Song Baiyu ink bed: When did the ink bed originate?

A few months ago, someone photographed a white jade ink bed in Japan. The size of the lot is 6.2 cm long, 4.9 cm wide and 0.7 cm high. The ink bed is a small device for placing ink sticks. Since the ink stick has ink on one end when it is used, in order to prevent the ink from staining the book or the paper, there is a place to be placed in the ink-filling gap, so that the appliance for temporarily placing the ink stick is named as ink because of the shape of the bed. bed.

Some people think that the ink bed used as a special room has appeared in the Song and Yuan Dynasties. However, this kind of small artifact that is considered not to be later than the Song and Yuan dynasty could not be seen in the market until it was discovered in the Ming Dynasty. It was postponed to the Qing Dynasty by the history books. The ink bed of the Qing Dynasty has evolved from a simple ink-receiving tool to a work that is both practical and playable. However, this small object was clearly marked by the auction company: "Song Baiyu Shouyi 沁 ink bed"! Since the Ming Dynasty appeared in the ink bed, the Qing Dynasty began to record the ink bed, then suddenly the Song Dynasty ink bed appeared on the scene... Is this credible? Y Jun said that he would rather believe that this is a Song Dynasty thing. Asked about the reason, he and some of his own cognition.

“This thing is very different from the Ming and Qing ink beds we know.”

At present, the earliest ink beds are the Ming Dynasty artifacts. They are mostly shaped in a few cases. The lines are strong and angular, showing a graceful and elegant style. In addition to jade in this period, there are also wood-embedded jade and copper ink beds, but the handed down products are extremely rare. In the Qing Dynasty, Wenfang Ya has become fashionable, with varied styles and numerous materials. However, since the ink bed is used for placing ink ingots, it is usually not too big. It is generally considered to be wider than two fingers, but not longer than three inches. From the bright to the clear, the ink bed will not have much difference in the standard.

Compared with the ink bed of the Ming and Qing Dynasties, although the utensils are also presented in several cases, the ratio of length to width tends to be square, and the height of less than centimeters is quite different from that of the Ming and Qing dynasty. Although it is not as high as the Ming and Qing dynasty ink beds, Keeping the objects close to the desktop is more stable. The most interesting thing is that during the Qing Emperor Qianlong period, the cabinets, including the ink bed, began to be widely used and widely popular. The material used for the ink bed has also evolved from bronze and jade to rosewood, ceramics, lacquerware, amber, agate, jade, and cloisonne. The shape of the ink bed is also more enriched, or tortuous, or concise, in addition to a few cases, there are also seat-shaped, book-shaped, Bogu-shaped and so on. But despite the ever-changing materials and shapes, you can't escape a simple formula: the length is often more than double the width. So, we found a great distance in the style - one long side, one high one short one. It seems that there is not much difference, but it is an insurmountable gap in the times. It is the difference between the aesthetics of the times and the functions of the times.

“From a styling point of view, an artifact always goes through a process from simple to complex. This artifact is very clear in the shape of the ink bed.”

Obviously, the ink bed of the Ming and Qing Dynasties is in the same vein and has matured. However, the ink bed of the Ming and Qing Dynasties did not appear out of thin air. It must have experienced a slow development process and experienced a process from simple to complex, from practical to decorative. This piece of material is facing the sky, seeking lightness in stability, simple and interesting, the line type changes in the round and the transition, the sides of the board extending downwards are slightly outward, forming an angle of more than 90 degrees with the table top, in a stable state. Slightly booked. It looks like a case of a miniature flat curl, which is slightly widened after the bottom is bottomed out, and the lines are strong and the knife is sharp.

The director of the National Library of the National Palace Museum in Taipei, Ruo Ruoxi, once mentioned in the "Study on the Case of the Song Dynasty": "The ink bed and arm rest that have been common since the late Ming Dynasty, the Song Dynasty seems to have not developed. Although the Tomb of the South Song Dynasty was unearthed from the Hangzhou North Bridge. The concave hole above the lacquer pen is rectangular. It is speculated that it is used for ink discharge. It is also not considered that the Song Dynasty stationery has an ink bed system. Moreover, on the murals of the Xuanhua Liao Tomb in Hubei, the ink is often placed on the surface of the painting, and it is painted by Liu Songnian. The ink in the Tea Map is also placed obliquely next to the wind word, which can be supplemented." Although this mutual aid is not an isolated case, it cannot be used as a full basis for the lack of ink beds in the family. After all, the two illustrations make the ink block lack of carrying things, and the beginning of the ink bed may start. There is a Song Dynasty, an ink bed or an attempt to become a minority literati.

"This artifact has the aesthetic appeal of the Song people."

Closer to the ink bed is the downfall, because before the ink bed did not appear, the ring had once again played the role of the ink bed: let the ink ingot lie on the surface. The most characteristic of Fujian and Taiwan in the Song Dynasty is the simple and generous outline, practical and elegant hand-picked. The small object also has the charm of the hand-to-hand: perhaps supported by the foot of the board, the gap left by the slightly raised table is more like Song's hand. We know that from the Song Dynasty to the Emperor to the literati, they were all fascinated by the wind and snow, and the contemporaries of the same generation were also affected to varying degrees. The literati has both a form and a god, and its lines and blocks are dense and dense, and the knife method is concise and smooth. Generally speaking, the arts and crafts of the Song Dynasty are more about the character than the Tang Dynasty of the previous generation, or the Ming and Qing Dynasties of the later generations, pursuing the realm, paying attention to practicality, exquisite workmanship, fresh and elegant. Compared with the Song Dynasty, both the dynasties and the dynasties have a sinister social aesthetic plot, pursuing a prosperous style. If you take another example of aesthetics, you will be the first to push the highest level of kiln in the Song Dynasty. It is "big and no work", "returning to the truth", the glazed face is bright and clear, elegant and elegant, and is regarded as a god by Emperor Huizong. Perhaps it is precisely that there are not too many carvings and fascinating, only the texture of the gentle and jade, the plain and natural taste, has become the elegant and subtle and unobtrusive spiritual symbol of that era. In a Song Dynasty with a heavy literary ethics and a high literary class, the example of literati aesthetics must be enumerated. The literati's social orientation and the pursuit of elegant style make the literati in the Song Dynasty admire the customs.

“The age of this artifact seems to have gone through thousands of years, and it is quite different from the exquisite and transparent jade ink bed.”

The texture of the utensil should be jade. Under the premise of no scientific appraisal, it is more inclined to be a local jade. Although a dense film has been formed on the surface, the gloss of the wax is still clearly felt under the side light. With a 10x magnifying glass, you can see irregular micro-machined wear marks, which is a feature that modern power tool processing cannot imitate. Although it shows a devitrified state, it can still penetrate with strong light. Due to the characteristics of lime or chicken bone white, it shows its age. Moreover, this long-term is not blocked by the Song Dynasty. Its physical characteristics are very close to the cultural period, such as the jade whitening formed by the Liangzhu culture ancient jade in the natural environment. If you imagine it, it is not excluded that the literati in the Song Dynasty sent a feeling of ancient times, and the jade of Gaogu was changed into this. As the crystal water inside the tremolite is gradually lost, it will generally undergo a gradual process of reddening, devitrification, and whitening. After the dryness and recovery of some hardness, after the disk is played, the human sweat and oil will gradually recover. Run, the color will gradually turn red.

Of course, the auction company has designated the purple-red shape of this ancient jade as "Shouyi", which is considered to be the "shouyi" color, which is obviously reasonable. At the same time, we also saw that this purple-red freckle is round and slightly diffused. It is conceivable that a round piece of cinnabar ink ingot may be placed on it, which is caused by cinnabar. Of course, all of the above are based on a speculation.

In short, this is a piece of old jade made of artifacts in front of it, it tends to the aesthetics of the Song Dynasty literati, its system and function is closer to the ink bed. So the above speculation was made according to personal understanding.

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