A WHITE JADE 'CHILONG' HAIRPIN ATTRIBUTED TO LU ZIGANG MING DYNASTY, 16TH / 17TH CENTURY

of tapering cylindrical form, gently curving at its upper end towards a hemispherical knob, carved in low relief with a chilong, its elongated body writhing around the slender stem from a bifurcated tail to a ferocious face coiffed with a free flowing mane, with a smaller chilong coiling on the finial inscribed with two characters reading Zigang in seal script under the knob, the stone of an even white tone

The overall condition is very good with only some original minute pitting and minor natural inclusions to the stone. The actual colour is only slightly more tinged with celadon than the catalogue illustration.
"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 present finely carved hairpin belongs to a special group of accessories that bear the signature of Ming dynasty carver Lu Zigang. Record of the famed carver appeared in literature as early as the Wanli period, in which mentioned his masterfully made jades were highly sought after even soon after his death. Lu was especially known for his delicate hairpins, a form he developed that continued to be produced into the Qing dynasty often inscribed with his name. The fine quality of the material and the skilled carving seen on this piece suggest that it is by Lu’s hand and of the period.

Two related hairpins have been excavated; one from a tomb unearthed in 1958 at Wusi, Jiangsu province, and now in the Wusi City Museum illustrated in Zhongguo yuqi quanji [Collection of Chinese jade], vol. 5, Shijiazhuang, 2002, pl. 279; and the other found in the tomb of Wang Xijue, in Suzhou dated to 1613, and described as being of 112 cm in length, the knob head bearing a lingzhi fungus motif and the shaft carved with three chilong in relief. See Wenwu, 1975, no. 3, p. 53.

Further compare a white jade hairpin attributed to the Ming dynasty, in the British Museum, London, published in Jessica Rawson, Chinese Jades from the Neolithic to the Qing, London, 1995, p. 339, no. 25:18; and a number of related early hairpins illustrated in James Watt, Chinese Jades from Han to Ch’ing, New York, 1980, pls. 191-194.

See also a hairpin decorated with dragons in low relief included in the exhibition Exquisite Jade Carving. Figures. Animals. Ornaments, The Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1996, cat. no. 198, from the collection of Harold Wong; another carved with a long-tailed chilong amidst stylised clouds and inscribed with ‘Zigang’ but attributed to the 18th century, sold at Christie’s London, 11th May 2010, lot 133; and another of the early Qing period, sold in these rooms, 4th April 2012, lot 152, from the collections of Professor Xiong Shiyi and the Water, Pine and Stone Retreat collection.

Hairpins of this type have a long history. They were already made in the Song dynasty as evident from a spinach-green jade example complete with its chignon holder carved in beige jade and decorated with a floral motif, excavated in 1971 from a tomb in Jiangsu province and published in Zhongguo yuqi quanji, op.cit., pl. 97. Another remarkable Song period pin of this form was included in the exhibition Exquisite Jade Carving. Figures. Animals. Ornaments, op.cit., p. 208, where the caption refers to a Song dynasty painting Scholar Playing the Qin, by the Huizong Emperor, in which the scholar, thought to be a self-portrait, is wearing just such a chignon holder and pin.