LOT 1519
上一件
下一件
Mythical Lingzhi A black Lingbi scholar’s rock, Northern Song dynasty, inscribed by Mi Fu | 北宋 米芾銘玄芝岫 靈璧石
作品估价：HKD 6,000,000 - 10,000,000
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：
1519
拍品名称：
Mythical Lingzhi A black Lingbi scholar’s rock, Northern Song dynasty, inscribed by Mi Fu | 北宋 米芾銘玄芝岫 靈璧石
拍品描述：
Mythical Lingzhi
A black Lingbi scholar’s rock,
Northern Song dynasty, inscribed by Mi Fu
北宋 米芾銘玄芝岫 靈璧石
25 by 28 by 17.5 cm
釋文
爰有異石，徵自靈壁。匪金而堅，比玉而粟。音協宮商，采殊丹漆。岳起軒楹，雲流几席。元祐戊辰米芾謹贊。(1088）
此寶晉齋物也，虞集獲此瑰寶，幸福不淺。
衡山文徵明拜觀。子彭、嘉侍。
Huang Hsien-Long, ed., Lingbi Yanshan, Jiansongge, Taipei, 2016, no. 1.
黃玄龍主編，《靈璧研山》，台北，2016年，第一品
Traditionally scholars collected two types of scholar's rocks for their studies: vertical peaks and horizontal mountain ranges. This exceptional piece, the Xuanzhi Xiu, combines both celebrated features, in some ways outdoing the natural worlds it comes to resemble. Beholding the rock from every angle and perspective, one sees it in a new light, observing new crevices in this stone so exquisitely wrought on all sides. It twists in all directions, its ruts and paths connect through the holes and hook up around the corners, and its peaks, ridges and tunnelsare a convoluted maze, hence giving rise to its name, the ‘Mythical Black Fungus Peak’. In texture and colour, the stone is like black lacquer, and imbued with an unctuous lustre and, when struck, it produces a clear bright sound, reminiscent of the sound of ancient chime stones(qing).
With a rippled surface of channels and folds, of a pronounced ‘walnut-shell’ pattern prized by connoisseurs, this piece perfectly matches the description of the finest stones found in Song dynasty literature. These stylistic features not only allow us to classify the stone as a treasure of Song dynasty, but also reaffirm its position as one of the finest examples of Lingbi stones ever recorded. Across the ages, connoisseurs of scholar's rocks have boiled down their criteria for evaluating stones into twelve terms: thin, wrinkled, porous, permeable, clear, ugly, obtuse, clumsy, teal, powerful, beautiful, deep. While specimens that have half of these features are considered rare and superior, a rock known to have all twelve, such as the present Xuanzhi Xiu, is nearly unheard of:a spectacular example; a piece without equal.
Lingbi scholar’s rocks of this type are found at Mt. Panshi, Lingbi county, Anwei province; black stones being the most prized among them.InDongtian qinglu(Pure Record of a Daoist Cave), Zhao Xigu (1170-1242) of the Song dynasty once wrote, “Lingbi rocks are located not on the mountains or valleys but deep within the earth.They can be found only by excavating.Their colour is like black lacquer, and they may be laced with thin, white veins like jade.”, See Yingyin Wenyuange Sikuquanshu (Photographic Reproduction of the Complete Texts of the Four Divisions Held in the Wenyuan Pavilion of the Forbidden City), Taipei, 1983, vol. 871.
Inthe Yuyanggong shi pu(Yuyanggong's Stone Catalogue), Yuyanggong (a sobriquet) wrote, “At the beginning of the Dade reign period (1297-1307), the Office of the Relief Storehouses sold off miscellaneous items, among which was a Lingbi rock in the shape of a small mountain peak. This rock was only sixcunlong and half as tall.It is exquisitely wrought and beautifully smooth, having waves, channels, folds, and a walnut pattern. Near the peak is round white stone that is translucent like jade. On the side Emperor Huizong wrote an inscription of eight characters: ‘The mountain is high, and the moon is small. When the water recedes, the rocks appear.’ With hardly any traces of carving, this stone is truly a curio.”Su Shi (1037-1101) wrote about exchanging a painting for a Lingbi stone, noting that most Lingbi stones can only be viewed from one side. He described a particularly rare piece that could be viewed from all sides, resembling a deer with a curved neck. This illustrates how exceptional multi-faceted Lingbi stones are.
Beyond its exceptional aesthetic qualities, the Xuanzhi Xiu is also almost unrivalled in its illustrious provenance; owned by the most celebrated collectors, literati, and artists in every successive generation.
Mi Fu (1051-1107) – also known by his courtesy nameYuanzhang –was a native ofTaiyuan in modern-day Shanxi province.Appointed as an erudite of the Calligraphy and Painting school underEmperor Huizong, Miwas a talented painter, poetand calligrapher, and was considered one of the four great calligraphers of the Song dynasty,together with Su Shi, Huang Tingjian, and Cai Xiang. He was an expert art critic and eventually created his own style (‘school’) of painting; his landscape paintings taking their inspiration from the worksof Southern Tang painter Dong Yuan (d. ca. 962). Natural, exposed, and bizarre, they depict pines, stones, and withered wood in a style revolutionary and refreshing for their time.
Mi was also an avid collector of scholar's rocks.His firstencounter with these pieces wasduring his first official appointment at Lingbi, Anhui, whenhe came upon a large, ugly stone. Mi was delighted with this find and moved it to his government office.Dressed in official cap and gown, he reverently addressed the stone as "elder brother,"and, from that point on was known affectionately as"Madman Mi."
Yu Ji (1272-1348, courtesy name Bosheng), came from a distinguished family of scholar-officials and served himself in various official capacities during theWenzong reign of the Yuan dynasty (1328-1332).He was an academician in the Hall of Literature and was responsible for tutoring the Emperor Wenzong himself.Yu was also renowned for his calligraphyand was considered the bestof his time for writingclerical script.
The Xuanzhi Xiu is said to have come from the descendants of Hua Xia, a renowned Ming dynasty collector from Wuxi. Hua Xia (1494-1567), a friend of Wen Zhengming and Zhu Yunming, built the Zhenshang Studio to house his collection of ancient bronzes and antiquities. According to Hua’s descendants, Wen Zhengming borrowed this piece in his later years as inspiration for his paintings. In 1549, when Wen Zhengming was eighty years old, he created a painting for Hua Xia, in which many of the delicate and unusual rocks were inspired by the present lot.
Wen Zhengming (1470-1559),also known as Zhengzhong, was anative of Suzhou and consideredone of the four great painters of the Ming dynasty,together with Shen Zhou, Tang Bohu and Qiu Ying.Renowned for hiscalligraphy and landscape painting, Wen was also agifted poet.Though Wen’s landscape paintingsemulated those of his teacher ShenZhou, especially in brushwork, theyare atypically replete with colours and considered among the finest of the period. Rising to the level of his teacher, Wen later succeeded Shen as the leader of the Wu school of painting and his celebrated writings are collected inhis 1543 work, the Futian ji (‘Collection of the Extensive Fields’).
Wen Peng (1498-1573, courtesy nameShoucheng), and Wen Jia (1501-1583, Xiucheng),were the oldest and second sons of Wen Zhengming respectively.They both followedin the family tradition, becoming accomplished figures intheir own right in poetry, prose, calligraphy, and landscape painting, although neither reached the same level as their father.
Compare a similar black Lingbi rock from the collection of Susan and Ian Wilson, with an inscription dated to 1783, illustrated inThe Spirit of Gongshi: Chinese Scholar's Rocks, Chicago, 1999, cover.
「北宋 米芾銘玄芝岫 靈璧石 研山」，石質色近黑漆，凝潤如膏脂，扣擊之，聲似響磬清越，音質悅耳。石表臥沙、水道、襞摺、胡桃殼紋悉備，胡桃殼紋尤其顯著。石勢頭角崢嶸，蜿蜒縱恣，千蹊萬徑，穿孔鉤連，而峰巒洞壑，層疊窈窕，狀若綻放芙蓉，又似千歲靈芝，面面可觀，奇巧殊絕，因而得名。古代文房供石之形狀，主要可歸納為立峰與橫山二式，然此「玄芝岫」則兩者兼備，八面玲瓏，功奪天造，可任意由不同的角度觀賞，而生變幻無窮之意象。石質特徵全然符合宋代文獻記載，歲久包漿瑩徹，可資鑑賞佐證，洵屬宋代靈璧石中之極品。
靈璧石出自安徽省靈璧縣磐石山，屬石灰岩，以黑色為上品，最特別者在於石表有胡桃殼紋，以及臥沙、水道、襞摺等紋理，此種靈璧石色稍黑，多小巧玲瓏，為文房至寶。北宋杜綰《雲林石譜》記載：「石理蹸踆，若胡桃殼紋，其色稍黑，大者高二三尺，小者尺餘，或如拳大。坡陁拽腳，如大山勢，鮮有高峰巖竇。」[1] 元人《漁陽公石譜》[2] 云：「大德初廣濟庫官售雜物，有靈璧石小峰，長僅六寸，高半之，玲瓏秀潤，所謂臥沙、水道、襞摺、胡桃紋皆具，於山峰之頂有白石，正圓，瑩然如玉。徽宗御題八小字于峰旁曰：山高月小，水落石出，略無雕琢之迹，真奇物也。」[3] 靈璧石另一紋理特色則是間有細白紋如玉，南宋趙希鵠《洞天清祿集》：「靈璧石出絳州靈璧縣，其石不在山谷，深土中掘之，乃見色如漆，間有細白紋如玉。」[4] 宋代曾幾（1084〜1166）〈吳甥遺靈璧石以詩還之〉詩云：「諸峰掃空翠，一水界山白。」即描寫其白色石英岩脈。此外，靈璧石又有一種特點，即石表有嵌空穿溜，形成諸多通透的洞穴，是以開採之後，於石底多有不能盡去的漬土，所以四面皆可觀者，極為珍貴稀少。大凡需藉斧鑿、修礱，以全其美，《雲林石譜》云：「大抵祇一兩面，或三面，若四面全者，百無一二。或有得四面者，多是石碏石尖，擇其奇巧處鎸取，治其底。」[5] 蘇軾〈書畫壁易石〉云：「靈璧出石，然多一面。劉氏園中砌臺下，有一株獨巉然，及覆，可觀，作麋鹿宛頸狀。東坡居士欲得之，乃畫臨華閣壁，作醜石風竹。主人喜，乃以遺予。居士載歸陽羡。元豐八年四月六日。」（1085）[6] 可知頂級靈璧石，其多面可觀，難得與巧妙若此。
此「玄芝岫」流傳有序，經歷代名家遞藏，周身見有三處分別為宋、元、明代名家所鐫刻銘文，歲久字口略呈風化漫漶，細審判讀為：
「爰有異石，徵自靈壁。匪金而堅，比玉而粟。音協宮商，采殊丹漆。岳起軒楹，雲流几席。元祐戊辰米芾謹贊。」（1088）
「此寶晉齋物也，虞集獲此瑰寶，幸福不淺。」
「衡山文徵明拜觀。子彭、嘉侍。」
歷代賞石家總結品石要略為十二字訣，曰：「瘦、皺、漏、透、清、醜、頑、拙、蒼、雄、秀、深。」能得其半者，已屬難得之佳石。「玄芝岫」盡得品石要略，堪稱絕妙奇石、無上神品。然而「玄芝岫」已傳承數百年之久，飽歷天災戰亂，數易其主，周身有不同時期的缺損殘痕，也有非細審否則難以察覺的修治磨壟痕跡。杜綰《雲林石譜》記靈璧石有時「須藉斧鑿，修治磨壟，以全其美」，「玄芝岫」自不例外，修治磨壟，使其臻於完美，最大程度地保存其自然天成之美，而磨壟也不許留有纖痕，以臻「雖為人作，宛若天成」之美學品味，亦源於宋人對自然的崇敬。
米芾（1051〜1107），北宋書畫家。初名黻，字元章，太原人，遷居襄陽縣（今湖北省襄陽市襄州區），號稱「米襄陽」，號襄陽漫士、海岳外史、鹿門居士。北宋著名書法家、書畫理論家、畫家、鑑定家、收藏家。與蘇軾、黃庭堅、蔡襄並稱宋代四大家，擅長楷、行、草、篆、隸，尤以行草最為著名。召為書畫學博士，擢南宮員外郎，人稱米南宮。米芾在官場上並不得意，「不能與世俯仰，故從仕數困」，惟其衣著行為以及迷戀書畫珍石的態度皆被當世視為癲狂，而有「米癲」之稱。
米芾愛石，多蓄奇石，也親自設計、雕琢奇石成為研山（硯山），時人以詼譎好奇視之，宋人筆記載其拜石軼事甚多，如知無為軍（今安徽無為市）時，見一奇形巨石，命左右取袍笏下拜；聞河邊有怪石，人以為異不敢取，芾命人移至州治，拜於庭下，喚石作兄。元代倪瓚有《題米南宮拜石圖》詩：「元章愛硯復愛石，探瑰抉奇久為癖。石兄足拜自寫圖，乃知顛名不虛得。」[7] 以石癖、硯癖名世的米芾，對於研山極為寶重，其中最知名者當數李後主舊物的一座研山，江南國破後，此研山流轉數士人家，輾轉為米芾所得，後來米芾又以此研山換得宅邸「海岳庵」，一時傳為佳話。此事為北宋權相、書法家蔡京（1047-1126）季子蔡絛（1097-1158後）記載於《鐵圍山叢談》一書中：
江南李氏後主寶一研山，徑長纔踰尺，前聳三十六峰，皆大如手指，左右則引兩阜坡陀，而中鑿為研。及江南國破，研山因流轉數士人家，為米元章所得。後米老之歸丹陽也，念將卜宅，久未就。而蘇仲恭學士之弟者，才翁孫也，號稱好事。有甘露寺下竝江一古基，多羣木，蓋晉唐人所居。時米老欲得宅，而蘇覬得研山。於是王彥昭侍郎兄弟與登北固，共為之和會，蘇、米竟相易，米後號「海岳庵」者是也。研山藏蘇氏，未幾，索入九禁。時東坡公亦曾作一研山，米老則有二，其一曰「芙蓉」者，頗崛奇。後上亦自為二研山，咸視江南所寶流亞爾。吾在政和未得罪時，嘗預召入萬歲洞，至研閣得盡見之。[8]
蔡絛在政和年間，官至徽猷閣待制，得於宮中盡見徽宗所藏研山，其中包括米芾用來交易海岳庵宅地的南唐研山。文中又言及米芾另有兩件親自雕琢的研山，似亦已被徽宗索入宮中，其一名「芙蓉」者，其山形頗崛奇，以「芙蓉」命之，或形容其形狀如芙蓉花者，與「玄芝岫」頭角崢嶸之造型卻有異曲同工之妙，而米芾「玄芝岫」銘文曰：「爰有異石，徵自靈壁。匪金而堅，比玉而粟。音協宮商，采殊丹漆。岳起軒楹，雲流几席。元祐戊辰米芾謹贊。」讚美此靈璧石質理之堅緻溫潤，可比金玉之質，扣擊之磬響猶如宮樂，色澤華采如丹漆，其形隨視變，千姿百態，變幻不居，如在廳堂廊柱前雄起之峭拔山岳，又有如於几席上流動的雲彩。元祐戊辰（1088）相距政和年間（1111〜1118），至多不過三十年，「玄芝岫」是否即「芙蓉」？頗引人無盡遐思。
虞集（1272〜1348），字伯生，祖籍仁壽（今屬四川省），元代文學家。南宋丞相虞允文五世孫，父虞汲曾任黃岡尉，宋亡後，徙居臨川崇仁（今屬江西省）。從大儒吳澄（1249〜1333）遊。大德元年至大都，以薦授大都路儒學教授，累遷秘書少監。仁宗時，擔任集賢修撰。文宗時，任奎章閣侍書學士，纂修《皇朝經世大典》。元順帝即位，稱病歸臨川。虞集工書法，得晉朝人韻味，其書真、行、草、篆皆有法度，古隸為當代第一；又工於詩，與柳貫、黃溍、揭傒斯被稱為「儒林四傑」。其詩具民族意識，與揭傒斯、范梈、楊載齊名，被譽為元詩四大家之一，自稱其詩如「漢廷老吏」，世稱邵庵先生。
文徵明（1470〜1559），初名璧，字徵明，更字徵仲，號衡山居士、停雲生，蘇州人。授翰林待詔。精於詩文，與唐寅、祝枝山、徐禎卿合稱「吳中四才子」；工書擅畫，獨步一時，山水畫師沈周，得其筆法，益以神采，更出其上，尤以文人雅集、送別、隱居等主題山水畫，筆墨瀟灑酣暢，意境幽雅閒靜，為世所稱，後人將沈周、文徵明、唐寅、仇英合稱為「明四家」，晚年繼沈周後，為吳門畫派盟主。
文彭（1498〜1573），字壽承，號三橋，文徵明長子。曾任南京國子監博士，紹承家學，詩文書畫皆有造詣，尤精於刻印，後人奉為金科玉律。嘗於南京國子監時得燈光石，手製為印材，於是凍石之名，始豔傳於世。
文嘉（1501〜1583），字休承，號文水，文徵明仲子。曾官和州學正。擅畫山水，山水筆法得倪雲林清脫之意，間仿王蒙皴染，亦頗秀潤，有幽淡之致，兼能花卉。亦能詩，精於鑑別古書畫。
著名賞石家伊恩．威爾遜先生藏有「鎖雲石」一尊，亦為黑靈璧石，其形狀極為靈秀，質理堅潤，色澤沉穆，並有清代杭州名士黃易鐫記觀石題識，時在乾隆四十八年（1783），可資別例參照。[9]
[1] (宋)杜綰，《雲林石譜》，收入：《叢書集成初編》（上海：上海商務，據知不足齋叢書排印本，1936），第1507冊，頁1。
[2]《漁陽公石譜》舊題宋人所撰，根據近年學者研究，認為漁陽公應為元代書法家鮮于樞（1246〜1302），鮮于樞為漁陽人（薊州，今天津市薊縣），時皆以籍貫代稱其人，故稱為漁陽公；元代陸友仁《研北雜誌》載：「鮮于樞論石，以太湖為第一，山石次之。」可知鮮于樞亦精於賞石。詳見：俞瑩，〈「漁陽公」是何許人〉（「玩石迷」：https://wanshime.com/2722.html/）。
[3] (元)不著撰人，《漁陽公石譜》，收入(元)陶宗儀編，《說郛》（台北：台灣商務印書館景印涵芬樓藏明鈔本，1972），卷16，頁1216。
[4] (宋)趙希鵠，《洞天清祿集》，美術叢書本，初集第九輯，頁560。
[5] (宋)杜綰，前引書，頁1。
[6] (宋)蘇軾著，孔凡禮點校，《蘇軾文集》（北京：中華書局，1986），蘇軾佚文彙編，卷70，頁2214。
[7] (清)陳邦彥等奉敕編，《御定歷代題畫詩類》，卷41。
[8] (宋)蔡絛，《鐵圍山叢談》（北京：中華書局，唐宋史料筆記叢刊，1983），卷5，頁96。
[9] The Art Institute of Chicago, Locked Cloud (SUO YUN) 鎖雲石,Spirit Stones of China怪石, Lot 1. 1999, p.31.