An inscribed yellow glass 'Bodhidharma' snuff bottle Yangzhou, 1830-1890
Lot 129
An inscribed yellow glass 'Bodhidharma' snuff bottle Yangzhou, 1830-1890
Sold for HK$ 137,500 (US$ 17,712) inc. premium

Lot Details
An inscribed yellow glass 'Bodhidharma' snuff bottle Yangzhou, 1830-1890 An inscribed yellow glass 'Bodhidharma' snuff bottle Yangzhou, 1830-1890 An inscribed yellow glass 'Bodhidharma' snuff bottle Yangzhou, 1830-1890
Snuff bottles formerly in the Mary and George Bloch collection (lots 100-146)
An inscribed yellow glass 'Bodhidharma' snuff bottle
Yangzhou, 1830-1890
With a flat lip and recessed, slightly convex foot surrounded by a protruding flattened footrim, carved in low relief on one main side with Bodhidharma seated in meditation on a woven mat on a rocky ground, his empty shoes in front of him, gazing at a rock face with a vine-entwined bare branch growing from it, with a raised oval seal in positive seal script, Qiufang ('Autumn boat'), the other main side with another figure standing with a double gourd at his back on a grassy bank looking down at the branches of a pine tree low in the foreground, inscribed in relief seal script Yannian yishou ('Prolong one's years and increase longevity'), the narrow sides with mask-and-ring handles.
5.1cm high.

Footnotes

  • Provenance 來源:
    Claar Collection
    Parke-Bernet Galleries Inc., New York, 16 September 1971, lot 12
    Avon Collection (prior to 1970)

    Illustrated 出版:
    Hugh Moss, Victor Graham and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles. The Mary and George Bloch Collection, Volume 5, Hong Kong, 2002, no.857

    This is one of only two known carved monochrome yellow glass bottles from what used to be referred to as the Li Junting school and have now determined to be a late-nineteenth-century school probably located in Yangzhou (see Moss, Hugh, and Stuart Sargent, The World in a Bottle in the World at the End of the Qing Dynasty, part 2: Yangzhou Overlay Glass, Journal of the International Chinese Snuff Bottle Society, Spring 2011, vol. 42, no. 4. The other example is in the Franz Collection, Hong Kong.

    That this school or workshop produced monochrome glass bottles alongside its more standard range of cameo-overlays does not come as any surprise. Private glassworks would have produced a range of both plain and carved glass in response to the demand for both, and any workshop able to produce a fancy overlay can easily produce carved monochromes and, indeed, plain bottles. There are other monochrome bottles from the school, including a ruby-red monochrome bottle in Christie's, London, 10 June 1999, lot 201. It is interesting to note that the ruby-red and imperial yellow bottles are all decorated with a range of subjects of a type not common to the normal output of the school, including Buddhist or, in some cases, possibly Daoist figures either seated in meditation or standing They appear to have been produced as a small group, perhaps for a single patron. Although it is easy enough to identify carved monochrome examples from the school, identifying the undecorated examples presents greater problems. It seems likely, for instance, that a small series of uncarved overlays with cinnabar-red on turquoise blue are undecorated bottles of this school (see for instance an example from the Guo'an Collection, Sotheby's, Hong Kong, 30 October 2000, lot 705, now in the Schaefer Collection). Both form and colouring are typical of the standard range of Yangzhou school bottles, but without any decoration it is impossible to be sure.

    There is a strong possibility that the seal that appears on this bottle is the seal of a playwright named Xu Qiufang. Like Li Yunting (Li Peisong) and Li Weizhi (Li Peizhen), he was a native of Zhenjiang, on the south shore of the Yangzi. He was considered a Yangzhou poet, however, and poems by him on some sites in Yangzhou are extant. Xu's dates are unknown, but one of his plays (unfinished and never performed) was based on a book that described incidents 'seen and heard' from 1834 to 1873; there was a lithograph edition published in 1900. A few sources list him as a Republican-period figure, so he could have been a close contemporary of the Li brothers, whose names appear on bottles from the same workshop.

    1830-1890  揚州  黃玻璃雕菩提達摩鼻煙壺

    平唇,微凸斂底,突出弄平的圈足;一正面雕菩提達摩面壁十年圖,石壁上有橢圓形陽文「秋舫」篆文印,另一正面雕負葫蘆的人物,有陽刻「延年益壽」四字;側面有獸首啣環耳。

    「李均亭流派」只有兩件單色黃雕刻玻璃鼻煙壺存世,本壺乃其一,香港Franz珍藏中的一件藏品就是其二。李均亭是十九世紀後葉揚州玻璃工藝師的老主顧之一,藝匠的名字和詳細不詳(參閱 Moss and Sargent 2011)。

    秋舫疑是許秋舫。許字瀚青,跟李韻亭、李維之兄弟一樣,是丹徒人,可是他有詠揚州名勝的詩,有視之為楊 州詩人者。許秋舫生卒年不明,但他寫的《脊令原》傳奇,是黃鈞宰《金壺遁墨》中的故事,而《金壺遁墨》記錄的都是1834-1873的所見所聞。《金壺遁墨》有1900年版本。《脊令原》未寫完,許秋舫便去世了。因此,可推測他是李兄弟同時期人。以秋舫為字或號的人還有,且不一一枚舉。只有許秋舫跟揚州有明確的關係。
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