A CARVED GOURD BOTTLE VASE REPUBLICAN PERIOD

of elongated pear-shaped form, the rounded sides finely carved with four evenly spaced oval panels amidst floral scrolls, one containing a scholar in a pavilion amidst a river landscape, the other depicting a mountainous landscape, two containing poems including one followed by the inscription Xingyouheng tang (Hall of Constancy), the other with an apocryphal Daoguang yiyou date (corresponding to 1825), the tall slender neck further carved with upright lappets and mounted in buffalo horn around the mouth and base, stand

Collection of Dr. Ip Yee, Hong Kong.

Gerard Tsang and Hugh Moss in 'Chinese decorated gourds', International Asian Antiques Fair, Hong Kong, 1983, p. 69, pl. 28.
Michel Beurdeley and M-Th. Lambert-Brouillet, L'eunuque aux Trois Joyaux. Collectionneurs et Esthetes Chinois, Fribourg, 1984, p. 154, fig. 106 and 107.
Wang Shixiang, The Charms of Gourd, Hong Kong, 1993, p. 52, fig. 16 and p. 98, fig. 16.

The overall condition is very good. There is just one 2.5 cm scratch to one of the faces with calligraphy. The horn mount on the mouth has a few nibbles and a 3mm repair. The patina is smooth and lustrous.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The poems can be translated as follows:

        Appearing and disappearing in mist and clouds, 
        between existence and non-existence.
        Half up in empty air,
        and half on the mountain.
        I keep on leisurely whiling away,
        the days and months.
        Profoundly secluded here in remote forests,
        where I listen to sounds of the murmuring stream.

        Clouds press down on tree tops joined by rainy air,
        water flows at the white stream hemmed in by autumn sounds.
        Just there on the cliff appears a thatched Buddhist sanctuary,
        with no need for green mountains to secure its fame.

The gourd base is moulded with two poems: one written by the Yuan poet Qian Xuan (1235-before 1307), inscribed on his painting entitled Jinbi shanshuijuan ('Painting Scroll in Gold and Green'); the other poem entitled Ti shuimo yunshan yuyi hua was written by the Ming Dynasty monk Linzhou.

Although the present gourd vase bears the Xingyouheng Tang (Hall of Constancy) mark, according to Wang Shixiang it is the work of 20^th century Beijing carver Lei Buji (Little Lei). See ibid., p. 98, where Wang discusses three impressing artisans who were active during the nineteen twenties and thirties, Chen Jintang, Little Lei and Unwordly Guo.

The Xingyouheng Tang was the residence of the fifth Prince Ding, Zaiquan, great-great-grandson of the Qianlong Emperor, who had a distinguished career in the service of the court until his death in 1854. Zaiquan was a keen collector of art and appears to have made it a habit to have his hall mark inscribed on his artefacts. For a brief biography see Tsang and Moss, op.cit., p. 138, where the authors illustrate a carved gourd piece inscribed with the Xingyouheng Tang mark, pl. 108. Another gourd vase, carved with flowers and bearing Zaiquan's hall mark, is published in Gerard Tsang and Hugh Moss in 'Chinese decorated gourds', International Asian Antiques Fair, Hong Kong, 1983, pl. 26.