Qianlong of the Qing Dynasty bronze gilt inlaid treasure white jade treasure like a book lamp.
Chronology: Qianlong of the Qing Dynasty.
Size 153cm. (6 in.High Weighs 448 grams.
The main body of the book lamp is a bronze statue carrying a treasure vase style, gilded, inlaid with treasure, and the palace atmosphere is strong. On the vase shape as the interval, put the white jade flower-shaped bearing plate large, small each, the flower is seven petals, the petals are undulating in the loop, the engraving is quite wonderful, the jade is moist, rich in ancient taste. In the shape of the treasure elephant, the elephant looks back sideways, the four-legged stout, and the decoration around the body is extremely exquisite: Yingluo combines the embossed rope pattern with the inlaid treasure for it, the saddle is made of the lotus petal pedestal style, and the saddle cushion is bas-relief entangled with flowers, stretching freely. **The folds are lifelike, and the tail lines are soft and powerful. The next is the pedestal covered with lotus petals, the lotus petals are wide and plump, the protrusion is inlaid with white jade, the material is full, and the pedestal is engraved with tangled flowers. The size of the whole device is small, and the whole body is gilded and heavy, and it is magnificent. The poem "Village Residence of the Spring Festival Gala" written by Lu You in the Southern Song Dynasty has the sentence "No one knows the image of Taiping, and Nanmo Dongqian pounds incense", or it is the abuse of the word "Taiping has an elephant". The Yuan Dynasty painting "Taiping Image" (collection of the National Palace Museum in Taipei) has the image of a treasure vase (fig. 1). The Qing court's "Imperial Ritual Schema" recorded "The Emperor's Great Driving Book of Treasure Elephants" (Fig. 2), which was a palace elephant carrying a treasure bottle as the emperor's ceremonial guard. The image of the elephant is often seen in the Qing court artifacts, such as the cloisonné enamel Taiping elephant (fig. 3) from the old Qing Palace collection of the Palace Museum (mid-Qing Dynasty), the lapis lazuli inlaid jewelry elephant from the old collection of the Qing Palace (Fig. 4), and the Taiping Elephant Porcelain Statue (Fig. 5) from the National Palace Museum in Taipei. Among them, lapis lazuli inlaid jewelry like Sumeru seat inlaid with white jade as lotus petals, and the decoration technique of the base of this book lamp is slightly closer. Among the artifacts of the same theme in the Qing Dynasty in various museums, it is extremely rare to find that the material is made of fine copper and reapplied to gilt craftsmanship. The (Yuan) Palace-style Bronze Gilt Elephant Lamp (Lot 1542) (Picture 6) and the Imperial Gilt Elephant Statue (Lot 2562) (Picture 7) included in the 2012 Spring Auction of China Guardian (Yongle Scholar's Treasures) in the China Guardian 2012 Spring Auction (Lot 2562) (Picture 7) are official bronze gilt artifacts with the theme of treasure elephants in the Yuan and Ming dynasties. This vessel is a small, elegant category, coupled with the inlay process, the bearing plate is made of jade, combined with several processes, materials, unique style, and its overall expression tends to be more gorgeous and delicate. The inlay technique and the various gemstones embedded in this vessel are similar to those of the crown ear furnace lid (Fig. 8) in the collection of the Palace Museum (Qianlong of the Qing Dynasty). Sotheby's Hong Kong's Autumn Auction 2022 "Imperial Treasures of the Imperial Garden: Treasures from the Collection of Liu Luanxiong Imperial Porcelain" (Qing Qianlong) White Jade Inlaid Beijing Bronze Fetal Enamel Candelabra (Lot 3503) (Fig. 9) is considered to have been made in 1740 by imperial decree of the fourth year of Qianlong (1739). See: "The Collection of Cultural Relics and Treasures in the Palace Museum: Treasures of the Palace" (edited by Xu Qixian, Shanghai Science and Technology Publishing House, The Commercial Press, 2004) "The Collection of the Palace Museum: Enamel Edition" (edited by the Palace Museum, Forbidden City Publishing House, Anhui Fine Arts Publishing House, 2011).
Contemporary Xu Bingfang lotus crosspiece.
Auctions: China Guardian Spring Auction 2023.
Contemporary times. Size 335cm. (13 1/4 in.) long 7cm. (2 3/4 in.) wide
Paragraph: Bingfang engraved Publishing: 1Wang Shixiang's Collection: The Art of Bamboo Carving (edited by Wang Shixiang, Life, Reading, New Knowledge, 2013) p. 156 2"Appreciation of Bamboo Carvings" (by Wang Shixiang, Taiwan Xianzhi Publishing Co., Ltd., 1997) p. 186 Xu Bingfang, born in 1945, is a native of Changzhou, Jiangsu. The representative inheritor of the second batch of national intangible cultural heritage projects bamboo carving (Changzhou Liuqing bamboo carving), the son of Xu Subai, a famous bamboo carver. Since childhood, he has been influenced by his family, inherited his family's learning, and later focused on bamboo carving. Xu Bingfang's works have been auctioned at Christie's and Sotheby's since 1992. His work "The Yellow Sparrow is Safe" is now in the British Museum. Honors: In 1977, his work "Lotus Pond Fun" was selected for the "National Arts and Crafts Exhibition". In 1980, his work "Lotus Pond Fun" was included in the book "The Art of Bamboo Carving", which is now in the collection of the Hong Kong Museum of Art. In 1985, his work "Qiyuan White Painting Shandong Arm Rest" was collected by Wang Shixiang, and together with other works, it was included in "Self-Treasured Collection: Li Songju Long Things". In 1986, the China Institute for the Advancement of China in the United States sent a special letter to Xu Bingfang to make a bamboo carved portrait of the world-famous architect I.M. Pei, which was awarded to Pei as a special honorable mentum. In 1989, 18 Chinese TV stations such as ** TV Station and American Oriental Satellite successively ** his feature film "The First Home in China". Since 1992, his works have been auctioned at Christie's and Sotheby's, among which the lot "Yellow Sparrow" is now in the British Museum. In 1994, it was compiled into the book "Contemporary Chinese Arts and Crafts Star Spectrum" by the National History Office of the Ministry of Light Industry. In 1996, the book "Xu Bingfang's Bamboo Carving Collection" was published by Hong Kong Great World Publishing Company. In 2002, the book "The First Bamboo Carving: Appreciation of Bamboo Carving by Xu's Father and Daughter" was published by Shanghai Ancient Books Publishing House. In 2003, it was established in Pudong, Shanghai"Xu's Bamboo Carving Art Museum"。In 2004, the book "Xu Bingfang's Life of Carving Bamboo" was published by Shanghai Ancient Books Publishing House, and has been included in the world's Who's Who. In 2009, he was designated by the Ministry of Culture as the national representative inheritor of the national intangible cultural heritage of bamboo carving. In 2010, he was hired as a researcher of the China Institute of Arts and Crafts by the Chinese Academy of Arts of the Ministry of Culture, and became one of the 28 core members of the Chinese arts and crafts industry today. In May 2022, in the 2021 Jiangsu Province National Intangible Cultural Heritage Representative Inheritor Inheritance Evaluation Activity, 8433 experts scored a passing grade and were publicized (left green bamboo carving). The arm rests on the bamboo, the panoramic horizontal composition, the left side of the picture first appears a residual lotus, the lines are clear, quite smart, and the expression of the broken leaves is meticulous. The leaf is then depicted with another residual lotus and a hibiscus, which extends to the right beyond the frame. The overall picture is from left to right, the composition is rigorous and continuous, and the details such as the lotus leaf vein, the flower stalk details and the performance of the residual lotus are expressively expressed. Mr. Wang Shixiang praised Xu Bingfang's bamboo carving art a lot, and his book "Self-Treasured Collection: Li Songju Changwuzhi" includes Xu's works (Fig. 1), in which Wang Shixiang commented on Xu Bingfang: "Bingfang inherited his family education, specialized in staying young, and after 40, his art made great progress. Skillfully using bamboo yun, there is a new breakthrough, not only to see the knife where you see the look, but also to seek to change in the vague and hazy place where the knife is not seen. Otherwise, there will be a gloom and a cloud of smoke that will be unprepared. This work is published in the great work of bamboo carving theory "The Art of Bamboo Carving" (Fig. 2), in which Wang Shixiang wrote: "The predecessors cut bamboo and made it into arm rests, and the calligraphy and paintings were all vertical. Contemporary bamboo people may be easy to be straight and horizontal, bearing a wooden frame, which can also be used as a desk clearance, and flat can still be used to rest the wrist. It is desirable especially in the calligraphy and painting are banners, which opens up a wide range of ways for the layout and composition, so that the bamboo carving appearance is always new. This simple carved lotus leaf has two stalks, its height is level with the viewer's line of sight, one is horizontal, not much is seen, but its longitudinal depth is naturally felt. The author of this sketch is ingenious because of the horizontal simplicity, and it is by no means a straight arm rest, so it is fresh and gratifying. For the different treatment of the leaf surface and the back of the leaf, Mr. Bingfang is particularly good at it, and Keshao Kei Qiu has a reputation for being blue. ”
Qing Lu Kuisheng lacquered sand girdle incense.
Age clear. Size 27cm (10 5/8 in.) diam 19.8cm. (7 3/4 in.) high
Paragraph: Lu Kuisheng incense table is made of wooden tire lacquer, round several sides, high waist, the gill under the girdle is wide and thick, and the tapering plate chisel is similar to an oval perforation. The lower incisors are connected to the teeth, and the teeth and legs form drum legs and teeth. The legs are bent and powerful, the lines are flexible, the foot is valgus, and the clay is rounded. The overall shape is stable and delicate. The bottom of the incense is black lacquer, and the red lacquer seal seal of "Lu Kuisheng system" is made. Lu Kuisheng, Mingdong, the word Kuisheng, a native of Yangzhou, Jiangsu, a famous lacquer craftsman in Jiaqing and Daoguang in the Qing Dynasty, is proficient in the art of treasure inlay, good at making lacquer sand inkstones, etc., and the works are mostly seen in inkstones. "Qiaoxi Miscellaneous Notes" contains: "The lacquered sand inkstone is made by Yangzhou Lu Kuisheng's family as the most refined, and Kui Sheng's inheritance is passed down from generation to generation, and there are many ......people who have this for a whileAll the literature plays all things, all with lacquer for it, the manufacture is good, and the carving of landscapes, flowers and birds is all ingenious. Qian Yong's "Tales of the Garden" said when talking about Baibao embedding: "There are Wang Guochen and Lu Ying in Qianlong who are good at this skill. Sun Kuisheng of Jinying can also do it. The Palace Museum's old collection of the Qing Palace (Qing Daoguang) Baibao inlaid fish algae pattern lacquer sand inkstone box (Figure 1), the whole body is brown lacquer for the ground, the box and the bottom are black lacquer, and the bottom ** has a "Lu Kuisheng system" seal book seal, the inkstone box is one of Lu Kuisheng's masterpieces;In addition, the Palace Museum collection (Qing Daoguang) Baibao inlaid with three chicken pictures lacquered sand inkstone, the whole body of the lacquered sand floor, the outer bottom is also made of vermilion lacquer "Lu Kuisheng" seal (Figure 2). The seal of this vessel is no different from the above two, and the fine comparison is consistent with the old Tibetan lacquer sand inkstone box of the Qing Palace. The incense is coated with eight treasure gray lacquer, which is a kind of color chips such as tooth chips, bone chips, coral chips, turquoise chips, etc., mixed into the paint ash to grind, and the hardness of the color chips should be similar to that of the grinding surface. Some scholars believe that the reason why Babao Gray was popular in Yangzhou in the Qing Dynasty was that its gray-black lacquer background was in response to the literati's desire for simplicity and elegance, and the flickering color dots broke the dullness of the lacquer bottom, bringing people a little freshness and pleasure. The incense table is attached to an old Japanese wooden box, and the lid of the box has an inscription in 1936, and the inscription is "Showa Bingzi June 21st, Zhong Shansheng." "Seal" Yanyun Room Master".
Qing Yingzhou stone through the moon (with the old hardwood seat).
Age clear. Size 455cm. (17 7/8 in.) high
The stone is made of vertical peaks, the color is gray and white, the texture is firm, and the shape is quite large. The whole body is full of folds, or it is a stacked peak, the ravines are thousands of searches, or it is a lonely cliff, it is tall and beautiful, there is yin and yang to the back, and it is considerable on all sides. The center of gravity is calm, and there is a momentum on the side. There are holes, but you can see the virtual in the real. It is similar to the shape of the "Penetrating Moon Rock" (Fig. 1) recorded in the "Suyuan Stone Spectrum", hence the name. Inherited from the old with a hardwood seat, the weather is sufficient. Written in the Ming Dynasty Wanli period of the "Suyuan Stone Spectrum", the collection of Xuanhe later classics contained in hundreds of kinds of famous stones. The author Lin Youlin, Ziyun "reviewed the ancient and modern books", where "the strange peaks and strange stones have a heart, the rut writes its shape, and the inscription is embellished". This book is huge, and has a profound impact on the stone appreciation culture of later generations. In addition to the above-mentioned "Penetrating Moon Rock", this peak also has the form of the "Piercing Stone" (Fig. 2) published by it. Stone is produced in Yingzhou (now Yingde, Guangdong), in ancient times, masonry or "on the water to the degree of ingenuity to take it" ("Yunlin Stone Spectrum"), or "into the mountain......chisel it to return" ("Qing Barnyard Banknotes"). The Song people were quite respectful of the stone, or because it was not easy to mine, in the records of the documents at that time, the size of the stone was not huge. High-quality stone was once scarce in the Ming Dynasty, and in the late Ming Dynasty, there was a situation of "producing a mountain of good stones, and hearing that it has been wet" ("Yue Jian Edition"), and at that time, most of the popular in the world were "green but not moist, rough but not hard, that is, there is no shortage of peaks and mountains, and it is easy to damage". The mining side of the Qing Dynasty stone has a slight scale, the big one decorates the garden, and the small one is the literary room to appreciate the stone and study the mountain. With the color of this seat standing on the peak, the quality is firm, the material is easy to take, the wooden seat is undertaken, placed between several cases, and the pen inkstone is in company, it can be used as the mystery of the giant peak and the great mountain, and the wonderful purpose of Zhuang Zhou's "Qi Wu" can be obtained.
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