21.5 cm (length) × 17.7 cm (width) × 2.3 cm (height)
In ancient times, the inkstone was an indispensable tool for scholars. Starting the late Tang and Five Dynasties periods, increasing attention had been given to the quality of inkstone materials. With the rise of the imperial examination system, scholarly study became the primary path to officialdom, greatly increasing the demand for inkstones and driving their stylistic development to maturity. Song dynasty literati revered inkstones, composing inscriptions and critiques that laid the foundation for inkstone appreciation and collection in the Ming and Qing dynasties. From the Ming dynasty onward, Guangdong’s Duan inkstone had been ranked among the four most esteemed inkstones. This particular inkstone exhibits a deep purple hue tinged with blue and is noted for its fine, dense texture. The surface features natural patterns such as fiery speckles and fish-brain patterns, attesting to the outstanding inkstone quality. The 17th century marked the golden age for inkstone craftsmanship, with numerous master artisans emerging. This inkstone takes on a slightly irregular, elongated trapezoidal shape and is a mere 2.3 cm thick. Its edges are finely polished to a smooth, rounded finish, creating a calm and generous atmosphere and is both smooth and solid when held in hand. The inkstone surface is gently sloped with a spacious ink pool, allowing its natural inkstone patterns to be fully appreciated. Meanwhile, the sides and underside intentionally retain the original rugged texture of the inkstone, preserving its natural cracks and weathered surface. This design choice highlights the inherent beauty of the inkstone—one shaped by the forces of nature over countless years, imbued with an enduring spiritual essence.
The back of the inkstone features a central relief carving of Su Shi (1037–1101) in a Bamboo Hat and Clogs, surrounded by Song Luo’s (1634–1713) inscriptions. The inscriptions recount Song’s admiration for Su Shi’s experience when Su was exiled to the South China Sea. There, Su visited a friend, encountered a rain, borrowed a bamboo hat and clogs to return home, and met the amused laughter of children and village women. Despite this, Su maintained an air of carefree detachment. Inspired by this story, Song commenced the carving based on a Yuan dynasty silk painting of Su, completing it in 1699. Ming and Qing literati cherished Su for his literary works and broad-minded philosophy on life. At the same time, Su himself was renowned for his love of inkstones. Thus, themes related to Su were frequently incorporated into inkstone designs. This “Duan Inkstone Featuring Su Shi in a Bamboo Hat and Clogs” is an exquisite piece, demonstrating remarkable craftsmanship in both carving and inscriptions. It embodies the stylistic features typical of its era while exuding refined and scholarly aesthetics.
The inkstone is accompanied by a carved red lacquer box, shaped to match the inkstone’s contours. The surface and base of the box are adorned with sculpted begonias. The foreground features a sloped terrain with a 卐 pattern, upon which two begonia trees stand gracefully, their branches and leaves flourishing in a balanced arrangement. The background is adorned with an interwoven geometric pattern, resembling twinkling stars to create a sense of airy transparency. The lacquer is dark red, with a hard texture and meticulously carved details. The polished lacquer edges are crisp and defined, making this piece a benchmark example of 17th-century carved red lacquerware. The design of both the inkstone and its box complement each other perfectly, making the artifact a masterpiece.