古玉学步（88）：形而下方辨迹痕，形而上处望神韵
一夫之

窃以为：古玉之辨真识伪，“形而下者”谓之“器”，“形而上”者谓之“道”。“器”有形之不可仿，而“道”有神之不可仿。识玉应先从形不可仿处入手，向神不可仿处探进；而玩玉则可直接从神不可仿处欣赏玩味了，得“道”玩家火候已到，已经无须繁忙于料工型纹沁、而直接欣赏老熟光气皮壳，享受于“望气”的高阶愉悦了。

如前诸篇所述，“器”之形不可仿者大约有四《古玉学步（2）：古玉惊裂纹不可仿》、《（3）古玉土蚀结晶不可仿》、《（4）古玉塌缩不可仿》和《（5）古玉地弯形变不可仿》等；“道”之神不可仿大约有三《（6）古玉的光气不可仿》、《（7）古玉的熟旧不可仿》和《（8）古玉皮壳难仿》等。

又以为，玩玉有三个层次：

好玉者以古玉为有利可图之物，探玉目标全在辨伪求真，望求一本万利、一朝“捡漏”一辈子享用，哪知玉有缘、财有份，冥冥之中皆有定数，缘分没到如何求得？此等玩者十中九人。

赏玉者以古玉为精美艺术，久历轮回沧桑沉沦，探玉目标求索其神，“望气”即可已然“玩家”，但求古玉料精、型美、纹致、沁斑斓，享受其不可二得的“神韵”，此等玩者已专已家，十中难一。

神玉者以古玉为神：娲皇补苍天而遗宝玉通灵，仅仅神化游戏？沉璧于河白云起而青云浮，至乃有苍龙负图临河，仅仅为古人蒙昧演绎？和氏一璧何以搅动战国风云？秦始皇沉璧复返祖龙死纯粹杜撰？兴隆洼、红山、龙山、齐家、良渚几千年沧桑的中国古人均被“玉”石玩得团团转，全是大傻瓜？延续几千年的玉祭仪式，仅仅是王权者与大祭司共同导演的一场“君权神授”的骗局？被称为神化的《山海经》为什么在文化期古玉中能够找到与其匹配的原形？古玉之为神媒，定有其背后的极其其深厚的文化内涵。中国古玉沟通天地人三界的强大功能，才是其真正的“神”意所在，与现在玩玉之所谓的“神韵”不可同日而语，本条有意进一步《神玉探源》，且待机宜因缘了。（田园玉翁注：我是不相信这些过于玄深的内容的，我认为玉就是美丽的石头，无它，仅此而已。我也极度厌恶这种所谓的神玉者，认为这种人极度可怜，整天研究这种狗屁文化的人，绝大多数是国宝帮的人）

还是先回到辨真识假之“古玉的神韵不可仿”吧，既然神韵，形而上的范畴，只可意会难以言传了，一句都是多余，静静欣赏馆藏古玉的神韵吧，仔细品味。

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诚交古玉藏友，博主居北京，主攻历代古玉研究与收藏，最爱商周战汉，中古明清亦可，喜精美略胜于年代；也喜欢佛像艺术，醉心于佛像的静谧与虔诚；亦爱明清竹雕。  

本博主微------信：dushitianyuan01（都市田园拼音+01），博----客：田园玉翁