苏富比 万象灵犀 仇炎之仇大雄藏犀角拍卖Rhinoceros Horn Carvings from The Edward (1)

Rhinoceros Horn Carvings from The Edward
08 APRIL 2011 | 10:00 AM HKT | HONG KONG

“松竹堂——重要珍藏犀角雕刻”

香港春拍“松竹堂珍藏——重要犀角雕刻Ⅱ”专场，30件标的全部成交，总成交额高达2.37亿港元。最高的单品成交额为3986万港元，把犀角作品的纪录一下子提高了近10倍之多。各家拍卖以此为标杆，一路高歌，许多久居豪宅的“犀角”纷纷现身。今年春拍，知名已故古董商仇炎之父子的“犀角雕刻珍藏专拍”适逢其时的出现，给犀角市场再次带来了想象的空间。

去年的此时，采访“松竹堂——重要珍藏犀角雕刻”拍卖的时候，与收藏者霍满堂先生有过几次长聊。在谈及当今犀角收藏时，他说：“私人收藏中，在巴西的德国人、银行家杰勒德·阿诺德（Gerard Arnhold）有一批；美国最大的收藏家尼古拉斯·布朗（Nicholas Brown）已经去世，他将整批的收藏70多件犀角作品捐给哈佛大学博物馆；另一位是在日内瓦生活的中国收藏家仇大雄，他拥有其父亲收藏的40多件犀角杯，同时在近35年的时间里，又陆续购藏了30多件，且质量精美。”在说到仇大雄的收藏时，霍满堂更是青睐有加，他曾数次去到日内瓦仇大雄的家中参观，也曾希望以自己收藏中重复的题材与之相换。

仇大雄的父亲是知名已故古董商仇炎之，这个名字至今在古玩行里也是响当当。1925年，15岁的仇炎之离开老家扬州，只身来到上海拜昔古斋古玩店老板朱鹤亭为师，学习古陶瓷鉴定及买卖。1946年仇炎之以200万法币，在上海淮海中路嵩山路44号独自开设仇炎之文玩会，同年又当选了抗战胜利后重新组建的上海市古玩商业同业公会的候补监事，与国内外大古董商均有来往，其所藏明清瓷器闻名于上海。1949年，仇炎之赴香港发展，与敏求精舍的创始人胡惠春、徐伯郊等成为第一批南下香港的收藏家。此后不久，仇炎之移居瑞士日内瓦，尽享天伦之乐。

“玩古玩”是会让人上瘾的事，对于仇炎之以古董为营生、以古董为伴的人来说更是如此。即使退休迁居日内瓦，他仍难停下脚步。1959年，仇炎之从伦敦著名古董商约翰·斯帕克斯（John Sparks）店里购下明犀角雕山水人物图杯，自此开始了犀角收藏。这件犀角杯雕为山水图，意境巧与赤壁相同，或受其启发。峻岭峭壁，巍峨秀逸，器身上环雕山水楼阁，握杯在手，如手卷画轴徐徐展开，延绵千里。雕刻深峻，山水更见立体，以犀角之形，巧妙地把赤壁的怪石嶙峋展现无遗。犀角雕器，刻铭文的比较少见，而同时雕年款的就更为珍罕。在这件角雕的流下石崖上刻“己卯夏日秣陵兴城制”9字，由兴城制于南京，时为1639年夏。秣陵，是南京于明清时的旧称，可指雕刻家兴城做事之地、本品制造之地，或艺匠原籍。根据犀角杯雕刻的风格看，可能为17世纪秣陵雕刻大师周文枢的学生兴城所做。除了受命特制或个别得意之作外，工匠艺人甚少刻署年款。

之后20年的时间，仇炎之先后从伦敦、纽约、东京、香港及巴黎购入犀角作品，直至1978年才停下购买。这个时期，时任都柏林国立博物馆馆长的简·查普曼（Jan Chapman）亦是研究中国犀角雕的专家。他在当时接收了一批由爱尔兰都柏林切斯特图书馆（Chester Beatty Library in Dublin）转交的219件犀角杯，这里曾是世界上最大的角雕收藏机构，因为经费问题，而不得不转交。查普曼受聘负责拍摄及编写图录的工作，为了撰写图录初稿，他必须广泛考察其他犀角珍藏，于是有了与仇炎之父子在日内瓦的见面，并有了此后几十年的交往。

查普曼回忆往事历历在目：“仇炎之享负盛名，却久闻未见。我还在大学念中国语文的时候，多次趁着假期前往伦敦，在庞德街首屈一指的古董商店Bluett’s工作。一天，仇炎之造访，他驾临前，老板罗杰·布鲁特（Roger Bluett）齐集所有职员，训示：‘仇先生品位高尚，只买品相完美的稀世之珍。’临走时，仇炎之高价买下了一只瓷碗。”

一切安排妥当，简·查普曼飞往日内瓦，开始了第一次访问私人角雕收藏家的旅程。查普曼说：“仇先生与家人同住，居所宽敞别致，眺望日内瓦湖。那时的我遑遑不安，进屋，顿时被满目的中式陈设慑住。”仇炎之的收藏以中国瓷器为主。查普曼还清楚地记得，往后数次重返仇炎之日内瓦之居，细细品味珍藏的情况：犹如步入庙堂，红墙缀金，美轮美奂。客厅置玻璃陈列柜数座，不仅是藏品瑰丽珍奇，就是列展的方法也近乎完美。仇大雄说：“每到夜深，父亲未能入眠的时候，总喜欢把陈列柜里的瓷器拿出来重新排置。”在查普曼眼中，艺术品填满了仇家每一寸空间。他一次偶然抬头，赫然发现11世纪宋代著名画家的手卷作品，就挂在那门楣之上。

第一次的见面，查普曼被领至一个房间，室内置中式大桌，上面堆满各式小盒，以布覆盖。仇炎之身穿一袭中国长袍，上前自我介绍，并同坐桌旁，为查普曼逐一打开小盒。“与仇先生一边欣赏着精美的角雕，一边热烈讨论，我俩都忘了时间。直至两三个小时后，他才令其中一个儿子招待我午饭。”这就是仇大雄。午餐的时候，查普曼问他对中国艺术是否有兴趣，当时他说不。即便如此，两人还是成了挚友。

1978年，仇大雄继父亲之后，于德国慕尼黑购入首件犀角雕。一件16～17世纪犀角雕山水图龙柄杯，角杯环雕山石流水，亭台楼阁，烟云翻卷，饰巨龙，身披鳞甲，攀于器侧内往杯内俯视，以此作柄，别有新意。桐树下，两老者与一幼童，老人遥指巨龙，暗示苍龙教子，寄寓长辈对子女言传身教，循循善诱，望子成龙，冀望有一天，能青出于蓝而胜于蓝。对于仇大雄而言，价钱不便宜，是在父亲的鼓励下购得的。仇大雄回忆：“得物后，先父为我以旧牙刷清洁角雕，他是那么的温柔细心。这是我个人收藏的起点，如同此杯的寓意一样深远。”

1980年仇炎之去世后，仇大雄告诉查普曼，他购下了父亲的犀角收藏。“我甚感惊喜。从一开始，他便决意依随自己的信念、相信自己的眼光，成为独当一面的收藏家。”然而对于仇大雄来说，要迈出这一步并非易事。仇炎之的品位及鉴定能力，是一种无形的压力，延续他的收藏实为艰辛且可惧的任务。“父亲的辞世，让我顿失依靠。我总在问自己，他会认同吗？他会购下吗？这些一直是我在收藏路途中永远缠绕的问题，是永远也难有答案的。”仇大雄只好从购买中学习，从公私收藏中获得启迪。

鉴赏家也应该是专家，具备的不应只是热情，还需要有耐心、技巧与判断力。先决要求是细阅相关书籍文章。有别于瓷器，角雕文献出版贫乏，研究者只能靠仔细观察角雕作品，查角之重量、色泽、纹路，熟谙雕技刻工，而雕刻技法又分浅雕、浮雕、镂空等多种。仇炎之1968年在伦敦购买的一件17世纪犀角镂雕莲花杯或为一例。这件犀角杯身雕一枝大荷叶，另镂雕数小枝盘桓旋绕，其枝叶摆布细致入微、浑然天成，并雕莲叶、莲蓬、花苞及一茎蓼草为衬托，生动自然。杯沿处采用浅雕，枝藤蔓蔓。工匠充分利用整只犀角，并将犀角尖端做花茎，突显犀角原始锥状形态。另有一类风格迥异的造型，同样以整角雕作一把莲，杯身为一枝大荷叶，但角端弯曲向上，形成水注杯流。

明清时，犀角难求，价比金贵，角雕作品更是珍贵无比，是以得藏角雕为文人重要的身份象征。现在或许难以想象，30年前，角雕属于被遗忘的中国艺术，不论是学术界，或是拍卖市场，也难觅其踪。即使市场偶见，也不过售得数百英镑而已。仇炎之父子因欣赏而购藏至今，为适逢其时的出现。

仇大雄说：“父子两代的收藏，经历50多个寒暑，现在也许是时候让新一代的鉴藏家来延续、发扬，继承这份对传统文化的追求；细阅器物上各式花卉、鸟兽、山水、人物，研习承载之文学经典、民间信仰及文物传统，从而通观中国文化。”

 仇国仕的父亲仇大雄也酷爱收藏，尤其钟情犀角雕刻艺术品。

— 收藏界的佳话 朱汤生与仇焱之祖孙三代之间的交往

朱汤生曾说，1980年至1981年的三场“太仓仇氏抗希斋曾藏珍品”专拍是他一生中最重要的专拍，而这三场专拍对中国艺术品拍卖市场也可谓影响深远。同时，朱汤生与仇焱之祖孙三代之间的交往也成为收藏界的一段佳话。

“那是一场举世瞩目的拍卖，几乎吸引了所有全球重要媒体的关注，”说起1980年11月那场“太仓仇氏抗希斋曾藏珍品”专拍，现任苏富比亚洲区副主席、中国瓷器及工艺品国际主管仇国仕在接受本刊专访时显得颇为兴奋，“正是在那场拍卖上，中国艺术品首次迈过了100万美元的门槛，也让世人第一次认识到中国艺术品能有如此高的身价。”

“太仓仇氏抗希斋曾藏珍品”专拍是香港苏富比为私人收藏家举办的首个个人专拍，由于拍卖吸引了众多海内外藏家，以至于香港苏富比不得不把拍卖会场从文华酒店移师到能容纳500人的富丽华酒店宴会厅。

1980年12月，伦敦苏富比举办了第二场仇焱之藏品专拍，以高古青铜及唐宋陶瓷为主打；1981年5月，香港苏富比推出了第三场仇焱之专拍，掀起了中国文物市场的第一波高峰。虽然那时的仇国仕还年幼，但当时的拍卖盛况却令他至今难忘明宣德青花海水龙纹盘、明成化斗彩鸡缸杯近200件藏品件件争奇斗艳，其中，成化斗彩鸡缸杯以528万港元成交，打破了当时中国瓷器艺术品的世界记录，也是这场拍卖使得明代官窑的市场价位大幅上扬，并逐渐取代了自上世纪50年代以来宋瓷的市场主流地位。

“可以说，正是在朱汤生的大力推动下，我爷爷的收藏才得以与世人见面。”朱汤生与仇国仕的爷爷仇焱之相识于上世纪60年代，因为对中国艺术品共同的热爱，仇焱之和朱汤生惺惺相惜，朱汤生对中国瓷器的鉴赏力让仇焱之很是佩服。“朱汤生是我爷爷在欧洲最好的朋友之一”。

“大概在上世纪70年代末，在朱汤生的劝说下，我爷爷有了出售藏品的想法，并请朱汤生和米歇尔·伯德莱先生共同处理他的藏品。”米歇尔·伯德莱（Michel Beurdeley）是一位法国古董商，也是老一辈的中国艺术品方面专家，出版了不少关于家具和瓷器的书籍。相同的爱好，使得三位来自不同国度的人结成了莫逆之交。

仇国仕在10岁左右就已经与朱汤生相识，“我父母和朱汤生夫妇私交甚笃，两家人经常在一起旅行。”仇国仕的父亲仇大雄也酷爱收藏，尤其钟情犀角雕刻艺术品。2011年春拍香港苏富比推出了26件精美的犀角雕，正是来自仇焱之和仇大雄父子的珍藏。值得一说的是，1997年，在朱汤生的建议下，仇大雄曾将这批犀角器借给新落成的新加坡亚洲文明博物馆展出，并且一展就是近10年。

1996年，仇国仕进入了伦敦大学亚非学院中国艺术与考古研究所学习。有一次，他与父母一起去朱汤生家度假，仇国仕抓住这个难得的机会请教了朱汤生不少关于中国艺术品的问题，“朱汤生的真知灼见让我获益匪浅。”那段愉快的时光让仇国仕至今都记忆犹新。

1999年夏天，仇国仕取得了伦敦大学艺术与考古硕士学位，随后便加盟苏富比。“我进苏富比绝对是受朱汤生的影响。”此后的两三年里，仇国仕得到了朱汤生和时任苏富比中国瓷器工艺品部主管谢启亮的大力栽培。“当年，谢启亮先生有了离开苏富比的打算，朱汤生也准备退休，这让我压力很大。”在仇国仕看来，从1973年到2004年，在朱汤生的不断努力和开拓下，香港苏富比在中国瓷器及工艺品的拍卖领域已经占据了举足轻重的地位，“我很担心，朱汤生的离去也意味着香港苏富比将失去这一优势地位。”仇国仕说他当时备感有压力。不过，朱汤生在退休后继续担任苏富比顾问一职，在他的帮助和影响下，自2003年起，仇国仕开始致力于开拓苏富比亚太地区的中国艺术品市场，并与全球重要收藏家及古董商保持紧密联系。在随后的几年里举办了多场成绩超凡的拍卖，如2005年10月的“玛丽及庄智博文房瑰宝珍藏专拍”和“臻美珍瓷亚洲私人家族匮藏”专拍、2006年10月的“佛华普照重要明初鎏金铜佛收藏”专拍、2007年4月的“花赏瑶华巴黎名藏中国艺术品”专拍等，使得香港苏富比继续在中国瓷器及工艺品领域保持风向标的地位。

“你一定要去学中文！朱汤生建议我，从事中国瓷器工作离不开中文，以往苏富比的专家大多都不懂中文，但现在不同了，因为越来越多的买家是中国人。于是1998年，我开始学习中文。”仇国仕说。

“他是一个非常聪明的人，兴趣广泛，有着极高的鉴赏力，并且始终保持着旺盛的好奇心，专注于学习和研究之中，”回忆起与朱汤生交往的点点滴滴，仇国仕难以抑制敬仰之情，“他最难能可贵之处就在于，他对中国艺术品的热爱不是三年、五年，也不是十年，而是持续了一生。”

1980年是值得纪念的一年，当年夏季我们首次举办仇焱之先生的私人拍卖会。仇焱之是上海首屈一指的古董商，后来移居香港，至退休后再往瑞士定居。香港苏富比为个别收藏家举办私人拍卖尚属首次，结果却意外地成功。当时为隆重其事，我们将拍卖地点由长狭型的文华酒店宴会厅，迁往较宽敞的富丽华酒店举行。仇焱之收藏拍卖引来大批鉴赏家到场，其中，最为人津津乐道者，为一对明成化斗彩鸡缸杯，以及其他难得一见的明朝瓷器。在先后两次的仇焱之私人珍藏拍卖会中，大部分拍卖品皆由两位本地的收藏家赵从衍及区百龄分别罗致。

80年代初的拍卖市场虽转趋淡静，但我们于1982年在台北举办了一个瓷器展览会，这个属Frederick Knight先生的私人珍藏展览会，标志着台湾买家经当地政府放宽货币流通管制以来，增加来港收购艺术品的开始。80年代中期以后，我们相继推出一连串值得回顾的私人拍卖会，我们为在香港备受尊崇的叶义医生于1984年秋季举办私人珍藏拍卖；翌年春天，纽约的古董商戴润斋创办的基金会出售一批上乘的瓷器，同年另一间国际拍卖行终于踏足香港；至1986年，首个赵从衍私人珍藏拍卖会为香港拍卖市场平添热闹气息，赵氏夫妇非凡的收藏品位一度令不少买家爱不释手，目不暇接的收藏包括购自仇焱之的明瓷，以及一批典雅脱俗的翡翠玉雕，更揭起了随后数年的搜购热潮。

接二连三的精彩拍卖在80年代末相继出现，其中有赵从衍品位相若的著名新加坡收藏家Jack Chia珍藏，另有以清瓷为主的Paul Bernat珍藏；最后，英国铁路局退休基金会在1989年售出其以投资为旨的中国艺术收藏，适逢当时的市场备受日本买家追捧，令该批收藏的价值大幅升值，当中曾参与激烈拍卖的还包括活跃非常的香港收藏家徐展堂。

节选自朱汤生为《香港苏富比三十年》撰写的前言

OVERVIEW

Assembled over the last half century, this collection of rhinoceros horn carvings was assembled by Edward and Franklin Chow – respectively the grandfather and father of Nicolas Chow, Sotheby’s International Head of Chinese Ceramics and Works of Art. The collection ranks among the finest in the world, and was started in 1959 when Edward Chow acquired his first rhinoceros horn cup in London. This first selection from the collection comprises 26 exceptional examples from the Ming and Qing dynasties.
Highlights of the sale include a large Ming Imperial bowl decorated with striding dragons, an exceptionally carved libation cup from the Ming dynasty, and a large archaistic Guang vessel. Every piece in the collection reflects the collectors’ great connoisseurship. Many examples we have in this collection are extremely delicate and hard to be found on the market. This special sale will offer collectors an unique opportunity to acquire treasures that is a part of the lost heritage.

RESULTS
The sale totaled HK$125,420,000 / US$ 16,079,487 with top lot, An Exceptionally Rare Large Rhinoceros Horn Archaistic Guang Vessel By You Yiliang 17th Century, sold HK$18,580,000 / US$2,382,051.

RHINOCEROS HORN CARVINGS FROM THE EDWARD
2725 A STRAND OF RHINOCEROS HORN TIBETAN ROSARY BEADS

念珠
QING DYNASTY, 19TH CENTURY

Estimate 90,000 — 120,000 HKD
LOT SOLD. 800,000 HKD

DETAILS & CATALOGUING
consisting of 108 circular beads plus an extra bead at the end of the string tied to a malachite fitting, the strand divided into sections by two short leather strings attached, each strung with ten silver beads, one terminating with a silver vajra and the other with a bell, the beads of similar diameter and varying tones of amber colour

120 cm., 47 in.

The overall condition is very good. There may have been another bead at the very end of the rosary.

PROVENANCE
Collection of Franklin Chow (purchased in London, 1990).

CATALOGUE NOTE
Prayer beads or rosaries were introduced into Buddhism from Hinduism. Worn by priests and devotees alike, they were primarily used in the esoteric Buddhist rituals. They are also the attributes of certain deities such as Avalokitesvara, the Deity of Compassion, and Buddha Amitabha. Traditionally, rosaries have 108 beads that represent the 108 human passions that Avalokitesvara is believed to have assumed when telling the beads. The rosary also allows worshippers to repeat Buddha’s name one-hundred times with the extra eight beads there to help if there was an omission made in the counting.

The prayer bead is made with a string that passes through a large central bead and two smaller beads before it is knotted. The three additional beads keep the rest in place and are significant to the worshipper as they signal the completion of a cycle of telling. Additionally the three beads symbolize the three jewels of Buddhism, the Buddha, the dharma that is the Buddha’s teachings and the sangha which represents the monastic order. There is also a hidden string that passes through the beads. This string represents the penetrating power of all of the Buddhas. (See Meher McArthur, Reading Buddhist Art, London, 2002, pp. 152-153).

Prayer beads were made in a variety of materials, most commonly wood from the Bodhi tree; those carved in rhinoceros horn are rare. Each individual bead would have been made from the carver’s stock as horn itself was expensive and none could be wasted. All the beads are different, the various colours indicating that they came from different horns and from all parts of the horn; the darkest beads from the solid tip end and the palest from the base of the horn.

See a Tibetan prayer bead made of coral, in the Potala Palace collection, included in the exhibition, Treasures from Snow Mountains. Gems of Tibetan Cultural Relics, Shanghai Museum, Shanghai, 2001, pl. 77; two rosaries, one of iron in the form of 108 sculls and the other fashioned in amber, published in Masterpieces of Chinese Tibetan Buddhist Altar Fittings in the National Palace Museum, Taipei, 1971, pls. 7-8; and one made of human-bone, from the Qing Court collection, illustrated in Cultural Relics of Tibetan Buddhism Collected in the Qing Palace, Beijing, 1992, pl. 141.

 

17世紀 犀角雕蓮花雙蕾承葉杯

此器巧雕妙制，藝匠放棄平常所用的淺刻的手法，於器身浮雕葉脈，栩栩如生，底部透雕花蕾枝莖，生機盎然。一般犀角雕蓮花杯多以卷莖做底，此角杯則以三莖交纏巧承卷葉，匠心獨特，綴以黍子。

禾黍綴荷杯，柔韌有力，並飾禾荷，有和合之意。寄語年年和睦，永結同心。荷花又以清雅脫俗著稱，出泥不染，「中通外直，不蔓不枝」，恰與君子文人剛正清高之品同。

 

17世紀 《子貞》款 犀角雕葡萄多子杯

此件犀角杯器型碩大，形態優雅端莊。取葡萄葉形，翻卷自如。自口沿滿綴葡萄串串，藤蔓相纏，立體浮雕，刻畫入微。流偏長，柄較寬，可見角杯同取材自亞洲犀角，器柄部分乃犀牛鼻上硬體組織。

明朝時候，葡萄紋飾甚為普遍，常見於明青花瓷器上。常見相關紋樣還有「松鼠葡萄」，有多子多孫之意。

 

17世紀 犀角雕山水松鶴延年圖杯

角杯滿雕祥瑞紋飾，壽老常騎鶴背，故鶴乃長壽象徵，蒼松常綠，象徵百歲。器上岩石飾有靈芝蘭草，同有永生之意。環雕水拍石岸，浪波急疾水花濺，一鶴立岸旁蒼松之下，遙遙遠眺。器上淺雕靈芝等祥瑞之物，象徵壽山福海，松鶴延年，應為饋贈賀壽之品。

 

 

2704 A SMALL ‘CHILONG AND LOTUS’ RHINOCEROS HORN LIBATION CUP
17TH CENTURY

17世纪 犀角雕莲叶螭龙杯

此器宽流有别于一般犀角杯，透若凝脂，色如甘蜜，器侧巧雕螭龙攀叶，或大或小，簇拥交缠。形似莲叶，内外细刻脉络。犀角雕螭龙并不罕见，但艺匠于杯口外沿巧雕小蜗牛，缓缓上爬，题材新颖，精致可爱。雕螭龙，饰水波，顿添动感。缀蜗牛，欲显闲静。 犀角雕螭龙，属于重要且普遍的角雕动物纹饰，多雕于仿古犀角器物上。

Estimate 300,000 — 400,000 HKD
LOT SOLD. 1,160,000 HKD

the triangular shaped cup formed from a furled lotus leaf with incised veins set with three high-relief chilong emerging from the swirling waters skirting the foot and scuttling around the exterior, the interior incised with further veining, the horn of dark brown tone

width 9.5 cm., 3 3/4 in.
READ CONDITION REPORT
The overall condition is very good.

PROVENANCE
Collection of George Hendley, New York.
Sotheby’s New York, 17th April 1985, lot 135.
Collection of Franklin Chow.

CATALOGUE NOTE
The low and rounded mound shape of the cup indicates that it was made using the horn from a Sumatran rhinoceros. Judging from the size of the vessel, the carver has used an entire posterior horn. The rounded base of the cup is incised with waves that rise and swell from below. Three animated dragons are depicted sporting in the waves.

See a related cup in the form of a folding lotus leaf carved with dragons of various sizes, some amongst waves depicted around the base of the vessel, formerly in the Arthur M. Sackler collection, illustrated in Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 47; and another cup of similar shape, in the collection of Harvard University Art Museums, depicting divine creatures amongst waves rising up from the base, ibid., pl. 37.

2701A SMALL BIRD-FORM RHINOCEROS HORN CUP
17TH CENTURY

17世纪 犀角雕鸟形小杯

此杯以一只细小的苏门犀角雕制，精致玲珑。瑞鸟翎羽做卷草样，头冠从杯沿外伸，形式抽象，未必能一眼辨识。不过按其大小、外形和头冠轮廓，极像瑞鸟纹饰中鹌鹑的造型，是中国书画、陶瓷及雕刻艺匠们钟爱的主题。因“鹌”与“安”同音，故鹌鹑有平安、安全、安居的吉祥寓意。匠人善用材料，以鸟首为柄，并将原角的起伏边沿巧雕做欲振翅高飞的双翼，饶富动感。为保留及突显角材的天然轮廓，翅翼翎羽走向亦随原角弧曲延伸。选材上，刻意取较后弯的苏门角，而放弃印度和爪哇角。

 

Estimate 400,000 — 600,000 HKD
LOT SOLD. 1,340,000 HKD

DETAILS & CATALOGUING
carved as a shallow peach-shaped cup curving to form the body of a bird in flight, the rim set with a high-relief bird head, the back of the head extending onto the interior, the mouth of the bird grasping a sprig of lotus flowers attached to three lotus pads forming the feet of the cup, the body of the bird finely picked out with low-relief raised lines forming the feathers, the horn with a smooth, dark-brown patina
width 8 cm., 3 1/4 in.

The overall condition is quite good with only four minor shallow fills along the rim to small nibbles. The sprig that is in the bird’s mouth was once attached to the lotus sprig, but now is no longer attached. The1 cm section was probably done in openwork. Both ends have been polished down.

PROVENANCE
Collections of Edward T. Chow (purchased in Hong Kong, 1960) and Franklin Chow.
EXHIBITED
One Man’s Taste. Treasures from the Lakeside Pavilion, Galleries of the Baur Collection, Geneva, 1988, cat. no. R16.
Craving for Carvings: Rhinoceros Horn from the Chow Collection, Asian Civilizations Museum, Singapore, 2003, cat. no. fc16.
LITERATURE
Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 173.

CATALOGUE NOTE
Carved from the whole of a small Sumatran rhinoceros horn into an exquisite and gem-like miniature cup, this is a fine and rare example of a bird-form vessel. The bird is depicted in a stylised fashion with curling feathers and with its crest peering over the lip of the interior of the vessel. Although not immediately identifiable, judging from its size, shape and crest it may be a quail which was one of the favourite birds in the repertoire of Chinese painters, potters and carvers. The quail represents harmony and peace as it bears the character an in its name, a pun for the word ‘peace’ (ping’an).

The maker of this cup has skilfully used his material and made the bird’s head form the handle while the natural shape of the lip of the horn has been fashioned into the rise of the animal’s wings as if it is about to lift off. Furthermore, the feathers on the wings gently follow the horn’s natural curvature, allowing the artisan to retain the original form of his material as much as possible. The use of the horn of a Sumatran rhinoceros is intentional, as it is much more curved back than those of its other two Asiatic cousins, the Indian and Javan rhinoceros. Its stem is also more slender and in cross-section is found to be more circular allowing the fashioning of a perfect cup in the form of this quaint and auspicious bird.

For examples of bird-form vessels, see one with its long tail feathers curved down to form the cup’s handle, and its back hollowed out to provide a cavity for liquid to be poured out through the beak, from the collection of the Harvard University Art Museum, Cambridge, Massachusetts, published in Fok, op.cit., pl. 174. Compare also a smaller cup fashioned as a recumbent phoenix with the bird’s beak forming the handle, from the collection of Thomas Fok, included ibid., pl. 177.

Bird-form cups are known from as early as the Han dynasty when they were made in lacquer, a highly prized material at the time; see a cup in the Yangzhou Museum, Jiangsu province, illustrated in Zhongguo qiqi quanji, vol. 3, Fujian, 1998, pl. 275.

2726A RHINOCEROS HORN OPIUM PIPE
QING DYNASTY, 18TH CENTURY

Estimate 120,000 — 150,000 HKD
LOT SOLD. 1,340,000 HKD

DETAILS & CATALOGUING

A RHINOCEROS HORN OPIUM PIPE
QING DYNASTY, 18TH CENTURY
the long cylindrical tube formed from a two straight pieces of horn forming the ‘stem’, carved with a small squirrel and grapes in relief below the silver mounted ‘saddle’ finely inlaid in silver wire with a dense design of poppies, leaves, deer, vases and coins, the coin with a cyclical date yi zhou (corresponding to 1745), with traces of blue and green enamelling remaining within the wires, further set with an upright short circular ‘coin’ shaped neck for attaching to the bowl, fitted on each end with ivory mounts, the ivory mouthpiece pierced at the top with a small hole, the the horn of warm brown tone and a smooth patina

61 cm., 24 in.,

The overall condition is very good. Most of the enamelling within the wires have fallen out, but the design is very clear. The pipe still has residue from use.
PROVENANCE
Collection of Franklin Chow (purchased in London, 1990).
CATALOGUE NOTE
Fashioned using the length of a large rhinoceros horn, this pipe is an unusual example of a collaboration between a horn carver and a silversmith. The end of the pipe is made of ivory, while the working part of the opium pipe is made of a silver alloy. Pipes of this type were more commonly carved from bamboo; the present example, fashioned from this expensive material must have belonged to a member of the gentry.

2713
A SMALL RHINOCEROS HORN CUP WITH A HANDLE
MING DYNASTY, 16TH CENTURY

Estimate 180,000 — 250,000 HKD
LOT SOLD. 1,820,000 HKD

DETAILS & CATALOGUING
A SMALL RHINOCEROS HORN CUP WITH A HANDLE
MING DYNASTY, 16TH CENTURY
elegantly carved of conical form, the surface left plain save for a circular diaper ground beneath the rim on one side, opposite the delicate tapered handle issuing from a rectangular tab on the rim, suppored on a short waisted circular foot with a concave base, the highly polished patina of golden-amber tone
width10 cm., 4 in.
Apart from a 1 cm filled age crack to the rim and a very minute polished nibble on the foot, the overall condition is very good. The surface is very well preserved.

PROVENANCE
Collections of Edward T. Chow (purchased in London, 1968) and Franklin Chow.

EXHIBITED
Craving for Carvings: Rhinoceros Horn from the Chow Collection, Asian Civilizations Museum, Singapore, 2003, cat. no. fc24.

CATALOGUE NOTE

This miniature cup is both delightful and elegant. It embodies what was considered to be in the ‘scholar’s taste’ during the Ming dynasty. The low foot supports a plain and elegantly curved body decorated with a single round cartouche containing the ‘earth’ diaper. The handle, also left plain, complements the overall form of the vessel with its pleasing curvature. The modelling of the cup is imbued with grace and vitality. In his notes Edward Chow comments on its beauty and says, ‘kexi de zhi (I am very happy to have it)’.

Attributed to the 16th century, this cup is one of the earliest examples in the collection. It was made when rhinoceros horn was rare and considered highly valuable by the Ming court. In fact, during the early Ming dynasty the craft of horn carving was exclusively controlled by the imperial court. Artisans produced pieces that enhanced the material so that it could be fully appreciated. It was only later, when there was an increase in the supply of horn that more intricately carved designs started appearing with emphasis on skill and technique rather than on the material.

The ‘earth’ diaper is discussed by Jan Chapman in The Art of Rhinoceros Horn Carving in China, London, 1999, p. 149, where she illustrates a cup from the Chester Beatty Library, Dublin, pl.175. See also a cup, from the Sloane collection and now in the British Museum, London, published in Soame Jenyns, ‘The Chinese Rhinoceros and Chinese Carvings in Rhinoceros Horn’, Transactions of the Oriental Ceramics Society, 1954-55, pl. 24, fig. A1; and one in the Gerard Levy Collection, Paris, included in Chapman, op.cit., pl. 195, with two roundels containing the ‘earth’ diaper as its only decoration. This motif continued to be used on later vessels, however, in almost all cases, covering large areas of the body and serving as the main decorative design; see for example a guang form cup illustrated in The Palace Museum Collection of Elite Carvings, Beijing, 2004, pl. 216, attributed to the Qing dynasty, together with another vessel, pl. 221, also of the mid-Qing period.

2712
A SMALL ‘PINE’ RHINOCEROS LIBATION CUP
17TH CENTURY

17世纪 犀角雕苍松杯

角杯雕苍松，以古劲树干之形做杯，密布鳞皱瘿节，题材高洁，甚合文人学者的品味。雕工细致入微，松叶毕现，杯内巧饰小松果，可爱自然。文人爱松不畏严寒，终年长青，刚正不阿。苍松可活数百岁，也象征长寿。

17世纪 犀角雕山水松鹤延年图杯

角杯满雕祥瑞纹饰，寿老常骑鹤背，故鹤乃长寿象征，苍松常绿，象征百岁。器上岩石饰有灵芝兰草，同有永生之意。环雕水拍石岸，浪波急疾水花溅，一鹤立岸旁苍松之下，遥遥远眺。器上浅雕灵芝等祥瑞之物，象征寿山福海，松鹤延年，应为馈赠贺寿之品。

Estimate 400,000 — 600,000 HKD
LOT SOLD. 2,060,000 HKD

A SMALL ‘PINE’ RHINOCEROS LIBATION CUP
17TH CENTURY
the wide shallow cup of irregular form carved on the exterior with a reticulated pine tree handle with branches extending over the rim and onto the interior, the surface further textured with low-relief ovals resembling the bark of the tree, resting on a flat base, the patina of smooth golden amber tone, wooden stand

width 12.5 cm., 4 7/8 in.
READ CONDITION REPORT
An age crack to one side of the horn has an old repair by adding two pieces of rhinoceros horn, one on the interior and one on the exterior covering the crack. The repair work seems to match the horn in color and in carving style and may have been done at the same time as the original carving or shortly thereafter. A few other short age cracks to the handle have been filled in to prevent further cracking. The polish of the horn is quite glossy and well preserved.
SALEROOM NOTICE
PROVENANCE
Collections of Edward T. Chow (purchased in London, 1963) and Franklin Chow.

EXHIBITED
Craving for Carvings: Rhinoceros Horn from the Chow Collection, Asian Civilizations Museum, Singapore, 2003, cat. no. fc21.

LITERATURE
Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 121.
CATALOGUE NOTE
Fashioned in the form of the bark of the pine tree with its characteristic scales and nodules, the present exquisitely carved cup is in the taste of the Chinese scholar-literati. The craftsman has formed the handle to represent a pine branch which climbs over the lip of the cup. Rarely seen on designs of this type is the small pine cone visible inside the well. The pine needles are meticulously rendered, consistent with the naturalistic detail of the whole piece.

The subject matter of the pine tree was much favoured by the literati who saw it as the symbol of their unyielding character. The rugged pine represents venerability and is an important symbol of longevity. While there are many pine-decorated rhinoceros horn cups, the present example is an especially fine one. For further cups in this group see one in the British Museum, London, included in Derek Gillman, ‘A Source of Rhinoceros Horn Cups in the Late Ming Dynasty’, Orientations, December 1984, p. 12, fig. 4; another from the collection of Dr. Ip Yee, published in Dr. Ip Yee, ‘Chinese Rhinoceros Horn Carvings’, International Asian Antiques Fair, Hong Kong, 1982, p. 40, pl. 38; and one with a strongly modelled pine tree with a gnarled and twisted trunk rising to form the handle, from the collection of Thomas Fok, illustrated in Fok, op.cit., pl. 160.

Cups of this type have been sold at auction; for example see one, from the estate of Nils Nessim, Stockholm, sold in our New York rooms, 27th February 1981, lot 320; and a cup sold in these rooms, 23rd May 1978, lot 84.

2708
A RHINOCEROS HORN LIBATION CUP WITH A SCHOLAR
MING DYNASTY, 16TH / 17TH CENTURY

Estimate 700,000 — 900,000 HKD
LOT SOLD. 2,300,000 HKD
DETAILS & CATALOGUING

RHINOCEROS HORN CARVINGS FROM THE EDWARD
08 APRIL 2011 | 10:00 AM HKT
HONG KONG
CONTACT INFO
A RHINOCEROS HORN LIBATION CUP WITH A SCHOLAR
MING DYNASTY, 16TH / 17TH CENTURY
the well-polished small cup of warm amber tone, carved in high relief with the scholar Dongfang Shuo wearing long flowing robes holding a sprig of peaches, followed by an attendant on the other side of the cup surrounded by over sized peach blossoms, the back of the horn carved with a gnarled peach tree with branches extending over the rim onto the interior, wooden stand
height 10 cm., 4 in.
READ CONDITION REPORT
he overall condition is very good with only a small 8mm triangular patch on the rim that has been filled with resin. The patina is very smooth and well polished. The front end of the mouth has been slightly reduced forming a shallow ‘V’ at one end. It is very well polished.
“In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby’s is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.

PROVENANCE
Spink & Son, London, 1978.
Collections of Edward T. Chow and Franklin Chow.
EXHIBITED
One Man’s Taste. Treasures from the Lakeside Pavilion, Galleries of the Baur Collection, Geneva, 1988, cat. no. R9.
Craving for Carvings: Rhinoceros Horn from the Chow Collection, Asian Civilizations Museum, Singapore, 2003, cat. no. fc9.
LITERATURE
Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999. pl. 265.
Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 78.

CATALOGUE NOTE
Purchased by Edward Chow in 1978, this cup attracted his attention for its beautiful light honey colouration and for the unassuming simplicity of the design that is full of auspicious connotation. Chow identifies the main figure as the Han dynasty Daoist scholar-official and court jester to Emperor Wu, Dongfang Shuo, who is accompanied by a young servant boy. The scene depicted here is the story of Dongfang Shuo stealing the peaches of eternal life from Xiwangmu (Queen Mother of the West). Dongfang is shown clutching a fruiting branch over his shoulder and looking to his side as if concerned that he may be followed. The carver has brought his subject to life by giving movement to his robe as if swept by the wind. Ironically, with this act Dongfang was able to attain immortality and became a popular figure and was frequently depicted on artefacts displayed at birthday celebrations or made as gifts. For example, see a beautiful Ming period tapestry depicting Dongfang Shuo standing by a peach tree clutching a single large peach in his hands, in the collection of the Metropolitan Museum of Art, New York, included in the museum’s official website.

The present cup is unusual for its bold yet minimalist carving of just two figures and a fruit-laden peach tree. The simple design suggests that the cup is amongst one of the earliest examples known, before it became fashionable to cover vessels with complex and intricate decorations. The flawless beauty of the material is enhanced by this perfect design. While no other similar example appears to be recorded, the Eight Daoist Immortals can be found carved around the exterior of a cup in the Chester Beatty Library, Dublin, included in Jan Chapman, ‘The Chester Beatty Collection of Chinese Carved Rhinoceros Horn Cups’, Arts of Asia, May-June 1982, p. 83, pl. 20. Another cup depicting the Eight Immortals, each bearing an attribute, from the collection of Thomas Fok, is published in Fok, op.cit., pl. 82.
The beautiful translucent light colouration and the ‘orange peel’ surface of this cup is remarked by Chow in his notes. This type of surface is often compared to the texture of a fine doeskin glove when it is stretched over the hand. Chapman in The Art of Rhinoceros Horn Carving in China, op.cit., p. 60, suggests that the yellow and honey colours are probably the result of the natural ageing process of the horn and some of the earliest known carvings are described as being yellow in colour. Vessels of this colouration are almost invariably associated with the best quality carvings.

2710A RHINOCEROS HORN ‘JUE’ LIBATION CUP
17TH CENTURY

Estimate 200,000 — 300,000 HKD
LOT SOLD. 2,420,000 HKD
DETAILS & CATALOGUING

A RHINOCEROS HORN ‘JUE’ LIBATION CUP
17TH CENTURY
carved in the form of the archaic bronze drinking vessel, jue, with a deep U-shaped body flaring at the rim, one side carved with a channelled spout opposite an extended rim tapering to a point, the exterior carved in low relief with a wide register of archaistic taotie masks on a leiwen ground divided into sections by vertical flanges, set below the rim with a band of three chilong writhing in and out of clouds, one side set with a thin openwork handle issuing from the mouth of a taotie mask, all supported on three splayed blade legs, the horn of auburn tone with an attractive patina

width 11 cm., 4 3/8 in.
CONDITION REPORT
The overall condition is quite good with only a few minor nibbles to the rim and a tiny restuck 3 mm piece on the rim.

SALEROOM NOTICE
PROVENANCE
Collection of the Asian Art Museum of San Francisco.
Sotheby’s Los Angeles, 20th October 1974, lot 129.
Sotheby’s Los Angeles, 23rd October 1980, lot 1698.
Sotheby’s Hong Kong, 20th May 1981, lot 904.
Christie’s London, 17th December 1981, lot 369.
Collection of Franklin Chow.
EXHIBITED
Craving for Carvings: Rhinoceros Horn from the Chow Collection, Asian Civilizations Museum, Singapore, 2003, cat. no. fc52.
LITERATURE
Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 8.
CATALOGUE NOTE
This cup, in the form of the well known bronze ritual vessel jue, exhibits archaistic elegance and a high level of skill exercised by the carver, who used the complex technique of bending different sections of the split horn upwards to form the splayed legs. The result is a fine example that belongs to a small and specialized group of rhinoceros horn carvings. It is after a rare type of jue that was made without the two capped posts on the rim; such as the Shang dynasty example in the Idemitsu Museum of Arts, Tokyo, illustrated in Ancient Chinese Arts in the Idemitsu Collection, Tokyo, 1989, pl. 36.

Whilst the vessel’s form makes a reference to the past, the carver has added a contemporaneous design in the form of two confronting dragons amongst foliage and a third full-faced one amongst lingzhi fungus, all carved on the vessel’s flaring rim.

Compare a rhinoceros horn jue decorated with the taotie design illustrated in The Complete Collection of Treasures of the Palace Museum. Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Shanghai, 2001, pl. 205, together with a four-legged ding form cup, pl. 206, and a tripod ding vessel, pl. 207. Another jue of similar size to the present example but with a wider rim, from the collection of H. G. Beasley, was sold in these rooms 22nd May 1984, lot 263; and one with two capped posts was also sold in these rooms, 19th November 1986, lot 334.

2709
A ‘LOTUS LEAF AND CHILONG’ RHINOCEROS HORN LIBATION CUP
17TH CENTURY

17世纪 犀角雕莲叶螭龙杯

此器宽流有别于一般犀角杯，透若凝脂，色如甘蜜，器侧巧雕螭龙攀叶，或大或小，簇拥交缠。形似莲叶，内外细刻脉络。犀角雕螭龙并不罕见，但艺匠于杯口外沿巧雕小蜗牛，缓缓上爬，题材新颖，精致可爱。雕螭龙，饰水波，顿添动感。缀蜗牛，欲显闲静。
犀角雕螭龙，属于重要且普遍的角雕动物纹饰，多雕于仿古犀角器物上。

17世纪 犀角雕莲叶螭龙杯

此器宽流有别于一般犀角杯，透若凝脂，色如甘蜜，器侧巧雕螭龙攀叶，或大或小，簇拥交缠。形似莲叶，内外细刻脉络。犀角雕螭龙并不罕见，但艺匠于杯口外沿巧雕小蜗牛，缓缓上爬，题材新颖，精致可爱。雕螭龙，饰水波，顿添动感。缀蜗牛，欲显闲静。
犀角雕螭龙，属于重要且普遍的角雕动物纹饰，多雕于仿古犀角器物上。

Estimate 3,000,000 — 5,000,000 HKD
LOT SOLD. 6,620,000 HKD

DETAILS & CATALOGUING

RHINOCEROS HORN CARVINGS FROM THE EDWARD
08 APRIL 2011 | 10:00 AM HKT
HONG KONG
CONTACT INFO
A ‘LOTUS LEAF AND CHILONG’ RHINOCEROS HORN LIBATION CUP
17TH CENTURY
the dark amber-coloured horn carved in the form of a finely veined furled lotus leaf with one large dragon and five smaller chilong clambering around the vessel on the interior and exterior, the playful dragons all carved in high relief and openwork depicted in various contorted positions, the largest dragon forming the handle beneath a smaller lotus pad on the rim while two peer over the rim at a smaller dragon on the interior, the exterior further set with a small snail slithering down the side, all supported on a band of waves crashing against the foot, the surface with a smooth patina
width 19 cm., 7 1/2 in.

READ CONDITION REPORT
A section of the foot has been restuck – 4 x 3 x 2 cm and there is a 3 mm section on the rim that has been filled. A section of the handle has been slightly restored with an 8 mm fill, possibly to stabilise some age cracks. There is a small insect hole on the exterior near the rim that does not go all the way through to the interior. However, the overall condition is still quite good and the patina is very smooth.

SALEROOM NOTICE
PROVENANCE
Sotheby’s Hong Kong, 20th November 1985, lot 269.
Collection of Franklin Chow.

CATALOGUE NOTE
This cup features an unusually wide mouth, rich translucent honey-tone colouration and fine carving of numerous entwined large and small chilong on the body and under the lip. The strong veining of the lotus leaf, which is carried out on both the interior and the exterior of the vessel is also worth noting. While the design is well known from vessels of this type, the carver has added an original and humorous touch to his work: a small climbing snail placed just below the spout. While the chilong represent action, as do the waves depicted with a prominent spume around the base, the snail brings a sense of natural calmness.

The chilong is possibly one of the most important and widely used animals in the horn carvers’ repertoire. They are most frequently depicted on carvings in the archaistic style; for example see a cup in the Chester Beatty Library, Dublin, illustrated in Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999. p. 178, pl. 234, where the author notes the importance of dragons in animal carvings. The dragon represents the emperor himself, but also acts as the beneficent ‘bringer of rain’ (Chapman, ibid., p. 178).

For lotus leaf form vessels carved with chilong see one from the collection of Thomas Fok included in Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, p. 50, pl. 3, where the author notes that this type of decorative style is reminiscent of the jade waterpots of the Southern Song dynasty. The Fok cup was subsequently sold at Christie’s Hong Kong, 27th May 2008, lot 1718. Another related lotus leaf form cup carved in low relief with chilong, the base in the form of a well-defined whirlpool and the handle carved with a dragon, from the collection of Dr. Ip Yee, is illustrated in Dr. Ip Yee, ‘Chinese Rhinoceros Horn Carvings’, International Asian Antiques Fair, Hong Kong, 1982, p. 33, pl. 24. See further two cups sold in our London rooms, 13th May 2009, lot 75, and 13th June 2005, lot 104; and one sold at Christie’s London, 7th November 2006, lot 48.

723 A DOUBLE-HANDLED RHINOCEROS HORN LIBATION CUP
QING DYNASTY, 17TH / 18TH CENTURY

Estimate 800,000 — 1,200,000 HKD
LOT SOLD. 2,660,000 HKD

DETAILS & CATALOGUING

A DOUBLE-HANDLED RHINOCEROS HORN LIBATION CUP
QING DYNASTY, 17TH / 18TH CENTURY

highly polished of amber tone, the conical cup carved in openwork with two gnarled prunus branches set on opposite sides, the branches extending over the lip of the cup and wrapping along wall of the exterior over the finely carved low-relief archaistic bands, all set between a leiwen border at the mouth and around the tall hollow foot ring, the interior rim pared down slightly thinner than the interior central well, wooden stand

width 12 cm., 4 3/4 in.
READ CONDITION REPORT
The overall condition is very good with only a 5 mm filled area of loss to the foot.

SALEROOM NOTICE

PROVENANCE
Collections of Edward T. Chow (purchased in Hong Kong, 1963) and Franklin Chow.

EXHIBITED
One Man’s Taste. Treasures from the Lakeside Pavilion, Galleries of the Baur Collection, Geneva, 1988, cat. no. R17.
Craving for Carvings: Rhinoceros Horn from the Chow Collection, Asian Civilizations Museum, Singapore, 2003, cat. no. fc17.
LITERATURE
Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999. pl. 79.

CATALOGUE NOTE
Carved from the solid part of an Asian horn, the present cup is unusual for its form and the blending of two distinct types of decorative styles: bronze-archaism and floral designs. It is rare to find double-handed rhinoceros horn cups, although an undecorated example, in the collection of Dora Wong, is published in Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 48. See another plain quatrefoil form cup with two handles sold at Christie’s London, 13th December 1976, lot 8, and again, in these rooms, 22nd May 1979, lot 291.

While the shape of this vessel is based on a bronze prototype, and hence, fittingly carved with an archaistic design of stylized dragons and taotie mask in low relief, the two handles are the craftsman’s innovative contribution to the design. The prunus branches are not only pleasing to the eye but bring a sense of ‘softness’ to the shape. The overall effect is a highly decorative and masterly carved contemporaneous vessel with the much favoured archaistic touch. Chapman lists a number of carvings that fit into the ‘archaistic-combination’ category which she describes as a small group of vessels predominantly archaistic in shape but decorated with flora and fauna elements combined with those of an archaistic character; see two examples in the Chester Beatty Library, Dublin, included in Chapman, op.cit., pl. 194 and pl. 196, and one in the Gerard Levy collection in Paris, ibid., pl. 195.

The light translucent colouration and the small delicate size of the cup are also worth noting. Edward Chow in his notes describes the vessel as jiaose danhuang touming, zuke bawan ye (‘the horn is of light yellow colouration and is transparent, can be held as a ‘plaything’ by its foot’).

2702
A RARE ‘PINE AND RABBIT’ RHINOCEROS HORN LIBATION CUP
17TH CENTURY

17世纪 犀角雕月下玉兔图杯

角杯巧雕玉兔仰望，云掩半月，雅致生动。兔观蔽月，与月老及月宫中玉兔的传说经久不衰。传说月宫里，有白兔常伴嫦娥左右，为她捣药炼丹，祈求制成不老仙丹，让嫦娥与凡间的爱郎相见。另说，指白兔望月而孕，所以饰以此题材之器寓意多子。

Estimate 1,200,000 — 1,500,000 HKD
LOT SOLD. 3,620,000 HKD

DETAILS & CATALOGUING

CONTACT INFO
A RARE ‘PINE AND RABBIT’ RHINOCEROS HORN LIBATION CUP
17TH CENTURY
carved in high relief and openwork with two gnarled pine trees with branches wrapped around the sides, set with a rabbit crouched beneath a full moon and wispy clouds overhead, the interior mouth carved with branches overhanging the lip, the horn of rich chestnut patina
width 15.5 cm., 6 1/8 in.
READ CONDITION REPORT
The overall condition is very good with only a small insect hole on the mouth rim and a vertical split in the openwork-carved horn at the end of the clouds. The foot has a very minute age crack.

SALEROOM NOTICE
PROVENANCE
John Sparks, London, 1978.
Collections of Edward T. Chow and Franklin Chow.

EXHIBITED
Craving for Carvings: Rhinoceros Horn from the Chow Collection, Asian Civilizations Museum, Singapore, 2003, cat. no. fc30.

LITERATURE
Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 170.
CATALOGUE NOTE
This cup is finely carved and the modelling, especially that of the hare gazing up at the moon which is half hidden behind swirling night clouds, is imbued with elegance and vitality. Edward Chow refers to it in his notes as diaogong canglao, wanzheng wu shang, diaogong huayi xi shao (‘the carving has age, it is in perfect condition with no damage, the design is poetic and sparse’).

The hare seen on this cup is gazing up at the moon which is half hidden behind the night clouds. The theme depicted here is likely to be associated with the God of Moon, Yuelao, or with the hare’s relationship with the moon. According to ancient legends, the hare lived on the moon with Chang’e, the Goddess of the Moon, spending its days mixing the elixir of life in a mortar to make the pill of immortality so that Chang’e could return to earth to see her lover. There was also a belief that the hare is impregnated through gazing at the moon, suggesting that vessels decorated with this motif were made as marital gifts with the wish for many descendants.

2706
A PLAIN RHINOCEROS HORN LIBATION CUP
17TH CENTURY

17世纪 犀角雕素身杯

通体光素无纹，却沉稳大方，刚劲雄浑。角杯取材印度犀牛角，器侧及口沿坑槽清晰可见。犀角器物中，素身之器较雕饰之品罕见，雕刻家施以巧技，口沿凹凸有致，打磨圆润，着重展现犀角的形，自然蜜黄之色。
在仇氏珍藏中，仅此一件素身角杯。

Estimate 600,000 — 800,000 HKD
LOT SOLD. 3,860,000 HKD

DETAILS & CATALOGUING

CONTACT INFO
A PLAIN RHINOCEROS HORN LIBATION CUP
17TH CENTURY
the rich honey-tone horn with a flaring rim tapering to a black oval foot, the natural nodules along the lip of the horn and groove to one side left uncarved, the interior left plain with a broad rim, the surface with a rich golden brown smooth patina

width 17 cm., 6 3/4 in.
READ CONDITION REPORT
With the exception of a small 2 x 2 mm filled-in chip to the mouth, the overall condition is very good. The patina is very smooth.

SALEROOM NOTICE
PROVENANCE
Christie’s London, 15th June 1987, lot 274.
Collection of Franklin Chow.
EXHIBITED
Craving for Carvings: Rhinoceros Horn from the Chow Collection, Asian Civilizations Museum, Singapore, 2003, cat. no. fc50.
LITERATURE
Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 65.
CATALOGUE NOTE
The only undecorated cup in this collection, this vessel exhibits a commanding presence with its simple organic form. It is carved from an impressive and beautiful Great Indian rhinoceros horn as indicated by the groove which can be seen on one side of the body and by the nodules that are clustered around the lip.

It is more common to find rhinoceros horn vessels that have been carved with designs rather than those left completely undecorated, with the material’s original form and natural colour retained. The carver has highlighted the quality of his material in the most elegant fashion, even working around the nodules at the lip which occur naturally. The rich honey tone of the horn also makes this piece stand out.

There are only three plain vessels out of a total of 219 in the Chester Beatty Library, Dublin, of which one is illustrated in Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, p. 146, pl. 170. See another plain cup included in Soame Jenyns, ‘The Chinese Rhinoceros and Chinese Carvings in Rhinoceros Horn’, Transactions of the Oriental Ceramic Society, vol. 29, 1954-1955, pl. 24A, fig. 1; and a third example, in the British Museum, London, published in Derek Gillman, ‘A Source of Rhinoceros Horn Cups in the Late Ming Dynasty’, Orientations, December 1984, fig.3.

A number of undecorated cups have been sold at auction: for example, one from the collections of Nils Nessim and Gerard Arnhold, was sold in our London rooms, 26th February 1982, lot 335; another was sold in these rooms, 18th May 1988, lot 320; and a third vessel was sold at Christie’s London, 15th December 1980, lot 42.