Page 199 - Sothebys Speelman Gems of Chinese Art

Naturally occuring crystal has long been prized in China pl. 266. See also a brushpot inscribed with the four-character
amongst the literati who associated its understated qualities Qianlong yuyong (‘Made for the imperial use of the Qianlong
with ‘plain beauty’. Flawless in appearance with an almost Emperor’) mark, attributed to the Palace Workshops,
glass-like clarity, the raw material of the present vessel alone included in the exhibition Arts from the Scholar’s Studio, Fung
would have been a great luxury in the early 18th century, long Ping Shan Museum, Hong Kong, 1986, cat. no. 130; and an
before the annexation of Xinjiang in 1759 that led to more extremely rare Yongzheng mark and period crystal inkstone
abundant sources of crystal. One of the earliest records on sold in these rooms, 7th April 2015, lot 104.
crystal dates from the Tang dynasty (618-907) where it is
Although unmarked, the present piece closely relates to
mentioned as a product of “water turned to stone” and “a
the marked group of crystal carvings. Further unmarked
beautiful material imported from Persia”, hence the Chinese
examples, all crafted with the same level of exquisite
name shuijing, ‘the brilliance of water’.
craftsmanship and unique in form and design, include a
Crystal scholar’s objects produced for the imperial court smaller washer, attributed to the Qianlong period (r. 1736-
are rare, with only a small number recorded from the Qing 1795), from the collection of Mary and George Bloch, sold in
Court collection and preserved in the holdings of the Palace these rooms 23rd October 2005, lot 18; another, from the
Museum, Beijing; two cups flanked with handles, one of Water, Pine and Stone Retreat collection, included in the Fung
lobed form and the other with facetted sides, are published in Ping Shan Museum exhibition, op.cit., cat. no. 93; and two
Zhongguo yuqi quanji [Complete collection of Chinese jades], archaistic vases, one from the collection of Lord Fairhaven
vol. 6, Shijiazhuang, 1993, nos 13 and 14 respectively; and a and the other in the Victoria and Albert Museum, London,
cup, vase and duck-form water dropper are published in The published in R. Soame Jenyns, Chinese Art. The Minor Arts
Complete Collection of Treasures of the Palace Museum. II, Fribourg, 1965, pls 187 and 188 respectively. Clearly, the
Treasures of Imperial Court, Hong Kong, 2004, pls 22, 23 and material itself was highly valued and only utilised for the
181 respectively, together with two mountain-shaped seals, highest quality works of art.

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