An iron-red enamel on porcelain 'Zhong Kui' snuff bottle Jingdezhen, 1830–1860
Lot 155
An iron-red enamel on porcelain 'Zhong Kui' snuff bottle Jingdezhen, 1830–1860
Sold for HK$ 50,000 (US$ 6,450) inc. premium

Lot Details
An iron-red enamel on porcelain 'Zhong Kui' snuff bottle Jingdezhen, 1830–1860 An iron-red enamel on porcelain 'Zhong Kui' snuff bottle Jingdezhen, 1830–1860 An iron-red enamel on porcelain 'Zhong Kui' snuff bottle Jingdezhen, 1830–1860 An iron-red enamel on porcelain 'Zhong Kui' snuff bottle Jingdezhen, 1830–1860
An iron-red enamel on porcelain 'Zhong Kui' snuff bottle
Jingdezhen, 1830–1860
5.6cm high.

Footnotes

  • Treasury 6, no. 1309

    瓷胎描紅鍾馗坐肩轝圖鼻煙壺
    景德鎮,1830~1860

    An iron-red enamelled porcelain 'Zhong Kui' snuff bottle

    Iron-red and black enamels on colourless glaze on porcelain; with a convex lip, each main side with a raised flat circular panel surrounded by radiating lines; painted with a scene that is continuous but grouped so the figures are on the flat panels on the two main sides, these figures being Zhong Kui dressed as a scholar, the two demons who carry him in a sedan chair as he holds a fan up to his face, and two demons on the other main side carrying lanterns, both of which are inscribed jinshi, although on one it is written upside down; the eyes of the figures painted in black enamel
    Jingdezhen, 1830–1860
    Height: 5.6 cm
    Mouth/lip: 0.58/1.18 cm
    Stopper: coral; stained bone collar

    Condition: Kiln condition

    Provenance:
    Unrecorded Hong Kong dealer (1982)

    Published:
    Treasury 6, no. 1309

    This shape appears to be derived from that of a European watch. It is defined by a raised panel and a series of closely-set lines radiating a little outwards all around the panels. The form seems to have remained popular into the second half of the nineteenth century; there are examples known that are convincingly Daoguang, and others that can hardly be earlier than the second half of the century (see for instance Sotheby Parke Bernet, New York, 21 November 1974, lot 30, with Pekinese dogs typical of the Guangxu period). It is possible that Daoguang enamelling style remained constant for a while after the end of the reign, and that this dates from after 1850, but it is far more likely that it was bottles such as this that found favour during the latter part of the Daoguang reign and inspired continued production into the later nineteenth century.

    The muscles on the little demons here are highly formalized. The more a commercial decorator repeats a subject, the more he is likely to stylize the details, becoming increasingly decorative and clichéd. In all other respects, the subject is delightful and the painting excellent, so a date late in the Daoguang would be reasonable and allow for others of this shape to run into the second half of the nineteenth century.

    This is another of the Daoguang bottles that has the unusual feature of an unglazed interior. This happens more often on compressed than uncompressed forms in the Daoguang and later periods, but is still the exception.

    Another example apparently from the same mould, or at least of the same form, with an Imperial five-clawed dragon and fenghuang design, is in Hui and Sin 1994, no. 22, while another, in the Denis Low Collection, has a monkey in a pine tree on one side and a European watch face on the other, yet again endorsing our proposed origin of the species (Low 2002, no. 179).

    瓷胎描紅鍾馗坐肩轝圖鼻煙壺

    瓷胎無色釉上礬紅及黑色琺瑯彩;凸唇,兩正面有平面的突出開光,開光外緣有放射的淺凹線條,繪鍾馗坐肩轝圖,反面的怪鬼侍從拿著燈,兩燈上都書"進士",左邊的倒是倒書
    景德鎮, 1830–1860
    高﹕ 5.6 厘米
    口徑/唇徑: 0.58/1.18 厘米
    蓋﹕ 珊瑚; 沁染骨座

    狀態敘述: 出窯狀態

    來源:
    未記錄香港董商 (1982)

    文獻﹕
    Treasury 6, 編號 1309

    這造型似乎是源於歐州懷錶形。它一直到十九世紀後半葉很流行,有的例子可推定是道光朝作的,有的不會早於十九世紀後半葉。

    怪鬼的筋肉是形式化的,這顯示一定的長期重復、商業化。但主題討人喜歡,筆法不俗,我們因而推測這件鼻煙壺是道光晚年燒造的。

    本壺內壁不施釉,在道光期的鼻煙壺是例外的。扁腹煙壺身內不施釉的事例比圓腹的多,但仍然是例外。

    Hui and Sin 1994, 編號 22,可能是出於同一模子的,主題卻是龍鳳呈祥; Denis Low 珍藏收藏一面飾猴 子攀松一面畫懷表 (Low 2002, 編號 179)。
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