AN IMPORTANT DATED BLACK LACQUER QIN

細節
AN IMPORTANT DATED BLACK LACQUER QIN
CHONGZHEN JIAXU YEAR, CORRESPONDING TO A.D.1634 AND OF THE PERIOD
The graceful slim arched wooden body finely lacquered with scattered russet patches and gold dust, exposing the zitan bridge, yueshan, and rounded frog end, jiaowei, 'burnt tail', one side of the convex belly inlaid with thirteen brass studs, hui, supported by two spinach jade pegs, yanzu, 'wild geese feet', the seven white jade tasselled tuning pegs, zhen, protected by two finials, huchen, the flattened back with circular longchi, 'dragon's pond', sound hole and smaller square fengzhao, 'phoenix pool', sound hole and carved with several inscriptions, the title Zhonghe (Capital Peace) above the seal Luguo shi quan (Heirloom of the Lu State) and a twenty character poem, the interior with a further inscription "no. 57, made by Prince Lu in the jiaxu year of the Chongzhen reign of the Great Ming Dynasty" (one huchen
repaired, old losses)
47 1/4in. (120cm.) long, brocade cover

拍品專文

The poem may be translated:

The moonlight is being reflected by the River Yangtze
A light breeze is blowing over clear dew drops,
Only in a tranquil place
Can one comprehend the feeling of eternity
signed Jingyi Zhuren

Jingyi Zhuren (d.1670 AD), also known as Gao Cai or Guo Mu, was a nobleman, scholar, musician, poet and painter in the Manchu court. The poem was almost certainly added to the qin in the second half of the 17th Century.

Tang Jianhuan, Qinfu, 1973, nos.116 and 117, records a qin in in the collection of Zhu Yun of Taiwan, which is identical and dated to the same year, only numbered '27', also inscribed as being made by Prince Lu. The author mentions that according to the Dynastic History of Ming, chapter 120, Chu Changfang, son of Emperor Wanli, inherited the title Prince of Lu in the 46th year of his father's reign (1616 A.D.). Another qin is mentioned in Yinyue Qin Kan, 1937, p. 321, in the collection of Jin Zhiqi of Shaoxing, with identical inscriptions, seals and titles as the present lot.

For a lengthy and very interesting discussion about a comparable qin, see Tsang and Moss, Arts from the Scholar's Studio, 1986, Catalogue, no. 151, from which much of the present cataloguing is derived.

It is interesting that in the present lot, one of the peg protectors, huchen, has indeed been broken off and reattached as its function dictates

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