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THE PROPERTY OF A GENTLEMAN 士紳藏品

66
A RARE BISCUIT PORCELAIN RELIEF-CARVED
‘LANDSCAPE’ JAR
Daoguang seal mark and of the period
Finely and meticulously carved on the exterior with a fenced pavilion,
inside a scholar at a desk while another figure fetches tea, all within
a continuous landscape of heaped mountains, bamboo, pines and
wutong trees, in the distance a moored boat and a distant bridge,
exquisitely delineated to create an enchanting scene, all between floral
scrolls on a diaper-pattern ground on the neck and base, wood stand.
16cm (6 1/4in) high (2).

£15,000 - 20,000 CNY140,000 - 180,000
HK$160,000 - 220,000

清道光 素胎浮雕瓊樓玉宇圖小罐 Image courtesy of the Hong Kong
「大清道光年製」篆書款 Museum of Art

Provenance: an English private collection, assembled in Hong Kong
from 1967-1989, and thence by descent

來源：
英國私人收藏，於1967至1989年期間蒐於香港，並由後人保存迄今

The elaborate yet delicate landscape carving style, as exemplified by
the present jar, suggests it was carved by one of the great craftsmen
of the time, possibly Chen Guozhi 陳國治 (circa 1820-1860). Chen
was a native of Qimen, Anhui province, and was renowned for his
ability to carve designs on porcelain with the intricacy and elegance
of those found on paintings. He was active during the Daoguang
and Xianfeng reigns and may have worked for the imperial court,
suggested by the appearance of an Imperial reign mark and his name
on some of his wares.

Although Chen was an accomplished artist of the period, little was
mentioned about his career in 19th century literary sources. One such
account appears in Richard John Lynn’s 1991 translation of Zhao
Zhiqian’s book on snuff bottles of the late nineteenth century. In this
account, the unique quality of Chen’s workmanship was described as
similar to ‘carved porcelain bottles with the technique of a painter ...
just as they might appear in an album of paintings done by the Song-
era Painting Academy... although there are others who try to imitate
his work, no one ever manages to match it.’ Another account by Jin
Wuxiang, author of Suxiang Suibi in the Guangxu period, stated the
value of Chen’s work as ‘every piece being valued at ten pieces of
gold’, and the magistrate named Jiang Juting presented him with a
calligraphy couplet in praise, reading ‘Earth and clay turned to gold
and jade; a man in plain cloth becomes of royal rank’. See H.Moss,
V.Graham, and K.B.Tsang, A Treasury of Chinese Snuff Bottles. The
Mary and George Bloch Collection. Vol.6. Part 3. Arts of the Fire, Hong
Kong, 2008, pp.759-762.

Compare with a related relief-carved biscuit vase, Daoguang seal mark
and of the period, of similar shape decorated with landscape scenes
and lotus scrolls to the waisted neck, in the collection of the Hong
Kong Museum of Art, illustrated in The Wonders of the Potter’s Palette:
Qing Ceramics from the Collection of the Hong Kong Museum of Art,
Hong Kong, 1984, p.162, no.107. Another related biscuit porcelain
relief-carved brushpot of similar style, Daoguang seal mark and of the
period, which was sold in our rooms, 6 November 2014, lot 192.

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