拍品 344
  • 344

清十八世紀 紫檀雕樹樁式筆筒

估價
80,000 - 120,000 HKD
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招標截止

描述

  • zitan
  • 高16.6 公分,6 1/2 英寸
the exterior carved with knots and recesses to simulate a gnarled section of tree trunk, with a circular aperture to the base, fitted with a wood flanged plug

展覽

《Wood from the Scholar's Table: Chinese Hardwood Carvings and Scholar's Articles》,香港,1984年,編號13
曾柱昭及莫士撝,《文玩萃珍》,香港大學馮平山博物館, 香港,1986年,編號71

Condition

The brushpot is in general good condition. There are some expected age cracks and surface wear, including few age cracks radiating around the centre of the base which have been secured with fillings. There is also a small dent to the underside that has also been secured with filling.
"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."

拍品資料及來源

Gerard Tsang and Hugh Moss explained in their entry for this brushpot in the aforementioned exhibition article that: 'The natural-looking gnarled and knotty appearance of this piece is entirely contrived. But within the scholar's aesthetic it was almost certainly not intended to be entirely natural looking. [... It employs] highly stylised, simplified and abstracted naturalism, in which aspect [it echoes] the paintings of the literati. To the patrons, such pieces spoke eloquently of the subtle human mind and express the understanding that good art is no slave to nature, but a full partner in man's pursuit of understanding.

Dong Qichang, the late Ming artist and literati theorist, wrote "As for those who meticulously and carefully delineate, they can only be called slaves of nature."'