An inside-painted glass 'Xuanhe inspired' snuff bottle Ding Erzhong, dated 1899
Lot 105
An inside-painted glass 'Xuanhe inspired' snuff bottle Ding Erzhong, dated 1899
Sold for HK$ 275,000 (US$ 35,463) inc. premium
Lot Details
Snuff bottles formerly in the Mary and George Bloch collection (lots 100-146)
An inside-painted glass 'Xuanhe inspired' snuff bottle
Ding Erzhong, dated 1899
Of compressed rectangular form with a concave lip and recessed convex foot surrounded by a protruding rounded footrim, painted with a continuous scene of a deer looking up at two bats, a crane at the foot of an ancient cypress tree, a convoluted rock with two white-headed bulbuls perched on it, blossoming peonies and other leafy branches; inscribed in draft script 'At the request of Shaobo, the honourable elder brother, Erzhong imitated a Xuanhe painting [on this bottle] in the summer of the year jihai', with one seal of the artist, Erzhong, in negative seal script, Ding Erzhong, seventh lunar month, 1899.
5.8cm high.


  • Provenance 來源:
    Bob C. Stevens
    Sotheby's New York, 25 June 1982, lot 222
    Gerd Lester (1986)

    Illustrated 出版:
    Bob Stevens, The Collector's Book of Snuff Bottles, New York and Tokyo, 1976, no. 877
    Robert Kleiner, Chinese Snuff Bottles from the Collection of Mary and George Bloch, Hong Kong, 1987, no. 261
    Hugh Moss, Victor Graham and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles. The Mary and George Bloch Collection, Volume 4, Hong Kong, 2000, no. 553

    Exhibited 展覽:
    Sydney L. Moss Ltd., London, October 1987

    Xuanhe was one of six reign titles used by the Huizong Emperor (1082–1135). Ding is referring to a painting by Huizong, who was an accomplished painter and calligrapher, or, more likely, to one of the many painting-academy bird-and-flower works produced in the Xuanhe reign (1119 – 1126).

    This is another of Ding's mature masterpieces, with a magnificently balanced composition made up of charming and symbolic elements superbly painted. It is also a typical example of Ding's mastery of the inner languages of painting. Apart from the composition, or the formal element, the brushwork is sublime and the ink tones exceptional, balancing dark black strokes and washes against paler, watery ink in what appears to be an entirely spontaneous, natural manner. And, indeed, spontaneous and natural they are, but to arrive at that sort of spontaneity one must first acquire and then transcend mere technique. Any artist in the tradition knows that ink tones are an important inner language of painting, but for them to work sublimely, one must achieve them without conscious intent by transcending intellectual control of the concept and painting from the heart.

    1899年作 丁二仲 玻璃內畫仿宣和畫本鼻煙壺

    凹唇,凸斂底,突出圈足,圈足底為一圓棱; 內畫通體鹿、蝙蝠、白頭翁等,有題「少伯仁兄大人屬仿宣和畫本,已亥夏,二仲」,後鈐「二仲」白文篆印。

    「宣和畫本」或指《宣和畫譜》或者宣和年間(1119 – 1126)畫的某一幅畫 。當然,《宣和畫譜》沒有插圖,要模仿書中所錄的畫,全靠想像力。
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