Foreword
Nicolas Chow
Chairman Asia | Chairman and Worldwide Head of Asian Art

A great art collection is a work of art itself. It offers a unique perspective on the tastes, perceptions and connoisseurship of an individual, and when done well, brings together works from across the history of art in a dialogue that enriches each of them. The Leshantang collection formed by Tsai I-Ming is just this. Spanning a millennium of artistic production, the collection is a storied one, representing a connoisseurial depth and art historical breadth with few equals in the world of Chinese art today. The distinctive refinement of the collection epitomises the celebrated Shanghai taste, which has come to be indelibly associated with figures such as Edward T. Chow and J.M. Hu, whose pieces are represented in the collection. Incidentally, it was through a chance encounter with J.M. Hu that Tsai first marvelled at the unparalleled craftsmanship and legacy of Chinese art at a young age – without realising at the time that he was to become one of the most celebrated collectors himself. From that golden era, few collections remain today and the Leshantang collection, which seamlessly weaves together masterpieces of Chinese art from across painting, calligraphy and imperial porcelain, comes as a testament both to the genius of Chinese artists through the centuries and Mr Tsai’s boundless curiosity and exacting eye.

Imperial porcelain stood at the genesis of Tsai’s collecting journey, which impressively lasted close to half a century. Decades after his first meeting with J.M. Hu, Tsai chanced upon one of the earliest Sotheby’s auctions in Asia in the early 1970s while he was on a business trip in Hong Kong, and thereafter began amassing the stellar Leshantang collection. Far from being driven by an investment mindset, the assemblage of the Leshantang collection was a deeply personal and visceral journey steeped in anecdotal gems lying behind every acquisition.

As the founding member and chairman of the prestigious Ching Wan Society, Tsai was always keen to share with others his knowledge and enthusiasm, all the while actively promoting Chinese art across the region through various platforms. Those who were fortunate enough to have known Tsai would have been inspired by not only his passion and discerning eye but also his generosity and integrity.

May this sale pay homage to the semicentennial partnership between Sotheby’s and Tsai I-Ming and contribute to the legacy of the Leshantang collection.

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The Leshantang Collection (II) – Treasures of Chinese Art from the Tsai I-Ming Collection

Zhang Daqian, Red Robe Avalokiteshvara

This painting is an imitation of the only known Avalokiteshvara adorned in a red robe and holding a willow branch, discovered in the Yulin Caves. Standing at an impressive six feet tall, it presents a magnificent life-size rendition of the mural. Zhang Daqian's imitations of the Dunhuang murals primarily housed in Taipei's Palace Museum and the Sichuan Provincial Museum, with only a scarce few in private possession.

Crafted on specially tailored cloth by Lama painters, this painting showcases a powdered base that enhances the vivid display of its thick and rich mineral pigments, exuding an enchanting ancient charm that has retained its exquisite allure for over eighty years. Judging by the painting style, it is estimated to have been produced during Daqian's third visit to Yulin in May and June of 1943, representing the pinnacle of his mature style in imitating Dunhuang art.

In 1981, Mr. Tsai I-Ming, master of The Leshantang Collection paid a visit to Zhang Daqian, who presented this painting as a testament to the rarity of the red mineral pigments he utilized. Upon beholding its captivating beauty, Mr. Tsai was enthralled and expressed a desire to acquire the artwork. However, as the painting had been cherished by the artist for several decades, he initially hesitated to part with it. Yet, Mr. Tsai's persistence eventually touched the artist, and he agreed to sell it to him for USD 100,000.

An exceptionally rare Qianlong copper-red 'nine dragon' moon flask

An exceptionally rare and finely painted copper-red 'nine dragon' moon flask, Seal mark and period of Qianlong | Estimate 3,000,000 - 4,000,000 HKD

This extremely rare moon flask is painted in brilliant tones of copper red with nine dragons among clouds, revealing not only the opulent taste of the Qianlong Emperor, but also the achievement of the imperial kilns. The shape of this handled moon flask and the design of the nine dragons are both inspired by 15th-century prototypes. Copper red was arguably the most challenging porcelain pigment Jingdezhen artisans attempted to master since its invention in the early Ming dynasty. It was only brought under greater control under the supervision of the talented superintendent Tang Ying (1682-1756). Successful firing of the desired tones remained difficult, and underglaze-red decorated wares were thus made only in small quantities.

The Qing court archives document fewer than ten underglaze-red moon flasks with dragons throughout the Qianlong period, all within the first decade of the reign, suggesting an early production date and confirming its rarity. There is only one other moon flask of this size, form and design, probably the pair to the present vase.

Wang Hui, Landscapes

In these sixteen album leaves, executed entirely in ink wash, there are inspirations from the selections of poetry from Tang, Song, and Yuan dynasties, as well as imitations of paintings from Song dynasty artists. One leaf features a painting titled Xu Rong’s (1662-1735) "Eight Cedars Cottage". Just as mentioned in the colophon by Dai Xi (1801-1860): “Wang Hui shows and discusses the matter in painting to his student Shanglue (Xu Rong) in this album, hence not merely perfunctory imitations”. It truly demonstrates the intention of practicing various styles to instruct disciples. At the time of writing this, Wang Hui was already seventy-five years old and was highly inspired to paint "Reading Pavilion among Deep Willows" on a fan in color. Upon completion of this album, there were inscriptions by his artistic friends Zhu Yizun (1629-1709) and Xu Yi (1636-1708). Zhu signs on the album page entitled "Southern Hill", while Xu writes a lengthy inscription at the end of the album, narrating about the management of Xu Rong’s Eight Cedars Cottage and the elegant paintings by Wang Hui. Xu Jian (1636-1708), also known as Dianfa, later called himself Fengjiang Fisher, was from Wujiang. He was skilled in ancient poetry, prose, and landscape painting. Zhu Yizun (1629-1709), from Xiushui, was a renowned scholar and proficient in calligraphy as well. Both of them took the public examination in the eighteenth year of Kangxi's reign (1679) and become Wang Hui’s close friends.

From the annotations by Dai Xi, it's known that this album belonged to Jiang Zhongli in Changshu. Jiang Zhongli, also known as Jiang Ziyansheng, was the son of Jiang Baoling (1781-1840). He inherited the family tradition from a young age, excelling in landscape painting and greatly benefiting from the teachings of Qian Du (1764-1845) and Tang Yifen (1778-1853). In the autumn of the second year of Xianfeng's reign (1852), Jiang brought this album to Hangzhou to show Dai Xi. Dai meticulously copied the eleven album leaves and returned. Three years later, Jiang returned, intending to sell it, only seeking Dai Xi's copy of the original. Dai was delighted and added another annotations on a separate paper, detailing the process, and then reassembled the album, writing the titleslip to show his affection.