LOT 5887
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An inscribed purplish cinnabar-lacquered Confucius-style qin, Youjian Song, 8th year of Dakang, Liao dynasty, corresponding to 1082 遼大康八年（1082年） 紫髹仲尼式「幽澗松」琴
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图录号：
5887
拍品名称：
An inscribed purplish cinnabar-lacquered Confucius-style qin, Youjian Song, 8th year of Dakang, Liao dynasty, corresponding to 1082 遼大康八年（1082年） 紫髹仲尼式「幽澗松」琴
拍品描述：
An inscribed purplishcinnabar-lacquered Confucius-style qin, Youjian Song
8th year of Dakang, Liao dynasty, corresponding to 1082
遼大康八年（1082年） 紫髹仲尼式「幽澗松」琴
ofZhongni(Confucius) style, overall lacquered in a purplish-cinnabar and developed a fine network of crackles, with thirdteen mother-of-pearl inlaid hui (stud), the shoulder starts at the third hui (stud), the waist expands from the eighth hui (stud), with zitan yueshan (bridge) and jiaowei (tail), ox-horn yanzu (feet), and rectangular longchi (dragon pool) and fengzao (phoenix pond), inscribed the name of the qin, Youjian Song (Pine in Secluded Ravine) above the longchi, below which inscribed with a colophon translates to made in the Taikang period of the Liao dynasty (1075-1084), now belongs to Mr. Zhou Mengpo of Wuxing, as one of his five qins named the Pine Collection, Qing Daoren, and further with a mark of Qingdaoren
龍池銘文：大康八年六月鄒吉自造
琴腹銘文：此遼太康時物也，今歸吳興周夢坡先生，為先生所藏五松琴之一。清道人。鈐印：清道人。
overall length 全長：124.1 cm
string length 隱間：113.7 cm
shoulder width 肩寬：20.2 cm
waist width 腰寬：16.8 cm
An inscribed purplishcinnabar-lacquered Confucius-style qin, Youjian Song
8th year of Dakang, Liao dynasty, corresponding to 1082
遼大康八年（1082年） 紫髹仲尼式「幽澗松」琴
ofZhongni(Confucius) style, overall lacquered in a purplish-cinnabar and developed a fine network of crackles, with thirdteen mother-of-pearl inlaid hui (stud), the shoulder starts at the third hui (stud), the waist expands from the eighth hui (stud), with zitan yueshan (bridge) and jiaowei (tail), ox-horn yanzu (feet), and rectangular longchi (dragon pool) and fengzao (phoenix pond), inscribed the name of the qin, Youjian Song (Pine in Secluded Ravine) above the longchi, below which inscribed with a colophon translates to made in the Taikang period of the Liao dynasty (1075-1084), now belongs to Mr. Zhou Mengpo of Wuxing, as one of his five qins named the Pine Collection, Qing Daoren, and further with a mark of Qingdaoren
龍池銘文：大康八年六月鄒吉自造
琴腹銘文：此遼太康時物也，今歸吳興周夢坡先生，為先生所藏五松琴之一。清道人。鈐印：清道人。
overall length 全長：124.1 cm
string length 隱間：113.7 cm
shoulder width 肩寬：20.2 cm
waist width 腰寬：16.8 cm
Zhou Qingyun (1864-1933), Shanghai
Zhou Yanren (1888-?), Shanghai, prior to circa 1950s
The collection of Wong Tok Sau (1914-1978), Amoy, Hong Kong and Singapore
來源：
周慶雲（1864-1933年）收藏，上海
周延礽（1888-？）收藏，上海，約1950年前
黃篤修（1914-1978年）收藏，廈門、香港及新加坡
'Yiyuan qinse huiji' [Record of the Yiyuan Qin Gathering] in Shun Pao, 22 October 1919, p. 7.
Ye Ximing, Qinhui shiji [Chronicle of the Qin Gathering], Hangzhou, 1920, pl. 2.
Zhou Qingyun, Chenfenglu qinhui jilu [Records of the Chenfenglu Qin Conference], Shanghai, 1922, vol. 1, p. 6.
Zhou Yanren, Wuxing Zhou Mengpo xiansheng nianpu [Chronological Biography of Mr. Zhou Mengpo of Wuxing], Shanghai, 1935, p. 36.
Guo Zeyun, Qingci yuxue [Selection of Guo's Poetry], Tianjin, 1936, vol. 12, p. 10.
Zhang Ziqian, Caoman suoji [Zhang Ziqian Dairy], Shanghai, 1938 - 1963, vol. 6, p. 253.
Xu Ke, Zhongke biji [Zhongke’s Miscellaneous Notes], Beijing, 1998, p. 86.
Lin Chen, Chumo qinshi: Jin xiandai qinshi xushi [Touching the History of the Qin: Narratives of Modern Guqin History], Beijing, 2011, p. 250.
出版：
《怡園琴瑟會紀》，載於《申報》，1919年10月22日，頁7
葉希明，《琴會實紀》，杭州，1920年，圖版2
周慶雲，《晨風廬琴會記錄》，上海，1922年，上卷，頁6
周延礽，《吳興周夢坡先生年譜》，上海，1935年，頁36
郭則澐，《清詞玉屑》，天津，1936年，卷12，頁10
張子謙，《操縵瑣記》，上海，1938-1963年，卷6，頁253
徐珂，《仲可隨筆》，北京，1998年，頁86
林晨，《觸摸琴史︰近現代琴史敘事》，北京，2011年，頁250
The inner side of the 'dragon pool' (longchi) features an inscription noting it was "Crafted by Zou Ji in June of the eighth year of Daikang." The Daikang era (1075-1084) corresponds to the third year of Emperor Yelü Hongji (1032-1101)’s reign,Liao Dynasty. Little is known about Zou Ji, largely due to the sparse records from the Liao Dynasty. However, this particular guqin is likely the only existing example that bears a date from this era, making it exceptionally rare.
This guqin was part of the esteemed collection of Zhou Qingyun (1864-1933), one of the five legendary pine-named guqins he owned. These guqins, named after various forms of ‘pine’ (song 松), included Song Feng, Fengru Song, Youjian Song, Wanhe Song, and Song Cun, earning Zhou a scholar name, "Mr. Five Pines." Zhou Qingyun was a prominent collector and aficionado of books, paintings, seals, and archaic bronzes in the early Republic era. He was a disciple of guqin master Li Zizhao (1856-1938), also an accomplished painter and calligrapher, authoring numerous works on the guqin and other subjects. He invited the respected calligrapher Li Ruiqing (1867-1920) to inscribe a colophon on the back of the present lot, affirming its date and ownership.
Upon Zhou's death in 1933, the ‘Five Pines’ guqins were passed to his son Zhou Yanren. On March 2, 1948, notable guqin masters Zhang Ziqian and Wu Jinglüe assessed these guqins, ranking Song Feng first and You Jian Song second. Just days later, Zhang noted in his diary the astronomical value of these instruments, reflecting their immense cultural and historical significance. Subsequently, the guqins came into the possession of Wong Tok Sau (1912-1978), an Amoy business magnate, before 1950s, as his family relocated to Hong Kong and Singapore during the political upheavals in mainland China.
The cofounder of Amoy Food Limited, Wong Tok Sau had a deep passion for literature and the arts, excelling particularly in playing the guqin. He compiled the "Wuyanzhai Revised Qin Score," and also had a keen interest in painting and calligraphy. His father, Wong Tingyuan (1861-1936), was a respected businessman and scholar in Amoy (Xiamen), and both he and his mother were guqin players, providing Wong with a rich family heritage in the art. In the 1960s, Wong furthered his guqin studies in Hong Kong under Mrs Tsar Teh-Yun (SBS, 1905 - 2007) and frequently hosted elegant gatherings. An article in the Hong Kong "Sun Evening News" on August 31, 1962, titled "The Joy of the Qin and Se in the WongFamily—A Record of a Musical Gathering at Wuyanzhai," highlighted that the entire Wong family was adept at the guqin and has a large collection of this instrument.
For more than a century, the Youjian Song was predominantly held in private collections and seldom seen in public. It was occasionally displayed at prestigious guqin gatherings, notably at the Suzhou Yi Garden of the Ye family and the Shanghai Chenfeng House of the Zhou family in the early 20th century. This auction represents its inaugural public showing since 1920.
琴仲尼式，紫髹，漫發小蛇腹斷及牛毛斷，螺鈿十三徽，肩當三徽，腰收八徽，紫檀岳山及焦尾，牛角雁足，長方形龍池、鳳藻，龍池上方陰刻「幽澗松」，龍池下方陰刻「此遼太康時物也，今歸吳興周夢坡先生，為先生所藏五松琴之一。清道人。」鈐印「清道人」。
龍池內側銘文「大康八年六月鄒吉自造」。大康（1075年—1084年），乃遼道宗耶律洪基第三個年號。元人編《遼史》訛作「太康」，故而後世常以遼太康年記之。鄒吉其人不查，蓋因遼代文獻闕如，而宋代以來古琴文獻，多記載宋人而已，遼金琴人琴事極少著錄。有明確遼代紀年款古琴，目前所見，僅此一例。
琴背銘文署款清道人即李瑞清，李瑞清（1867-1920）字仲麟，號梅庵，江西臨川人。光緒二十年進士，攝江寧提學使，兼兩江師範學堂監督。提倡藝術教育。辛亥革命後著道士裝，隱滬上，匿姓名，自署曰「清道人」以遺老自居，鬻書畫以自活，張大千書法便出自李氏門下。
此琴為吳興周慶雲舊藏五松琴之一，乃民國時期琴壇重器。周氏舊藏五張以「松」字命名之古琴，分別是松風、風入松、幽澗松、萬壑松及松存，並由此自號「五松先生」，顏齋號「五松琴齋」。周慶雲（1864-1933），浙江吳興（今湖州）人，字景星、伯雲、逢吉，號湘舲，別號夢坡，亦號靈峰補梅翁、五松先生，齋名有夢坡室、息園、閱古樓、五松琴齋。經營絲、鹽、礦等業。書畫金石琴器琴譜收藏頗富。琴學李子昭，能書善畫，生平編印金石印璽古器琴學圖書三十餘種，有《琴史補》、《琴史續》、《琴書存目》等存世。
1919年著名的怡園琴會，周慶雲獨攜松風及幽澗松二琴，可見其為五松琴中最重兩器。1933年周慶雲辭世後，五松琴歸其子周延礽。1948年3月2日，張子謙和吳景略於周府試琴，將五松琴排序，認為松風第一，幽澗松第二，事見張子謙日記《操縵瑣記》。兩日後張子謙得知五松琴每床要價法幣最少一億圓，張在日記裡寫道「祗可望洋興歎矣」。五松琴在周氏之後盡歸廈門商業鉅子黃篤修，時間當在1950年以前，因黃家在大陸鼎革之際舉家遷往香港及新加坡矣。
黃篤修（1912-1978），福建思明人，生於廈門。廈門大學商科和燕京大學法律科畢業，畢業後即主理其父創辦的廈門淘化大同食品廠，即今日之淘大食品前身。二十世紀四十年代至七十年代，黃氏將商業版圖擴張之香港、馬來西亞、新加坡、菲律賓、英國等地，更涉足機器工程、酒店、印刷等不同領域。
經商之餘，黃氏雅好文藝，擅奏古琴，編有《無言齋訂正琴譜》，亦喜書畫，作畫常以「竹馬居士」自署。黃父廷元（1861-1936）為廈門耆宿巨賈，廷元及其母皆能琴，黃篤修本有家學，1960年代在香港問學於蔡德允女史（1905-2007），並時常組織雅集。香港《新晚報》1962年8月31日曾有一篇《黃篤修一家琴瑟樂—記無言齋中的一次琴瑟雅集》，從中可知黃氏一家大小皆能操縵，其中一張膝琴為黃篤修之父廷元手斲，家族奉為至寶。
幽澗松一百多年來一直庋藏深宅，除了二十世紀初怡園琴會及晨風樓琴會公開兩次，至今極少有人窺得真容。今次乃1920年上海晨風廬琴會後幽澗松第一次公開露面。
8th year of Dakang, Liao dynasty, corresponding to 1082
遼大康八年（1082年） 紫髹仲尼式「幽澗松」琴
ofZhongni(Confucius) style, overall lacquered in a purplish-cinnabar and developed a fine network of crackles, with thirdteen mother-of-pearl inlaid hui (stud), the shoulder starts at the third hui (stud), the waist expands from the eighth hui (stud), with zitan yueshan (bridge) and jiaowei (tail), ox-horn yanzu (feet), and rectangular longchi (dragon pool) and fengzao (phoenix pond), inscribed the name of the qin, Youjian Song (Pine in Secluded Ravine) above the longchi, below which inscribed with a colophon translates to made in the Taikang period of the Liao dynasty (1075-1084), now belongs to Mr. Zhou Mengpo of Wuxing, as one of his five qins named the Pine Collection, Qing Daoren, and further with a mark of Qingdaoren
龍池銘文：大康八年六月鄒吉自造
琴腹銘文：此遼太康時物也，今歸吳興周夢坡先生，為先生所藏五松琴之一。清道人。鈐印：清道人。
overall length 全長：124.1 cm
string length 隱間：113.7 cm
shoulder width 肩寬：20.2 cm
waist width 腰寬：16.8 cm
An inscribed purplishcinnabar-lacquered Confucius-style qin, Youjian Song
8th year of Dakang, Liao dynasty, corresponding to 1082
遼大康八年（1082年） 紫髹仲尼式「幽澗松」琴
ofZhongni(Confucius) style, overall lacquered in a purplish-cinnabar and developed a fine network of crackles, with thirdteen mother-of-pearl inlaid hui (stud), the shoulder starts at the third hui (stud), the waist expands from the eighth hui (stud), with zitan yueshan (bridge) and jiaowei (tail), ox-horn yanzu (feet), and rectangular longchi (dragon pool) and fengzao (phoenix pond), inscribed the name of the qin, Youjian Song (Pine in Secluded Ravine) above the longchi, below which inscribed with a colophon translates to made in the Taikang period of the Liao dynasty (1075-1084), now belongs to Mr. Zhou Mengpo of Wuxing, as one of his five qins named the Pine Collection, Qing Daoren, and further with a mark of Qingdaoren
龍池銘文：大康八年六月鄒吉自造
琴腹銘文：此遼太康時物也，今歸吳興周夢坡先生，為先生所藏五松琴之一。清道人。鈐印：清道人。
overall length 全長：124.1 cm
string length 隱間：113.7 cm
shoulder width 肩寬：20.2 cm
waist width 腰寬：16.8 cm
Zhou Qingyun (1864-1933), Shanghai
Zhou Yanren (1888-?), Shanghai, prior to circa 1950s
The collection of Wong Tok Sau (1914-1978), Amoy, Hong Kong and Singapore
來源：
周慶雲（1864-1933年）收藏，上海
周延礽（1888-？）收藏，上海，約1950年前
黃篤修（1914-1978年）收藏，廈門、香港及新加坡
'Yiyuan qinse huiji' [Record of the Yiyuan Qin Gathering] in Shun Pao, 22 October 1919, p. 7.
Ye Ximing, Qinhui shiji [Chronicle of the Qin Gathering], Hangzhou, 1920, pl. 2.
Zhou Qingyun, Chenfenglu qinhui jilu [Records of the Chenfenglu Qin Conference], Shanghai, 1922, vol. 1, p. 6.
Zhou Yanren, Wuxing Zhou Mengpo xiansheng nianpu [Chronological Biography of Mr. Zhou Mengpo of Wuxing], Shanghai, 1935, p. 36.
Guo Zeyun, Qingci yuxue [Selection of Guo's Poetry], Tianjin, 1936, vol. 12, p. 10.
Zhang Ziqian, Caoman suoji [Zhang Ziqian Dairy], Shanghai, 1938 - 1963, vol. 6, p. 253.
Xu Ke, Zhongke biji [Zhongke’s Miscellaneous Notes], Beijing, 1998, p. 86.
Lin Chen, Chumo qinshi: Jin xiandai qinshi xushi [Touching the History of the Qin: Narratives of Modern Guqin History], Beijing, 2011, p. 250.
出版：
《怡園琴瑟會紀》，載於《申報》，1919年10月22日，頁7
葉希明，《琴會實紀》，杭州，1920年，圖版2
周慶雲，《晨風廬琴會記錄》，上海，1922年，上卷，頁6
周延礽，《吳興周夢坡先生年譜》，上海，1935年，頁36
郭則澐，《清詞玉屑》，天津，1936年，卷12，頁10
張子謙，《操縵瑣記》，上海，1938-1963年，卷6，頁253
徐珂，《仲可隨筆》，北京，1998年，頁86
林晨，《觸摸琴史︰近現代琴史敘事》，北京，2011年，頁250
The inner side of the 'dragon pool' (longchi) features an inscription noting it was "Crafted by Zou Ji in June of the eighth year of Daikang." The Daikang era (1075-1084) corresponds to the third year of Emperor Yelü Hongji (1032-1101)’s reign,Liao Dynasty. Little is known about Zou Ji, largely due to the sparse records from the Liao Dynasty. However, this particular guqin is likely the only existing example that bears a date from this era, making it exceptionally rare.
This guqin was part of the esteemed collection of Zhou Qingyun (1864-1933), one of the five legendary pine-named guqins he owned. These guqins, named after various forms of ‘pine’ (song 松), included Song Feng, Fengru Song, Youjian Song, Wanhe Song, and Song Cun, earning Zhou a scholar name, "Mr. Five Pines." Zhou Qingyun was a prominent collector and aficionado of books, paintings, seals, and archaic bronzes in the early Republic era. He was a disciple of guqin master Li Zizhao (1856-1938), also an accomplished painter and calligrapher, authoring numerous works on the guqin and other subjects. He invited the respected calligrapher Li Ruiqing (1867-1920) to inscribe a colophon on the back of the present lot, affirming its date and ownership.
Upon Zhou's death in 1933, the ‘Five Pines’ guqins were passed to his son Zhou Yanren. On March 2, 1948, notable guqin masters Zhang Ziqian and Wu Jinglüe assessed these guqins, ranking Song Feng first and You Jian Song second. Just days later, Zhang noted in his diary the astronomical value of these instruments, reflecting their immense cultural and historical significance. Subsequently, the guqins came into the possession of Wong Tok Sau (1912-1978), an Amoy business magnate, before 1950s, as his family relocated to Hong Kong and Singapore during the political upheavals in mainland China.
The cofounder of Amoy Food Limited, Wong Tok Sau had a deep passion for literature and the arts, excelling particularly in playing the guqin. He compiled the "Wuyanzhai Revised Qin Score," and also had a keen interest in painting and calligraphy. His father, Wong Tingyuan (1861-1936), was a respected businessman and scholar in Amoy (Xiamen), and both he and his mother were guqin players, providing Wong with a rich family heritage in the art. In the 1960s, Wong furthered his guqin studies in Hong Kong under Mrs Tsar Teh-Yun (SBS, 1905 - 2007) and frequently hosted elegant gatherings. An article in the Hong Kong "Sun Evening News" on August 31, 1962, titled "The Joy of the Qin and Se in the WongFamily—A Record of a Musical Gathering at Wuyanzhai," highlighted that the entire Wong family was adept at the guqin and has a large collection of this instrument.
For more than a century, the Youjian Song was predominantly held in private collections and seldom seen in public. It was occasionally displayed at prestigious guqin gatherings, notably at the Suzhou Yi Garden of the Ye family and the Shanghai Chenfeng House of the Zhou family in the early 20th century. This auction represents its inaugural public showing since 1920.
琴仲尼式，紫髹，漫發小蛇腹斷及牛毛斷，螺鈿十三徽，肩當三徽，腰收八徽，紫檀岳山及焦尾，牛角雁足，長方形龍池、鳳藻，龍池上方陰刻「幽澗松」，龍池下方陰刻「此遼太康時物也，今歸吳興周夢坡先生，為先生所藏五松琴之一。清道人。」鈐印「清道人」。
龍池內側銘文「大康八年六月鄒吉自造」。大康（1075年—1084年），乃遼道宗耶律洪基第三個年號。元人編《遼史》訛作「太康」，故而後世常以遼太康年記之。鄒吉其人不查，蓋因遼代文獻闕如，而宋代以來古琴文獻，多記載宋人而已，遼金琴人琴事極少著錄。有明確遼代紀年款古琴，目前所見，僅此一例。
琴背銘文署款清道人即李瑞清，李瑞清（1867-1920）字仲麟，號梅庵，江西臨川人。光緒二十年進士，攝江寧提學使，兼兩江師範學堂監督。提倡藝術教育。辛亥革命後著道士裝，隱滬上，匿姓名，自署曰「清道人」以遺老自居，鬻書畫以自活，張大千書法便出自李氏門下。
此琴為吳興周慶雲舊藏五松琴之一，乃民國時期琴壇重器。周氏舊藏五張以「松」字命名之古琴，分別是松風、風入松、幽澗松、萬壑松及松存，並由此自號「五松先生」，顏齋號「五松琴齋」。周慶雲（1864-1933），浙江吳興（今湖州）人，字景星、伯雲、逢吉，號湘舲，別號夢坡，亦號靈峰補梅翁、五松先生，齋名有夢坡室、息園、閱古樓、五松琴齋。經營絲、鹽、礦等業。書畫金石琴器琴譜收藏頗富。琴學李子昭，能書善畫，生平編印金石印璽古器琴學圖書三十餘種，有《琴史補》、《琴史續》、《琴書存目》等存世。
1919年著名的怡園琴會，周慶雲獨攜松風及幽澗松二琴，可見其為五松琴中最重兩器。1933年周慶雲辭世後，五松琴歸其子周延礽。1948年3月2日，張子謙和吳景略於周府試琴，將五松琴排序，認為松風第一，幽澗松第二，事見張子謙日記《操縵瑣記》。兩日後張子謙得知五松琴每床要價法幣最少一億圓，張在日記裡寫道「祗可望洋興歎矣」。五松琴在周氏之後盡歸廈門商業鉅子黃篤修，時間當在1950年以前，因黃家在大陸鼎革之際舉家遷往香港及新加坡矣。
黃篤修（1912-1978），福建思明人，生於廈門。廈門大學商科和燕京大學法律科畢業，畢業後即主理其父創辦的廈門淘化大同食品廠，即今日之淘大食品前身。二十世紀四十年代至七十年代，黃氏將商業版圖擴張之香港、馬來西亞、新加坡、菲律賓、英國等地，更涉足機器工程、酒店、印刷等不同領域。
經商之餘，黃氏雅好文藝，擅奏古琴，編有《無言齋訂正琴譜》，亦喜書畫，作畫常以「竹馬居士」自署。黃父廷元（1861-1936）為廈門耆宿巨賈，廷元及其母皆能琴，黃篤修本有家學，1960年代在香港問學於蔡德允女史（1905-2007），並時常組織雅集。香港《新晚報》1962年8月31日曾有一篇《黃篤修一家琴瑟樂—記無言齋中的一次琴瑟雅集》，從中可知黃氏一家大小皆能操縵，其中一張膝琴為黃篤修之父廷元手斲，家族奉為至寶。
幽澗松一百多年來一直庋藏深宅，除了二十世紀初怡園琴會及晨風樓琴會公開兩次，至今極少有人窺得真容。今次乃1920年上海晨風廬琴會後幽澗松第一次公開露面。