A LARGE INSCRIBED ‘LAYERED-CLOUD’ STONE, PIANYUN SHI SONG DYNASTY

the massive grey stone of vertical orientation, subtly suffused with white and black veining, accentuating the layered texture, incised in clerical script with a ten-character poetic inscription, accompanied by the signature reading Xiyuan zhuren, dated to renyin san qiu (‘the nine month of the renyin year’, in accordance with 1602), supported by a pebble-filled basin decorated with lotus petals on the exterior

Zhanluzhai collection, founded by Gong Xinzhao (1870-1949), former diplomat in the late Qing dynasty.

Rochers de lettrés: Itinéraires de l'Art en Chine, Musée des arts asiantiques Guimet, Paris, 2012, cat. no. 17.

The present garden rock is impressive for not only its monumental size but also its upright form and craggy self-contained profile. Interrupted by its abrupt layers, the surface of the rock reveals a subtle variety of tones and textures. Carefully arranged with others to suggest a series of peaks, or standalone in the centre to signify pride of place, garden rocks such as the present piece are essential elements in the Chinese gardens.

The enduring practice of placing large rocks in gardens for decoration began no later than the Han dynasty, and by the Tang dynasty, connoisseurs started to praise their aesthetic and spiritual attributes. The famous scholar of the Northern Song period Mi Fu (1052-1107), for instance, was a devoted connoisseur of rocks. It is believed that Mi once bowed in admiration before a magnificent rock and addressed him as his ‘elder brother’.  

Rocks of similar size and form have long been favoured for its aesthetic merit and symbolic virtue. They became subjects of depiction in paintings as early as the Five Dynasties (907-960). A similar rock is featured among blooming flowers in the famous painting Children at Play in an Autumn Garden by the Northern Song court painter Su Hanchen, now in the collection of the National Palace Museum, Taipei (fig. 1). Robert D. Mowry suggested the rock in the painting completes the composition, symbolises the wealth of the family and emphasises the unbending virtue; see Robert D. Mowry, ‘The Historical Importance of Scholars’ Rocks in Chinese Culture’, Marcus Flacks, Contemplating Rocks, London, 2012, p. 23.

The present rock is believed to have been inscribed by Qian Shisheng (1575-1652, studio name Xiyuan zhuren), who was an important official in the Ming court during the Wanli (1573-1620) to Chongzhen period (1628-44). A follower of Neo-Confucianism, Qian was familiar with the studies of Zhou Dunyi (1017-73) and Zhu Xi (1130-1200). During his service at court, he served as Taizi Taibao [Grand Guardian of the Heir Apparent] and Wenyuange Daxueshi [Grand Secretary of the Hall of Literary Profundity].