{"title":"藝術名品","description":"","products":[{"product_id":"五代-銅菩薩坐像","title":"五代 銅菩薩坐像","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e細節\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e五代\u003c\/span\u003e \u003cspan style=\"font-family: ABCArizonaSans;\"\u003e銅菩薩坐像\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e11 3⁄16 in. (28.5 cm.) high, cloth box\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e來源\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e1990年代購自日本（傳）\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 class=\"chr-lot-article__title\"\u003e拍品專文\u003c\/h2\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv data-qa=\"readmore-expander-content\" class=\"chr-readmore-expander__content chr-readmore-expander__content--fixed-height chr-readmore-expander__content--visible\"\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"content-zone chr-body\"\u003eThis unusual figure belongs to a group of Buddhist votive figures produced in Zhejiang province during the Wuyue Kingdom (AD 907-978), four of which are illustrated in\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eComprehensive Illustrated Catalogue of Chinese Buddhist Statues in Overseas Collections\u003c\/i\u003e, vol. 6, Beijing, 2005, pls. 1234-37: one in the Seikado Bunko Art Museum, Japan (pl. 1234); two in the Harvard University Art Museums, Arthur M. Sackler Museum, Cambridge, (pls. 1235 and 1236); and one in The Metropolitan Museum of Art, New York, pl. 1237; all dated to the 10th century. Of these four, the figure in the Seikado Bunko Art Museum represents Buddha, while the other three represent\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ebodhisattvas\u003c\/i\u003e. All of these figures including the current figure of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ebodhisattva\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003ehave similar, distinctive facial features, a very similar openwork aureole, and are seated on a flat circular disk. In the case of the published figures, this circular disk is fitted into a lotus, which appears to be of two types: one type has the appearance of a large, rounded flower head composed of multiple, narrow, convex petals attached to a central structure (Seikado Bunko Art Museum and The Metropolitan Museum of Art figures); the other two are low and cast with more standard lotus petals and are raised on a waisted pedestal (Harvard University Museum figures). These lotus-form sections are, in turn, raised on a censer-like platform of barbed petal outline with a pierced top and six small legs which rest on top of a tiered stand.\u003cbr\u003e\u003cbr\u003eThe\u003cspan\u003e \u003c\/span\u003e\u003ci tabindex=\"0\"\u003ebodhisattva\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ein The Metropolitan Museum of Art\u003cspan\u003e \u003c\/span\u003e\u003cb\u003e(Fig. 1)\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003eis also illustrated by D. Leidy and D. Strahan in\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eWisdom Embodied: Chinese Buddhist and Daoist Sculpture in the Metropolitan Museum of Art\u003c\/i\u003e, New York, 2010, p. 110-12, no. 22, where the authors ascribe the figure to Zhejiang province, which during the 10th century was the center of the Wuyue Kingdom (AD 907-978). They note that the \"kingdom was ruled by members of the Qian family, noted for their devotion to Buddhism and their patronage of the arts\", and point out that the large flowers and type of foliate scrolls in the openwork aureole are characteristic of works produced in the Zhejiang area. In the discussion of the unusual construction of the sculpture, p. 110, the flat disk on which the figure sits is described as a \"flat removable lid with three semi-circular feet\" that \"serves as a cover for the lotus.\"\u003cbr\u003e\u003cbr\u003eOther figures from this group include the example lacking its lotus stand illustrated by Saburo Matsubara in\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eChogoku Bukkyo Chokokushi Kenkyu\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(History of Chinese Buddhist Sculpture), Tokyo, 1961, pl. 182 (b), and was sold at Treasures of the Noble Path: Early Buddhist Art from Japanese Collections; Christie’s New York, 14 September 2017, lot 838.\u003cspan\u003e \u003c\/span\u003e\u003cb\u003e(Fig. 2)\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003eAnother comparable example was sold at Sotheby’s London, 17 December 1996, lot 178, and again sold at Sotheby’s New York, 23 September 2020, lot 584. A third example was sold at Christie's New York, 3 June 1988, lot 321. It is noteworthy that the present figure appears to be the only example of this group shown wearing a headdress.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"ANTIQUE","offers":[{"title":"Default Title","offer_id":51666262753597,"sku":null,"price":138600.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/3041\/8237\/files\/1_e79a22d1-cda7-48a4-bf9a-3831d028018c.jpg?v=1777914337"},{"product_id":"唐-抱子石獅","title":"唐 抱子石獅","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e唐\u003c\/span\u003e \u003cspan style=\"font-family: ABCArizonaSans;\"\u003e抱子石獅\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e11 1⁄8 in. (28.2 cm.) high\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e來源\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e山中商會，大阪，\u003c\/span\u003e1926年以前\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e永谷壽三\u003c\/span\u003e(1905-1994)珍藏，芝加哥\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e出版\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e山中商會，《東西古陶金石展觀》，大阪，\u003c\/span\u003e 1926年， 編號363\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e展覽\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e大阪，大阪美術俱樂部，山中商會，\u003c\/span\u003e \u003cspan style=\"font-family: ABCArizonaSans;\"\u003e「東西古陶金石展觀」，\u003c\/span\u003e1926年11月10-12日\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 class=\"chr-lot-article__title\"\u003e拍品專文\u003c\/h2\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv data-qa=\"readmore-expander-content\" class=\"chr-readmore-expander__content chr-readmore-expander__content--fixed-height chr-readmore-expander__content--visible\"\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"content-zone chr-body\"\u003eThe powerful, muscular body and ferocious expression of this remarkable lion sculpture are hallmarks of Tang sculptural vitality and naturalism. By the Tang dynasty, the lion had established its position as a commanding guardian figure and symbol of imperial prestige and power. The Tang emperors greatly expanded the borders of their realm, and through trade and tributary alliances, their sphere of influence was greater than any other previous dynasty. Lions were said to have been among the gifts of tribute to the Tang emperors, and their form was closely studied in both painting and sculpture.\u003cbr\u003e\u003cbr\u003eIt is very rare to find a such a large figure of a lion carved from puddingstone, a blanket term covering a wide variety of conglomerate stones made up of pebbles held together by sedimentary or siliceous rock. Historically, two types of puddingstone with different mineralogical make-up were used in a Chinese art context. The first type, as represented by the current figure, is a limestone conglomerate, thought to be locally sourced from various geographical origins within China, and which has a long-standing tradition in Chinese art lasting some 1,200 years. The other type is a quartz conglomerate which was imported to China starting in the early Qing dynasty and was used for small intimate objects such as thumb rings and snuff bottles.\u003cbr\u003e\u003cbr\u003eFor other Tang puddingstone figures of seated lions, but of smaller size, see the figure (24.1 cm.) dated to the Tang dynasty, 8th century, in the collection of The Metropolitan Museum of Art, New York, illustrated by L. Roberts in\u003cspan\u003e \u003c\/span\u003e\u003ci tabindex=\"0\"\u003eTreasures from The Metropolitan Museum of Art\u003c\/i\u003e, New York, 1979, p. 39, no. 28, and the figure (20.5 cm.) from the Eumorfopoulos Collection, London, illustrated by L. Ashton in\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAn Introduction to the Study of Chinese Sculpture\u003c\/i\u003e, New York, 1924, pl. L. See, also, the smaller Tang puddingstone lion (14.3 cm.) from the collection of Herbert and Florence Irving sold at Christie’s New York, 21 March 2019, lot 1182, and the lion (11.6. cm.) from the collection of Mineo Hata sold at Sotheby’s Hong Kong, 29 October 2024, lot 2012.\u003cbr\u003e\u003cbr\u003eThe current sculpture has a long and illustrious provenance, having been with the preeminent Chinese art dealer Yamanaka \u0026amp; Co., Osaka, and included in the firm’s 1926 exhibition\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eTōzai kotō kinseki tenkan\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(Grand Exhibition of Ancient Pottery, Bronzes and Stone Arts from the East and West) at the Osaka Bijutsu Club.\u003cspan\u003e \u003c\/span\u003e\u003cb\u003e(Fig. 1)\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003eInterestingly, Yamanaka \u0026amp; Co. handled another Tang puddingstone lion of virtually the same size as the current figure, which it sold in 1913 to Charles Lang Freer (1854-1919), who bequeathed it upon his death to the Freer Gallery of Art, National Museum of Asian Art.\u003cspan\u003e \u003c\/span\u003e\u003cb\u003e(Fig. 2)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThe current figure subsequently entered the collection of Hizaso Nagatani (1905-1994), who joined Yamanaka \u0026amp; Co. at the age of 17 and subsequently managed its Chicago branch on the Magnificent Mile until the firm ceased business operations in 1944. That same year he opened a new gallery on North Michigan Avenue in his own name, Nagatani \u0026amp; Co., cultivating over the following several decades an impressive roster of clients including Stephen Junkunc III, Robert Mayer, Avery Brundage, and James and Marilynn Alsdorf.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"ANTIQUE","offers":[{"title":"Default Title","offer_id":51666262819133,"sku":null,"price":63000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/3041\/8237\/files\/1_e06c078c-d191-44ae-b11c-1b96f208e5f4.jpg?v=1777914339"},{"product_id":"北魏正光元年-520-砂岩刻坐佛造像碑","title":"北魏正光元年（520） 砂岩刻坐佛造像碑","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e細節\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e北魏正光元年（\u003c\/span\u003e520） 砂岩刻坐佛造像碑\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e碑文：正光元年十一月十一日佛弟子陳縣生為亡兄陳蠻奴造釋迦像一區\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e16 7⁄8 in. (42.8 cm.), softwood stand, Japanese wood box\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e來源\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e佐佐木茂索（\u003c\/span\u003e1894-1966）珍藏，1955年前\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e出版\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e日本之美術，第\u003c\/span\u003e201冊，1955年6月，頁41\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 class=\"chr-lot-article__title\"\u003e拍品專文\u003c\/h2\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv data-qa=\"readmore-expander-content\" class=\"chr-readmore-expander__content chr-readmore-expander__content--fixed-height\"\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"content-zone chr-body\"\u003eThe distinctive treatment of the drapery that cascades over the dais in a symmetrical, wave-like patten can be found on other Buddha figures of Northern Wei date, such as the stone example illustrated by S. Matsubara,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eChuugoku bukkyo chokokushi ron\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(The Path of Chinese Buddhist Sculpture), vol. 1, Early Six Dynasties, Tokyo, 1955, no. 179, and the gilt-bronze example inscribed with a date corresponding to 508 sold at Christie’s New York, 24 March 2004, lot 73.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"WORLD WOOD ART","offers":[{"title":"Default Title","offer_id":51666262884669,"sku":null,"price":201600.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/3041\/8237\/files\/1_bd0d876e-c2f5-4d64-a1cf-6a263783b9ed.jpg?v=1777914341"},{"product_id":"唐-灰石佛坐五尊造像碑","title":"唐 灰石佛坐五尊造像碑","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e細節\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e唐\u003c\/span\u003e \u003cspan style=\"font-family: ABCArizonaSans;\"\u003e灰石佛坐五尊造像碑\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e13 ¼ in. (33.2 cm.) high, softwood stand, Japanese wood box\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e來源\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e壺中居，東京，\u003c\/span\u003e1989年以前\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e繭山龍泉堂，東京，\u003c\/span\u003e2008年\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 class=\"chr-lot-article__title\"\u003e拍品專文\u003c\/h2\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv data-qa=\"readmore-expander-content\" class=\"chr-readmore-expander__content chr-readmore-expander__content--fixed-height\"\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"content-zone chr-body\"\u003eThe present stele depicts the Maitreya Buddha seated at the center, flanked by two disciples and a pair of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ebodhisattvas\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003epositioned at the far ends. Above them, two intertwined beasts are carved at the curved top. This composition can be identified as Pure Land imagery, known in Chinese as\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eJile jingtu\u003c\/i\u003e. A closely related stele can be found in the Metropolitan Museum of Art, New York (object no. 12.37.130; Roger Fund, 1912; https:\/\/www.metmuseum.org\/art\/collection\/search\/61506). The Metropolitan Museum stele, also dated to the Tang dynasty, depicts a similar scene along with a lengthy inscription incorporating a date, the 3rd year of the Zhide era, corresponding to AD 758.\u003cbr\u003e\u003cbr\u003eFor a comprehensive discussion of the iconography associated with Pure Land imagery, see D. C. Wong’s \"Four Sichuan Buddhist Steles and the Beginnings of Pure Land Imagery in China\",\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eArchives of Asian Art\u003c\/i\u003e, Vol. 51, 1998⁄1999, pp. 56–79.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"ANTIQUE","offers":[{"title":"Default Title","offer_id":51666262950205,"sku":null,"price":22680.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/3041\/8237\/files\/1_4bd893a8-1dd1-4ce8-8109-72a4342e8a58.jpg?v=1777914342"},{"product_id":"清十八世紀-刺繡達賴喇嘛唐卡","title":"清十八世紀 刺繡達賴喇嘛唐卡","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e細節\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e清十八世紀\u003c\/span\u003e \u003cspan style=\"font-family: ABCArizonaSans;\"\u003e刺繡達賴喇嘛唐卡\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eThe panel 22 in. (55.9 cm.) x 17 ½ in. (44.5 cm.)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e來源\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e夏洛特\u003c\/span\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e·郝思曼，泰國，1960以前購藏\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e拍場告示\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003ePlease note the image of the present lot is incorrectly illustrated in the gallery guide.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e請注意，本拍品於畫廊導覽冊子中的圖片不正確。\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 class=\"chr-lot-article__title\"\u003e拍品專文\u003c\/h2\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv data-qa=\"readmore-expander-content\" class=\"chr-readmore-expander__content chr-readmore-expander__content--fixed-height\"\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"content-zone chr-body\"\u003eThe composition of this fine embroidery follows the style of contemporaneous Dalai Lama lineage paintings. The Dalai Lama depicted in the embroidery possibly represents Kalsang Gyatso (1708-1757), the seventh Dalai Lama, illustrated in a lineage painting in the Palace Museum, Beijing,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Complete Collection of Treasures of the Palace Museum - 59 - Tangka-Buddhist Painting of Tibet\u003c\/i\u003e, Hong Kong, 2003, pp. 10-11, no. 7. Kalsang Gyatso wears similarly rendered robes, the famed yellow hat of the Gelupka school of Tibetan Buddhism, and is similarly shown holding a lotus in his right hand and Buddhist scripture in his left, but also carries a sword and book, two additional attributes which are typically associated with Manjushri.\u003cbr\u003e\u003cbr\u003eThe embroidery on the present panel represents the fine quality found in eighteenth-century Buddhist embroideries commissioned by the imperial court, featuring Tibetan-style Buddhist images. An eighteenth-century embroidery of similar exquisite quality, featuring a central image of Buddha surrounded by smaller figures of Ananda, Kashyapa, and Tsongkhapa (1357-1419), the founder of the Gelupka school of Buddhism, is in the collection of The Metropolitan Museum of Art, 51.129.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"ANTIQUE","offers":[{"title":"Default Title","offer_id":51666263474493,"sku":null,"price":60000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/3041\/8237\/files\/1_373abe85-d01c-433a-92ca-877c52d1204e.jpg?v=1777914344"},{"product_id":"明十五世紀-織錦蓮花手菩薩唐卡","title":"明十五世紀 織錦蓮花手菩薩唐卡","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e細節\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e明十五世紀\u003c\/span\u003e \u003cspan style=\"font-family: ABCArizonaSans;\"\u003e織錦蓮花手菩薩唐卡\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e21 in. x 17 in. (53.4 cm. x 43.3 cm.)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 class=\"chr-lot-article__title\"\u003e拍品專文\u003c\/h2\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv data-qa=\"readmore-expander-content\" class=\"chr-readmore-expander__content chr-readmore-expander__content--fixed-height\"\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"content-zone chr-body\"\u003eThe\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ebodhisattva\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003edepicted in this\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ethangka,\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eshown seated in\u003cspan\u003e \u003c\/span\u003e\u003ci\u003edhyanasana\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewith the left hand in\u003cspan\u003e \u003c\/span\u003e\u003ci\u003evarada\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(giving)\u003cspan\u003e \u003c\/span\u003e\u003ci\u003emudra\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eand the right hand in\u003cspan\u003e \u003c\/span\u003e\u003ci\u003evitarka\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(teaching)\u003cspan\u003e \u003c\/span\u003e\u003ci\u003emudra\u003c\/i\u003e, while holding the stems of lotus flowers that blossom at each shoulder, can be identified as the Padmapani\u003ci\u003e\u003cspan\u003e \u003c\/span\u003eBodhisattva\u003c\/i\u003e, known in Chinese as\u003ci\u003e\u003cspan\u003e \u003c\/span\u003eLianhua Shou Pusa\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBodhisattva\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewith the Lotus Hand). Padmapani is considered an emanation of Avalokiteshvara, the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBodhisattva\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eof Compassion, who embodies the Buddha's compassion for all sentient beings. Padmapani exemplifies the path of compassion and altruism, remaining within the cycle of rebirth to help all beings achieve enlightenment.\u003cbr\u003e\u003cbr\u003eA closely related\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ethangka\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003edepicting Padmapani was exhibited at the Hong Kong Art Museum and illustrated in\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eHeaven’s Embroidered Cloths: One Thousand Years of Chinese Textiles\u003c\/i\u003e, Hong Kong, 1995, pp. 140–141, no. 140. The author notes that the Hong Kong example was woven erroneously as a mirror image. This mistake highlights that, despite the extensive production capabilities of the silk industry at the time, some weavers lacked sufficient knowledge to correctly interpret the orientation of stencil cartoons. Another\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ethangka\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003edepicting the same subject matter is recorded on Himalayan Art Resources (no. 23544) and was later sold in\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eDharma and Tantra, Including Masterpieces from the Nyingjei Lam Collection\u003c\/i\u003e, 18 September 2023, Sotheby’s New York, lot 126.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"ANTIQUE","offers":[{"title":"Default Title","offer_id":51666263769405,"sku":null,"price":50000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/3041\/8237\/files\/1_1b27570d-c94a-458d-89d5-27b83572c80a.jpg?v=1777914347"},{"product_id":"清十八世紀-壽山石雕伏虎羅漢像","title":"清十八世紀 壽山石雕伏虎羅漢像","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e細節\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e清十八世紀\u003c\/span\u003e \u003cspan style=\"font-family: ABCArizonaSans;\"\u003e壽山石雕伏虎羅漢像\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e5 5⁄8 in. (14.3 cm.) high\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e來源\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eCharles V. Swain (1914-2006) 珍藏， 多伊爾斯敦，賓州\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eCharles V. Swain 珍藏； 紐約佳士得，2007年3月22日，拍品編號135\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 class=\"chr-lot-article__title\"\u003e拍品專文\u003c\/h2\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv data-qa=\"readmore-expander-content\" class=\"chr-readmore-expander__content chr-readmore-expander__content--fixed-height chr-readmore-expander__content--visible\"\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"content-zone chr-body\"\u003eThe present soapstone figure represents the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eFu Hu Luohan\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(the Tiger-Taming\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLuohan\u003c\/i\u003e). According to legend, a tiger would frequently roar out of hunger near the temple where the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eluohan\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eresided. The\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eluohan\u003c\/i\u003e, out of compassion, shared his food with the tiger. Over time, the tiger was tamed and grew close to the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eluohan\u003c\/i\u003e, often playing with him. This figure later became the eighteenth of the Eighteen\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLuohan\u003c\/i\u003e, also known as the Venerable Maitreya. His meditation on love and kindness symbolically subdues fierce, tiger-like manifestations of greed and hatred in the universe.\u003cbr\u003e\u003cbr\u003eSoapstone has long been prized for its beautiful range of colors and its softness, which enables carvers to achieve extraordinary details. Small, intricately carved figures such as the present example were often exchanged as gifts among royalty and nobility. They also became essential objects on a scholar's desk, forming a significant collecting category in Chinese art. The present figure exemplifies the skill of mid-Qing dynasty soapstone carvers through its meticulous carving, evident in the animated facial expression and the flowing drapery of the robe. Although the present figure lacks a carver’s mark, a comparable Tiger-Taming\u003ci\u003e\u003cspan\u003e \u003c\/span\u003eLuohan\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewith similar details and techniques, bearing the mark of Shangjun, is in the collection of the Beijing Palace Museum.\u003cspan\u003e \u003c\/span\u003e\u003cb\u003e(Fig. 1)\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003eAnother related figure with the mark of Kaitong, is also in the Beijing Palace Museum, and is illustrated in\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eZhongguo Meishu Quanji: Diaosu Bian – 6 – Yuan Ming Qing Diaosu\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(\u003ci tabindex=\"0\"\u003eThe Complete Collection of Chinese Art: Sculpture Volume – Yuan, Ming, and Qing Sculpture\u003c\/i\u003e), Beijing, 1988, p. 145, pl. 157.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"ANTIQUE","offers":[{"title":"Default Title","offer_id":51666263834941,"sku":null,"price":120000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/3041\/8237\/files\/1_2de9d59b-0a1a-4723-b281-832bf7264691.jpg?v=1777914346"},{"product_id":"清乾隆-御製仿雄黃玻璃八棱瓶-方框四字楷書刻款","title":"清乾隆 御製仿雄黃玻璃八棱瓶 方框四字楷書刻款","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e細節\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e清乾隆\u003c\/span\u003e \u003cspan style=\"font-family: ABCArizonaSans;\"\u003e御製仿雄黃玻璃八棱瓶\u003c\/span\u003e \u003cspan style=\"font-family: ABCArizonaSans;\"\u003e方框四字楷書刻款\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e5 5⁄8 in. (14.3 cm.) high\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 class=\"chr-lot-article__title\"\u003e拍品專文\u003c\/h2\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv data-qa=\"readmore-expander-content\" class=\"chr-readmore-expander__content chr-readmore-expander__content--fixed-height\"\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"content-zone chr-body\"\u003eLike other glass vessels of the Qianlong period, this vase is imitating a natural material, in this case the mineral realgar (arsenic bisulphide,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003exionghuang\u003c\/i\u003e), which was an important substance in Daoist alchemical studies. As it was soft and disintegrated into a poisonous powder, imitations in glass could be safely admired and handled. A pair of similar vases imitating realgar, also with Qianlong marks, in the collection of James Biddle, is illustrated by C. Brown and D. Rabiner,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eClear as Crystal, Red as Flame\u003c\/i\u003e, China Institute in America, New York, 1990, no. 29. Another similar Qianlong realgar glass vase was sold at Christie's Hong Kong, Luminous Colours: Treasures from the Shorenstein Collection, 1 December 2010, lot 2925. A pair of purse-shaped glass vases imitating realgar, dated to the 18th century, in the Shuisongshi Shanfang Collection, is illustrated by E.B. Curtis (ed.),\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePure Brightness Shines Everywhere: The Glass of China\u003c\/i\u003e, 2004, p. 73, fig. 8.9. Also illustrated, fig. 8.8, is a small imitation realgar wine cup, one of a set of ten brought to Denmark in 1732, and now in the Royal Danish Kunstkammer.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"ANTIQUE","offers":[{"title":"Default Title","offer_id":51666263900477,"sku":null,"price":69300.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/3041\/8237\/files\/1_d5a55008-cc76-4fa1-b3b2-03043a3ed30a.jpg?v=1777914348"},{"product_id":"清十八世紀-銅胎掐絲及鏨刻琺瑯太平有象","title":"清十八世紀 銅胎掐絲及鏨刻琺瑯太平有象","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e細節\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e清十八世紀\u003c\/span\u003e \u003cspan style=\"font-family: ABCArizonaSans;\"\u003e銅胎掐絲及鏨刻琺瑯太平有象\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e9 ¾ in. (23.8 cm.) high\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 class=\"chr-lot-article__title\"\u003e拍品專文\u003c\/h2\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv data-qa=\"readmore-expander-content\" class=\"chr-readmore-expander__content chr-readmore-expander__content--fixed-height\"\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"content-zone chr-body\"\u003eElephants are associated with strength, wisdom and longevity, and are significant animals within the Buddhist religion. They are considered guardians of honor and were symbols of peace and a good harvest. The imagery of an elephant supporting a vase on its back forms the auspicious rebus,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eTaiping Jingxian\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eor\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eTaiping Youxian,\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003econveying the message of peace and harmony.\u003cbr\u003e\u003cbr\u003eThe current figure belongs to a small, high-quality group of gilt-bronze and\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ecloisonne\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003ci\u003echampleve\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eenamel figures, and includes one sold at Christie’s Hong Kong, 30 November 2011, lot 3174, one sold at Sotheby’s London, 6 November 2019, lot 117, and one with an ivory-inlaid Guanyin and Skanda emblem emerging from the vase on the elephant’s back, sold at Bonhams Hong Kong, 1 December 2020, lot 141.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"ANTIQUE","offers":[{"title":"Default Title","offer_id":51666263966013,"sku":null,"price":25200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/3041\/8237\/files\/1_ab4f5fd9-29a3-49b8-9f8e-9707df54b2e5.jpg?v=1777914349"},{"product_id":"元-十三-十四世紀-黑漆螺鈿梅紋長方盤","title":"元 十三\/十四世紀 黑漆螺鈿梅紋長方盤","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e細節\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e元\u003c\/span\u003e \u003cspan style=\"font-family: ABCArizonaSans;\"\u003e十三\u003c\/span\u003e\/十四世紀 黑漆螺鈿梅紋長方盤\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e12 7⁄8 in. (32.6 cm.) long, silk pouch, Japanese double wood box\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e來源\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eJean-Pierre Dubosc (1904-1988) 珍藏， 鐮倉及巴黎\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e埃斯卡納齊，倫敦，\u003c\/span\u003e 1992年\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e藍理捷，紐約，編號\u003c\/span\u003e1710\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e出版\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e埃斯卡納齊，《\u003c\/span\u003eChinese Lacquer from the Jean-Pierre Dubosc Collection and Others》， 倫敦， 1992年，頁42-43，編號12\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eM. Kopplin，漆器博物館，《Katalog Ostasiatische Lackkunst: Ausgewählte Arbeiten》 (東亞漆器藝術圖錄：館藏精選)， 明斯特，1993年， 頁63，圖版26\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e展覽\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e倫敦，埃斯卡納齊，「\u003c\/span\u003e Chinese Lacquer from the Jean-Pierre Dubosc Collection and Others」，1992年12月8-22日\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 class=\"chr-lot-article__title\"\u003e拍品專文\u003c\/h2\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv data-qa=\"readmore-expander-content\" class=\"chr-readmore-expander__content chr-readmore-expander__content--fixed-height\"\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"content-zone chr-body\"\u003eThe theme of flowering plum blossoms was a popular motif in the Song and Yuan dynasties and can be found in lacquer and other media. A mother-of-pearl-inlaid black lacquer dish of octagonal form decorated with blossoming plum branches in a similar style, now in The Metropolitan Museum of Art, is illustrated by J. Watt and B. Ford in\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eEast Asian Lacquer\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Florence and Herbert Irving Collection\u003c\/i\u003e, New York, 1991, pp. 126-128, no. 55. See, also, a Song-Yuan dynasty black lacquer table screen similarly decorated with mother-of-pearl-inlaid blossoming plum branches, in the Asian Art Museum of San Francisco, illustrated in\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eHai-Wai Yi-Chen\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(Chinese Art in Overseas Collections: Lacquer Ware), Taipei, 1987, p. 51, no. 49.\u003cbr\u003e\u003cbr\u003eThe lyrical depiction of prunus blossoms beneath a crescent moon is also found on contemporary ceramics, such as the Baishe teabowl in this catalogue, lot 77, and a Longquan celadon carved conical bowl, Southern Song-Yuan dynasty, sold at Christie's New York, 22 March 2007, lot 277.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"ANTIQUE","offers":[{"title":"Default Title","offer_id":51666264031549,"sku":null,"price":50400.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/3041\/8237\/files\/1_c18dd65e-847e-43e5-b1e9-92c990638b50.jpg?v=1777914351"},{"product_id":"清乾隆-畫琺瑯開光西洋風景人物圖大瓶-藍彩六字篆書款","title":"清乾隆 畫琺瑯開光西洋風景人物圖大瓶 藍彩六字篆書款","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e細節\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e清十八\u003c\/span\u003e\/十九世紀 玫瑰木樹根式座\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e或為黃花梨\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e15 ¾ in. (40 cm.) high\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e細節\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e清乾隆\u003c\/span\u003e \u003cspan style=\"font-family: ABCArizonaSans;\"\u003e畫琺瑯開光西洋風景人物圖大瓶\u003c\/span\u003e \u003cspan style=\"font-family: ABCArizonaSans;\"\u003e藍彩六字篆書款\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e18 ½ in. (47.2 cm.) high\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e來源\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e香港佳士得，\u003c\/span\u003e1992年3月31日， 拍品編號922\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 class=\"chr-lot-article__title\"\u003e拍品專文\u003c\/h2\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv data-qa=\"readmore-expander-content\" class=\"chr-readmore-expander__content chr-readmore-expander__content--fixed-height chr-readmore-expander__content--visible\"\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"content-zone chr-body\"\u003ePainted enamels were first imported from Europe during the Kangxi Emperor's reign, and by Qianlong's reign, the Chinese painters had mastered the techniques of producing fine enamel work. Under Qianlong, the artists in the Imperial workshops attained even higher standards in the production, and the painting style evolved, incorporating the Western perspective and other techniques, such as the effect of chiaroscuro, into the traditional Chinese painting style. The Qianlong Emperor preferred painted enamel decoration to be 'dense' and 'delicate', and at the very start of his reign, he was already encouraging the employment of Guangzhou enamellers, attracting many artists who had constant contact with the West through the trading activities and the religious missionaries. Court painters, such as Castiglione and his pupils, were also very influential in the development of the painting style of this period.\u003cbr\u003e\u003cbr\u003eEither side of this extraordinary vase is inset with a painted enamel cartouche depicting figures in an idyllic European-style landscape. In contrast to the delicacy of the scenes, the bold and fine casting of the bronze body, finely detailed with waves or cloud designs, showcases the skill of the artisans in the imperial workshops at the time. The leafy scrolls that enclose the scenes are reminiscent of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003erococo\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003edesigns, illustrating how Western techniques and aesthetics were adapted and seamlessly integrated into imperial Chinese works of art.\u003cbr\u003e\u003cbr\u003eThis luxuriously decorated vase is extremely rare and only one other related vase, in the Palace Museum, Beijing, appears to be known. The Palace Museum vase is slightly taller (50.5 cm.) than the present example and is also decorated on either side with painted enamel Western-style scenes similar to those on the present vase. The cast-bronze ground, however, is formed by exaggerated c-scrolls interspersed with painted enamel flowers, and it lacks the blue borders found on the present vase. For illustrations of the Palace Museum vase see\u003cspan\u003e \u003c\/span\u003e\u003ci tabindex=\"0\"\u003eTributes from Guandong to the Qing Court,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eHong Kong, 1987, p. 85, no. 46, and E. Rawski and J. Rawson, eds.\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eChina, The Three Emperors, 1662-1795\u003c\/i\u003e, London, 2005, p. 207, no. 119.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"ANTIQUE","offers":[{"title":"Default Title","offer_id":51666264097085,"sku":null,"price":119700.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/3041\/8237\/files\/1_6dd6a507-f50e-4d26-b376-de5a35c78c31.jpg?v=1777914353"},{"product_id":"清十八世紀-雲石小須彌座一對","title":"清十八世紀 雲石小須彌座一對","description":"\u003cdiv id=\"accordion_0\" aria-controls=\"sect_0\" aria-expanded=\"true\" aria-disabled=\"false\" role=\"button\" class=\"chr-accordion-item__header\" data-qa=\"accordion_0\" tabindex=\"0\"\u003e\n\u003cdiv class=\"chr-accordion-item__panel\"\u003e\n\u003cdiv slot=\"header\"\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e細節\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: ABCArizonaSans;\"\u003e清十八世紀\u003c\/span\u003e \u003cspan style=\"font-family: ABCArizonaSans;\"\u003e雲石小須彌座一對\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e11 5⁄8 in. (29.5 cm.) high\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"ANTIQUE","offers":[{"title":"Default Title","offer_id":51666265342269,"sku":null,"price":37800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/3041\/8237\/files\/1_bb8ad332-d4a6-45e0-a2cc-3a26b5ede1c8.jpg?v=1777914356"}],"url":"https:\/\/internationaltimberauction.com\/collections\/%e8%97%9d%e8%a1%93%e5%90%8d%e5%93%81.oembed","provider":" WORLD WOOD ART","version":"1.0","type":"link"}