An ivory 'eighteen luohan' table screen  Qianlong, attributed to Yang Weizhan
Lot 301 Y
An ivory 'eighteen luohan' table screen Qianlong, attributed to Yang Weizhan
Sold for HK$ 560,000 (US$ 72,188) inc. premium

Lot Details
An ivory 'eighteen luohan' table screen  Qianlong, attributed to Yang Weizhan
Fine ivory carvings from the Ashfield Collection, United Kingdom (lots 301-313)
An ivory 'eighteen luohan' table screen
Qianlong, attributed to Yang Weizhan
Surmounted and framed within a zitan border and stand, the panel brilliantly carved in high relief with a scene of the eighteen luohan descending from heaven and travelling above raging waves, all depicted with intricate details and complete with their respective attributes.
26.8cm high. (2).

Footnotes

  • 清乾隆 (傳)楊維占 象牙雕十八羅漢過江圖小插屏

    Provenance 來源:
    Spink & Son Ltd., London, 6 September 1990
    Ashfield collection

    For a closely related example of an ivory screen from the Qing Court collection, preserved in the National Palace Museum, Taipei, see an ivory 'immortal crossing the river' table screen illustrated by Ji Ruoxin, Uncanny Ingenuity and Celestial Feats: the Carvings of Ming and Qing Dynasties, Taipei, 2009, pp.29-30. Both screens are carved with eighteen luohans depicted riding on different animals and crossing a river. The National Palace Museum example was originally stored in the Hall of Mental Cultivation in the Forbidden City, and signed by Yang Weizhan, a famous carver working for the Imperial court. Extant Imperial records record him as having carved a pair of ivory lamps in 1744.

    See also an ivory 'eighteen luohan' whistrest, with similar subject matter from the Qing Court collection, illustrated by Li Jiufang ed., The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2002, pp.192-193, no. 157.

    For another related example of a table screen, signed Huang Zhao, see Hugh Moss and Gerard Tsang, Arts from the Scholar's Studio, Hong Kong, 1986, pp.128-129, no.96.

    全器以對角式構圖,淺浮雕出十八羅漢過江圖,每一位羅漢皆騎上一種動物,有龜、魚、鹿、牛、獅、龍等異獸,全部安排在插屏的右下方。雕工精細,繁複的人物關係也交代清楚,活靈活現,實屬佳品。

    台北國立故宮博物院藏一件清乾隆雕象牙群仙圖小插屏,與本拍品如出一轍,在內容上,該藏品除十八羅漢外還多了六子放風箏圖,兩者皆以對角式構圖,雕工相類,見嵇若昕主編,《匠心與仙工:明清雕刻展.象牙犀牛篇》,台北,2009,頁29-30,圖版7。該藏品本貯於養心殿,帶楊維占刻款,楊維占乃乾隆年被選入京的「好手牙匠」,據檔案記載,於乾隆九年(1744)曾奉命做象牙燈一對。

    另一件清宮舊藏之象牙雕十八羅漢渡海圖臂擱,其雕工及內容與本拍品相似,可參見李久芳,《故宮博物院藏文物珍品全集.竹木牙角雕刻》,香港,2002,頁192-193,編號157。私人珍藏之清乾隆款之象牙雕十八羅漢臂擱例子,皆以對角式構圖為主,並帶雕刻家黃兆款,見Hugh Moss及Gerard Tsang,《Arts from the Scholar's Studio》,香港,1986,頁128-129,編號96。
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