LAM & CO UK 2023

LAM & CO A Chinese Art Odyssey: Journey Through Creative Treasures 攢珍詩旅 —中國古代寶玩

漢. 張衡《西京赋》：“攢珍寶之玩好, 紛瑰麗以奓靡。” “Assembling treasures as magnificent playthings, unveiling an extravagant tapestry of opulent beauty” —Western metropolis rhapsody by Zhang Heng Han dynasty (AD 78–139)

On the cover: Extremely rare Qinbai ware incense burner Jingdezhen kilns, Jiangxi province Song dynasty (AD 960–1279)

A Chinese Art Odyssey: Journey Through Creative Treasures 攢珍詩旅 —中國古代寶玩

Chronology of China Xia Dynasty

夏

2100c–1600c BC

Shang Dynasty

商

1600c–1100c BC

Zhou Dynasty Western Zhou Eastern Zhou Spring and Autumn Period Warring States

周

1100c–256 BC 1100–771 BC 770–256 BC 770–476 BC 475–221 BC

Qin Dynasty

秦

221–206 BC

Han Dynasty Western Han Xin Eastern Han

漢

206 BC–220 AD 206 BC–8 AD 9–24 25–220

Period of Disunion

分裂時期

220–589

Three Kingdoms

三國

220–265

Jin Dynasty Western Jin Sixteen Kingdoms Eastern Jin

晉

265–420 265–317 304–439 317–420

Southern and Northern Dynasties Liu Song Southern Qi Liang Chen Northern Wei Eastern Wei Western Wei Northern Qi Northern Zhou

南北朝

Sui Dynasty

隋

581–618

Tang Dynasty

唐

618–907

Five Dynasties

五代

907–960

Liao Dynasty

遼

907–1125

Song Dynasty Northern Song Southern Song

宋

Jin Dynasty

金

1115–1234

Yuan Dynasty

元

1279–1368

Ming Dynasty

明

1368–1644

Qing Dynasty

清

1644–1911

西周 東周 春秋 戰國

西漢 新(王莽） 東漢

西晉 十六國 東晉

劉宋 南齊 梁 陳 北魏 東魏 西魏 北齊 北周

北宋 南宋

420–589 420–479 479–502 502–557 557–589 386–535 534–549 535–557 549–577 557–581

960–1279 960–1127 1127–1279

© 2023 Lam & Co All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, without permission in writing from the publisher.

A Chinese Art Odyssey: Journey Through Creative Treasures 攢珍詩旅 —中國古代寶玩

October 26–November 4, 2023

Preface

前言

“美即是真, 真即是美, 這就包括 “ 你們所知道、和該知道的一切。 — [英] 約翰•濟慈 (1795–1821)

癸卯之秋, 松豐堂很高興再次成爲倫敦亞洲藝術周的參展商 之一。在本次展覽中, 我們按年代為序, 蒐選了從新石器時代的玉 器到唐代的佛教雕像, 從唐宋高古陶瓷到清代文人雅器等。讓我們 跟隨這些藏品, 思考古代中國藝術從原始到當代的演變歷程, 如同 奔赴一場藝術的史詩之旅。千百年來, 這些藝術品經受住了時間的 考驗, 在一個佛陀所言的無常世間裏, 歷經百劫而寶物猶存, 令人深 感文化傳承和文物保護的重要性。 我們非常榮幸地邀請您開始一趟迷人的旅程, 在這裏, 您可以 盡情探索這些珍奇、瑰麗的寶藏, 它們塑造並代表了古老中國的藝 術和文化, 是真和美的菁華所在。 松豐堂 二O二三年十月

“Beauty is truth, truth beauty,—that is all Ye know on earth, and all ye need to know.”

—John Keats (1795–1821)

What truly brings collectors to appreciate the significance of Chinese works of art, categorized by different materials, purposes, forms and shapes, spanning the period from the early Neolithic to that of the late Qing—the last imperial dynasty in Chinese history—can be a baffling concept to comprehend and conceive, even for the collectors themselves.

Some would attempt to provide an answer by drawing our attention to the aesthetics of different objects, propelling us to succumb to their effulgent beauty for their ability to precipitate some resonances within us, leading to an escape from the degenerate, acquisitive world to the spiritual realm for even a temporary tranquillity. Anyone who has ever gazed reverently at a magnificent piece of art, regardless of its origin, would understand the sublime beauty that words alone cannot fully convey. And they also serve as a means to attesting the ways of life and standards of living among the populace at the time, including elements of cultural diversity, eccentric attire and ideology, trade and commerce that had stretched beyond the national borders. Some would begin with a historical perspective, judging holistically through their modern lenses the different contexts in which the objects would have been utilised, displayed, or even extirpated for various reasons, notably ritual and political. It is one way of attesting the wax and wane of each dynasty or each imperial reign—be it long or short-lived.

Under the influence of philosophies and religions such as Confucianism, Taoism, and Buddhism, others may develop a fondness for specific types of objects, literature, and precepts.

They do this with the aim of elucidating the perplexing nature of Chinese society and exemplifying the exalted positions of those culturally significant historical figures to their friends

and family members. In doing so, they satisfy their eagerness in a noble quest to preserve the cultural heritage as part of their inheritance, benefiting the many generations to come.

Irrespective of the guiding principles to their habitual collecting behaviour, whether it is rooted in the admiration for the creativity and craftsmanship of early Homo sapiens, who have long disappeared into the currents of historical events, or in the countless neuronal activities driven by the 100 billion neurons and more than 100 trillion synaptic connections— a number greater than that of the number of stars in the known universe—which constantly propel us toward seeking more artistic gratification and pleasure through the release of dopamine and endorphins inside our brains, the long, extensive legacy of surviving works of art demands that we all appreciate their creation, nonetheless.

This year, we are once again delighted to be one of Asian Art in London exhibitors. We will be showcasing a variety of magnificent objects, ranging from Neolithic jades to Buddhist sculptures from the Tang dynasty, as well as exotic miniatures from the Qing dynasty, in chronological order, encouraging us to reflect on the evolution of artistic expressions from the primitive society to the periods more resembling our modern contemporaries. Their ability to withstand the test of time is testimony to the importance of cultural inheritance and preservation, especially in a world where all matters are ultimately subject to notion of impermanence, as felicitously conceived by the Buddha himself. It is our utmost pleasure to extend an invitation to you for a captivating journey through this exhibition, where you can explore some of the mesmerising Chinese creative treasures that have both shaped and represented Chinese artistic culture throughout the ages.

Lam & Co UK October 2023

Pale celadon jade axe head, fu Neolithic period (4th–3rd millenium BC) l: 10.8 cm w: 5.2 cm

新石器時代青白玉斧

Provenance The Ju-yi Scholar’s Studio collection, Taipei, acquired prior to 1993 居易書屋珍藏, 台北, 入藏於1993年以前

Exhibited National Museum of History, Jade: Collection of the Ju-yi Scholar’s Studio, 26 May–25 June 2000 台北國立歷史博物館,《璧光盈袖——居易書屋珍藏玉器展》, 2000年5月26日–6月25日

Published National Museum of History, Jade: Collection of the Ju-yi Scholar’s Studio, 2000, no. 68 《璧光盈袖——居易書屋珍藏玉器展》, 台北國立歷史博物館, 2000年, 編號68

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Celadon jade cong

Provenance

Neolithic Period (4th–3rd millenium BC)

The Ju-yi Scholar’s Studio collection, Taipei, acquired prior to 1993

d: 4.2 cm w: 3 cm

居易書屋珍藏, 台北, 入藏於1993年以前

新石器時代青玉琮

Exhibited National Museum of History, Jade: Collection of the Ju-yi Scholar’s Studio, 26 May–25 June 2000 台北國立歷史博物館,《璧光盈袖——居易書屋珍藏玉器展》, 2000年5月26日–6月25日

Published National Museum of History, Jade: Collection of the Ju-yi Scholar’s Studio, 2000, no. 6 《璧光盈袖——居易書屋珍藏玉器展》, 台北國立歷史博物館, 2000 年, 編號6

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Pale greyish-green jade ‘mythical beast’ scabbard chape

Provenance

Warring States period (475–221 BC)

Dongxi Studio, Belgium

w: 5.5 cm

Christie’s New York, 17 March 2016

戰國白玉獸面紋劍珌

Patrick Wong, 香港, 1997年10月28日

Both sides of the chape feature intricate carvings, showcasing a taotie mask and angular scrolls adorned with T-scroll motifs.

The smaller flat end includes a central hole, flanked by two bullnose perforations designed for attachment to the scabbard’s base. The pale greyish-green stone, finely polished, displays extensive alterations in an ivory-colored hue.

Patrick Wong, Hong Kong, 28 October 1997

東西軒, 比利時 紐約佳士得, 2016年3月17日

Chape became popular during the Warring States and Qin-Han periods. In the Western Han dynasty, they became significant ornaments on the swords of kings, nobles, and aristocrats, also serving as symbols of social status at the time. According to the “Shuowen Jiezi,” it states: ‘Beneath the hilt of an adorned dagger, the Emperor wields jade, for its presence gives rise to melodious resonance.’ This refers to the jade ornament positioned at the bottom of the sword scabbard.

It often features multiple drilled circular holes on its base, making it convenient for affixing to the scabbardʼs end. 白玉質, 部分呈現灰白色土沁。劍珌俯視呈梯形, 兩側較薄, 中 部較厚。上窄下寬, 兩腰內收成弧形, 上部中心有一圓形凹槽及 兩象鼻孔, 用於穿系革帶。兩面紋飾相同, 邊緣刻雙陰周線紋並 以節紋兩組填飾, 表面飾隱起變形獸面紋, 除雙眼及鼻可識, 余 皆以繁密勾雲紋為飾, 細部飾短陰刻線, 線條精准規矩, 方折勾 連, 線條自然流暢。製作精細, 拋光細緻, 沁色古樸內斂, 富有層 次感。 劍珌流行於戰國秦漢時期, 西漢成了王公貴族佩劍上的重要裝 飾, 也成為當時社會一種身分的象徵。《詩經•小雅•瞻彼洛 矣》雲：“君子至止, 鞆琫有珌。”《說文解字》曰：“珌, 佩刀下 飾。天子以玉。” 意指安在劍鞘尾端的玉製品, 劍珌位於劍鞘 下端, 故造型較為規整, 且底面多鑽有圓形嵌孔, 便於將劍鞘末 端嵌入。

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Splendid and rare gold and silver-inlaid bronze crossbow fitting Warring States period (475–221 BC) l: 32 cm

戰國銅錯金銀夔龍紋獸首承弓器 A rectangular hollow section comes to an end with a mythical beast head, featuring prominent bulging eyes and flared nostrils. The lower jaw gracefully arches upward, extending into an elongated, serpentine neck. Adjacent to it, a bird head is depicted, characterised by its rounded eyes and a hooked beak. The surface of this composition is embellished with intricate inlays of gold and silver, featuring abstract kuilong motifs and scrolling patterns. Some portions of the surface display traces of malachite encrustation.

Pairs of such fittings have been unearthed in conjunction with chariots, and scholars have long been intrigued by their purpose. In a Warring States tomb located in Luoyang, Henan province, a remarkable find emerged: a pair of crossbow fittings made of bronze and adorned with silver inlay.

These findings were documented in the Luoyang Museum’s publication, ‘The Chariot Pit Found at Chung-chou-lu,’ featured in Kaogu, issue no. 3 from 1974, page 174, with figure 1 providing visual reference.

According to the archaeological report associated with this discovery, these fittings were excavated in close proximity to the wooden shaft of a crossbow, situated near the left side of a chariot. Based on this revelation, the report posited that these fittings were affixed to the front of a crossbow’s shaft, presumably to offer support to the bow, while the up-curved terminals were envisioned as serving an aiming function.

An illustrative reconstruction drawing can be found in Luoyang Museum’s aforementioned publication, specifically on page 177, figure 7.

Alternative theories have been proposed by other scholars, nevertheless. They contend that these fittings might have functioned as crossbow supports affixed to a chariot. Both fittings were horizontally attached to the front left panel of the chariot, adjacent to its occupants. In this configuration, the crossbow would be placed in a downward-facing position, with its bow cradled by the curved shafts and its handle positioned at an oblique angle, ready for swift access for a rapid draw. 此類承弓器多數成對與戰車同時出土, 其功用乃學者長久以來 研究題目。比較一對銅錯銀承弓器, 河南洛陽戰國古墓出土,見 洛陽博物館,〈洛陽中州路戰國車馬坑〉,《考古》, 卷3, 1974年, 頁174, 圖1。據考古報告記載, 此對承弓器出土時位置乃戰車 左側, 於弩木臂前方。該報告述, 此類承弓器應置於弩木臂前端 作承托弓弦之用, 上翹弧尾則為瞄準之用。重組模擬圖見洛陽 博物館, 前述出處, 頁177, 圖7。 其他學者則據上述考古發現另 作推論, 認為承弓器乃放置弓弩之固定支架, 兩件承弓器裝於戰 車前半左側射手座位旁邊, 弩弓朝下置於承弓器彎臂上, 弩臂斜 上放置, 便於迅速拔取。 本品前端作鳥首飾, 於存世類者之中頗為罕見。可參考一相類 鳥首錯銀例, 現藏於艾弗里•布倫戴奇收藏, 載於 René-Yvon Lefebvre d’Argencé,《Ancient Chinese Bronzes in the Avery Brundage Collection》, 柏克萊, 1966年, 圖版XLIX, 圖B。另比 一對蛇首錯金銀例, 曾展於《Chinese Art of the Warring States Period. Change and Continuity, 480–222 B.C.》, 弗瑞爾美術 館, 華盛頓, 1982年, 編號26；再比一對例, 載於《Chinesische Gold und Silber. Die Sammling Pierre Uldry》, 雷特伯格博物館, 蘇黎世, 1994年, 編號28a；Ernest Erickson 基金會曾收藏單件 例, 售於紐約蘇富比1989年12月6日, 編號32；尚有一對例, 無 紋飾, 售於紐約蘇富比1978年11月4日, 編號277。

Provenance Alice Boney, New York, 29 May 1957 Collection of Stephen Junkunc, III (d. 1978) Sotheby’s New York, 19 March 2019 愛麗絲•龐耐, 紐約, 1957年5月29日 史蒂芬•瓊肯三世 (1978年逝) 收藏 紐約蘇富比, 2019年3月19日

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Two men playing liubo Lingbao region, Henan province Eastern Han dynasty (AD 25–220) h: 25 cm l: 26 cm w: 27 cm

漢朝綠釉六博俑

Provenance J. J. Lally & Co., New York 藍理捷, 紐約

Published Celestial Horses & Long Sleeve Dancers: The David W. Dewey Collection of Ancient Chinese Tomb Sculpture, Robert D. Jacobsen, PhD, p. 96. 中國古代陶俑藝術 8

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Green-glazed stoneware tripod censer (lian) Yueyao kilns, Zhejiang province Three Kingdoms or Western Jin period (AD 265–317) h: 9.7 cm d: 14.7 cm

三國或晉代越窑陶奩 Olive-green-glazed grey stoneware circular tripod censer with high sides, supported on three feet, each modelled in the form of a crouching bear with large ears, prominent snout and furry pelt. The vessel is encircled by a central crosshatched band, decorated with moulded appliqués: three are of small figures of Buddha on a lotus throne alternating with mythical animals, two of winged single-horned qilin and two of a double-headed beast.

The central register is enclosed by a raised upper border of stamped circular florets and a plain raised lower border.

The entire vessel, including the slightly concave base, is covered with a pale olive-green glaze.

Provenance J.J. Lally & Co., New York Norman A. Kurland, U.S.A. Eskenazi Gallery London 藍理捷, 紐約 諾曼·庫蘭德, 美國 埃斯卡纳齐, 倫敦

Exhibited Princeton, New Jersey, 1999, Princeton University Art Museum 普林斯頓, 新澤西, 1999年, 普林斯頓大學藝術博物館

Similar Examples ‘Tombs of the Eastern Wu State at Datangling, Sheng County, Zhejiang’, Kaogu, volume 3, Beijing, 1991, plate 1, figure 4, for an example with cover, decorated with Buddha figures and masks, discovered in a tomb dated to 263; also, Zhu Boqian ed., The Complete Works of Chinese Ceramics, volume 4, Shanghai, 2000, page 52, plate 18; also, Stanley K. Abe, Ordinary Images, Chicago, 2002, figure 2.46.

S. Mizuno, Tenri sankokan toroku; chugoku hen, (Pictorial Guide to the Tenri Museum, Chinese Section), Tokyo and Osaka, 1967, plate 174, for an example decorated with masks and riders on mythical creatures; also, Mayuyama & Co. Ltd, Mayuyama, Seventy Years, volume 1, Tokyo, 1976, plate 86; also, Tenri University Sankokan Museum, Tenri hizo meihin-ten, (Exhibition of Masterworks from the Tenri Museum), Osaka, 1992, page 101, plate 334.

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Limestone apsaras stele Qingzhou, Shandong province Eastern Wei period (AD 534–549), inscribed with date corresponding to AD 536 h: 64 cm

東魏石灰岩彩繪飛天石碑 背面銘文：天平年銘公元五三六年

Provenance An American private collection J. J. Lally & Co., New York Norman A. Kurland Eskenazi Gallery London 美國私人收藏 藍理捷, 紐約 諾曼·庫蘭德, 美國 埃斯卡纳齐, 倫敦

Exhibited J. J. Lally & Co., New York, 2008 藍理捷, 紐約, 2008

Published J. J. Lally & Co., Early Chinese Ceramics, An American Private Collection, New York, 2005, number 3. 早期中國陶瓷, 美國私人收藏, 紐約, 2005年, 編號3

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Marble head of bodhisattva Tang dynasty (AD 618–907) h: 12.7 cm

唐大理石菩薩首像 Meticulously carved in the round, the face exhibits elegantly downturned eyes and delicate lips framed by gracefully arched eyebrows. It is accompanied by a pair of pendulous earlobes and crowned by a dense, skillfully styled upswept coiffure, with each strand of hair meticulously detailed. The sculpture is artfully presented on a stand.

Provenance Eskenazi Ltd., London, 20 August 1999 Bruce Dayton and Ruth Stricker Dayton Collection Sotheby’s New York, 21 September 2021 埃斯卡纳齐, 倫敦, 1999年8月20日 布魯斯•代頓及司路德伉俪珍藏 紐約蘇富比, 2021年9月21日

The elements seen in this sculpture align with the distinctive traits of Buddhist art from the Tang dynasty. This era marked a flourishing period for Buddhism, with devotees investing generously in the creation of exceptional religious artworks.

The subtle smile and slightly open eyes on the sculpture beckon a profound spiritual bond between the bodhisattva and the worshiper, inspiring the devotee to embark on the journey toward enlightenment and salvation, ultimately to end suffering.

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Limestone head of a bodhisattva Tang dynasty (AD 618–907) h: 25 cm

唐朝石灰岩菩薩首像

Provenance Courage and Joy, New York (founded by Joe-Hynn Yang)

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Limestone head of a disciple Tang dynasty (AD 618–907) h: 16 cm

唐朝石灰岩弟子首像

Provenance Courage and Joy, New York (founded by Joe-Hynn Yang)

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Limestone head of a bodhisattva Tang dynasty (AD 618–907) h: 15 cm

唐朝石灰岩菩薩首像

Provenance French private collection 法國私人收藏

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Figure of a female polo player Luoyang region, Henan province Tang dynasty (AD 618–907) h: 25.6 cm l: 36 cm

唐朝彩繪打馬球女俑 Molded and modeled reddish-brown earthenware painted in black, reddish-orange, white, tan, pink, and light green pigments on a white ground. 這匹唐朝仕女打馬球俑, 造型自然, 比例完美。看馬前後飛腿姿 勢恰當, 馬腿連接馬身的位置, 彎位自然, 拔腿肌肉收緊, 仕女彎 腰與馬配合, 將打馬球動態寫實表現了出來, 是件非常傑出的藝 術品, 也是我們作為研究真正打馬球的例證。

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Provenance Mr. Jean Paul Guerlain Collection Gisele Croes Belgium 尚保羅‧嬌蘭 吉賽爾·克勞斯, 比利時

Published Celestial Horses & Long Sleeve Dancers: The David W. Dewey Collection of Ancient Chinese Tomb Sculpture, Robert D. Jacobsen, PhD, p. 216. 中國古代陶俑藝術

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Painted pottery figure of a Tang lady Xi’an region, Shaanxi province Tang dynasty (AD 618–907) h: 49 cm

唐朝彩繪仕女俑 This stunning and elegant Tang lady wears her hair in an elaborated coiffure, with some of the original pigment that once decorated this work remaining intact on the robe.

There are also traces of rosy-pink pigment on her cheeks.

She is gracefully modelled in a standing position, dressed in long pleated robes, with both hands folded in front of her chest. Her face wears a smiling expression, revealing a sense of peace and tranquillity.

Provenance Hong Kong private collection

香港私人收藏

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White glazed small bowl with cover Henan province Sui Dynasty (AD 581–618) d: 5.5 cm h: 4 cm

隋白瓷小罐

Provenance Kusaka Shogado, Tokyo 日下尚雅堂, 東京

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White glazed small cup with ring handle Gongxian Kilns, Henan province Tang dynasty (AD 618–907) h: 4.6 cm

唐白瓷把杯

Provenance Shogado, Kyoto 京都尚雅堂

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White glazed jar with cover Gongxian Kilns, Henan province Tang dynasty (AD 618–907) h: 23 cm

唐白瓷蓋罐

Provenance Hong Kong private collection 香港私人收藏

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Green-olive glazed earthenware ewer Tang dynasty (AD 618–907) h: 20 cm

唐朝花瓣口單柄壺 This finely potted ewer, with pear-shaped body rising from a splayed foot to a spherical body and to a slender neck opening into a trefoil spout, a long handle of two distinct strands arching from the mouth to the shoulder, all beneath a green-olive glaze, stopping unevenly above the foot, revealing the white body.

Provenance Deydier Hong Kong 戴克成藝廊, 香港

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Sancai-glazed splashed pottery tripod censer Henan province Tang dynasty (AD 618–907) h: 14.5 cm

唐三彩三足香爐 The compressed globular body rising from three short cabriole legs with claws resembling lion-paw feet to a short flaring neck and everted rim, the exterior of this tripod glazed overall in the upper body with irregular green, amber and cream splashes, which stops short of the unglazed base.

Provenance Japanese private collection 日本私人舊藏

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Sancai glazed box and cover Henan province Tang dynasty (AD 618–907) d: 8 cm

唐三彩蓋盒

Provenance Susan Chen & Company, Hong Kong, 1993 Noriyoshi Horiuchi Ltd., Japan 陳淑貞女士, 奉文堂, 香港, 1993

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Parcel-gilt silver ‘twin ducks’ box and cover Tang dynasty (AD 618–907) d: 9.5 cm

唐鎏金雙鴨花卉紋銀蓋盒 A box of rounded cushion shape, finely chased with a pair of ducks amidst dense foliage and flowers filling a borderless gilded roundel in the center of the domed cover, with three similar oval gilded reserves chased with exotic foliage evenly spaced around the edges of the cover and continuing down the straight sides and onto the edges of the base. The decoration is freely drawn with stippling and fine line details, and all is brightly gilded. The burnished surface is divided into three lobes by deep notches at the edges and straight grooves across the sides.

Silver boxes of this large size surviving from the Tang dynasty are very rare, but many smaller examples are recorded, and ‘twin ducks’ was a popular Tang dynasty motif.

A small Tang silver cushion-shaped circular box and cover decorated with a pair of ducks and exotic foliage is illustrated

by Kelley, Chinese Gold & Silver in American Collections: Tang Dynasty A.D. 618–907, Dayton, 1984, p. 71, no. 38, where the author comments: “The iconography of paired ducks and geese among blossoms is Indian in origin and can be found in the cave paintings at Ajanta. In China the duck was an emblem of felicity and as a pair represents conjugal fidelity.”

Exhibited J. J. Lally & Co., New York, 2012 藍理捷, 紐約, 2012

Published J. J. Lally & Co., Silver and Gold in Ancient China, 2012, no. 9 藍理捷, 中國古代的銀與金, 2012年, 編號9

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A parcel-gilt silver flower hairpin Tang dynasty (AD 618–907) h: 32 cm

唐銀局部鎏金透空花卉紋釵

Provenance Private Belgium collection Gisele Croes, Belgium 比利時私人收藏 吉賽爾·克勞斯, 比利時

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Fine wooden comb decorated with gold Northern China Liao dynasty (AD 907–1125) d: 9.5 cm

遼代金梳

Provenance Deydier Hong Kong 戴克成藝廊, 香港

Exhibited L’or des Steppes: Arts somptuaires de la dynastie Liao (907–1125)

Published Collections Baur Musee des Arts D’extreme-Orient, p.140–141 42

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Punched gold hair decoration

Provenance

Liao dynasty (AD 907–1125)

The Collection of Julias (Julius) Eberhardt

guan h: 5.8 cm

奥地利著名建筑师、中国艺术品收藏家: 朱利思·艾伯哈特珍藏

pin l: 8 cm

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遼代金冠

Published

The decorative piece is adorned with raised floral images and is entirely crafted from pounded gold. Its edges feature intricate designs shaped into Ruyi clouds. A narrow slot on both the front and back for inserting the securing pin, which is crafted with an auspicious cloud motif. Men typically wore their hair up, combed high in a topknot at the time. This grooming practice served both practical and aesthetic purposes, as cutting hair was viewed as disrespectful to one’s own body—an unfilial desecration, and unattended long hair would inevitably become unkempt.

Sammlung Julius Eberhardt, Early Chinese Art, vol. 3, p. 108. 朱利思．艾伯哈特藏品集：早期中國藝術, 卷 3, 第 108 页

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Rare silver peach-form cup

Exhibited

Song–Yuan dynasty, 12–13th century

Washington, D.C., Smithsonian Institution, Chinese Gold and Silver in the Carl Kempe Collection, 1954–55.

w: 9.2 cm

宋元時期桃形銀杯

Provenance Dr. Johan Carl Kempe (1884–1967) collection, Sweden, before 1953, no. CK152 Sotheby’s London, Masterpieces of Chinese Precious Metalwork. Early Gold and Silver, 14 May 2008, lot 115 Christie’s New York, 23 September 2022, lot 836 卡爾‧坎普 (1884–1967) 博士珍藏, 瑞典, 1953年以前入藏, 編 號CK152 ‌ 敦蘇富比, Masterpieces of Chinese Precious Metalwork. 倫 Early Gold and Silver, 2008年5月14日, 拍品編號115

London, Arts Council Gallery, The Arts of the Ming Dynasty, 1958, cat. no. 283.

New York, Asia House Gallery, Chinese Gold, Silver and Porcelain. The Kempe Collection, 1971, cat. no. 68, an exhibition touring the United States and shown at nine other museums. 華盛頓哥倫比亞特區, 史密森尼學會,《Chinese Gold and Silver in the Carl Kempe Collection》, 1954–55年, 圖錄編號 152 ‌倫敦, Arts Council Gallery,《The Arts of the Ming Dynasty》, 1958年, 圖錄編號283 紐約, Asia House Gallery,《Chinese Gold, Silver and Porcelain.

The Kempe Collection》, 1971年, 圖錄編號 68, 此巡展展出地 點包括全美及其他9所博物館

Published Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, cat. no. 152.

Bo Gyllensvärd, ‘A Botanical Excursion in the Kempe Collection’, Bulletin of the Museum of Far Eastern Antiquities, No. 37, Stockholm, 1965, pl. 166.

Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 153. 俞博,《Chinese Gold and Silver in the Carl Kempe Collection》, 斯德哥爾摩, 1953年, 圖錄編號 152 ‌俞博, ‘A Botanical Excursion in the Kempe Collection’, 《Bulletin of the Museum of Far Eastern Antiquities》,編號 37, 斯德哥爾摩, 1965年, 圖版16b ‌《Chinese Gold and Silver in the Carl Kempe Collection》, The Museum of Art and Far Eastern Antiquities in Ulricehamn, 烏爾 里瑟港, 1999年, 圖版編號153

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Fine pair of cream ding glazed brush washers Northern Song dynasty (AD 960–1127) d: 16 cm

北宋定窯洗

Provenance Berwald Oriental Art, London 貝瓦爾德東方藝術, 倫敦

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Set of greenish-glazed bowl and dish Dayu Kilns, Linru County, Henan province Northern Song dynasty (AD 960–1127) d: 12 cm

北宋大峪東沟窑

Provenance Hong Kong private collection 香港私人收藏

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Extremely rare Qinbai ware incense burner Jingdezhen kilns, Jiangxi province Song dynasty (AD 960–1279) h: 13 cm

宋朝青白瓷愽山香爐

Provenance Kochukyo, Tokyo 東京壺中居

Similar Examples Similar examples can be found in the Wuhan Museum in China and the Idemitsu Museum of Arts in Japan.

博山爐出現在西漢時期, 盛行於宮廷和貴族的生活之中, 精 美的博山爐除了是身份和地位的象徵, 也是古人對神秘的仙山 與宇宙的崇拜與敬畏, 如出土於中山靖王劉勝之墓的西漢錯金 博山爐即是明證。魏晉南北朝時期, 博山爐多用陶瓷來製作, 發 展到宋代, 因士大夫群體對香文化的愛好, 香器的造型和設計更 是爐火純青。 宋代是中國古代美學境界最高的一個時代, 焚香流行於世, 《清明上河圖》多處描繪了與香事有關的景物。文人雅士將焚 香制香引為雅事,《全宋詞》中與香事有關的詞就有兩千多首, 黃庭堅甚至說:“天資喜文事, 如我有香癖。”而香爐的選擇更 是以文雅為首, 宋代瓷業發達, 香爐以瓷器爲主, 造型上也進行 了簡化, 摒棄了漢代博山爐山巒間複雜的仙人、珍禽、異獸等 複雜造型, 取而代之幾何化簡潔素雅的山巒線條。北宋考古學 者呂大臨《考古圖》記載:“香爐像海中博山, 下盤貯湯使潤氣 蒸香, 以像海之四環。”宋式博山香爐單色青釉沉靜素雅, 更符 合道家清逸玄遠的美感。而佛家教義也認為, 香於人的智慧, 德 性有特殊的關係, 妙香於圓滿的智慧相同相契。宋代博山瓷爐 自成精緻簡潔的風格, 含蓄優雅, 具有很高的審美價值。宋楊萬 裡的《燒香七言》詩雲:“琢瓷作鼎碧於水, 削銀為葉輕如紙”, 可見當時的文人對於仿古形制、釉色影青瓷香爐情有獨鍾。 這件宋朝青白瓷博山香爐, 通施青白釉, 釉色青瑩, 胎體堅 致。爐蓋線條簡潔, 優美山形浮雕, 凸顯博山造型, 蓋高而尖, 鏤 空, 山形重疊。文人雅士於爐中焚香, 香氣四溢, 縷縷輕煙環繞 其身, 一時群山朦朧, 遠遠望去, 有如霧中觀景之感。博山爐是 中華香文化的代表, 寄託著古人典雅的境界追求, 類似此件的宋 青白瓷博山爐, 見於武漢博物館和日本出光美術館。

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Qingbai ware octofoil dish Jingdezhen kilns, Jiangxi province Song dynasty (AD 960–1279) d: 16 cm

宋朝青白瓷牡丹花圖花口洗

Provenance Hong Kong private collection 香港私人收藏

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Qingbai ware porcelain box and cover Jingdezhen, Jiangxi province Song dynasty (AD 960–1279) d: 6.8 cm

宋朝青白瓷香盒 A pale bluish-green glazed porcelain circular box and cover with flat base. The gently curved sides of the box and cover are each moulded with bands of overlapping lotus petals. The flat top is finely moulded with a bouquet comprising two leafy stems bearing lotus blooms and two bearing eight-petalled flowers. The container is covered with the characteristic pale blue-tinged glaze, except for the edges and lower part of the box which have oxidised to a buff-orange colour in the firing.

Provenance The Hans Popper collection, San Francisco, and by descent to the present owners Eskenazi Gallery London

Exhibited Travelling exhibition to the following cities, 1973–1974: San Francisco, California, 4 October –18 November 1973, Center of Asian Art and Culture.

Worcester, Massachusetts, 10 December 1973–20 January, 1974, Worcester Art Museum.

Baltimore, Maryland, 16 April–26 May 1974, The Baltimore Museum of Art. Cleveland, Ohio, 10 July–3 September 1974, Cleveland Museum of Art. Seattle, Washington, 20 September–3 November 1974, Seattle Art Museum.

On loan to the Center of Asian Art and Culture, San Francisco, 1974–1991.

On loan to the Dallas Museum of Art, Dallas, 1991–2005.

London, 2005, Eskenazi Limited.

Published Christie’s, Oriental Ceramics, Bronze Belthooks and Other Works of Art, 8 December, 1969, lot 3.

R. Y. L. d’Argence, The Hans Popper Collection of Oriental Art, Japan, 1973, cat. no. 107.

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Qingbai ware squash-shaped box Jingdezhen kilns, Jiangxi province Song dynasty (AD 960–1279) d: 6 cm

宋朝青白瓷香盒

Provenance Kochukyo, Tokyo 東京壺中居

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White stoneware bottle Jizhou Kilns, Jiangxi province Southern Song dynasty (AD 1127–1279) h: 16 cm

南宋吉州窑白瓷瓶

Provenance Kusaka Shogado, Tokyo 日下尚雅堂, 東京

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Rare blue and white vase with tall neck Wan-li period, Ming dynasty (16/17 century) h: 27.5 cm

明萬歷青花長頸瓶 Finely potted vase with a globular body surmounted by a tall cylindrical neck supported on a short foot, and decorated with butterflies, grasshoppers, and blooms.

Provenance Japanese private collection Ex. Eumorfopoulos Collection 日本私人收藏 喬治·歐默福普洛斯 收藏

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Mother-of-pearl inlaid black lacquer small octagonal box and cover Ming dynasty (AD 1368–1644) d: 7.6 cm

明朝黑漆嵌螺鈿山茶花八角蓋盒 The flat top displays a single camellia spray within an octagonal black lacquer panel, complemented by sloping basket-weave panels on a dense cell ground. The straight sides feature a matching dense cell pattern, mirroring the shape and decoration of the cover.

羅伯特·W·摩爾是加州著名的中國和韓國藝術品收藏家。他的 熱情起源於20世紀50年代, 當時他在美國軍隊服役並駐紮在韓 國。回到美國後, 他開始收集韓國藝術品, 隨後擴展到了中國藝 術品。在接下來的幾十年裡, 他成為了一位極具知識、洞察力 和影響力的藏家

Provenance The Mee-Din and Robert W. Moore Collection of Chinese Lacquer Bonhams New York, 15 March 2021, lot 134

Robert W. Moore is a renowned collector of Chinese and Korean art in California. His passion for collecting began in the 1950s when he served in the U.S. military and was stationed in Korea. Upon returning to the United States, he started collecting Korean art and later expanded his collection to include Chinese art. Over the next several decades, he became a highly knowledgeable, discerning, and influential collector.

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Qisha lacquer inkstone and inlaid lacquer box and cover

Provenance

Jiaqing–Daoguang period (AD 1796–1850); Box signed Lu Kuisheng (AD 1779 –1850)

Tokyo Bijutsu Club, acquired circa 2009

l: 11.3 cm w: 11.3 cm

盧葵生黑漆嵌百宝盒与漆沙砚 The top of the square inkstone has an ink well of conforming shape surrounding the grinding surface, the reverse with a slightly recessed base. The top of the cover is finely inlaid using various materials including mother-of-pearls, lapis lazuli, and agate to depict a pair of pheasants perched on a prunus tree, all on a speckled black-lacquered ground. The centre of the underside of the box is inscribed with a square maker’s mark reading, Lu Kuisheng zhi, ‘made by Lu Kuisheng’.

Japanese private collection Christie’s Hong Kong, Leisurely Delights, 29 May 2019 日本私人珍藏 約2009 年購於東京美術俱樂部 佳士得香港, 浮生閑趣, 2019年5月29日

盧棟 (1779–1850), 字葵生, 揚州人, 祖父映之、父慎之均為製 漆名家。其祖映之曾於康熙間購得「宋宣和內府製」款的硯, 形質類似澄泥但體絕輕, 入水不沈。為仿製此硯, 他以沙和漆巧 妙揣摩, 成就備受書畫家喜愛的硯台, 使發墨變得愉悅而不費 力。葵生承襲了這一技藝, 同時創作硯盒, 為硯台提供完整的 搭配。他精於畫技, 硯器作品展現了他對構圖和用色的敏銳感 知。這套硯及硯盒可稱為盧葵生的傳世佳作, 其精細的材料選 擇和製作, 優雅的畫風, 繽紛的色彩, 都反映出盧葵生在漆藝和 美學方面的高超造詣。顧千里《漆砂硯記》中贊盧氏漆硯“有 發墨之樂, 無殺筆之苦”。 許多博物館, 如故宮博物院、四川博物院、天津博物館、南京 博物館等, 都藏有盧葵生的作品。北京故宮博物院的藏品中, 有 一件盧葵生的漆砂硯, 連同百寶嵌三雞圖硯盒。該作品可參閱 故宮博物院的《清代漆器》藏品全集, 出版於2006年, 圖版189 。另外, 您也可以參考於2018年5月30日於香港佳士得拍賣上 拍賣的一件盧葵生漆砂硯, 連同硯座和蓋, 拍品編號2955。

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Set of six lacquer dishes inlaid with multi-coloured thin segments of shell Qing dynasty, Kangxi (AD 1662 –1722) d: 11 cm

清康熙黑漆螺鈿方碟

Provenance French private collection French East India companies (Paris) (Inv.16890 M. Wannieck en 1955) 法國私人收藏 法國東印度公司 (巴黎) 1955年

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Pale greenish-white jade reticulated ‘flower’ box and cover Qing dynasty (AD 1644–1911) d: 5.4 cm

清代青白玉鏤雕纏枝蓮花卉紋蓋盒

Provenance Sotheby’s New York, 17 March 2015 Christie’s Pavilion, November 2021 蘇富比紐約, 2015年3月17日 佳士得, 2021年11月

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Pair of famille rose enameled lotus libation cups Guangxu marks, Late Qing/Republic period w: 20.2 cm

清代粉彩玫瑰珐琅莲花杯 Each molded as an open lotus blossom ad pierced at the back of the well to conduct the liquid to the stem, elegantly enameled in shades of pink shading to white with a stippled green stem bearing the date Da Qing Guangxu Sanshisi Anhui Taihu fujin jiuzao jinian bei (‘memorial libation cup for the autumn actions near lake Tai in Anhui, thirty-fourth year of Guangxu’).

Provenance Bonhams Los Angeles, 14 December 2020 邦瀚斯洛杉磯, 2020年12月14日

Similar Examples For a similarly inscribed peony cup in the Victoria & Albert Museum, with yellow-dotted stamen reserve of similar gourd shape around the drainage hole but of slightly larger size, see Ming Wilson, Rare Marks on Chinese Ceramics, 1998. no. 11, pp. 42–43 (19.7 cm long). The stamen reserve of the same shape also appears in a pair of cups of described as in the shape of an Indian lotus by H. A. van Oort in Chinese Porcelain of the 19th and 20th centuries, pl. 95, p. 76 (17 cm long, also as Guangxu, dated 1908). The example in the Palace Museum is also described as a lotus cup: see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji 39: Falangcai Fencai (The Complete Collection of the Treasures of the Palace Museum, Beijing 39: Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration), 2008, no. 249, p.

280.

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Design: Stanley Wai Graphic Design Office, LLC Printing: Pressroom Printer & Designer Ltd, Hong Kong

Lam & Co UK 4 Mason’s Yard, London, SW1Y 6BU Email: gallery@lamcouk.com www.lamcouk.com

Lam & Co Antiquities 2/F 151 Hollywood Road, Central, Hong Kong Email: chrisantiquities@gmail.com Info: gallery@lamcoantiquities.com www.lamcoantiquities.com