An inscribed chalcedony snuff bottle Imperial, Hanyuan zhai mark, probably palace workshops, Beijing, 1797
Lot 67Y
An inscribed chalcedony snuff bottle Imperial, Hanyuan zhai mark, probably palace workshops, Beijing, 1797
Sold for HK$ 288,000 (US$ 37,143) inc. premium

Lot Details
An inscribed chalcedony snuff bottle Imperial, Hanyuan zhai mark, probably palace workshops, Beijing, 1797 An inscribed chalcedony snuff bottle Imperial, Hanyuan zhai mark, probably palace workshops, Beijing, 1797 An inscribed chalcedony snuff bottle Imperial, Hanyuan zhai mark, probably palace workshops, Beijing, 1797
An inscribed chalcedony snuff bottle
Imperial, Hanyuan zhai mark, probably palace workshops, Beijing, 1797
5.61cm high.

Footnotes

  • Treasury 2, no. 357

    玉髓《涵遠齋》鼻煙壺
    御製品,刻「涵遠齋」楷款,或為宮廷作坊作,北京,1797年

    An inscribed chalcedony snuff bottle

    ('The Imperial Studio of Magnanimity Chalcedony')

    Chalcedony; very well hollowed, with a concave lip and protruding, flat foot; carved with raised circular panels on each main side and raised, scalloped, rounded rectangular panels on each narrow side inscribed in regular script, one with Jiaqing dingsi ('[In the year] dingsi of the Jiaqing period (1797)') and the other with Hanyuan zhai ('Studio of Magnanimity')
    Imperial, probably palace workshops, Beijing, 1797
    Height: 5.61 cm
    Mouth/lip: 0.66/2.11 cm
    Stopper: stained walrus ivory; coral finial; vinyl collar

    Condition: Original material: some flaws in the stone showing as shadowy, curling lines at the surface, with one slightly more crystalline area of a very pale yellow colour at one point beneath one narrow-side panel; none of it obtrusive. Bottle: workshop condition

    Provenance:
    Gerd Lester (1986)

    Published:
    Kleiner, Yang, and Shangraw 1994, no. 213
    Treasury 2, no. 357

    Exhibited:
    Hong Kong Museum of Art, March–June 1994
    National Museum, Singapore, November 1994–February 1995

    Commentary
    This bottle represents a standard courtly form that occurs fairly frequently during the Qing dynasty in a variety of materials. One example in the National Palace Museum in Taiwan is ascribed to the Qing dynasty and is part of a set of twenty-five, although the bottles in the set are in a variety of styles. Another Qing example comes from a set of eight, also with a variety of styles but more representatives of the raised-panel form. The one that most resembles the present bottle is dated to the Republican period, but it is surely based on a Qing model. The form also appears in glass, much of which can be attributed to the palace workshops and many of which bear reign marks.

    What is more intriguing than the form, however, are the inscriptions on each of the narrow-side panels. One dates the bottle precisely to the second year of the Jiaqing period, 1797, and the other is a studio name. This studio name also appears on a rectangular jadeite bottle in the S. L. Tan Collection, and we are grateful to him for research into this particular studio, which he has been involved with for several years, providing us with proof that this is an imperial hall name of a building located in the Summer Palace. The Hanyuan zhai (Studio of Magnanimity) is the name of a studio located in Huifang Shuyuan (Library of a Congregation of Talents), one of forty scenic spots dispersed in Yuanming yuan ('Garden of Perfect Brightness'). The Huifang shuyuan was built in the seventh year of the Qianlong period (1742).

    This is one of the exciting examples, gold-dust to the researcher in this field, where a hall name can not only be identified with an owner, but where we know exactly where the building stood, and even have illustrations of it in published works.

    At first glance the inscriptions here appear to be wheel cut, but magnification reveals that this distinctive type of calligraphy was achieved by using repeated incisions with a diamond point. An outline is scratched into the surface of the material and then the space between is scratched with a large number of further marks until the entire area is roughened. This allows more brush-like calligraphic markings than can easily be achieved with a spinning wheel and allows for more elegant calligraphy. It may have been a style that became popular during the mid-Qing period, as it is rare on earlier works, but it appears also on the Daoguang-dated crystal bottle, Treasury 2, no. 363, the Xianfeng-dated bottle, no. 364 (both made for Prince Ding), and the jade bottle signed by Zhu Youlin in 1934: See Sale 1, lot 51, where we discuss the technique as he applied it to pictoral art. It is a different technique from that which appears on a number of earlier palace glass wares, a style that continued well into the late Qing period, where the marks are achieved by a series of lines cut with a spinning wheel, typical of which is the palace enamel on glass bottle in the J & J Collection (Moss, Graham, and Tsang 1993, no. 185).

    玉髓《涵遠齋》鼻煙壺

    玉髓; 掏膛非常徹底, 凹唇,突出平底;一側面刻"嘉慶丁巳";另一側面刻"涵遠齋"
    御製品,大概為宮廷作坊作,北京,1797年
    高:5.61 厘米
    口經/唇經:0.66/2.11 厘米
    蓋: 著色海象牙; 珊瑚 頂飾; 乙烯基座

    狀態敘述: 質料: 模糊卷曲的線條就是石中的瑕疵,一側面的方格板塊下有稍微更結晶質的淡黃色的地方,以上都不引人注目。壺:出坊狀態

    來源:
    Gerd Lester (1986)

    文獻:
    Kleiner, Yang, and Shangraw 1994, 編號 213
    Treasury 2, 編號 357

    展覽:
    Hong Kong Museum of Art, March–June 1994
    National Museum, Singapore, November 1994–February 1995

    說明
    本壺代表一種清代朝廷風的型式,有各種不同的質料。白玉的有國立故宮博物院收藏的一組二十五件白玉煙壺中的一件 ,那二十五件包括不同的形式。另一件清代的例子是一組八件中的一件,而那一套中,正反兩面各雕平素圓形開光的比較多。最像本壺的推定為民國時期的,但它一定是用清代的模範。玻璃的例子也有,很多可以推定是宮廷作坊作的,不少也帶年號款。

    據S. L. Tan ,涵遠齋是圓明園之中的一座樓。它在乾隆七年修的彙芳書院裏,是圓明園四十景之一。.

    第一印象是,題文是用琢玉車刻的,但仔細地看,就明白是用金剛刀的。這有助於書畫雕刻。這個刻法在早期的煙壺上是比較罕見的,而見於道光時的一件水晶煙壺,Treasury 2, 編號 363,咸豐的 (編號 364),以及朱友驎1934年琢磨的一件玉壺:第一場拍賣會, 拍賣品號 51
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