The spirit of the treasure of the world - the small stone mountain house old collection of Ming and Qing Dynasty seal carving treasures
Text/Chen Canfeng
In the fourth year of Chongzhen of the Ming Dynasty (1631), Zhang Hao of Taicang will be He Zhen, Su Xuan, Gui Changshi, Zhu Jian, Liang Yuan and other more than 50 famous seal carvers at that time engraved poems and idioms idle chapters into a spectrum, which is the Ming and Qing dynasties of the famous "three halls" of the first "Xueshantang Seal". This is the second kind of large-scale masterpiece engraved by Zhang Hao after the compilation of the "Chengqing Pavilion Seal Spectrum" in the forty-fifth year of Wanli (1617), and his emphasis on this score can be seen from the two-volume preface and inscription that includes more than 20 front-line celebrities in the late Ming Dynasty, such as Dong Qichang, Chen Jiru, Zhong Yu, Tang Xianzu, Qian Qianyi, Wu Weiye, Xu Guangqi, Tan Yuanchun, Ma Shiqi, Chen Wanyan, etc. In the preface of "Chengqing Pavilion Seal Spectrum", Zhang Hao once attributed his act of collecting and printing into a spectrum as the nostalgia of "thinking about the ancients but not seeing, seeing the traces of the ancients, such as seeing the ancients". Regarding this point, Chen Wanyan also bluntly said in the preface of "Xueshantang Seal": "The literati use seal carving as a game, such as painting scholars, mountains and waters, and talking about the essence of their chests." Although this profound meaning is not easy for ordinary people to understand, the atmosphere of collecting the seals of famous artists and passing them on to the outside world started by Zhang Hao's "Xueshantang Seal Spectrum" has really influenced the development of literati seal carving for more than 400 years.
Time came to the Daoguang period of the Qing Dynasty, the Ming seal carving in the Xueshan Hall after two hundred years of gathering and dispersion, hundreds of them were included in the small stone mountain house by Changshu Gu Xiang, at that time, the Ming seal carving original stone has long been treasured like an arch, but hundreds of square meters now look very shocking number is only three or four tenths of the old collection of Xueshan Hall. Based on this batch of treasures, Gu Xiang and Gu Hao brothers in the eighth year of Daoguang (1828) after the "small stone mountain house seal spectrum", and in the thirtieth year of Daoguang (1850) compiled into the "small stone mountain house seal garden", due to the addition of this batch of Ming Dynasty seal carvings, the people of the time had a very high evaluation of this spectrum: ""Yin Yuan" twelve volumes of the world, at home and abroad people and inkmen said that Gu's seal is mostly a treasure of the world, is the transmission of the spectrum, the upper foot with the "Xiaotang Collection of Ancient Records", the lower foot to resist "Lai Gu" and "Feihong", the so-called "heavenly treasures" , obviously refers to the old collection of Xueshantang, and their existence makes the status of "Xiaoshi Shanfang Yinyuan" enough to be compared with the "Lai Gutang Seal" and "Feihongtang Seal" in the "Santang" seal. This process of circulation and collection is full of legend, and in the "Seal of the Little Stone Mountain House" in the tenth year of Daoguang (1830), Gu Xiang has long said with emotion:
The legend of famous things in ancient and modern times, unfortunately scattered all over the world, and there is a spirit sent, unwilling to annihilate, often scattered and reunited, missing and resumed, such as the sword of Fengcheng, the pearl of Hepu, are all from the owner, not from the owner.
In his opinion, the reason why famous things can be fortunately passed on to future generations in the long river of history is that the famous things themselves are not controlled by human beings, "sent by the spirit, unwilling to annihilate", so there is a certain number of their own chances in the dark, and the word "unwilling" reveals stubbornness and fate. This expression can be echoed by Zhang Hao's self-preface before "The Seal of the Chengqing Pavilion", and then a clear echo can also be heard in the preface of Gao Yehou's "Ding Chou Remnant Seal". For example, in the past, the deep feelings of the Tibetan seal spectrum, combined with the historical trajectory of the famous flow, then today's Xiaoshi Shanfang old collection of Xueshantang Ming Dynasty famous seal carving reappears in the world, from the date of its entry into the small stone mountain house, and nearly two hundred years, the sense of fate, has to sigh.
Lot 1682
Gu Xiang, "Facsimile of the Name and Seal of Xiaoshi Mountain House", 1850, original book, 1 letter, 6 volumes, 30.2×17.7 cm×6
In addition to the two seals made by Tao Bi in the early Qing Dynasty and Cheng Dechun, the remaining eleven parties are precious Ming Dynasty seal carving stones, of which the authors of the seven parties include Wen Peng, He Zhen, Su Xuan, Gui Changshi and Wang Guan, Wang Hong and his sons, etc. Although the total number is not much, if we take into account the important position of these works in the background of the era at the beginning of the rise of literati seal carving, combined with the market status quo of the extremely scarce original seal carvings of famous masters in the Ming Dynasty, it is not difficult to imagine their incomparable value and significance.
Under the guidance of Li Zhen's "Xinxue", and through the impetus of Dong Qichang and others, the late Ming people reversed the peaceful way of the Yuan and Ming people in art, and began to pursue Shangqi aesthetics. At this time, it was the beginning of literati seal carving. With the help of the discovery and utilization of soft stones such as Qingtian stone and Shoushan stone, the literati finally got rid of the situation of "being able to seal but not carving", and comprehensively and deeply showed their new interpretation of the ancient art of seals on new materials after the crown. Compared with the Song and Yuan dynasties, Wen Peng (1498-1573) was the first recognized master in the history of literati seal carving.
Lot 1674 Wen Peng engraved "Five Lakes Ranger" Qingtian Stone Seal Inscription: Five Lakes Ranger. Side: Five Lakes Ranger. Jiajing Renxu Spring March 10 has 7 days, Wen Peng Seal. 3.1×3.1×5.4 cm Publications: 1. "Facsimile of the Famous Seal of Xiaoshi Shanfang", vol. 1, p35, Gu Xiangji, 1850 print. 2. The First Volume of "Xiaoshi Shanfang Yinyuan", P15, Gu Chongfu, 1904. 3. The First Volume of Xiaoshi Shanfang Yinyuan, P9, edited by Gu Xiang and Gu Hao, 1925. 4. Selected Seal Carvings of Famous Persons in the Ming and Qing Dynasties - Small Stone Mountain House Tibetan Seals, P2, Gu Yunyuan, 1985. 5. The Seal of Xiaoshi Shanfang, Volume 1, P3, Gu Yunyuan, 1985.
The launch of Wen Peng's "Five Lakes Ranger" Bai Wenyin is included in the "Little Stone Mountain House Seal Garden" spectrum, the side paragraph is engraved with a double knife line book "Jiajing Renxu Spring March 10 has 7 days", Renxu is Jiajing 41 years (1562), Wen Peng was 65 years old. The style of the printing surface is based on the Qin and Han seals, with the straight and curved fit of the seal, the knife punching and cutting casually, and the thickness of the lines varies according to the number of strokes, revealing a chic and simple atmosphere. Wen Peng's hand-me-down works were already rare in the early Qing Dynasty, and even Zhou Lianggong called it "unexpectedly invisible", so it has always been difficult to conclude about the true appearance of his printing style. The most reliable argument should come from the words of contemporaries such as Xu Lingdian, Li Liufang, and Zhou Yingyuan, from whose descriptions we can know that Wen Peng's Yin is mainly in white script, and his style is what Zhou Yingyuan called in "Yin Shuo", which is a natural and spontaneous style that is different from the skilled techniques of craftsmen. This is undoubtedly in line with the literati's natural pursuit of seal carving art, as well as the historical facts before the maturity of the knife language, and more in line with the trend of Yilin at that time to belittle the craftsmanship of "work" and advocate the morale of "will". From this point of view, the Bai Wenyin of the "Ranger of the Five Lakes" can fully confirm this description, and the analogy of the style can also be found in the Bai Wenyin such as "Wen Peng's Seal", "Shou Cheng's" and "Three Bridges Jushi" used in Wen Peng's calligraphy and painting works.
Lot 1673
He Zhen engraved the "calligraphy right army" Qingtian stone seal
Inscription: Calligraphy Right Army.
Side paragraph: Renchen winter is the first life seal of Xuan Chu in the Sanshan monk's house, He Zhen.
Bian Ba: Wu Jiazi built a worship temple in Rongcheng in the winter moon of Jiawu, which was 423 years later.
4×4×3.6 cm Published: 1. "Facsimile of the Famous Seal of Xiaoshi Shanfang", vol. 2, p26, edited by Gu Xiang, 1850. 2. The First Volume of "The Seal Garden of Xiaoshi Mountain House", P21, edited by Gu Chongfu, 1904. 3. The first volume of "Xiaoshi Shanfang Yinyuan", P13, edited by Gu Xiang and Gu Hao, 1925 recompiled. 4. "Selected Seal Carvings of Famous Celebrities in the Ming and Qing Dynasties - Tibetan Seals of Xiaoshi Mountain House" P6, Gu Yunyuan Edition, 1985 Seal Edition. 5. The Seal of the Little Stone Mountain House, Volume 1, P5, Gu Yunyuan, 1985.
Wen Peng's posthumous rivalry was He Zhen (1530-1604), He Zhen was much younger than Wen Peng, and although their backgrounds were completely incomparable, it did not prevent the two from being teachers and friends. Before Wen Peng's death, He Zhen's seal carving was still in the early stage, and since then, He Zhen has opened up a new situation of seal carving with his own strength. This side of the "calligraphy right army" white text printed side section with a single knife engraved "Renchen winter for the first life seal in the Sanshan monk's house", is known to be just with Wen Peng's "Five Lakes Ranger" seal in the same year, He Zhen was 33 years old. This is a fine white seal imitating the style of the Han jade seal, the layout is symmetrical, the lines are smooth and strong, showing quite mature knife skills; In the seal carving, He Zhen advocated the use of the seal to the six books as the standard, abandoning the vulgar weirdness and apocryphal bad habits since the end of the Yuan Dynasty, from which the "calligraphy right army" Bai Wenyin and other He Zhen's early works can be seen that the Han seal is steady and honest all the way is where his early method is; and later he is committed to the variety of methods and the changeability of the knife method, and the interest is to change the peace of Wen Peng to the sharp, typical works such as "laughing and talking about the neon breath" listening to the depths of the oriole" and "white crane in the clouds" and other seals, which opened up a new world for the literati seal carving.
Lot 1669
Su Xuan engraved "The emptiness of the spitting cloud moon class" Qingtian stone seal inscription: The spitting cloud moon class is empty. Side paragraph: Xuan. 3.7× 3.5×5.6 cm Published: 1. Xueshantang Yinpu, vol. 4, p56, edited by Zhang Hao, 1634. 2. "Facsimile of the Name Seal of Xiaoshi Shanfang", vol. 3, p26, Gu Xiangji, 1850. 3. The Second Volume of "Xiaoshi Shanfang Yinyuan", P12, Gu Chongfu, 1904. 4. "Xiaoshi Shanfang Yinyuan", Volume II, P7, Gu Xiang and Gu Hao, 1925 reprint. 5. "Selected Seal Carvings of Famous Persons in the Ming and Qing Dynasties - Tibetan Seals of Xiaoshi Mountain House" P11, Gu Yunyuan, 1985. 6. The First Volume of "The Seal of the Little Stone Mountain House", P10, edited by Gu Yunyuan, 1985. 7. Xueshantang Yinpu, P148, published by Shanghai Ancient Books Publishing House, 1991.
At the same time, Wen Peng and He Zhen were influenced by Su Xuan (1553-1626) and Wang Guan (c. 1575-1631). Zhou Lianggong's "Biography of the Indians" cloud: "Seal, the following tweets of the Han Dynasty are the main light." Neighbors only participate in this lamp, with a fierce participant He Xueyu, to Su Surabaya (Xuan) and fierce to the end. With the peace participant Wang Yinzi (Guan), to Gu Yuanfang (listening), Qiu Linghe (Min) and peace is exhausted. In other words, Su Xuan's Wenpeng Mengli all the way, and Wang Guan's Wenpeng Heping all the way. Su Xuan once studied under Wen Peng, and later from Gu Congde and Xiang Zijing two families to observe the seals of the past dynasties, so the vision is extraordinary, coupled with his own talent, so that he has a vision beyond ordinary people for seal carving, what he said, "began with simulation, and finally changed." The changer is more than the change, the more the transformer is the more than the change, and the so-called simulator is more than the ingenuity" is the wonderful meaning of art. This "spitting cloud moon class emptiness" Zhu Wenyin was once a thing on the desk of Xueshantang, which is the typical style of Su's Zhu Wen, with subtle changes in the straight lines, and the ancient Canghun is what Mr. Sha Menghai said, "hearty and reserved, deep charm", which shows Su Xuan's skills in the text and He Yuangui Han and Jin.
Lot 1670 Wang Guan engraved "Wangwushan people" Qingtian stone seal inscription: Wangwushan people. Side paragraph: Yin Zi. 2.8×2.8×4.9 cm Publishing: The Printing of Xiaoshi Shanfang, Volume 2, P24, edited by Gu Yunyuan, 1985.
Lot 1671
Wang Hong engraved "The sun and moon in the world, lying in the world" Qingtian stone on both sides of the printed text: The sun and moon in the world are lying in the world. Side paragraph: Hongdu. 2.4× 2.4×3.7 cm Publications: 1. Xueshantang Yinpu, vol. 3, p34, edited by Zhang Hao, 1634. 2. The first volume of the Chuan Jing Tang Collection Seals, p24 and 26, edited by Liu Yunling, 1818. 3. "Facsimile of the Name Seal of the Little Stone Mountain House", vol. 5, p31, Gu Xiangji, 1850 printed edition. 4. The Seal Garden of Xiaoshi Shanfang, vol. 7, p20, edited by Gu Chongfu, 1904. 5. "Xiaoshi Shanfang Yinyuan", Volume 7, P10, Gu Xiang and Gu Hao, 1925 recompilation. 6. The Seal of Xiaoshi Shanfang, vol. 1, p23, 24, edited by Gu Yunyuan, 1985. 7. Xueshantang Yinpu, P279, 280, published by Shanghai Ancient Books Publishing House, 1991. 8. The Fourth Volume of the Rare Printing Spectrum Series of the Chinese Library, Shanghai Library Volume, Xueshantang Printing Spectrum, P36, published by Zhongzhou Ancient Books Publishing House, 2016.
In contrast, Wang Guan's "Wangwushan People" fine Zhu Wenyin is closer to the taste of Wen Peng Zhu Wenyin, and even more quiet and workmanlike. Wang Guan has worked very the ancient seal and the Han seal, and his knife strives to be smooth, the lines are round, the layout is symmetrical, and even the bottom of the seal is paranoid and clean and tidy, showing a noble temperament that is not stained with fine dust. This style of his is the ultimate of Wen Peng and Pingyin's style, and no one has reached such a height in the next two or three hundred years, and it was only later carried forward in the hands of his neighbor Chen Julai. Wang Guan and Wang Hong's father and son were all guests of Zhang Hao's Xueshantang, but there are quite a few criticisms of Wang Guan in the "Xueshantang Seal", saying that his seals are mostly for his children's knives; in Zhou Lianggong's opinion, this is a deliberate accusation, because the seal style of the father and son is not all the way, just as Wang Xizhi and Wang Xianzhi are actually very different. This view can also be supported by evidence in the two Wang Hong seals presented this time. Among them, "the sun and moon in the world" and "lying in the world" are two-sided seals, and "Xiangxuezhai" is Zhu Wenyin, it is not difficult to see from these three seals that Wang Hong's knife is more fast and sharp, whether it is Zhu Wen or Baiwen, the lines are not for the purpose of pursuing smoothness, but are simple and simple, and Su Xuan's kind of freedom and wanton are closer. Wu people legend Wang father and son are unruly people, get money is not for people to play the knife, must be in the wind and moon field in the chic once again, Zhou Lianggong said, "that is, you can see its expansiveness, the skill has to be good."
Lot 1675
Guichang Shien, "Open the door is sighing and still alive" Qingtian stone seal inscription: Open the door and sigh and still live. Side: Hugh. 3×2.7×2.9 cm Published: 1. Xueshantang Yinpu, vol. 3, p33, Zhang Hao, 1634. 2. The Fourth Volume of "The Seal Garden of the Little Stone Mountain House", p18, edited by Gu Chongfu, 1904. 3. The fourth volume of "Xiaoshi Mountain House Yinyuan", P9, edited by Gu Xiang and Gu Hao, 1925 reprint. 4. "Selected Seal Carvings of Famous Persons in the Ming and Qing Dynasties - Tibetan Seals of Xiaoshi Mountain House" P16, Gu Yunyuan Edition, 1985. 5. The First Volume of "The Seal of the Little Stone Mountain House", P17, edited by Gu Yunyuan, 1985. 6. Xueshantang Yinpu, P321, published by Shanghai Ancient Books Publishing House, 1991.
Gui Changshi (1573-1644) was the grandson of the prose master Gui Youguang, the father of Gui Zhuang, and he was also a disciple of Wen Peng's "Three Bridges School". "Open the door is sighing, and the thing is still alive" Baiwen printing knives and layouts are quite rigorous, and the printing surface has a warm and elegant texture. He advocated that the seal should not only learn from the ancients, but also explore its source: "The source is the author's spirit, the spirit is out, and the law is born, and the god is also born." Obviously, it is the unique use of the "sexual spirit theory" of the public security faction in seal carving. In fact, throughout the late Ming and early Qing dynasties, due to the influence of Wen Peng and He Zhen, which were both large and wide, deep and far-reaching, the basic paradigm of seal carving in the late Ming Dynasty was almost not out of the two clans. Although these seals are not named, but the exquisiteness of its engraving, the elegance of the breath is by no means the work of vulgar hands, among them, "love bait hook regret in the Luan knife, the priest pure thief false voice" on both sides of the seal Zeng Zhantuo in the "Xueshantang Seal Spectrum", so whether it is as a text, what genre of inheritance works, or as a rare Ming Dynasty seal carving original, all have valuable research and collection value.
Lot 1677
Tao Bi engraved "and play from sex" Qingtian stone seal inscription: and play from sex. Side paragraph: Shi Gong Seal. 3.2×2.3×5.5 cm Publication: 1. "Facsimile of the Famous Seal of Xiaoshi Shanfang", vol. 5, P9, edited by Gu Xiang, 1850. 2. The Ninth Volume of "The Seal Garden of Xiaoshi Mountain House", P1, edited by Gu Chongfu, 1904.
The only two Qing Dynasty seal carvings in this topic should not be overlooked. At the beginning of the Qing Dynasty, Tao Bi engraved "and play with sex" white text printing lines are tactful and delicate, the knife technique is flexible and delicate, and the ancient jade seal is revealed everywhere The elegant and elegant atmosphere. Tao Bi is a native of Jinjiang, the word Shigong, once learned the seal from the famous Jiang Haochen of She County who lived in Fujian, Jiang was known for carving the jade seal at that time, and the knife naturally took the momentum without condensation, but unfortunately the works of the two are very rare, Tao Bi's work may be used as a typical work of the jade seal style of the master and apprentice. And Cheng Dechun engraved for Gu Xiang "gold and stone engraving ministers can be" Zhu Wen bronze seal is quite interesting in Zhejiang, in the process of writing the book of "Xiaoshi Shanfang Seal", Cheng Dechun is an important figure; this print was made in September of the tenth year of Daoguang (1830), according to Gu Xiang in the self-description of the seal spectrum, Cheng Dechun came to Changshu Xiaoshi Shanfang from Xin'an at this time to assist Gu Xiang in editing and re-engraving the seal score, then this seal is regarded as during this period; Gu Xiang said that he was "proficient in the six books, straightforward and elegant, not stained with dust, and traveled with the virtuous and heroic elders" Therefore, it is expected that his works can be handed down to the next generation.
Lot 1676
Cheng Dechun engraved Gu Xiang used "gold and stone to depict the minister can be" copper seal inscription: gold and stone engraving can be the minister. Side paragraph: Daoguang Gengyin made it for Brother Cuilanren in September, Cheng Chun. 2.6×2.6×3.2 cm Publishing: 1. Selected Seal Carvings of Famous Celebrities in the Ming and Qing Dynasties - Tibetan Seals of Xiaoshi Shanfang, P29, Gu Yunyuan, 1985. 2. The Seal of Xiaoshi Shanfang, Volume 3, P29, Gu Yunyuan, 1985.
Lot 1679
Ming Qingtian stone seals on both sides
Print:
1. The priest is pure thief.
2. Love the bait hook, regret in the luan knife.
3.3×3×4 cm
Publication:
1. Xueshantang Yinpu, vol. 8, p66, edited by Zhang Hao, 1634.
2. Xueshantang Yinpu, P229, published by Shanghai Ancient Books Publishing House, 1991.
3. The second volume of "Rare Printing Spectrum Series in the Collection of Chinese Libraries, Shanghai Library Volume, Xueshantang Printing Spectrum", published by Zhongzhou Ancient Books Publishing House, 2016.
Almost all first-class Indians in history have said that seal carving is "literati trail", and later generations often say that seal carving is "square inch Qiankun", and the difference has to make people think deeply. If you just pay attention to the superficial method, technique or ingenuity, of course, it is not enough to become the big seal carving; if you sniff out the "breath of Lei Ping" from the seal, interpret its "difficult to level the longing embrace", and understand its "chest in the heart" and "the spirit of sending", then the vastness of seal carving as an art can naturally be as vast as a universe. It's just that the deep meaning of this is often only known to those who know it, and it is difficult for outsiders to understand it, and this is the inevitable helplessness of the literati of all ages. But as Gu Xiang said, famous things never refuse to be annihilated, scattered and reunited, missing and rebuilt, such as the sword of Fengcheng and the pearl of Hepu, going around and around the world can always wait for those suitable people to wipe the dust for them and make them shine again.
Lot 1678 "?: 边款：甲戌莫春，竹所作。 3.7×3.7×4.4 cm
Lot 1680 ""? 5.5×3×4.1 cm
Lot 1681明 “玉皇香案吏”青田石印章印文：玉皇香案吏。 2.8×2.8×3.6 cm
China Guardian Contact Information (Swipe to view)
China Guardian International Auction Co., Ltd. (Headquarters)
Customer inquiry: (86-10) 8592 8288-3
Settlement Services: (86-10) 8592 8288-4
Media Cooperation: (86-10) 8592 8288-5
Transportation Inquiries: (86-10) 8592 8288-9
Online Auction Consultation: 15010006220 / 15910807786 ext. 9
Official website: www.cguardian.com
Contact Email: [email protected]
Address: No. 1, Wangfujing Street, Dongcheng District, Beijing
China Guardian (Hong Kong) International Auction Co., Ltd
Customer Enquiries: (852) 2815 2269
Contact Email: [email protected]
Address: 5th Floor, Lippo Centre One, 89 Queensway, Hong Kong
Liaison with regional offices
Shanghai
Tel: (86-21) 5466 0508
E-mail: [email protected]
———
Guangzhou
Tel: (86-20) 3808 8589
Email: [email protected]
———
nanking
Tel: (86-25) 8670 2356
Email: [email protected]
———
Hangzhou
Tel: (86-571) 8535 9925
Email: [email protected]
———
Xiamen
Tel: (86-592) 566 9168
E-mail: [email protected]
——
Taiwan
Tel: (886) 2 2757 6228
Email: [email protected]
———
Japan
Tel: (81-3) 6206 6682
Email: [email protected]
———
United States
Tel: (212) 308 8889 / (888) 799 8830
E-mail: [email protected]