A complete Ten-Bamboo Studio collection of decorative letter papers Printed by Rongbaozhai in Beijing in 1952
Lot 165
A complete collection of Ten-Bamboo Studio decorative letter papers Printed by Rongbaozhai in Beijing in 1952
Sold for AU$ 6,710 (US$ 6,021) inc. premium

Lot Details
A complete collection of Ten-Bamboo Studio decorative letter papers Printed by Rongbaozhai in Beijing in 1952 Detail Detail Detail Detail Detail A Ten-Bamboo Studio collection catalogue, 1952 version Originally edited by Hu Zhengyan (c.1582 - c.1672)
A complete collection of Ten-Bamboo Studio decorative letter papers
Printed by Rongbaozhai in Beijing in 1952
Woodblock print in ink and colour on paper, string binding, titled by Yu Feian
First printed in about 1644, originally edited by Hu Zhengyan (c.1582 - c.1672), the four volumes including nearly 30 categories of 300 prints of different objects, motifs, and subjects of traditional Chinese scholarly interests, the 1952 version printed by historian Zheng Zhenduo and writer Lu Xun, published by Rong Bao Zhai in Beijing, incorporating the traditional printing technologies of multi-colour block printing and embossing used in the very first edition, and is the earliest complete version of the collection in recent Chinese history.
31.4cm long x 22.5cm wide x 5.5cm deep (with case), 1.1cm thick (each volume)

Footnotes

  • Provenance:
    Private Collection Victoria

    《十竹斋笺谱》
    原胡正言(c.1582 – c.1672)編
    四冊木板水印紙本,線裝,于非闇題
    原版大約與1644年間出版,含近三百帧古玩鑑賞、書畫研究及藝術文化休養相關的器物、紋樣、和主題近三十大類。該書的1952年版本由北京榮寶齋依民國時鄭振鐸、魯迅所制《十竹齋箋譜》增補重刊,再現明末胡氏傳的雕版套印及拱花版工藝,該版為近代該書最早的完本

    來源:維省私人收藏

    Hu Zhengyan, the chief artist-editor of the catalogue, was an artist, author, and seal-cutter. He and a few other artists and scholars in Nanjing established the Ten Bamboo Studio. Versatile, Hu was particularly fitting to bring out a book with woodblocks printed in colour. Besides enhancing the multi-colour block printing technique, he is also said to have invented the embossing technology. Also known as blind printing, embossing is a feature that uses an uninked woodblock to press a raised design into the paper. Such experiments in printing prove the depth of technical research being made in China at the very end of the Ming dynasty. Together with an earlier publication, The Treatise on the Paintings and Writings of the Ten Bamboo Studio, the catalogue has since been hailed as a masterpiece of Chinese colour printing and design of all time.
    Few copies of the original versions survived. One was later discovered by historian Zheng Zhenduo and writer Lu Xun, and became the master copy of the Republic and the 1952 versions printed by the two. Rong Bao Zhai, one of the most prestigious publishing-house-and-art-suppliers established during the early Qing dynasty, published about 200 copies in 1940 - however incomplete, due to the condition of the master copy, and then about 300 in 1952 - this time in complete collection, both executed in the spirit of "reviving the traditional and classic methods of Chinese colour printing".

    《十竹斋笺谱》由明代书画家、金石家胡正言主持编辑并督造。胡氏字曰從,徽州休寧人,流寓金陵,室名曰「十竹齋」,以製箋篆印為業。胡氏多才,精與绘画、篆刻、制墨。他刻印《十竹斋笺谱》,无论是构图、设色,还是施墨、印刷,都完美无缺,达到了中国乃至世界印刷史上的顶峰。胡氏不但完善饾板工藝,據說更是拱花技術發明者。所谓饾版,是将画稿中不同顏色按其畫中形状刻成一块小木版,然后依次逐色套印,最后形成完整的彩色画面。所谓拱花,则是用凸版压印紙張而成,使天际的行云、江上的流水、禽类的翎毛、虫类的须腿、花朵的轮廓、器物的纹饰等,都一一突现纸上,具立体效果。除此箋譜外,胡氏尚有《十竹齋書畫譜》一書流傳,對於提升中國明末雕板印刷藝術貢獻極大。
    《十竹斋笺谱》的明末原版存世極少。其一由郑振铎先生与鲁迅先生與三十年代初發現並请北京荣宝斋依然用"饾版"和"拱花"术仿原件复制,歷七年始成,印約二百本,其時魯巡已故,鄭氏悲喜交加中為書撰序。1952重版增補重印,復三百本,鄭氏又作重印序。《十竹斋笺谱》被鲁迅誉为"明末清初士大夫清玩文化之最高成就",鲁郑联手翻刻此书,传为文坛佳话。

    A catalogue of the same version can be found in the British Museum collection
    Registration number: 1984,0203,0.55.1-4
    It was exhibited in The Printed Image in China: from the 8th to the 21st Centuries in 2010, and published in the exhibition catalogue of the same name.

    Bibliography:
    Robert T. Paine, Jr., "The Ten Bamboo Studio", Bulletin of the Museum of Fine Arts, Vol. 48, No. 274 (Dec., 1950), pp. 72-79
    王宗光,《木版水印》,榮寶齋出版社 2011年
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