中國人欣賞怪石，不是獵奇，更不是審醜
朱良志
中國人欣賞怪石，不是獵奇，更不是審醜！
怪石嶙峋，非平常蹊徑，出人意表，給人的心靈帶來震撼。說不清道不明的奇怪石頭，成為中國文人的至愛。
唐人就有好怪石之風，今見間立本的《職貢圖》，描寫外邦朝貢物品，其中有三人手中所托為山石盆景，另有三人抱著玲瓏剔透的太湖石石筍，這說明當時好石之風頗為濃厚。畫中的石頭奇形怪狀，給人很深的印象。
中唐以後這股風氣在文人中盛行，有平泉別業的李德裕酷愛怪石，後人有詩評道：「怪怪奇奇石，誰能辦醜妍。莫教贊皇見，定輩入平泉。」一看到怪石，就想到平泉主人。
白居易也癡迷怪石，他曾得到兩塊靈壁石，以為至寶，有詩贊道：「蒼然兩片石，厥狀怪且醜。」他對太湖石的推崇更是為人所熟知。他有詩云：「遠望老嵯峨，近觀怪。」他從朋友那裡得到奇形怪狀的太湖石，高興非常，有詩詠道：「奇應慚鬼怪，靈合蓄雲雷。」意思是石的奇形怪狀令鬼神都覺得慚愧。
宋代文人愛石，以怪為上，很多人染上怪石癖好，米带沉溺此好最深。而宋徽宗築艮嶽，好天下奇石，其中最神迷於其的太湖石。他筆下的《祥龍石圖》（今藏於北京故宮)以及今藏於日本根津美術館的 《盆石有鳥圖》，都是形狀奇特的太湖石。
宋徽宗 祥龍石圖，宋代典籍中對這種好怪石的風習有詳細記載。南宋未年趙希鵠《洞天清集》有《怪石辦》一節，該文認為，石之形式不規整，色彩黝暗，有悖常規，都是「怪」。文章說：「怪石小而起峰多，有岩岫聳秀窈窕之狀，可登几案觀玩，亦奇物也。
南宋杜綰《雲林石譜》所錄名石百餘種，多為怪石。如其云：「江華石，率皆奇怪…峰巒岩，四面已多透空，奇怪萬狀」;太湖石「有嵌空穿眼，宛轉奇怪1臨安石「四面嵌空險怪，洞穴委曲」。
香港蘇富比此次拍賣的一件名為「玄芝岫」的黑靈璧石，是北宋寶晉齋的遺物，被視為中國奇石的無上妙品。上面刻有北宋米带、元慶集、明文徵明、文彭、文嘉等的銘文，是一件流傳有緒的作品。米芾題有：「爱有異石，徵自靈璧。匪金而堅，比玉而粟。音協宮商，采殊丹漆。嶽起軒盈，雲流几席。元祐戊辰米带謹費。」這件作品通體黝黑，形狀怪異，不像一物，表面有水沖刷留下的水道、皺紋，溝壑縱横，脈絡雜陳，如老樹之根。四面佈滿孔穴。這件黑物，無物堪比，非色可陳，不名一狀，無本無根，初視之甚至令人有恐懼之感。簡直就是一團黝黑，一團混沌。
這樣一件怪物，頻合於老子「大白若黑」的思想一最光明的東西原來是沒有光明的。米芾說它是「采殊丹漆」，黑色的世界具有無比的燥爛。
它不類一物，置於几案，使人感到山巒起伏、雲起委收。奇形怪狀，在米芾們看來儼然天下最美之物。它沒有琴瑟之弦，扣之卻有清越之聲。
這個萬年遠物，是個老朽的存在，米芾們卻將它看活了，在他們的目光中，水在流動，氣在氤氳，山林蔥龍之態躍然眼前。
中國人欣賞怪石，不是獵奇，而是欣賞一種脫路常規、超越秩序、颠覆凡常理性的觀念。如說這黑靈蠻石是怪的，意識裡就有什麼東西屬於正常的尺規，這個所謂「正常」的秩序是依照人的理性而建立的，是人的知識的產物。我們以為「正常」的秩序，是合情、合理的。所謂合情，就是易於為人們接受，如美麗的色彩為人們欣買。
所謂合理，是符合一定的理性法度。
而正如道家和禪宗哲學所強調的，一切人們先行建立起的理性的秩序和標準，都不具有天然合理性，因為它是「人」的，即人依一定知識系統和情感原則建立起來的，用這樣的秩序去解釋物件，顯然有以「人」律「天」的意味。道襌哲學反對這樣的強行解說模式，強調放棄「以人為量」的方式，而「以物為量」一以天地的秩序為秩序。
我們稱之為正常的東西難道是真正的正常？正常的秩序難道就是不可懷疑的標準？ 從人類發展的歷史看，在一定程度上說，所謂「理性 」就是對「非理性」的強行征服，我們將不規則、不整齊劃一、有異端成分、有特別思康的東西，排斥在正常的範圍之外。
人類以理性的名義對良知征服的慘痛例子實在太多了。中國人愛怪石，是要將被「放逐」的東西重新請回來。因為「背井離鄉的人 」懷念自己的故鄉，他們適應不了文明給他們的虛假外衣、裝飾給他們的令人厭惡的門面、理性給他們的莫名其妙的說辭，他們要回到自己的故鄉。
一拳怪石，就是生命故鄉的象徵。
朱良志，北京大學哲學系教授，北京大學美學與美育研究中心教授。出版有《南畫十六觀》《石濤研究》《八大山人研究》《中國藝術的生命精神》《中國美學十五講》等。
The Chinese Appreciation of Rocks: Neither Curiosity about the Exotic Nor an Aesthetic of Ugliness
Zhu Liangzhi
aesthetic preference for the ugly. Peculiar rocks, with their rugged shapes and unusual appearances, leave a profound impact on the human mind and have become the cherished obiects of Chinese literati.
As early as the Tang dynasty, there was a penchant for peculiar rocks. In his Zhigong tu (Illustrations of Tribute), a painting of foreign envoys presenting tribute, Yan Liben (601-673) depicts three figures carrying mountain rock scenes while three others hold exquisite Taihu stone formations. This suggests that the appreciation of rocks was already prevalent at that time. With their bizarre shapes, the rocks depicted in the painting leave a deep impression.
This trend became popular among literati from the mid-Tang dynasty onwards. Li Dey (787-849). the owner of the Pingquan Villa, was particularly fond of peculiar rocks. As a later poem commented, "Strange and peculiar rocks; who can discern beauty from ugliness? Don't let Zanhuang [Li Deyu] see them, or they will surely be taken to Pingquan." The mere sight of a strange rock would evoke thoughts of the owner of Pingquan.
The eminent Tang poet Bai Juyi (772-846) was also obsessed with strange rocks and once obtained two Lingbi rocks, which he regarded as his treasures. Praising them in a poem, he wrote, "Two pieces of grey stone, their shapes strange and ugly." His admiration for Taihu rocks is even more well-known:
"From afar, they look old and rugged; up close, they are bizarre." Receiving another oddly shaped Taihu rock from a friend, he was overjoyed and wrote a poem, "Its strangeness would put ghosts and monsters to shame; its spirit seems to contain clouds and thunder."
Song dynasty literati also loved rocks and sought out the strangest examples. Many developed an obsession for these odd rocks, with artist Mi Fu (1051-1107) being one of the most devoted. Even Song dynasty Emperor Huizong (r. 1100-1126) had a fascination with rocks, particularly those from Taihu, and had the Genyue Hill built to accommodate strange pieces collected from all over the world. His Xianglong shi tu (Drawing of an Auspicious Dragon Rock), now housed in the Palace Museum, Beijing, and Penshi you niao tu (Drawing of a Stone Basin with a Bird), now in the Nezu Museum in Tokyo, both depict oddly shaped Taihu rocks.
Xianglong shi tu (Drawing of an Auspicious Dragon Rock) by Emperor Huizong of Song In Song dynasty texts, there are detailed records of this fascination with strange rocks. The Dongtian qinglu (Pure Record of a Daoist Cave), for example - written in the late Southern Song dynasty by scholar Zhao Xigu (1170-1242) - includes a section entitled "Discerning Strange Rocks." The text argues that rocks with irregular forms and dark colours, deviating from the norm, are all considered 'strange! The article states, "Small strange stones with many peaks, resembling towering, secluded mountains and ravines, are worthy of being placed on a desk for admiration and are also objects of curiosity." Du Wan's Yunlin shi pu (Yunlin Catalogue of Stones, 1133) similarly records over a hundred types of famous rocks, most of which are considered strange. For example, it states, "Jianghua rocks are generally strange (...) with peaks and ridges that are hollowed out on all sides, creating incredibly strange forms." Taihu rocks, in contrast, "have hollowed-out holes and strange winding spaces," and Lin'an rocks "are hollowed out and perilous on all sides, with winding caves."
The black Lingbi rock, to be offered at Sotheby's Hong Kong, is known as Xuanzhi Xiu ('Mythical Black Fungus Peak'). A relic of the Northern Song dynasty Baoinzhai Collection, this piece is considered the ultimate masterpiece of Chinese strange rocks. Bearing inscriptions by Mi Fu (1051-1107) of the Northern Song. Yu Ji (1272-1348) of the Yuan dynasty, and Wen Zhengming (1470-1559), Wen Peng (1497-1573), and Wen Jia (1501-1583) of the Ming, it is a work with a clear and illustrious provenance.
Mi Fu's inscription reads, "Then there was an unusual stone, collected from Lingbi. Though not gold, it is solid: compared to lade. its surface is uneven. The sound is harmonious like musical notes. the colour is better than that of cinnabar lacquer. The mountain rises high above the eaves, the clouds flow across the sky. The wuchen year of the Yuanyou era, sincerely commended by Mi Fu." The entire piece is pitch black and bizarrely shaped, resembling no known object. Its surface is filled with water-eroded channels, wrinkles, and crisscrossing veins, like the roots of an old tree. Covered with holes on all sides, this black object is incomparable to anything else, defying description. At first glance, it can even induce a sense of fear, as if a mass of darkness; a mass of chaos Such a monstrous object perfectly embodies Laozi's philosophy that "great whiteness is like blackness" - that the brightest things are, in fact, without light. Indeed, Mi Fu description of a colour "better than that of cinnabar lacquer" pavs homage to this black world, which possesses incomparable brilliance. Although the piece resembles no known object, when placed on a desk, it gives one the sensation of mountains rising and clouds gathering. To Mi Fu and others, its odd shape makes it the most beautiful object in the world. Though it lacks the strings of a musical instrument, when struck, it produces a clear sound. This ancient relic has endured across countless millennia but was brought to life once more through the gaze of Mi Fu and others. In their eyes, water flows, mist rises, and lush mountains come alive.
The Chinese appreciation of odd stones is not simply out of a sense curiosity, rather it is rooted in an appreciation of concepts that transcend convention, surpass order, and subvert common sense:
To label this black Lingbi rock as 'odd' implies some kind of normal standard. This so-called ‘normal’ order is established based on human rationale and is a product of human knowledge. We consider the 'normal order to be reasonable and logical - 'reasonable' meaning that it is easily accepted by people, such as with beautiful colours; and logical' that it conforms to certain rational laws. Taoist and Chan philosophies, however, emphasise that no rational order or standards established by humans have any inherent legitimacy, because they are ultimately 'human' - that is established by humans according to certain knowledge systems and emotional principles. Interpreting objects using such an order is clearly a case of imposing human laws on nature. Taoist and Zen philosophies oppose this mode of forced interpretation and advocate abandoning the 'human-centred approach in favour of the 'object-centred' approach - adopting the order of heaven and earth as the only true order.
Is what we call normal truly normal? Is the normal order an unquestionable standard? From the perspective of human history, to a certain extent, so-called 'rationality' is simply the forceful conquest of 'irrationality. We exclude the irregular, non-uniform, unconventional from the realm of the normal.
There are countless tragic examples of humanity conquering conscience in the name of rationality.
The Chinese love of odd stones is an attempt to bring back what has been 'exiled! As those who are far from home yearn for their homeland, these magnificent rocks cannot adapt to the appearances that civilisation imposes on them, the repulsive facade that artifice gives them, and the absurd rhetoric that rationality offers to them. They want to return to their homeland. A single odd stone is a symbol of the homeland of life.
Zhu Liangzhi is a professor in the Department of Philosophy at Peking University and a professor at the Peking University Aesthetics and Aesthetic Education Research Center. His publications include Nanhua shiliu guan [Sixteen Views of Southern Painting], Shi Tao yanjiu [A Study of Shi Tao], Bada Shanren yanjiu [A Study of Bada Sharen], Zhongguo yishu de shengming jingshen [The Life Spirit of Chinese Art], and Zhongguo meixue shi wu jiang [Fifteen Lectures on Chinese Aesthetics].
歷代賞石家總結品石要路為十二字訣，日：
「瘦、皺、漏、透、清、醜、頑、拙、蒼、雄、秀、深。」能得其半者，已屬雞得之佳石。「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，也有非細審否則雞以察覺的修治磨壟痕跡。
南宋杜綰《雲林石譜》記載𩅍璧石有時「須藉斧盤，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。初名激，宇元章，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。北未著名書法家、書畫理論家、盅家、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、籇、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盅珍石的態度皆被當世視為癲狂，而有「米癲」之稱。
米带愛石，多蓄奇石，時人以詼譎好奇視之，宋人筆記載其拜石款事甚多，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。元代倪灣有《题米南宮拜石圖》詩：「元章愛硯復愛石，探瑰抉奇久為癖。石兄足拜自寫國，乃知颜二不虛得。」例以石癖、硯癖名世的米带，對於硯山（研山）
極為實重，其中最知名者當數李後主舊物的一座硯山，江南國破後，此硯山流轉數士人家，輾轉為米芾所得，後來米芾又以此視山換得宅邸「海岳庵」，一時傳為佳話。
此事為北宋權相、書法家蔡京（1047~1126） 子蔡絛（1097~1158）記載於 《鐵圍山叢談》一書中：
江南李氏後主賣一研山，徑長彼踰尺，前聳三十六峰，皆大如手指，左右則引两阜坡陀，而中盤為研。及江南國破，研山因流轉數士人家，為米元章所得。後米老之鵿特陽也，念將卜宝，久未就。而蘇仲恭學士之弟者，才翁孫也，號稱好事。有甘鑫寺下站江一古基，多菜木，蓋晉唐人所居。時米老欲得宅，而蘇觀得研山。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「海岳應」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，其一日「芙蓉」者，頗崛奇。後上亦自為二研山，咸視江南所賣流亞爾。吾在政和未得罪時，管預召入萬歲洞，至研悶得盡見之。同蔡傃在攻和年間，宫至徽猷闖待制，得於宮中盡見徽宗所藏硯山，其中包括米带用來交易海岳庵宝地的南唐視山。文中又言及米带另有兩件自製硯山，似亦已被徽宗索入宮中，其一名1芙蓉」者，其山形頰崛奇，以「芙蓉」命之，或形容其形狀如芙蓉花者，與「玄芝岫亅頭角崢爃之造型卻有異曲同工之妙，而米带「玄芝岫」銘文日：
「爱有異石，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。丿讚美此靈璧石質理之堅緻溫潤，可比金玉之質，扣擊之馨響猶如宮樂，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。南宋丞相虔允文五世孫，父虔汲曾任黄岡尉，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，任奎章間侍書學士，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，與柳買、黄溍、揭傒斯被稱為「儒林四傑」。其詩具民族意識，與揭傒斯、 范桲、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。
黃玄龍
此玄芝岫據間乃了得自無錫華家後人，為明代著名收藏家華夏故物。華夏（1494-1567），字中父，常州府無錫望族，為著名收藏家、鑑賞家，與文徵明、祝允明等為犂交。在東沙築真賞齋，藏三代鼎舞、魏晉以來金石，品鹽推江東巨眼。根據華氏後人云，文徵明晚年曾向華夏借賞此「玄芝岫」，作為繪畫構圖參考，並由其子文彭鐫記觀石題識。文徵明八十歲（1549）為華夏作《真賞齋国卷》，畫卷中所佈置的許多玲瓏怪石，便是援引「玄芝岫」為創作元素。
文徵明（ 1470-1559），初名壁，字徵明，更宇徵仲，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，筆墨满灑酣暢，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），宇壽承，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。蓄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），宇休承，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」一件，亦為黑靈壁石，其形狀極為靈秀，質理堅潤，色澤沉穆，並有清代杭州名士黄易鐫記觀石題識，時在乾隆四十八年（1783），可資別例参照。
虞集（元世祖至元九年一元惠宗至正八年，1272-1348，年七十七）字伯生，蜀都人。宋代丞相虞允文五世孫，從元代大儒吳澄（1249-1333）遊。大德初年，以聽授大都路教授，元文宗即位，除奎章閣待書學士，贈江西行中書省，參知政事護軍，封仁壽郡公。
世稱「邵巷先生」。其書法，真、行、草、篆皆有法度，古隸為當代第一。元代書法家康里夔（1295-1345）評其札，謂其雄劍倚天，長虹駕海，不無由筆。又謂如篇雛出巢，神采可愛。頡頏未熟，斯則得之。元陶宗儀（1329一約1412）《輟耕錄》云：「文宗奎章闆作二蟹：一日「天曆之實」，一日「奎章閣寶」，命（虔）集篆文。」虞集晚年告病回江西，於至正八年五月病卒，卒年七十七。
文徵明（明患宗成化六年 一 明世宗嘉蜻三十八年，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，工書善畫，獨出一時。後人以文徵明、沈周、唐伯虎、仇英合稱為「明四家」。尤精詩文，並與唐伯虎、祝枝山、徐禎卿合稱 「吳中四才子」。其山水畫師沈周，得其筆法，益以神采，更出其上。晚年繼沈周之後，為吳門畫派領袖。卒年九十，著《莆田集》。
文彭（明孝宗弘洽十一年一明神宗萬曆元年，1498-1573）字壽承，號三橋，文徵明長子。曾任南京國子監傅士，少承眾學，詩文書畫均有造詣，尤精于刻印，後人奉為金科玉律。曾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，卒年七十六。
文嘉（明孝宗弘治十四年 一明神宗萬曆十一年，1501-1583）字休承，號文水，文徵明仲子。以諸生久次貢，授烏程訓導，擢和州學正。能鑑古，工石刻，為有明一代之冠。其小楷輕清勁爽，宛如瘦鶴，稍大便陳散不結束，逕寸行書亦然，然不逮父兄。畫得徵明一體，精山水，疎秀似元代山水畫大家倪瓚（ 1301-1374），而有肉，著色山水有幽淡之致。亦能詩。卒年八十三。
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 tunnels are 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 prised 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, Anhui province; black stones being the most prized among them. In Dongtian 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.
In the Yuyanggong shi pu (Yuyanggong's Stone Catalogue), Yuanggong (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 six cu long and half as tall. It is exquisitely wrought and beautifully smooth, having waves, channels, folds, and a walnut pattern. Near the peak is a 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." SuShi (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 name Yuanzhang - was a native of Taiyuan in modern-day Shanxi province. Appointed as an erudite of the Calligraphy and Painting school under Emperor Huizong, Mi was a talented painter, poet and calligrapher, and was considered one of the four great calligraphers of the Song dynasty, together with SuShi, 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 works of 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 first encounter with these pieces was during his first official appointment at Lingbi, Anhui, when he 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 the Wenzong 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 calligraphy and was considered the best of his time for writing clerical 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 a native of Suzhou and considered one of the four great painters of the Ming dynasty, together with Shen Zhou, Tang Bohu and Qiu Ying. Renowned for his calligraphy and landscape painting, Wen was also a gifted poet. Though Wen's landscape paintings emulated those of his teacher Shen Zhou, especially in brushwork, they are 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 in his 1543 work, the Futian ji ('Collection of the Extensive Fields*)
Wen Peng (1498-1573, courtesy name Shoucheng), and Wen Jia (1501-1583, Xiucheng), were the oldest and second sons of Wen Zhengming respectively. They both followed the family tradition, becoming accomplished figures in their 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 lan Wilson, with an inscription dated to 1783. illustrated in The Spirit of Gongshi: Chinese Scholar's Rocks. Chicago. 1999 cover.
Frequently Asked Questions About the Chinese Appreciation of Strange Rocks
1. What is the basis of the Chinese appreciation for strange rocks?
The Chinese appreciation of strange rocks is not simply driven by curiosity or an attraction to ugliness. Instead, it stems from a deep philosophical and aesthetic appreciation for natural forms that defy conventional notions of beauty and order. These rocks, often with their rugged and unusual shapes, embody a sense of untamed naturalness and evoke a feeling of awe and contemplation in those who appreciate them.
2. How far back does this appreciation for unusual rocks go in Chinese history?
The fascination with strange rocks can be traced back to the Tang dynasty (618-907). Evidence of this appreciation can be seen in artwork from the period, like Yan Liben's "Zhigong tu", which depicts figures carrying rock formations as tribute. By the mid-Tang dynasty, collecting and appreciating these unusual stones became a popular practice among literati and scholars.
3. Are there specific types of rocks that are particularly prized?
Yes, certain types of rocks hold special significance in Chinese culture. Lingbi rocks, known for their black, lacquered appearance and sonorous qualities, are highly sought after. Taihu rocks, characterized by their hole-ridden, porous structures, are also greatly admired for their unique, almost sculptural forms.
4. What are some of the key characteristics that make a rock desirable?
Over centuries, connoisseurs have developed specific criteria for evaluating the aesthetic merit of strange rocks. These criteria are often summarized in twelve terms: thin, wrinkled, porous, permeable, clear, ugly, obtuse, clumsy, teal, powerful, beautiful, deep. A rock possessing even half of these qualities is considered exceptional.
5. Who are some of the famous historical figures associated with the appreciation of strange rocks?
Many prominent figures throughout Chinese history have been avid collectors and admirers of strange rocks. Notable examples include the Tang dynasty poet Bai Juyi, renowned for his love of Taihu rocks, and the Song dynasty artist Mi Fu, known for his eccentric personality and his deep fascination with Lingbi rocks. Even Emperor Huizong of the Song dynasty was an enthusiastic collector, commissioning the construction of Genyue Hill to display his extensive collection.
6. How is the Chinese appreciation of strange rocks connected to philosophical ideas?
The appreciation of strange rocks is deeply intertwined with Taoist and Chan (Zen) Buddhist philosophies. These philosophies emphasize the inherent beauty and order found in the natural world, even in its seemingly irregular and unconventional forms. The rocks, with their unique and often challenging shapes, encourage viewers to move beyond human-imposed notions of order and beauty and to appreciate the intrinsic value of the natural world.
7. Is there a connection between the appreciation of strange rocks and art?
Absolutely. Strange rocks have been a frequent source of inspiration for Chinese artists and have been depicted in countless paintings and literary works. Painters like Mi Fu drew inspiration from the forms and textures of these rocks, incorporating their essence into their landscapes. The rocks themselves are also seen as three-dimensional art objects, worthy of display and contemplation.
8. Is the practice of appreciating strange rocks still prevalent in modern China?
Yes, although perhaps not as widespread as in previous centuries, the appreciation of strange rocks continues to be a respected tradition in China. Collectors and enthusiasts still seek out these unique natural formations, and exhibitions showcasing these extraordinary stones are held regularly, demonstrating the enduring appeal of these fascinating objects.
Timeline of Events:
Tang Dynasty (618-907 AD):
Appreciation for strange and unusual rocks emerges amongst the elite.
Yan Liben's painting, Zhigong tu, depicts Taihu and mountain rock scenes being presented as tribute, showcasing the growing popularity of rock appreciation.
Mid-Tang Dynasty: Li Deyu, owner of the Pingquan Villa, becomes known for his love of peculiar rocks.
Late Tang Dynasty: The poet Bai Juyi expresses his admiration for Lingbi and Taihu rocks in his poetry.
Song Dynasty (960-1279 AD):
The fascination with strange rocks intensifies, with many literati developing a passion for collecting them.
The artist Mi Fu becomes renowned for his deep appreciation and collection of unusual rocks.
Emperor Huizong, a devoted collector of strange rocks, constructs the Genyue Hill to showcase his collection and creates paintings like Xianglong shi tu and Penshi you niao tu, featuring Taihu rocks.
Zhao Xigu writes Dongtian qinglu which includes a section dedicated to discerning strange rocks, further solidifying their cultural importance.
Du Wan's Yunlin shi pu catalogues over a hundred types of famous rocks, mostly strange and unusual formations.
Yuan Dynasty (1271-1368 AD):
Yu Ji, a scholar-official, becomes a notable owner of the "Xuanzhi Xiu" rock.
Ming Dynasty (1368-1644 AD):
The "Xuanzhi Xiu" rock comes into the possession of Hua Xia, a renowned collector from Wuxi.
Wen Zhengming borrows the "Xuanzhi Xiu" from Hua Xia, using it as inspiration for his paintings.
Wen Zhengming's son, Wen Peng, carves an inscription onto the "Xuanzhi Xiu" rock.
Qing Dynasty (1644-1912 AD):
A black Lingbi rock, similar to the "Xuanzhi Xiu", with an inscription by Huang Yi, enters the collection of Ian Wilson.
Cast of Characters:
Tang Dynasty:
Yan Liben (601-673): Tang Dynasty painter known for his work Zhigong tu, which depicts the presentation of tribute, including strange and unusual rocks.
Li Deyu (787-849): Owner of the Pingquan Villa and known admirer of peculiar rocks. His passion for these rocks was so well-known that any strange rock would evoke his name.
Bai Juyi (772-846): Eminent Tang Dynasty poet who expressed admiration for Lingbi and Taihu rocks in his poetry, solidifying their place in literati culture.
Song Dynasty:
Mi Fu (1051-1107): Renowned artist and devoted collector of strange rocks. His passion for unusual stones earned him the nickname "Madman Mi." Mi Fu also owned the "Xuanzhi Xiu" rock and left an inscription on it.
Emperor Huizong (r. 1100-1126): Song Dynasty Emperor who held a deep fascination for strange rocks, especially those from Taihu. He commissioned the construction of the Genyue Hill to display his collection.
Zhao Xigu (1170-1242): Scholar who wrote Dongtian qinglu, a text that includes a section on the appreciation and discernment of strange rocks.
Du Wan: Author of Yunlin shi pu, a catalogue featuring descriptions of over a hundred types of famous rocks, with a focus on strange and unusual formations.
Yuan Dynasty:
Yu Ji (1272-1348): Scholar-official and calligrapher who was a known owner of the "Xuanzhi Xiu" rock.
Ming Dynasty:
Hua Xia (1494-1567): Renowned collector and connoisseur who owned the "Xuanzhi Xiu" rock. He was a friend of Wen Zhengming and allowed him to borrow the rock for artistic inspiration.
Wen Zhengming (1470-1559): One of the four great painters of the Ming Dynasty, known for his landscapes and calligraphy. He borrowed the "Xuanzhi Xiu" rock from Hua Xia to use as inspiration in his paintings.
Wen Peng (1498-1573): Eldest son of Wen Zhengming. He was an accomplished artist and scholar who carved an inscription onto the "Xuanzhi Xiu" rock.
Wen Jia (1501-1583): Second son of Wen Zhengming. He was also a skilled artist and scholar, following in his father's and brother's footsteps.
Other:
Ian Wilson: Prominent scholar's rock collector who possesses a black Lingbi rock similar to the "Xuanzhi Xiu" with an inscription by Huang Yi dating back to the Qing dynasty.
Huang Yi: Qing dynasty scholar who left an inscription on a black Lingbi rock now in the collection of Ian Wilson.
This timeline and cast of characters highlight the long and rich history of the appreciation for strange rocks in Chinese culture, emphasizing the enduring appeal of these unusual objects across various dynasties.
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