The Songzhutang Collection of Early Jades from the Neolithic Period to the Yuan Dynasty. Photo: Bonhams

HONG KONG - Bonhams are privileged to offer on Tuesday 30 May in Hong Kong, the Songzhutang Collection of early Jades, dating from the Neolithic Period to 14th century. The remarkable and diverse collection (also including later jade carvings of the Ming and Qing dynasties) was published in 2011 and has since become an important reference work in the subject. It was formed over four decades from as early as the 1970s and is a testament to the connoisseurship and scholarship of the collector.

The collection comprises over 90 jade carvings, demonstrating the evolution of jade carving from the Liangzhu Culture during the Neolithic period (circa 3300 – 2250 BC) to the Yuan dynasty (AD 1279 – 1368). The carvings, of exceptional quality and rarity, capture the development of the diverse stylistic themes and workmanship of jades from those used for ritual purposes to those used as decorative and ornamental works of art; reflecting the high social status, political power and literati taste.

An outstanding and important early jade carving is that of an exceptionally rare mythical-bird scroll weight, Eastern Han dynasty (AD 25 – 220), estimated HK$800,000 – 1,200,000. During the Han dynasty, gilt-bronze weights or more exceptionally prized jade carvings, such as the present lot, were used to weigh the corners of mats on which the Imperial family and high nobility sat. These would have been in the form of animals or creatures associated with the four directions, including the phoenix marking the South, as demonstrated in this important example. It is evident this carving was highly prized during the revered Qianlong reign (1736-1795), as exemplified by an incised inscription on the underside, 'Dehui yunri', conveying the meaning of 'Virtue is as broad as the sky'.

Lot 54. An exceptionally rare jade mythical-bird scroll weight, Han Dynasty, four-character dehui yunri mark, 18th century. Estimate HK$ 800,000 - 1,200,000 (€94,000 - 140,000). 

The domed scroll weight masterfully carved as a mythical bird with a single horn and pointed beak, surmounting a circular base with its wings outstretched as if ready for flight, the slightly flared wings flanking a bulbous body, the six grooved long tail feathers elegantly curled in various directions, all meticulously incised with a well-defined feather pattern rendering a vivid movement, the interior of the base hollowed and incised with a later added four-character 'dehui yunri' inscription encircled by a band of incised cloud scrolls, the smoothly polished stone of greenish-yellow tone suffused with russet and black inclusions. 6.5cm (2 1/2in) diam.

Published and Illustrated: T.Fok, The Splendour of Jade: The Songzhutang Collection of Jade, Hong Kong, 2011, pl.74

Note: The present lot is an outstanding and important example of an early jade carving which represents the pinnacle of Han dynasty jade craftsmanship. This rhythmically carved bird is remarkable for its intricate relief decoration in various depths and its finely incised details on the feathers, exhibiting the carver's exceptional technique in producing a naturalistic and dynamic three-dimensional jade animal.

During the Han dynasty, weights of this type are believed to have been used by the Imperial family and high nobility to place on mats lining the floor, which were used for sitting at the time. These were often weighted at the corners with gilt-bronze weights, or more exceptionally, prized jade carvings. These kind of weights were usually made in the shape of animals or human figures, and would have been made in sets of four. The present lot would have been associated with the animals of 'the four directions': the green dragon (East), the white tiger (West), the dark tortoise encircled by a snake (North) and the red bird or phoenix (South) as in the present lot; so the four directions symbolised the entire world. Being at the centre surrounded by the animals of the Four Directions conveyed a high social status and power of the person, suggesting the possibility that the present lot once belonged to a member of the Imperial family or a high ranking noble. 

Compare a bronze weight in the form of a mythical bird, Han dynasty, in the National Palace Museum, Taipei (museum no.000333N). Although the craftsmanship of this bronze weight is less detailed, the bird is similarly depicted perched on a circular base, with a bulbous body, a pointed beak and a single horn. Also compare the modelling of Han dynasty jade carvings of turtle doves, which were typically used as staff pommels, in the National Palace Museum, Taipei; similarly depicted with a single horn and long tail feathers, illustrated in Art in Quest of Heaven and Truth: Chinese Jades through the Ages, Taipei, 2011, nos.3-3-36 and 5-4-7.

The present lot is closely related to a line drawing of a bronze weight in the shape of a mythical-bird, Han dynasty, published in Xiqing gujian 西清古鑑 (A catalogue of ancient ritual bronzes in the collection of the Qianlong Emperor), vol.38, p.46. The Qianlong emperor instructed the Court to collect drawings of antiquities, which served as sources of designs for the production of contemporary vessels, in order to reinstate the intrinsic qualities of simplicity, sincerity and happy exuberance of the ancient cultures; see Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50. The line drawing of the mythical bird shows close similarities to the present jade weight including the overall shape of the object, the depiction of the curling long tail feathers, as well as the wings and tail feathers portrayed in dense and detailed lines.  

The auspicious inscription incised on the underside of the present lot, 'Dehui yunri' 德輝雲日, meaning 'Virtue is as broad as the sky', indeed reflects the Qianlong emperor's aspirations. The execution of the four characters on the present lot is typical of the fluid and elegant style of the Qianlong period jade seal-script inscriptions. 

According to Shuowen Jiezi 說文解子, a Chinese dictionary written by the Eastern Han dynasty scholar Xu Shen, jade symbolises the five virtues of humanity: benevolence, integrity, intelligence, bravery and honesty. The Qianlong emperor regularly oversaw the entire process of jade production to ensure that the finished pieces met his standards of purpose and beauty; he also composed more than eight-hundred poems and essays about jade, demonstrating the importance of this prized and symbolic material to the emperor.

A rare large jade 'grain-pattern' bi disc, Eastern Zhou dynasty (770 – 221 BC), estimated HK$1,000,000 – 1,500,000 is superbly carved with approximately 1650 individual bosses on both sides. It bears an exceptional provenance, having been exhibited between 1984 and 1986 in the travelling exhibition of 4000 Years of Chinese Jade sponsored by the National Museum of History, Taipei, and held in seven museums across the United States. Another superb jade bi disc, Han dynasty (206 BC – AD 220), estimated HK$80,000 – 120,000 is intricately carved with interlocking design of taotie motifs and rice-grain pattern, and was formerly in the collection of the renowned Hong Kong collector and one of the founders of the Min Chiu Society, Dr Ip Yee.

 Lot 24. A rare and large jade 'grain-pattern' disc, bi, Eastern Zhou Dynasty. Estimate HK$ 1,000,000 - 1,500,000 (€120,000 - 180,000). Photo: Bonhams.

The circular disc with a small round perforation in the centre, meticulously and crisply carved in high relief on both sides with an abundant number of spiral 'grain-pattern' bosses, all within a raised border at the outer and inner edges, the pale yellow stone enhanced by the green and reddish-brown inclusions, wood stand. 17.6cm (7in) diam. (2).

Provenance: Acquired from the distinguished Hong Kong art dealer Lai Loy (1926-2012) in 1978
The Songzhutang collection, no.33

Exhibited: 4000 Years of Chinese Jade, sponsored by the National Museum of History, Taipei, September 1984 - April 1986; held in seven museums across the United States and Central America, including: 
1. Fresno Metropolitan Museum, California
2. The Oregon Historical Society
3. The Salt Lake Art Centre, Utah
4. The Houston Museum of Natural Science, Texas
5. Denver Museum of National History, Colorado
6. Chicago International Antique Show
7. The National Museum of Anthropology & Archaeology, Guatemala

Published and Illustrated: Chinese Jade, Fresno Metropolitan Museum, California, 1984, no.54
T.Fok, The Splendour of Jade: The Songzhutang Collection of Jade, Hong Kong, 2011, pl.33

Note: The present lot is a rare example of a large decorated bi disc of the Eastern Zhou dynasty, powerfully yet sensitively carved in crisp relief with a high number of 1652 evenly spaced bosses. Each raised boss is visually and physically full and bulbous, resulting from a painstaking manufacturing process and formidable skill and execution. The large size and the exceptional level of workmanship suggest that this bi was of particular significance during the Eastern Zhou period, and was probably made for important ceremonial purposes.

According to the Zhouli (the Rites of Zhou), bi discs were regarded as suitable offering to Heaven, and therefore became symbolic of Heaven. Bi discs were often gifts, offerings or sacrifices, especially during the Spring and Autumn period. Large discs. such as the present lot, are rare throughout the periods between the Neolithic period and the fifth century BC. For a discussion about jade discs, see J.Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, pp.247-251. 

Compare a green jade bi disc, Spring and Autumn period (29.7cm diam.), excavated from tomb no.1 in Majiazhuang in Fengxiang, Shanxi Province, carved with densely incised decoration consisting of 104 scrolling dragons, which in its superb manner of execution and the concept of a monumental decoration is closely related to the present lot; see Gufang, The Pictorial Handbook of Ancient Chinese Jades, Beijing, 2007, p.176. 

In the execution of the grain pattern, the present lot is also comparable with several additional examples: see one example, early Warring States period, in the Yang Te T'ang Collection, illustrated by Teng Shu P'ing, 1999 Collectors' Exhibition of Archaic Chinese Jades, Taipei, 1999, p.277; another bi disc, Warring States period, excavated from Jincun in Luoyang, Henan Province, now in the Henan Provincial Museum, is illustrated in The Complete Collection of Jades Unearthed in China, vol.5, Beijing, 2010, p.201; and a third example, excavated from tomb no.58 at the site of the ancient capital city of the State of Lu, Qufu, Shangdong Province, is illustrated ibid., vol.4, Beijing, 2010, p.212. For further examples of large bi with a relatively small hole similar to the present lot, see two illustrated in Compendium of Collections in the Palace Museum: Jade 3 Spring and Autumn period and Warring States period, Beijing, 2011, pp.104-105, pls.99-100. 

The importance of bi discs is further indicated in the Chinese idioms 'Wanbi guizhao' (Jade returned intact to the State of Zhao) and 'Jiazhi liancheng' (the value that is the worth of several cities), derived from the Biographies of Lian Po and Lin Xiangru in the Historical Records, which refers to a story of the Warring States period: Heshi Bi (the jade bi of Bianhe) was given to the State of Zhao as a betrothal gift by the State of Chu, while the King of the Qin State wished to exchange this priceless treasure with 15 fortresses. The King of Zhao then sent Lin Xiangru to negotiate with Qin over Heshi Bi and soon Lin found out that the King of the Qin State wanted to intentionally swindle the jade rather than give out the fortresses. With Lin's intelligence and courage, he managed to leave Qin and return the precious jade intact to the State of Zhao. Later, the idiom Wanbi guizhao became a common phrase to describe something that is returned intact to its owner. This highlights the important role of jade bi in Chinese culture. 

From the Yuan dynasty (AD 1279 – 1368) are two very rare carvings: a jade cup carved with a lady and a writhing dragon, estimated HK$300,000 – 400,000, carved with an inscription 'Yongbo changchun', carrying the auspicious wish of 'Spring forever'; and a jade carving of a foreigner riding on an elephant, estimated HK$300,000 – 400,000, which was included and published in the important jade exhibition Virtuous Treasures: Chinese Jades for the Scholar's Table in the University Museum & Art Gallery, Hong Kong. 

Lot 60. A very rare jade 'dragon and lady' cup, Song-Yuan Dynasty. Estimate HK$ 300,000 - 400,000 (€35,000 - 47,000). Photo: Bonhams.

Exquisitely carved with a rounded body gently tapering towards a recessed base, with a high-relief sinuous dragon clambering up the vessel, and on the opposite side with a flowing goddess lavishly adorned in fluttering robes with delicate facial features, her hair tied up into chignons gazing at the dragon, the smoothly polished stone of attractive creamy white tone suffused with smoky black striations, the base incised with a later added four-character mark 'Yongbao changchun' in seal script, wood stand. 11.5cm (4 1/2in) wide (2).

Provenance: Sotheby's New York, 22 March 1994, lot 2
The Songzhutang collection, no.81

Published and Illustrated: T.Fok, The Splendour of Jade: The Songzhutang Collection of Jade, Hong Kong, 2011, pl.81

Note: The later added four-character inscription Yongbao changchun (永寶長春) has an auspicious meaning of 'Forever Spring', and was probably added during the 17th or 18th century.

The high-relief carving of the dragon and Lady Immortal, dynamically carved around the beautifully proportioned cup, demonstrates an exceptional level of craftsmanship and ingenuity of carving. In its superb modelling and carving style it is comparable to some of the finest jade cups of the Song and Yuan dynasties, extant in important museum collections. 

The form and style of the present cup is comparable to an example of a white jade cup with two handles in the form of a dragon and a boy, Southern Song dynasty, in the Victoria and Albert Museum, London, illustrated by M.Wilson, Chinese Jades, London, 2004, p.43, pl.40.

White jade cup with two handles in the form of a dragon and a boy, Southern Song dynasty, C.1894&A-1910 © Victoria and Albert Museum, London 2017 

See another example of a white jade cup with two female immortals flanking as handles, Yuan dynasty, in the Cleveland Museum of Art, illustrated by J.C.Y.Watt, Chinese Jades from Han to Ch'ing, New York, 1980, p.159, pl.131. Compare also a white jade cup flanked by two female Immortals forming the handles, Song dynasty, illustrated in Compendium of Collections in the Palace Museum: Jades 5 Tang, Song, Liao, Jin and Yuan Dynasties, Beijing, 2011, pl.56, and which clearly was greatly admired by the Qianlong emperor, who had it reproduced, as demonstrated in a similar cup bearing a Qianlong fanggu mark and period, from the Qing Court collection, illustrated in Compendium of Collections in the Palace Museum: Jades 10 Qing Dynasty, Beijing, 2011, pl.148.

Jade cup with the two handles each in the form of a fairy, Qing Dynasty. Collection of China National Palace Museum, Beijing.

Lot 65. A very rare jade carving of a foreigner riding an elephant, Yuan Dynasty. Estimate HK$ 300,000 - 400,000 (€35,000 - 47,000). Photo: Bonhams.

Masterfully carved as a bearded Turkic foreigner with a powerful facial expression, finely detailed with protruding eyes and adorned with a pair of disc earrings and a fur hat, wearing an armoured short jacket and holding a scoop in his right hand, superbly modelled sitting on an elephant standing foursquare with one foot lifted, its head turned slightly to one side with the trunk curled to the other side, caparisoned with an elaborately embroidered saddlecloth, the stone of an attractive grey tone suffused with black inclusions, wood stand. 8cm (3in) wide (2).

Provenance: Christie's New York, 3 December 1992, lot 58
Acquired in Hong Kong in 1994
The Songzhutang collection, no.82

Published and Illustrated: Virtuous Treasure: Chinese Jades for the Scholar's Table, Hong Kong, 2008, pl.97
T.Fok, The Splendour of Jade: The Songzhutang Collection of Jade, Hong Kong, 2011, pl.82

Exhibited: Virtuous Treasure: Chinese Jades for the Scholar's Table, University Museum and Art Gallery, the University of Hong Kong, 17 November 2007 - 17 February 2008, no.97

Note: The present jade carving of a foreigner and an elephant is an extraordinarily rare example of Yuan date, executed with superb intricacy and delicacy. The compelling sculptural quality is emphasised by the combination of the vivid facial features of the figure, the bold modelling of the elephant with sensitive attention to details including the front lifted foot as if ready to walk. The present lot demonstrates the significant development in jade craftsmanship accomplished in the Yuan dynasty, compared to earlier periods, as exemplified in a simpler modelling of a jade carving of a similar subject matter, showing a foreigner on a recumbent elephant, Tang dynasty, illustrated in Compendium of Collections in the Palace Museum: Jade 5 Tang, Song, Liao, Jin and Yuan Dynasties, Beijing, 2011, pl.15. 

The facial features and clothing style of the figure in the present lot are characteristic of the Yuan period. See a jade group of a foreigner and horse, Yuan dynasty, in the Palace Museum, Beijing, illustrated by Gufang, The Pictorial Handbook of Ancient Chinese Jades, Beijing, 2007, p.342.  

A related jade group of a foreigner and elephant, Yuan/Ming dynasty, was sold at Christie's New York, 19 September 1996, lot 112; however, whilst the facial features of the figure are stylistically similar to the present lot, the elephant is depicted recumbent.

The Songzhutang Collection will be sold alongside Bonhams auction of Fine Chinese Ceramics and Works of Art. Both sales will take place on Tuesday 30 May.

Bonhams International Head of Chinese Art, Asaph Hyman, commented: "This distinguished and outstanding collection, having been cherished for years, now offers collectors an exciting opportunity to acquire pieces of historical significance, rarity and provenance".