明末清初 竹雕松下高仕圖臂擱

skilfully carved as a scholar sitting on a rocky ground beneath an overhanging pine tree, the bottom of the ground fixed on a hinge to the base of the clip picked out in the form of a craggy boulder pierced with apertures simulating crevices, skilfully created so that the figure and pine tree can be moved out, the bamboo of a variegated brown patina

香港佳士得2000年5月1日，編號761

As visible in the catalogue photo, there are typical age cracks, the most prominent being a vertical crack below the figure. Minor surface wear and bruising.
"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."

此器為劈取竹根部較厚竹材組合雕刻而成，松下高士與太湖石兩者可開可合，此制為明末清初所特有。鑲嵌部分之邊緣線與背景湖石貼切和諧，高聳空靈之湖石、線面簡潔之松樹與略加刻畫之人物臉部，使作品古意十足。整件作品於飽滿渾厚中顯出靜謐之氣。

利用竹子外層表皮（「竹筠」）刻畫形象曰留青雕刻，也稱皮雕，是竹刻藝術中一種特殊的雕刻形式。因竹筠薄如紙帛，質地又細密柔膩，竹人用其巧思與絕藝，借竹筠之去留多寡而形成微微隆起之花紋，分出深淺層次與濃淡變化，又利用其與竹肉機理在色彩上之自然反差，使畫面呈現墨分五彩之效果。