A RETICULATED BAMBOO 'TAO YUANMING' PARFUMIER
A RETICULATED BAMBOO 'TAO YUANMING' PARFUMIER
A RETICULATED BAMBOO 'TAO YUANMING' PARFUMIER
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清康熙  竹鏤雕「歸去來辭」香筒

KANGXI PERIOD (1662-1722)

細節
採用高浮雕及透雕技法,刻畫陶淵明辭官歸田,恬然依傍一株老松,旁邊童子手捧書冊,呈現《歸去來辭》「撫孤松而盤桓」之詩意。此香筒之構圖與王世襄藏明代朱纓刻「歸去來辭」筆筒大同小異,但雕工技法卻有所變化。朱纓為明「嘉定三朱」之一,作品多為淺浮雕,本香筒則貼近清初風格,以高浮雕手法增加山水風景之深度及層次感,山石亦以快刀刻畫短線條,仿效文人山水畫中之「皴」筆法。上述王世襄藏筆筒著錄於稽若昕著1999年台北出版《明清竹刻藝術》,圖版12號。

榮譽呈獻

Ruben Lien
Ruben Lien

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拍品專文

The figure depicted on the present parfumier is Tao Yuanming, whose poem Guiqulai ci, 'Returning Home' contains the verse: Fu gusong er panhuan, 'I yet caress this lonely pine, and linger'. The composition on the present piece could be compared to a bamboo brush pot with the same subject-matter by the famous Ming-dynasty carver Zhu Ying of the Jiading School, in the collection of Wang Shixiang, illustrated in Ming Qing zhuke yishu, Taipei, 1999, pl. 12. Although there are some similarities in composition between the two bamboo carvings, the current example has evolved stylistically in many aspects. The shallow relief preferred by Zhu Ying has been replaced by higher relief, and the designs are carved in multiple layers, adding to its depth and complexity. The rocks have become much more rugged with the use of short knife cuts, imitating the cun brush strokes found on landscape paintings.

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