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9 octobre 2013

A rhinoceros horn 'Landscape' libation cup, Qing dynasty, Kangxi period

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A rhinoceros horn 'Landscape' libation cup, Qing dynasty, Kangxi period. Photo: Sotheby's.

of conical form, rising from a narrow waisted base to a flared rim, intricately carved around the exterior in various levels of relief with a continuous lake scene depicting rocky islands lined with verdant trees and jagged cliffs surrounded by gently rippling waters, one side with a compound of multi-storeyed houses built high up on top of a steep mountain, above a moored boat partly concealed behind the bank, a group of wutong and a lofty pine growing on a rocky ledge forming an openwork handle on one side, with a gnarled branch bearing clusters of needles extending over the rim and on to the interior, the latter figured in imitation of craggy outcrops, the horn richly patinated to a rich amber tone darkening to a burnt-caramel colour towards the base and on the carved underside, wood stand; 16 cm., 6 1/4  in. Estimation 1,000,000 - 1,500,000 HKD. Lot vendu: 3,880,000 HKD

Provenance: Christie’s New York, 2nd December 1985, lot 367. 
Exhibition: Metal, Wood, Water, Fire and Earth: Gems of Antiquities Collections in Hong Kong, Hong Kong Museum of Art, Hong Kong, 2004. 
 
Litterature: Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 162.
 
The present cup, carved in high relief with a continuous landscape and waterscape, is amongst the finest examples known decorated with this much favoured theme inspired by contemporary scroll paintings. The carving is forcefully rendered giving the composition a strong three-dimensional quality. While there are no human figures depicted, their presence is suggested by the inclusion of a temple gate and pavilions that appear in the distance while a small boat is shown anchored at the shore in the foreground. The carver has gone to great lengths to depict nature in detail, a theme that was especially popular with the literati who could imagine themselves enjoying the tranquillity and beauty of such settings. 

For comparable examples see a cup, from the Avery Brundage collection, in the Asian Art Museum of San Francisco, illustrated in Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, pl. 275, with a single scholar standing on a bridge over a ravine in an idealized landscape of rocks, trees and water;  another, with the design of landscape and figures, in the Palace Museum, Beijing, published in The Complete Collection of Treasures of the Palace Museum. Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Shanghai, 2001, pl. 145; and a further example decorated with a crowded landscape with an incised stream running past trees and rocks, from the collection of Dr. Ip Yee, included in Dr. Ip Yee, ‘Chinese Rhinoceros Horn Carvings’,International Asian Antiques Fair, Hong Kong, 1982, p. 42, pl. 43.

Compare also a vase, from the collection of Kenyon V. Painter, Cleveland, sold in our New York rooms, 18th September 2007, lot 4, the exterior carved with a walled compound and pavilions amidst lush plants, trees and rocks with a bridge set over flowing waters; and another related example, sold in our New York rooms, 16th September 2009, lot 147, with a mountain landscape and towering pine trees.

Sotheby's. Fine Chinese Ceramics and Works of Art. Hong Kong | 08 Oct 2013 -www.sothebys.com

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