金光難掩書卷香

金絲楠木因金絲閃耀而得名，加之皇室御用，故而給人尊崇貴氣的印象。其實與這種習慣性的華貴印象不同，金絲楠在傳統文化中具有極強的“書卷氣”，是與文化人走得最近的一種珍貴木質。

Gold silk phoebe zhennan got its name from its golden texture and is known as a noble wood as it is traditionally used by the imperial family. But what distinguishes it from other wood is its literati qualities.

金絲楠木具有一種獨特的香氣，能驅蟲防腐，其質地也可抵御白蟻等鉆木蛀蟲的襲擾，上好的金絲楠木，其紋路如江南山水畫一般，天然去雕飾，線條如金絲。

從洪武年開始，明朝政府一直在川南、滇東北等地組織木民進山尋找、砍伐金絲楠木，以供南京、北京營造宮殿、打造皇室家具。這些五六百年才能成材的金絲楠木經漫長的水路、陸路運輸，最終到達國家中心，成為皇權的象征。這樣的“木政”一直延續到清末時期。

皇室為什么對這種木頭青睞有加？金絲楠是小葉楨楠的一種，在光照下，它的表面會顯現出耀眼的金絲，金光閃耀，其名便由此而來。不過“土豪金”并非它受寵的最主要原因。金絲楠的地位之所以歷久不衰，很大程度上是出于它在建筑營造上的價值。

盡管金絲楠屬于“軟木”，但其韌性極強，具有持久抗腐的特點。中國古代崇尚木質建筑結構，相對于歐洲的“石頭文明”，建筑的耐久性是中國古代建筑師們必須考慮的一個大問題。而金絲楠木持久耐用、抗蛀蟲的質性，使它成為古代宮殿營造的最佳材料。據考證，秦代阿房宮的建筑大多以金絲楠為主體結構，到明清兩代，金絲楠在宮室營建中的使用達到了新高潮。

皇室壟斷式的使用，加上金絲閃耀的質地，都令這種木料籠罩著一層尊崇的貴氣。然而這種直覺與古人對金絲楠的審美并不相符。金絲楠貴不及紫檀、黃花梨，它真正打動文人雅士的，是其特有的“書卷氣”。

金絲楠木具有一種獨特的香氣，能驅蟲防腐，其質地也可抵御白蟻等鉆木蛀蟲的襲擾，所以古時從皇家到文人雅士，都將金絲楠制成的箱柜用以存書籍、字畫。故而在士人眼中，金絲楠最迷人的是它的文氣、“書卷氣”。文人用金絲楠家具、器物，所求者即“藏風雅”，至于金光閃耀、富貴逼人，這些都還在其次。上好的金絲楠木，其紋路如江南山水畫一般，天然去雕飾，線條如金絲。

因明清兩代從宮廷到書香門第都推崇金絲楠，兼之其物善存，故傳世品較多。所以如今市場上的金絲楠藏品以明清古典家具為主。大約20年前，這些金絲楠家具都還沒有真正形成市場，像許多的古舊物件一樣，它們僅在小眾藏家圈里賞玩互通。近年隨著對傳統文化的挖掘，金絲楠越來越被收藏市場所接受，也被更多文士、藏家把玩。

金絲楠究竟有怎樣的賞玩之道，明清金絲楠家具的收藏價值如何？下面我們通過幾位文士藏家的收藏故事來尋找答案。

Gold silk phoebe zhennan has a unique scent that could expel termites.Good gold silk furniture looks golden and noble， but the best ones have natural patterns as smooth as the lines in a water and ink wash painting.

From early Ming dynasty to late Qing Dynasty， gold silk phoebe zhennan had been logged from the southwest mountains under imperial order and transported by water or road to the capital where the centuries-old wood were made into palaces and furniture for the royal family.

The wood has been favored by the imperial families not simply because of the golden lines in its texture， but because of its architecture values.

Unlike other “soft wood”， gold silk phoebe zhenna is unusually hard and rot-resistant. Just as European architecture is characterized with stone， ancient Chinese architecture features the extensive use of wood. The character of gold silk phoebe zhenna makes it a perfect material for imperial palace architects. Archaeological findings suggest that the Erpang Palace， the most magnificent building complex in the Qin dynasty， was built mainly with gold silk phoebe zhennan. The Ming and Qing dynasties are the peak times of gold silk phoebe zhennan usage.

The exclusive use by the imperial family and the unique texture of the wood gives a flavor of nobility to the wood， but what attract intellectuals is its literati qualities.

Gold silk phoebe zhennan has a unique scent that could expel termites. In ancient times， the imperial family and men of letters store books， calligraphy works， and paintings in cases made of the wood. Its “scent of books” or literati qualities make phoebe zhennan furniture a sought-after collectible to men of letters. Good gold silk furniture looks golden and noble， but the best ones have natural patterns as smooth as the lines in a water and ink wash painting.

Because of its popularity among intellectuals and its durability， gold silk phoebe zhennan furniture， mostly made in the Ming and Qing dynasties， can be found in significant numbers today. The gold silk market was a niche market over 20 years ago， but with the increasing popularity of traditional Chinese culture， a mature market has been developed around the wood.

How should we collect and appreciate gold silk phoebe zhennan？ The following stories may provide you some insight.

Zhang ChuanlunLove The Scent

張傳倫：最是愛那楠木香

張傳倫近年收藏了很多磬，他覺得每件磬都有著豐富的內涵，比如什么時期選用什么樣的材質等，都非常值得品味。有時為了給自己喜歡的磬配底座，他也會舍得花很多錢去定制，紫檀、黃花梨等木材他都會考慮在內。但如果能找到好的原料，他更愿意給他的磬架配上金絲楠木的底座，因為所有木材中，金絲楠最顯“文氣”。

張傳倫的“主業”是作家及書法家，正兒八經的文人。收藏只是他的業余愛好。不過他所有的藏品都脫不開自己的文人情結，早年師從范曾、董橋兩位先生學做文章，周圍人玩的東西大多是文人器物，這讓他體會到收藏、藝術、國學、作文，都是連枝同氣。

金絲楠當時在這些老先生的文玩雜項中屬于重要的一種。師友們在贈送書法畫作時，偏喜歡用金絲楠木裝裱。不是因為金絲遇光奪目，是因為金絲楠木自古就是文人書箱畫柜的上佳材料，根子里散發著文氣。所以書畫收藏界流傳著“軟木框子出好畫”的說法。

接觸多了，張傳倫便開始逐漸理解楠木中的文人韻味。有時揮毫潑墨作首詩文，用楠木裝裱掛在書房中，不時傳來陣陣紙香、墨香的混合香味。呼吸之際，一段是書香，一段是楠香，老文房里待慣了的人對這種典雅的混合香味難以抗拒。

與張傳倫半師半友的董橋，也是一位喜歡楠木的文人。幾年前閑聊時，董橋無意中提到他早年曾用過的一對金絲楠木圈椅，椅子很不錯，只是使用了多年，東西幾經輾轉最終難尋蹤跡。董橋詢問能否尋些老料重新定制一對，正巧張傳倫那時也想做兩把圈椅，便專程從天津來到北京高碑店的古典家具店，買下了幾棵二、三百年的老楠料。

后來張傳倫用這些老料做了一大一小兩對兒圈椅，全部送給了董橋。盡管那時金絲楠價格沒有現在這么貴，可找到心儀的老楠料還是非常幸運。巧的是，就在張傳倫買回那些木料10天不到，老楠木料的市場價格突然就被炒高了數倍。

好的金絲楠木料非常稀缺，佳品金絲楠家具也很難買到。很多家具廠家創新出了很多仿明清家具，可是做得不好，不僅貽笑大方，還會浪費一些好料。包括紫檀、黃花梨、金絲楠，一旦做不好，也是對資源的浪費。張傳倫說，早年很多家具廠商邀請文物專家朱家溍去點評家具，老先生看到不好的家具就不說話，因為他不高興。但是走到倉庫看到了很多上好的原料，特別高興，便說：這些東西，可千萬別做了。

所以說弄到好料必須找信得過的古典家具廠定做，才能物盡其用。比如張傳倫當年定做那對圈椅時，找了一位很有名氣的老師傅，老師傅看出那是好材料，可脾氣也倔：“讓我做可以，可做成什么樣要聽我的。”

做好了，結構講究，花紋對稱，不上色、不上漆、不燙蠟，也不掩蓋楠木原韻，文氣盡顯。“好的東西往往都是柔和的，不張揚，但總能給人一種舒服的感覺。”玩老金絲楠木家具需要做些研究，光有錢不行，還必須懂行。

Zhang Chuanlun collects Qing， or chime stone， and is willing to spend hugely on chime stone holders tailor-made with precious wood such as red sandalwood or yellow rosewood. But gold silk phoebe zennan is his favorite， because it is the most “scholarly” of all wood.

Zhang Chuanlun is a writer. Collection is only his hobby. But he has a habit of acquiring literati collectibles. His two writing teachers， Fan Zeng and Dongqiao， also collect such objects. To him， collection， art， literature， and Chinese culture are all connected.

Appreciating gold silk phoebe zennan is one of the important pastimes of intellectuals， who would frame paintings or calligraphy works with the wood， not for its golden look， but because of its literati qualities. It is known among painting and calligraphy collectors that “Good paintings are always framed with soft wood.”

The more time he spends on the wood， the more he gets to understand its literati qualities. Sometimes after completing a calligraphy works， he would frame it with gold silk pheobe zhennan and enjoy the blended scent of paper， ink and the wood. It is a scent no men of letters could resist.

His teacher and friend Dong Qiao is also a gold silk pheobe zhennan lover. Years ago， he mentioned in a casual chat that he really missed his gold silk pheobe zhennan round-backed armchair which was lost years ago and wanted to make a new pair with ancient wood. Zhang also wanted to make two round-backed armchairs at that time， so he went all the way from Tianjin to a classic furniture store in Gaobeidian， Beijing and bought two pieces of centuries-old gold silk pheobe zhennan

The wood was made into two pairs of armchairs， and he gave the bigger ones to Dong Qiao. Although the wood was not as pricy as it is today， it was still quite a stroke of luck for him to get the desired wood. As if by coincident， 10 days after his purchase， the price of old gold silk pheobe zhennan went up by many folds. It is difficult to find good raw materials nowadays， not to mention fine quality gold silk furniture. Many furniture makers tried to make innovated furniture， but often ended up wasting good materials.

He recalled that， years ago， when cultural relic expert Mr. Liu Jiajun was invited by furniture makers to offer his perspective on their innovative designs， Liu was silent when he was introduced to the so-called innovations， but when he saw the storage of quality wood in the warehouses， he spoke up and advised the furniture makers： “Do not use them for your innovations”.

If you have a good piece of wood， it is important to find a reliable maker. When Zhang Chuanlun assigned the making of the chairs to a seasoned carpenter， the carpenter knew it was good wood but insisted that “I can take the job， but the design should be decided by me.”

Good gold silk pheobe zhennan furniture is balanced in structure and pattern and always not painted or waxed. “Good furniture is soft， modest， but comfortable. To appreciate old gold silk phoebe zhennan furniture， you need not only money， but also knowledge of the wood.”

Chen HuapingAppreciate The Pattern

陳華平：賞木需賞紋

陳華平在金絲楠收藏圈里被稱作“楠風先生”。他的父親是個木匠，所以，從小陳華平就接觸各種木頭，上世紀80年代，父親開始從事金絲楠木生意，但是那時他并不了解金絲楠，更談不上喜好。這也與當時金絲楠不被廣為人識有關。

直到十幾年前，有一次到北京恭王府參觀，看到這種木頭很高大、筆直，當時陳華平就被這種粗大宏偉的氣勢所震撼。仔細聽講解員關于這種木材的介紹，才第一次對金絲楠產生了興趣，原來家里那些自己并不感興趣的楠木會如此名貴。隨著不斷地深入研究和把玩，他愈發被金絲楠特有的色、香、味、文化所吸引。那時他收購了大量金絲楠老家具，成了90年代中國最早收藏金絲楠木的一批人。

2000年，陳華平創作了自己的第一件金絲楠作品。那天朋友帶他去福建鄉下看木頭，那時村里搬遷挖出了一個千年樹根，樹根很完整，重量大約在一噸左右，當時沒人知道那是金絲楠木。陳華平見到后，先聞了聞，果然感受出了金絲楠那種純正的香味，簡單打磨后，木質在陽光下閃現金光。后來陳華平和朋友精心設計，通過樹根中間有空洞的特點，在周圍雕了九條龍，制作出了一個高兩米，寬兩米，名叫“九龍金樽”的巨型雕刻品，并獲得了2012年中國工藝百花獎金獎。

隨著收藏、創作的深入，陳華平對金絲楠的紋路越來越著迷。比如他最近收的一個藏品，表面紋路呈現出看似宇宙初開的畫面。燈光下看，有云海、有星球，金絲很足，層次豐富。這個他命名為“混沌”的藏品是他當初用一輛轎車的高價開料賭來的，他說現在即便有人出價上百萬，自己也不會出手。

陳華平平時經營自己的公司，收藏純是愛好。因為平時工作比較累，便借助金絲楠使自己沉靜下來。他放松的方式就是欣賞金絲楠天然紋理所形成的各種圖案，他說：“金絲楠平時平凡普通，可遇到光源卻閃耀異常，你甚至可以在這種木料中明白做人的道理。”

玩著玩著，他對紋路的追求便不僅停留在水波、山川等幾種紋路上。經過開料，他也開始發現更多美妙的圖案，根據各種紋理的特點，陳華平給這些紋理起了名字，慢慢地在圈子里流傳開來。

他說，目前的金絲楠已經有成熟的圈子，價格也穩定了，市場有明確的行情。它的價值判定標準與翡翠相似，產地、顏色、工藝、香味等都決定了價格，從一噸一兩萬，到一噸一兩百萬的都有，價格差別很大。影響價格的第一是紋理，像龍膽紋、水波紋、金玉滿堂等價格偏高，其中水波滿到什么程度，水波的顏色是綠還是黃色，都會影響價格。規格也是影響價格的一個因素，越大的東西越值錢，而且是不成比例地上漲。

陳華平建議一般收藏可以從小把件開始，比如通過佩戴手珠，慢慢地了解木性，有所體會后再買工藝品，如果不受經濟條件的限制，收藏家具是不錯的選擇。

Chen Huaping is known as Mr. Zhennan among gold silk phoebe zennan collectors. Son of a carpenter， he has been introduced to various wood since childhood. His father got into the gold silk phoebe zennan business in the 1980s. But it is not until over 10 years later when he visited Prince Gong's Mansion in Beijing and was impressed at the tall and straight pillars made of gold silk phoebe zhennan that he started to develop an interest.

The more he studies and appreciates， the more he is attracted to the appearance， scent， and culture of the gold silk. He has collected a large number of antique gold silk phoebe zennan furniture since then and became one of the earliest collectors of the gold silk in the 1990s.

In 2000， he created his first gold silk phoebe zennan works. It was made of a tree root he acquired from a village in Southern China. He and his friend sculpted it into a 2 meter by 2 meter sculpture featuring nine dragons around the hole in the middle. The “Nine Dragons Golden Vessel” was awarded gold prize at the 2012 China Arts and Crafts Award Ceremony. The more he collects and crafts， the more he is fascinated with the pattern on the wood. One of his recent collections， for example， has the pattern of universe and planets. He bought the wood， named by himself as Creation， at the price of a car years ago， today he would not sell it if he is offered more than 1 million RMB.

Like many other collectors， Chen Huaping runs his own business， and collection is just a hobby. Appreciating the wood pattern helps him relax after a day’s work. “The gold silk phoebe zhennan looks ordinary at most times， but under light， it shines brilliantly. We can learn a lot from the wood.”

His pursuit of wood patterns does not stop at water wave or landscape. Over the years， he has discovered and named many new patterns of the pheobe zhennan， which were gradually recognized among collectors.

As the market matures， he told U-Jet， the price of the wood has also stabilized. Depending on the pattern， size， place of origin， color， craftsmanship， and scent， the price of the wood may range from 10，000RMB/ton to 2 million RMB /ton. Good pattern promises good price， and the details in a pattern will also affect the price. The water wave pattern， for example， could be priced differently with different depth and color of the waves. In addition， the bigger the size， the price will be disproportionally higher.

He advises novice collectors to start with small objects such as a bracelet to understand the nature of the wood before acquiring larger objects. If budget allows， furniture would be a good choice for collectors.

Cao DimingInherite Before Innovate

曹荻明：別讓創新變成糟蹋材料

20出頭，曹荻明已經是中華民間藏品鑒定委員會委員，在184個國家中，他是第4877位成為聯合國教科文組織民間藝術國際組織會員。每天他經手的東西很多，而且從貨物的來源到銷售，他一直參與，所以他是文化人，也是家里生意的接班人，重要的是他是金絲楠文化的傳承人。

十幾歲時曹荻明去朋友家玩，大家一起合影留念。朋友把照片傳給他時，他發現照片里的金絲楠家具金波閃閃，那種像綢緞般柔軟的質感讓他怦然心動。家里的生意往來無數，但自己從未發現金絲楠竟如此美麗。那時他第一次近距離地感受到什么是“金絲楠”。

在如今曹荻明大大小小的藏品中，很難挑出心頭最愛，但卻對一張金絲楠八仙桌印象深刻。一次去朋友家玩，朋友家的一個明式八仙桌引起了他的關注：由5公分厚的獨板制成，通體用一棵料制作，真正的一木一器，實屬難得。那時曹荻明已在故宮博物館工作多年，“在全國各博物館，我沒有見過比我這個還好的！”

這絕對是國寶級的老東西。款式極雅致，四角八叉，圈口牙子，分心花，展腿足，圓腿，屬于明代的高級定制品，當時應屬于某個文士風雅的皇親國戚。深知收藏之道的曹荻明明白，能遇到好東西是緣分，要惜緣，可對于這種國寶級的好東西，別人也不會放棄。最終他在朋友家軟磨硬泡到凌晨3點多，朋友才被其誠心打動，終于愿意出讓。不過價格自然是令人咋舌。用越野車拉回家后，上百斤重的八仙桌和他的體重差不多，借著心氣正高，一鼓作氣獨自背進六層的躍層別墅里。

曹荻明眼中，這個先有緣遇到，然后懂得鑒賞，最后收而藏之的過程是他最大的樂趣。喜歡金絲楠的人都喜歡古典文化，擁有士人情懷。而制作金絲楠家具、器物的人，每一次的打磨、對線角的設計都需要對傳統文化有深刻的理解。他認為，現在制作金絲楠家具，首先是傳承，然后才有發展，一定要先學，先尊重祖上留下來的文化遺產，不要一味地追求新中式、新古典。其實很多企業設計出的那類新古典家具都禁不住歲月的考驗，毫無生命力，最終浪費了很多好木材。

A little over 20 years old， Cao Diming is already a member of the Appraisal Committee of Civil Collectibles of China， and the 4877th member of the UNESCO International Organization of Folk Arts. As successor to his family business， he is directly involved in the sourcing and sales of collectibles. More importantly， he is the inheritor of the gold silk phoebe zhennan culture.

His affection with the wood dates back to his teenage years. When he saw the gold silk phoebe zhennan furniture in a group picture he took in the house of a friend， he was drawn to the shiny and silky texture of the wood. It was the first time he realized the beauty of gold silk phoebe zhennan.

It is hard for him to identify a favorite among his many collections， but a gold silk phoebe zhenan square table brought back his memories. When he visited a friend years ago， he was drawn to a Ming style square table owned by the friend. The five-inch-thick table is made of the wood of one tree， which is rare to find. He had been working in the Imperial Palace Museum for years by then， but he acknowledged that “I have never seen a better table in all museums of China.” It is as valubale as any national treasure. Even back in the Ming dynasty， that round legged and exquisitely designed table could be a tailor-made belonging to a member of the imperial family. As a seasoned collector， he knew he should seize the rare opportunity. He kept working on his friend till 3 am of the following day until his friend agreed to sell it to him. The price was of course incredibly high. He transported it home with his SUV and hand carried the over 50kg table to his duplex house on the six floor.

In his eyes， the whole experience of meeting， appreciating， and collecting a object gives him the best fun. Gold silk pheobe zhennan lovers are invariably lovers of classic culture. The making of phoebe zhennan furniture and art crafts requires even deeper understanding of traditional culture. He believes that makers of zhennan furniture should first learn and inherit tradition before innovating. Too much emphasis on creating new Chinese style or new classic styles often end up with lifeless designs that could not stand the test of time， wasting the already scare supply of ancient pheobe zhennan wood.