Page 200 - Christie's, NYC Important Chinese Works Of Art Sept. 22-23, 2022

PROPERTY FROM A DISTINGUISHED PRIVATE 881
COLLECTION A RARE DARK OLIVE-GREY STONE TILE-FORM INKSTONE The inscription on one side is signed Gao Fenghan (1683-1749), a well-known
~879 FIRST HALF OF 18TH CENTURY Qing dynasty poet, painter, calligrapher and seal carver, known for his love
A HUANGHUALI BRUSH POT A similarly shaped huanghuali brush pot, but The ink stone is made in the form of a Han roof tile, with one end gently curved of inkstones. The inscription states that the inkstone previously belonged to
18TH CENTURY of more squat form, is currently in the Liangyi and carved with a seven-character inscription, fang Han Shiquge wa yan (in Lantai Zheng shan ren (hermit Zheng of Lantai), that the stone comes from
The brush pot is carved with a thick, lipped everted Collection and illustrated in C. Evarts, Liang Yi imitation of the inkstone made from the roof tile of Shiqu pavilion of the Han Qingzhou (present-day Shangdong province), that the carving is reminiscent
of statues from the Five Dynasties, and that Gao was asked to carve the
rim and a slightly bulbous lower body. collection: Small Objects, Hong Kong, 2007, p. 31, dynasty), and the other end more deeply curved. The circular grinding surface inscription by his friend Wen shan ren (hermit Wen).
no. 13.
5¡ in. (13.6 cm.) high has a beaded border below a poem titled Langweng zan (An accolade by
an idle old man), followed by a seal reading Shiwen yin (seal of Shiwen). The
顯赫私人珍藏 underside is carved in archaistic script with four characters, Shiqu ge wa (roof A Duan inkstone similar in shape to the present inkstone, dated Qianlong,
$5,000-7,000 tile from the Shiqu pavilion), followed by Xuande yuannian (first year of Xuande and similarly inscribed with an inscription and a seal above the circular
清十八世紀 黃花梨筆筒 reign [1426]), and two seals, Xuan and De, and there is a lengthy inscription on grinding surface was sold at Christie's Hong Kong, 16-17 January 1989, lot
PROVENANCE: 409.
Marcus Flacks, New York, 2003. 來源: one long side which is signed Gao Fenghan.
馬科斯‧弗拉克斯, 紐約, 2003年 5 7/8 in. (15 cm.) long
LITERATURE: 十八世紀上半葉 石渠閣瓦硯
M. Flacks, Custodians of the Scholar's Way, Sylph 出版: $20,000-30,000
Editions, London, 2014, pp. 136-137. 馬科斯‧弗拉克斯, 《Custodians of the Scholar's 來源:
Way》, 倫敦, 2014年, 頁 136-137 PROVENANCE: 大維德 (1892-1964)爵士珍藏, 英國
Sir Percival David (1892-1964) Collection, England. 倫敦邦瀚斯, 1983年4月20日, 拍品編號132
Bonhams London, 20 April 1983, lot 132. Auspicious Treasures from the Blumenfield Collection; 紐約佳士得, 2012年3
Auspicious Treasures from the Blumenfield Collection; Christie's New York, 22 月22日, 拍品編號1278
March 2012, lot 1278.
展覽:
EXHIBITED: 洛杉磯, 「Sumptuous Elegance: Art of the 18th Century Qing Dynasty」, 洛
Los Angeles, Sumptuous Elegance: Art of the 18th Century Qing Dynasty, Los 杉磯郡立美術館, 1992年3月17日- 6月30日
Angeles County Museum of Art, 17 March - 30 June 1992. 出版:
LITERATURE: S. Riddel, 《Dated Chinese Antiquities》, 倫敦/波士頓, 1979年, 頁188-9, 圖版
S. Riddel, Dated Chinese Antiquities, London/Boston, 1979, pp. 188-9, pl. 149a, 編號149a, 編號1426.
no. 1426.
The poem inscribed above the well was composed by the Northern Song
879
poet Su Shi (1037-1101), who is known to have given to his friend Chen
Mingying an inkstone on which he incised the same poem that appears on
the present example. The poem cites the antiquity and the source of the
stone, and extolls its qualities, as well as its worthiness of being preserved by
later generations.
VARIOUS PROPERTIES
880
A LARGE ROOTWOOD SCULPTURE
18TH-19TH CENTURY
Of naturalistic form, the sculpture is formed from a
contorted matrix of knotted roots issuing from a solid base.
49æ in. (126.4 cm.) high
$7,000-9,000
(inscription) The International Exhibition of
PROVENANCE: Chinese Art at the Royal Academy
Private collection, New England. 1935-6: Sir Percival David, Exhibition
Committee Director, and Tang Xifen
(Tang Hsi Fen) Exhibition Secretary,
LITERATURE:
R. Shipmon, "A Passion for Art," In New York, November 2007, p. 27. examining exhibits. Photograph by an
unknown photographer from Topical
Press Ag, 1935. © Photo: Royal
Like the stones used for garden and scholar’s rocks, objects made of Academy of Arts, London.
rootwood, such as the present sculpture, embody the Daoist concept of
qi, the 'spirit-energy’ of which all things are made. The organic forms of
these materials were appealing as they conveyed a sense of humility and a
connection to nature. Although initially chosen for their natural shape, these
pieces were often enhanced or worked by hand in order to emphasize or
clarify certain characteristics in the material, all the while aiming to retain the
inherent authenticity.

清十八/十九世紀 木根雕擺件
來源:
新英格蘭私人珍藏
出版:
Shipmon, Ron. <A Passion for Art>, 《In New York》, 11月, 2007年, 頁 27

880

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