十七世紀 犀角雕「壽菊牡丹」圖盃

finely carved with a naturalistic depiction of chrysanthemums and peonies in various stages of development growing around the sides of the foliate cup and extending towards the rim, with a large furled leaf at the base enveloping a lush peony blossom and a chrysanthemum head beneath, further sprigs wrapped around gnarled stalks growing in openwork at one end, the contorted branches forming the handle and issuing further peony blossoms accompanied by a large leaf extending onto the interior, the smoothly polished horn of rich auburn colour deepening to a burnt-caramel tone on the underside

1975年購於倫敦
仇焱之及仇大雄收藏

《Craving for Carvings: Rhinoceros Horn from the Chow Collection》，亞洲文明博物館，新加坡，2003年，編號FC27

There is a small restoration to the rear right edge of the cup with old touch up. There is a 3.5 cm fine age crack to the front left of the cup and further expected cracks or occasional insect holes, but overall the cup is in very good condition. The patina is very smooth and rich.
"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."

Amongst flower-form rhinoceros horn cups, the present piece stands out for its fine carving and skilful depiction of a single chrysanthemum blossom with flower heads and leaves in various stages of development.  The peony blooms are also tactfully placed around the body, creating a harmonious blend between these two popular flower types.  Chrysanthemum, or juhua in Chinese, bloom when many other flowers are destroyed by the cold months.  It has a long history of cultivation in China, and in art it represents the season of Autumn as well as being the symbol of longevity. Peony, mudan in Chinese, however, is the flower of Summer and traditionally is regarded as the king of flowers in China.  In art it represents wealth and nobility. The carver of this piece has created an object that is full of auspicious well wishing. Objects of this type were treasured by the scholar- literati with refined and impeccable taste for their design as well as for the message they conveyed. 

For examples of rhinoceros horn cups decorated with related floral motif, see one carved with chrysanthemum, bamboo, peony and fruits, from the collection of Michael de Salys Longchamps, published in Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 89; another, from the Songzhutang collection and included in the exhibition Metal, Wood, Water, Fire and Earth: Gems of Antiquities Collections in Hong Kong, 2002-2005, Hong Kong Museum of Art, Hong Kong, 2005, sold at Christie's Hong Kong, 31st May 2010, lot 1809, carved with flowers of the four seasons including peonies and chrysanthemum; and a cup in the Chester Beatty Library decorated with tree peonies and phoenix, published in Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, p.168, pl. 213. Another cup, in the Museum voor Volkenkunde, Rotterdam, included ibid., pl. 164, is shaped as a chrysanthemum flower, while  another piece carved in relief with peony flowers was sold in our London rooms, 20th February 1968, lot 30.

Seventeenth century carvings decorated with flower blooms closely follow the paintings of one of China's most celebrated artists, Yun Shouping (1633-1690). Yun, whose sobriquet was Nantian, was one of the 'Six Masters' of the early Qing period, generally associated with paintings of flowers in the mogu or 'boneless' style that emphasizes washes instead of lines. Yun's novel and unique manner of painting allowed him to bring out the distinct beauty of his flowers, which was then translated into a three-dimensional artwork by horn carvers as seen here. Two paintings by Yun, depicting peony and chrysanthemum blooms, from his Shan shui hua hui  ce (Album of Mountains, Waters, Flowers and Grasses) are illustrated in Lu Chenglong, 'Yongzheng yuyao ciqi gaishu (A Brief Account of Yongzheng Period Imperial Porcelain)', Lunwen ji, Beijing, 2007, p. 212, fig. 26.