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26 septembre 2013

Carved Turquoise Boulder 綠松石雕, China, 18th century

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Carved Turquoise Boulder 綠松石雕, China, 18th century. Photo courtesy Vanderven Oriental Art.

Length: 22,5 cm Height 18,5 cm (with foot 28,5 cm). Price on request
中國清代 
長:22.5厘米,高:18.5厘米(連底座28.5厘米)

Provenance: Dutch Private Collection since 1988 until present 
With Bernstein, San Francisco before 1988 
With Spink & Son, London before 1975

荷蘭私人收藏(1988年至今) 
美國舊金山伯恩斯坦家族(1975-1988年) 
英國倫敦斯平克家族(1975年之前) 

Exhibitions: Chinese Jade Throughout the Ages , Exhibition Victoria & Albert Museum London 1975 

This boulder has been carved as a rocky mountain scene with pine trees, two sages and an attendant climbing up a mountain path. The servant carries a Qin (Chinese harp), which was considered a suitable instrument as its harmonies blended well with nature. The reverse is also decorated with pine trees. 

These type of stones would have adorned the classic Chinese scholars desk and used for contemplation. The scene depicted is probably an allusion to the theme of the Nine Elders by the famous Tang Poet Bo Juyi (772-846), a celebration of longevity and wisdom.  

Turquoise was used as a material for inlay and early carving from the 4th century BC onwards. Most of the turquoise - as with the Jade, came from the North West of China in the river valley’s of the Khotan. The Chinese stone carvers were masters in their field and made a large variety of objects in Jade and other hardstones. They used the natural inclusions and veining in the stones to maximum effect for the overall carving. The best hardstone carving seems to have come from the workshops in Beijing. These types of carved boulders, take their inspiration from the massive 18th century carved jade boulders in the Forbidden City, of which there are still impressively large examples in their collection.  

該綠松石料被依勢雕刻為山中一景:古松之下,兩位道骨仙風的老者與一侍童正循徑上山。童子懷中所抱古琴,意寓天人合一。石雕背面亦浮刻松柏若干。  

此類石雕常作中國古代文人的案頭陳設。石雕畫面中的老者形象可能來自於唐朝詩人白居易筆下的《九老圖詩》,隱喻長壽與智慧。  

自公元前四世紀起,綠松石就被用於鑲嵌和雕刻。絕大多數綠松石石料及其他玉石均來自於新疆和田地區。中國的石雕藝人精於雕琢各種玉器和其他硬石料,往往最大程度地利用石料本身的色彩雜質和紋理特徵來構思作品。頂級石雕作品多出於北京的作坊。此類小型石雕作品模仿故宮所藏大量清代中期玉雕,特別是其中令人印象深刻的大型作品。  

LiteraturePublished in 
R. Soame Jenyns & W. Watson, Chinese Art. Part III: Gold, Silver, Later Bronzes, Cloisonné Cantonese Enamel, Lacquer, Furniture, Wood. Oxford, 1980, pl 192 

Chinese Jade Throughout the Ages , Exhibition Victoria & Albert Museum London 1975, pl.497

Vanderven Oriental Art - http://www.vanderven-vanderven.com/

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