The concept of the "Round" auction is derived from Liang Liu Xian's "Wenxin Carving Dragon: Bixing", which is not only a word of advice for pondering poetry, but also the only way to aspire to the way of aesthetics: whether it is cultivating the mind or creating art, it is necessary to take both a comprehensive view and a discerning view as the basic skills. With the principle of "reading more than 10,000 volumes, writing like a god", the appreciation of cultural relics is mixed with literature, history, archaeology, art and trading to form a kind of culture, collectors must take the book and object view and insight as the cornerstone, and integrate their own inner understanding, in order to create the soul of rare integration and sublimation, and to wander through the door of the Xuanren Gaoshi - Yuan Art shoulders the heavy responsibility of working together with Tibetan friends and changing with each passing day, presenting the "Yuanlan" series of auctions. The purpose of the "Circle Tour" is to search for and display all kinds of cultural relics of the past dynasties in one place, so as to achieve all-encompassing Chinese artists, so that Chinese artists can take advantage of the auction to explore the treasures of the ancestors and harvest the nourishment of cultural research. And hope to be able to inherit the longitude and latitude of Chinese thought, dedicate the ancient and modern gold and stone selection, open the treasure island art and culture, and establish the good name of "Yuanlan" in one side.
As part of a series of auctions, Roundview: I will feature nearly 400 works of jade, bronze, gold and silver, pottery, porcelain, wood carvings, tea props, Buddhist art and contemporary paintings, from market leaders such as Sotheby's, Christie's and Bonhams, as well as full-time collectors who have been in the antiques auction for a long time: many of them have decades of experience in cultural materials and specialize in a single category; Many of the rare raw goods in the collection have not been circulated in the market for nearly half a century, and they are yet to be re-exhibited in this auction. In addition, most of the bids in "Roundview: I", including those from the above sources, will have no reserve price, so that the market demand can be reflected in the price to the maximum extent, and we hope to present a feast of cultural relics for collectors from all over the world in the hot summer.
Yujian provides technical service support for the whole bidding process of this auction, and you can log in to participate in online online bidding and view the high-definition catalogue of the lots.
Auction time
2024-07-14 13:00
2024 round round one lot selection
1359
Qing Dynasty Qianlong year of the Qing Dynasty made a bronze gilt lion-faced Buddha statue
Qing Dynasty
GILT-BRONZE FIGURE OF GREEN TARA WITH MARK OF MADE BY QIANLONG PERIOD OF QING DYNASTY
13.2×6.4×16cm
NTD 450,000
RMB 104,650
USD 15,000
The statue of the Sino-Tibetan style, the main body is combined with the pedestal by a single tenon. Part of the gilt peels off and the whole body is still Yaoze, and the remnants of vermilion paint can be seen in the bureau. Like a lion-faced Buddha mother, with thick eyebrows and blind eyes, high ears and protruding nose, teeth and tongue, and angry hair as flames. The chest and abdomen are bulging, the body is decorated with Yingluo, snake-shaped chains, and the limbs are pierced. The lower body is wearing a tiger skin skirt, and the tiger skin is still left behind the skirt. Each arm is wrapped in a silk, and the long hair is wrapped into a ring, and the two ends of the silk are respectively in the shape of palms and soles. The left hand holds the Gabala bowl to the chest, the bowl contains blood and elixir, and the right hand holds the seat flat, and the finger holds the sword. Bow with your left foot, step down and lean over to close your palm, bend your right foot in front of you, and grow flames on the edge of your feet and skirt. The bottom support is a single-layer compound lotus oval seat, and the upper edge of the front is engraved with the regular script of "Qianlong Year of the Great Qing Dynasty", and the side is decorated with beaded ring patterns, and the back of the pedestal is made a temporary wheel print. The image is fierce and terrifying, showing the characteristics of Tibetan art.
The Lion-Faced Buddha's Mother, also known as the Lion-Faced Empty Mother, Lion-headed Vajra, and Simhamukha, is a powerful Buddha-figure worshiped by the four major schools of Tantra and is regarded as the first protector of the Nyingma sect. The Dharma is found in the Compendium of the Attainment of the Dharma written by His Holiness Jamyang Khyentse Wangpo (1820-1892), and has been handed down in related texts such as the Lion-Faced Empty Mother Ritual. The lineage of each sect in the Lion-faced Buddha Mother is different, and there is no master to tell the story, but the majesty of its magic power is the same. At present, the statue of the Mother of the Buddha with a lion face is already scarce, and the person who made the front cast of the "Qianlong Year of the Great Qing Dynasty" is more likely to be the only case in the auction market, which can be regarded as a treasure of the Sino-Tibetan statue.
1224
Liao / gold and Khotanese jade withered rich and surplus ornaments
Liao / Jin Dynasties
HETIAN JADE CARVED 'LOTUS AND FISH' ORNAMENTS
L 14cm H 6cm
NTD 450,000
RMB 104,650
USD 15,000
Source:
1. Purchased in Hong Kong in the 1990s.
2. The old collection of senior collectors of Taiwan jade.
Green and white jade, thick and warm. Nearly half of the whole body is dyed with brown mud and mud, and the color is mixed, and the distribution is like a tea stain, which complements each other with jade; The pulp shimmers slightly between the corners, if the lotus pond is dewed. The shape of the vessel is a round withered lotus leaf wrapped around the fish, and the detailed structure is decorated with a yin line: the fish species belongs to the mandarin fish, with a long body and a thick body. The head is high, and the lips are thick and the mouth is raised. Small eyes are round and shallow, and gills are short. The body is covered with scales, and the tail is like Ganoderma lucidum. The two sides of the fish body are attached to a lotus branch, the front branch is connected with three leaves, and the lower lotus leaf is macro and the belly of the fish, like the support of the fish; The back branches cover the fish's eyes, with three flowers and two leaves, the long leaves fold over the dorsal fin to the other side, the lotus is the bud of the first bloom, and its stamens are marked by the inscription, giving it a looming feeling. In addition, it is attached to the pedestal of lotus branches and red sandalwood, which is natural and realistic, and cleverly uses the hollow place and the design of rolling leaves to hold the lower part of the body, so that the jade fish can stand on the seat.
In addition to the system of "awarding wooden fish talismans to the chief manager and stabbing history" in the Book of Sui and Emperor Wen and the integration of the style of gold and silver ware in the Tang Dynasty, it is also an art form that has been inherited from the three generations of the north and south for hundreds of years, with the meaning of "more than one year in a row" [note]; The works in the form of mandarin fish can be taken as the homonym of "wealth". According to today, most of the jade fish in this period are small ornaments, and those that belong to the ornament type are only occasionally seen in large collections, and there are only a handful of them that belong to Liao and gold products. This jade fish is wonderfully used with two-color jade materials, with the virtual and proper withering work, the dynamic of the mandarin fish and the meaning of the jade withering into one, standing on the pedestal of exquisite attainments, showing the beauty of nature and beauty.
Note:
Lu Jianfang, ed., Zhang Hongming, et al., A General History of Chinese Jade: Song Liao Jin Yuan Volume (Shenzhen: Haitian Publishing House, 2014), pp. 159-160.
1349
Eastern Zhou Dynasty bronze dragon pattern wok
Eastern Zhou Dynasty
LARGE AND RARE BRONZE FOOD VESSEL, DING
65.3×49.5cm
NTD 400,000
RMB 93,020
USD 13,330
The body is majestic, the ears are turned out, the lips are folded, and the neck is slightly bundled. The belly of the drum is deep and the bottom is three-legged. Body, ears and feet are decorated: the body is made of three layers of dragon patterns from top to bottom, and the neck is demarcated by the neck and a string pattern. The middle layer of the dragon pattern is formed by the upper and lower opposites, and the dragon rings of the reverse head intersect are interlocked. Its shape has a long snout and open mouth, the body has no limbs, the beaded eyes are curled up, and the body is attached to the moire; The gaps are filled with hook lines shaped like tails, so that the overall pattern is decorated in the form of dense rings. The upper and lower layers of the dragon pattern are taken in half of the middle layer, that is, only one side of the dragon body is expressed, and the other side is entangled with it hidden in the border. The ears are positive, the back cloth is symmetrical triangular vortex pattern S-shaped dragon, and the side is paved with skein pattern. The root of the foot is decorated with the face pattern of the withered beast, and the lower part is collected in the shape of the animal's foot. This tripod is majestic, the ornamentation is regular, and it is the embodiment of the solemn and solemn etiquette of the Zhou Dynasty.
Wok tripod is a kind of tripod and is also one of the ritual vessels. Compared with the ordinary size of the tripod, the wok-ding can not only hold delicacies, but also can be used as cooking utensils, in which to directly heat and cook ingredients, and the remains of the cow's body can often be seen in tomb excavations left in the wok. According to the scarcity of the existing woks, mainly produced in the Spring and Autumn Period, it can be said that the princes gradually deviated from the authority of Zhou Tianzi and boasted of their own merits. The shape and ornamentation of this tripod are obviously of the Jin system, which is very similar to the "Kui Dragon and Phoenix Pattern Ding" unearthed from the tomb of Zhao Qing in Jinsheng Village, Taiyuan, Shanxi, although the volume is relatively small, it does not lose the vigor of the wok, which can be used for reference.
1241
Qing Dynasty jasper flower and leaf pattern double beast live ring ear vase
Qing Dynasty
SPINACH-GREEN JADE VASE WITH DESIGN OF FLORAL
H 31.2cm
NTD 350,000
RMB 81,400
USD 11,670
Source: Late Qing Dynasty: Two jasper lotus pattern beast head ring ear cap bottles (H: 31.2 and 31cm). Christie's New York, 29 September 2022, lot 137.
Jasper, the color is green, the surface is wrapped in a light mist, and the ink is hidden inside. The body is tall and slightly flattened, and the shape is left and right, positive and antisymmetrical. The mouth cover of the child and mother, the cover is covered with the opening seal of the shape of the handle, and the cover and the mouth are covered with cloud and thunder ring patterns. The mouth is slightly rectangular, the neck is first closed and then expanded, each side has a dragon head thick ring, the abdomen is narrowed downward, and the bottom is attached to the rectangular circle. The decoration on it can be divided into cap, neck, abdomen three, the technique is the main relief, the Yin carving is supplemented: the upper edge of the bottle cap is painted with a triangular variant of the longevity pattern, and the lower edge is inserted with Ruyi moire interspersed. The neck is drawn in the banana leaf-like carving area, and the panache pattern is engraved inside; The shape of the bottle ear is the head of the beast, the nose, the round eyes and the rectangular nose, the eyebrows are curled up, and the lower ring is live, and the ring is as thick as Jue. The outer side of the belly of the bottle is made of a floating frame with a cloud pattern, the center is carved with an eight-petal high stamen lotus, and extends to the surrounding with a flower arabesque pattern, the main lotus spreads like a feather, and there are secondary flowers and sub-veins blooming next to it. The bottom is attached to the circle foot, and the tail is also decorated with cloud and thunder rings.
Chinese jasper and Hetian jade are both produced in Xinjiang, among which Manas jasper produced in Manas County is the most prestigious. This place has always been not a major jade mining area in China, until the discovery of the gold vein in the 26th year of Qianlong in the Qing Dynasty, Manas jasper was brought out of the Western Regions by merchants, and gradually attracted the attention of the society at that time, especially the court. It was precisely because of the Qing court's love for Manas jasper that the Qianlong court began to monopolize this jade species in the 54th year of Qianlong, strictly prohibiting the circulation of commerce[Note], so that jasper jade became a royal patent, and it was not until the late Qing Dynasty that folk jade was made. This jade bottle is deep and green, the volume is moderate, the ornamentation is gorgeous, the carving conceals the ingenuity of the craftsmanship of the Qing Dynasty, and it is a remarkable ornamental utensil.
Footnote:
Guo Fuxiang, "Research on Manas Jasper in the Qianlong Court", Journal of the Palace Museum, No. 2, 2015 (No. 178), pp. 10-16.
1230
Ming / Qing Dynasty Double Dragon Grab Pearls Hardwood Acid Branch Interstitial
Ming / Qing Dynasties
HARDWOOD INSERT SCREEN WITH DESIGN OF TWO DRAGONS AND PEARL
34×15×39cm
NTD 320,000
RMB 74,420
USD 10,670
Source: Old collection of senior jade collectors in Taiwan
The sour branch screen body, the wood is elegant, the main bright brown, and there are mucuna patterns intertwined in between. The black and brown intricacies are different everywhere, or there are those who are as meticulous as silk and layer upon layer; There are also soft waves like beautiful water, light and dark dyeing, and in the inner layer of the screen to fill the place, especially from the bottom and the top to one part, as if the lakeshore scenery in the forest time, is the texture of the ingenuity, the selection of unique materials.
The screen base is widely distributed with symmetrical carved flowers and leaves, solid, white and half, and some details are supplemented by yin carving, relief and collar gaps. The two sides of the center are decorated with tooth clouds, and the seat piers are hooked. The carving is skillful, the polishing is even, and the end of the engraving can still see the remnants of its hand-made. The screen is placed into the pedestal by the tenon of the child, which can be disassembled. The shape is divided into inside and outside, and the collar frame is left. The outer four sides are salty and hollow flowers and leaves, and each side is decorated with two and two; On the inside, a begonia-shaped white jade plaque is embedded in the center of the solid wood: the jade color is warm, and the brown and yin joints go side by side, as if it is impregnated by wood. The main application of double-layer carving method, on the dense forest pattern on the main body of the double dragon to grab the pearl between the flowers and plants, the two dragons on both sides of the pearl, bend their heads, limbs horizontally, the posture is three-dimensional and smart, the details are described, and the auxiliary patterns of flowers and leaves on the side are also properly configured. The main body of this interstitial screen has a clear style and orderly artistic expression, and the jade carving masterpieces of the middle Ming Dynasty are packed layer by layer in the vertical and horizontal hooked sour branches, and the state of preservation is excellent, and it is still undoubtedly the first choice for scholarly masterpieces.
1141
Ming Dynasty Yubi Shanzi
Ming Dynasty
JADE BOULDER, SHANZI
15.5×9.2×7.3cm
NTD 200,000
RMB 46,510
USD 6,670
The pen mountain of the Ming Dynasty continued to develop the jade pen mountain since the Song and Yuan dynasties, and derived from it the instrument that focuses on the use of appreciation, this tool is one of them: the jade is white, the color is thick and even, and the pulp is natural and delicate. The shape of the instrument is taken from the rock, all of which are trapezoidal, and the edges and corners and holes are carved on the surface, and the knife technique is wonderful, so that the jade is no different from the lonely stone, and is placed next to the tableside case, so as to achieve the purpose of "engraved mountain peaks, towering and beautiful" (Song Zhao Xihu's "Cave Sky Clearing, Pen Identification").
1258
Eastern Wei Dynasty bronze gilt pharmacist such as a sitting statue
Eastern Wei Dynasty
GILT-BRONZE FIGURE OF MEDICINE BUDDHA
4.2×2.1×13.3cm
NTD 200,000
RMB 46,510
USD 6,670
Source:
1. Private collection in Japan
2. Attached is a manuscript made by Kenhei Kuno, a scholar of Buddhist art in Japan, in the seventeenth year (2005).
The statue is accompanied by a manuscript signed by Ken Kuno (1920-2007), a scholar of Buddhist art in Japan, who was the first director of the Information Department of the Tokyo Institute of Cultural Properties, and who lectured on the history of Japan sculpture at the University of Tokyo, Tokyo University of the Arts, and Nagoya University, and wrote dozens of essays, such as "Essentials of Japan Art History", "Chronicle of Buddha Statues", and "History of Buddha Statues: Asuka Period to Edo Period" (tentative translation of the above titles). In addition to appreciating the appearance of this medicine master, the manuscript still dates it to after the Eastern Wei Dynasty, which should be said to be that according to the "Medicine Master Sutra" written in the Southern Dynasty in the first year of the Liu Song Dynasty (457), it was immediately transmitted to the north, so that the earliest existing statue of Medicine Buddha fell in the late Taihe period of the Northern Wei Dynasty (about the 90s of the 5th century)[1]; One of the statues of the Eastern Wei Dynasty is detached from the style of "skinny and clear images" and "praising clothes and belts" in the late Northern Wei Dynasty, so it presents the characteristics of this medicine master in the flesh bun, face and clothing. According to Mr. Chang Qing's statistics, there are only four known statues of Medicine Buddha in the Eastern Wei Dynasty, two of which are made of stone carvings, one has not yet been made public, and one is only named without being known[2], and there is almost no precedent in the auction market. This statue is not only rare, but it is also the only bronze gilt statue of the Medicine Buddha of the Eastern Wei Dynasty. As recorded in the Kuno Clan's manuscript, this statue is a precious relic with a nearly unique shape ("Class example のほとんどない遗品として約訲重である"), and it is a cultural asset that is difficult to debit.
Footnote:
[1] Chang Qing, "The Medicine Buddha Statue of Chengdu Wanfo Temple and the Belief of Medicine Buddha in the Northern and Southern Dynasties", Journal of the Palace Museum, No. 7, 2021 (No. 231), pp. 11-15.
[2] Ibid., pp. 16-20.
1242
20th century Emerald Wonderland character Shanzi
20th Century
JADEITE BOULDER WITH LANDSCAPE DESIGN
L 14.9cm W 10.5cm
NTD 350,000
RMB 81,400
USD 11,670
Emerald mountain, Zeruo spring pond frost, left yellow and right green, Bao Hua mist in the ice glow stone. The front is composed of high reliefs, framed before and after, carved strange trees, dangerous pavilions and flowing water trestle bridges in front of Yishuo Mountain, and then placed in the center to overlook Coats and boys; The back is truncated and slightly inscribed, and an arch bridge is built at the intersection of Junshan Gaoxi. Although the jade body is only slightly larger than the palm, its carving is magnificent and magnificent, and it does not lose the purpose of fairyland and Coats leisure, which is a masterpiece of contemporary jadeite.
1356
Early Qing Dynasty bronze gilt day such as to sit on the statue
Early Qing Dynasty
GILT-BRONZE FIGURE OF VAIROCANA
H 14.4cm
NTD 120,000
RMB 27,900
USD 4,000
1211
Qing Dynasty jade lotus leaf wash
Qing Dynasty
LOTUS-LEAF-SHAPED SPINACH-GREEN JADE WASHER
L 13.4cm H 10cm
NTD 100,000
RMB 23,260
USD 3,330
Source:
Christie's Hong Kong, 21 March 1990, lot 1048.
Taiwan Hongxi Art Collection
Jade stationery. The shape of the vessel is a flat long lotus leaf-shaped wash, the lotus root branches under the leaves are bundled, and the lotus pod and cotyledons are attached to the lotus side. The main body is like an oval, with a narrow diameter and a deep belly, and the edge of the mouth is folded wonderfully. Hui Ze is fresh and moist, the pulp is like glaze, the green and white phases are appropriate, and the carving skills are enough to make the good stone and the first pick of the green lotus are no different, which is really outstanding.
1212
Qing Dynasty jade double beast ear bottle
Qing Dynasty
SPINACH-GREEN JADE VASE WITH TWO HANDLES
MD 5.3cm H 12.9cm
NTD 50,000
RMB 11,630
USD 1,670
Source:
Sotheby's Paris, 8 November 2022, lot 147.
Taiwan Hongxi Art Collection
1332
Han Dynasty jade inlaid gold goblet
Han Dynasty
JADE CUP
MD 5.3cm H 10.6cm
NTD 160,000
RMB 37,210
USD 5,300
1019
Six Dynasties A pair of painted pottery figurines
Six Dynasties
A PAIR OF COLORED POTTERY FIGURE OF DANCERS
L 9.5cm W 6cm H 10.5cm / L 7cm W 6.2cm H 10.5cm
There is no reserve price
Source: Old collection of senior important collectors in Taiwan, acquired in the 1980s.
A group of two figurines. The whole body is colored, and the face, back hair, clothing edges and belts are still in their original color. The figurines are two kneeling dancers, dressed in the same clothes, and slightly opposite in posture: delicate facial features, slightly open silkworm eyes, small lips and cheeks, and hair in a bun. The cuff and belt are red. One hand is bowed forward, the other hand is raised behind the head, and the five fingers are curled like a hook. Keep your knees on the ground with your feet on one side; Or the right foot is turned to the front, and the left foot is slightly opened outward, which is a masterpiece of ancient terracotta figurines with a unique configuration.
1018
Tang Dynasty added painted pottery kneeling figurines
Tang Dynasty
COLORED POTTERY KNEELING FIGURE
L 14.6cm W 10.7cm H 7cm
There is no reserve price
Source: Old collection of senior important collectors in Taiwan, acquired in the 1980s.
The creeping figurines are common burial pottery in the tombs of the Tang and Song dynasties, and the saluteers are servants if they are not civil officials, and can be divided into two categories according to their shapes: kneeling figurines and listening figurines. The worship posture of this figurine is in line with the so-called "Commentary on Zhou Rites and Great Wishes" by Tang Jia Gongyan, "first arch your hands to the ground, and then head to hand...... The description of "with its head not reaching the ground" is the embodiment of the "empty hand worship" in the "Nine Bows" of the "Zhou Li, Great Blessing", and can be classified as kneeling figurines.
According to the shape of the prostrate figurines of the Tang Dynasty, most of them were made according to the "Zhou Li" and the actual customs of the time, and the differences in the volume of the terracotta figurines, clothing, craftsmanship and other aspects reflect the differences in the level of the tombs[1], for example, although the face and folds of the figurines are exquisite, and the image of empty-handed worship is very similar to the kneeling figurines unearthed from the Tang Huiling Tomb in Xi'an, Shaanxi (see also), but the size is not comparable with the latter, and the official uniform system is also different. In contrast to other archaeological excavations[2], it is possible that this figurine was from the tombs of mid-level and high-ranking officials. Although it is still impossible to determine the role of the empty-handed kneeling figurines in funeral ceremonies, this figurine is still a good evidence of the Chinese idea of "death is like life, and death is like survival" (Xunzi Treatise on Etiquette) and the use of ancient rites in the prosperous era of the Middle Ages.
Footnote:
[1] Zhang Yun, "Discussion on the Hierarchy of the Burial Terracotta Figurines in the Tomb of Li Xian", Archaeology and Cultural Relics, No. 1, 2005, pp. 62-63.
[2] Li Yizhou, "Tang Dynasty Kneeling Warriors and Listening Figurines Examination", Cultural Relics Identification and Appreciation, 2017, No. 8, pp. 16-19.
1005
Liangzhu culture gray pottery single ear cup / Xindian culture painted pottery pot
Liangzhu Culture GREY POTTERY CUP WITH A HANDLE /
Xindian Culture COLORED POTTERY JAR
MD 7cm H 8.5cm / MD 15.8cm H 22.5cm
There is no reserve price
Source: Old collection of senior important collectors in Taiwan, acquired in the 1980s.
1022
Liao Dynasty green glazed double monkey skin pouch pot two
Liao Dynasty
TWO RARE GREEN GLAZED POTTERY FLASKS
L 16.6cm W 8.8cm H 25.5cm / L 18cm W 9.5cm H 27cm
There is no reserve price
Source: Old collection of senior important collectors in Taiwan, acquired in the 1980s.
1044
Qijia culture jade/jade two pieces
Qijia Culture JADE CIRCULAR DISC, BI /
Qijia Culture TWO JADE CARVINGS, HUANG
D 8cm / 11.2×4.2cm / 14.9×5.5cm
There is no reserve price
Source: Old collection of senior jade collectors in Taiwan
1058
Hongshan Culture Jade Beast Face Pattern / Hongshan Culture Jade Y-shaped vessel
Hongshan Culture JADE PENDANTS WITH BEAST MASK DESIGN / Hongshan Culture Y-SHAPED JADE CARVING
L 7.2cm / L 5.8cm
There is no reserve price
1084
Sui Dynasty Gongxian kiln green glaze Piyong inkstone pair
Sui Dynasty
A PAIR OF GONGXIAN COUNTY KILN CELADON INKSTONES
5.7×2.2cm / 6.3×2.3cm
There is no reserve price
1090
Northern Song Dynasty white glaze printed floral pattern
Northern Song Dynasty
WHITE GLAZED MOULDER FLORAL BOWL
D16.6cm H 4.7cm
NTD 30,000
RMB 6,980
USD 1,000
Source:
Sotheby's New York, 18 March 2017, Lot 1374.
Private collection of Wanbaozhai in Taiwan.
1094
Tang Dynasty silver-gilded flower leaf Rui beast pattern bowl
Tang Dynasty
FINE AND VERY RARE GOLD-PLATED SILVER 'FLOWER AND BEAST' BOWL
D12.6cm H 5.7cm
NTD 300,000
RMB 69,770
USD 10,000
Source: Taiwan Wanbaozhai Private Collection.
Silver bowl with hammered shape. The bowl is made of fourteen lotus petals, and the wall is concave with the petals and an equal number of S-shaped folds. The mouth is turned up, the oblique wall is flat, and the bottom of the circle foot is slightly open. The main ornament is engraved, and the ground pattern is painted with gold plating. The outer wall is based on caviar patterns, and gold threads are added from the fold to the edge of the bowl, so that the composition follows the lotus petals. Each petal or single ornament folded branches and leaves, or by the flowers and leaves with deer, fox, rabbit, sheep, all kinds of birds and birds and mountain patterns to complement each other. The inner wall is retained, and it can be seen that the forging is even. The center of the bottom of the bowl is welded with a circular ornament, which is a high-carved sea beast and a two-sided water bird lying on the water wave pattern, and the joint of the weld is covered with gold paint. The outer side of the ring foot is gilded, the upper chisel diamond-shaped four-leaf pattern, the lower edge is closed with beads, and the foot is made of four-leaf symmetrical knots.
This bowl is densely decorated, and the wall composition is skillfully hammered into a vessel-shaped shape, which is gorgeous and extravagant and orderly; The bottom ornament can make the sea beast loom under the elixir and jade liquid, and boast the gold and silver brilliance to the extreme, which is equivalent to the superior goldwork of the Middle Ages. According to the layout of its "floor makeup", the use of ornamentation, and the precision work of multiple techniques such as plating, hammering, chiseling, and welding, this bowl should have been a royal utensil from the early Tang Dynasty to Gaozong[Note], which is evidence of the systematic production of gold and silver artifacts from the mining area to the workshop during the strong national power of the Tang Dynasty, and on the other hand, it also implies the blood and tears of craftsmen who were subjected to high-pressure exploitation by the government at that time.
Footnote:
Han Wei, The Extracts of Tang Dynasty Gold and Silver Ware at Home and Abroad (Xi'an: Sanqin Publishing House, 1989), pp. 18-19.
1095
Six Dynasties Jade Divine Beast
Six Dynasty
JADEBEAST
9.5×5.9×4cm
NTD 400,000
RMB 93,020
USD 13,330
Source: Taiwan Wanbaozhai Private Collection.
Green jade, the head, tail, and side of the body are dyed with dark brown bands, and the color is deep and majestic. The body is curled up, and the head of the beast is slightly raised. Beaded eyes and handsome eyebrows, thick mane and small ears, long snout and teeth, tongue and abdomen slightly exposed. The ribs are exposed, the plates are divided into claws, and the tail is folded. In a simple, quiet form, it embodies the fresh life and the essence of the Chinese mythical beast.
1112
Ming Dynasty bronze wrong gold and silver antique dragon dragon
Ming Dynasty
GOLD AND SILVER INLAID BRONZE POURING VESSEL, YI
H 9cm L 14.5cm
NTD 110,000
RMB 25,580
USD 3,670
1130
Neolithic Jade Ring Two Pieces / Eastern Zhou Agate Three Cai Ring
Neolithic Period TWO JADE RINGS, HUAN /
Eastern Zhou Dynasty AGATE RING, HUAN
D 5.4cm / D 5.6cm / D 6cm
There is no reserve price
1131
Han Dynasty White Jade Valley Pattern / Han Dynasty Jade Cicada
Han Dynasty
WHITE JADE CIRCULAR DISC, BI / Han Dynasty JADE CICADA
D 4.5cm / L 5.7cm
There is no reserve price
1181
Five Dynasties / Northern Song Dynasty Yue kiln blue glaze engraved floral pattern bowl
Five Dynasties - Northern Song Dynasty
YUE KILN CELADON BOWL WITH FLORAL DESIGN
12.1×5.1cm
There is no reserve price
1194
Western Zhou Dynasty bronze beast face pattern square seat
Western Zhou Dynasty
BRONZE FOODING VESSEL, GUI
22.8×22.5cm
NTD 100,000
RMB 23,260
USD 3,330
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