「The Art of Collecting」Inkstones Through Rubbings, Absorbing the Noble Spirit of Wang Yangming

Why do so many collectors have a passion for rubbings of ancient inkstones? In my view, a rubbing does more than just precisely replicate and preserve inscriptions, patterns, and forms; it breathes new life into traditional craftsmanship. It strengthens the cultural narrative of the inkstone as one of the “Four Treasures of the Study”. Take the Palace Museum ancient inkstone rubbings in my personal collection, for example. Created using the traditional Wujinta Rubbing (Glossy Jet-black Chinese Ink Rubbing) technique, they flawlessly capture the original texture, brushwork, and traces of time left on the inkstone. This is precisely where the unique value of collecting rubbings lies.

Having been close friends with Huang Xuanlong, the founder of Jiansongge, for many years, I was thrilled to learn that he is bringing his decades of treasured collections to the SUNGARI Spring Auctions, presenting a dedicated scholar’s studio companion theme titled “Following One’s Heart’s Desires.” This auction has caught my close attention. Without a doubt, the standout masterpiece of the entire session is An Extremely Rare Duan Ink Stone, inscribed by Wang Yangming, dating back to the 17th year of the Hongzhi period in the Ming Dynasty.

To truly understand this celebrated inkstone, a rubbing offers the ultimate perspective. In the rich, lustrous ink of the Wujinta rubbing, any excess carving would lean toward artificiality, while any lack of definition would appear mediocre. The unique and precious natural stone markings (Shipin) of the old pit of Duanxi—namely the Huonai (fire marking) and Qinghua (blue flecks)—are vividly displayed. The Huonai markings look deep and lustrous, while the Qinghua patterns appear delicate and subtle, perfectly authenticating the premium quality of the stone. Structurally, it adopts the classic shape of a Song Dynasty Chaoshu (hand-held) inkstone, featuring clean and elegant lines. The back of the inkstone is sculpted into a rounded, smooth “goose-belly” shape, fully showcasing the refined, sophisticated aesthetic of the Ming Dynasty’s reinterpretations of Song styles.

Furthermore, the rubbing fully restores all the inscriptions engraved on the body of the inkstone. The lengthy inkstone inscription, handwritten by Wang Yangming himself, is filled with artistic vigor and spiritual resonance. The line in the text, “Serving the ruler with the Dao; if it is not possible, then cease,” reflects the profound philosophical reflections of the thirty-three-year-old Wang Yangming while overseeing the provincial civil service examinations in Shandong. It is both a brilliant interpretation of Confucian teachings and a testament to the unyielding integrity of a true scholar-official. Interspersed among the piece are postscripts (Tiba) by Han Tan of the Qing Dynasty and inscribed epigraphs from various historical collectors. Here, the art of calligraphy and the craft of engraving complement each other beautifully. These surviving marks and signatures (Kuanzhi) clearly outline a three-hundred-year lineage of orderly, sequential ownership, making the inkstone’s provenance tracing transparent at a single glance.

While ancient inkstones carry the aspirations and moral character of past sages, rubbings build a bridge that extends this cultural lineage. The fusion of the physical artifact and the traditional art of rubbing allows the scholarly elegance and spiritual essence of five centuries ago to transcend time, flowing down to the present day.

There is a vast world to explore within the realm of collecting. That is all for today’s chat—until next time!