Footnotes

清雍正/乾隆 黃楊木雕「魁星點斗」筆筒

Boxwood brushpots are considerably rarer than their bamboo counterparts but are generally superior for fine and intricate carving, as exemplified by the present lot. Its dense, fine-grained structure allows for exceptionally detailed work without the risk of splitting, making it an ideal medium for refined craftsmanship. Boxwood is thus often employed for Imperial works of art and closely associated with the Court. See for example, a boxwood brushpot in the form of bamboo, Qing dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum: Small Refined Articles of the Study, Shenzhen, 2009, pp.76-77, no.49.

The depiction of Kui Xing on a boxwood brushpot is rare, though comparable porcelain examples featuring similar designs are known. See for example, a blue and white porcelain brushpot with Kui Xing on curl-like waves, illustrated by S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, pp.100-101.

Recognisable by the writing brush held aloft in his raised hand and his signature 'back-kick' stance, Kui Xing (魁星), or 'Chief Star,' is a Daoist deity revered for granting academic success. His presence on a scholar's belongings was considered highly auspicious, serving as both inspiration for writing and a talisman for success in the rigorous civil service examinations.

The character Kui (魁) is composed of the ideographs for 'demon' (鬼) and 'ladle' or 'dipper' (斗), alluding to Kui Xing's celestial association with the North Star. Kui Xing is often depicted with a fierce, almost demonic appearance—his face twisted into a grimace, a horn-like protrusion on his head, and a sinewy, contorted body. According to legend, he was once a brilliant scholar whose exceptional literary talents were overlooked in the civil service examinations due to his grotesque appearance. In despair, he cast himself into a river but was saved by a mythical ao (鳌) — a giant sea creature — before ascending to the stars, where he became the patron deity of scholars and the God of Literature.

Dreaming of Kui Xing the night before an exam was considered an auspicious omen. The candidate who achieved the highest score, known as the Zhuangyuan (First Scholar), would ceremonially ascend a staircase adorned with images of the ao beast, symbolising their rise to greatness ('to stand atop the ao' (獨佔鰲頭), was an auspicious phrase for first-place scholars). Depictions of Kui Xing and the ao thus embodied the ultimate aspiration of scholars—literary excellence and triumph in the Imperial examinations. His association with literary fortune made him a popular subject in Qing dynasty paintings, scholar's objects, and temple iconography. See a rhinoceros horn cup, 17th century, with a demon resembling Kui Xing in waves, illustrated by J.Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, p.192.

Given the deep reverence for literary achievement in Imperial China, Kui Xing was also significant to the Qing Court, which sought to embody the ideals of the scholar-official class, reinforcing its legitimacy through the promotion of Confucian learning and civil service. See for example a coral carving of Kui Xing, Qing dynasty, in the Qing Court Collection, illustrated in A Garland of Treasures: Masterpieces of Precious Crafts in the Museum Collection, Taipei, 2014, p.96.