天然太湖石，色黑如漆，性堅而潤，宛轉險怪，如劍如載。
石面遍佈魚鱗般坑洼，名為彈子窩。宋徽宗有黑太湖祥龍石一座，曾寫生圖之，(1) 其形彷彿一角，是以名之。
(Richard Rosenblum, 1940~2000），歷經美國大都會博物館及各地展覽與出版。曾是羅森氏所珍藏諸太湖石中之佼佼者。原配清晚期十九世紀蘇式風格紅木浮雕座。
太湖石，出自蘇州洞庭山水域，以西山消夏灣水底所產最佳，唐代已有開採，後世繼之。最著名者乃宋徽宗為造艮嶽，實行花石網，廣蒐天下奇石，於是大規模開採太湖石。
宋代范成大（1126~1193）《太湖石志》記載：「石出西洞庭，多因波濤激湍而為嵌空，浸濯而為光瑩。或縝潤為矽瓚、廉劌如劍戟、矗如峰巒、列如屏障，或滑如肪，或黝為漆，或如人如禽鳥。好事者取之以充圈庭除之玩。石生水中者艮歲久浸，波濤衝擊成嵌空。石面鱗鱗，名日彈窩，亦水痕也，扣之鏗然聲如馨。(2) 充分道盡太湖石之特色。
(1) 圖版引自：傅熹年主編，《中國美術全集•繪畫編3 • 兩宋繪畫上》（台北：錦繡出版社，1989），圖版46，頁94-95。 (2)（宋)范成大，《太湖石志》，收入：孔凡禮輯，《范成大佚著輯存》（北京：中華書局，1983），頁132- 133。
DRAGON'S HORN
A BLACK TAIHU SCHOLAR'S ROCK, SONG - MING DYNASTY
祥龍角
宋至明 太湖石研山
來源：
Richard Rosenblum 4#
展覽：
Robert D. Mowry, «Worlds within Worlds: The Richard Rosenblum Collection of Chinese Scholars' Rocks, I+
藝術博物館，劍橋，1997年，真183，編號16
西雅圖藝術博物館，西雅圖，1997年
鳳凰藝術博物館，鳳凰城，1998年
雷特伯格博物館，蘇黎世，1998年
« The World of Scholar's Rock: Gardens, Studios, and
Paintings》，美國大都會藝術博物館，紐約，2000年
出版：
Nancy Berliner, ‹ The Rosenblum Collection of Chinese
Rocks〉， 《Orientations 》，1990年11月，頁73，圖9黃玄龍主
編，《靈璧研山》，翦淞閣，台北，2016年，第二十品
black limestone with subtle white veining and inclusions, 19th-century Suzhou wood stand
54 cm
PROVENANCE
The Richard Rosenblum Collection.
EXHIBITED
Robert D. Mowry, Worlds within Worlds: The Richard Rosenblum Collection of Chinese Scholars' Rocks, Harvard University Art Museums, Cambridge, 1997,
p. 183, cat. no. 16.
Seattle Art Museum, Seattle, 1997.
Phoenix Art Museum, Phoenix, 1998.
Museum Rietberg, Zurich, 1998.
The World of Scholars' Rocks: Gardens, Studios, and Paintings, The Metropolitan Museum of Art, New York, 2000.
LITERATURE
Nancy Berliner, 'The Rosenblum Collection of Chinese Rocks', Orientations, November 1990, p. 73, fig. 9.
Huang Hsien-Long, ed., Lingbi Yanshan, Jiansongge, Taipei, 2016, no. 20.
Black like lacquer, the present rock displays hard yet smooth surfaces, resembling swords and spears, and is covered with fish-scale-like pitting that has formed overtime.
Emperor Huizong of the Song dynasty owned a black Lake Tai stone shaped like a dragon's horn, which he had illustrated in a drawing.
Taihu (Lake Tai) rocks are produced in the waters off Dongting Mountain in Suzhou and the best ones are found at the bottom of Xiaoxia Bay off the mountains west of Lake Tai. The extraction of Taihu rocks began in the Tang dynasty, and continued throughout subsequent dynasties.
During the Song dynasty, Emperor Huizong collected scholar's rocks from across the empire to construct the Genyue Garden, and Taihu rocks were excavated on a large scale. According to Song dynasty scholar Fan Chengda (1126-1193)'s Taihu shi zhi [Taihu Rock Record), "Rocks from Western Dongting are often hollowed out by the force of waves and polished smooth by the water.
Some are firm and lustrous like jade, sharp like swords and spears, towering like peaks, or aligned like screens. Some are sleek like fat, dark as lacquer, or shaped like humans or birds. Connoisseurs acquire them to adorn their gardens and courtyards. Rocks that have been submerged in water for a long time are eroded by the waves. Their scaly surface is the trace of water marks. When struck, they produce a clear sound like a chime.(1) This passage crystallises the characteristics of Taihu rocks.
(1) Song dynasty, Fan Chengda, Taihu shi zhi [Taihu Rock Record], in Kong Fanli (ed.), Fan Chengda yizhu jicun [A Collection of Lost Works by Fan Chengda] (Beijing: Zhonghua Book Company, 1983), pp. 132-133.
坐看雲起
黃玄龍
「坐看雲起」專場是蒻淞閣與蘇富比的二度合作，再度與仇國仕先生及其優秀頂尖的團隊一起籌備專場，深感榮幸，亦特此敬致謝忱。
我和仇先生相識多年，都深愛中國文人藝術，有共同的審美，對於文人藝術形而上哲學的神思深感興趣。2008年仇先生相邀首次與蘇富比共同合作「道法自然：翦淞閣重要賞石珍藏」專場，承蒙各方同道與友朋們的鼓勵與支持，取得不俗的成績，世引(起收藏圈對於古代賞石文化的廣泛討論與關注，蔚成風氣。
之後，我和仇先生便有以中國禪宗美學為專場主題的想法。十數年光陰轉瞬即逝，仇先生籌備了香港蘇富比全新旗艦藝廊，空間以道法自然、文人供石為靈感，結合東方供石與西方洞窟意象設計而成，氛圍幽深沉靜，此以道禪哲思為旨趣打造的秘境，正是實現我們多年來論述文人美學的絕佳空間。
本次專場名稱号(自詩人王維（692~761） 〈終南别業〉著名詩句：「行到水窮處，坐看雲起時」，王維篤信佛教，精通禪理，人稱「詩佛」。此詩充满禪機禪心，面對人生順逆得失，如何以閒適之心尋求精神境界的超越、美感的昇華，自在無礙，意蘊無窮，十分契合我們想要傳達的禪宗與文人美學 意旨。既云坐看，特別推出庋藏三十年、首度面市的「晚明黃花梨四出頭大禪椅」，在中國古典家具中，形制如此巨碩的傳世禪椅極為珍罕。如所周知，佛教的傳人為中國帶來佛理哲思、離苦得樂的信仰，伴隨而來的各種事物也改變了中國人的物質生活與文化。
禪椅的前身就是隨著佛教傳人中國的繩床，可能也是中國最早的椅子。據《舊唐書》記載，詩人王維晚年「齋中無所有，唯茶 鐺、藥白、經案、繩床而已，退朝之後焚香獨坐，以禪誦為事，妻亡不再娶。三十年孤居一室，屏絕塵累。」繩床從寺院傳播到宮廷、文人，成為「尊者之座」的椅子，再普及於民間家戶，是一個漫長發展的歷史進程，也是一段饒富趣味的文化史。到了晚明，文人書齋中的禪椅，與如意、拂塵等，均成為文人所嚮往追求、習靜參禪，獨享一人之樂的怡情養生事具，對其材質、形制與設計等備極講究，尤其形制高大、座面深闊的禪椅，不僅融合了禪宗清寂古雅、文人平淡天真以及明式家具簡約凝鍊的美學，也是文人標榜品味、身分地位的象徵，因而被視為明式家具中的奇品，傳世者極其稀有罕見，其簡約空靈的造型之美，甚至對現代西方家具美學、設計產生相當的影響。
除了禪宗美學，此次仍廣省2008年「道法自然」旨趣，以文人供石為主，其中的主角一一
「北宋 米芾銘玄芝岫 靈璧石 研山」，雖是往昔遺珠，於我卻有失而復得的喜悅。我長年嗜癖古石，蒐藏交流，未曾間斷，可謂閱石無數。「玄芝岫」 是我寓目所見品格至高的靈璧石，石表胡桃殼紋、襞摺等紋理悉備，全然符合宋代文獻記載。八面玲瓏，功奪天造，可任意從不同的角度觀賞，皆可生變幻無窮之意象。復以流傳有序，經歷代名家遞藏，周身有三處分别為宋、元、明代名家所鐫刻銘文。
前輩嘗調文物有靈，穿梭時空，如有神物護持，信然。
數年來，我與「玄芝岫」朝夕相處，也從不間斷地作相關的探索、研究，隨著知識的漸進增長與審美眼界的升華，更加領略「玄芝岫」的微妙境界。
此次專場，我們也特别推出了「研山」（硯山），在文房清翫中，研山是一個非常有趣的品項。對於文人而言，供石可以化身成研山、硯臺、硯滴、筆架、硯屏，甚至是香具，它不僅僅是一塊可供賞玩的奇石或一件實用的文房用具而已，更是一個小中見大、具體而微，應時變化、儼若山林的自然山水，可神遊其間，寄託生命情思的無窮想像。研山之制，唐代已有之，但要以北宋米芾(1051~1107）得自李後主舊藏的「寶晉齋研山」最負盛名，為千年以降文人雅士夢麻以求者。然值得注意的是，研山之制，雖非始於米芾，其好友蘇軾（1037~1101） 有詩云：「有米楚狂，即盗之隱。因山作硯，其理如云。」可知以綿延山岳多峰巒之擬山造型而來的「研山」一詞，實因米蒂「因山作硯」而得有其名。
自宋代以後，文人多將「研山」 置於書齋或几案，作為清玩觀賞對象，小而起峰，具山岳、山巒形象的「研山」，可使人如遠觀山岳、妙想遷得，從而衍伸出;更多個性化與創造性的賞石思維，因此備受文人青睞。此即《雲林石譜》序文所云：「雖擅一拳之多，而能蘊干巖之秀，大可列於園館，小或置於几案。如觀嵩少，而面龜蒙，坐生清思。」這也不禁令吾人聯想 《維摩詰經，不思議品》所言：「須彌納芥子，芥子納須彌」；而愛石成癡的米带〈研山蔚〉則說：「一塵具一界，妙喜非難求。心欲躡赤霄，八極皆部婁。
况茲對泉物，其致一揆收。」顯然東方哲人與文士皆已闡明萬物雖外相有別，其本質如本體同一，且互相交融無别之理。無論「以石代山」、「因山作現」的「研山」如何「化身」，多仍是其本體一一山岳或山水形象的投射，既反映文人的自然山水情懷，也以一塵一芥而統攝自然萬象，並能含納器物致用之式於一也。如果說，供石為中國古代文人的繆思，絕不為過。此次以文房供石文化為主題的「坐看雲起」專場，不僅僅是呼應蘇富比旗艦藝廊以「以石代山」的文人供石空間設計，而於其中展出的研山，更是蘊千巖之秀、令人神遊太虛寄託生命情思，也是吾人對於意蘊深厚的供石文化傳統的讚頌和致敬。
STILLNESS IN CLOUDS
HUANG HSIEN-LONG
A deeply personal and exciting project for me, "Stillness in the Clouds” marks the second collaboration between Jiansongge and Sotheby's. Working once again alongside Mr Nicolas Chow and his exceptional team has been a true honour and I want to express my heartfelt gratitude for their incredible efforts.
I have been immersed in the world of Chinese art for more than a decade, holding a particular passion for scholar's rocks and literati objects. Over the years, Mr Chow and I have developed a strong bond over our mutual love for Chinese literati art. We share a keen eye for aesthetics and a deep appreciation for the philosophical and metaphysical ideas that underpin these works.
Back in 2008, at Mr Chow's invitation, we first collaborated on "TAO: The Jiansongge Collection". It was an immensely successful sale thanks to the support and encouragement of friends and fellow collectors, and it also sparked widespread interest and rejuvenation in the appreciation of scholar's rocks.
Since then, Mr Chow and I have talked at length about creating an auction that centres on the aesthetics of Chinese Chan Buddhism. A decade has flown by, and during this time, Mr Chow has overseen the completion of Sotheby's new Asia flagship in Hong Kong - Sotheby's Maison. The space is a masterpiece in itself, blending the principles of Daoist naturalism with the imagery of Eastern scholar's rocks and the design of Western grottos. Its deeply contemplative ambience is perfectly suited for realising our vision of literati aesthetics, which draws heavily from both Chan and Daoist philosophy.
The name "Stillness in Clouds" is inspired by a famous line from the Tang dynasty poet Wang Wei (692-761) in his poem Retreat in Zhongnan Mountains: "As I walk to the end of the water, I sit to watch the clouds rise." Wang Wei, often referred to as the
"Buddha of Poetry", was a devout Buddhist and deeply versed in Chan philosophy. His poem captures the essence of Chan thought, reflecting on how, in the face of life's challenges and uncertainties, one can find spiritual transcendence and aesthetic elevation by cultivating a calm, detached state of mind. This idea resonates deeply with the Chan and literati aesthetic principles we hope to convey through this collection.
In keeping with this thought, we are particularly thrilled to present an exceptionally rare Huanghuali yokeback meditation chair, chanyi, late Ming dynasty, (Lot 1522) which has been held privately for thirty years and is making its first appearance on the market. The introduction of Buddhism to China brought with it Buddhist philosophy and the belief in alleviating suffering, which in turn influenced Chinese material life and culture. The precursor to the meditation chair accompanied the arrival of Buddhism in China, thus making it possibly one of the earliest style of chairs in China. According to the Old Book of Tang, in his later years, Wang Wei lived a simple life, surrounded by only a few possessions: a tea kettle, a medicine grinder, a scripture table, and a meditation chair. Finding peace in solitude, he would sit alone, burning incense and reciting Chan scriptures. Over time, the use of chany changed from being part of Buddhist mediation to becoming an essential item of furniture favoured by the Imperial court and scholar-literati. By the late Ming dynasty, meditation chairs became requisite objects in literati studies, alongside ruyi sceptres and fly-whisks. The chanyi not only symbolised the taste and status of literati but were also considered masterpieces of Ming classical furniture.
In addition to Chan aesthetics, the collection continues the focus on literati scholar's rocks. One of the highlights is a black Lingbi scholar's rock, Xuanzhi Xiu Northern Song dynasty, inscribed by Mi Fu, (Lot 1519). This exceptional piece, with a rippled surface of channels and folds, and of a pronounced "walnut-shell" pattern prised by connoisseurs, combines both celebrated features, in some ways outdoing the natural worlds it comes to resemble.
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. With its prestigious provenance, the Xuanzhi Xiu stands out as one of the finest Lingbi rocks I have ever seen in more than a decade. While specimens that have half of these features are considered rare and superior, a rock known to have all twelve is nearly unheard of. It is a spectacular example; a piece without equal.
This collection also features scholar's rocks which can be referred to as Yanshan, literally "ink-grinding mountain". The term defines natural stones that have a flat or sloping section where ink could be ground and mixed with water and are among the most intriguing objects found in a scholar's studio. For literati, a scholar's rock could take on many forms: an inkstone, a brush rest, or even an incense holder. Yanshan thus shared the function of inkstones, yan, but while these were praised for the level of the craftsmanship they exhibited, Yanshan were "found" objects, appreciated for their surprising and unexpected shapes.
The appreciation of Yanshan dates back to the Tang dynasty, but it was Mi Fu (1051-1107) who brought them to prominence with his acquisition of Baojin zhai Yanshan, a fragment of stone with a hard, dark surface in the shape of a hand with finger-like protuberances stretching out. With Mi Fu's practice of using the natural fragment as inkstones, the boundaries between a natural object and a man-made one turned blurred. The Yanshan stone conflated two distinct tenets of stone appreciation: the impersonal and, un-fabricated, and the artificial and, manufactured one that bore traces of human history.
From the Song dynasty onward, literati often placed Yanshan stones in their studios as objects of contemplation and enjoyment. These stones, which rise to form small peaks resembling mountains and ridges, allowed one to gaze upon them as if viewing distant landscapes, inspiring deep thoughts and creative ideas, as precisely described in the Yunlin Stone Catalogue from the Song dynasty: "Though it is but the size of a fist, it contains the beauty of a thousand peaks. It can be placed in a garden or on a desk, allowing one to contemplate Mount Song, or as of sitting in front of Mount Gui and Mount Meng." Mi Fu, who was famously obsessed with stones, wrote in his poem:
"One speck contains an entire world, and great joy is not difficult to find. My heart soars to the scarlet sky, travelling to all corners of the earth. How could one object not encompass all things?" Clearly, Eastern philosophers and literati had already articulated the idea that, despite outward differences, their essence is the same, and they are interconnected and inseparable. Whether using stone as mountain or using mountain as inkstone, the fundamental essence remains to be the mountain or landscape, reflecting the literati's deep love for nature. These stones encapsulate the universe in the tiniest of details while also serving as functional objects.
It would not be an exaggeration to say that scholar's rocks have been the muse of ancient Chinese literati for centuries. "Stillness in Clouds", with its focus on the connoisseurship of scholar's rocks, not only resonates with the design aesthetics of Sotheby's Maison, a concept that incorporates Chan aesthetics, but also pays tribute to the profound tradition of scholar's rocks.
Scholar's Rocks FAQ
What are scholar's rocks and why were they prized by Chinese literati?
Scholar's rocks, or gongshi, are naturally formed stones, typically limestone or marble, prized for their aesthetic qualities. Chinese literati, beginning in the Tang Dynasty, favored these rocks for their unusual shapes, colors, textures, and sounds. They saw in these stones reflections of the beauty and power of nature, as well as embodiments of philosophical ideals like Daoist naturalism and Chan Buddhist principles.
Scholar's rocks were more than just decorative objects; they were seen as sources of inspiration, contemplation, and spiritual connection. They were displayed in gardens, courtyards, and studies, and often given poetic names and inscriptions by their owners.
What are the key characteristics of a desirable scholar's rock?
Connoisseurs have identified twelve key characteristics that make a scholar's rock particularly desirable:
Thin (瘦): Slender and graceful in form.
Wrinkled (皺): Showing a textured, weathered surface.
Porous (漏): Containing holes and cavities.
Permeable (透): Allowing light or water to pass through.
Clear (清): Having a resonant sound when struck.
Ugly (醜): Possessing an unconventional beauty that challenges traditional aesthetics.
Obtuse (頑): Appearing stubborn and unyielding.
Clumsy (拙): Exhibiting a natural, unrefined quality.
Teal (蒼): Having a greenish-blue color.
Powerful (雄): Conveying a sense of strength and grandeur.
Beautiful (秀): Possessing a delicate and elegant beauty.
Deep (深): Evoking a feeling of mystery and profundity.
A rock possessing even half of these qualities is considered exceptional.
Are there different types of scholar's rocks?
Yes, scholar's rocks are often categorized by their place of origin, as different regions produce stones with distinct characteristics. Some of the most famous types include:
Lingbi stones: These black limestone rocks, from Lingbi County in Anhui Province, are prized for their smooth, lustrous surfaces, intricate textures, and resonant sounds.
Taihu stones: These porous limestone rocks, from Lake Tai in Jiangsu Province, are known for their hollowed-out forms, sharp peaks, and delicate textures.
Can you give an example of a famous scholar's rock?
The "Xuanzhi Xiu" ("Mythical Black Fungus Peak") is an extraordinary black Lingbi stone from the Northern Song Dynasty. It embodies all twelve desirable characteristics and bears inscriptions by renowned figures like Mi Fu, Yu Ji, and members of the Wen family.
The rock is described as resembling a miniature mountain range, with twisting paths, peaks, ridges, and tunnels. Its black, lacquered surface and resonant sound further enhance its appeal.
What is a Yanshan, and how is it related to scholar's rocks?
A Yanshan, literally "ink-grinding mountain," is a scholar's rock that can function as an inkstone. These stones typically have a flat or sloping section where ink can be ground and mixed with water.
Yanshan blur the line between natural objects and man-made tools. They are appreciated for their inherent natural beauty as well as their practical use in the scholar's studio.
What is the connection between scholar's rocks and Chan Buddhism?
Chan Buddhism emphasizes simplicity, naturalness, and direct experience. Scholar's rocks, with their unrefined beauty and evocative forms, resonate with these principles. They invite contemplation and encourage viewers to connect with the essence of nature.
The idea of finding beauty in the unconventional, as embodied by the "ugly" characteristic of scholar's rocks, also aligns with Chan Buddhist ideals of embracing imperfection and seeing beyond superficial appearances.
Why did Mi Fu, the famous Song Dynasty artist and calligrapher, have such a strong affinity for scholar's rocks?
Mi Fu was known for his eccentricity and his deep love for art and nature. He saw scholar's rocks as embodiments of the creative power of nature and valued their unique, unconventional beauty. He was even said to have bowed to a particularly impressive rock, addressing it as "elder brother."
Mi Fu's own artistic style, characterized by bold brushwork and unconventional compositions, reflects his appreciation for the untamed and expressive qualities of nature, as seen in scholar's rocks.
How are scholar's rocks relevant to contemporary art and aesthetics?
Scholar's rocks, with their emphasis on natural forms, unconventional beauty, and contemplative qualities, continue to resonate with contemporary art and aesthetics. They prefigure modern artistic movements like abstract expressionism and minimalism, which similarly challenge traditional notions of beauty and emphasize the expressive power of form and texture.
The appreciation for scholar's rocks can also be seen as a precursor to the modern environmental movement, with its focus on respecting and appreciating the beauty and power of the natural world.
Timeline of Events
This timeline focuses on the provenance of the Xuanzhi Xiu scholar's rock and touches on related events:
Tang Dynasty (618-907 AD)
Early Tang Dynasty: Appreciation of strange rocks emerges in China. Yan Liben's Zhigong tu (Illustrations of Tribute) depicts figures carrying mountain rock scenes and holding Taihu stone formations.
Mid-Tang Dynasty: The love of strange rocks grows amongst literati. Li Deyu, owner of Pingquan Villa, becomes known for his fondness of peculiar rocks.
Late Tang Dynasty: The poet Bai Juyi expresses admiration for strange rocks, composing poems praising the unusual shapes of Lingbi and Taihu rocks.
Extraction of Taihu rocks begins.
Northern Song Dynasty (960-1127 AD)
Early 11th Century: Mi Fu (1051-1107) encounters a large, unusual rock during his official posting in Lingbi. He moves the rock to his office and addresses it as "elder brother", earning him the nickname "Madman Mi". This may have been the Xuanzhi Xiu, but this is not confirmed.
1088: Mi Fu inscribes the Xuanzhi Xiu scholar's rock with a poem detailing its features and the date.
Late 11th Century: Emperor Huizong (r. 1100-1126) amasses a vast collection of strange rocks, including Taihu rocks, for his elaborate Genyue Garden. He also creates paintings featuring unusual Taihu stones.
Possible Acquisition: Emperor Huizong may have acquired the Xuanzhi Xiu. One of Mi Fu's ink stones, named "芙蓉" (Furong) and described as having a shape similar to the Xuanzhi Xiu, was known to be in the emperor's collection. Whether "Furong" and the Xuanzhi Xiu are the same is unclear.
Yuan Dynasty (1271-1368 AD)
Late 13th/Early 14th Century: Yu Ji (1272-1348), scholar-official and renowned calligrapher, owns the Xuanzhi Xiu at some point.
Ming Dynasty (1368-1644 AD)
Mid-16th Century: The Xuanzhi Xiu is in the possession of the Hua family of Wuxi. Hua Xia (1494-1567), a noted collector, houses the stone in his Zhenshang Studio.
1549: Wen Zhengming (1470-1559), renowned painter and calligrapher, borrows the Xuanzhi Xiu from Hua Xia. Wen is said to have used the rock as inspiration for paintings, including a scroll created for Hua Xia that same year.
Date Unknown: Wen Peng (1498-1573), Wen Zhengming’s eldest son, carves an inscription onto the Xuanzhi Xiu.
Date Unknown: Wen Jia (1501-1583), Wen Zhengming’s second son, adds his inscription to the Xuanzhi Xiu.
20th/21st Century AD
Late 20th Century: Richard Rosenblum (1940-2000) acquires a Taihu scholar's rock, later sold as part of the Jiansongge collection.
2008: Jiansongge collection, in partnership with Sotheby's and Nicolas Chow, hosts the "TAO: The Jiansongge Collection" auction, sparking renewed interest in scholar's rocks.
Date Unknown: Huang Hsien-long acquires the Xuanzhi Xiu.
2023: Jiansongge collection partners again with Sotheby’s and Nicolas Chow to present “Stillness in the Clouds”, an auction centered around Chan aesthetics and featuring the Xuanzhi Xiu.
Cast of Characters
Tang Dynasty
Yan Liben (601-673 AD): Tang dynasty painter known for his Zhigong tu (Illustrations of Tribute), which provides early evidence of the appreciation of strange rocks in Chinese culture.
Li Deyu (787-849 AD): Prominent mid-Tang dynasty official and owner of the famed Pingquan Villa. Known for his love of peculiar rocks, linking his name to the aesthetic.
Bai Juyi (772-846 AD): Highly influential Tang dynasty poet who expressed admiration for the beauty found in the unusual shapes of Lingbi and Taihu scholar's rocks.
Northern Song Dynasty
Emperor Huizong (r. 1100-1126 AD): Avid collector of strange rocks who had the Genyue Garden constructed to house his collection, particularly Taihu stones. Also known for his paintings of these rocks.
Mi Fu (1051-1107 AD): Renowned artist, calligrapher, and scholar known for his eccentric personality and obsession with strange rocks. Inscribed the Xuanzhi Xiu in 1088.
Fan Chengda (1126-1193 AD): Song dynasty scholar who wrote Taihu shi zhi (Taihu Rock Record), a detailed account of Taihu rocks and their appreciation.
Yuan Dynasty
Yu Ji (1272-1348 AD): Distinguished scholar-official and celebrated calligrapher of the Yuan dynasty. Known to have owned the Xuanzhi Xiu at some point.
Ming Dynasty
Hua Xia (1494-1567 AD): Ming dynasty collector from Wuxi who owned the Xuanzhi Xiu and housed it in his Zhenshang Studio. Friend of Wen Zhengming.
Wen Zhengming (1470-1559 AD): Leading painter, calligrapher, and scholar of the Ming dynasty. Borrowed and was inspired by the Xuanzhi Xiu, featuring it in his works.
Wen Peng (1498-1573 AD): Eldest son of Wen Zhengming, followed in the family tradition and became a skilled artist and engraver. Carved an inscription on the Xuanzhi Xiu.
Wen Jia (1501-1583 AD): Second son of Wen Zhengming, also an accomplished artist and scholar. Added his inscription to the Xuanzhi Xiu.
20th/21st Century AD
Richard Rosenblum (1940-2000): American collector of Taihu scholar's rocks.
Huang Hsien-long: Collector and owner of the Jiansongge collection, which includes the Xuanzhi Xiu. Passionate about Chinese literati art and scholar’s rocks.
Nicolas Chow: Chairman of Sotheby's Asia and an expert in Chinese art. Collaborated with Jiansongge collection on auctions featuring scholar's rocks, including the Xuanzhi Xiu.
This cast of characters showcases the enduring fascination with scholar's rocks across Chinese history, highlighting the figures who appreciated, owned, and helped preserve the Xuanzhi Xiu across the centuries.
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