Footnotes

• Treasury 2, no. 323
  
  玉髓龍紋鼻煙壺
  巧雕潑墨大師，或御用作坊作，頒賜品，1770～1860
  
  A chalcedony 'dragons' snuff bottle
  
  Dendritic chalcedony; very well hollowed, with a concave lip and recessed flat foot, surrounded by a broad, inward-sloping flat footrim; carved with a continuous design, partially in extremely low-relief cameo work, of a three-clawed dragon emerging from clouds to confront a chi dragon, a flaming pearl between them, above a rocky ground from which a tree, possibly intended to be a wutong, grows, wisps of formalized cloud dissecting its branches
  The Cameo Ink-play Master, possibly Imperial, Official School, 1770–1860
  Height: 5.72 cm
  Mouth/lip: 0.72/2.07 cm
  Stopper: coral; turquoise finial; quartzite collar
  
  Condition: The mouth is uneven, which suggests that it is possibly polished; otherwise, workshop condition
  
  Provenance:
  Jesse Dukeminier and David Sanders
  Robert Hall (1995)
  
  Published:
  Hall 1997, no. 7
  JICSBS, Autumn 1997, pp. 10 and 11
  Treasury 2, no. 283
  
  Exhibited:
  Robert Hall Gallery, June 1995
  
  This is another of the transcendent masterpieces by the Cameo Ink-play Master, in a class with Sale 1, lot 6, and the J & J fish (Moss, Graham, and Tsang 1993, no. 133) for its extraordinary combination of material, quality of workmanship and interpretive genius. The artist has taken a piece of dappled chalcedony that is immensely varied in colouring and markings, the sort of challenge he seems to have enjoyed, and with an elegantly hollowed and shaped form, created an ink-play masterpiece of the highest order. The cameo work here is barely discernible as being in relief, but is still conceived as cameo work for all that, with different colours separated out to form different elements of the design (the chi dragon, for instance, some of the clouds, the body of the larger dragon and part of the tree), but as an ink-play it is stunning. It demonstrates just how the game of interpreting markings, editing a little here, adding a few lines in the ground colour there, and using a highly tuned artistic imagination can lead in stone to the same results as it does on paper.
  
  玉髓龍紋鼻煙壺
  
  含樹枝狀斑紋的玉髓; 掏膛非常規整, 凹唇，斂平足，寬而往內傾斜的圈足；淺浮雕通體三爪龍和螭龍搶火焰珠，下有雲中一棵樹
  巧雕潑墨大師，或許為御用作坊作， 頒賜品， 1770–1860
  高﹕ 5.72 厘米
  口徑/唇徑： 0.72/2.07 厘米
  蓋﹕ 珊瑚； 綠松石頂飾；英石座
  
  狀態敘述： 口沿略有不平，擬經磨平。此外，出坊狀態
  
  來源:
  Jesse Dukeminier and David Sanders
  羅伯特．霍爾 (1995)
  
  文獻﹕
  Hall 1997, 編號 7
  《國際中國鼻煙壺協會的學術期刊》, Autumn 1997年秋期，頁10 及 11
  Treasury 2, 編號 323
  
  展覽﹕
  羅伯特．霍爾 美術廊，1995年6月
  
  這是巧雕潑墨大師另一件傑作，因為材料、工藝、紋飾的優秀，能與第一場拍賣會， 拍賣品號 6, 及 Moss, Graham, and Tsang 1993, 編號 133，媲美。巧雕幾乎看不出來是浮雕， 可是雕師充分地利用多色彩的特徵，與所要的題材相結合，形成色彩對比，富有趣味性，給人鮮浩靈動的美感。

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Category: Asian Art / Chinese Works of Art

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