Page 131 - 2019 September 11th Sotheby's Important Chinese Art

Fig. 1 A soapstone carving of a luohan by Zhou Bin. Shuisongshi
Shanfang Collection
圖一 周彬作壽山石雕羅漢坐像 水松石山房收藏

Sensitively fashioned in the round from a stone of attractive painting’) in carving landscapes, flowers, pines and bamboo
yellowish-orange tones, this figure bears the mark Shangjun, on seals. His works were widely sought after throughout
the sobriquet name of Zhou Bin. One of the best known and the Qing dynasty. The late Qing painter and seal carver Wu
talented carvers of the 17th century, Zhou was a native of Changshuo (1844-1927) added an inscription to a seal made
Zhangzhou in Fujian province, where the large soapstone by Zhou, with the words ‘This stone was carved by Zhou
quarries are situated. Although textual information about Shangjun, we should especially treasure it’ (ibid., p. 84).
him is scarce, and his exact dates are not known, he is A soapstone carving of a luohan in a similar pose and signed
believed to have been active in the Kangxi period and to have Shangjun, included ibid., cat. no. 44 (fig. 1), was sold in our
been trained by Yang Yuxuan, another well-known soapstone London rooms, 12th November 1974, lot 89; another, in the
carver.
National Museum of Chinese History, Beijing, is illustrated in
Zhou’s proficiency with the carving knife and his ability to Zhongguo wenwu jinghua daquan. Jin yin yu shi juan, Hong
capture minute details are evident in this piece. The figure’s Kong, 1994, pl. 242; one modeled with an elbow resting on
expressive posture, leaning on one hand while intently a rock, was included in the exhibition Documentary Chinese
looking at the other hand, the carefully gilded medallions Works of Art In Scholar’s Taste, Sydney L. Moss Ltd., London,
and edges of the robes, and highly sophisticated motif of the 1983, cat. no. 123; another from the collection of R. Foster
cushion, are all characteristic of Zhou’s works. Gerard Tsang Reynolds, was sold in these rooms, 24th February 1983, lot
and Hugh Moss in the catalogue to the exhibition Arts of the 194, and again in our Hong Kong rooms, 4th April 2012, lot
Scholar’s Studio, Fung Ping Shan Museum, Hong Kong, 1986, 136, from the Water, Pine and Stone Retreat collection; and
p 86, note that ‘Zhou’s incising of robe edges, decorative a further figure was sold in these rooms, 22nd September
medallions and cushion details is second to none’. 2005, lot 60. See also a carving of a reclining Budai signed
Shangjun, in the Palace Museum, Beijing, illustrated in
While Zhou’s figural carvings were well known for
their sculptural qualities, he was better known among Compendium of Collections in the Palace Museum. Sculpture,
contemporary scholar-officials for his soapstone seals. He is vol. 6, Brass and Stone Sculptures, Beijing, 2011, pl. 200.
said to have used the Chinese painting concept of xieyi (‘idea

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