The imperial study room in the Forbidden City is generally the treasure of the Ming and Qing dynasties. These scholars have a variety of styles and tastes, or graceful and gorgeous, or elegant and refined, and there are those who cooperate with each other, reflecting each other. In the eyes of the ancient emperors of the past dynasties, the exquisite palace study utensils are not only practical tools, but also spiritual companions, and are regarded as classics.
In addition to the exquisite and exquisite imperial kiln works, three small and fine palace scholarly vessels are specially selected, one box, one tube, and one seal, which have both court art and literati aesthetics.
Lot 439
bright
Rosewood inlaid with Baibao Hu people riding horseback picture incense box
D: 8.7 cm
Collection of inscriptions: Autumn pond pavilion appreciation
Source: Collection of the State-owned Cultural Relics Company
See: China Guardian, 26 December 2022, lot 3184
This incense box is made of precious rosewood wood, the pulp is moist, deep and thick, and the cow hair-like texture of rosewood is dense and dense, which is extremely pleasing to the eye. The whole wood is dug up, it is oblate and round, the shape is full and weekly, dignified and elegant, so that people can feel elegant until they look at it. The lid of the box is slightly arched, the edge intersects with the lamp grass line, the mouth of the box body is concave along a circle, the straight wall of the body is gradually closed downward, and the bottom bears the outer skimming circle foot, and the foot is along the line.
The lips of the incense box are tightly seamed, and the mouth is along a wide leather line, which is decorated with a fine back pattern by the wrong silver wire process, which is continuous. On the cover surface, various miscellaneous treasures such as luodian, agate, lapis lazuli, lacquer and other miscellaneous treasures are inlaid with Hu people riding horses, the image of Hu people is rough, the eyes are like copper bells, the eyes are round, the nose is wide and straight, the face is broad, the figure is short haired, the beard is curled, and the ear is decorated with single-ring round earrings; Sit down on the war horse and wear the saddle, hang the Yingluo, the body is strong, and the majesty stands, it seems that as long as the master gives an order, you can jump up, gallop on the battlefield, and be full of fun. The Hu people's facial features, clothing patterns, horse ornaments and other details are carved meticulously and meticulously, which is a typical appearance and dress of ethnic minorities in the Western Regions.
The image of the Hu people into the handicraft decoration began in the Tang Dynasty and flourished in the Tang Dynasty, and then decreased, such as the Tang Sancai sculpture of "Hu people riding horses", "Hu people riding camels", "Hu people washing elephants", there are also many survivals. In the middle and late Ming Dynasty, with the resumption of Sino-Western trade, the image of the Hu people began to appear in handicrafts.
The composition of this box is vivid and layered, and the craftsman with his exquisite craftsmanship skillfully conceives and shows a scene of Hu people riding and shooting. The whole is upright and elegant, regular and beautiful, it is difficult to find, its inlay is beautiful, and the style is absolutely like the hand of Zhou Zhu, a master craftsman in the Ming Dynasty. Zhou Zhu, a native of Jiangsu during the Jiajing period of the Ming Dynasty, was born and died unknown, and was famous for his hundred treasure inlays. The inlay process of the Zhou Zhu is extremely complex, layered and scattered, creating a three-dimensional visual effect, and decorated with gold, silver and other precious metals, repeatedly creating a rich layer of fine products. The work of later generations, even in the prosperous era of the Qing Dynasty, there are few of them on the complexity of the inlays, and they follow its unique craft school as the "Zhou system".
It is worth noting that from the labels and numbers of various state-owned cultural relics stores pasted on the inner and outer walls of the incense box, it can be seen that the source of this incense box is clear and clear at a glance. Among them, the center of the bottom of the box is a "Autumn Pond Pavilion Appreciation" collection seal is quite eye-catching. "Autumn Pond Pavilion" is the name of Wang Xirong, an industrialist and a famous gentleman in the late Qing Dynasty and the early Republic of China. Wang Xirong (1872-1936), the word Xiangquan, the word Xiangquan, the owner of the Qiuyu Pond Museum, was a native of Qiantang (Hangzhou). He has served as the general office of the Hangzhou Bureau of Commerce, the president of the Hangzhou Chamber of Commerce, the president of the Zhejiang Dianye Association, the congressman, and the chairman and supervisor of the government-run Zhejiang Local Bank. Good calligraphy and painting, rich collection.
It can be seen that this box is inherited in an orderly manner, authentic and reliable, for the late Qing Dynasty and early Republic of China industrialist Wang Xirong old collection, after the collection of state-owned cultural relics store and sold, the collection of the famous system of the context, the inheritance of the interest of the collection, so that the collection itself added a more vivid story.
The beauty of the material selection of this incense box, the fine work of the wrong silver, and the luxury material of the hundred treasures, make it in the simplicity of the simple and quiet kneaded with a gorgeous and graceful posture, and now the spirit is elegant and elegant, rich and peaceful, and the source is clear, the inheritance is orderly, can be observed and studied, it is a very ornamental and collectible art treasure.
China Guardian, December 26, 2022, lot 3184
For a similar Hu themed red sandalwood incense box, please refer to a recent example, Ming Jiajing Purple Sandalwood Hundred Treasures Inlaid Hu Ren Lion Incense Box, which was sold at China Guardian on December 26, 2022, lot 3184, sold for RMB 2,875,000. The two have similar styles and can be compared.
Lot 318
bright
Rosewood inlaid with silver filigree high relief Hu people hunting picture pen holder
D: 12 cm (caliber)
H: 15.6 cm
Source:
Old collection of Shanghai households
See:
The Complete Collection of Cultural Relics and Treasures in the Palace Museum: Carvings of Bamboo and Wood Tooth Horns, The Commercial Press, p. 25, no. 24
"The Bamboo and Wood Tooth Horn Carvings of Cultural Relics and Treasures in the Palace Museum", Shanghai Science and Technology Press, Nos. 17, 18, 22, 24, 26 and 50
This pen holder is well-selected, engraved with precious red sandalwood, meticulous and heavy, dignified and magnificent, and the silk cow hair pattern conveys the high-quality red sandalwood mechanism. The skin shell is thick, black and red, and it is gratifying. Its craftsmanship is exquisite, polished meticulously, and the overall approach is typical of the Ming Dynasty, without being out of shape.
Mouth of this product
The flat mouth of the pen holder is embedded with silver wire for a week, the more common back lines are complex, fine, neat, and the thickness of the silver wire is applied together, the contrast is distinct; the mouth is along the flat wide edge, different from the common fine line in the early Qing Dynasty, and the yang carving Yin carved diamond flower brocade, on the relief miscellaneous treasures, flower butterflies, cranes and other ornaments, delicate and nuanced.
Its base is exquisitely made, up the steps, tied three legs below, and the cylinder wall is dug whole, that is, the so-called "one wood seat" one of the practices, rather than like most Ming Dynasty pen holders, respectively, after inserting into one. In addition, the base is engraved with cloud and thunder patterns for the shading, dense and neat, the relief beast face gluttonous pattern, the ornamentation is fierce and hideous, the instrument is magnificent, full of the fashion of the royal utensils, this kind of decoration is rare in the production of wood. Retrieving public and private collections, such as the base technology of this product, the scales and phoenix horns of the decorator, especially the base decoration, can be said to be seen for the first time on the same kind of Ming Dynasty red sandalwood pen holder, and the highlights can be seen.
The bottom of this product
The Complete Collection of Cultural Relics and Treasures from the Palace Museum: Carvings of Bamboo and Wood Tooth Horns, The Commercial Press, p. 25, no. 24
The bottom of the cylinder is also a large bottom, and a piece of whole rosewood is embedded in the base. The inner cylinder is made by hollowing out method, which is different from the spinning method used later, although it has been polished, the traces of vertical stubble left by the tool can still be seen. It is worth a question that the bottom of the common pen holder is mostly light, not modified, this product is the opposite, the flat bottom is embedded with silver wire two vigorous Zhi dragon looking at each other and circling, vigorous and powerful, head and tail, fierce and elegant, quite expressive. The same kind of decoration can be seen in the collection of the Palace Museum in Beijing has a rectangular box with red sandalwood carving cloud dragon pattern in the late Ming Dynasty (see "The Complete Collection of Cultural Relics and Treasures in the Palace Museum: Bamboo and Wood Tooth Angle Carving", The Commercial Press, p. 25, No. 24), and the shape of the dragon carved around the box is similar to the dragon at the bottom of this product, which can be corroborated with this pen holder in terms of decoration and age, which can be compared.
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The outer wall of the cylinder body adopts techniques such as high relief and carving, and the whole scene is carved with the theme of Hu people's hunting, just like a long scroll of calligraphy and painting, the cliffs are craggy and stacked, the huge rocks are abrupt, the jungle is lush, far, near, high and low, and the layers are distinct. In each scene, you can see a rider dressed as an ethnic minority, with a vigorous posture of a war horse under his crotch, a thick and neat mane, galloping and galloping, and the mane decoration, saddle, and stirrup are all delicately depicted and delicate; the hunter chases with a fork or a bow ready to shoot, with a serious expression, and is determined to win the prey, combined with the birds and birds and other prey running in the air, making the whole picture appear very vigorous and rhythmic, and creating a tense and exciting hunting atmosphere with a great sense of scene.
This pen holder adopts the theme of Hu people's hunting, which is the first time that the theme of similar pen holders has been seen so far, and it is very rare. Its characters are vivid, full of vitality, and the movement is appropriate, the layout is stretched, highlighting the characteristics of the frontier nomads "brave, good at riding and shooting", and leading the rich cultural connotation with superb production skills.
Looking at the details of this product, it is worth noting: this pen holder high relief Hu people hunting map, the mouth along the relief of the crane, flowers and birds, miscellaneous treasure patterns, the mouth and the bottom of the cylinder are inlaid with silver wire decoration of the back pattern and the double dragon Zhi pattern, are extremely good, carved hollow, like a picture, such a superb craftsmanship in one, the letter must be a master.
Gao Lian's "Zunsheng Eight Notes" in the late Ming Dynasty recorded: "For example, carving hundreds of treasures inlaid with red sandalwood and other utensils, its painstaking work is the best of a generation." According to legend, except for Zhou Zhu, no one can make such fine utensils. Tianyi Pavilion collection printed in the Chongzhen period of the "Chongzhen Wu County Chronicles" volume 53 "Characters and Techniques" "Zhou Zhi" contains: Zhou Zhi, Jiajing Zhongren. Work for poetry, good at carving and embedding hollow, made of characters, flowers and birds, old plum Gugan, exquisite, like a picture.
Zhou Zhu's reputation and the preciousness of his works were as fashionable as today's famous brands in the late Ming Dynasty, which can be confirmed by Wang Shizhen's (1526-1590) record in "Yao Bu Yao Lu": the painting should be heavy in the Song Dynasty. In the past 30 years, the price of the people of Kuzhong Yuan, and even Ni Yuanzhen, has increased tenfold in order to arrest Shen Zhou...... Most of the Wu people are indiscriminate, and the Hui people guide them, which is strange. Today, Wu Wuzhong Lu Zigang governs jade, Bao Tiancheng governs rhino, Zhu Bishan governs silver, Zhao Liangbi governs tin, Ma Xun governs fans, Zhou governs Shang (inlay) inlay, and Lu Aishan governs gold, Wang Xiaoxi governs agate, and Jiang Baoyun governs copper, all of which are twice as high as the usual price, and their people are to sit with the gentry. Recently, I heard that this good flow into the palace has not yet been reached.
Wang Shizhen's article was originally inspired by the changes in social customs and sighed, but at the same time recorded the degree to which the "Zhou system" and other craft products were twice the usual price and were hot. It can be seen that at that time, such famous craftsmen as Zhou Zhu, who had become famous and rich with their skills, had already become famous and sat down with the gentry; the handicrafts they produced had become an indicator of luxury consumption at that time, and were favored by the emerging merchants and wealthy gentry in the late Ming Dynasty, and were even more popular with high-ranking officials and eunuchs, as well as the court and the royal family, and were even introduced into the court and became imperial supplies.
Taipei National Palace Museum collection Ming Sheyan with Zhou Zhu style treasure inlaid inkstone box
Zhou Zhu's life may not be visible, but the so-called "Zhou" style can still be traced and outlined through some heirlooms. Fortunately, the National Palace Museum in Taipei collects a treasure inlaid inkstone box with Zhou Zhu, and the box contains a Xuande inkstone, which should be the old collection of the Ming and Qing courts, and is one of the very few famous "Zhou" works. It can not only be used as an indicator for us to trace the style of the Zhou system, but also may be the only material evidence recorded by Wang Shizhen above, the Zhou system works were still in the court of the Ming Dynasty and used as the only material evidence of imperial supplies.
China Guardian, November 26, 2003, lot 1136
Looking through the public and private collections, the same kind of red sandalwood pen holder, you can refer to a recent example, Mr. Wang Shixiang's old collection of "Fish, Dragon, Sea Beast Purple Sandalwood Pen Holder", also dated to the Ming Dynasty, and is a weekly system, once sold in China Guardian, November 26, 2003, lot 1136, sold for RMB 2,090,000. The two are similar in terms of age, style, craftsmanship, etc., and the ornamentation is different, each with its own merits, but in terms of mouth, base and outsole decoration, this product is more exciting.
Beijing Auction, 2 December 2007, lot 1700
In addition, a case from the collection of Wulu Province "Ming Jiajing Rosewood Bachelor's Tour Spring Drawing Pen Holder" was sold at auction in Beijing, sold at auction on December 2, 2007, lot 1700, sold for RMB 1,568,000. The two have the same magic, only the mouth, the bottom details are not as fine and special as this product, can be compared.
Hong Kong Auction, 8 October 2010, Lot 2192
The same kind of Zhou Zhu style Hu people hunting picture utensils, can be seen two examples, both belong to the collection of turquoise mountain houses, a Ming Jiajing red sandalwood inlaid treasure inlaid hunting picture cover box, a Ming Dynasty red carving Mengren hunting picture cover box, once sold at Sotheby's Hong Kong, October 8, 2010, lot numbers 2192 and 2213, both of which are dated to the Ming Dynasty, passed on the Zhou Zhu system, in addition to the different types and functions, the ornamentation is similar, can be used for reference.
Hong Kong Auction, 8 October 2010, Lot 2213
To sum up, it can be seen that this piece of red sandalwood inlaid silver silk Huren hunting pen holder has a distinctive Zhou style, and its characteristics also confirm the "Zhou system" in addition to the treasure inlay of the "carving and inlay" carving skills, which is the essence of the "Zhou system" inlay skills.
We can speculate that this pen holder is very likely to be a vessel ordered by Zhou Zhu at the request of the high-ranking officials and eunuchs at that time, or it may be a tribute to the Ming court, and it is a special example of similar utensils seen in public and private collections and auction markets, which can be described as rare. This may be the main reason why the "Zhou system" can be different from the blind pursuit of gorgeous and dazzling customs, and can stand out from the fierce competition of craftsmanship in the late Ming Dynasty, win the favor of the court, eunuchs, merchants and scholars, and always maintain its reputation.
Lot 404
Early Qing Dynasty
Imperial Changhua chicken blood stone carving Chibi night tour map seal ornament
H: 7.8 cm
H: 12.5 cm(含座)
Inscription: Immortal bone fragrance protects red pine
Side paragraph: white dew across the river, water and light. Jiajing Yiweichun, three bridges
See: Cultural Relics of the National Palace Museum, Taipei, Vol. 23, No. 2, pp. 37, 36
Looking at this exquisite seal ornament, we can't help but think of the treasure of the National Palace Museum in Taipei, "Dongpo Meat Stone", which is similar to this product. The upper part is based on the seal of the Chibi map of the night tour of Changhua bloodstone, and the lower part is lined with the corner of the red sea water pattern seat, which can be used as a palace furnishing ornament, and can also be used as a study seal. The whole stone is as warm as jade, the blood color is gorgeous and calm, and the treasure light is restrained.
The seal pattern is decorated with the traditional red cliff map as the main line, the peaks are stacked on top of each other, the cliff pine is bent and horizontal, and it is magnificent; the river is turbulent, the mountains and rocks are steep, the clouds and clouds cover the moon above the night sky, the smoke is swirling, and the river waves echo up and down; the red cliff is like a canopy curtain tent, and the barrier is straight like a giant screen inserted into the sky, and the momentum is shocking; the master and servant of the eastern slope invite friends to go boating under the red cliff under the moon, sing to the moon, talk and laugh, the atmosphere of the scene is relaxed and happy, heroic and comfortable; the river is rushing and rushing, the rock wall is twisted and staggered, and the extremely far-reaching and secluded realm is like a picture. The craftsman uses the technique of skillful carving, and the red cliff diagram that was originally a plane is presented on the limited stone four walls in a multi-layered and high-relief way, and the gorgeous chicken blood part is skillfully distributed in all parts of the ornament, which adds a lot of interest.
One side of the line is engraved with the inscription "White dew across the river, water and light to the sky." Jiajing Yiweichun, three bridges. The poem comes from Su Shi's "Red Cliff Fu" in the Song Dynasty, and the handwriting is relaxed and unrestrained. It coincides with the content of the main ornament and echoes each other. The side section of Jiajing is not spring, and the three bridges should be the Qing people who copied the ancient Ming Dynasty big seal carver Wen Peng. The bottom is engraved with the seal book inscription "fairy bone residual fragrance protection red pine" seven characters, the body is round, ancient and changeable, and the bearing is extraordinary.
In contrast, this imperial Changhua bloodstone seal is a piece of silver, with the original palace style of the Qian-colored vessel seat, in order to become an ornament for the use of Shanzi. With the shape of the artificial, the use of deep and shallow relief and openwork method, carved and decorated with sea waves, turbulent churning, three-dimensional and rhythmic ornamentation, between the gathering and dispersion, revealing a sense of atmosphere. This kind of madder craft is unique to the Qing manufacturing office, and later passed on to the people, but only a very small number of craftsmen can do it, and it has now been lost. Throughout this product, the perfect combination of good workmanship and beautiful stone, can be called a rare masterpiece of the combination of pearls, such exquisite workmanship, should be the early Qing Dynasty court furnishings.
In the second year of Yuanfeng (1079), Su Dongpo was imprisoned for the "Wutai Poetry Case", and was demoted to Huangzhou, Yuanfeng five years (1082) and his friends took a boat trip to Huangzhou outside the city of Chibiji, wrote and wrote two articles before and after the book "Red Cliff Fu", beautiful words and various understandings of life, in that year it was famous, and in the thousands of years since then, it has been the only theme of literati and artistic creation to convey feelings.
Collection of the National Palace Museum, Taipei
The National Palace Museum in Taipei has several seals with the theme of the night tour of Chibi carved by Changhua bloodstone, which use the clever color of the seal stone itself to re-carve and create a colorful and vivid Chibi world. One side of the Jiading bamboo carving master "Shi Tianzhang", this seal is hidden in the Qianqing Palace. The other party signed "Ke Zhai", which was hidden in Yongshou Palace. The same theme, the same stone, the same carving style of two seal stones, one side of the Qianlong Emperor carved and placed in his office so that they can be played at any time, the other side or the emperor rewarded a concubine, so hidden in the Yongshou Palace. This at least shows that the Chibi Fu was also a theme of art and cultural dissemination among the emperor and his concubines.
This product Changhua bloodstone night tour chibi map seal ornament and the collection of the Taipei Palace Museum no matter from the material, carving, ornamentation, or the cultural value of the embodiment, have the same magic, but better, it is also very likely to be a palace furnishings in the Qing Palace, tossing and turning, scattered among the people, rare to see, this section of fate will be, but also waiting for your witness.
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