Page 82 - Bonhams Asian Art London November 5, 2020

74 TP
A LARGE SCHOLAR’S ROCK ON A
ROOTWOOD STAND
Qing Dynasty
The stone with an irregular structure and punctuated
with a large opening, of brownish-grey tone, with
gnarled rootwood stand. 81cm (31 7/8in) high. (2).
£7,000 - 10,000
CNY61,000 - 88,000

清 賞石連癭木座

The collecting and connoisseurship of extraordinary
shaped rocks has a long and compelling history
in Chinese aesthetic culture. Throughout the
centuries both emperors and the scholar-elite have
considered the rocks’ unusual forms worthy of
contemplation in both an exterior garden setting as
well as inside the home. Enjoyed for their dynamic
shapes that could be judged with similar criteria
used for calligraphy — traditionally the highest art
form in China - or appreciated for their resemblance
to lofty mountains or coiled dragons, fantastic rocks
(guaishi) were prized for their abstract qualities as
well as their inspiration for imagination.

Compare with a related Lingbi rock with one
perforation, Ming dynasty, with Southern openwork
style stand, illustrated in Worlds Within Worlds: The
Richard Rosenblum Collection of Chinese Scholars’
Rocks, Cambridge MA, 1999, p.162.
74 75 Y
A GNARLED FRUITWOOD BRUSHPOT, BITONG
18th century
Expertly hollowed, the irregular bumpy surface
imitating a tree-trunk with numerous knots and
‘eyes’, the wood patinated to a dark-chocolate tone.
12.5cm (4 3/4in) high.
£2,000 - 3,000
CNY18,000 - 26,000

十八世紀 根瘤隨形筆筒
76
MANNER OF BIAN WENYU (1576-1655)
Wild Geese Descending on the Sandbank, cyclically
dated to Yimao year corresponding to 1639
Hanging scroll, Ink and pigment on paper, with
signature and seals of the artist. 97cm (38 1/4in) high
x 40.5cm (15 3/4in) wide.
£2,000 - 3,000
CNY18,000 - 26,000

卞文瑜（款） 平沙落雁 紙本設色 立軸裝裱 一六三
九年作

The title and theme of the present painting ‘Wild
Geese Descending on the Sandbank’ (平沙落雁)
is also the name of one of the most popular guqin
pieces of music. With its description of emotions
stirred by a natural scenery, it is a quintessential guqin
piece. The earliest record of the piece was found in
the Ming dynasty music anthology ‘Guyin Zhengzong’
where it is ascribed to the Ming prince Zhu Quan.

Bian Wenyu was a native of Suzhou, Jiangsu Province.
75 His style name was Renpu, and his sobriquet was
Fubai. He was gifted in landscape painting.

For details of the charges payable in addition to the final Hammer Price of each Lot
80 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.