A small ivory brushpot, fan, card case and cover Mid Qing / Late Qing dynasty
Lot 305 Y
A small ivory brushpot, fan, card case and cover Mid Qing / Late Qing dynasty
HK$ 25,000 - 31,000
US$ 3,200 - 4,000
Lot Details
Fine ivory carvings from the Ashfield Collection, United Kingdom (lots 301-313)
A small ivory brushpot, fan, card case and cover
Mid Qing / Late Qing dynasty
The small circular brushpot carved on the exterior with incised bamboo and inscription; the case with a cover matching both sides, featuring scenes of court officials seated in discussion with attendants, merchants, workers and farmers engaging in daily activities a figure playing the pipa, a fisherman depicted gazing at travellers on boats, the upper surface and base further carved with birds feeding on pomegranates and a pair of phoenixes, all bordered by dragons at the edges; the fan with sides intricately carved in scenes of figures amongst landscape, repeated across the fan with further figures engaging in various activities amidst pavilions within lush trees, bound together with a string of ribbon and at the opposing tip.
Longest: 23.7cm long. (4).

Footnotes

  • 清中期/晚期
    象牙雕樓閣人物蓋盒
    象牙刻竹紋小筆筒
    象牙鏤雕水樹人物紋摺扇

    Provenance 來源:
    Purchased in London, 1994
    Ashfield collection

    The small ivory brushpot is signed by Wen Chuan, whose full name should be Chen Chuanzhu, from Zhejiang province. He was the niece of Zhang Tingji (1768—1848), a famous calligrapher in the mid Qing dynasty. His calligraphy style was so similar to his uncle's that it is difficult to define. He was particularly specialised in 'flower and birds' and landscape painting.

    For a closely related example of an ivory fan from the Muwen Tang collection, similarly carved with figures and landscape on the face and sides of the fan, see Simon Kwan, Chinese Fans: The Muwen Tang Collection Series. Vol 12, Hong Kong, 2011, pp.170-171, no. 36. According to the author, carving for both sides of the face of the fan and also the mounting of it was a typical design of the Jiaqing period, and became less popular after the Daoguang period.

    蓋盒通體雕人物樓閣圖,有的騎馬入城,有的圍坐奏琵琶,有的渡船漫遊,有的招待宮員外士,表現出一市集之面貌。

    筆筒修長、平底,身刻晴竹紋,刀風利落,上題「夕陽無限好,即是近黃昏。清閒玩月。文川氏書。」,落款「文川」。沈傳洙,字文川,號魯村。浙江嘉興人。善隸楷,與其舅張廷濟(1768—1848)之工十分相近,常令捉刀而自署名,人莫能辨。又工繪事,蘭竹山水,皆極清秀。

    摺扇共十八葉,雙面工,鏤雕水樹人物圖,小樹樓閣內容豐富,紋飾細密。扇骨雕細緻人物山水圖,與扇葉內容關聯,整體優雅,工藝精美。與本拍品之紋飾及形製相似的例子,可參考關善明,《中國扇具:沐文堂收藏全集.卷12》,香港,2011,頁170-171,圖版36。書中作者研究出雙面工及深雕人物紋邊骨是清嘉慶晚期象牙摺扇之特徵,至道光年續漸簡化,相信本拍品是當時的代表作之一。
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