託身於月,是為蟾蜍Flying to the Moon to become a Toad

1250888_1347718780本文文獻部分取材自: 中秋話「月」—漫談中國古代月神話

《周易.繫辭上》曰:「懸象著明莫大乎日月。」日、月可能是人類最容易觀察到的自然天體,仰則能見。其中,月雖不若太陽般燦爛奪目而充滿能量,然其寧靜陰柔的形象、朔望盈虧的變化,往往更能激起了人們無限地想像。東漢王充《論衡》:羿請不死藥於西王母,羿妻嫦娥竊以奔月,託身於月,是為蟾蜍。20110320113144130_1752-1

art0000320389「月中有蟾」的說法,也並非中國所獨有,這樣的說法亦普遍流傳於世界上許多原始民族的神話中。如所羅門群島的土著將月亮看作是隻蟾蜍的化身;北美印第安人認為月亮是隻肚裡裝滿水的蟾蜍。.1972年長沙馬王堆一號漢墓出土
通長205厘米馬王堆一號漢墓T型這幅帛畫的主題“引魂升天”帛畫右上角繪一輪紅日,日中有一隻黑色的鳥,應為“金烏”。其下有一扶桑樹,枝葉間掛有八個小太陽。左上角繪一彎新月,月上有一隻口銜流雲的蟾蜍,還有一隻玉兔。月下有一女子雙手托月,似在飛舞,應為嫦娥奔月。蟾蜍經常是中華玉文化中的主題。本文試圖用春秋玉蟾蜍, 明代劉海戲金蟾, 清代翠玉母子蟾蜍珮加以闡述。According to On the Balance to the Thought on Nature   by Wang Chun of Eastern Han Dynasty, Yi( husband of Chung-Er)  asked for immortal medicine from Goddess of the West, his wife Chung-Er stole the medicine and  flew to the moon to become a toad. On the left corner of the Han Dynasty fabric painting unearthed in 1972, a toad with a cloud motif in the mouth was decorated. Besides the toad, stood Chung-Er holding the moon with both hands.

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S__39075881.Spring Autumn Jade Toad,春秋玉蟾蜍 L.7.5cm, W.6.5cm, T.1cm 120 grams. 本器青玉雕琢, 背面飾春秋風格飽滿突出之如意雲紋, 腹面為光滑素面. 古玉跡象為擴散暈沁及鈣化。Carved with pale tone jade, the object is a toad plaque with low relief carving of auspicious cloud of Spring Autumn bosom  on the back, plain surface is seen on the bottom.

The auspicious cloud motifs of this jade toad have the same style as those of the Late Spring Autumn Period jade toad has been always a favorite collection item by serious as well as amateur collectors. Combined by special refined workmanship, in 2016-4-28-e596aee59c96-221addition to the general antiquity of diffusive markingcleaving vein and additive crystal, this item has beautiful calcification development which proves its authentication and most collectors would love to enjoy.
2.明代白玉鎏金劉海戲金蟾,高22公分

本器白玉雕琢, 鎏金處理, 仙人手持葫蘆, 腳邊有三足金蟾,有著散布財富、招財進寶之意,劉海戲蟾的故事因而被視為富貴的象徵,也有著喜慶吉祥之意。 本器古玉跡象有差異風化及皮殼現象。Ming Dynasty White Jade Statue, H.22cm. Carved with white jade, the object is a fairy statue holding a gourd containing panacea. Besides his foot, a mysterious animal with three legs which will bring fortune to people. Antiquity evidences are differential weathering and diffusive markings.

3. 清代翠玉母子蟾蜍珮, H.4.5cm, W.3cm

 

 

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本器翠玉(A材質)雕琢, 形制為母蟾蜍背著子蟾蜍, 正面為蟾蜍紋高浮雕, 背面為銅錢紋, 符合蟾蜍會為人帶來財富的寓意。Carved S__3899398with A grade jadeite, the object is a pendant with motif of mother and baby toad on one side and a coin on the bottom. The theme of the pendant is good fortune for whom wearing it.

 

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中華玉文化中的文人氣息, The Literacy Flavor in Chinese Jade Culture

中國古代文人寫字或畫畫,必須用到一些工具,包括筆墨紙硯,硯滴,紙鎮,筆架. 其中筆墨紙硯稱為文房四寶。這些文房用具, 除了紙與墨的材質固定外, 其他用具的材質, 或為青銅, 或為石材, 而以玉為材質者最尊貴。本文試列舉東漢玉硯滴, 東漢玉文鎮, 明代玉筆架, 清代玉硯及清代玉筆加以說明:

1.東漢漢光武帝”光武御製”銘文羊脂白玉玉鷹硯滴,H.15cm, L.18cm,1000grams

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從壺口的大小,壺內的容積推測, 應該是文房四寶的用具中的硯滴. 就整體造型而言, 母鷹背負子鷹,尾部則庇護著幼龍,母鷹頭部微微後彎,  凝視著子鷹及幼龍, 深怕牠們照顧不周,  將幼吾幼,以及人之幼的偉大情操,流露無遺,符合光武中興之漢光武帝注意民生與民休息之經濟政策精神. 本器造型意境之高,令人讚嘆.

 

 

2.光武御製羊脂白玉蟠龍紋文鎮.H. 7cm, D. 7.5cm.

s__3751986-11圓形紙鎮上端蟠龍龍身環繞盤旋於龍身四周, 身軀劇烈扭動, 龍首昂舉張口, 氣勢威猛雄奇. 然而整體造型為圓弧狀, 外緣平滑, 易於手掌抓取. 象徵天下蒼生之一切, 都在帝王掌握之中. 文鎮底部以圓形陽線雕刻篆體”光武御製”銘文,本件為可能是漢光武帝地宮藏品. 差異風化,擴散暈沁色增生晶体明顯.

 

3. 明代神面鳳鳥筆架L.9cm, H.6.3cm筆架又稱筆格, 宋周密《 雲煙過眼錄 》:“古玉筆格 ”,及浙3947江衢州南宋咸淳年間(1265-1274)墓葬出土有青玉筆格分析,至少在宋代玉已經用來加工筆格了。明代玉筆架極為普遍,有青玉、白玉等。 以山峰形居多,峰為柱狀,在註重實用性的同時,更追求觀賞性。本器青玉雕琢, 主體雖然類似山形, 但從神面紋飾推測, 所要表現的是山神, 雙面為神面淺浮雕, 中央隆起, 兩側似牛角向內彎, 牛角一邊棲息一鳳鳥, 頭部緊貼山神頭部, 面向後座方, 明代玉器崇尚復古, 風格多採戰漢形制, 本器設計巧妙, 刀工精美, 古玉跡象為擴散暈沁色及鈣化.

4.清代乾隆年製玉硯,長28公分,寬21公分2016-4-28-141

硯一般以石為之, 以玉為硯當然寶貴, 本器以青玉雕琢, 硯池位於中央下方, 左右及上方飾穿雲龍, 龍首面對硯池, 似乎龍會為硯池帶水來,玉硯背面有篆體陽紋”乾隆年製”, “文玩”, “三希堂”等銘文, 本器紋飾佈置巧妙別緻, 玉質晶瑩, 古玉跡象有冰裂紋及溶蝕孔, 堪稱文房四寶精品。

Qing Dynasty Ink Slab, L.28cm, W.21cm

 

5. 清代翠玉毛筆, Qing Dynasty Jadeite Brush, L.39.5cm, W.5cm, D.5cm, 400grams

00671本筆筆頂及筆斗之材質為象牙, 筆管由八節翠玉環組成, 筆頭為馬鬃材質. 翠玉及象牙為珍貴材質, 本筆應為皇家或高官之物. The top and ferrule are made of ivory, the handle is made of eight pieces jadeite rings. The head is made of horse mane. The appearance of the jadeite and ivory is aged. Judging by the precious material of jadeite and ivory, this brush should be owned by royal families or wealthy people in the Qing Dynasty.

 

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