Page 163 - Sotheby's Junkunc Collection March 2019

he present cup follows the cylindrical form and archaistic design of Han dynasty
prototypes, such as the famous cup and cover in the Freer Sackler Galleries, Smithsonian
TInstitution, Washington D.C., acquired from C.T. Loo in 1947, and extensively published,
including in Hai wai i chen / Chinese Art in Overseas Collections, Taipei, 1985, pl. 64 and Sueji Umehara,
Shina kogyoku zuroku / Selected Specimens of Chinese Archaic Jade. Kyoto, 1955. pl. 61.

In Alfred Salmony’s posthumously published book Chinese Jade Through the Wei Dynasty, New York,
1963, a number of cups of this type, including the present lot, are illustrated where the author advocates
for a Wei dynasty, 4th to 6th century, attribution to the group, see p. 235 and pls XXXVIII and XXXIX-1 and
2. This theory was subsequently disproved following the discovery of a number of similar jade cups from
later tombs, including one discovered near Beijing in 1962 in a tomb dated 1676, as recorded in Wenwu,
1963. vol. 1, no. 42, fig. 18. The cup was incised with the name Lu Zigang, suggesting that it was carved
by the renowned Suzhou jade carver active in the second half of the 16th century. In 1975, Max Loehr
acknowledged the difficulty in attributing a firm date to this group when he illustrated a similar cup with
a ‘Eastern Han or later’ attribution, see Max Loehr, Ancient Chinese Jades from the Grenville L. Winthrop
Collection in the Fogg Art Museum, Cambridge, Massachusetts, 1975, pl. 625.

Compare a similar cup, originally illustrated alongside the present lot in Salmony, op. cit., pl. XXXVIII, and
subsequently included in the exhibition Chinese Jades throughout the Ages, Victoria and Albert Museum,
London, 1975, cat. no. 322, where it was attributed to the 13th-15th century. The same cup was more
recently included in the exhibition 5,000 Years of Chinese Jade, San Antonio Museum of Art, San Antonio,
2012, cat. no. 54, where it as described as Song dynasty.

Compare another tripod cup from the collection of Quincy Chuang included in the exhibition Chinese
Jades from Han to Ch’ing, New York, 1980, cat. no. 40. Another, in the Asian Art Museum of San
Francisco is illustrated in Chinese Jades from the Avery Brundage Collection, Tokyo, 1977, pl. XXXVI where
it is attributed to the Song to Yuan period.

A slightly squatter cup, similarly carved with phoenix, but raised on three animal-head feet, attributed
to the Song dynasty, in the National Palace Museum, Taipei, see Illustrated Catalogue of Ancient Jade
Artifacts in the National Palace Museum, Taipei, 1982, pl. 360.

本品玉卮，单耳，筒身，三獸首足，造型仿古，襲 參考一相類例，曾與本品並錄於 Salmony ，
漢代遺制。其漢代原型可見華盛頓弗瑞爾及賽克勒 前述出處，圖版XXXVIII，後展於《Chinese Jades
美術館所藏蓋卮，1947年由盧芹齋手中購得，經多 throughout the Ages》，維多利亞與阿爾伯特博物
次出版，載於《海外遺珍:玉器》，台北，1985年， 館，倫敦，1975年，編號322，斷代十三至十五世
圖版64，以及梅原末治編，《支那古玉圖錄》，京 紀。此例近展於《5,000 Years of Chinese Jade》
都，1955年，圖版61。 ，聖安東尼奧藝術博物館，聖安東尼奧，2012年，
編號54，斷代宋。
Alfred Salmony 在其書《Chinese Jade Through
the Wei Dynasty》，紐約，1963年，中記載了多 另可比較一件三足盃，Quincy Chuang 收藏，展
件相似的玉卮，包括本品，且作者斷代為四至六世紀 出《Chinese Jades from Han to Ch’ing》，
魏朝，見頁235及圖版XXXVIII及XXXIX-1及2。然 亞洲協會，紐約，1980年，編號40。再有一件斷
而後來的考古發現推翻了此說法，在1962年於北京 代為宋至元代，為舊金山亞洲藝術博物館藏品，刊
發現的紀年1676年的明代墓中便有多件造形相似的 於《Chinese Jades from the Avery Brundage
玉卮，錄於《文物》，冊1，1963年，42頁，圖18 Collection》，東京，1977年，圖XXXVI。再可
。玉卮刻有陸子岡款，說明是由蘇州琢玉巨匠陸子岡 參考一例，刻有相似鳳紋，且有獸首三足，定為宋
所作，而子岡活躍於明末十六世紀下半葉，許多文人 代，為國立故宮博物院藏，錄《故宮古玉圖錄》，台
筆記皆有記載。Max Loehr 在他著錄的《Ancient 北，1982年，圖360。
Chinese Jades from the Grenville L. Winthrop
Collection in the Fogg Art Museum》，劍橋，麻
薩諸塞州，1975年，圖版625，中說明這批玉雕斷
代目前尚未釐清，暫且訂為東漢或更晚。

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