明徽州墨商程君房與方于魯墨業的開展與競爭〉，《法國漢學》第十三輯╱徽州：書業與地域文化（2010），頁121-197。
[3] 蔡玫芬，〈仇池石圓墨〉，《國寶菁華 器物篇》（台北：故宮博物院，2011年2版），頁169。
[4] (宋)杜綰撰，《雲林石譜》，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863冊，頁225。
[5] (宋)杜綰撰，前引書，頁222-223。
[6] (宋) 蘇軾著，王文誥輯注，孔凡禮點校，《蘇軾詩集》（北京：中華書局，1982），卷35，第1880頁。