Page 247 - J.J. Lally Chinese Art CHRISTIE'S March 23 2023 NYC

~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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