Page 118 - CHRISTIE'S Marchant Nine Decades of Chinese Art 09/14/17

MARCHANT: NINE DECADES IN CHINESE ART

strategist Zhuge Liang (諸葛亮). Having been told that he will only 「三顧茅廬」可謂最佳例子，它說的是三國時期
succeed in recruiting Zhuge Liang if he approaches him personally, (公元220–280年) 蜀漢先主劉備早年尋訪謀士諸
Liu Bei goes to Zhuge Liang’s house – ‘thatched cottage’, but is told 葛亮一事。話說劉備獲悉須親自拜訪方能招攬
by a servant that his master is not at home, and so departs leaving a 諸葛亮，遂親赴茅廬求見，但僕童卻說主人出
message. Some days later Liu Bei returns to the cottage and this time 遊未歸，劉聞言只好留話離開。他數天後再次登
is allowed in, but encounters not Zhuge Liang, but his brother Zhuge 門，這次雖獲邀入內，但接見的卻是孔明之弟
Jun. Some months later, Liu Bei makes a fnal visit to the cottage. 諸葛均。數月後，劉備最後一次造訪茅廬，不
This time he is told that Zhuge Liang is asleep. Liu Bei waits for him 巧諸葛亮正在睡覺，劉仍靜心等候，而孔明亦
to wake and is rewarded for his patience, determination and good 感其鍥而不捨、知遇之恩，終應允帳前效力。
manners by Zhuge Liang agreeing to be his strategist. The scene on 本拍品描寫的應是初顧茅廬之情形，畫中劉備
the vase appears to depict the frst visit to Zhuge Liang’s cottage, when 與義弟關羽、張飛被家丁拒諸門外，身處內室
的諸葛亮正悠然撫琴。
Liu Bei and his comrades Guan Yu(關羽) and Zhang Fei (張飛) are
turned away at the door by the servant. Zhuge Liang can be seen in 另一面開光描寫的很可能是醉心於琴棋書畫、
the interior of the cottage calmly playing the qin. 高談濶論的竹林七賢。這群公元三世紀的高人逸
士，雖面對政治桎梏和社會不公的現象，仍大
The other panel probably depicts the Seven Sages of the Bamboo 力倡導自由和心靈的自主。漢代於公元220年亡
國，此後的四百來年，朝政和社會均混亂不堪，
Grove (竹林七賢) enjoying music, art and animated discussion. The 而竹林七賢對自身處境的應對方式 (如摒棄儒家
Seven Sages were believed to be 3rd century literary recluses, who in 和道家的某些主張)，頗為時人傳誦。據稱，他
a period of political strictures and social injustice emerged to advocate 們集於山陽 (今河南境內) 竹林之下。然而，本
freedom and spiritual independence. In the period of some 400 years 拍品開光內並無竹林，但見七子在庭園內或立或
following the fall of the Han dynasty in AD 220, which was one of 坐，旁有二僕陪侍，橋上另有一名高士走近，
political and social chaos, the Seven Sages became famous for their 身後僕人攜書兩包。
reactions to the world in which they found themselves – rejecting
certain aspects of both Confucian and Daoist teaching. They are 七賢主張遠離官場，寄情詩詞歌賦，好與志同道
合者月旦諸子，並以縱情豪飲著稱。他們成為了
believed to have met in a bamboo grove in Shanyang (山陽), now 文人抨擊政治腐敗、謀權篡位、儒家教條和怪力
in Henan province. The panel on the vase does not show them in 亂神的象徵，其成員包括嵇康、劉伶、阮籍、
a bamboo grove, but instead seven scholars stand or sit in a garden, 阮咸、向秀、王戎和山濤。嵇康 (公元223–262
attended by two servants, while an eighth scholar approaches them 年) 常被視為七賢之首。開光內彈奏古琴者便是
over a bridge, followed by his servant carrying two bundles of books. 嵇康，其身旁二人聽得如痴如醉。嵇康以哲學和
文采見長，且擅奏古琴及譜曲。他為蒙冤的友人
While the Seven Sages attempted to remove themselves from politics 申訴，因而得罪了司馬氏心腹鍾會，最終被司
and concentrate on leisure activities such as music and poetry, as well 馬昭處死。行刑之前，嵇康索琴彈奏名曲《廣
as philosophical discussion with those of like mind, they were also 陵散》，此曲於焉亦成絕響。除了七賢，橋上
known for their prodigious consumption of wine. They became 踽踽而行者或是榮啟期，其生卒年較早，但自
symbols of the struggle of scholars against corrupt political practices, 公元四世紀起，常與七賢相提並論。
dynastic usurpation, restrictive Confucian rules of propriety, and
遠而觀之，這件稀世奇珍端的堂皇大氣，而其紋
magical Daoism. The group was composed of Xi Kang (嵇康), Liu 飾之富麗精工，卻又使人不禁趨前細看，以期
Ling (劉伶), Ruan Ji (阮籍), Ruan Xian (阮咸), Xiang Xiu (向 一睹其粉彩繪之精和歷史題材之妙。
秀), Wang Rong (王戎) and Shan Tao (山濤). Often considered
the leader of the group, Xi Kang, (AD 223-262), also known as 蘇玫瑰
國際亞洲藝術部學術總監
Ji Kang, is depicted on the vase playing the guqin (古琴), while
two of the others listen with rapt attention. In addition to being a
philosopher and author, Xi Kang was a skilled exponent of the guqin
and composed music for that instrument. Having defended a friend

against false charges, and fallen foul of Zhong Hui (鍾會), a follower
of the Sima clan, Xi Kang was sentenced to death by Sima Zhao (

司馬昭). Just before Xi Kang’s execution, he asked for his qin and
played the masterpiece known as Guangling san (廣陵散), but left no
record of the melody. The additional fgure seen walking across the

bridge may represent Rong Qiqi (榮啟期), who, although he lived
in an earlier time, was associated with the Seven Sages from at least the
4th century.

Thus, although this rare vase makes an impressive visual impact from
a distance, the complexity and detail of its decoration encourages the
viewer to make a close examination of its fne enamel painting and
historical themes.

Rosemary Scott
Senior International Academic Consultant Asian Art

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