NICHOLAS GRINDLEY LLC: The Online Chinese Scholar's Object Show
Nicholas Grindley LLC is proud to present our first ever online exhibition. We have called this Nicholas Grindley: The Online Chinese Scholar’s Object Show, and have selected objects we would have ordinarily shown in our cabinets at the prestigious Fine Art Asia Fair held at the in Hong Kong, each October. Unfortunately, due to current restrictions, we are not able to participate this year, a real disappointment for us as we have attended nearly every year since its inception in 2006.
Each of the 16 items have been carefully chosen to fulfil the needs of the Chinese scholar – from brushes to brushpots, ink-cakes to inkstones, each object served a purpose and would have commonly been found in scholars studios during the Qing dynasty.
Condition reports and prices are available on request.
Please contact [email protected] or [email protected] if you have any further queries.
Nicholas Grindley LLC 在此诚意向阁下推介我们的首个虚拟展览 “尼古拉斯•格林利：中国文人雅玩线上展览”，该展将带来今季的精选器物。往常我们会在香港典亚艺博上展出本季集珍，但介于今年的特殊形势，很遗憾无法到场参与，这也是自2006年典亚艺博创办以来，我们为数不多的一次缺席。
本次线上展览中的16件精选展品以文人书房中必不可少的物件及摆设为主，包括毛笔、笔筒、墨锭、砚台等，每一件物品皆有其雅用，且亦都是清代书斋中的常见之物。
阁下如需查阅品相报告及了解报价详情，欢迎垂询。
请联系 [email protected] 或 [email protected] 获取更多信息！
Each of the 16 items have been carefully chosen to fulfil the needs of the Chinese scholar – from brushes to brushpots, ink-cakes to inkstones, each object served a purpose and would have commonly been found in scholars studios during the Qing dynasty.
Condition reports and prices are available on request.
Please contact [email protected] or [email protected] if you have any further queries.
Nicholas Grindley LLC 在此诚意向阁下推介我们的首个虚拟展览 “尼古拉斯•格林利：中国文人雅玩线上展览”，该展将带来今季的精选器物。往常我们会在香港典亚艺博上展出本季集珍，但介于今年的特殊形势，很遗憾无法到场参与，这也是自2006年典亚艺博创办以来，我们为数不多的一次缺席。
本次线上展览中的16件精选展品以文人书房中必不可少的物件及摆设为主，包括毛笔、笔筒、墨锭、砚台等，每一件物品皆有其雅用，且亦都是清代书斋中的常见之物。
阁下如需查阅品相报告及了解报价详情，欢迎垂询。
请联系 [email protected] 或 [email protected] 获取更多信息！
0118-03
A zitan wrist rest carved to imitate a qin instrument curved in both horizontal and vertical cross-section, with camel bone inlay to the right-hand side. The bridge and ends are carved in relief. The reverse has shaped feet with recesses for the soundboards in the lower section, known as the ‘dragon’ and ‘phoenix pool’.
Qing dynasty, early 19th century.
length 29.5 cm / 11 3/4 in
Provenance:
Nicholas Grindley, London, 1994
John C. Weber, New York, 1994–2018
This wrist rest is unusual in its lack of inscription, as most miniature qin-form wrist rests are inscribed with inscriptions after Guo Shangxian. In Daoist thought, the qin is pathway to inner peace and enlightenment and the elements of the instrument are related to the cosmos.
For a wrist rest in the shape of lute, with a Guo Shangxian inscription, please see one in the Minneapolis Institute of Arts collection here.
此紫檀木臂搁作古琴状，垂直向及水平向横截面皆做出曲度，琴面以骆驼骨镶嵌十三徽。琴头雕出耸起的岳山，琴尾则做浮雕的龙龈和冠角。背部带雁足，足两侧分别为龙池与凤沼。
清 十九世纪初
长 29.5 厘米
来源：
尼古拉斯 • 格林利，伦敦，1994
约翰 • 韦伯，纽约，1994-2018
大多数存世古琴臂搁刻有郭尚先（1785-1833）题铭，而此古琴臂搁特别之处在于其表面素洁。道教认为琴乃直抵内心致远宁静和无上灵慧的渡船，因此，古琴的形制构件也蕴含着中式哲学的天地观。
形制类似但刻有郭尚先题铭的一例琴形臂搁，见明尼阿波利斯美术馆馆藏。
A zitan wrist rest carved to imitate a qin instrument curved in both horizontal and vertical cross-section, with camel bone inlay to the right-hand side. The bridge and ends are carved in relief. The reverse has shaped feet with recesses for the soundboards in the lower section, known as the ‘dragon’ and ‘phoenix pool’.
Qing dynasty, early 19th century.
length 29.5 cm / 11 3/4 in
Provenance:
Nicholas Grindley, London, 1994
John C. Weber, New York, 1994–2018
This wrist rest is unusual in its lack of inscription, as most miniature qin-form wrist rests are inscribed with inscriptions after Guo Shangxian. In Daoist thought, the qin is pathway to inner peace and enlightenment and the elements of the instrument are related to the cosmos.
For a wrist rest in the shape of lute, with a Guo Shangxian inscription, please see one in the Minneapolis Institute of Arts collection here.
此紫檀木臂搁作古琴状，垂直向及水平向横截面皆做出曲度，琴面以骆驼骨镶嵌十三徽。琴头雕出耸起的岳山，琴尾则做浮雕的龙龈和冠角。背部带雁足，足两侧分别为龙池与凤沼。
清 十九世纪初
长 29.5 厘米
来源：
尼古拉斯 • 格林利，伦敦，1994
约翰 • 韦伯，纽约，1994-2018
大多数存世古琴臂搁刻有郭尚先（1785-1833）题铭，而此古琴臂搁特别之处在于其表面素洁。道教认为琴乃直抵内心致远宁静和无上灵慧的渡船，因此，古琴的形制构件也蕴含着中式哲学的天地观。
形制类似但刻有郭尚先题铭的一例琴形臂搁，见明尼阿波利斯美术馆馆藏。
0118-05
A huanghuali brush the handle of typical flared bowl shape with the brush hair tied and inserted into the wide opening. There is a narrow bead to the upper edge. The handle narrows down before spreading to a wide foot with a square shoulder and triple moulding. At its most waisted point there is an incised triple line. The base is very slightly concave with a central indentation where the turning spike was affixed. The body of the brush handle retains a rich colour and patination whereas the foot has never been polished.
Qing dynasty, probably 18th century.
height 23.1 cm / 9 1/8 in (total)
height 11.1 cm / 4 3/8 in (handle)
Provenance:
Nicholas Grindley, London (1194-34).
John C. Weber Collection, New York (1995 – 2018).
For a similar example in the collection at the Philadelphia Art Museum see here
此抓笔配黄花梨笔管，笔管呈开口鼓腹碗状，毛片扎捆后插入笔管。笔管上沿加一圈唇口，手执处自鼓腹下收缩成腰部，至底外撇。底座方肩，表面做成类似三层劈料做样式。腰部最细处，刻三圈细线。笔管底部略向内凹，中部开口，可见内里扎捆笔头处。笔杆表面色泽及包浆丰润，而底座处则未经打磨，粗粝自然。
清 约十八世纪
总高 23.1 厘米
笔杆高 11.1 厘米
来源：
尼古拉斯 • 格林利，伦敦（藏品编号1194-34）
约翰 • 韦伯珍藏，纽约（1995-2018）
类似的一例抓笔见费城艺术博物馆馆藏2013-90-1
A huanghuali brush the handle of typical flared bowl shape with the brush hair tied and inserted into the wide opening. There is a narrow bead to the upper edge. The handle narrows down before spreading to a wide foot with a square shoulder and triple moulding. At its most waisted point there is an incised triple line. The base is very slightly concave with a central indentation where the turning spike was affixed. The body of the brush handle retains a rich colour and patination whereas the foot has never been polished.
Qing dynasty, probably 18th century.
height 23.1 cm / 9 1/8 in (total)
height 11.1 cm / 4 3/8 in (handle)
Provenance:
Nicholas Grindley, London (1194-34).
John C. Weber Collection, New York (1995 – 2018).
For a similar example in the collection at the Philadelphia Art Museum see here
此抓笔配黄花梨笔管，笔管呈开口鼓腹碗状，毛片扎捆后插入笔管。笔管上沿加一圈唇口，手执处自鼓腹下收缩成腰部，至底外撇。底座方肩，表面做成类似三层劈料做样式。腰部最细处，刻三圈细线。笔管底部略向内凹，中部开口，可见内里扎捆笔头处。笔杆表面色泽及包浆丰润，而底座处则未经打磨，粗粝自然。
清 约十八世纪
总高 23.1 厘米
笔杆高 11.1 厘米
来源：
尼古拉斯 • 格林利，伦敦（藏品编号1194-34）
约翰 • 韦伯珍藏，纽约（1995-2018）
类似的一例抓笔见费城艺术博物馆馆藏2013-90-1
0416-04
A delicately proportioned huangyangmu (boxwood) ruyi sceptre, the curved handle with an incised ruyi shape on the bottom, the reverse of the handle thumb moulded design which continues up into the ruyi shaped head.
QIng dynasty, 18th – 19th century.
length 31.1 cm / 12 1/4 in
Provenance:
Ian and Susan Wilson Collection, San Francisco, C58.
The origin of the ruyi sceptre is obscure although most of the later representations take this form of lingzhi fungus. A sceptre like object, held in the hand, is seen frequently from the earliest period in China and gradually develops into the ruyi form. According to the, ‘Encyclopedia Sinica’, the 13th century writer Zhao Xigu believed that they were originally made of iron and used to point the way and for self-defense. Over time the a ruyi sceptre became associated with the lingzhi fungus and its Daoist longevity symbolism, thus making it an ideal gift, especially for birthdays, but also as a token of the wish ‘what one wants’ (ruyi). A ruyi might be carried around as an elegant and auspicious plaything giving a symbol of authority to its owner, who, if he were Confucian, would imply that he held a certain place in the hierarchy of things and thus be a symbol of authority, while if he were Daoist it would represent detachment from mundane affairs.
For another huangyangmu example, see the ruyi sceptre in the collection at the Minneapolis Institute of Arts here.
此黄杨木如意造型优美、比例合宜，三弯柄柄尾处刻一如意形装饰，柄身背面及如意头皆起混面。
清 十八至十九世纪
长 31.1 厘米
来源：
威尔逊伉俪珍藏，旧金山，藏品编号C58
关于如意的创作起源莫衷一是，后世记载多称其形源于灵芝。上古时期已有可执于手的杖状物，尔后逐渐演变为带如意头的形态。据《中国百科全书》，南宋赵希鹄所撰《洞天清录》中记载认为如意乃“古人用以指画向往或防不测”的器物，最初“炼铁为之”。渐渐地，如意与灵芝及其背后源自道教长生不老的寓意联系起来，因而成为送礼之选，尤其是寿辰之礼。除此，如意也如其名，寄寓着愿君如意之祈望。同时，如意作为便携雅致的手执玩物，还能提升执物者的身份权威。若执者为儒士，便显出其相对优越的世俗地位。而执者若为道人，则平添一丝远离尘嚣的高逸。
时期稍早的一例黄杨木如意，见明尼阿波利斯艺术博物馆馆藏95.89
A delicately proportioned huangyangmu (boxwood) ruyi sceptre, the curved handle with an incised ruyi shape on the bottom, the reverse of the handle thumb moulded design which continues up into the ruyi shaped head.
QIng dynasty, 18th – 19th century.
length 31.1 cm / 12 1/4 in
Provenance:
Ian and Susan Wilson Collection, San Francisco, C58.
The origin of the ruyi sceptre is obscure although most of the later representations take this form of lingzhi fungus. A sceptre like object, held in the hand, is seen frequently from the earliest period in China and gradually develops into the ruyi form. According to the, ‘Encyclopedia Sinica’, the 13th century writer Zhao Xigu believed that they were originally made of iron and used to point the way and for self-defense. Over time the a ruyi sceptre became associated with the lingzhi fungus and its Daoist longevity symbolism, thus making it an ideal gift, especially for birthdays, but also as a token of the wish ‘what one wants’ (ruyi). A ruyi might be carried around as an elegant and auspicious plaything giving a symbol of authority to its owner, who, if he were Confucian, would imply that he held a certain place in the hierarchy of things and thus be a symbol of authority, while if he were Daoist it would represent detachment from mundane affairs.
For another huangyangmu example, see the ruyi sceptre in the collection at the Minneapolis Institute of Arts here.
此黄杨木如意造型优美、比例合宜，三弯柄柄尾处刻一如意形装饰，柄身背面及如意头皆起混面。
清 十八至十九世纪
长 31.1 厘米
来源：
威尔逊伉俪珍藏，旧金山，藏品编号C58
关于如意的创作起源莫衷一是，后世记载多称其形源于灵芝。上古时期已有可执于手的杖状物，尔后逐渐演变为带如意头的形态。据《中国百科全书》，南宋赵希鹄所撰《洞天清录》中记载认为如意乃“古人用以指画向往或防不测”的器物，最初“炼铁为之”。渐渐地，如意与灵芝及其背后源自道教长生不老的寓意联系起来，因而成为送礼之选，尤其是寿辰之礼。除此，如意也如其名，寄寓着愿君如意之祈望。同时，如意作为便携雅致的手执玩物，还能提升执物者的身份权威。若执者为儒士，便显出其相对优越的世俗地位。而执者若为道人，则平添一丝远离尘嚣的高逸。
时期稍早的一例黄杨木如意，见明尼阿波利斯艺术博物馆馆藏95.89
0507-10
A rootwood brushpot using the natural form of the wood with a solid base and flat lip and the body retaining the natural knots and burrs. The surface is a rich dark reddish brown with considerable traces of ink and lacquer to both the exterior and interior surfaces. The brushpot appears extremely free of artifice except for the calligraphy to the rim. The four large seal script character read Han Mo Sheng Xiang read as ‘Fragrance arising from literary pursuits’ - a paean to the delights of the scholar’s life, praising the sublime scent that accompanies literary pursuits. On the opposite side of the rim, carved in fluid kaishu or regular script, is the date Qianlong Yi Chou, the tenth year (1745) of Qianlong and Jiliu Shanmin, one of Jin Nong’s many hao’s. Following this, carved in relief, is the four character artist’s seal Jin Ji Jin Yin, Jijin’s gold seal.
Qing dynasty, Qianlong reign (1736 - 1795), dated 1745.
height 14 cm / 5 1/2 in
width 13.7 cm / 5 3/8 in
Three impressions of Jin Nong’s Jin Ji Jin Yin seal in this style are illustrated in Zhongguo Shuhua Jia Yin Kuan Shi, vol. 1, page 590, no. 29, 16 and 17.
Jin Nong’s dates are variously given as either 1687-1773 or 1687-1764. Much has been written about him, as he is generally acknowledged as the most famous of the Eight Eccentrics of Yangzhou. He was a native of Renhe, Zhejiang (present-day Hangzhou), but after travelling extensively thorough northern and southern China, ultimately settled and took up permanent residence in Yangzhou in 1750. Recognized as a talented poet and calligrapher when he was young, his own calligraphy was strongly influenced by carved stone steles, the inner force of which he strove to replicate with brush and ink. Jin Nong’s famous "lacquer script" bears this out. For a discussion of Jin Nong’s lacquer script see Cary Liu’s entry in, The Embodied Image, Chinese Calligraphy from the John B. Elliott Collection, 1999, no. 38, p. 192.
He was a learned scholar and was particularly knowledgeable in the field of jinshi (bronze & stones). In 1736, Jin Nong received a recommendation to take the examination for entry into the elite Boxue Hongci Academy, an honour which he turned down, in a move that is generally interpreted as being a conscious decision to end his chances for a career as a government official. He is famous for only beginning to paint after he had reached the age of 50, and according to one account, he began supporting himself by selling paintings only at the age of 59. He specialised in plum blossoms, bamboo, landscapes & figures. His style was characterised by a deliberate archaic simplicity and childlike awkwardness that is far from formal likeness.
The question, as is always the case with works of art inscribed by famous painters or calligraphers, pertaining to this brushpot is whether the carving was done at Jin Nong’s behest, or simply done in homage to the artist.
This same four-character seal appears on leaf J of a Jin Nong album from the Edward Elliott Family Collection, Plum Blossoms dated 1757 in the Metropolitan Museum of Art, which you can see here.
此木根雕随形笔筒取木根之天然形态，并保留表层树瘤及节疤，筒底坚实，口沿平整。筒身呈暗棕红色，内外壁挂有诸多墨印及漆迹。整只笔筒除口沿处的题铭外，不见刻意雕凿，极显天真之趣。口沿一侧所刻四字篆书为“翰墨生香”，彰显文士生活之兴味及其精神追求之逸趣。另一侧以行云流水的楷书落刻款“乾隆乙丑稽留山民”，乾隆乙丑即乾隆十年（1745），而稽留山民则为金农别号。紧随刻款后为一阳刻四字字号印，印文“金吉金印”。
清乾隆 (1736-1795) 1745年
高 14 厘米
宽 13.7 厘米
三例风格相近的金吉金印，见《中国书画家印款识》上册，590页，编号29、16、17。
金农生卒年异说甚多，常见有1687-1773及1687-1764两种说法。因金农被后人推崇为扬州八怪之首，关于其生平记载由是亦不可胜言。金农为浙江仁和县（今杭州）人，半生游历南山北水后，于1750年择扬州而居并终老于是处。金农早年以诗书传名，书法深受金石拓碑影响，力求以纸墨传递出石刻的遒劲刚毅，其别具一格的漆书便是力证。关于金农漆书的更多说明，可见1999年出版的展览图录《具像：约翰·艾略特中国书法藏珍》192页，图版38之条目文字。
金农学识渊博，尤好金石。1736年，他被举荐博学鸿词科而不就，后人常以此认为他无心仕途。他因年五十始从事于画而为人所奇，据载，金农自五十九岁起才开始卖画为生。金农擅画梅竹及山水人物，画风简约古拙，颇见天真。
但凡刻有名家印款的器物，或多或少让人持疑，因无法完全考证刻款究竟确是由该名家委托刻制，亦或是时人致敬之作。
印有与笔筒上这枚金吉金印章风格相近印章的金农书画作品，可见爱德华 • 艾略特家族旧藏金农《梅花图》册中的第十页，该页题铭首句为“山僧送米，”此册页现藏纽约大都会薄雾馆，馆藏编号1986.495a-l。
A rootwood brushpot using the natural form of the wood with a solid base and flat lip and the body retaining the natural knots and burrs. The surface is a rich dark reddish brown with considerable traces of ink and lacquer to both the exterior and interior surfaces. The brushpot appears extremely free of artifice except for the calligraphy to the rim. The four large seal script character read Han Mo Sheng Xiang read as ‘Fragrance arising from literary pursuits’ - a paean to the delights of the scholar’s life, praising the sublime scent that accompanies literary pursuits. On the opposite side of the rim, carved in fluid kaishu or regular script, is the date Qianlong Yi Chou, the tenth year (1745) of Qianlong and Jiliu Shanmin, one of Jin Nong’s many hao’s. Following this, carved in relief, is the four character artist’s seal Jin Ji Jin Yin, Jijin’s gold seal.
Qing dynasty, Qianlong reign (1736 - 1795), dated 1745.
height 14 cm / 5 1/2 in
width 13.7 cm / 5 3/8 in
Three impressions of Jin Nong’s Jin Ji Jin Yin seal in this style are illustrated in Zhongguo Shuhua Jia Yin Kuan Shi, vol. 1, page 590, no. 29, 16 and 17.
Jin Nong’s dates are variously given as either 1687-1773 or 1687-1764. Much has been written about him, as he is generally acknowledged as the most famous of the Eight Eccentrics of Yangzhou. He was a native of Renhe, Zhejiang (present-day Hangzhou), but after travelling extensively thorough northern and southern China, ultimately settled and took up permanent residence in Yangzhou in 1750. Recognized as a talented poet and calligrapher when he was young, his own calligraphy was strongly influenced by carved stone steles, the inner force of which he strove to replicate with brush and ink. Jin Nong’s famous "lacquer script" bears this out. For a discussion of Jin Nong’s lacquer script see Cary Liu’s entry in, The Embodied Image, Chinese Calligraphy from the John B. Elliott Collection, 1999, no. 38, p. 192.
He was a learned scholar and was particularly knowledgeable in the field of jinshi (bronze & stones). In 1736, Jin Nong received a recommendation to take the examination for entry into the elite Boxue Hongci Academy, an honour which he turned down, in a move that is generally interpreted as being a conscious decision to end his chances for a career as a government official. He is famous for only beginning to paint after he had reached the age of 50, and according to one account, he began supporting himself by selling paintings only at the age of 59. He specialised in plum blossoms, bamboo, landscapes & figures. His style was characterised by a deliberate archaic simplicity and childlike awkwardness that is far from formal likeness.
The question, as is always the case with works of art inscribed by famous painters or calligraphers, pertaining to this brushpot is whether the carving was done at Jin Nong’s behest, or simply done in homage to the artist.
This same four-character seal appears on leaf J of a Jin Nong album from the Edward Elliott Family Collection, Plum Blossoms dated 1757 in the Metropolitan Museum of Art, which you can see here.
此木根雕随形笔筒取木根之天然形态，并保留表层树瘤及节疤，筒底坚实，口沿平整。筒身呈暗棕红色，内外壁挂有诸多墨印及漆迹。整只笔筒除口沿处的题铭外，不见刻意雕凿，极显天真之趣。口沿一侧所刻四字篆书为“翰墨生香”，彰显文士生活之兴味及其精神追求之逸趣。另一侧以行云流水的楷书落刻款“乾隆乙丑稽留山民”，乾隆乙丑即乾隆十年（1745），而稽留山民则为金农别号。紧随刻款后为一阳刻四字字号印，印文“金吉金印”。
清乾隆 (1736-1795) 1745年
高 14 厘米
宽 13.7 厘米
三例风格相近的金吉金印，见《中国书画家印款识》上册，590页，编号29、16、17。
金农生卒年异说甚多，常见有1687-1773及1687-1764两种说法。因金农被后人推崇为扬州八怪之首，关于其生平记载由是亦不可胜言。金农为浙江仁和县（今杭州）人，半生游历南山北水后，于1750年择扬州而居并终老于是处。金农早年以诗书传名，书法深受金石拓碑影响，力求以纸墨传递出石刻的遒劲刚毅，其别具一格的漆书便是力证。关于金农漆书的更多说明，可见1999年出版的展览图录《具像：约翰·艾略特中国书法藏珍》192页，图版38之条目文字。
金农学识渊博，尤好金石。1736年，他被举荐博学鸿词科而不就，后人常以此认为他无心仕途。他因年五十始从事于画而为人所奇，据载，金农自五十九岁起才开始卖画为生。金农擅画梅竹及山水人物，画风简约古拙，颇见天真。
但凡刻有名家印款的器物，或多或少让人持疑，因无法完全考证刻款究竟确是由该名家委托刻制，亦或是时人致敬之作。
印有与笔筒上这枚金吉金印章风格相近印章的金农书画作品，可见爱德华 • 艾略特家族旧藏金农《梅花图》册中的第十页，该页题铭首句为“山僧送米，”此册页现藏纽约大都会薄雾馆，馆藏编号1986.495a-l。
Zhongguo Shuhua Jia Yin Kuan Shi, vol. 1, page 590, no. 29
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0515-05
A circular ink cake with a narrow, raised lip to both sides. One side is moulded with nine archaic ding shaped bronze vessels interspersed with stylised mountain ranges and divided by flowing tendrils or rivers. The other side of the ink cake moulded with a writhing dragon with pronounced four claws surrounded by the same design of tendrils, although in this case easier read as flames. The central circular reserve with two character seal, guobao 國寶 “treasure of the nation”. There are raised moulded inscriptions to opposing edges read as Wanli nian萬曆年 “Wanli year(s)” and Ming Fang Yulu zhi 明方于魯製 “Made by Fang Yulu in the Ming dynasty”. Probably late Qing dynasty or Republic period. diameter 12.5 cm / 4 15/16 in thickness 2.1 cm / 7/8 in This design is published by both Fang Yulu (fl. 1570 – 1619) in ‘Fang Shi Mopu’ , published in 1598 and Cheng Dayue (1541 – c.1616) in ‘Cheng Shi Moyuan’ published in 1606. The design published in the Fang Shi Mopu appears to have been the design used, especially considering the inscription, as the Cheng Shi Moyuan design has calligraphy to the verso. The strange way of writing Wanli nian 萬曆年 and the overall sharpness of the moulding indicate to me that this is a later example. 此墨饼两面均周起凸边，正面模印古九鼎分布于笔触简略的丛山之间，中有蜿蜒卷曲或代表河川的飘带状图案将鼎与鼎两两相隔。 墨饼反面模印指甲尖长的四爪盘龙一条，空白处亦缀以与正面类似的飘带状图案，在此则代表火焰。中心留圆印，阴文篆刻“国宝”二字。 墨饼两侧边均题印阳文落款，一侧书“万历年”，另一侧“明方于鲁制”。 约晚清至民国 周长 12.5 厘米 厚度 2.1 厘米 类似的墨饼纹样可见于1598年由方于鲁（活跃于1570-1619）出版的《方式墨谱》，及1606年由程大约（1541-约1616）出版的《程氏墨苑》。此墨所用纹样更近《方式墨谱》中所印纹样，《程氏墨苑》中的九鼎纹样略有区别，且背面为题字而非盘龙纹。 墨饼两侧落款字样奇拙，纹样线条清晰凌厉，私以为应是晚期仿制。 |
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0518-23
A small brushpot made from a branch of zitan using its natural form with openings where the knots would have been, a recessed base inserted where the interior has been hollowed out.
Qing dynasty, 18th century.
height 11.2 cm / 4 1/2 in
Provenance:
The Peony Collection, Hong Kong
Published:
Robert Piccus, ed., Wood from the Scholar’s Table: Chinese Hardwood Carvings and Scholar’s Articles (Hong Kong: Altfield Gallery, 1984), no. 14.
此笔筒袖珍别致，由紫檀树根随形挖空制成。筒身表面的小孔原应为树瘤，笔筒底部安插一略向内收的随形底座。
清 十八世纪
高 11.2 厘米
来源：
Peony 珍藏，香港
出版：
罗伯特‧毕格史编，《文人案头木器：中式硬木雕刻及文房清供》香港Altfield画廊出版，1984年，图版14
A small brushpot made from a branch of zitan using its natural form with openings where the knots would have been, a recessed base inserted where the interior has been hollowed out.
Qing dynasty, 18th century.
height 11.2 cm / 4 1/2 in
Provenance:
The Peony Collection, Hong Kong
Published:
Robert Piccus, ed., Wood from the Scholar’s Table: Chinese Hardwood Carvings and Scholar’s Articles (Hong Kong: Altfield Gallery, 1984), no. 14.
此笔筒袖珍别致，由紫檀树根随形挖空制成。筒身表面的小孔原应为树瘤，笔筒底部安插一略向内收的随形底座。
清 十八世纪
高 11.2 厘米
来源：
Peony 珍藏，香港
出版：
罗伯特‧毕格史编，《文人案头木器：中式硬木雕刻及文房清供》香港Altfield画廊出版，1984年，图版14
0518-124
A rectangular ink cake moulded with a scene of the Eight Immortals crossing the ocean accompanied by a giant fish and a dragon within a narrow raised flat border. The reverse with an impressed eight -character inscription, 群仙過海 喜乐无邊 read as “Immortals crossing the ocean with endless gaiety”, also within a narrow raised flat border. The right hand edge of the ink with the raised moulded inscription Qianlong nian zhi 乾隆年製 “Made during the Qianlong reign”.
Qing dynasty, Qianlong period (1736 – 1795).
height 14.2 cm / 5 5/8 in
width 10.2 cm / 4 in
thickness 1.6 cm / 5/8 in
Provenance:
The Peony Collection, Hong Kong.
此矩形墨锭正面墨印一庞然大鱼及一蛟龙伴八仙过海纹样，周起窄凸边。背面压印铭文“群仙过海，喜乐无边”，周亦起窄凸边。墨锭右侧面，模印阳文落款“乾隆年制”。
清乾隆（1736-1795）
高 14.2 厘米
宽 10.2 厘米
厚 1.6 厘米
来源：
Peony珍藏，香港
A rectangular ink cake moulded with a scene of the Eight Immortals crossing the ocean accompanied by a giant fish and a dragon within a narrow raised flat border. The reverse with an impressed eight -character inscription, 群仙過海 喜乐无邊 read as “Immortals crossing the ocean with endless gaiety”, also within a narrow raised flat border. The right hand edge of the ink with the raised moulded inscription Qianlong nian zhi 乾隆年製 “Made during the Qianlong reign”.
Qing dynasty, Qianlong period (1736 – 1795).
height 14.2 cm / 5 5/8 in
width 10.2 cm / 4 in
thickness 1.6 cm / 5/8 in
Provenance:
The Peony Collection, Hong Kong.
此矩形墨锭正面墨印一庞然大鱼及一蛟龙伴八仙过海纹样，周起窄凸边。背面压印铭文“群仙过海，喜乐无边”，周亦起窄凸边。墨锭右侧面，模印阳文落款“乾隆年制”。
清乾隆（1736-1795）
高 14.2 厘米
宽 10.2 厘米
厚 1.6 厘米
来源：
Peony珍藏，香港
0619-10
Five bamboo root carvings each naturalistically carved to represent a different type of nut.
Qing dynasty, probably 18th century.
Diameters between 1.9 cm / 3/4 in and 3.2 cm / 1 1/4 in
Provenance:
Private collection New York.
一套五隻仿果仁竹根雕刻
清 十八世紀
直径 1.9 厘至3.2 厘米不等
来源：
纽约私人珍藏
Five bamboo root carvings each naturalistically carved to represent a different type of nut.
Qing dynasty, probably 18th century.
Diameters between 1.9 cm / 3/4 in and 3.2 cm / 1 1/4 in
Provenance:
Private collection New York.
一套五隻仿果仁竹根雕刻
清 十八世紀
直径 1.9 厘至3.2 厘米不等
来源：
纽约私人珍藏
0815-04
A typically curved bamboo wristrest delicately engraved with Li Bai drinking under the moon, holding his cup in an outstretched left hand as if toasting the moon (which is not depicted on the wristrest), to the upper left a signature Xue hai and the seal Zhao. The reverse carefully finished with each edge cut with a concave moulding above a chamfered edge with a foot to each corner.
Qing dynasty, first half of the 19th century.
length 22 cm / 8 15/16 in.
Provenance:
Nicholas Grindley, London, 2005 (1004-20).
Ian and Susan Wilson collection, San Francisco, C33, 2005-2015.
Zhao Xuehai was a native of Jiading in Jiangsu province and is listed in Chinese Bamboo Carving Part II, Hong Kong Museum of Art, no. 22, page 44 as being "skilled in carving in relief and engraving, particularly figures and landscapes". Zhao Xuehai is also mentioned by R. Soame Jenyns and William Watson in Chinese Art, Gold, Silver, Later Bronzes, Cloisonné, Cantonese Enamel, Lacquer, Furniture, Wood, Vol.II, as the wife of Chiao Hsueh-hai who was recorded as "extremely good at carving peach stones into various forms of boats" although he does not mention from whence this information is taken. (The information is from the book titled Zhuren Lu (Records of Bamboo Carvers), written by Jin Yuanyu (?-1831) and published in 1807.)
此臂搁取竹节之自然曲度，表面阴刻李白月下独酌纹样，诗人高举左手中的酒杯遥敬明月（明月并未刻出），左上角落款“学海”及篆书刻印“赵”。臂搁背部打磨精细，各边打洼，各角倒棱，配四足。
清 十九世纪上半叶
长 22 厘米
来源：
尼古拉斯 • 格林利，伦敦，2005（藏品编号1004-20）
威尔逊伉俪珍藏，旧金山，藏品编号C33，2005-2015
赵学海，清江苏嘉定人。由香港艺术馆出版的图录《中国竹刻艺术》下册，44页，图版22，摘金元钰（？-1831）撰《竹人录》载赵学海善刻竹，阴阳文山水人物，工细无匹。詹宁斯及华威廉所著《中国艺术第二卷：金银器、晚期铜器、掐丝珐琅、广东珐琅、漆器、家具及木器》中亦提到赵学海，并摘《竹人录》载其妻吴氏能制桃核舟。
A typically curved bamboo wristrest delicately engraved with Li Bai drinking under the moon, holding his cup in an outstretched left hand as if toasting the moon (which is not depicted on the wristrest), to the upper left a signature Xue hai and the seal Zhao. The reverse carefully finished with each edge cut with a concave moulding above a chamfered edge with a foot to each corner.
Qing dynasty, first half of the 19th century.
length 22 cm / 8 15/16 in.
Provenance:
Nicholas Grindley, London, 2005 (1004-20).
Ian and Susan Wilson collection, San Francisco, C33, 2005-2015.
Zhao Xuehai was a native of Jiading in Jiangsu province and is listed in Chinese Bamboo Carving Part II, Hong Kong Museum of Art, no. 22, page 44 as being "skilled in carving in relief and engraving, particularly figures and landscapes". Zhao Xuehai is also mentioned by R. Soame Jenyns and William Watson in Chinese Art, Gold, Silver, Later Bronzes, Cloisonné, Cantonese Enamel, Lacquer, Furniture, Wood, Vol.II, as the wife of Chiao Hsueh-hai who was recorded as "extremely good at carving peach stones into various forms of boats" although he does not mention from whence this information is taken. (The information is from the book titled Zhuren Lu (Records of Bamboo Carvers), written by Jin Yuanyu (?-1831) and published in 1807.)
此臂搁取竹节之自然曲度，表面阴刻李白月下独酌纹样，诗人高举左手中的酒杯遥敬明月（明月并未刻出），左上角落款“学海”及篆书刻印“赵”。臂搁背部打磨精细，各边打洼，各角倒棱，配四足。
清 十九世纪上半叶
长 22 厘米
来源：
尼古拉斯 • 格林利，伦敦，2005（藏品编号1004-20）
威尔逊伉俪珍藏，旧金山，藏品编号C33，2005-2015
赵学海，清江苏嘉定人。由香港艺术馆出版的图录《中国竹刻艺术》下册，44页，图版22，摘金元钰（？-1831）撰《竹人录》载赵学海善刻竹，阴阳文山水人物，工细无匹。詹宁斯及华威廉所著《中国艺术第二卷：金银器、晚期铜器、掐丝珐琅、广东珐琅、漆器、家具及木器》中亦提到赵学海，并摘《竹人录》载其妻吴氏能制桃核舟。
0815-07
A rock crystal brush rest carved in the form of a six peak mountain range, the front shaped to simulate overlapping hill peaks, the reverse etched with a three-branch auspicious lingzhi fungus over existing metallic inclusions, the bottom edge with wavy lines to simulate water; with hardwood stand.
Qing dynasty, 19th century.
height 7 cm / 2 3/4 in
width 11.5 cm / 4 1/2 in
Provenance:
Butterfield & Butterfield, San Francisco
Ian and Susan Wilson Collection, San Francisco, C42
此水晶笔山雕作六峰山脉状，正面峰壁上浮雕一层矮峰头以呈现重峦叠嶂之层次，背面峰壁上阴刻一根三枝灵芝，隐约可见其下水晶石内金属矿物杂质，峰脚一圈作水波纹；配硬木底座。
清 十九世纪
高 7 厘米
宽 11.5 厘米
来源：
Butterfield & Butterfield 拍卖行，旧金山
威尔逊伉俪珍藏，旧金山，藏品编号C42
A rock crystal brush rest carved in the form of a six peak mountain range, the front shaped to simulate overlapping hill peaks, the reverse etched with a three-branch auspicious lingzhi fungus over existing metallic inclusions, the bottom edge with wavy lines to simulate water; with hardwood stand.
Qing dynasty, 19th century.
height 7 cm / 2 3/4 in
width 11.5 cm / 4 1/2 in
Provenance:
Butterfield & Butterfield, San Francisco
Ian and Susan Wilson Collection, San Francisco, C42
此水晶笔山雕作六峰山脉状，正面峰壁上浮雕一层矮峰头以呈现重峦叠嶂之层次，背面峰壁上阴刻一根三枝灵芝，隐约可见其下水晶石内金属矿物杂质，峰脚一圈作水波纹；配硬木底座。
清 十九世纪
高 7 厘米
宽 11.5 厘米
来源：
Butterfield & Butterfield 拍卖行，旧金山
威尔逊伉俪珍藏，旧金山，藏品编号C42
0815-15
An inkstone of duan stone in the shape of a folded book with a slightly concave ink-grinding surface and a circular ink pool carved with surrounding clouds and incised with running-script calligraphy to the left, reading 清入詩腸健有神, ‘When purity enters the viscera of poetry, it strengthens and enlivens [the poem]', the reverse also inscribed in running-script 書契既造 硯墨乃陳 篇籍永垂 紀志功勳, read as ‘writings have been created, ink was brought in to record them in detail, the page would exist forever and merits would be remembered’, and a five-character seal 文章千古事, read as ‘Excellent articles will be read for thousands of years’.
Qing dynasty, 17th–18th century.
New zitan box and cover.
length 9.4 cm / 3 3/4 in
width 8 cm / 3 1/8 in
height 1.9 cm / 3/4 in
Provenance:
Nicholas Grindley, London, 1998 (0998-43).
Ian and Susan Wilson, San Francisco, C85.
The inscription 清入詩腸健有神 ‘When purity enters the viscera of poetry, it strengthens and enlivens [the poem]’ is adapted from the sixth line of the poem composed by Sima Guang (1019-1086) at the command of Pang Ji 龐籍 (988-1063) in the evening of a Mid-Autumn Festival. In Sima Guang’s poem, the sixth line reads 清入詩毫健有神 ‘When purity enters the brush of poetry, it strengthens and enlivens [the poem].’ The ink pool carved with surrounding clouds represents the moon, which corresponds to the context (the Mid-Autumn Festival) of Sima Guang’s poem.
此端砚作书本打开后向外翻卷一侧书页状，砚堂略洼，开满月形池，环池雕纤云弄月。砚池左侧刻行书题铭“清入诗肠健有神”，砚背亦有行书题铭曰“书契既造，研墨为陈。篇籍永垂，纪志功勋”，并刻一五字闲章“文章千古事”。
清 十七至十八世纪
配新紫檀盖盒
长 9.4 厘米
宽 8 厘米
厚 1.9 厘米
来源：
尼古拉斯 • 格林利，伦敦，1998（藏品编号0998-43）
威尔逊伉俪珍藏，旧金山，藏品编号C85
砚台正面题铭取司马光《中秋夕始平公命与考校诸君置酒赋诗》“光侵酒面寒无力，清入诗毫健有神”一句而改一字，或与南宋王十朋《又和赵仲永干二首 其一》中“光浮酒面杯尤滑，清入诗肠句不寒”一句相杂糅。砚池所做纤云弄月纹又与司马光诗作背景呼应，可见匠心独运。
An inkstone of duan stone in the shape of a folded book with a slightly concave ink-grinding surface and a circular ink pool carved with surrounding clouds and incised with running-script calligraphy to the left, reading 清入詩腸健有神, ‘When purity enters the viscera of poetry, it strengthens and enlivens [the poem]', the reverse also inscribed in running-script 書契既造 硯墨乃陳 篇籍永垂 紀志功勳, read as ‘writings have been created, ink was brought in to record them in detail, the page would exist forever and merits would be remembered’, and a five-character seal 文章千古事, read as ‘Excellent articles will be read for thousands of years’.
Qing dynasty, 17th–18th century.
New zitan box and cover.
length 9.4 cm / 3 3/4 in
width 8 cm / 3 1/8 in
height 1.9 cm / 3/4 in
Provenance:
Nicholas Grindley, London, 1998 (0998-43).
Ian and Susan Wilson, San Francisco, C85.
The inscription 清入詩腸健有神 ‘When purity enters the viscera of poetry, it strengthens and enlivens [the poem]’ is adapted from the sixth line of the poem composed by Sima Guang (1019-1086) at the command of Pang Ji 龐籍 (988-1063) in the evening of a Mid-Autumn Festival. In Sima Guang’s poem, the sixth line reads 清入詩毫健有神 ‘When purity enters the brush of poetry, it strengthens and enlivens [the poem].’ The ink pool carved with surrounding clouds represents the moon, which corresponds to the context (the Mid-Autumn Festival) of Sima Guang’s poem.
此端砚作书本打开后向外翻卷一侧书页状，砚堂略洼，开满月形池，环池雕纤云弄月。砚池左侧刻行书题铭“清入诗肠健有神”，砚背亦有行书题铭曰“书契既造，研墨为陈。篇籍永垂，纪志功勋”，并刻一五字闲章“文章千古事”。
清 十七至十八世纪
配新紫檀盖盒
长 9.4 厘米
宽 8 厘米
厚 1.9 厘米
来源：
尼古拉斯 • 格林利，伦敦，1998（藏品编号0998-43）
威尔逊伉俪珍藏，旧金山，藏品编号C85
砚台正面题铭取司马光《中秋夕始平公命与考校诸君置酒赋诗》“光侵酒面寒无力，清入诗毫健有神”一句而改一字，或与南宋王十朋《又和赵仲永干二首 其一》中“光浮酒面杯尤滑，清入诗肠句不寒”一句相杂糅。砚池所做纤云弄月纹又与司马光诗作背景呼应，可见匠心独运。
0815-17
A bamboo incense stick holder, formed from a natural section of bamboo, the section above the central nodule, incised with prunus blossom decoration, the lower section with a long inscription, read as, 禿兀寒梢矗曉風 廣平鐵石幹元功 剛從黍谷陽回處 消息傳來破蕾紅
“The bare frozen branches tower amidst the blowing morning wind,
Duke Guangping whose will was as determined as iron and stone, and achieved the greatest accomplishment,
When the early Spring arrives at the Shugu valley,
Good news flies over and makes the red buds bloom”.
With the signature Meishan, the alias of Song Eyuan, a native of Jiaxing, Zhejiang province.
Qing dynasty, 19th century.
height 12.2 cm / 4 13/16 in
Provenance:
Kagedo Gallery, Seattle.
Ian and Susan Wilson collection, San Francisco, C146.
Chinese Bamboo Carving by Ip Yee and Laurence Tam list Song Eyuan [Sung Ngo-yuan] as a native of Jiaxing, Zhejiang province. Active in the reigns of Daoguang (1821-1850) and Xianfeng (1851-1861) who excelled in calligraphy in the archaic style and skilled in carving fan frames.
Simon Kwan, Ming and Qing Bamboo simply lists him as late Qing period.
Zhuren Xu Lu (Sequel to Records of Bamboo Carvers) by Jin Yuanyu [?-1831] lists Song Eyuan as adept in seal script calligraphy and bamboo carving. He made friends with renown painters such as Fei Danxu (1802-1850). Many of Song Eyuan’s carvings were took calligraphic works and paintings as prototypes.
Song Jing (663-737), formally Duke Wenzhen of Guangping, was an official of the Tang Dynasty and Wu Zetian’s Zhou Dynasty, serving as the chancellor during the reigns of Emperor Ruizong and Xuanzong. He was known to be morally upright and stony-hearted (that’s what the second verse refers to). In the preface of his poem 'rhapsody over peach blossoms', the Tang dynasty poet Pi Rixiu (ca. 834-883) described Song Jing as someone with “iron and stone made heart” but the said and then said, Song composed a rhapsody of plum blossoms when he was young in a very sensitive tone, and this seems to contrast with his personality. Pi is making a compliment on Song.
Shugu (Millet valley) is located in the southwest of Miyun county, Beijing. Thanks to its location, the spring comes to Shugu earlier than many places in the north. According to an account recorded in Kaiyuan Tianbao Yishi (Anecdotes of Kaiyuan and Tianbao Periods) written by Wang Renyu (880-956), Song Jing was praised as “the Walking Spring” because he loved and always showed empathy to his people, just like the arrival of early spring.
Included in Shiqu Baoji (The Precious Collection of the Stone Moat) vol. 44, this poem was composed by Emperor Qianlong and was originally inscribed on the painting Ink Plum Blossom (please see the image attached below) by Yuan dynasty artist Wu Zhen (1280-1354). The painting was remounted by Qianlong with two Song dynasty plum blossom paintings into a long handscroll, which is now in the collection of the Liaoning Provincial Museum and has been renamed as Plum Blossoms and Bamboos in Snow. The style of the carved calligraphy on the incense stick holder is very close to that of Qianlong’s inscription.
此香插取竹节两段随形而制，上段阴刻梅树纹，下段环壁刻乾隆御制题画诗：
秃兀寒梢矗晓风，
广平铁石干元功。
刚从黍谷阳回处，
消息传来破蕾红。
落款“眉山”，为清中期浙江嘉兴人宋峨源，字眉山。
清 十九世纪
高 12.2 厘米
来源：
景堂日本艺术收藏，西雅图
威尔逊伉俪珍藏，旧金山，藏品编号C146
由叶义和谭志成编著的《中国竹刻艺术》载宋峨源为浙江嘉兴人，活跃于道光（1821-1850）、咸丰（1850-1861）年间，而关善明所著《虚心傲节：明清竹刻史话》则载其为晚清时人。金元钰（？-1831）《竹人续录》载宋峨源“精篆书，又擅刻竹”，与费丹旭（1802-1850）等人相友善，“所刻扇骨、文房各品，皆数君所书画。”
宋璟，封广平郡公，谥文贞，为唐朝、武周朝名相。唐代诗人皮日休（约834-约883）在《桃花赋序》中称其“尝慕宋广平之为相，贞姿劲质，刚态毅状。疑其铁肠石心，不解吐婉媚辞。然睹其文而有《梅花赋》，清便富艳，得南朝徐庾体，殊不类其为人也。”宋璟于687年，时年二十五岁时作有《梅花赋》。
黍谷，山谷名，在北京市密云县西南。因处燕地南端而有早春，又名“黍谷先春”。清初顾贞观（1637-1714）有词《金缕曲》云“霁月风光卷。恰佳辰、阳回黍谷，禁寒都遣。”据五代王仁裕（880-956）《开元天宝遗事》，“宋璟爱民恤物，朝野归美。人咸谓璟为‘有脚阳春’。言所至之处，如阳春煦物也。”
此题铭为乾隆御制题画诗，收录于《石渠宝笈》卷四十四，最初由乾隆题作于《宋元梅花合卷》中吴镇（1280-1354）所作《 墨梅图》一段。该卷轴现藏于辽宁省博物馆，更名为《雪中梅竹图》。此香插上的铭文字样，与乾隆御题极为相似。
A bamboo incense stick holder, formed from a natural section of bamboo, the section above the central nodule, incised with prunus blossom decoration, the lower section with a long inscription, read as, 禿兀寒梢矗曉風 廣平鐵石幹元功 剛從黍谷陽回處 消息傳來破蕾紅
“The bare frozen branches tower amidst the blowing morning wind,
Duke Guangping whose will was as determined as iron and stone, and achieved the greatest accomplishment,
When the early Spring arrives at the Shugu valley,
Good news flies over and makes the red buds bloom”.
With the signature Meishan, the alias of Song Eyuan, a native of Jiaxing, Zhejiang province.
Qing dynasty, 19th century.
height 12.2 cm / 4 13/16 in
Provenance:
Kagedo Gallery, Seattle.
Ian and Susan Wilson collection, San Francisco, C146.
Chinese Bamboo Carving by Ip Yee and Laurence Tam list Song Eyuan [Sung Ngo-yuan] as a native of Jiaxing, Zhejiang province. Active in the reigns of Daoguang (1821-1850) and Xianfeng (1851-1861) who excelled in calligraphy in the archaic style and skilled in carving fan frames.
Simon Kwan, Ming and Qing Bamboo simply lists him as late Qing period.
Zhuren Xu Lu (Sequel to Records of Bamboo Carvers) by Jin Yuanyu [?-1831] lists Song Eyuan as adept in seal script calligraphy and bamboo carving. He made friends with renown painters such as Fei Danxu (1802-1850). Many of Song Eyuan’s carvings were took calligraphic works and paintings as prototypes.
Song Jing (663-737), formally Duke Wenzhen of Guangping, was an official of the Tang Dynasty and Wu Zetian’s Zhou Dynasty, serving as the chancellor during the reigns of Emperor Ruizong and Xuanzong. He was known to be morally upright and stony-hearted (that’s what the second verse refers to). In the preface of his poem 'rhapsody over peach blossoms', the Tang dynasty poet Pi Rixiu (ca. 834-883) described Song Jing as someone with “iron and stone made heart” but the said and then said, Song composed a rhapsody of plum blossoms when he was young in a very sensitive tone, and this seems to contrast with his personality. Pi is making a compliment on Song.
Shugu (Millet valley) is located in the southwest of Miyun county, Beijing. Thanks to its location, the spring comes to Shugu earlier than many places in the north. According to an account recorded in Kaiyuan Tianbao Yishi (Anecdotes of Kaiyuan and Tianbao Periods) written by Wang Renyu (880-956), Song Jing was praised as “the Walking Spring” because he loved and always showed empathy to his people, just like the arrival of early spring.
Included in Shiqu Baoji (The Precious Collection of the Stone Moat) vol. 44, this poem was composed by Emperor Qianlong and was originally inscribed on the painting Ink Plum Blossom (please see the image attached below) by Yuan dynasty artist Wu Zhen (1280-1354). The painting was remounted by Qianlong with two Song dynasty plum blossom paintings into a long handscroll, which is now in the collection of the Liaoning Provincial Museum and has been renamed as Plum Blossoms and Bamboos in Snow. The style of the carved calligraphy on the incense stick holder is very close to that of Qianlong’s inscription.
此香插取竹节两段随形而制，上段阴刻梅树纹，下段环壁刻乾隆御制题画诗：
秃兀寒梢矗晓风，
广平铁石干元功。
刚从黍谷阳回处，
消息传来破蕾红。
落款“眉山”，为清中期浙江嘉兴人宋峨源，字眉山。
清 十九世纪
高 12.2 厘米
来源：
景堂日本艺术收藏，西雅图
威尔逊伉俪珍藏，旧金山，藏品编号C146
由叶义和谭志成编著的《中国竹刻艺术》载宋峨源为浙江嘉兴人，活跃于道光（1821-1850）、咸丰（1850-1861）年间，而关善明所著《虚心傲节：明清竹刻史话》则载其为晚清时人。金元钰（？-1831）《竹人续录》载宋峨源“精篆书，又擅刻竹”，与费丹旭（1802-1850）等人相友善，“所刻扇骨、文房各品，皆数君所书画。”
宋璟，封广平郡公，谥文贞，为唐朝、武周朝名相。唐代诗人皮日休（约834-约883）在《桃花赋序》中称其“尝慕宋广平之为相，贞姿劲质，刚态毅状。疑其铁肠石心，不解吐婉媚辞。然睹其文而有《梅花赋》，清便富艳，得南朝徐庾体，殊不类其为人也。”宋璟于687年，时年二十五岁时作有《梅花赋》。
黍谷，山谷名，在北京市密云县西南。因处燕地南端而有早春，又名“黍谷先春”。清初顾贞观（1637-1714）有词《金缕曲》云“霁月风光卷。恰佳辰、阳回黍谷，禁寒都遣。”据五代王仁裕（880-956）《开元天宝遗事》，“宋璟爱民恤物，朝野归美。人咸谓璟为‘有脚阳春’。言所至之处，如阳春煦物也。”
此题铭为乾隆御制题画诗，收录于《石渠宝笈》卷四十四，最初由乾隆题作于《宋元梅花合卷》中吴镇（1280-1354）所作《 墨梅图》一段。该卷轴现藏于辽宁省博物馆，更名为《雪中梅竹图》。此香插上的铭文字样，与乾隆御题极为相似。
Wu Zhen Plum Blossoms with Qianlong Inscription
1106-05
A skin carved bamboo brushpot with the traditional subject of Three Sours, or Vinegar Tasters, the three figures representing a Confucian, a Daoist and a Buddhist standing around a huge jar on the edge of a terrace with bamboo railings a large rock to their right and an overhanging tree with further trees in the distance, signed on the rockwork Xiaomei with a square two character chunxi seal beneath.
Qing dynasty, probably Daoguang (1821-1850) or Xianfeng (1851-1861) period.
height 14.8 cm / 5 5/8 in
diameter 12.7 cm / 5 in
The signature Xiaomei is the zi of the artist Wang Su (1794-1877). Wang Su, born in Yangzhou was a thoroughly accomplished decorative, professional painter of figures, birds and flowers, animals, insects and fish, who was also noted as a seal carver, in the Han style. His painting style was largely derived from that of the Yangzhou “Eccentric” Hua Yan (1682-1765).
In his entry in Transcending Turmoil, Painting at the Close of China’s Empire 1796-1911, Ju-hsi Chou says of Wang Su. “The picture that emerges is of a man of simple nature whose life was tied to the city of Yangzhou, on the whole uneventful except for the brief and tragic interlude of the Taiping siege in 1853. Besides having lost everything but his immediate family, he lost in that siege his nephew who had studied the art of painting with him”. Wang may have spent a period during the last years of his life in Shanghai.
Most published works by Wang Su are figural, and the majority of these are of beauties. Clare Lawrence pointed out, in a lecture published in the Snuff Bottle Society Journal (Summer 1993), that Wang’s name and designs were used (the only established painter to be so “borrowed”) on a group of seal school glass snuff-bottles of the highest quality that have been associated with Yangzhou at some point on the nineteenth century. He may or may not, in my opinion most likely the latter, have been personally involved in their design and manufacture, but the use of his designs as models, as is the case here with this brushpot, indicates to some degree his widespread popularity at the time.
You can find a discussion of the three sours or vinegar tasters here.
此竹雕留青笔筒刻三酸图，儒道释三家围一大缸而立，伸手吮指尝醋。三人身后为竹制栏杆，右侧为一磐石，磐石上方填充繁叶密树，并有倒垂枝叶为三人护荫，栏外数枝盈实繁硕的菊花。刻款“小某”落于磐石上，款下刻一方形印章曰“春熙”。
清 约道光（1821-1850）、咸丰（1851-1861）时期
高度 14.8 厘米
直径 12.7 厘米
王素（1794-1877），字小某、小梅，甘泉（今江苏扬州）人，工画，多学华喦（1682-1765），技艺成熟精湛全面，凡人物、花鸟、走兽、虫鱼，无不入妙。亦善篆刻，效法汉印。
在展览图录《浮世丹青——清代晚期中国绘画 1796-1911》中，周汝式谈及王素性情简朴，长居扬州，一生波澜不惊，但也在1853 年经历了太平天国运动电光火石般的劫掠，除至亲外一无所剩，曾随他习画的侄子也于是此变故中死于非命。在王素生命的最后一段时光中，或曾寓居海上。
已有出版记载的王素作品大多为人物画，其中又以仕女图居多。克莱尔 • 劳伦斯曾在其发表于《国际中国鼻烟壶协会学术期刊》1993年夏季刊的一篇讲稿中提出，王素款及其画作构图常被用于由十九世纪扬州地区某一流派出产的鼻烟壶中，这些鼻烟壶制作精良，均有款印，而王素也是当时知名画家中被借名最多者。私以为，王素或并未直接参与这些作品的设计及制作，落其名款仅为借用其立意构图，这件笔筒大体亦如是，由此可见其名于是时之遐迩。
关于三酸图的更多讯息，请点此查阅。
A skin carved bamboo brushpot with the traditional subject of Three Sours, or Vinegar Tasters, the three figures representing a Confucian, a Daoist and a Buddhist standing around a huge jar on the edge of a terrace with bamboo railings a large rock to their right and an overhanging tree with further trees in the distance, signed on the rockwork Xiaomei with a square two character chunxi seal beneath.
Qing dynasty, probably Daoguang (1821-1850) or Xianfeng (1851-1861) period.
height 14.8 cm / 5 5/8 in
diameter 12.7 cm / 5 in
The signature Xiaomei is the zi of the artist Wang Su (1794-1877). Wang Su, born in Yangzhou was a thoroughly accomplished decorative, professional painter of figures, birds and flowers, animals, insects and fish, who was also noted as a seal carver, in the Han style. His painting style was largely derived from that of the Yangzhou “Eccentric” Hua Yan (1682-1765).
In his entry in Transcending Turmoil, Painting at the Close of China’s Empire 1796-1911, Ju-hsi Chou says of Wang Su. “The picture that emerges is of a man of simple nature whose life was tied to the city of Yangzhou, on the whole uneventful except for the brief and tragic interlude of the Taiping siege in 1853. Besides having lost everything but his immediate family, he lost in that siege his nephew who had studied the art of painting with him”. Wang may have spent a period during the last years of his life in Shanghai.
Most published works by Wang Su are figural, and the majority of these are of beauties. Clare Lawrence pointed out, in a lecture published in the Snuff Bottle Society Journal (Summer 1993), that Wang’s name and designs were used (the only established painter to be so “borrowed”) on a group of seal school glass snuff-bottles of the highest quality that have been associated with Yangzhou at some point on the nineteenth century. He may or may not, in my opinion most likely the latter, have been personally involved in their design and manufacture, but the use of his designs as models, as is the case here with this brushpot, indicates to some degree his widespread popularity at the time.
You can find a discussion of the three sours or vinegar tasters here.
此竹雕留青笔筒刻三酸图，儒道释三家围一大缸而立，伸手吮指尝醋。三人身后为竹制栏杆，右侧为一磐石，磐石上方填充繁叶密树，并有倒垂枝叶为三人护荫，栏外数枝盈实繁硕的菊花。刻款“小某”落于磐石上，款下刻一方形印章曰“春熙”。
清 约道光（1821-1850）、咸丰（1851-1861）时期
高度 14.8 厘米
直径 12.7 厘米
王素（1794-1877），字小某、小梅，甘泉（今江苏扬州）人，工画，多学华喦（1682-1765），技艺成熟精湛全面，凡人物、花鸟、走兽、虫鱼，无不入妙。亦善篆刻，效法汉印。
在展览图录《浮世丹青——清代晚期中国绘画 1796-1911》中，周汝式谈及王素性情简朴，长居扬州，一生波澜不惊，但也在1853 年经历了太平天国运动电光火石般的劫掠，除至亲外一无所剩，曾随他习画的侄子也于是此变故中死于非命。在王素生命的最后一段时光中，或曾寓居海上。
已有出版记载的王素作品大多为人物画，其中又以仕女图居多。克莱尔 • 劳伦斯曾在其发表于《国际中国鼻烟壶协会学术期刊》1993年夏季刊的一篇讲稿中提出，王素款及其画作构图常被用于由十九世纪扬州地区某一流派出产的鼻烟壶中，这些鼻烟壶制作精良，均有款印，而王素也是当时知名画家中被借名最多者。私以为，王素或并未直接参与这些作品的设计及制作，落其名款仅为借用其立意构图，这件笔筒大体亦如是，由此可见其名于是时之遐迩。
关于三酸图的更多讯息，请点此查阅。
1113-03
A bamboo figure of a gentleman seated, leaning against rockwork, he holds a sprig of lingzhi fungus in his right hand and there is a basket of the fungus beside him; a scythe is balanced against the rocks behind the gentleman. He wears a long robe, falling open to reveal his chest and belly, and a cloth cap; his bare feet protrude from the hems of the robe. His hair, moustache and beard are incised, and his features bear a happy expression.
Qing dynasty, 17th–18th century
height 10.2 cm / 4 in.
For similar examples, see Wang, Zhuke Jianshang, no. 16, pp. 62–3; and Zhongguo Meishu Fenlei Quanji: Zhongguo Zhu Mu Ya Jiao Qi Quanji, Vol. 1, no. 18, p. 16, dated Ming, and no. 82, p. 70, dated Qing, both in the collection of the Palace Museum, Beijing.
See also a related figure of Dongfang Shuo in Shi, Literati Spirit: Art of Chinese Bamboo Carving, no. 51, pp. 114–15, in the collection of the Shanghai Museum.
此竹雕人物摆件雕为一老者斜倚石座，右手持灵芝，身旁放一装满灵芝的竹篮，身后一把长柄镰刀靠于石上。老者身着长袍，袒胸露乳，后脑勺绾一髻，罩以布巾束紧，长袍下露赤足。发丝、胡须及长髯皆刻出，面部作欣喜态，眉欢眼笑。
清 十七至十八世纪
高 10.2 厘米
类似的人物摆件见王世襄《竹刻鉴赏》图版16，62-63页；《中国美术分类全集：中国竹木牙角器全集》第一册，图版18，第16页一例明代竹雕，及图版82，第70页一例清代竹雕，这两例均为北京故宫博物院藏品。
亦可参见一例上海博物馆藏竹雕东方朔摆件，见《文人精神：中国竹刻艺术》图版51，114-115页。
A bamboo figure of a gentleman seated, leaning against rockwork, he holds a sprig of lingzhi fungus in his right hand and there is a basket of the fungus beside him; a scythe is balanced against the rocks behind the gentleman. He wears a long robe, falling open to reveal his chest and belly, and a cloth cap; his bare feet protrude from the hems of the robe. His hair, moustache and beard are incised, and his features bear a happy expression.
Qing dynasty, 17th–18th century
height 10.2 cm / 4 in.
For similar examples, see Wang, Zhuke Jianshang, no. 16, pp. 62–3; and Zhongguo Meishu Fenlei Quanji: Zhongguo Zhu Mu Ya Jiao Qi Quanji, Vol. 1, no. 18, p. 16, dated Ming, and no. 82, p. 70, dated Qing, both in the collection of the Palace Museum, Beijing.
See also a related figure of Dongfang Shuo in Shi, Literati Spirit: Art of Chinese Bamboo Carving, no. 51, pp. 114–15, in the collection of the Shanghai Museum.
此竹雕人物摆件雕为一老者斜倚石座，右手持灵芝，身旁放一装满灵芝的竹篮，身后一把长柄镰刀靠于石上。老者身着长袍，袒胸露乳，后脑勺绾一髻，罩以布巾束紧，长袍下露赤足。发丝、胡须及长髯皆刻出，面部作欣喜态，眉欢眼笑。
清 十七至十八世纪
高 10.2 厘米
类似的人物摆件见王世襄《竹刻鉴赏》图版16，62-63页；《中国美术分类全集：中国竹木牙角器全集》第一册，图版18，第16页一例明代竹雕，及图版82，第70页一例清代竹雕，这两例均为北京故宫博物院藏品。
亦可参见一例上海博物馆藏竹雕东方朔摆件，见《文人精神：中国竹刻艺术》图版51，114-115页。
1117-02
A typically curved bamboo wrist rest deeply incised with four lines of a calligraphy poem composed by Su Ziqing 蘇子卿 from the Chen dynasty (557-589) of the period of Northern and Southern dynasties (420-589), with three seals, one on the upper right read as 日三斗文章 Ri Sandou Wenzhang, and two on the lower left read as 元常 Yuanchang (upper) and 臥雲 Woyun (lower). The reverse finished with a chamfered edge to the long sides with a foot to each corner.
Qing dynasty, 19th century.
length 21.9 cm / 8 5/8 in
Provenance:
Private collection, San Francisco.
The poem,
In the middle of courtyard stands a plum tree,
With its leaves not yet budded due to the coldness.
I mistook the blossoms for snowflakes,
For I did not notice their fragrant scent.
The spring in the Upper Arrondissment always comes late.
[Ascending onto] the high-rise pavilion one easily feels the elapse of time.
[The wife] wove verses on tapestry with deliberate design,
Which impelled [the husband] to uncover the hidden palindrome.
此臂搁保留竹节之自然曲度而制成，正面刻南朝陈代（557-589）苏子卿《梅花落》诗文四纵列，并有三印章，右上引首章为“日三斗文章”，左下两方字号章一曰“元常”，一曰“卧云”。臂搁背面打磨细腻，两长边切口作倒棱，四角配四足。
清 十九世纪
长 21.9 厘米
来源：
旧金山私人珍藏
诗文内容：
中庭一树梅，寒多叶未开。
只言花是雪，不悟有香来。
上乱（郡）春恒晚，高楼年易催。
织书偏有意，教逐锦回文。
A typically curved bamboo wrist rest deeply incised with four lines of a calligraphy poem composed by Su Ziqing 蘇子卿 from the Chen dynasty (557-589) of the period of Northern and Southern dynasties (420-589), with three seals, one on the upper right read as 日三斗文章 Ri Sandou Wenzhang, and two on the lower left read as 元常 Yuanchang (upper) and 臥雲 Woyun (lower). The reverse finished with a chamfered edge to the long sides with a foot to each corner.
Qing dynasty, 19th century.
length 21.9 cm / 8 5/8 in
Provenance:
Private collection, San Francisco.
The poem,
In the middle of courtyard stands a plum tree,
With its leaves not yet budded due to the coldness.
I mistook the blossoms for snowflakes,
For I did not notice their fragrant scent.
The spring in the Upper Arrondissment always comes late.
[Ascending onto] the high-rise pavilion one easily feels the elapse of time.
[The wife] wove verses on tapestry with deliberate design,
Which impelled [the husband] to uncover the hidden palindrome.
此臂搁保留竹节之自然曲度而制成，正面刻南朝陈代（557-589）苏子卿《梅花落》诗文四纵列，并有三印章，右上引首章为“日三斗文章”，左下两方字号章一曰“元常”，一曰“卧云”。臂搁背面打磨细腻，两长边切口作倒棱，四角配四足。
清 十九世纪
长 21.9 厘米
来源：
旧金山私人珍藏
诗文内容：
中庭一树梅，寒多叶未开。
只言花是雪，不悟有香来。
上乱（郡）春恒晚，高楼年易催。
织书偏有意，教逐锦回文。
1214-01
A hanging scroll in ink and colour on paper of flowers, finger citrons and narcissus bulbs by Qian Fengming (Meisheng; act. 1850s–70s), with an inscription by Zhang Xiong (1803–1886).
A square intaglio seal of the artist haihe 海鶴 (Ocean crane). Inscribed by Zhang Xiong (1803–1886) ‘on a summer’s day in the renwu year [1880] by an old man of 80, Zixiang, Zhang Xiong’ 壬午夏日八十老人子祥張熊題, followed by a square intaglio seal of Zhang Xiong, reading ‘Zhang Xiong si yin’ 張熊私印) and inscription reading錢梅生老友遺跡 ‘Left-over brushtraces by my old friend Qian Meisheng.’
Qing dynasty, 1870s, by Qian Fengming (active 1850's - 70's), with an inscription by Zhang Xiong (1803 - 1886).
height 144.7 cm / 57 in
width 38.8 cm / 15 1/4 in
Qian Fengming, whose style name was Meisheng 梅生 and sobriquet was Haihe waishi 海鶴外史, came from Taicang in Jiangsu and belonged to the first generation of Shanghai school painters active in the city during the 1850s through the 1870s, a generation that also included Wang Li 王禮, Hu Yuan 胡遠 and Zhang Xiong, the inscriber here. According to Haishang molin 海上墨林, Qian started out as a portraitist, studying with his uncle, Li Ziqing 李子卿. Later, however, he abandoned portraiture in favor of flower-and-bird painting in the tradition of the eighteenth-century painter, Hua Yan 華喦. Second-generation Shanghai school artists such as Ren Yi 任頤 and Zhu Cheng 朱偁drew partly upon Qian Fengming’s style of flower-and-bird painting to form their own styles. Collaborative works among Qian and these younger artists survive.
This hanging scroll is a fine example of Qian’s work from the 1870s, with his spirited brushwork and vivid sense of color on view. It depicts a common display in wealthy Shanghai residences of the time: combinations of crackle-glaze, modern-form flower vases, displayed on different levels. The artist has combined a range of autumnal flowers, with Buddha’s hand citrons and narcissus bulbs completing the scene. The auspicious meanings carried by particular combinations of flowers and/or vegetables, made such still lifes widely popular in the city.
After a painter’s death unsigned works were often left over in the studio. With such works it was common practice to add one of the artist’s seals and seek an authenticating inscription from another respected artist. Zhang Xiong, a senior figure in the Shanghai art world of 1880, would have been an obvious choice. As his inscription states, the two men were old friends.
钱凤鸣（字梅生，活跃于1850至1870年代）画
张熊（1803-1886）题跋
花果清供 立轴 设色纸本
艺术家方形阴文钤印一枚：海鹤
张熊题跋曰“钱梅生老友遗迹，壬午夏日八十老人子祥张熊题”，后跟方形阴文钤印“张熊私印”。
清 1870年代
钱凤鸣画 张熊题跋
长 144.7 厘米
宽 38.8 厘米
钱凤鸣，字梅生，号海鹤外史，江苏太仓人。与王礼（1831-1879）、胡远（1823-1886）、本卷题跋者张熊同属海上画派第一代代表画家，活跃于1850至1870年代的上海。据《海上墨林》，钱凤鸣初攻人物肖像，从其戚李子卿学写真。后舍去，专功花鸟，笔近华喦。海上画派第二代画家中便有不少人或多或少沿承了钱凤鸣花鸟画的风格，如任颐（1840-1895）、朱偁（1826-1899或1900）等，由钱凤鸣与这些晚辈画家合画的画作亦有不少传世。
这张花果立轴是钱凤鸣1870年代作品中的佳例，笔势灵动，配色纷呈而不俗艳。所画为当时海上富贵人家宅中寻常可见的清供之物：错落有致的冰裂纹花瓶两只，内插各色秋花秋草如白黄两色菊花、淡蓝小雏菊及木槿等，瓶前置放秋果佛手柑及水仙花苞各一对。不同的清供物品组合往往蕴含不同的吉祥雅意，因而在当时的海上风靡一时。
这件花果为钱凤鸣辞世前未署名之作，当留存于其画室。妥善处理这类画作的常见方法之一是取艺术家印章钤印，并委托当时有名望之同行题跋以证之。张熊在1880年代的上海画坛已享相当声誉，是再好不过的人选，况如其题跋所言，其与钱凤鸣颇有交情，曾为“老友”。
A hanging scroll in ink and colour on paper of flowers, finger citrons and narcissus bulbs by Qian Fengming (Meisheng; act. 1850s–70s), with an inscription by Zhang Xiong (1803–1886).
A square intaglio seal of the artist haihe 海鶴 (Ocean crane). Inscribed by Zhang Xiong (1803–1886) ‘on a summer’s day in the renwu year [1880] by an old man of 80, Zixiang, Zhang Xiong’ 壬午夏日八十老人子祥張熊題, followed by a square intaglio seal of Zhang Xiong, reading ‘Zhang Xiong si yin’ 張熊私印) and inscription reading錢梅生老友遺跡 ‘Left-over brushtraces by my old friend Qian Meisheng.’
Qing dynasty, 1870s, by Qian Fengming (active 1850's - 70's), with an inscription by Zhang Xiong (1803 - 1886).
height 144.7 cm / 57 in
width 38.8 cm / 15 1/4 in
Qian Fengming, whose style name was Meisheng 梅生 and sobriquet was Haihe waishi 海鶴外史, came from Taicang in Jiangsu and belonged to the first generation of Shanghai school painters active in the city during the 1850s through the 1870s, a generation that also included Wang Li 王禮, Hu Yuan 胡遠 and Zhang Xiong, the inscriber here. According to Haishang molin 海上墨林, Qian started out as a portraitist, studying with his uncle, Li Ziqing 李子卿. Later, however, he abandoned portraiture in favor of flower-and-bird painting in the tradition of the eighteenth-century painter, Hua Yan 華喦. Second-generation Shanghai school artists such as Ren Yi 任頤 and Zhu Cheng 朱偁drew partly upon Qian Fengming’s style of flower-and-bird painting to form their own styles. Collaborative works among Qian and these younger artists survive.
This hanging scroll is a fine example of Qian’s work from the 1870s, with his spirited brushwork and vivid sense of color on view. It depicts a common display in wealthy Shanghai residences of the time: combinations of crackle-glaze, modern-form flower vases, displayed on different levels. The artist has combined a range of autumnal flowers, with Buddha’s hand citrons and narcissus bulbs completing the scene. The auspicious meanings carried by particular combinations of flowers and/or vegetables, made such still lifes widely popular in the city.
After a painter’s death unsigned works were often left over in the studio. With such works it was common practice to add one of the artist’s seals and seek an authenticating inscription from another respected artist. Zhang Xiong, a senior figure in the Shanghai art world of 1880, would have been an obvious choice. As his inscription states, the two men were old friends.
钱凤鸣（字梅生，活跃于1850至1870年代）画
张熊（1803-1886）题跋
花果清供 立轴 设色纸本
艺术家方形阴文钤印一枚：海鹤
张熊题跋曰“钱梅生老友遗迹，壬午夏日八十老人子祥张熊题”，后跟方形阴文钤印“张熊私印”。
清 1870年代
钱凤鸣画 张熊题跋
长 144.7 厘米
宽 38.8 厘米
钱凤鸣，字梅生，号海鹤外史，江苏太仓人。与王礼（1831-1879）、胡远（1823-1886）、本卷题跋者张熊同属海上画派第一代代表画家，活跃于1850至1870年代的上海。据《海上墨林》，钱凤鸣初攻人物肖像，从其戚李子卿学写真。后舍去，专功花鸟，笔近华喦。海上画派第二代画家中便有不少人或多或少沿承了钱凤鸣花鸟画的风格，如任颐（1840-1895）、朱偁（1826-1899或1900）等，由钱凤鸣与这些晚辈画家合画的画作亦有不少传世。
这张花果立轴是钱凤鸣1870年代作品中的佳例，笔势灵动，配色纷呈而不俗艳。所画为当时海上富贵人家宅中寻常可见的清供之物：错落有致的冰裂纹花瓶两只，内插各色秋花秋草如白黄两色菊花、淡蓝小雏菊及木槿等，瓶前置放秋果佛手柑及水仙花苞各一对。不同的清供物品组合往往蕴含不同的吉祥雅意，因而在当时的海上风靡一时。
这件花果为钱凤鸣辞世前未署名之作，当留存于其画室。妥善处理这类画作的常见方法之一是取艺术家印章钤印，并委托当时有名望之同行题跋以证之。张熊在1880年代的上海画坛已享相当声誉，是再好不过的人选，况如其题跋所言，其与钱凤鸣颇有交情，曾为“老友”。