文克马 士 林 房斯科 典 经稀斯 藏 眼见· 集木弗 录作拉 Custodians of the Scholar’s Way Rare Wooden Scholar’s Objects through the Eyes of Marcus Flacks 2021 年 6 月 8 日 / Jun. 8th, 2021

北京保利 2021春季拍卖会 预展时间 6月1日至各专场拍卖前一日 预展地点 北京国贸大酒店 「北京市朝阳区建国门外大街1号」 北京新国贸饭店三层多功能厅 「北京市朝阳区建国门外大街1号国贸大厦B座」 拍卖时间 6月4日-8日 拍卖地点 北京国贸大酒店 「北京市朝阳区建国门外大街1号」 邮品专场 预展时间 6月16日-18日 拍卖时间 6月19日-20日 展拍地点 新保利大厦云楼十层 「北京市东城区朝阳门北大街1号」 北京保利 保利香港 保利澳门 保利厦门 保利山东 保利义乌 保利拍卖网络平台 保利拍卖官方 APP 敬请关注北京保利拍卖官网：WWW.POLYPM.COM.CN 中国拍卖行业概念股— 保利文化(3636·HK)

中国拍卖行业概念股——保利文化 (3636·HK) 总 经 理：王 蔚 副总经理：陈零初 副总经理：祖世龙 总会计师：郭建巍 副总经理：董 振 中国古董珍玩艺术总监：李移舟 中国书画艺术总监：殷华杰 中国古代书画艺术总监：李雪松 现当代艺术部 E-mail: gdsh@polyauction.com 赵英琪：(86-10) 64083155 保利 ( 厦门 ) 国际拍卖有限公司 总经理：常天鹄 联系电话：(86-10) 64083316 王慧敏：(86-10) 64083010 E-mail: ddyh@polyauction.com 高级业务经理：王 健 任 星 财务部传真：(86-10) 64083150 陈珊 联系电话：(86-10) 64083337/3338 地址：厦门市白鹭洲东路86-3号 高级业务经理：田 恒 周彬芮 陈智萌（古籍文献类） 客户服务部 电话：0592-5069988 业务经理：孟兆波 赵绍华 李修燕 E-mail: vipservice@polyauction.com 传真：0592-5320009 程海清 陈 洁 业务助理：孟雪松 薛 蕊 刘阳春 联系电话：(86-10) 64083164 业务经理：尹冠男 联系电话：(86-10) 64083314/3315 客服手机：13716103261 保利义乌艺术发展有限公司 业务助理：蒋琪瑶 主任助理：孟 超 珠宝钟表尚品部 项目经理：王俊淳 张 政 中国古董珍玩 总经理：唐利伟 项目助理：瞿 璐 史 纪 周 建 陈零初 李 黄慧 E-mail: gd@polyauction.com E-mail:zb@polyauction.com 征集微信号：polygudong 联系电话：(86-10) 64083392 陈 威 赵知谭 地址：浙江省义乌市宾王路158号文创 高级业务经理：兰 晨 业务经理：冯成龙 张 周 于杨芳鑫 园二区D座保利艺术+二层 业务助理：邢家赫 董长保 冯 川 行政部 市场部 电话：0579-83556111 总经理：付滢蓉 邮品钱币部 主任：孟 楠 行政经理：李 莹 许 昂 总经理：桑贯宇 E-mail: market@polyauction.com 传真：0579-83556111 E-mail: yp@polyauction.com 联系电话：(86-10) 64083373 瓷器造像工艺品部 联系电话：(86-10) 64083510 高级项目经理：赵 京 高树丰 郭 珽 保利拍卖上海办事处 总经理：李嘉伟 业务经理：王 超 李海勇 马斯奇 项目经理：张雪婷 高级业务经理：翟昊天 邹德馨 赵胤轩 业务助理：郗海娜 刘 欣 项目助理：刘 允 张潇文 张雁文 张 瑾 曹欢欢 业务经理：张毅博 徐 雯 地址：延安中路1111号延安饭店391室 业务助理：廖海岚 杨圆通 名酒茗品部 办公室 电话：86-21- 51780360 E-mail: gd@polyauction.com 总经理：陈零初 ( 兼 ) 副主任：胡向国 刘 超 传真：86-21- 51780361 联系电话：(86-10) 64083090 E-mail: zc@polyauction.com E-mail: xingzheng@polyauction.com E-mail: shanghai@polyauction.com 联系电话：(86-10) 64083014 联系电话：(86-10) 64083007 古典家具文房部 业务经理：王春华 项目经理：吴 尧 郭安琪 保利拍卖台湾办事处 总经理：郑 阳 项目助理：王少杰 黄其俊 董荣华 高级业务经理：宫 诤（海外拓展） 网络拍卖部 黄宏任 汪友文 总经理：陈媛媛 景建伟 张之剑 董嫣然 地址：台北市中山区中山北路二段 麻正 E-mail: poly-online@polyauction.com 孔 悦 杜 召 张念 业务助理：孟雅琪 联系电话：(86-10) 64083085 39巷6号5楼(晶华酒店旁) E-mail: gdjjwf@polyauction.com 业务助理：张 宁 汪毅青 杨宝敬 党群（人事）工作部 电话：886-225224080 联系电话：(86-10) 64083090 主任：程 相 传真：886-225222595 康铮张超王 E-mail: chengxiang@polyauction.com E-mail: taiwan@polyauction.com 古董珍玩季拍部 联系电话：(86-10) 64083085 总经理：李 屾 研究院 审计专员：佟 璐 保利拍卖日本办事处 业务经理：文明远 李承隆 王井森 院长：霍文才 主任助理：刘 静 霍 健 业务助理：范博涵 陈 亮 E-mail: yjy@polyauction.com 项目助理：王 榕 胡 郡 赵 创 宋昕宸 风见治子 E-mail: sijigudong@163.com 联系电话：(86-10) 64083050 地址：东京都中央区银座2丁目12-4 联系电话：(86-10) 64083098 高级业务经理：章之昊 徐向龙 业务经理：唐花玲 -60 Duplex银座2/12 1040061 中国书画 业务助理：贾国栋 分公司、子公司及各地联络 电话：81-3-6278-8011 E-mail: sh@polyauction.com 传真：81-3-6278-8012 联系电话：(86-10) 64083366 物管部 保利香港拍卖有限公司 Email: polyauction2005@gmail.com 高级专家：罗戈弟 副主任：刘 琨 行政中心（含网拍及运输）：范 畴 地址：金钟道88号太古广场一座7楼 保利拍卖北美办事处 行政部 古董珍玩：牛吉刚 电话：852-23039899 总经理：陈媛媛（兼） 中国书画（含现当代艺术）： 传真：852-23039888 黄健黄正 行政经理：于振兰 徐路盛辉 Email: sale@polyauction.com.hk 地址：559 West 23rd Street，New 行政助理：许 登 陈玉红 中国古代书画（含古籍）：郭 蒙 York 10011 邮品钱币、珠宝及名酒茗品：铁 雷 保利澳门拍卖有限公司 电话：1-212-273-0822 中国书画一部 古董珍玩季拍：张 彪 E-mail: nyc@polyauction.com 总经理：罗汉松 联系电话：(86-10) 64083070 地址：澳门宋玉生广场336号 高级业务经理：王 辉 王高伟 诚丰商业中心16楼G座 业务经理：李夺伦 财务部 业务助理：肖明芳 主任：郭一霖 电话：+853 2875 1013 联系电话：(86-10)64083377/3378 主任助理：宋秋红 传真：+853 2875 1014 E-mail: cwkf@polyauction.com 中国书画二部 拍品结算： 保利 ( 山东 ) 国际拍卖有限公司 总经理：胡志明 王佳莹：(86-10) 64083161 高级业务经理：刘晓洋 王 浩 王建伟 董立仁：(86-10) 64083113 胡志明 姜 珂 业务经理：帅恩泽 孟 辉 胡天璧 陶 蕊：(86-10) 64083166 地址：山东省潍坊市奎文区胜利东街 业务助理：陈 京 李 斌：(86-10) 64083017 联系电话：(86-10) 64083363/3380 张 璐：(86-10) 64083010 5051号阳光100城市广场 8号楼7楼 中国古代书画部 电话：0536-8392111 总经理：范长江 传真：0536-8392009

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北京保利 6 月 4 日「星期五」 2021春季拍卖会 A厅 17:00 现当代艺术 预展时间 6 月 1 日至各专场拍卖前一日 20:00 现当代艺术夜场 拍卖时间 6 月 4 日 -8 日 顺 延 中国新绘画 预展地点 北京国贸大酒店 6 月 5 日「星期六」 「北京市朝阳区建国门外大街 1 号」 A厅 09:30 四海集珍—中国书画（一） 北京新国贸饭店三层多功能厅 13:30 庄严—赵朴初墨迹 顺 延 琳琅集—中国书画（二） （北京市朝阳区建国门外大街 1 号国贸大厦 B 座） 18:30 来函知清吉—齐白石信札专场 18:30 中国书画夜场 拍卖地点 北京国贸大酒店 6 月 6 日「星期日」 「北京市朝阳区建国门外大街 1 号」 A厅 09:30 艺林藻鉴—中国古代书画 邮品专场 13:30 艺林藻鉴—中国古代书画 预展时间 6 月 16 日 -18 日 19:00 仰之弥高—中国古代书画夜场 拍卖时间 6 月 19 日 -20 日 B厅 预展地点 新保利大厦云楼十层 13:30 散珍集成—中国书画（三） 顺 延 中国当代水墨 C厅 09:30 古籍文献 金石碑帖 翰墨菁萃 西文经典 6 月 7 日「星期一」 A厅 10:00 稽古—私家藏当代名家壶及古代茗具 13:30 雄楚巨唐—古代风格铜镜 15:00 百年薪火—近现代文人瓷画 18:30 十面观止—十面灵璧山居诸家藏元明清珍瓷 顺 延 恒吉祥，永平安—信仰与皇权之夜 顺 延 禹贡Ⅰ—乾隆御制缂丝兰亭图帖与古稀天子的天朝盛世 顺 延 禹贡Ⅱ—乾隆御制洋彩雕瓷有凤来仪大转心瓶 顺 延 会到无声—雅乐燕音名藏八品 顺 延 佞宋—十面灵璧山居暨诸名藏宋元清翫 B厅 11:00 保利富艺斯联合拍卖「二十世纪及当代艺术和设计」 14:30 名贵腕表及古董时计艺术 顺 延 璀璨珠宝 C厅 10:00 百年风云—世界名人字札 14:00 保利茅台会—贵州茅台酒专场 顺 延 臻品留香—珍藏级普洱老茶专场 6 月 8 日「星期二」 A厅 10:00 中国古董珍玩Ⅰ 中国陶瓷 14:30 中国古董珍玩Ⅱ 雅玩及玉器、造像、工艺品 17:00 挹古芳—宫廷艺术与重要瓷器、玉器、工艺品 19:00 大明·格古 20:00 逍遙座—重要名藏明清古典家具 顺 延 士林典藏—马科斯·弗拉克斯稀见木作文房经眼集录 顺 延 息壤—文石箑骨及诸家藏文房清供 B厅 13:30 极致·传承—保利体育收藏专场 顺 延 潮 - 潮玩及尚品手袋 18:00 保利富艺斯联合拍卖「二十世纪及当代艺术和设计」夜场 C厅 09:30 泉韵古今—纸钞 古钱 金银锭 机制币 6 月 19 日 -20 日「星期六、日」 09:30 方寸聚九州—邮品专场 地点：新保利大厦云楼十层

敬请注意 ① 竞买人知悉并且同意：图录中拍品图录号旁注有“ ” 标记之拍品为 保税拍品。保税拍品均来自海外或港澳台地区，无法在拍卖现场领取 或交割。买受人承诺自行承担保税拍品办理入境过程中应缴纳的进口 关税和其他税项。 ② 竞买人领取竞投号牌需凭本人身份证（或护照）登记，并预交保证 金。在我司没有交易记录的竞买人或在我司有不良交易记录的竞买人 办理竞买登记时，需要预交双倍保证金。如您竞投金额超过额度，请 重新办理竞投牌，北京保利国际拍卖有限公司对此拥有最终解释权。 ③ 买方酬金为15%。 ④ 竞买人应妥善保管竞买号牌，如有丢失，应立即向拍卖人书面挂失。 凡持本竞买号牌者在拍卖活动中所实施的竞买行为，均视为竞买号牌 登记人本人所为，并承担全部法律责任。 ⑤ 买受人应在拍卖日起七日内支付全部购买价款，逾期未支付者，本公 司将不退还保证金，并保留进一步追究买受人违约责任的权利。 ⑥ 买受人以支票、汇款等非现金方式付款的，须持银行确认到款後方可 提货。 ⑦ 本场拍卖会部分展览及著录信息摘自网络链接，仅供参考，本公司不 提供展览及著录相关资料。保利拍卖拥有最终解释权。 IMPORTANT NOTICE ① I.The Lots marked by on the catalogues are Bonded Property. Bonded Property are from Hong Kong, Macau, Taiwan or regions outside the Chinese mainland. The Lots are not available for immediate collection from the auction venue as they are held under the bonded status. When they are imported into the PRC, the Buyer will be responsible for and will have to pay the applicable import customs duties and taxes. ② Bidders are requested of a deposit and present their own ID card for a paddle registration. All the above are applicable to Poly registered existing customers. New customers are requested to be guaranteed by existing customers or to pay double amount of cash deposit. ③ The premium is adjusted to 15% of the final bid price. ④ Bidders should take care of their paddles in case of any loss. Bidders are not allowed to transfer their paddles to any third parties, otherwise bidders should be liable for all the circumstances occurs. ⑤ Buyers should pay 100% amount of the purchase price in seven days if the bid is successful, otherwise the deposit will not be returned and the legal effect accrued thereupon shall be born by the buyers. ⑥ For buyers paid by terms of check, remittent or other non-cash payment, the lots will be delivered after we receive the credit notice from our bank. ⑦ Certain publications in this catalogue are cited from the internet resources and for reference only. Poly is not responsible to provide the original documentation. The company reserves the right of final explanations.

北京保利 2021 春季拍卖会竞买保证金规定 拍卖场次 号牌适用范围 保证金（人民币 元） 特殊拍品 预展期间公布 注册客户 非注册客户 待定 待定 日场 珠宝、腕表专场除特殊拍品外的所有拍卖标的 50 万 100 万 其余日场拍卖的所有拍卖标的 50 万 50 万 100 万 200 万 部分古董专场、近现代书画、古 十面观止、恒吉祥，永平安、禹贡Ⅰ、佞宋专场除特殊 50 万 100 万 代书画、现当代艺术、珠宝钟表 拍品外的所有拍卖标的 100 万 100 万 20 万 40 万 夜场 会到无声、挹古芳、大明·格古、逍遥座、息壤专场 10 万 20 万 除特殊拍品外的所有拍卖标的 10 万 10 万 其余夜场拍卖除特殊拍品外的所有拍卖标的 部分日场 百年薪火、中国古董珍玩ⅠⅡ、士林典藏、体育收藏、 古籍文献、邮品钱币字札、名酒茗品专场 潮玩及尚品手袋专场除特殊拍品外的所有拍卖标的 古籍文献、泉韵古今、方寸聚九州、百年风云、保利茅台会、 臻品留香专场所有拍卖标的 紫砂、铜镜专场 稽古、铜镜专场所有拍卖标的 竞买保证金说明： 1. 以上特殊拍品缴纳保证金金额以预展期间公布的信息为准。 2. 竞买人为自然人的，领取竞买号牌需凭本人身份证（或护照）；竞买人为法人的，需要提供①法人营业执照（副本复印件）、②法定 代表人身份证明书、③授权委托书、④法定代表人及授权代表身份证复印件（以上文件均需盖章），并预交保证金。 3. 如需办理电话委托 / 书面委托参与竞投，请致电客户服务部咨询办理，客服热线：400-618-3009。 本场拍卖会经京文物许可〔2021〕360 号文件审核批复

1995年，我和黛比在纽约成立了MD Flacks艺廊，那时我们都很年轻，尤其对于这样一个专业 度很高且充满挑战的领域。虽然我继承了收藏家父亲对艺术的热爱，但我们都不是来自“古董 收藏家”家庭。我们拥有的是青春、旺盛的精力、激情和王世襄！ 回顾我们逐步成为业内受人尊敬的学者和古董商的历程，可以清楚地看到，如果没有王世襄先 生关于中国古典家具的著作，我们此后所取得的一切成就都将无法企及。当然还有其它著作， 但王先生的书为我们提供了框架性的基础帮助，甚至启发了我们在中国古董珍玩大门类中开拓 出自己的领域。我敢肯定，如果询问在中国古典家具第一个“黄金时代”（20世纪80年代至90 年代）期间成长起来的众多古董商，许多人会给出与我非常类似的回答。 为什么一本著作会如此重要？王世襄先生为中国古典家具创立了体系的基础框架，后来者可 以依此不断补充和完善。诚然，如乔治·凯茨（George Kates）、古斯塔夫·埃克(Gustav Ecke) 及安思远（Robert Ellsworth）等已经为我们打开了眼界，但他们是从一个完全西方的角度来阐 释的，伴随着西方审美和与生俱来的西方艺术价值观，而且他们展示说明的大多数是20世纪前 六、七十年出口到西方的作品。王世襄先生以毕生收集的信息、图像和人脉，将中国古典家具 领域以现代的观点和中国式的角度展现出来。他杰出的著作成为古董商、收藏家、修复家和爱 好者们的“圣经”。好像突然之间，大家都站在了同一起跑线。 古董珍玩的研究和鉴赏，需要如此的基础框架才能不断发展和完善。圣杰罗姆（Saint Jerome） 在公元4世纪提出的格言：“Good，Better，Best”，是一条极好的评估古董珍玩作品的质量和 重要性的准则。然而，为了能够精准地研判各类作品，我们必须确保拥有尽可能广泛的体系基 础框架，可以将任何作品对位纳入其中。这种框架、知识的累积和对现存的殿堂级作品的理 解，对于任何古董商、收藏家和学者来说都是须基本具备的。这正是王世襄先生里程碑式的著 作如此重要的原因，它为一代蓬勃发展的古董商、收藏家和爱好者们提供了共同的及重要的起 点，让他们能够在这个领域开始鉴赏和收藏，并最终进步和完善到令王世襄先生必然感到非常 自豪的程度。 在过去的十年中，集中在中国大陆地区，出现了新一代的古董商和收藏家。他们十分幸运地可 以通过学习王先生的全部著作，以及一系列的后续出版物、收藏图录和展览，来帮助形成知识 体系。其中一些人接受了挑战，选择为行业的进步做出努力；同时，另一些人则被伴随这些珍 贵作品而来的巨额金钱所引诱。无论是此两种情况中的哪一种，重要的仍是能够通过更多现存 的、类似的或相关的作品去准确判断每件作品。仅仅通过当下的市场来评判一件作品的级别的 做法是不成熟，人们也经常在这部分犯错误。所以任何领域的顶级著作和收藏图录对于今天和

后代的人们都是至关重要的。我曾经被提问过，能想象到的作为古董商、收藏家或学者所做的 最糟糕的事情是什么？虽然对大多数人来说，第一个答案是“造假或故意销售假货”，但我的 答案略有不同。对我来说，最严重的罪行是“恶意出版和推广假货”。这是因为销售假货时， 是欺骗了买家（以及未来作品的买家）；而出版和推广假货，则是欺骗了现在和未来的几代读 者，他们往往没有机会接触到真正的艺术品，而只能依靠神圣的学术出版物来学习。 我们一直遵循的最首要原则是，决不发表任何没有经手以及没有经过审查的作品。我们会犯错 误吗？这是完全可能的。但是，明知故犯地犯错，就会永远污染了我们子孙后代渴望饮用的知 识之井。当我决定写我的第一本书“Classical Chinese Furniture ; A Very Personal Point of View” 时，这就是我遵循的准则。每一件囊括于书中的作品都必须经过我们的手，且有助益于中国古 典家具的整体研究。重复出版以前书中的作品似乎意义不大，我们希望为将来对于珍稀作品的 研究做出一点小小的贡献。我感到非常自豪，能将这些我们有幸经手的重要作品与现在和将来 的爱好者、学者们分享。 决定出版 “Contemplating Rocks”是因为当我开始为文人赏石展览撰写图录时，我意识到彼 时没有一本著作可以作为文人赏石领域研究和欣赏的导论。而 “Custodians of the Scholar’s Way”是一本介于两者之间的书。我希望把这些小件珍玩置于聚光灯下，它们的重要性常常被 学者们忽视，并被仅仅认为是“小型家具”。事实上，它们只是在某些方面与家具相关；而在 另一些方面，它们则是非常重要的独立领域，因为它们与中国古代文人的仪轨、习俗息息相 关。再次重申，书中的每件作品都是我亲自经手并仔细研究过的，我很高兴能保证他们的品质 和真实性。有些作品是独一无二的，有些是非常罕见的，另一些则是更优质的标准器。我认为 将所有品种都囊括进本书也是十分有意义的，因为我希望本书能够为初次以收藏亦或欣赏目的 涉猎此领域的人们起到引领的作用。我们试图在书中通过展现不同风格的作品来阐明它们丰富 的多样性。 我很喜欢“Custodians of the Scholar’s Way”这个标题，我尤其认为它表达了这样一个事实： 即使世界在不断变化，明朝文人们的许多仪轨和习俗也从集体记忆中消失了，但这些小件珍玩 仍然完好无损地传承了下来，等待被重新发现，将“文人之道”重新介绍给后来者。这些作品 不仅是值得收藏的艺术珍品，它们同样也是历史记忆的一部分，一种生活方式的守护者，可能 已经丢失的审美、道德和智慧体系的重要组成部分。我诚挚地期望此次专场中作品（其中许多 是在《Custodians of the Scholar’s Way》一书中发表过的）就像曾经启发了它们现在的主人们 一样，能够点燃新藏家和爱好者们的热情，毕竟现在的主人们也是有些不舍地才同意将它们出 让与新藏家的。

When Debby and I set up MD Flacks, in New York City, in 1995 we were young, especially for such an ambitious and specialised project. Although I inherited my love of art from my father, who was a collector, neither of us had come from “antiquarian’ families. What we had was youth, exuberance, passion and Wang Shixiang! Looking back on our evolution to become respected dealers and scholars in our field, what is clear is that, without Wang Shixiang’s furniture book, all that we have achieved since would have been impossible. Of course, there were other books, but this book gave us the framework or even the architecture to start crafting our place in the world of Chinese Antiques. I am sure that if one asked many of the dealers who grew up in the first “golden age” of Chinese furniture (1980’s and 1990’s) many would have to admit something very similar. How can a book, be so important? What Wang Shixiang managed to do was to create a foundation to Chinese furniture that others could later build upon. It is true that George Kates, Gustav Ecke, and especially Robert Ellsworth had already opened our eyes to these wonders, but they were coming from a totally Western perspective, with a western aesthetic and innate Western artistic values. They also illustrated mostly pieces that had been exported to the West during the first 6 or seven decades of the 20th century. What Wang Shixiang did, after a lifetime of collecting information, images and contacts was to bring the field of Classical Chinese furniture to life from a very current and Chinese point of view. His exceptional work became the ‘bible’ of dealers, collectors, restorers, runners and enthusiasts alike. It seemed like suddenly, we were all on the same page. The study and appreciation of antiques, requires such a framework in order to evolve and refine itself. The concept of “Good, Better, Best.” a saying first coined by Saint Jerome in the 4th century AD, is an excellent guideline for assessing the quality and importance of any antique. However, in order to accurately allocate any sort of qualitative judgement to a piece, one has to be sure that one has the widest framework possible into which one can slot any such piece. This framework, this accumulated knowledge, this understanding of the pantheon of pieces that exist, are fundamental to any dealer and also to collectors and academics. This is why Wang Shixiang’s landmark book was so important; it gave a flourishing generation of dealers, collectors and enthusiasts an all- important starting point to be able to start appreciating and collecting in this field and eventually to evolve and refine it to a point that would most certainly make Wang Shixiang very proud. During the past decade, a new generation of dealers and collectors have emerged, mostly in mainland China. They were lucky to have Wang’s oeuvre as well as a host of later books, collection catalogues and exhibitions to form their knowledge. Some have taken on the challenge of improving the field whilst others have been more enticed by the large amounts of money associated with these rare treasures. In either case, the importance remains to be able to judge a piece on as many of the existing, similar or related pieces as possible. Judging a piece solely by its quality within the current market is a naïve and all too often made mistake. This is why the publishing of good books and collections on any field is paramount to today’s and future generations. I was once asked what I though was the worst thing that someone could do as a dealer, collector or scholar of Chinese antiques. Whilst the first answer to spring to most people would be “to create or knowingly sell fake pieces” my answer was slightly different.

To me the worst crime is to “knowingly publish and promote pieces that are fake.” This is because selling a fake, you are cheating the person you sell the piece to (as well as future buyers) whereas publishing and promoting fakes, one is cheating present and future generations who, not having access to the actual pieces, rely on the sanctity of scholarly publication. One of the first rules we have always adhered to has been never to publish anything that has not either passed through our hands or that we have been able to examine. Might we have made mistakes? It is entirely possible. But to do this knowingly is to eternally pollute the well of knowledge from which future generations will eagerly seek to drink. When I decided to write my first book; “Classical Chinese Furniture ; A Very Personal Point of View” this was the criteria that I applied. Every piece had to have passed through our hands and was included because we felt that it added to the overall study of Chinese furniture. There seemed little point in re-publishing pieces that had been in previous books. We wanted to add our small contribution to the future study of rare and excellent pieces. These were many of the masterpieces that we had been lucky enough to handle and sharing them with enthusiasts and scholars both present and future is something that makes me extremely proud. When I decided to publish “Contemplating Rocks” it was because as I began writing a catalogue to an exhibition on scholar’s rocks, I realised that there was not a book that could act as in introduction to the study and appreciation of scholars rocks. “Custodians of the Scholar’s Way” is a book that is somewhere between the two. I wanted to shine a spotlight on these amazing small treasures that had often been overlooked by scholar’s and too often considered as “minor furniture”. In fact, they are only related to furniture in some ways, in others, they are a totally separate field and one that is of great importance as it relates to the rituals, practices and past times of the Chinese Scholar. Here again, every piece in the book is one that either passed through our hands or that has been carefully inspected by myself. Every piece is one that I can happily vouch for in terms of quality and authenticity. Some examples are unique, and some are very rare, whilst others are very good examples of a more standard type. I felt that it was very important to include all of these types as this book too, I hoped, could act as a guide for people who might be approaching this area of collecting and appreciation for the first time. We tried in “Custodians” to include different styles to show that there was not a single “universal” style but rather a rich tapestry of varied styles. The title “Custodians of the Scholar’s Way” is one that I am particularly fond of as it reflects the fact that even as the world changed and many of the rituals and practices of the Ming scholar faded from the collective memory, these small treasures survived intact, waiting to be rediscovered and to re-introduce the “Ways of the Scholar” to a new generation. These pieces are not just collectable artistic treasures, they are also a piece of history and guardians of a way of life and set of aesthetic, moral and intellectual ideals that might otherwise have been lost. It is my sincerest hope that the pieces in this sale, many of which, are published in “Custodians of the Scholar’s Way”, might serve to ignite the passions of new collectors and enthusiasts in the same way that they inspired their current owners, who have, at times reluctantly, agreed to pass them on to a new generation.

士林典藏  马科斯·弗拉克斯稀见木作文房 经眼集录 CUSTODIANS OF THE SCHOLAR’S WAY RARE WOODEN SCHOLAR’S OBJECTS THROUGH THE EYES OF MARCUS FLACKS 预展时间：2021年6月1日至6月6日 地    点：北京国贸大酒店「北京市朝阳区建国门外大街1号」 拍卖时间：2021年6月8日(星期二) 20:00 顺延 地    点：北京国贸大酒店A厅 PREVIEW: JUN. 1-JUN. 6, 2021 CHINA WORLD SUMMIT WING, BEIJING SALES: JUN. 8, 2021 (TUE) 20:00 CHINA WORLD SUMMIT WING, BEIJING 请访问北京保利拍卖官方网站观看拍卖直播

6731 明至清早期 黄花梨草虫图臂搁 长 20cm  宽 7.3cm  直径 4.2cm Ming to Early Qing Dynasty A Very Rare Huanghuali Wristrest RMB: 50,000—80,000 【备注】 马科斯·弗拉克斯（Marcus Flacks）旧藏 【出版】 马科斯·弗拉克斯（Marcus Flacks）《士林典藏：稀 见木作文房小件》，2014 年 12 月 15 日，页 142 WRISTRESTS Brushwasher Wristrests were used by scholars to support and steady the hand whilst Zitan painting. This was particularly helpful 18th Century when detailed or small-scale painting dia: 11 cm × h: 3.9 cm was required. The beauty of this washer is achieved through the most refined craftsman- Small wristrest ship and the natural qualities and lustrous surfaces of the zitan timber. Zitan Of particular note is the slightly convex 18th Century shape of the base that gives the illusion w: 13.8 cm × d: 7 cm × h: 1.1 cm that the washer is floating on the surface An exemplification of restrained elegance, this it is placed on. wristrest relies on its smooth contours and two very evocative raised arches carved on either end. 143 Carved wristrest Huanghuali 17th – 18th Century w: 20 cm × d: 7.3 cm × h: 4.2 cm Inspired by nature, the beautifully carved surfaces of this wristrest neatly depict a grasshopper amongst foliage, a constant reminder to the user of the creative and spiritual power of nature. 142

这件臂搁取法自然，精细地刻画了一只在花草中的蚱蜢， 不断地提醒使用者自然的创造力和精神力量。

6732 清 紫檀内廷书箱一对 长 33cm  宽 21.2cm  高 13cm Qing Dynasty A Pair of Imperial Zitan Book Boxes RMB: 200,000—250,000 【备注】 马科斯·弗拉克斯（Marcus Flacks）旧藏 【出版】 马科斯·弗拉克斯（Marcus Flacks）《士林典藏：稀 见木作文房小件》，2014 年 12 月 15 日，页 347 Pair of imperial book boxes Zitan 18th Century w: 21.2cm × d: 33cm × h: 14cm This extremely rare pair of boxes was custom-made to store the lianghan ceyao, which can be translated as ‘Policies of the Two Han’ (dynasties), a Song dynasty text comprised of twelve volumes that became quite popular during the Qing dynasty. Each box is carved on the front with the title lianghan ceyao and additionally with the words xiahan and shanghan, denoting the first and second box for each group of volumes. These are carved in li script, popular in the Han dynasty (206 BCE – 220 CE). These book boxes were almost certainly made for imperial use; their simple and dignified design and the sombre tonalities of the zitan timber bestow a sense of august culti- vation, perfectly in keeping with their use. The boxes are precisely made and all of the interior surfaces are covered with a layer of thin burnished lacquer, once again manifesting their superior quality and thus the importance of what they held within them. 346 opposite 347 Preparatory drawing for ‘Dictionary’, Liu Dan, c. 1991

这对极为罕见的书箱是为了存放《两汉策要》而定制的。这部书 为两汉时期的政策策论，宋版，十二卷，在清代深受欢迎。两只 盒子的看板上都雕刻了“两汉策要”，并标明上函和下函，表示 这是用来存放此书的前、后两部分。这对字都由隶书写成，属于 汉代非常流行的字体。这对书箱定是为内廷使用而制，其简约高 贵的设计和紫檀木料深沉的色泽，都赋予它们令人敬畏的气质， 尤其是和它们的用途相联系的时候。这对书箱制作精巧，内面覆 盖了一层光洁的、薄薄的漆层，又再次证明了它们高超的品质和 所收物品的重要性。

这个盒子有多道呈同心圆的起线，不仅是盒面的视觉焦点，也为 盒子增添了无尽的雅致。这是人工与自然之美的和谐统一。

6733 清 黄花梨圆形印泥盒 直径 9cm  高 4.5cm Qing Dynasty A Huanghuali Round-Shaped Seal Paste Box RMB: 50,000—80,000 【备注】 马科斯·弗拉克斯（Marcus Flacks）旧藏 【出版】 马科斯·弗拉克斯（Marcus Flacks）《士林典藏：稀 见木作文房小件》，2014 年 12 月 15 日，页 153 SEAL PASTE BOXES Round seal paste box Seal paste boxes were used to store the red paste that seals were pressed into before being stamped onto paper. Quite Huanghuali often there is a residue of paste inside these boxes. Many 18th Century small round boxes, that may originally have been designed dia: 9 cm × h: 4.5 cm as incense boxes or containers for other small objects or powders, were later used as seal paste boxes. The extremely elegant design of this box is enhanced by multiple fine beadings framing the central concen- 152 tric knot, which becomes the focal point of the top. A very sophisticated blend of workmanship and natural beauty. Seal paste box Zitan 18th Century w: 8 cm × d: 7 cm × h: 4 cm Of highly classical design, this square box with its crisp beadings and indented corners is a perfect example of refined zitan craftsmanship. Seal paste box with inlay Zitan, mother-of-pearl and hardstone inlays 18th Century w: 6.2 cm × d: 4.7 cm × h: 2.3 cm Delicately inlaid with three lingzhi fungi in hard- stones and mother-of-pearl, this small box was no doubt a gift to a scholar taking part in the national examination process. The three lingzhi aim to bring good luck to pass the three examinations necessary to reach the highest level of imperial exam; the jinshi. Carved seal paste box Boxwood 18th Century w: 7 cm × d: 5.5 cm × h: 3 cm Wonderfully crafted from a single piece of boxwood, this small box is decorated with a naturalistic lingzhi fungus motif. The precise carving works perfectly in conjunction with the natural shapes of the timber. This, together with the rich tonalities of the boxwood, creates a most alluring surface. 153

这件托盘用大料，厚唇，器表光素无纹，强调了这种不 常见的椭圆形制的纯净优雅。

6734 清 紫檀椭圆形托盘 宽 19cm  高 2.3cm  直径 30cm  Qing Dynasty An Oval-Shaped Zitan Tray RMB: 65,000—88,000 【备注】 马科斯·弗拉克斯（Marcus Flacks）旧藏 【出版】 马科斯·弗拉克斯（Marcus Flacks）《士林典藏：稀 见木作文房小件》，2014 年 12 月 15 日，页 201 OTHER TRAY SHAPES Oval tray Round tray Zitan 18th Century Huanghuali w: 30cm × d: 19cm × h: 2.3cm 17th Century dia: 29cm × h: 2.4cm Crafted from generous timber with a thick lip and Whilst one would expect to find many trays made in unadorned surfaces, this tray is designed to highlight a simple round design, they are in fact very unusual, the purity and elegance of its unusual oval form. especially from the 17th and 18th centuries and even more so when in precious woods such as this very refined huanghuali example. 200 201

这件小笔筒极不寻常，追捧者众多，皆因其一材整挖而成。同样 形状的笔筒，用四块侧板另加一块嵌入内底拼接而成者为常见， 也更经济划算。这件咯固笔简的完整性非常讨人喜欢。

6735 清 紫檀整挖四方笔筒 宽 18.4cm  高 12 cm  直径 8.3 cm Qing Dynasty A Solid Zitan Square-Shaped Brushpot RMB: 50,000—80,000 【备注】 马科斯·弗拉克斯（Marcus Flacks）旧藏 【出版】 马科斯·弗拉克斯（Marcus Flacks）《士林典藏：稀 见木作文房小件》，2014 年 12 月 15 日，页 127 Square lobed brushpot Small square brushpot Zitan Huanghuali 18th Century 17th – 18th Century w: 7.9 cm × d: 9.4 cm × h: 10.2 cm w: 7.3 cm × d: 7.2 cm × h: 11.1 cm This extraordinary pot shows off all the brilliance and Although square brushpots of this size are found in ingenuity of the mature 18th century style. Here four zitan, there are very few huanghuali examples. boldly curved facets are joined to create a form of rare This small square brushpot makes an interesting elegance and refinement. contrast with the ‘massive’ example on the following page (p. 128). 126 Square solid brushpot Zitan 18th Century w: 8.4 cm × d: 8.3 cm × h: 12 cm This small square zitan brushpot is a more unusual and sought-after example than most in that it is crafted from a solid piece of timber. The more usual and cost-effective method to craft such a piece would have involved joining four separate facets with an inserted bottom. The integrity of this solid piece is very pleasing. 127

6736 明末清初 黄花梨带镜架官皮箱 长 28cm  宽 23cm  高 28cm Late Ming to Early Qing Dynasty A Huanghuali Case with Mirror Stand RMB: 150,000—200,000 【备注】 马科斯·弗拉克斯（Marcus Flacks）旧藏

黄花梨平顶式小官皮箱，尺寸近方，附镜架，实为典型之古代“鉴妆箱”，官皮箱是这类箱子 的俗名。 官皮箱外观素净，得方正之美，平素无纹，只见黄花梨妍美纹路与铜饰件悠悠光泽相映衬，如 意形拍子、鱼形吊牌和勾云形提手形成适当点缀，颇增了几分意趣。箱门对称，取山峦纹，如 双峰耸立。 打开箱盖，则有惊喜，见有折叠镜架，边框皆起剑脊棱压双边线，分作三层，上层镶通长花卉 纹绦环板，中层三格，中间较宽，斜角镶花牙组成菱花纹，与使用时其上的铜镜相呼应；两端 为梅花纹绦环板。下层亦三格，中间却窄，装月牙形托子，用于安置铜镜；两段为灵芝纹绦环 板。用时支起，不用时折叠。 箱身设上二下一两层抽替，木纹妍美至极，抽替可放置铜镜在内的各式化妆用具。附铜方形垫 片、风铎形吊牌。 官皮箱即古之鉴妆箱，但所见存世者，既有带折叠镜架者，也有空无一物者，不一而足，各具 变化，相对来说带折叠镜架者较少见。

6737 明末清初 黄花梨嵌竹丝编四撞提盒 长 35cm  宽 35cm  高 31cm Late Ming to Early Qing Dynasty A Huanghuali Carrying Box RMB: 1,200,000—1,800,000 【备注】 马科斯·弗拉克斯（Marcus Flacks）旧藏 【出版】 马科斯·弗拉克斯（Marcus Flacks）《士林典藏：稀 见木作文房小件》，2014 年 12 月 15 日，页 364-371 Rare, large carrying box Huanghuali and Woven Bamboo Anhui province, Kangxi reign, 17th Century w: 24.2cm × d: 24.2cm × h: 35.6cm This outstanding box appears to be the only published example of its kind. It is both imposing and delicate, innovative yet classical. Its design is inspired by the lacquer and bamboo boxes of the mid- to late Ming dynasty, often made in Anhui and usually used for the presentation of food. However, the use of huanghuali, as well as the unusually large size of the box and its square proportions, might indicate that it was commissioned for another purpose. The unusual carrying rack has double vertical struts, a reinforcing feature suggesting that its intended contents might have been fairly heavy. The craftsmanship on this piece, with its thick timber, flat, unbeaded surfaces and inlaid metalwork is typical of the high- quality work of Anhui artisans. At its base, the rack is flanked by two animated long-nosed dragons with a central panel depicting a lingzhi fungus. The boldness and simple vigour of the carving is very reminiscent of carving from the early-mid Ming. The focal points of the design are the classically shaped openings on the facets of each tier, which are inlaid with finely woven bamboo. On the interior of each tray the woven panels are backed with an inset black lacquer panel which has cracked with age. The bases of the three tiers, made from thick tieli timber, bear stains of black and red ink, indicating that at one point at least, this box was used for stationery. Whilst the box exudes the dignified grandeur and antiquity of the high Ming (15th – 16th centuries), it is most likely that it was crafted towards the end of the 17th century, during the Kangxi period, when the schol- arly taste and integrity of the mid-Ming period were the most common source of artistic inspiration. This piece is a masterful union of inspired design, artisanal mastery and scholarly taste. 365

这件醒目的盒子是此类器物中唯一已经公布于世的。它壮观且精致，创新而经典。这种设计仿自 明代中晚期的盒子，多由安徽生产，通常用于摆放食物。然而这件却用黄花梨木料制作，尺寸异 乎寻常的大，加之其正方形比例，都表明了它可能另有用途。箱子的提梁架有两道垂直的梁柱， 这种加固设计可能表明所要装的东西非常重。器物的雕工、厚重的木料、不起线的平素表面，以 及镶嵌的铜构件，都表明这是安徽匠人制作的高品质作品。梁架的两侧镶嵌了两条生动活泼的长 鼻龙，中间面板则装饰有灵芝图案，简洁大胆的雕工生动地再现了明代早中期的风格。设计中最 引人注目之处在于每一层的经典形状的开光，开光里镶嵌了精美的竹编。每层内里在竹编的后面 衬了一层黑漆，随着时间流逝已经开裂。每一层的底部均采用有一定厚度的铁力木料制作，还存 有朱墨两种色溃，表明至少有一段时期内，这个箱子盛放过文具。虽然这件器物散发出高贵的气 质和明代高峰时期。

6738 明末清初 黄花梨圆托盘（3 件） 尺寸不一 Late Ming to Early Qing Dynasty Three Round-Shaped Huanghuali Trays RMB: 50,000—80,000 【备注】 1. 马科斯·弗拉克斯（Marcus Flacks）旧藏； 2. 私人藏家珍藏。

圆托盘三件，均黄花梨制，皮壳、造型、尺寸各不相同。 大者皮壳较老旧，风化明显，造型端庄，壁厚，口微敞，外壁饰弦纹，如同竹节， 下部渐敛，底挖脐，形成玉璧底。 中者俊秀，深红色皮壳，包浆明亮，木纹绚如火焰，敞口，口沿棱角分明，斜直壁。 小者灵巧，造型与中者相类，赭黄色木纹，质如纸笺，温馨可人，有山峦状纹路。

6739 明末清初 黄花梨岁寒三友酒杯 直径 11.8cm  高 6.5cm Late Ming to Early Qing Dynasty A Carved Huanghuali ‘Three Friends’ Wine Cup RMB: 100,000—150,000 【备注】 马科斯·弗拉克斯（Marcus Flacks）旧藏 【出版】 马科斯·弗拉克斯（Marcus Flacks）《士林典藏：稀 见木作文房小件》，2014 年 12 月 15 日，页 179 CUPS Wine cup carved with lingzhi Three Friends of Winter wine cup Zitan Huanghuali with Pewter lining 18th century or earlier 17th century dia: 9.6cm × h: 3.8cm dia: 11.8cm × h: 6.5cm Whilst a similar idea to the ‘peach’ cup on page 181, Whilst clearly inspired by nature, this cup has a much this fine zitan cup has a more stylized interpreta- stronger aesthetic link to man and craftsmanship. The tion of the natural form, relying on soft contours and cup is lined with silver (as many would have been) whilst languid lines. The base of the cup is carved with a rare the outer surfaces are carved with the pine, prunus and lingzhi fungus, a particularly scholarly and auspicious bamboo. These plants and trees were a favoured subject subject matter. matter for scholars and are known as the ‘Three Friends of Winter’ because of their ability to survive and bear green leaves during the harsh winter months. 178 179