AN INSIDE-PAINTED GLASS 'PORTRAIT OF TAN XINPEI' SNUFF BOTTLE MENG ZISHOU, 1919

Robert Hall, 1986.

Robert Kleiner, Chinese Snuff Bottles from the Collection of Mary and George Bloch, Sydney L. Moss Ltd., London, 1987, cat. no. 306.
Kleine Schätze aus China. Snuff bottles—Sammlung von Mary und George Bloch erstmals in Österreich, Creditanstalt, Vienna, 1993.
Christie’s London, 1999.

Hugh Moss, Victor Graham and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol. 4, Hong Kong, 2000, no. 641.

Bottle: good condition. Painting: good condition.
"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."

This is the last recorded bottle by Meng Zishou. It introduces a wholly new subject to the art form, indeed a new idea that should, perhaps, have occurred to the artists painting Beijing opera subjects well before this date. Opposite the portrait of Tan Xinpei playing a role is a painting illustrating a scene from the relevant opera.

The full title of the opera in this case is Sangyuan jizi 桑園寄子 (‘Leaving Behind a Son in a Mulberry Orchard’). The gist of the opera is adapted from the life story of Deng You 鄧攸 (whose courtesy name was Bodao) who lived during the Jin 晉dynasty (265–420). Deng had a younger brother who died early, leaving behind a wife and a young son. Being the elder brother, Deng Bodao took it upon himself to look after his sister-in-law and nephew. When an invasion forced the populace to flee, Deng Bodao sought safety with his own son, his sister-in-law, and his nephew. The sister-in-law became separated from the little group, so Deng had to take care of the two young boys alone. In the end he felt that with what limited energy he had left he could only take care of one child. Since his nephew was the only hope for preserving the bloodline of his deceased younger brother, he decided to save the nephew and abandon his own son. When the three came upon a mulberry orchard, Deng coaxed his son to climb a tree to pick mulberries and then tied him to the tree to stop him from following them.

After leaving the wailing child with a piece of cloth inscribed with his name, he continued on his way with his nephew on his back. Fortunately, not long afterwards Deng’s sister-in-law found her way to the mulberry orchard, heard the child’s cries, and rescued him. In the end, the two groups of refugees were reunited.

The portrait of Tan Xinpei here is one of Meng’s finest; he obviously approached it as a proper portrait of the man as well as depicting him in a specific role, as opposed to the rather perfunctory portraiture of Sale 5, lot 124. It is a sensitive portrayal, superbly painted, that is instantly recognizable as Tan. It is also very well composed, keeping the basic formal elements that make up the composition simple, so that they also form a powerful abstract function. The black hat, the red sash around it, the white beard and cloth across his hand, the green jacket, the blue trousers, and the paler blue cuffs are all separate elements of this formal dance that is so well maintained.