Zang Ci Shuo Yi

Author: Gu Xingwei
Publisher:
Publish Date: 2006-04-01
Features: This is a novel publication that combines the author's 20 years of successful experience in collecting ancient Chinese porcelain, bamboo, wood, and ivory carvings, discussing collection knowledge, methods, and techniques, and imparting new concepts and the ability to discern authenticity and quality of artifacts. The content is rich, culturally significant, and information-dense, comprising over 80 short articles accompanied by nearly 100 color photographs, presented in an interactive format to reflect and explain from multiple perspectives. It is like standing on a university lecture platform, tirelessly teaching knowledge, with vivid and engaging, easy-to-understand presentations. When a Republican-era porcelain piece comes into a collector's hands, a hundred years of history never feels satisfying enough; one must reach the of the Kang, Yong, and Qian dynasties of the Qing period. Upon reflection, life is limited to a hundred years, and during the twilight of sunset, one feels a sense of being submerged in brilliance. Amidst this submersion, the porcelain in one's hands has witnessed the cycles of life, yet this earthen creation still lies before you, though with a bit less fervor. Even silver in Tang and Song dynasty pieces, even if the mouths are embedded with flaws, may rust, yet when struck, they still sound like stones. One cannot help but admire the ancestors. The Chinese character "CHIHA" not only means China but also porcelain, which is understandable. Humans are inherently conservative because they are wise. Intelligence often leads one to look back, as the future is illusory, and the past is an empty expanse. "Between the two worlds, I carry a spear and wander alone"—this describes the essence of Qin and Han warriors. One must seek a foundation for their mindset, and during moments of reflection, they might find a few Han dynasty pottery jars or Jin dynasty bowls, allowing the illusory to become full and the full to become illusory once more. The subtlety and charm of this process must be savored slowly. Engaging with the past to understand the present, the more refined one becomes in this pursuit, the deeper one's understanding. I remember when Lu Xun was recommended by his friend Xu Shouchang to take a position at the Ministry of Education in the 1920s. Bored, he spent his days copying ancient inscriptions or selecting editions from the Liulichang market or studying calligraphy and stone inscriptions. I have visited Lu Xun's former residence in Beijing's Xisancha Hutong and seen a few Ming and Qing dynasty coarse porcelain pieces. A tranquil and peaceful life had nurtured a hidden passion. Reading his works "Najie" and "Yecao" at that time, people would understand much more. Collecting in prosperous times has become fashionable. Creating a trend is not easy, and following one is even harder. Over 20 years of collecting have left me with reflections on the brevity of life. The tides of fate have turned, and now collecting has become fashionable. Year after year, in solitude, with a dim lamp and cold shadows, I have known the truth without need for further explanation. A few years ago, I traveled to Finland and learned that the popular "Sweat Bath" was originally called the "Finnish Bath." People spend a long time sweating in a steam room before plunging into an icy river to experience the extreme contrast of heat and cold, believing this to promote longevity through the expansion and contraction of blood vessels. However, the Chinese lack the discipline for such a trend—I tried it in my home shower once, turning the faucet from hot to cold suddenly. The sensation was as if I couldn't breathe, and I suffered a cold for days. Collecting has become fashionable, and this principle applies to it as well. Placing a few antique pieces in a new home allows one to reflect on the past and understand the present, highlighting contrasts and depth. However, one must have the confidence to do so. If all the pieces are fakes, people will feel as if they can't breathe, just like during the Finnish bath. Such confidence and quality must be cultivated over time. In the past, collecting was often seen as "losing oneself in play." Recently, I passed a cybercafe with the name "Play Without Losing Hope." Those who are pedantic might think it's a typo, but upon closer reflection, the character "" carries both a warning and a negation—it depends on how you play. The charm and hobby lie in this way of playing. On leisure days, I would join a few companions under the stars and board a bus to visit the "ghost market," seeking treasures while eating scalding cabbage-filled buns. During business trips, I would ignore tourist attractions and wander through markets at my leisure. Each time I made a discovery, I would return home and soak the pieces in disinfectant. In winter, my stiff hands often led to accidental breaks, leaving me disheartened. At night, when the man opposite my house, a drunkard, threw an empty bottle from his window, the sound would remind me to check if one of my treasured pieces had shattered. At night, I often invite close friends and fellow collectors to my home for tea and appreciation sessions, examining pieces and procedures with great enthusiasm. Over the years, I felt compelled to write, and in the past year, I have been writing piece by piece. The pieces I write about are not imperial treasures but everyday items that any collector might encounter, aiming to guide others to avoid detours and gain confidence, as the world is often confused by fakes. Last year, I held an exhibition of over 200 ancient oil lamps at Zhujiajiao in Qingpu, allowing visitors to view them for free. This time, I still want to find a place for the 200 porcelain pieces listed in the book, allowing people to appreciate them freely. A philosopher once said, "History is written by those who write it." This may have been his own pain in reflection. In reality, history cannot be fabricated by anyone. A human life lasts a hundred years, but a piece of porcelain can exist for over a thousand years, and even the "Pingfu" paper has 1,700 years of history. They remain as they were, telling the stories of the eras and histories they have witnessed! Gu Xingwei January 2006 at the south window of my residence