Wang Xisan inside painted crystal, scholar's gathering under the  pines.
Lot 44
An inside-painted rock-crystal snuff bottle Wang Xisan, dated 1962 (the bottle probably Official School, 1760–1860)
Sold for HK$ 108,000 (US$ 13,925) inc. premium

Lot Details
Wang Xisan inside painted crystal, scholar's gathering under the  pines. Wang Xisan inside painted crystal, scholar's gathering under the  pines. Wang Xisan inside painted crystal, scholar's gathering under the  pines. Wang Xisan inside painted crystal, scholar's gathering under the  pines. Wang Xisan inside painted crystal, scholar's gathering under the  pines. Wang Xisan inside painted crystal, scholar's gathering under the  pines. Wang Xisan inside painted crystal, scholar's gathering under the  pines. Wang Xisan inside painted crystal, scholar's gathering under the  pines. Wang Xisan inside painted crystal, scholar's gathering under the  pines. Wang Xisan inside painted crystal, scholar's gathering under the  pines. Wang Xisan inside painted crystal, scholar's gathering under the  pines. Wang Xisan inside painted crystal, scholar's gathering under the  pines. Wang Xisan inside painted crystal, scholar's gathering under the  pines.
An inside-painted rock-crystal snuff bottle
Wang Xisan, dated 1962 (the bottle probably Official School, 1760–1860)
6.38cm high.

Footnotes

  • Treasury 4, no. 657


    水晶內畫雅集鼻煙壺
    壺:大概為頒賜類, 1760~1860
    內畫:王習三,北京,1962年


    Elegant Gathering Beneath the Pines

    Flawless crystal, ink, and watercolours; with a concave lip and recessed flat foot surrounded by a protruding broad, flat footrim; the narrow sides carved with mask-and-ring handles; painted with a continuous composition of an elegant gathering of scholars in a rocky pine grove, with one seated at a marble-topped table in front of his qin, listening to another, seated on a nearby rock, playing the flute while a serving boy offers cups of wine on a tray, three other scholars sit at another marble-topped table set with food and more wine cups while another servant stands nearby with a pot of wine, inscribed in draft script 'Executed at the capital by Xisan in the eighth month of the year renyin', with two seals of the artist, Wang and yin (seal), in negative seal script

    Bottle: probably Official school, 1760–1860
    Painting: Wang Xisan, Beijing, eighth month, 1962
    Height: 6.38 cm
    Mouth/lip: 0.70/2.54 cm
    Stopper: coral, carved with a coiled chi dragon; turquoise collar
    Condition: Bottle: tiny chip in outer lip and upper neck rim (0.2 cm at its widest, and shallow, extending down the neck 0.2 cm). Painting: studio condition


    Provenance:
    Unrecorded source, Hong Kong, (1963–1965)
    Honor Smith (circa 1970)
    Hugh Moss (1985)

    Published:
    Chinese Snuff Bottles No. 4, p. 33

    Commentary:
    We are told by Ma Shaoxuan's grandson (Ma Zengshan 1997) that it took him some six years to gain sufficient skill in the art to present a group of satisfactory bottles to his father in 1891 and by the time of his earliest entirely reliably dated bottle in 1894, he was still exhibiting some hesitancy, particularly in his calligraphy. We know from Wang Xisan's own account, however, that he left Senior Middle school in 1957, failed a science and engineering examination (to the great benefit of snuff-bottle collectors everywhere), and was selected as one of three candidates out of three hundred for learning the art of inside-painting in the same year. By the middle of 1958 he was already producing paintings of a standard not far off that of his teachers, and by 1960 had begun to surpass them. There are many excellent works from the years 1959–1961, but from 1962 onwards he had mastered the art to such an astonishing extent that nothing he painted from then until the impact of the 'wilderness years' began to take their toll a decade later was less than a masterpiece. One reason why it took Wang Xisan so little time to become proficient in the art, and so little more time to become its greatest living master, was his artistic background. Wang was born in Beijing to a shoemaker and his wife on 24 May 1938, although his family was from Yang village in Fucheng county, Hebei province. At the age of four or five, Wang was already interested in calligraphy. He would visit a local Buddhist temple, where the accountant was a friend of his family. The accountant was a good calligrapher and taught Wang on a regular basis. Wang quickly showed an aptitude for this art form, and studied diligently, to the point that when the accountant was posted away from Beijing, he left Wang all his calligraphic copy books and models. At school, Wang later organized a group of three friends interested in art, and the three of them would study painting, calligraphy and culture in general, honing their artistic sensibilities all the while. He also studied painting privately under Wang Qingfang, so that by the time the Beijing Arts and Crafts Corporation held its examinations to find three suitable students to learn inside-painting in 1957, Wang was already an accomplished artist.

    His depth of education in artistic matters and his cultural sophistication allowed Wang to make his first major contribution to the art form at this time. He was able to rise above the repetitive and decorative nature of the Ye family tradition of his teachers. Wang not only mastered the art to a level far beyond his teachers' abilities, but by restoring depth, spirit and artistic inventiveness to it, he gave it back its soul. In those golden years of artistic freedom, youthful energy and boundless possibilities, Wang was able to restore to the art the dignity it had once had under Yiru jushi and Gan Xuanwen, under Zhou Leyuan and under Ding Erzhong. He was able to redress the balance of more than half a century of creeping commercialism and decorative painting, the tradition he had inherited from his teachers, and proclaim the art of inside-painting alive and well and still living in Beijing where it probably all started more than one hundred and fifty years earlier.

    This is a typically magnificent painting from 1962, in a lovely old crystal bottle, of one of the many new compositions introduced by Wang during this period in his career. Throughout his career, regardless of the physical and psychological pressures brought to bear on him by his turbulent circumstances, Wang is always an artist in his heart, and in these early works his artistry is allowed to shine through unhindered.

    There is an interesting distinction to be made here between Wang's finest works and those of his teachers and the Ye family tradition they embodied. Although the group of figures in a landscape setting, even the elegant gathering of the Seven Sages of the Bamboo Grove (see Treasury 4, no. 645), are all reflected in this work, and the bright colouring of the clothes is similar, Wang's way of using this colouring is quite different. The Ye family tended to fill in colours as a means of clothing and distinguishing individuals. One wore a red jacket, one a blue, and so forth. Little attention was paid to individual observation of such details and none whatsoever to their re-invention for each work of art. Once established in the family pattern book, they are simply repeated over and over again with no further thought. In this bottle, however, Wang has carefully observed every detail of what he is depicting. There are no repeated postures, nominal colour fills, or token folds in clothing. Each figure is a little portrait of an individual alive in Wang's mind rather than a repeated figure-type, each fold of clothing is logical, well observed and convincingly realized. The same may be said of the setting. The Ye family pine trees are generic, pattern-book pines, often taken from Zhou Leyuan's works. Here, the main tree is a portrait of a particular pine, even if it only exists in Wang's mind, and we can be sure that this same tree will not turn up again in another bottle, whereas with the Ye family we can be equally sure that it would.

    For a later version of scholars in a garden setting, although quite different from this one, see Deng Zhong'an 1993, p. 131, no. 4.22.


    松下雅集

    無瑕水晶、墨、水色;凹唇、平斂底、突出寬平底圈足;兩側雕獸首啣環耳;內畫有通景苑中高士雅集圖,一正面畫三文士圍桌飲饌,一僕人送酒而來,另一正面內畫一文士坐在鑲雲石的方桌傍,邊撫桌上的琴,邊聽對面坐在小丘上的文士吹洞簫,一僮子捧茶侍侯,其上題"壬寅年仲秋月習三作於都門",題後落白文"王"、"印"二印

    壺:大概為頒賜類, 1760~1860
    內畫:王習三,北京,1962年8月
    高:6.38 厘米
    口經/唇經:0.70/2.54 厘米
    蓋:珊瑚,雕蟠螭,綠松石座
    狀態敘述:壺:唇沿和頸部上部有一微小的缺口,淺,最廣0.2厘米,最長0.2厘米;內畫:出齋狀態

    來源:
    未記錄來源 ,香港(1963~1965)
    Honor Smith (約1970年)
    莫士撝(1985年)

    文獻:
    Chinese Snuff Bottles 4, 頁33

    展覽:
    佳士得,倫敦,1999

    說明:
    馬少宣下苦功數年以後才把內畫藝術學好(參見馬增善1998,頁9)而王習三1957年考不入科學、工程科,卻考入北京工藝美術研所的時候,已經是繪畫高手。當年有三百人考內畫科,只錄取他和其他兩個人入學,而到了1958年中期,王習三的內畫水平已跟老師差不了多少。到了1960年就間有青勝於藍的成果了。1959~1961年間有不佳作,1962年以後至文革時期的都是永垂不朽的傑作了。王習三怎麼能這麼快地自成一家?原來他早就有一定的美術訓練。王習三1938年5月24日出生在北京,父親是原籍河北衡水阜城縣楊莊村的鞋匠家,習三原名端成,四五歲時已經對書法感興趣,每天去拜訪附近寺廟的一位執行會計業務的寫字能手,然而,他顯然有成為書法家的天賦,會計師調到外地的時候,他就把法帖都送給端成。在學校,端成和兩個學友也組織了小規模的文藝學會,不廢修習。他還受了王青芳指導, 可見他考入北京工藝美術研所的時候已經具有堅固的藝術基礎。

    本件是完美的舊水晶煙壺裏,1962年作的代表性傑出內畫,是王習三生平中所采用的多數新構圖之一。他一輩子,無論多麼崎嶇的,王習三本質上總是藝術家。就本壺來說,他的繪術和他老師輩與他們體現的葉家傳統有大的區別。當然,像竹林七子、西園雅集等,先例不能枚舉,人物所穿多色彩的衣服也是典型的,不過,王習三對色調的變化、對衣裳每一褶子的布置、對每人的態勢,無不用心,不像葉家那樣,模式一定就會一件一件死板地重複。人物的背景也是這樣的;葉家內畫的松樹都是畫譜抄來的,王習三的松樹則不是他寫生就是他想像的,絕對不會出現在第二件煙壺上。

    另有同題異做的作品,參見鄧仲安1993,頁131,編號4.22。
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