Page 246 - J.J. Lally Chinese Art CHRISTIE'S March 23 2023 NYC
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~927 A MOTHER-OF-PEARL-INLAID ZITAN                          清十八 十九世紀ǭ紫檀嵌に鈿詩文✖✢ǭ
               BRUSH POT                                            款識:「⒢蓭」
               18TH-19TH CENTURY
               Of cylindrical form with thick straight sides, the brush pot is inlaid   Ϝ源
               in mother-of-pearl with two poetic inscriptions in running script   水松⒢山房莫士撝Ⅷ藏
               referring to the art of calligraphy, followed by the signature Shi’an   藍理捷
 紐約
 編號
               and a blank seal.
                                                                    展覽
                                                                    紐約
 藍理捷
 「雅ㅳ:中國文՞藝ワ」
     年 月     日
               4√ in. (12.4 cm.) high; cloth box
               $50,000-70,000                                       ֨ḛ
                                                                    藍理捷
 《雅ㅳ:中國文՞藝ワ》
 紐約
     年
 編號
               PROVENANCE:
               Hugh Moss, Shuisongshi Shanfang (Water, Pine and Stone
               Retreat) Collection.
               J. J. Lally & Co., New York, no. 2619.
               EXHIBITED:
               New York, J. J. Lally & Co., Elegantly Made: Art for the Chinese
               Literati, 13-27 March 2020.
               LITERATURE:
               J. J. Lally & Co., Elegantly Made: Art for the Chinese Literati,
               New York, 2020, no. 3.

               The first three inscribed lines are taken from a short prose   This is followed by the name Shi’an, which is a hao of Liu Yong
               composition, the Jiu hua tie (Chive Blossoms Couplet) by Yang   (1719-1804).
               Ningshi (AD 873-954), an important calligrapher of the Five
               Dynasties period (AD 907-960). The composition reads:  Liu Yong was a high official and a calligrapher renowned for
                                                                    his interpretations of Jin, Tang, and Song calligraphic styles and
               When a single leaf first announces autumn’s here     known for his upright reputation. Although both inscriptions on
               That’s when chive blossoms begin to flaunt their flavor.  the present example are excerpts from poems by Yang Ningshi,
               Ningshi                                              only the first is based on Yang’s hand; the second is Liu Yong’s
                                                                    own style.
               This is followed by five lines excerpted from a five-syllable poem
               also by Yang Ningshi, Shenxian qiju fatie (Method of Daily Life    An example of Liu Yong’s calligraphy based on Yang Ningshi’s
               that Leads to Immortality):                          Jiu hua tie (Chive Blossoms Couplet), quoting the same couplets
                                                                    followed by the name Ningshi as shown on the present brush
               Never grow tired by frequency of practice            pot, in the collection of the National Palace Museum, Taipei, is
               through days and nights without number.              illustrated by Wang, ‘Liu Yong shuxue tanlue (Brief Discussion on
               For only after long years of accumulated success     the Studies of Liu Yong’s Calligraphy),’ NPM Monthly of Chinese
               does one gradually enter the path of immortality.    Art, Taipei, 2002, No. 5 (Issue 230), p. 71.































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