Footnotes

• 十世紀或更早 李子昭舊藏鳳勢式「驚濤」琴
  
  Provenance:
  Li Zizhao (1856-1938) Collection
  Hu Ruosi (1916-2004) Collection
  
  來源：
  李子昭（1856-1938）舊藏
  胡若思（1916-2004）舊藏
  
  Published and illustrated:
  W.J.Chu ed., Nanhu fengyun: Hu Ruosi huaji (The Oeuvre of Hu Ruosi's Work), Shanghai, 2006, p.220
  J.Xu ed., Zhongguo guqin minjian diancang (Chinese Guqin in Private Collections), Beijing, 2013, no.91
  Appreciation, Xi'an, 2016, issue 12, p.106
  
  出版及著錄：
  諸文進編，《南胡風韻:胡若思畫集》，上海，2006年，頁220
  許建編，《中國古琴民間典藏》，北京，2013年，編號91
  《藝術品鑒》，西安，2016年，12期，頁106
  
  銘文：李子昭先生得此古琴於海上，時在己未秋九月，蜀中亦道人修並記。
  
  The inscription could be translated as 'Mr Li Zizhao acquired this antique qin in Shanghai, in September of the year of Jiwei (1919), Yi Daoren from Sichuan restored this qin and inscribed [this].'
  
  Li Zizhao (1856-1938) was the most respected qin musician during the 1920s and 1930s. A Sichuan native and former Daoist monk, he spent his early life in the House of Prince Ding in the late Qing Dynasty, where he served as a professional musician and teacher after he secularized from the Daoist temple. He moved to Shanghai and was employed by the tycoon Zhou Qingyun (1866-1934), who was known for his collection of books and qin instruments in the 1910s, where the Prince House had been in decline since the collapse of the Qing Dynasty.
  
  Li quickly attracted the attention of the qin circle in Shanghai and Suzhou, and was acknowledged by the local practitioner and patrons as the top qin musician among his contemporaries. His name was listed in first place in the Qinren zhengfanglu (List of Qin Practitioners) which was published in 1937.
  
  This qin is probably one of the only two known instruments he owned and played often. Another qin of his, given by Zhou Qingyun, was called Pili (Thunderbolt), a late Qing piece. Thus this 'Jingtao' qin probably was his only antique instrument.
  
  The complex network of crackle through the lacquer of this qin can rarely be found on qins later than the Song Dynasty. Compare with the lianzhu-style 'Feiquan' qin, Tang Dynasty, in the Palace Museum, Beijing, which is illustrated by M.Z. Zheng in the Guqin in the Collection of the Palace Museum, Beijing, 2010, pl.4; Compare also with two lianzhu-style 'Kumu longyin' qins, Tang Dynasty, one in the Chinese National Academy of Art and another in the Freer Gallery of Art and Arthur M. Sackler Gallery, which are illustrated by Y.Z. Yuan in the Dragon's Roar: Chinese Literati Musical Instruments in the Freer and Sackler Collection, Washington, 2020, pp. 64 and 77.
  
  鳳勢式，肩起三徽半，金徽，硬木岳山及龍齦，桐木面板，圓形龍池、鳳藻，面髹黑漆，下透朱髹，漫發蛇腹斷，間以冰裂斷及牛毛斷，龍池上方刻「驚濤」二字，署款「庭堅」，刀口直達底板木身，填石青，鳳藻之下陰刻銘文：「李子昭先生得此古琴于海上，時在己未秋九月，蜀中亦道人修並記。」琴音松透蒼古，按走皆無㪇音。
  
  李子昭（1856-1938），名德潛，四川崇慶人，世業儒，精琴善繪，能操四十餘曲，自稱山林派。早年入慶王邸為琴師，後南下上海館於周慶雲、周冠九府上，教琴鬻畫為生。李氏早年生平記載闕如，而其琴藝在1920、30年代被琴界推為第一。己未即1919年，「驚濤」琴早年記錄皆將銘文中「己」字誤釋為「乙」字，與李子昭之活動年份謬之千里。1919年八月鹽商葉希明（1884-1938年後）假好友顧麟士（1865-1930）之怡園發起琴會，遍邀全國各省善琴者三十三人聚集蘇州操絃論琴，其中便有川籍之李子昭。此次琴會李子昭操曲之外，又作《怡園琴會圖》長卷，可證其琴藝繪藝雙精。
  
  李子昭目前所知出現在文獻中最早的時間為1917年。湖州市博物館藏一批「淞社」成員詩稿，當中有潘飛聲（1858-1934）一頁，當中提到夢坡廣文，子昭山人，即周夢坡及李子昭；周夢坡又有一詩題為「二月十七日蘭史招予探梅甘氏非園，予更約倉碩、古微、一亭、子昭同往，歸時復飲於酒家，倉碩詩先成次韻繼聲」，兩詩寫於1917年同一日，彼時他或已入周慶雲館中。
  
  李子昭琴藝如何，胡適在1921年7月20日的日記中留下了記錄：「今晚惕予邀了幾位彈古琴的朋友來家敘談，中有李子昭先生彈的最好，此外尚有鄭覲文君頗能談樂理，曾著有《雅樂新編》一書。」惕予即汪惕予（1869-1941），民初茶商及名醫，與胡適為世交，藏琴百餘張。民國二十年代以來著名的琴家如徐元白、徐少峰、衛仲樂、吳景略皆曾問學於李。 至於其琴壇地位，在《今虞琴刊》發刊號上可見一斑。李子昭為1936年今虞琴社創社社員之一，是年李子昭八十壽辰，由査阜西發起廣陵、青谿、梅庵、今虞四大琴社共同為其祝壽，全國琴人由各省趕來蘇州雅集並致壽辭。徐元白從開封趕來奉上長詩，詩中有「殷勤問禮拜門墻，海上相從傳奧旨」之句；沈草農亦在《今虞琴刊》中讚其「磻溪事業世所榮，先生獨隱傲公卿」。
  
  琴名「驚濤」二字，刀透底板漆曾直達木身，書法取自台北故宮藏北宋黃庭堅《松風閣詩》中「釣臺驚濤可晝眠」之句，書法參見《北宋書畫特展》，台北，2006年，頁386。
  
  此琴本為連珠式，於項、腰凹陷部分加尖角木料而成鳳勢式，X光掃描不見原本凹陷處有損壞，所加寬木塊似直接在原本漆面張粘黏，反而木塊尖角在X光掃描處有些微損傷；加之木塊漆面與琴身漆面相同，且斷紋相通，因而此琴改制當是久遠之事，並非最近百年所為。此琴連珠形態亦特別，起伏和緩，可參考北京故宮藏之唐代飛泉琴，見鄭珉中編，《故宮古琴圖典》，北京，2010年，編號4；腰部連珠起伏五次，極為少見，可參考硯琴齋藏宋代古虞南風琴，見李麗嬌主編，《海天秋月—中國古琴文化》，澳門，2004年，第46-47頁。連珠式及圓形龍池鳳藻皆是早期古琴流行形制，如北京音樂研究所藏唐代枯木龍吟琴，連珠式及圓形龍池，見《中國古琴珍萃》，北京，1998年，編號23及美國華盛頓弗利爾美術館藏唐代枯木龍吟琴，見楊元錚著，《琴藪》，華盛頓，2020年，頁62。唐代鳳勢式琴可參考北京故宮藏一件玉玲瓏琴，亦是圓形龍池，見鄭珉中前書，編號3。