清乾隆 御製「湘江秋碧」琴 《乾隆十年秋補桐書屋製》款 汪尤敦、張若靄奉旨所製、蘇州織造圖拉監製

of pearl-string (lianzhu) type, the tapering body modelled with a gently convex upper surface with cusped edges along the neck and waist, the underside with two peg guards on one end, supporting the musical instrument with seven celadon jade tuning pegs and two circular celadon jade goose feet, the front inlaid vertically with thirteen golden studs (hui), the ridge (yue mountain) and brow (drew receptacle) set with a pale celadon jade panel, the tail similarly framed with celadon jade, the reverse with four apertures, a rectangular peg pool near the head framing the tuning pegs, a shapely ruyi-shaped dragon pool and phoenix pond, interrupted by an oval sound hole and the pair of jade goose feet, one incised with cranes and ruyi motifs, the other with petal lappets and circular markings, each stringing three or four of the seven silk chords, the front of the instrument decorated with traces of cranes and clouds against the lacquered surface, the evenly lacquered exterior detailed overall with circular markings simulating ancient 'prunus crackles' (meihua duan) and accentuated with 'serpent belly crackles' (shefu duan), finely inscribed on the unlacquered wutong interior with three main inscriptions visible through the apertures on the underside, an imperial poem eulogising the qin with a yuzhi mark in clerical script and a faint cinnabar seal mark seen through the dragon pool, the sound hole revealing a further inscription in clerical script dated to the autumn of the tenth year of the Qianlong period (1745), stating that the qin was made in Butongshuwu ['Replenished Wutong Library'] according to Qinding lulu Zhengyi [Imperial musical encyclopedia] followed by a cinnabar seal mark, possibly reading bide (‘virtuous [as jade]’), all above the name of the qin in seal script reading Xiangjiang qiubi (‘Clear Autumn Skies above the Xiang River’) visible through the phoenix pond, the tuning pegs attached with tassels

山中商會，紐約
Parke-Bernet Galleries，山中商會藏東方藝術品清庫專場第三部分，1944年6月28日，編號23
F. Bailey Vanderhoef Jr.（1913-2008年）收藏，加州奧海鎮

《Oriental Lacquer: An exhibition organised by guest curator, F. Bailey Vanderhoef, Jr.》，聖塔芭芭拉美術館，聖塔芭芭拉，1976年，編號8

As clearly visible in the catalogue photos, there is a dense network of intricately incised 'prunus' and 'serpent belly' crackles, and a series of carefully positioned horizontal 'serpentine' crackles, mainly across the top and sides of the qin, all skillfully incised into the surface of the lacquer as part of the original manufacturing process, to ensure the surface of the qin resembled that on Song dynasty originals, in accordance with the Qianlong Emperor's instructions that it 'be fashioned in an archaistic manner'.The qin has been preserved in near-pristine condition, with just a faintly discernible development of age crackles as expected of 18th century lacquer, especially around the edges of the incised design. There is minor retouching to the peg guards that support the instrument and to fragile areas of the sides, and insignificant bruising. There is shrinkage at the tail of the qin, where the jade 'dragon gum' meets the lacquer body. As visible in the catalogue photo, there is minor fading to several of the characters on the inscription. All the accessories are original, except for the later married Qing dynasty outer goose foot, and the strings and loops which have recently been professionally replaced.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

題識：
不解攫醳解琴意，七弦掛壁何不可？
暉十有三丁晨星，導和理性圖書左。
湘江夜月來水仙，牕暎飄蕭綠陰鎻。
何須鳴玉覓金儒，愛渠亦復周旋我。
御製。「乾隆御筆」印

乾隆十年秋補桐書屋製，尺度一依欽定律呂正義。
「比德」印

湘江秋碧
「御賞」印

____________________________________________

傳世之乾隆御器，無不為精心妙作，屢見巧創奇想，然儘管珍器滿堂，唯甚少可與此琴媲美。乾隆生性慕古好雅，如斯珍愛此梧桐漆木琴，題詩銘刻，其心性與嚮往可見一斑。

二十世紀日本古董巨商山中定次郎，曾從滿清親王貴族手上購得海量重器珍品，本琴為其中之一；二戰時美國政府將其財產充公拍賣，在最後、即第三場拍賣會上，年輕西藏先鋒探險家 F. Bailey Vanderhoef Jr. 相中此琴，儘管當時署年與資料皆語焉不詳，他喜以為宋代古琴，並在1976年借展於聖塔芭芭拉藝術博物館一場漆器展，時展覽圖錄誤以為琴上紀年乃補修記錄。

近年研究揭示，本琴實為一組四張乾隆十一年（1746年）完成的御製古琴之一；原木取自一株古梧桐樹，乾隆仍為皇子時，於梧桐所在的庭院讀書受教，甚愛此樹。關於本琴，清宮檔案記載甚繁，詳述當中選材、選匠、樣式與製作工序，讀者如歷在目。乾隆為四張琴各製一首御題詩，鐫刻其上；此後連續十月，宮人源源向乾隆禀報此琴的製作進度，直至完成後呈送至補桐書屋方止。凡此皆可見乾隆對本琴的珍視。

____________________________________________

乾隆御製 「湘江秋碧」琴
補桐書屋舊藏
張慶崇

全長101公分
有效弦長 91公分
頭闊14.5公分
肩闊16.5公分
尾闊11.5公分

連珠式，金徽，朱紅漆，通體仿刻梅花斷紋。 琴書有記，琴過五百年方出梅花斷，此亦證乾隆皇帝好古之癖。

琴面造型渾圓，琴面、琴邊發連體小蛇腹斷紋。琴面岳山至七徽處繪有祥雲閒鶴，琴面漆色如新，無琴弦磨擦之痕跡，未經長期撫弄也。岳山、琴軫、雁足、龍齦、齦托、焦尾、托尾等為玉製，外雁足為後換，其餘均為原琴配置。琴軫、雁足等刻有鶴舞祥雲紋，填以金漆，與琴面所繪相互映趣。原配縹色琴穗，但琴絃絨扣等俱已散缺，今為新換。琴底龍池、鳳沼等為如意橢圓形設計，更於龍池、雁足間開二寸許橢圓音孔，此為一般琴製所無。

龍池納音處墨書銘：

不解攫醳解琴意，七弦掛壁何不可。
暉十有三丁晨星，導和理性圖書左。
湘江夜月來水仙，牕暎飄蕭綠陰鎻。
何須鳴玉覓金儒，愛渠亦復周旋我。
御製。鈐「乾隆御筆」朱印

龍池、雁足間二寸許橢圓音孔納音處墨書銘：

乾隆十年秋補桐書屋製，尺度一依欽定律呂正義。
鈐「比德」朱印

鳳沼納音處篆文墨書琴名：

湘江秋碧
鈐「御賞」朱印

據《欽定四庫全書》之《御製詩集》、《國朝宮史卷》 與《欽定日下舊聞考》等記載，此琴之製造，緣於乾隆年少。早於雍正二年（1724年），弘曆曾於瀛臺南側補桐書屋讀書（圖二至三）。書屋原種雙桐，相廝相伴，後一樹枯，遺下獨樹無依，遂補植新桐，因以更名為補桐書屋。書屋門前所餘梧桐老樹，於乾隆十年（1745年）也告枯死，乾隆憶舊，惜其材而下旨製成四琴，各賜其名並題詩（圖一）。四琴於乾隆十一年（1746年）秋季製成入匣，自此藏於補桐書屋。

//補桐書屋題四琴之作。舊桐已枯，命工斵為四琴，名之曰「瀛蓬仙籟」、「湘江秋碧」、「臯禽霜唳」、「雲海移情」。既成匣而藏之，仍置補桐書屋中。徘徊感舊，輒以命篇。

//〈四琴詩〉，《御製詩集》，初集，卷28，及二集，卷7//

//御製四琴詩。瀛台補桐書屋所餘老桐因循復枯，惜其材，製為四琴，各錫之名，而題以詩。

//「瀛蓬仙籟」：
弱水湯茫不可極，有山三點突焦墨。
齊人扼腕徒相憶，中多不死森森植。
不為爨下為牖北，無弦亦可鳴以默。
靜好天然中繩尺，鳳嗉玉軫太古式。
偈演無生仙籟畟，比丘得道山叟寂。
補桐主人餘結習，枯榮入目迷五色。

//「湘江秋碧」：
不解攫醳解琴意，七弦掛壁何不可？
暉十有三丁晨星，導和理性圖書左。
湘江夜月來水仙，窗映飄蕭綠陰鎖。
何須鳴玉覓金儒，愛渠亦複周旋我。

//「皋禽霜唳」：
招鶴棲桐桐即鶴，斫桐肖鶴鶴即桐。
幻哉今昔今原昔，是一是二將無同！
龍齦鳳額渾餘事，春風秋月何匆匆。

//「雲海移情」：
補桐時節桐森森，因風常作太古音。
曾不數年鄰死灰，當前枯菀同陶陰。
底俟為薪識偉物，雷霄裁作冰弦琴。
成連古有今則無，移情詎必雲海深？
棐幾高張殿閣涼，南風一曲渺予心。

//《欽定日下舊聞考》//

考《清宮內務府造辦處檔案總匯》有關此四琴製做事項，始於乾隆十年末，先命莊親王、汪尤敦、張若靄等商酌，統理製琴事務。仿古樣製辦請旨：琴腹寫詩，遴選良工，呈覽琴胎，何處取玉製岳山、琴軫等配件，後交蘇州織造圖拉，¹ 依畫樣花紋顏色等做漆。此等均一一記載，鉅細無遺，前後共計費時約十個月，四琴方成（圖四及五）。

//[乾隆十年] 十二月初二日。鍍金作。郎中色勒來說為乾隆十年十一月十五日汪尤敦、張若靄奉旨所製四琴著莊親王遴選良工會同造辦處悉心斟酌，其金徽、玉軫等件俱仿古樣製辦，琴腹中寫詩之處著汪尤敦、張若靄商酌辦理，統於製，就細胎時呈樣請旨。欽此。……

//十二月初二日：私庫白世秀七品首領薩木哈，將現做琴四張持進交太監呈覽。奉旨，琴上龍池不必開，將御題刻在龍池的迎手上，琴名刻在鳳池的迎手上，其字或寫、或刻，著汪尤敦、張若靄酌量帖樣呈覽。准時罩金漆，再需作古，上等做法，爾等仔細、好生莊重成造。欽此。

//於本月二十二日太監胡世傑傳旨，要現做活記呈覽。欽此。 於本日私庫白世秀將做得四琴持進交太監胡世傑呈覽。奉旨，此琴上應嵌之玉岳山、龍尾、枕足等處，將交莊親王舊琴內有嵌玉的，將玉拆來嵌用。如無，有再庫內查玉成做。庫內再無玉，著買玉做。欽此。

//於本月二十三日七品首領薩木哈將莊親王送來白玉枕足十副持進交太監胡世傑呈覽。奉旨，將此玉枕足內選四副用，其餘六副造辦處收貯。再此琴上應用龍吟、蛟尾、成路、岳山之處做樣交南邊照樣做白玉的送來。欽此。

//於十一年正月初八日七品首領薩木哈來說：奉莊親王諭，現做四琴上岳山、成路、蛟尾、龍音、下龍音、托尾、下托尾俱係用玉成做，若用木做樣交南邊恐其性軟，抽小彼處照木樣成做。未免於琴上不合尺寸，著用或凍石、或滑石做樣，送去其石性縱軟，再不至抽小。彼處照樣做來方能合式。記此。

//乾隆十一年二月初一日。蘇州。七品首領薩木哈來說太監胡世傑傳旨：現做琴四張著交南邊漆做。欽此。於本月初六日七品首領薩木哈來說太監胡世傑交按古琴斷紋顏色仿畫琴樣四張，傳旨：著交南邊照此畫樣花紋、顏色一樣漆做。欽此。

//於本年九月初五日將蘇州織造圖拉做得送到漆琴四張隨匣、錦套持進交太監胡世傑呈進訖。

//於十一年十月二十日司庫白世秀將圖拉做得漆琴四張持進交太監胡世傑呈進訖。

//《清宮內務府造辦處檔案總匯》//

現今存見乾隆御題之琴約有十來張，多為唐宋之製，且大凡為博物館之珍藏。乾隆御製之琴僅有文獻所記四張，幾經世代交替，散落民間，輾轉流轉，歷經兩百七十年，重出人間，唯「湘江秋碧」，彌足珍貴矣 。

¹ 圖拉，乾隆五至十六年間（1740-51年）管理蘇州織造，乾隆十七年（1752年）卒。在他任職期間，所有蘇作織繡品、玉作、漆作等均由他交回造辦處。當時織造、鹽政及監督均由宮廷委派，他們多為皇帝身邊之人，甚知皇帝的品味。（編者註）