A SUPERBLY CARVED BAMBOO 'SEVEN SAGES' BRUSH POT
A SUPERBLY CARVED BAMBOO 'SEVEN SAGES' BRUSH POT
A SUPERBLY CARVED BAMBOO 'SEVEN SAGES' BRUSH POT
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A SUPERBLY CARVED BAMBOO 'SEVEN SAGES' BRUSH POT
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清康熙  劉源題字竹雕竹林七賢筆筒

SIGNED LIU YUAN, KANGXI PERIOD (1662-1722)

細節
圓筒形,下承三矮足。通體採用高浮雕及透雕技法,雕竹林七賢雅聚於溪邊竹林,或撫琴聽樂,或飲酒觀溪,旁有侍從伺候。另一面岩石上描金刻四言詩:山石蒼翠,清陰響泉,兩阮伯倫,浮白陶然,廣陵一曲,叔夜真傳,子期濬沖,會心在編,獨立特行,啟事巨源,淌洋自適,晉有七賢臣源謹識印:源源,亦即康熙朝刑部主事劉源 (圖一)。清宮舊藏一件端石雙龍戲珠紋硯,硯側銘「康熙十八年五月恭製,小臣劉源」,鐫
「源」印。其中「源」字印與本筆筒 上之印如出一轍 (圖三)。此硯配有原裝紫檀木盒,蓋內有劉源隸書銘文 (圖四),其字體與本拍品上之銘文非常相近,無疑出自同一人之手。該硯現藏北京故宮博物院,著錄於2005年香港出版故宮博物院藏文物珍品全集《文房四寶.紙硯》,圖版62號。民國初《清史稿》卷505記:「劉源,字伴阮,河南祥符人,隸漢軍旗籍,康熙中,官刑部主事,供奉內廷.....時江西景德鎮開御窯,源呈瓷樣數百種。參古今之式,運以新意,備諸巧妙。於彩繪人物、山水、花鳥,尤各極其勝。」康熙劉廷璣《在園雜誌》卷一記:「刑部主事伴阮兄源.....其字怪僻,自言融匯諸家,獨成一體,殊有別緻,畫則揮灑數筆,生動酷肖......內廷製作,多出其手。太皇太后加徽號龍寶暨皇貴妃寶,余親見其撥蠟送禮部........未幾卒於京........近日所用之墨及磁器、木器、漆器仍遵其舊式,而總不知出自劉伴阮者。」爬梳現存的史料,可見劉源為天才橫溢的設計家,且工書畫,常為康熙朝內廷用的瓷器及各式工藝品繪畫紙或木樣。北京
故宮博物院仍保存著數幅劉源字畫,其中一幅為《墨竹圖》
(圖二)。本拍品圖案佈局有序,人物神態生動傳神,除題字出自劉源本人外,整體設計亦非常有可能出自他手。
來源
倫敦Bluett & Sons 瑪麗及莊智博珍藏 香港蘇富比,2005年10月21日,拍品8號
展覽
牛津大學阿什莫林博物館,《The Chinese Scholar's Desk》, 1979年,圖錄圖版11號

榮譽呈獻

Ruben Lien
Ruben Lien

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拍品專文

The signature 'Yuan' on this brush pot very likely refers to the official Liu Yuan (fig. 1), who served as the Minister of Justice during the Kangxi period. The Qing Court Collection contains a Duan inkstone inscribed with the signature 'Liu Yuan' with a Kangxi date followed by the seal 'Yuan' (fig. 3). The seal on this inkstone compares favourably to the one carved on the current brush pot. Interestingly, the inkstone is contained in a zitan wood box which is carved on the cover with an inscription and the seal 'Yuan' (fig. 4). The calligraphic style on the wood box is almost identical to that of the inscription on the current brush pot, and was mostly likely written by the same hand. The resemblance of the seals and calligraphy found on the inkstone, wood box and the current brush pot is a strong indicator that they are related and refer to the Qing dynasty official Liu Yuan. The inkstone is now in the Palace Museum Collection and illustrated in The Four Treasures of the Study - Writing Paper and Inkstones, Hong Kong, 2005, pl. 62.

Liu Yuan was known to be an accomplished painter and calligrapher. Several of his paintings are now kept in the Beijing Palace Museum, such as (fig. 2). According to Qing shi gao, 'Manuscript of Qing History', published during the early Republic period, Liu Yuan devised several hundreds of design of Imperial porcelain pieces following the re-opening of the official kilns in Jingdezhen during the Kangxi period. According to another source Zaiyuan zazhi, written by Liu Tingji who was a contemporary of Liu Yuan, many of the scholar's objects and works of art made for use in the Imperial household were in fact designed by Liu Yuan, including ink, lacquer, porcelain and wood carvings.

From the sources above, it is possible to deduce that Liu Yuan was an extremely talented 'designer', who was the mastermind behind many of the works of art made for the inner court. The current brush pot, which bears an inscription and seal of Liu Yuan, is also very likely to have been designed by him as reflected by the well-balanced composition and intricate rendition of the details.

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