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Click here to subscribeA LARGE GROUP OF FIFTEEN JADE AND HARDSTONE CARVINGSQing DynastyIncluding: some jade carvings of ducks, mythical beasts, human figure and fruits; small yellowish hardstone cup and a small vase; a jadeite pendant. The vase: 8cm (3 1/8in) high (24).For further information on this lot please visit Bonhams.com
A GROUP OF FIVE VARIOUS JADES AND HARDSTONES19th/20th centuryComprising: a Celadon green jade vase; a pale green jade pendant in the shape of a mythical beast; a grey jade 'citrus fruit' brush washer; a mottled agate cup; and an amber 'grape' pendant, two wood stands. The brush washer: 9cm (3 1/2) wide (7).For further information on this lot please visit Bonhams.com
A JADE 'TORTOISE' UNCUT SEAL AND THREE ROCK CRYSTAL SEALSThe jade seal Ming Dynasty or earlierThe jade seal of mottled green hue and on square base, the crystal seals comprising: a rectangular-section example seal face in zhaunshu script and also bearing family inscription Tie Zhi; a square-section example seal face in zhaunshu script and also bearing family inscription Da Chuan; and an uncut example of oval-section with suspension ring. The tallest: 4.8cm (1 7/8in) high (4).Footnotes:Provenance: The jade seal with Du Boulay Collection label numbered P230.For further information on this lot please visit Bonhams.com
A SMALL CREAM AND BLACK JADE 'PHOENIX' VASE AND COVER18th centuryThe baluster vase form carved with a phoenix perched on rockwork to one side, the stepped cover surmounted by a mythical beast, the stone of mottled grey, cream and black hues, with hongmu stand. 8cm (3 1/8in) high. (3).Footnotes:十八世紀 墨白玉雕鳳紋蓋瓶Provenance: K.C. WongBluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 4 June 1930, and thence by descentPublished and Exhibited: Bluett & Sons Ltd., The Wong Collection of Ancient Chinese Jades, London, 1930, no.483來源：K.C. Wong舊藏倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1930年6月4日購自上者，並由後人保存迄今展覽著錄：Bluett & Sons Ltd.，《The Wong Collection of Ancient Chinese Jades》，倫敦，1930年，編號483The representation of a phoenix perched on rockwork next to a vase can often be seen in jade, sometimes as with the present lot with a mythical beast or lion on the cover. See for example a larger pale green jade 'phoenix' vase and cover, 18th century, which was sold at Bonhams London, 6 November 2014, lot 335. For a similar representation on a larger jade vase and cover, with phoenix and lion, 18th century, see H.R.Bishop, Heber R. Bishop Collection of Jade and other Hard Stones. Handbook no. 10, New York, The Metropolitan Museum of Art, 1909, p.56. The carver chose a mottled black and cream stone to complement the archaistic form of the vase successfully conveying the sense of antiquity. For a related grey-green and black jade vase and phoenix, 17th century, in the Asian Art Museum, San Francisco, see R-Y.L. d'Argencé, Avery Brundage Collection of Chinese Jades, Tokyo, 1972, p.112, pl.XLIX.墨白玉質，瓶身一側雕有鳳凰棲於石上，蓋頂盤踞一隻瑞獸。此類紋飾在玉雕中頗為常見，如一例十八世紀青白玉雕雙鳳蓋瓶，售於倫敦邦瀚斯，2014年11月6日，拍品編號335。紐約大都會藝術博物館亦藏一例十八世紀玉瓶，以鳳凰及瑞獅為飾，較本例稍大，收錄於H.R.Bishop著，《Heber R. Bishop Collection of Jade and other Hard Stones》，手冊10，紐約，1909年，頁56。本例造型古雅，工匠更選取青白玉底上沁入墨色之石材，間有條帶狀黑紋，傳達出複古之氣韻。舊金山亞洲藝術博物館館藏一例十七世紀青灰玉鳳紋瓶，同以墨色為沁，收錄於R-Y.L. d'Argencé著，《Avery Brundage Collection of Chinese Jades》，東京，1972年，頁112，圖版XLIX，可資參考。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A SPINACH-GREEN JADE CIRCULAR BOX AND COVERQianlongThe box with gently rounded sides, set on a crisply carved foot, the rounded cover skillfully carved with a single lotus spray borne on a trailing leafy stem within a raised circular border. 7.1cm (2 3/4in) diam. (2).Footnotes:清乾隆 碧玉雕花卉紋圓蓋盒Provenance: Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Circular boxes were ideal containers for seal paste, incense and cosmetic materials. Seal paste containers were a necessary scholarly accoutrements and were made in various materials including jade, ivory, lacquer and porcelain.Compare with a related green jade box and cover, Qing dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware, vol.3, Hong Kong, 1995, p.84. A related white jade circular box and cover, 18th century, was sold at Bonhams London, 11 May 2021, lot 289.碧玉琢成扁圓形蓋盒，上下微收，圓口環足，子母口。盒蓋圓形開光，內淺浮雕牡丹紋。圓形蓋盒可用於盛放化妝材料或印泥，常見玉制、瓷製、象牙、或漆器等各類材質。參考清宮舊藏一例碧玉蓋盒，收錄於《故宮博物館藏文物珍品全集：玉器（下）》，香港，1995年，頁84。另見一例白玉圓蓋盒，與本例尺寸相仿，售於倫敦邦瀚斯，2021年5月11日，拍品編號289。For further information on this lot please visit Bonhams.com
A PALE GREEN JADE 'LOTUS POD' WATER POT18th centuryFinely hollowed in the form of an open lotus pod with lotus seeds around the mouth rim, with flowering lotus stems and leaves encircling the body, the stone of even pale-green tone, with a finely carved hongmu stand and cover. 9.5cm (3 3/4in) high (3).Footnotes:十八世紀 青白玉蓮蓬式水盂Provenance: Collier, sold to Bluett's on 21 March 1928Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 23 May 1928, and thence by descent來源：Collier舊藏，1928年3月21日售與倫敦古董商Bluett's倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1928年5月23日購自上者，並由後人保存迄今Compare with a related pale green jade lotus-leaf washer, Qing dynasty, in the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Jade 10: Qing Dynasty, Beijing, 2011, no.195.The shape of a lotus pod signifies good fortune for the owner. The lotus flower, hehua, symbolises both marriage and purity. As the lotus is one of the few plants whose seed pods are visible when the flower begins to bloom, it is also associated with the early arrival of sons. The seed pod, bursting with seeds, is a symbol of fertility, and the leaf, heye, is a pun for harmony, hexie.Two related pale green jade 'lotus' water pots and covers, 18th century, were sold, respectively, at Bonhams Hong Kong, 14 May 2015, lot 111, and Bonhams London, 5 November 2020, lot 168.青白玉質，以蓮蓬為盂形，外壁繞以鏤雕蓮枝蓮葉，生動自然。蓮（荷）在中國傳統文化中極具象徵意義，文人讚頌其出淤泥而不染之高潔品德；「荷」與「和」同音，喻意和諧；蓮有蓮蓬而多子，且作為少數種子與花同時生長的植物，亦有「早生貴子」、「多子多福」之意。故宮博物院館藏一例清青玉荷葉水族洗，收錄於《故宮博物院藏品大系：玉器編10，清》，北京，2011年，編號195，可資比對。參考邦瀚斯香港售出一件十八世紀青白玉蓮蓬式水盂，2015年5月14日，拍品編號111，及邦瀚斯倫敦售出一例，2020年11月5日，拍品編號168。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A RARE AVENTURINE GLASS 'LEAF AND GRAPEVINE' INK PALETTEQianlongNaturalistically carved as a vine leaf with furled edges, with finely-incised veins and ripe grapes, the reverse carved in relief with gnarled leafy branches extending across the base and forming the handle, the dish of lustrous caramel-brown tone with gold speckles. 8.5cm (3 3/8in) long.Footnotes:清乾隆 金星玻璃葡萄葉式筆掭Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Aventurine glass was mainly used for scholarly objects in the Qing Court during the Qianlong reign; see from the Qing Court Collection an aventurine glass lotus-leaf shaped ink palette, inkstick stand, wristrest and waterpot and vase, illustrated in The Complete Collection of Treasures of the Palace Museum: Small Refined Articles of the Study, Shanghai, 2009, nos.119, 128, 169 and 202.The naturalistic leaf form with its curling edges and veins lent itself perfectly to be adapted by the Qianlong reign craftsmen for use as ink palettes or washers. The popularity of the form is demonstrated in its use in different materials including aventurine glass, variously decorated porcelain and jade; see ibid., nos.114 and 117-122.Compare with a small aventurine glass waterpot, Qianlong, which was sold at Christie's New York, 18 September 2015, lot 2405. See also an aventurine glass 'phoenix and peach' vase, Qing dynasty, which was sold at Bonhams London, 16 May 2013, lot 236.金星玻璃，在清內務府養心殿造辦處檔案中，又稱「溫都裡那石」，是清代玻璃中較為珍貴的品種。根據造辦處檔案，清代御製金星玻璃僅見於乾隆一朝，且多用作文房用器，如筆洗、筆筒、墨床、臂擱、水丞等，詳見《故宮博物院藏文物珍品大系：文玩》，上海，2009年，編號119、128、169、202等例。本例作葡萄葉式，一側飾葡萄一株。葉片曲折捲起形成的弧度，十分適合用作筆掭或水丞。同款題材亦可見於瓷器、玉器等材質，如《故宮博物院藏文物珍品大系：文玩》一書中編號114及117-122等例。參考一例清乾隆金星玻璃海棠式水丞，售於紐約佳士得，2015年9月18日，編號2405。另見一例清金星玻璃鳳紋瓶，售於倫敦邦瀚斯，2013年5月16日，拍品編號236。For further information on this lot please visit Bonhams.com
A SMALL CINNABAR LACQUER CIRCULAR CARVED BOX AND COVER AND AN INK CAKEThe box and cover 17th century; the ink cake 18th centuryCarved to the domed cover with a leisurely gathering of gentlemen seated in a tree-strewn garden, playing a game of weiqi, a boy attendant holding a fan, and a further gentleman beside his horse bearing a musical instrument, the base carved with peonies, the interior containing an ink cake moulded with sinuous chilong and inscribed: zai xiang, 'Containing incense' and yi qing shi, 'Mr Yi Qing'. The box 6.7cm (2 5/8in) diam. (3).Footnotes:十七世紀 剔紅「東山報捷」圖蓋盒 配十八世紀墨錠Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The present lot depicts the famous story of 'Reporting Victory to East Mountain' (Dongshan bao jie). Xie An (AD 320–385) also known as 'East Mountain', was a statesman of the Eastern Jin dynasty who despite his lack of military ability and skill, led the Jin through a major crisis. The Former Qin dynasty was expanding in the north and in AD 383 they launched a major attack against the Jin dynasty culminating in the battle of the Fei River. During the battle, Xie An retreated and was playing weiqi with his brother when the surprising news came that they had won. When news of victory came, Xie An did not display any particular emotion, but his excitement later became evident when, after the game, he was going back to his bedroom, and he forgot about the threshold to his room and broke his wooden sandal without realising it.A cinnabar lacquer box, 16th/17th century, with the same motif of Xie An receiving news of victory, is illustrated by J.Hornby, Chinese Lacquerware in the National Museum of Denmark, Copenhagen, 2012, p.100, no.13. A related small carved cinnabar lacquer box and cover with figures of sages, 16th century, in the Victoria and Albert Museum, London, is illustrated by H.Garner, Chinese Lacquer, London, 1979, p.130, no.66. Small lacquer boxes and covers such as the present lot, although originally made to contain seal paste, incense or cosmetics, were often used in the Qing Court during the 18th century to contain various treasures for the delight of the Emperor. See for example, a small circular carved cinnabar lacquer box and cover containing a jade disc, as part of a treasure box, illustrated in A Garland of Treasures: Masterpieces of Precious Crafts in the Museum Collection, National Palace Museum, Taipei, 2014, p.170.盒穹形蓋上雕有一幅庭院對弈圖，右側一人似乎剛翻身下馬，正向對弈二人呈上一物。盒身外壁以纏枝牡丹紋為飾。盒內盛一螭龍紋墨錠，銘「載香」，款「一卿氏」。盒蓋所雕紋飾典出東晉故事「東山報捷」。謝安（320-385），世稱東山，東晉政治家與軍事家。公元383年，東晉與前秦之間爆發淝水之戰，謝安憑藉事先周全的籌劃及冷靜應戰，終令晉軍以少勝多。傳說謝安得知捷報時正與客人在家中對弈。他當下不露聲色，神色如常。但客人離去後，他終於難掩興奮之情，在走回內宅途中時不覺在門檻上碰斷了木屐的齒。丹麥國家博物館館藏一例十六/十七世紀剔紅漆盒，同樣以「東山報捷」圖為飾，見J.Hornby著，《Chinese Lacquerware in the National Museum of Denmark》，哥本哈根，2012年，頁100，編號13。倫敦維多利亞和阿爾伯特博物館亦藏有一件十六世紀剔紅帶蓋漆盒，以仙人圖為飾，可為比對，見H.Garner著，《Chinese Lacquer》，倫敦，1979年，頁130，編號66。形如本拍品的小型雕漆蓋盒，或為裝載印泥、香品或脂粉之用。但在十八世紀的清廷中，該類器皿也常被用於盛放各種珍玩。此類情形可見於台北國立故宮博物院所藏一例漆盒，其內盛裝一塊玉璧；圖見《集瓊藻 : 院藏珍玩精華展》，台北，2014，頁170For further information on this lot please visit Bonhams.com
A RARE MUGHAL GREEN JADE LEAF-SHAPED SEGMENTED BOX AND COVERIndia, 18th centuryThe semi-translucent dark-green stone exquisitely carved as a six-lobed flower with one side issuing a pointed leaf, the cover carved with interlocking flowering stems encircling a central flowerhead, the interior of the box divided and hollowed into seven sections. 13.5cm (5 3/8in) long. (2).Footnotes:十八世紀 痕都斯坦式碧玉葉形盒Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今This expertly-carved box and cover in the form of a Bodhi leaf demonstrates the skill of the craftsmen who were producing fine objects within the Mughal Empire from the beginning of the 17th century and throughout the 19th century. Mughal jades were greatly praised by the Chinese Court during the eighteenth century and the Qianlong Emperor especially admired them. The first carved Mughal jade bowl sent from Central Asia as tribute to the Imperial Court is recorded for AD 1756, and thereafter tribute gifts of this type continued throughout the Emperor's reign and beyond. The Emperor was fascinated by these beautiful objects and wrote more than seventy poems eulogising the many Mughal-style jade carvings in his collection. In these poems he praised the exceptional skills of the carvers together with the purity of the material; see the Catalogue of a Special Exhibition of Hindustan Jade in the National Palace Museum, Taipei, 1983, pp.83-93.For a further example of a Mughal jade multi-compartmentalised flower-form box and cover, see Treasures from Across the Kunlun Mountains: Islamic Jades in the National Palace Museum Collection, Taipei, 2015, p.186, no.187; another related white jade leaf-shaped lobed box and cover, featuring a similar arrangement of compartments, is illustrated in Exquisite Beauty. Islamic Jades, Taipei, 2007, p.159, no.200.A related white jade Mughal lobed leaf-shaped box and cover, 18th/19th century, was sold at Christie's New York, 14 September 2012, lot 1028.碧玉琢作菩提葉形，器壁雕琢圖案化的花葉紋，內分七淺格。此痕都斯坦式玉盒細緻流麗，因循古印度蒙兀兒皇朝傳統。在蒙兀兒帝國治下，伊斯蘭玉器逐漸形成獨特的裝飾風格，乾隆中期二十一年（1756）記載痕都斯坦玉器自中亞傳入進貢帝王，令乾隆皇帝大為激賞，自此以降，同類貢品時可見之。造辦處亦招募回族玉匠琢作此類玉器。不出數載至乾隆二十九年（1764）造辦處之中國匠人已能十足摹作。乾隆帝傾愛痕都斯坦式玉器，曾作超過七十首御製詩讚譽匠人臻化巧工，玉質純潔淨美。參鄧淑蘋著《故宮所藏痕都斯坦玉器特展》，國立故宮博物院，台北，1983年。參考台北國立故宮博物院藏一件花形分隔盒，收錄於《越過崑崙山的珍寶——院藏伊斯蘭玉器特展》，台北，2016年，頁186；及一例葉形盒，收錄於鄧淑蘋主編《國色天香——伊斯蘭玉器》，台北，2007年，頁159，編號200。紐約佳士得曾售一件十八/十九世紀白玉葉形盒，2012年9月14日，拍品編號1028，可為比對。For further information on this lot please visit Bonhams.com
A RARE FAMILLE VERTE 'PEONY BLOSSOM' MONTH CUPKangxi six-character mark and of the periodThe delicately-potted vessel rising to a gently flaring rim, painted to represent the fourth month with variously coloured flowering tree peony amongst blue pierced rockwork, the reverse with a poetic inscription: Xiao yan yuan fen jin zhang lu. Mu xiang shen re yu tang feng, 'At dawn its beauty receives dew from a golden palm. In the evening the fragrance penetrates deep into the Jade Hall'. 4.9cm (1 7/8in) high.Footnotes:清康熙 五彩「牡丹」花神盃青花「大清康熙年製」楷書款Provenance:Captain Charles Oswald Liddell (1854-1941)Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 12 June 1929, and thence by descentPublished and Exhibited: Bluett & Sons Ltd., The Liddell Collection of Old Chinese Porcelain, London, June 1929, p.11, no.100 or 101.Captain Charles Oswald Liddell was born in 1851 in Edinburgh. Having moved to China for family business, he worked there from 1877-1913. He married Elizabeth Birt in 1880 in the Anglican Cathedral in Shanghai, and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin and Harbin. He was joined by his brother John when the firm became known as Liddell Bros. In 1915 Liddell was Quartermaster and Hon. Captain in the 1st Battalion, The Monmouthshire Regiment, having served previously (and more adventurously) in the 'Shanghai Light Horse'. Liddell collaborated with A.W.Bahr in an exhibition in Shanghai in 1908 (he was Chairman of the North China branch of the Royal Asiatic Society, and in writing descriptions for it which were printed by A.W.Bahr, Old Chinese Porcelain and Works of Art in China, 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: the collection of Prince Chun, the last Regent of the Qing dynasty; and from the collection of the private secretary and adviser to Li Hongzhang. In May-June 1929 Bluett's offered part of the collection for sale, publishing a catalogue of The Liddell Collection of Old Chinese Porcelain with 229 entries and eight illustrative plates, one of them unusually in colour.來源：Charles Oswald Liddell上尉（1854-1941）舊藏倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1929年6月12日購自上者，並由後人保存迄今展覽著錄：Bluett & Sons Ltd.，《Liddell收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》，倫敦，1929年6月，頁11，編號100或101利德爾上尉（Captain Charles Oswald Liddell），1854年生於愛丁堡。1877年移居中國，並為其家族企業一直在華工作至1913年。1880年，他與Elizabeth Birt在上海聖公會大教堂舉行婚禮，隨後接手了Birt家族在上海的平和碼頭，並將業務擴展到杭州、天津和哈爾濱等地。平和洋行的英文商號在其弟John加入後改為Liddell Bros。利德爾曾服役於上海英租界輕騎隊，並於1915年任蒙默思郡團一營軍需長官和榮譽上尉。1908年，利德爾與巴爾（A.W.Bahr，時任皇家亞洲學會華北分會秘書）合作於上海舉辦展覽，巴爾將展覽描述集結成《中國古瓷美術譜（Old Chinese Porcelain and Works of Art in China）》並於1911年出版。利德爾的藏品，除其中三件以外，全數在其在華經商的近四十年間入藏；其中一大部分來自兩個重要渠道：清朝末代攝政王醇親王載灃的藏品，以及李鴻章的私人秘書兼顧問的收藏。1929年5月至6月期間，倫敦古董商Bluett's出售了利德爾的部分藏品，並出版了《利德爾收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》圖錄，收錄了共計229件藏品並附8張插圖，其中甚至包含一幅頗不尋常的彩色插圖。Very delicately potted, 'Month cups' were painted in the fine wucai palette of underglaze blue and overglaze enamels, which was devised during the Ming dynasty, but rarely used during the Qing dynasty, when the underglaze colour was generally omitted. 'Month cups' were made at the Imperial kilns during the Kangxi reign. A different cup was made for each month of the lunar calendar. Underglaze-blue designs were usually painted on the unglazed body. These cups were so thinly potted that the cobalt blue decoration on their exterior can be seen through the eggshell porcelain from the interior of the vessel. Slight differences in size, colours, calligraphic styles and even marks between the individual cups suggest that they may not even have originally been conceived as sets of twelve, rather, they could have been issued consecutively, as the year evolved, to be finally assembled as a set at the end. The poems inscribed on the 'Month cups' are all couplets from Tang dynasty poems. The Kangxi Emperor greatly admired Tang poems as demonstrated in ordering the compilation of all recorded Tang poems in 1705, on the 44th year of his reign. This project came into fruition under the leadership of the official Cao Yin, when the 'Complete Collection of Tang Poems' Quan Tangshu was published in 1706, including over 40,000 poems and a foreword written by the Kangxi Emperor himself; see R.Scott, For the Imperial Court. Qing Porcelain from the Percival David Foundation of Chinese Art, New York, 1997, pp.82-83. It is thus likely that these delicate 'Month cups', decorated with poems favoured by the Emperor, were made during the later period of the Kangxi reign, when... For further information on this lot please visit Bonhams.com
A PRECIOUS-STONE-INLAID JASAILMER-STONE CARVING OF A TIGERIndia, 20th centuryThe recumbent creature expertly carved with the natural striations of the stone resembling the tiger's stripes, inlaid with four pearls, two emeralds, and one ruby. 4.2cm (1 5/8in) long.Footnotes:印度，二十世紀 石雕嵌寶石虎Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The kundan setting used in the present lot, is the technique most closely associated with the jewelled arts of the Mughal Emperors. By using pure, soft, 24-carat gold (kundan), the goldsmith can set gemstones directly into fragile enamelled surfaces, or into engraved gem materials, such as nephrite jade and rock crystal. The Jaisalmer stone used to carve this tiger is also used in the hilts of daggers. See for example, a Jaisalmer-hilted koftgari steel dagger, north India, 17th and 19th century, which was sold at Bonhams London, 19 April 2016, lot 182.本例鑲嵌寶石所用之「昆丹」工藝，是一種印度獨有的金匠工藝，曾大量用於莫臥兒王朝投資者的珠寶製作。極具延展性的高質量24K金黃金，即「昆丹」，經過錘擊形成纖薄的薄片，後被切割成條狀，再使用鐵筆將其壓入至預期位置，在各種物料的表面上成為精緻的鑲座。由此，金匠可以將寶石直接鑲嵌在易碎的琺瑯表面或軟玉、水晶等材料中。用於製作老虎主體的賈沙梅爾石（Jaisalmer）也可見於匕首手柄，如一例印度北部十七至十九世紀石雕手柄鋼刀，售於倫敦邦瀚斯於2016年4月19日，拍品編號182。For further information on this lot please visit Bonhams.com
A FINE AND RARE MUGHAL WHITE JADE QUATRELOBED SPICE BOX AND COVERIndia, 18th centuryThe box expertly carved and hollowed with four cylindrical compartments with straight walls, supporting a gently-curved lid carved with stylised leaves surmounted by a flower-bud finial, the cover's underside carved with a central flowerhead issuing four stylised leaves, the smooth translucent stone of even white tone. 9cm (3 1/2in) long. (2).Footnotes:十八世紀 痕都斯坦式白玉雕花瓣形分格蓋盒Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The present box and cover is an exquisite example of Mughal jade carving at its very finest. The master carver accomplished a perfectly balanced quatrelobed form in the box, to properly match the four-domed cover. The superb white jade stone was greatly admired by the carver focusing on form with minimal decoration allowing the viewer to enjoy the natural quality of the translucent white jade stone. Indian Mughal jades found their way to central Asia and thus to the Imperial Court in Beijing, where they were sent as tribute from inner-Asian regions. The Qianlong Emperor was a great admirer of these so-called 'Hindustan' jades and praised them for their exquisite lightness, thin walls and florid decoration. The Emperor's passion for Mughal jades led him in 1768, to write Tianzhu wuyindu kao'e, a scholarly text on the geography of Hindustan and the derivation of its name. The area he identified is today northern India, with the city of Agra at its centre. Subsequently, Mughal jades came to have a large influence on jade production in China.See a gem-set jade quatrelobed box and cover in the Metropolitan Museum of Art, New York (acc.no.02.18.777a–c). See also a gold-embellished Mughal jade quatrelobed box and cover, in the National Palace Museum, Taipei, illustrated by Teng Shu-p'ing, Exquisite Beauty: Islamic Jades, National Palace Museum, Taipei, 2007, p.111, no.129; and a further related semi-precious-stone-inlaid jade quatrelobed box and cover illustrated in ibid., p.112, no.131. Compartmented jade spice boxes, such as the present lot, were produced for the Mughal elite, to hold cardamom pods or stuffed betel-leaves (pan) which were used to colour the lips red as a cosmetic, or to be chewed as then was believed to freshen the mouth and help digestion; see S.Aziz Natnoo, 'Betel-Leaf (Pan) Culture: A Study of Mughal India in International Journal of Humanities and Social Sciences, vol 5, issue 1, January-February 2018, p.39. Compare with a related quatrefoil carved jade box, north India, circa 1740-1800, which was sold at Christie's New York, 19 June 2019, lot 198.白玉質，琢作四瓣花式盒，略帶方形，蓋面中央浮雕葉紋，立雕花蕾為蓋鈕，內部隔作四格。本品玉質色澤勻淨，器壁通透，線型流暢，打磨精到，且通體除立雕花鈕外無附加紋飾，充分凸顯玉材自然之美，是痕都斯坦玉雕精品。痕都斯坦即指蒙兀兒帝國（1526-1857）；1768年，乾隆皇帝親自撰《天竺五印度考訛》一文，考證發音，定名「痕都斯坦」。在蒙兀兒帝國治下，伊斯蘭玉器逐漸形成獨特的裝飾風格，並於十八世紀後期經新疆源源不斷貢入清廷，令乾隆皇帝大為激賞。相類玉盒可見紐約大都會藝術博物館館藏一例鑲金嵌寶帶托盤四格玉盒，藏品編號02.18.777a–c，形似本例。另見一例青白玉分格盒，收錄於鄧淑蘋著，《國色天香——伊斯蘭玉器》，國立故宮博物院，台北，2007年，頁112，編號131。形如本例的分隔蓋盒多為蒙兀兒精英階層盛裝香料之用，參S.Aziz Natnoo著，〈Betel-Leaf (Pan) Culture: A Study of Mughal India〉，收錄於《國際人文與社會科學期刊》，卷五，第一輯，2018年1-2月，頁39。紐約佳士得曾售一件約1740–1800年玉分格盒，2019年6月19日，拍品編號198，可為比對。For further information on this lot please visit Bonhams.com
A VERY RARE FAMILLE VERTE 'LOTUS' MONTH CUPKangxi six-character mark and of the periodThe finely potted vessel rising to a gently flaring rim, decorated to represent the sixth month with a pair of Mandarin ducks swimming in a lotus pond, with a kingfisher in flight above, the reverse with a poetic inscription: Gen shi ni zhong yu. Xin cheng lu xia zhu, 'The roots are like jade gleaming in the mud. The hearts contain pearls when dew has descended'. 4.9cm (1 8/9in) high.Footnotes:清康熙 五彩「荷花」花神盃青花「大清康熙年製」楷書款Provenance:Captain Charles Oswald Liddell (1854-1941)Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 12 June 1929, and thence by descentPublished and Exhibited: Bluett & Sons Ltd., The Liddell Collection of Old Chinese Porcelain, London, June 1929, p.11, no.100 or 101.Captain Charles Oswald Liddell (1854-1941) was born in 1851 in Edinburgh. Having moved to China for family business, he worked there from 1877-1913. He married Elizabeth Birt in 1880 in the Anglican Cathedral in Shanghai, and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin and Harbin. He was joined by his brother John when the firm became known as Liddell Bros. In 1915 Liddell was Quartermaster and Hon. Captain in the 1st Battalion, The Monmouthshire Regiment, having served previously (and more adventurously) in the 'Shanghai Light Horse'. Liddell collaborated with A.W.Bahr in an exhibition in Shanghai in 1908 (he was Chairman of the North China branch of the Royal Asiatic Society), and in writing descriptions for it which were printed by A.W.Bahr, Old Chinese Porcelain and Works of Art in China, 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: the collection of Prince Chun, the last Regent of the Qing dynasty; and from the collection of the private secretary and adviser to Li Hongzhang. In May-June 1929 Bluett offered part of the collection for sale, publishing a catalogue of The Liddell Collection of Old Chinese Porcelain with 229 entries and eight illustrative plates, one of them unusually in colour.來源：Charles Oswald Liddell上尉（1854-1941）舊藏倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1929年6月12日購自上者，並由後人保存迄今展覽著錄：Bluett & Sons Ltd.，《Liddell收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》，倫敦，1929年6月，頁11，編號100或101利德爾上尉（Captain Charles Oswald Liddell），1854年生於愛丁堡。1877年移居中國，並為其家族企業一直在華工作至1913年。1880年，他與Elizabeth Birt在上海聖公會大教堂舉行婚禮，隨後接手了Birt家族在上海的平和碼頭，並將業務擴展到杭州、天津和哈爾濱等地。平和洋行的英文商號在其弟John加入後改為Liddell Bros。利德爾曾服役於上海英租界輕騎隊，並於1915年任蒙默思郡團一營軍需長官和榮譽上尉。1908年，利德爾與巴爾（A.W.Bahr，時任皇家亞洲學會華北分會秘書）合作於上海舉辦展覽，巴爾將展覽描述集結成《中國古瓷美術譜（Old Chinese Porcelain and Works of Art in China）》並於1911年出版。利德爾的藏品，除其中三件以外，全數在其在華經商的近四十年間入藏；其中一大部分來自兩個重要渠道：清朝末代攝政王醇親王載灃的藏品，以及李鴻章的私人秘書兼顧問的收藏。1929年5月至6月期間，倫敦古董商Bluett's出售了利德爾的部分藏品，並出版了《利德爾收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》圖錄，收錄了共計229件藏品並附8張插圖，其中甚至包含一幅頗不尋常的彩色插圖。Delicately potted porcelain cups, such as the present example, were known as 'Month cups' and were made at the Imperial kilns during the Kangxi reign. These vessels were painted in underglaze-blue and overglaze famille verte enamels in wucai style depicting individual flowers that designated each of the twelve months of the year. The design format of these cups, incorporating a pictorial composition on one side and a poetic inscription ending in a seal mark on the other, was inspired by the long tradition in classical painting and was an innovation of the Kangxi period. The poems inscribed on the 'Month cups' are all couplets from Tang dynasty poems. The Kangxi Emperor greatly admired Tang poems as demonstrated in ordering the compilation of all recorded Tang poems in 1705, on the 44th year of his reign. This project came into fruition under the leadership of the official Cao Yin, when the 'Complete Collection of Tang Poems' Quan Tangshu was published in 1706, including over 40,000 poems and a foreword written by the Kangxi Emperor himself; see R.Scott, For the Imperial Court. Qing Porcelain from the Percival David Foundation of Chinese Art, New York, 1997, pp.82-83. It is thus likely that these delicate 'Month cups', decorated with poems favoured by the Emperor, were made during the later period of the Kangxi reign, when the compendium of Tang poetry was published.The twelve flowers painted on the 'Month cups' were selected following the traditions of the Flower Festival, which fell on the 15th day of the second month in the Chinese calendar, signifying the arrival of springtime and celebrated the birthday of all flowers. The Flower Festival was highly popular du... For further information on this lot please visit Bonhams.com
A SPINACH-GREEN JADE FIGURE OF LÜ DONGBINLate Qing DynastyThe tall bearded Daoist Immortal dressed in long flowing robes, a sword and straw hat slung across his back, a fly whisk held in his right hand, the stone of dark-green tone with areas of paler inclusions, with hongmu stand. 18cm (7 1/8in) high. (2).Footnotes:清晚期 碧玉雕呂洞賓像Provenance:J. C. Vickery, LondonE. A. Parry (1879-1946), London, acquired from the above on 19 July 1928, and thence by descent來源：倫敦古董商J. C. Vickery倫敦E. A. Parry（1879-1946）舊藏，於1928年7月19日購自上者，並由後人保存迄今Lü Dongbin is one of the Eight Immortals, honoured as a great poet and swordsman and shown here wearing his scholar's robes. A related albeit white jade figure of Lü Dongbin, 18th century, was sold at Bonhams London, 17 May 2012, lot 47.呂洞賓，道教仙人，八仙之一。此例碧玉琢制，身著士袍，寬衣博帶，背劍執拂。可對比一例十八世紀白玉雕呂洞賓像，售於倫敦邦瀚斯，2012年5月17日，拍品編號47。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A STRIATED JADE VESSEL, CONGMing/Qing DynastyThe square-sectioned archaistic vessel with plain sides and indented corners, with a short circular neck and foot, the stone of mottled cream, grey and brown hues, with hardwood stand. 11.5cm (4 1/2in) high. (2).Footnotes:明/清 灰玉琮Provenance: K.C. WongBluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 4 June 1930, and thence by descentPublished and Exhibited: Bluett & Sons Ltd., The Wong Collection of Ancient Chinese Jades, London, 1930, no.402來源：K.C. Wong舊藏倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1930年6月4日購自上者，並由後人保存迄今展覽著錄：Bluett & Sons Ltd.，《The Wong Collection of Ancient Chinese Jades》，倫敦，1930年，編號402The present lot is inspired by Neolithic period cong which were characterised by a square outer section (representing Earth) around a circular inner part (representing Heaven). The scholarly tradition of archaism however, meant that this shape continued throughout Chinese history, as later scholars placed them on their desks to bring them closer to the idealised ancient past. See a related grey and black jade cong, Ming dynasty, in the Victoria and Albert Museum, London (acc.no.A.54-1936). Compare also with a related mottled pale green and russet jade cong, Ming dynasty or later, which was sold at Christie's New York, 9 December 2020, lot 28.琮內圓中空而外方，柱形，承襲新石器時代至商朝的典型式樣，與古代中國「天圓地方」的宇宙觀息息相關。雖然玉琮之具體用途尚未有一致結論，但普遍認為其應有別於一般的裝飾器物，或許具有某種宗教用途，更有可能屬於一種禮器。倫敦維多利亞和阿爾伯特博物館館藏一例明灰玉琮，藏品編號A.54-1936，可為參考。另見一例明或以後青褐玉琮，售於紐約佳士得，2020年12月9日，拍品編號28。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A 'CHICKEN BONE' JADE HANDLED CUPMing DynastyExpertly hollowed with deep sides rising from a short tapering foot to an everted rim, a mythical beast with bifurcated tail biting the rim and forming the handle, carved around the exterior with sinuous chilong grasping lingzhi sprays in their mouths. 6.6cm (2 5/8in) wide.Footnotes:明 雞骨玉雕單柄盃Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The design of a chilong holding a lingzhi fungus its its mouth as seen on the present cup was a motif used during the Ming dynasty; see a pale green jade bowl, Ming dynasty, in the Qing Court Collection, illustrated in Compendium of Collections in the Palace Museum: Jade 7 Ming Dynasty, Beijing, 2011, no.103.本例所飾螭龍銜芝為明代典型紋飾，參考清宮舊藏一例明青白玉盌，收錄於《故宮博物院藏品大系：玉器編7，明》，北京，2011年，編號103。For further information on this lot please visit Bonhams.com
A CARVED CINNABAR LACQUER PRUNUS-SHAPED BOWL AND COVER, ZHADOUQianlongThe five-lobed vessel rising to a wide everted rim, deeply carved with panels of leafy, flowering peony stems and blossoming prunus branches, on a wan-diaper ground, the underside of the rim incised with panels of lotus blooms, the interior and base lacquered black, with a later jade finial. 15.7cm (6 1/8in) wide. (2).Footnotes:清乾隆 剔紅牡丹紋花口唾盂Provenance: Spink & Son Ltd., LondonMrs G. N. Parry (1923-2013), London, acquired from the above on 12 April 1951, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦G.N.Parry夫人（1923-2013）舊藏，於1951年4月12日購自上者，並由後人保存迄今Compare with a related cinnabar lacquer lobed zhadou and cover, in the Hall of the Three Rarities, Sanxitang, in the Palace Museum, Beijing, illustrated in Imperial Furniture of Ming and Qing Dynasties: Classics of the Forbidden City, Beijing, 2008, p.340, no.373; and another carved cinnabar lacquer 'chrysanthemum' spittoon and cover, 18th century, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, London, 2016, p.873, nos.2011. See also related circular lacquer zhadou and cover, Qianlong, illustrated by S.Kwan, Chinese Lacquer, Hong Kong, 2010, pp.291, no.103; and another related zhadou, 18th century, in the Shenyang Palace Museum, illustrated by R.L.Thorpe, Son of Heaven: Imperial Arts of China, Seattle, 1988, p.96, no.28.See a similar carved lacquer prunus-shaped zhadou, 18th century, which was sold at Christie's New York, 22 March 2013, lot 1321.參見北京故宮博物院乾隆皇帝御書房三希堂陳設一件剔紅唾盂，形花口，收錄於《明清宮廷家具》，北京，2008年，頁340，圖373；以及一件十八世紀剔紅菊紋花口唾盂，見J.Ayers編著，《Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen》，倫敦，2016年，頁873，編號2011。另有清乾隆剔紅蟠桃佛手紋唾盂一對，見關善明著《中國漆藝》，香港，2010年，頁290-1，編號103；及瀋陽故宮博物院館藏一件剔紅唾盂，收錄於R.L.Thorpe著，《Son of Heaven: Imperial Arts of China》，西雅圖，1988年，頁96，編號28，可為比對。紐約佳士得曾售出一件十八世紀剔彩喜上眉梢紋花口唾盂，2013年3月22日，拍品編號1321，可資參考。For further information on this lot please visit Bonhams.com
A PAIR OF JADEITE TWO-HANDLED WINE CUPS19th centuryWith crisply carved feet, the rounded bodies rising to everted rims, each vessel flanked by a pair of stylised S-shaped dragon handles, the stone of grey-green hue. Each 8.1cm (3 1/4in) wide. (2).Footnotes:十九世紀 翡翠雙龍柄盃一對Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The shape of the present lot was probably inspired by earlier vessels of the Ming dynasty, which in turn were based on archaic food vessel, gui. Handled jade cups, relating to the present pair, often decorated scholar's desks where they served a variety of purposes, such as burning incense. However, the smaller size of the present cups indicates they were likely used for drinking wine. Reviving archaic shapes underscored the Chinese interest in restoring the ancient values of their glorious past.本品造型或沿襲以青銅器簋為摹本的明代仿古器，是明清以來尚古擬古之復古思潮的反映。形如此例的雙耳盃，常被置於文人案頭作熏香等多方用途；但本例尺寸小巧，應為酒具之用。For further information on this lot please visit Bonhams.com
A SPINACH-GREEN JADE COVER18th/19th centuryExpertly carved around the exterior in low relief with a continuous scene of cranes amongst gnarled pine trees, the dark green stone with pale cloudy inclusions. 14.2cm (5 5/8in) diam.Footnotes:十八/十九世紀 碧玉松鶴紋器蓋Provenance:The Liebermann CollectionSpink & Son Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 31 July 1928, and thence by descent來源：Liebermann舊藏倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1928年7月31日購自上者，並由後人保存迄今The 1928 Spink & Son invoice refers to the Liebermann Collection. This may refer to the collection of the German painter Max Liebermann (1847-1935), who was one of the most important Berlin art collectors of the Imperial Era and the Weimar Republic and is reported to have turned to collecting Chinese art from 1900. Two pieces from his collection were included in the 1929 Chinese Art Exhibition in Berlin; see Ausstellung Chinesischer Kunst, Berlin, 1929, nos.769 and 1045.The present lot would have probably served as cover to a circular box, which were usually decorated with low-relief floral designs. See a spinach-green jade circular box and cover decorated with geometric designs and a chilong, Qing dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum. Jadeware, vol.3, Hong Kong, 1995, p.84. See also a spinach-green jade circular box and cover decorated with low relief floral designs, 18th century, which was sold at Christie's Hong Kong, 27 May 2008, lot 1964.倫敦古董商Spink & Son開立於1928年的發票稱此例來自Liebermann舊藏，或指德國畫家馬克思·利伯曼（Max Liebermann，1847-1935）；他同時也是當時柏林最為重要的收藏家之一，據稱其於1900年起開始收藏中國藝術。利伯曼曾將兩件藏品借展於1929年柏林中國藝術展，見《Ausstellung Chinesischer Kunst》，柏林，1929年，展覽編號769與1045。本例應作為圓形器物的器蓋使用，原器身應以淺浮雕裝飾同類題材。如一例清代碧玉圓蓋盒，收錄於《故宮博物院藏文物珍品全集：玉器（下）》，香港，1995年，頁84。參考一例十八世紀碧玉雕圓蓋盒，器身浮雕纏枝花卉，售於香港佳士得，2008年5月27日，拍品編號1964。For further information on this lot please visit Bonhams.com
A FINE PAIR OF MUGHAL PALE GREEN JADE BOWLSIndia 18th/early 19th centuryBoth elegantly modelled with steep and gently flaring sides rising from a spreading foot shaped as a blossoming chrysanthemum, delicately carved in low relief to the exterior with stylised floral stems issuing entwined leafy tendrils, all beneath scalloped rims, the thin translucent stone of even pale-green tone. Each 11.7cm (4 5/8in) diam. (2).Footnotes:十八世紀/十九世紀早期 痕都斯坦式青白玉花式盌一對Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Notable for their thin and translucent bodies resting on a delicately-carved chrysanthemum feet, the present bowls are remarkable products displaying the high standards achieved by Mughal carvers during the 18th and early 19th century. The Qianlong Emperor was a patron and avid collector of 'Hindustan' jades. The area he identified as the leading manufacturing location for fine jade carvings centred around the city of Agra, in Northern India. During the eighteenth century, this area was part of the Mughal Empire and thus the jades from this region are today often referred to as 'Mughal' jades. Between 1756 and 1794 the Qianlong Emperor compiled dozens of poems praising the translucency and delicacy of Mughal and Mughal-style jades. See 'Anthology of Imperial Qianlong Poems' Qing Gaozong yuzhi shiwen quanji, Taipei, 1976. Such was the Emperor's fascination with these jades that in AD 1768 he also wrote a scholarly text, titled Tianzhu wuyindu kaoe, on the geography of Hindustan and the derivation of its name; see 'Tianzhu wu Yindu kao'e', in Yuzhi wenji, part 2, Siku quanshu, Taipei, 1983, 1301:411-2 (21:2b-5a).Compare with a related white jade bowl, 18th century, in the National Palace Museum, Taipei, displaying a similarly carved foot as the present bowl, illustrated in Exquisite Beauty. Islamic Jades, Taipei, 2007, p.57, no.45.A related pale green Mughal-style bowl, Qianlong, was sold at Sotheby's New York, 18 March 2008, lot 13.青白玉質，圓盌侈口深腹。外壁淺浮雕纏繞的花葉紋，下緣圍繞一圈茛苕葉，器底另雕琢一朵平展的菊花。器壁輕薄，紋飾流暢，是十八世紀至十九世紀早期痕都斯坦玉匠巧奪天工之絕佳例證。痕都斯坦即指蒙兀兒帝國，其疆域包括今印度北部、巴基斯坦及阿富汗東部等地。 1768年，乾隆皇帝親自撰《天竺五印度考訛》一文，考證發音，定名「痕都斯坦」；痕都斯坦玉則為乾隆帝對伊斯蘭玉器的統稱。在蒙兀兒帝國治下，伊斯蘭玉器逐漸形成獨特的裝飾風格，並於十八世紀後期經新疆源源不斷貢入清廷，因其「瑩薄如紙」、「看去有花葉，撫來無跡痕」而深得乾隆皇帝厚愛。乾隆皇帝認為薄、透、輕巧，是痕都斯坦玉工的絕技；縱覽《清高宗御製詩文全集》，1756至1794年間，乾隆皇帝曾賦詩六十四首之多，盛讚這種雕刻精細、紋飾繁複的裝飾工藝。台北國立故宮博物院館藏一件十八世紀白玉雕四瓣花式盌，器底同琢成平展花卉，圖見於《國色天香——伊斯蘭玉器》，台北，2007年，頁57，編號045，可為比對。另可參考一例痕都斯坦式青白玉盌，售於紐約蘇富比，2008年3月18日，拍品編號13。For further information on this lot please visit Bonhams.com
A SMALL JADEITE 'BUDDHIST LION' SEAL AND A WHITE JADE OPENWORK PENDANTThe seal 19th/early 20th century; the pendant 19th centuryThe seal of square columnar form, surmounted by a Buddhist lion, one forepaw resting on a ball, the base incised with the European initials 'A I H P' (for Angela Ida Harriet Parry), the translucent stone suffused with bright apple-green markings; the white jade pendant carved in openwork with a parrot within finely-pierced branches issuing flowering blossoms encircled by bamboo, the stone of pale white tone. The seal 3.6cm (1 3/8in) high; the pendant 5.5cm (2 1/8in) diam. (2).Footnotes:十九世紀/二十世紀早期 翡翠獅鈕印章 及 十九世紀 白玉鏤雕鸚鵡紋牌 一組兩件Provenance:Angela I.H. Parry (1879-1977), London, and thence by descent來源：倫敦Angela I.H. Parry（1879-1977）舊藏，並由後人保存迄今The initials carved on the seal 'A I H P' stand for Angela Ida Harriet Parry, the wife of E.A. Parry (1879-1946), and daughter of William Scully, an Irish businessman who was very successful in land development in America. It is likely that the seal face was inscribed with the initials in London. The personal seal also demonstrates Mrs Parry's great interest in the Collection.Compare with a small jadeite 'lion' seal which was sold at Christie's Hong Kong, 1 May 2001, lot 1593.印文「A I H P」，即為E.A. Parry夫人（1879-1946）Angela Ida Harriet Parry姓名首字母縮寫。Parry夫人原姓Scully，為愛爾蘭裔美國地產商人William Scully之女。此名章或為在倫敦刻製，也反映了Parry夫人本人對於中國藝術收藏極大的熱情。參考一例翡翠獅鈕印章，售於香港佳士得，2001年5月1日，拍品編號1593。For further information on this lot please visit Bonhams.com
A RARE VERY PALE GREEN JADE 'DRAGON' KNOT-LOOSENER, XI18th/19th centuryOf elegantly curving C-form, the fang-shaped tool terminating with a dragon-head, the stone of even greenish-white tone. 9.8cm (3 7/8in) long.Footnotes:十八/十九世紀 青白玉龍首觿Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The dragon-shaped arched fang-shaped pendant, which was likely made to be used as a knot-loosener, is carved after the archaic prototype made in jade and agate during the Zhou dynasty (1045-256 BC). At that time, xi pendants were usually made as pairs and buried in tombs. While the examples dated to the Spring and Autumn period resembled the shape of an animal's tooth or fang, the pendants made during the Warring States period were usually more slender in form. Dragon-shaped pendants were developed from the late Warring States period to early Western Han dynasty; see Gu Fang, The Pictorial Handbook of Ancient Chinese Jades, Beijing, 2007, p.240. See jade and agate Xi, in the Palace Museum, Beijing, illustrated in Compendium of Collections in the Palace Museum: Jade 3 Spring and Autumn Period and Warring States Period, Beijing, 2010, nos.201-206, and 208-209.觿者，解結錐也。周人為解衣帶之結而常佩解結之工具，並用於隨葬，常見以玉石或瑪瑙成對製成，為此例濫觴。春秋時期的玉觿似獸牙，較為粗短；戰國至西漢時期則呈長角狀或彎曲的龍體。安徽省巢湖市北山頭西漢墓出土一件龍形玉觿，見古方著，《中國古玉器圖典》，北京，2007年，頁240。另見《故宮博物院藏品大系：玉器編3，春秋戰國》，北京，2010年，編號201-206，及208-209。For further information on this lot please visit Bonhams.com
A RARE PALE GREEN AND RUSSET JADE INSCRIBED ARCHAISTIC CUPMing DynastyThe deep oval vessel set on a short foot with spreading rim, carved with three horizontal bands, the upper bearing a two-line archaic-character inscription, the middle register with stylised archaistic chilong motifs, the lower with scrollwork designs, the openwork handle carved in the form of a sinuous scrolling dragon, the greenish-yellow stone with russet veining and inclusions. 11cm (4 3/8in) high.Footnotes:明 青白玉仿古紋觥Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 30 November 1938, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1938年11月30日購自上者，並由後人保存迄今Archaistic jade vessels similar to the present lot were probably based on jade rhytons dating to the Han dynasty. See a jade vessel excavated from the tomb of the King of Nanyue, Guangdong Province, illustrated by J.Rawson in Chinese Jade from the Neolithic to the Qing, London, 1995, p.70, fig.61, which, in turn, appears to have been based on Western Asian forms shaped as horns rising from a twisted, bifurcated tail-form handle at the bottom and incised around the sides with scroll decoration. By the Song and Ming dynasties, this shape was modified and the sides carved with bands of archaistic decoration inspired by that found on ritual bronzes and jades of the Eastern Zhou and Han dynasties, often with the addition of chilong carved in high relief around the sides, and sometimes with a dragon-form handle, such as the one which can be noted on the present cup. Compare with a related jade cup, Ming dynasty, decorated with archaistic designs of cicadas, taotie masks and stylised dragons, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum, vol.2, Hong Kong, 1995, pp.232-233, no.183.A related yellowish-celadon jade rhyton cup, 17th century, was sold at Christie's London, 12 November 2010, lot 1178.玉質青黃，赭褐沁呈色自然。橢圓體，深膛矮足，口微侈。器外壁環以三周紋飾，最上一週為明異體篆書銘文兩行，中層雕螭龍紋，下層飾羽翅紋。鏤空盃鋬以一矯健遊龍造型。此類仿古玉器多以漢代玉觥為濫觴。如廣東西漢南越王墓中出土一件角形玉盃，圖見J.Rawson著，《Chinese Jade from the Neolithic to the Qing》，倫敦，1995年，頁70，圖61；其器形源於西亞，形似犀角，底部捲曲成把手，盃身纏以回環往復之龍紋。至宋明兩代，該類器型持續發生衍變，盃身多飾以仿東週及兩漢時期青銅禮器及玉器之紋樣，並常見高浮雕螭龍紋，鋬以龍造型為多。比較一例清宮舊藏明代玉仿古銅紋單耳盃，外壁亦雕三周紋飾，收錄於《故宮博物院藏文物珍品全集：玉器（中）》，香港，1995，頁232-233，編號183。另有一例十七世紀青黃玉雕角盃，售於倫敦佳士得，2010年11月12日，拍品編號1178，可資比對。For further information on this lot please visit Bonhams.com
AN UNUSUAL CINNABAR LACQUER CARVED SCROLL-SHAPED STAND18th/19th centuryCarved on the top with the bearded Zhong Kui leading his sister, gliding on long wispy clouds above roofs and trees, all within a shaped cartouche, the sides with auspicious citrons and fruits, all between key-fret borders. 50.5cm (19 7/8in) long.Footnotes:十八/十九世紀 剔紅人物紋卷書式幾Provenance:Spink & Son Ltd., London,Mrs E. A. Parry (1879-1977), London, acquired from the above on 31 October 1935, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry夫人（1879-1977）舊藏，於1935年10月31日購自上者，並由後人保存迄今The present lot may depict a bearded Zhong Kui accompanying his sister to get married. Zhong Kui is more often depicted as a demon-queller surrounded by an entourage of demons, but sometimes artists and artisans portrayed his rough visage contrasting with his elegant sister. The clouds emphasise their other-worldly nature. 'Marrying off one's sister' (jia mei) is also a pun for 'subjugating demons' (ya gui). A painting by the Yuan dynasty artist Yan Geng (active late 13th century) in the Metropolitan Museum of Art, New York (acc.no.1990.134), shows this motif of Zhong Kui and his sister. Compare with a related cinnabar lacquer scroll-shaped stand, Qing dynasty, illustrated in Refined Pleasures in the Study: Treasures and Curios from Traditional Study, Taipei, 2007, p.100. A black lacquered and jade-inlaid scroll-form stand, 18th/19th century, is illustrated in Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, p.166.面心浮雕一髯者攜一女子騰雲而行，或為「鍾馗嫁妹」之典。鍾馗自唐以來一直都是文人及畫家喜愛的題材，民間則利用鍾馗圖像去晦驅邪。紐約大都會藝術博物館館藏一幅南宋或元代顏庚所繪《鍾馗嫁妹》，藏品編號1990.134，為現存最早以之為題的畫作。一說「嫁妹」與「壓鬼」諧音，意在驅除鬼邪。對比台北國立歷史博物館館藏一例清山水雕漆書卷幾，收錄於《文窗雅趣——傳統文房清玩珍尚》，台北，2007年，頁100；以及台北國立故宮博物院館藏一例清十八至十九世紀剔黑嵌玉卷書式幾，收錄於《和光剔彩——故宮藏漆》，台北，2008，頁166。For further information on this lot please visit Bonhams.com
A VERY PALE GREEN JADE 'DRAGON AND TIGER' PLAQUE18th/19th centurySkillfully carved with a writhing dragon flying above a crouching tiger, the reverse with a four-character inscription reading feng yun ji hui, which may be translated as 'Meeting of the wind and clouds', the stone of even pale-white tone, suspended by a chain from a reticulated hongmu stand. The jade 6.7cm (2 5/8in) long. (2).Footnotes:十八/十九世紀 青白玉雕「風雲際會」紋牌Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The visual pairing of dragons and tigers has a long history in China, when it appeared in the first hexagram, qian, from 'The Book of Changes', thought to have been written during the Zhou dynasty (1046–256 BC). In the present pendant the clouds trail behind the dragon while the wind follows the tiger. According to the 'Book of Changes', the two creatures are associated with the opposing forces of Daoism, with the tiger representing 'yin' and the dragon denoting 'yang.'A closely-related pale celadon jade inscribed 'dragon and tiger' plaque, Qing dynasty, was sold at Christie's Hong Kong, 9 October 2019, lot 124. See also a white jade 'dragon and tiger' plaque, 18th century, but carved in low relief, which was sold at Sotheby's London, 10 May 2017, lot 287.白玉為材，細膩溫潤，材質規整。額首雕如意云紋，中穿孔可供繫佩。牌身正面雕飾龍虎，《易經·乾卦》九五爻辭有云，「同聲相應，同氣相求... 雲從龍，風從虎。聖人作而萬物睹」。本例以此為具象，正合背面篆書「風雲際會」，大有作為。參考一例清代青白玉雕風雲際會圖珮，售於香港佳士得，2019年10月9日，拍品編號124。另見一例十八世紀白玉龍吟虎嘯圖牌，以淺浮雕飾龍虎紋，售於倫敦蘇富比，2017年5月10日，拍品編號287。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A WHITE AND RUSSET JADE 'DOUBLE-GOURD' SNUFF BOTTLE AND STOPPER18th centuryNaturalistically carved and hollowed as a ripe double-gourd, with leafy, curling, tendrils, the stone of pale white tone with the russet patches cleverly used to denote the the tendrils and leaves. 7.3cm (2 7/8in) high. (2).Footnotes:十八世紀 白玉帶皮葫蘆形鼻煙壺Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今For examples of celadon and russet jade gourd snuff bottles see The Complete Collection of Treasures of the Palace Museum: Snuff Bottles, p.148, no. 222; and Snuff Bottles in the Collection of the National Palace Museum, 1991, pp.156-157.Compare with a similar white jade 'double-gourd' snuff bottle, 18th/19th century, which was sold at Christie's Hong Kong, 4 October 2016, lot 77.巧妙運用玉料的天然色澤雕成葫蘆藤蔓；相似的玉雕葫蘆形鼻煙壺範例可見《故宮博物院藏文物珍品大系：鼻煙壺》，頁148，編號222，以及《故宮鼻煙壼》，1991年，頁156-157。參考一例十八/十九世紀白玉葫蘆形鼻煙壺，售於香港佳士得，2016年10月4日，拍品編號77。For further information on this lot please visit Bonhams.com
A MUGHAL WHITE JADE BOWLIndia, 18th centuryThe translucent thin rounded sides flaring gently at the rim, finely carved with a meander of pendent flower buds at the rim above flowering leafy lily sprays encircling the body. 14.2cm (5 5/8in) diam.Footnotes:十八世紀 痕都斯坦式白玉盌Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The delicate decoration of the present lot, in the form of floral motifs including a large bloom on a stalk set between two smaller blooms on stems, is inspired by the patterns and compositions frequently employed on other Islamic works of art and architecture.The elegant vessel was probably produced in the northern Indian area centring around Agra, which, during the eighteenth century, was part of the Mughal Empire and famous for the production of refined jade vessels. Many such vessels were highly regarded by the Qianlong Emperor and entered the Imperial collections; they came into China through trade but were also presented to the Emperor as tribute and gifts from Qing Court officials.For examples of compositions of floral motifs on Mughal jade works of art in the National Palace Museum, Taipei, see a bowl with poppies illustrated in Exquisite Beauty-Islamic Jades, Taipei, 2007, p.78, no.73; see also a spinach-green jade bowl decorated with lilies, ibid., p.71, no.62.A related Mughal-style yellow jade bowl displaying a decoration scheme similar to the present lot was sold at Bonhams Hong Kong, 27 November 2014, lot 116.白玉琢作大盌，外壁淺浮雕雕百合花束，口沿從每個弧線下凹處雕飾一朵花苞，且大小相間。這種大小相間的紋飾組合是伊斯蘭裝飾藝術中常見的圖案構圖。本例或產自十八世紀的印度北部，當時屬於蒙兀兒帝國疆域。在蒙兀兒帝國治下，伊斯蘭玉器逐漸形成獨特的裝飾風格，痕都斯坦玉則為乾隆帝對伊斯蘭玉器的統稱。十八世紀後期，乾隆皇帝平定新疆後，痕玉被作為進貢給清廷的御用玉器，因其薄、透、輕巧，而深得乾隆皇帝厚愛。台北國立故宮博物院館藏一例玉雕八角形盌，以及一例十八世紀花口花蕾形雙柄盌，外壁浮雕花卉紋飾皆與本例風格相仿，收錄於鄧淑蘋編著，《國色天香——伊斯蘭玉器》，台北，2007年，頁78，編號73，以及頁71，編號62。另有一例痕都斯坦式黃玉雕蓮花紋盌，紋飾佈局可為比對，售於香港邦瀚斯，2014年11月27日，拍品編號116。For further information on this lot please visit Bonhams.com
A MUGHAL-STYLE PALE GREEN JADE 'CHRYSANTHEMUM' DISH18th/19th centuryThe thin semi-translucent vessel delicately carved with radiating bands of petals encircling a central cross-hatched roundel, the stone of even pale green tone. 8.6cm (3 3/8in) diam.Footnotes:十八/十九世紀 痕都斯坦式青白玉菊瓣盤Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Symbolic of longevity in China, chrysanthemums were also associated with a joyful retirement. They were the favourite flowers of Tao Qian, or Tao Yuanming (365-427), a poet living during a turbulent period in China who retired in midlife to a small estate to live out his days in rustic obscurity, drinking wine and writing poetry; see S.Nelson, 'Revisiting the Eastern Fence: Tao Qian's Chrysanthemums', The Art Bulletin, 2001, vol.83, no.3, pp.437-460.A related larger jade chrysanthemum-shaped dish, is in the Avery Brundage collection, Asian Art Museum, San Francisco, acc.no.B60J307. See also a related Mughal-style white jade chrysanthemum-shaped dish, 18th century, in the National Palace Museum, Taipei, illustrated in Exquisite Beauty: Islamic Jades, Taipei, 2007, p.207. A related pale green jade chrysanthemum dish, 18th century, was sold at Bonhams Knightsbridge, 8 May 2017, lot 162; another related celadon jade chrysanthemum-shaped dish, Qing dynasty, was sold at Bonhams New York, 21 July 2020, lot 89.菊花紋飾意指長壽有徵、多子多福；又因其耐霜雪之特性而被賦予人格化的精神。晉陶淵明不為五斗米而折腰，辭官歸田，淡泊明志；其「採菊東籬下，悠然見南山」的逍遙適意，從此賦予了菊花堅韌而不流俗的文人氣節。參考舊金山亞洲美術博物院布倫德基氏收藏之一例玉雕菊瓣式盤，館藏編號B60J307，形制相仿惟尺寸稍大。台北國立故宮博物院亦藏有一例清葉紋花式盤，收錄於鄧淑萍編著，《國色天香——伊斯蘭玉器》，台北，2007年，頁207，可為比對。倫敦邦瀚斯騎士橋於2017年5月8日售出一例十八世紀青白玉菊瓣盤，拍品編號162；以及紐約邦瀚斯於2020年7月21日售出一例清青白玉痕都斯坦式菊紋盤，拍品編號89，可資參考。For further information on this lot please visit Bonhams.com
A SUPERB JADEITE ARCHAISTIC INCENSE BURNER AND COVER, FANGDINGQianlong seal mark, late Qing DynastyOf archaistic form, crisply carved with taotie masks on the straight sides, the corners with flanges, set with a pair of mythical-beast-head handles suspending loose rings, all supported on four cabriole feet, the rim with a pair of square arched handles, the cover surmounted by a Buddhist lion, the stone of vibrant apple-green tone on one side and attractive translucent frost-white tone on the others, hardwood stand. 13.3cm (5 1/4in) high. (3).Footnotes:清晚期 翡翠饕餮紋獅鈕活環耳方鼎「乾隆年製」篆書刻款Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Meticulously carved in the archaistic shape of a food vessel, the present lot is a remarkable example of jadeite carving displaying the lapidary craftsman's ability to emphasise the finest qualities of the jadeite stone and its high degree of frost-like translucency through the elaborate archaistic designs of taotie masks and auspicious creatures.The fangding shape and decorative designs of the present vessel, including the taotie masks, ring-handles and stylised dragons, are all inspired by early bronze ritual food vessels, which were made during the Shang and Zhou dynasties. For an example of an archaic bronze fangding, Shang dynasty, in the Qing Court Collection, see Bronzes in the Palace Museum, Beijing, 1999, p.51, no.22.The archaistic style recalls the Qianlong Emperor's fascination with antiquity and archaism. Proposing to 'restore ancient ways', referring to the view of ancient culture as having intrinsic qualities of sincerity, simplicity and happy exuberance, the Emperor instructed the Court to collect drawings of antiquities, such as the 'Catalogue of Xiqing Antiquities' Xi Qing Gu Jian, compiled in 1755, which provided the craftsmen with a source of inspiration in jade carving; see Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50. See two related examples of jadeite archaistic fangding and covers in the Metropolitan Museum of Art, New York, the first, Qing dynasty (dated as Qianlong), and the second, a larger example, Qing dynasty, illustrated by H.R.Bishop, The Heber R. Bishop Collection of Jade and other Hard Stones, Handbook no.10, New York, 1909, pp.42 and 51 (acc.no.02.18.499a,b; and acc.no.02.18.428a,b). See also an archaistic jadeite fangding and cover, 19th century, in the Fitzwilliam Museum, Cambridge, illustrated by J.C.S.Lin, The Immortal Stone: Chinese Jades from the Neolithic to the Twentieth Century, Cambridge, 2009, p.123.A related but larger (18.5cm high) jadeite archaistic vessel and cover, fangding, late Qing dynasty, and a jadeite archaistic wine cup, jue, late Qing dynasty/early 20th century, were sold at Christie's, Hong Kong, 30 May 2012, lots 4275 and 4276. A jadeite archaistic censer and cover, 19th century, was sold at Sotheby's London, 10 November 2010, lot 116.以翡翠大料剖制琢成，長方形，雙沖耳，口下漸收，下承四夔龍足。有蓋，蓋面隆起，蓋頂雕獅戲繡球為鈕。腹部浮雕饕餮紋，兩側雕獅首銜環耳，雕工精湛，古樸莊重。玉材選料考究，質地明淨細膩，晶瑩剔透，種水上乘，且色澤尤為殊妙，器身正面翠色，碧綠濃艷，背面半透明，清和溫潤，白綠兩色相互映襯，相得益彰。本例器形及紋飾源自商周青銅器方鼎。清代皇室承接了明代的宮廷收藏，其中包括大量高古青銅器；如清宮舊藏一例商代青銅鼎，收錄於《故宮青銅器》，北京，1999年，頁51，編號22。乾隆皇帝十分推崇自古物中取材器物造型與設計，其慕古之情對清代裝飾藝術之影響甚深。乾隆十四年，乾隆皇帝諭令將內府庋藏的鼎、尊、彝等青銅器分門別類，仿效《考古圖》、《宣和博古圖》體例薈輯成《西清古鑑》，成為當時有史以來規模最大的古銅器圖譜，相關討論可參見張麗端《宮廷之雅：清代仿古及畫意玉器特展圖錄》，台北，1997，頁49-50。紐約大都會藝術博物館館藏兩例清代翡翠仿古紋方蓋鼎，藏品編號02.18.499a,b與02.18.428a,b，收錄於H.R.Bishop著，《The Heber R. Bishop Collection of Jade and other Hard Stones》，手冊10，紐約，1909年，頁42與51。另見劍橋大學菲茨威廉博物館館藏一例十九世紀翡翠方鼎，收錄於J.C.S.Lin著，《The Immortal Stone: Chinese Jades from the Neolithic to the Twentieth Century》，劍橋，2009年，頁123。參考一例清晚期翠玉饕餮紋獅鈕活環耳方鼎，較本例形制相仿惟體積稍大（通高18.5厘米），及一例清晚期翠玉雕獸面紋爵，同售於香... This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A VERY RARE PAIR OF IMPERIAL INSCRIBED CINNABAR LACQUER CARVED TEA BOWLSQianlong seal marks and of the period, the inscription dated Bingyin year, corresponding to 1746Each vessel with deep rounded sides rising from a straight foot to a gently flaring rim, carved to the exterior through layers of cinnabar lacquer to a black diaper-pattern ground with an Imperial poem, 'Three-Purity Tea,' Sanqing Cha, dated to the Bingyin year (corresponding to 1746) followed by the seals Qian and Long, all between two borders of ruyi designs encircling the rim and foot, against matching leiwen grounds around the foot and rim, the red-lacquered base intaglio-carved with a six-character seal mark within a recessed square, the interior lacquered brown. Each 11cm (4 3/8in) diam. (2).Footnotes:清乾隆 御製剔紅御題詩三清茶盌一對 「大清乾隆年製」、「乾隆丙寅小春御題」款 「乾」、「隆」印Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The present pair of tea bowls was part of a tea set used by the Qianlong Emperor at tea ceremonies held during New Year celebrations. The vessels are both inscribed with one of his favourite poems, Sanqing cha ('Three-Purity Tea'), which he wrote during the Bingyin year (1746), on the occasion of his 36th birthday while sipping tea in his studio on a cold winter's day. The poem refers to the tea made from plum blossoms, finger citron and pine nut kernels, which was offered to the Emperor during his visit to the sacred mountain Wutai. When brewed together in snow water, these three ingredients gave the tea a unique flavour and purity. The poem further describes the virtues of tea making and drinking, which reminded one of the Buddhist values of simplicity, austerity and purity. As a consummate connoisseur, The Qianlong Emperor combined art and tea at intimate gatherings within the Palace walls. A party hosted by the Emperor was a remarkable experience, an aesthetic convergence of artwork and tea leaf. The Qianlong Emperor brewed and tasted tea using the finest objects in the Palace Collection, a great treasure of implements and wares dating back to the eleventh century. During a gathering, the talk flowed from the age and glaze of a tea vessel to the specific number of buds and leaves plucked for a particular tea. Brewed and served, the tea itself was appreciated for its hue, scent and flavour, prompting a new yet leisurely stream of comments and observations. On the occasion of the New Year celebrations, the Emperor held a tea-drinking banquet in the Palace of Cherished Glory, Chonghua Gong, in the Forbidden City, where he asked his guests to compose poetry, and as a token of his appreciation, he rewarded the best poet with a 'Sanqingcha' bowl.The famous poem is recorded in the 'Anthology of Imperial Qianlong poems and prose' Qing gaozong yuzhi shiwen quanji, 'Imperial Poems' Yuzhi shiwen chuji, vol.1, chapter 36, p.17, and may be translated as:The plum blossom in appearance not ostentatious,The finger citron, scented and fresh, Pine nuts of most fragrant aroma,Three ingredients of outstanding purity.An infusion is brewed in a shallow tripod vessel,And the ingredients steeped in snow-water collected in a bamboo casket.After coming to a boil, bubbles like the eyes of fish or crabs can be seen in the surface of the water,Steam rises from the tripod appearing to alternate between Utpadanirodha birth and death. Teacups from the kilns of Yue sprinkled with Immortals' milk,The warmth of my yurt is agreeable to the joy of the mystic trance.The five Buddhist Skanda purify the greater part of all things,Spiritual awakening may occur but cannot be spoken of.The sweet smelling ingredients are dealt with and suitably delivered,Silky smooth the Immortals' wine, clear and limpid. Wo Quan's offering may be eaten.Lin Bu can admire the change of seasons.Nonchalantly the Koan of the Zhaozhou monk may be uttered,And the eccentricity of Yu Chuanzi laughed at heartily. On a cold night in winter, listening to the sound of the water clock,From the Guyue Studio I observe the moon, hanging in the sky like a jade archer's ring. I take advantage of what remains to drink my fill,And chant deliberately so that I might arise without exhaustion. Composed by the Emperor in the tenth lunar month of the Bingyin year [corresponding to 1746] during the reign of the Qianlong Emperor. The poem contains numerous literary and Buddhist allusions. The Manchu Imperial family were followers of the teachings of Tibetan Buddhism but much of the terminology used - to fit with Chinese poetic practice - relates to Chan Buddhism. Wo Quan was a mythical being who lived in the mountains, where he collected herbs for his own sustenance. He was particularly fond of pine nuts and was said to have presented some as a gift to the legendary Emperor Yao. Yao, however, did not eat them, and so missed out on their long life-giving properties. The Qianlong Emperor implies in the poem that, unlike the legendary Emperor Yao, he would not have hesitated. Another reference in the poem is made to 'the Monk of Zhaozhou'. This was Congshen (778-897), a Tang dynasty Chan Buddhist monk. In Chan Buddhism, a koan is a question, story or statement which may appear contradictory but after greater meditation upon, can lead to enlightenment. The koan of the Monk of Zhaozhou refers to the following story: when two monks visited Congshen, he asked if they had visited this temple before. When the first said yes, Consghen invited him to drink tea; when the second said no, Congshen also invited him to drink tea. When asked by the head monk why he had asked this seemingly pointless question, Congshen also invited him to drink tea. The reference echoes the Qianlong Emperor's enlightened generosity in hosting tea parties with his ministers. Compare with a very similar carved lacquer bowl, with the same poem, Qianlong seal mark and of the period, in the Qing Court Collection in the Palace Museum, Beijing, illustrated in The Emperor's Private Paradise: Treasures from the Forbidden City, New Haven and London, 2011, no.57. For a similar pair of lacquer bowls also carved with the Qianlong Emperor's poem Sanqing cha ('Three Purity Tea'), see a pair in the Tianjin Municipal Art Museum, illustrated in The Complete Series of Chinese Lacquer Zhongguo qiqi quanji, vol.6, Fuzhou, 1993, pl.211; and see another example in the Victoria and Albert Museum, London, which is illustrated by H.Garner, Chinese Lacquer, London, 1979, pl.93. Bowls inscribed with the Sanqing Cha poem were also produced in porcelain; see a blue and white bowl, Qianlong seal mark and of the period, illustrated in Special exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty in the National Palace Museum, Taipei, 1986, no.142; see also an iron-red example, Qianlong seal mark and of the period, also in the National Palace Museum, illustrated in Empty Vessels, Replenished Minds: the Culture, Practice, and Art of Tea, Taipei, 2002, no.129. Two further iron-red bowls, Qianlong seal mark and period, are illustrated in Late Chinese Imperial Porcelain, Art Gallery of New South Wales, Sydney, 1980, no.1.See a single very similar lacquer tea bowl with the same poem, Qianlong seal mark and of the period, which was sold at Christie's Hong Kong, 2 December 2015, lot 3163. See also a similar pair of Imperial inscribed cinnabar lacquer tea bowls, Qianlong mark and period, which were sold at Sotheby's Hong Ko... For further information on this lot please visit Bonhams.com
A VERY PALE GREEN JADE 'LEAPING CARP' VASEQianlongCrisply carved as a mythical fish with whiskers and incised scales leaping out from the tempestuous foaming waves, emanating from lingzhi vapour, the stone of even pale-green tone, with hongmu stand. 10.5cm (4 1/8in) high. (2).Footnotes:清乾隆 青白玉雕魚龍紋花插Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The carp or liyu transforming into a dragon long is associated with the passing of the Civil Service examinations, hence forming the pun yutiao longmen. According to traditional folklore, carp swim upstream in the Yellow River at Hunan towards the Dragon Gate waterfall at Longmen. It is said that the first carp which successfully overcomes the rapids will transform into a fish-dragon yulong. Such legend has led to the common saying that, 'a student facing his examinations is like a carp attempting to leap through the Dragon Gate', which bears the metaphor for a poor scholar who passes the Civil Service examinations and becomes a high official.For related examples of jade vases in the form of a carp, Qing dynasty, see one illustrated in Masterworks of Chinese Jade in the National Palace Museum, Taipei, 1970, no.25; and two examples illustrated in the Compendium of Collections in the Palace Museum: Jade 8, Qing Dynasty, Beijing, 2011, nos.167 and 168.Compare with a jade carp vase, Qianlong, which was sold at Bonhams Hong Kong, 28 May 2019, lot 157. See also a 'burnt' jade 'leaping carp' vase, Qianlong, which was sold at Bonhams London, 11 May 2017, lot 258.「魚躍龍門」的典故據傳最早出自漢代典籍，河津一名龍門，黃河自中流下，每逢春之際，有黃鯉魚逆流而上，得過者便化為龍；後以此喻舉業成功，奪冠登科。以鯉為題材的玉雕花插在明清十分盛行，兩岸故宮都有類似的清代玉雕魚龍形花插可作參考，見《故宮玉器精粹》，台北，1970年，圖版25；及《故宮博物院藏品大系：玉器篇8，清》，北京，2011年，編號167及168。香港邦瀚斯曾於2019年5月28日售出一例清乾隆/嘉慶青白玉雕魚龍戲珠花插，拍品編號157，以及倫敦邦瀚斯於2017年5月11日售出一例清乾隆雞骨白玉魚龍幻化花插，拍品編號258，可資參考。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A FINE AND RARE WHITE JADE 'DRAGON AND YOUNG' POURING VESSEL, YIQianlongThe deep rounded sides carved with a pouring lip to one end and a chilong handle to the other clambering up the side of the vessel, with its head resting at the rim, the sides carved in high relief with sinuous, striding chilong amongst incised wispy clouds, the lustrous stone of white even tone. 14cm (5 1/2in) long.Footnotes:清乾隆 白玉雕蒼龍教子匜Provenance:Spink & Son Ltd., LondonParry Collection, London, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦Parry家族收藏，並由後人保存迄今Notable for its exceptionally lustrous white jade and highly refined high relief carving of sinuous chilong clambering its elegant body, the present pouring vessel counts amongst the finest jade carvings made during the celebrated reign of the Qianlong Emperor. The exceptional purity of the jade, particularly visible in the areas left unadorned, smoothly polished to a lustrous sheen, here combines with the archaistic style favoured by the Qianlong Emperor and the masterful ingenuity of craftsmanship and design. In form and design, the present vessel is inspired by the archaic bronze water pouring vessel, yi, which was often used in conjunction with a pan for the ritual washing of hands. It was a late Western Zhou adaptation of the gong and the he vessels, and its use continued well into the Eastern Zhou period; see a bronze pouring vessel, yi, Western Zhou dynasty, cast with clambering chilong, illustrated by J.Rawson, The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes, Hong Kong, 1988, pl.31. At the same time, the depictions of sinuous chilong displaying curled and bifurcated tails is inspired by the jade carving style of the Han dynasty; see a jade scabbard chape, Han dynasty, carved with a pair of chilong illustrated by J.Rawson, Chinese Jade From the Neolithic to the Qing, London, 1995, p.299, no.21:9. The Qianlong Emperor's appreciation of jade, expressed through more than eight hundred of his writings, combined with his passion for antiques, resulted in his commissioning significant numbers of archaistic jade carvings for his Court. The Emperor advocated taking inspiration from antiquity in form and design to 'restore the ancient ways', or the intrinsic values of harmony, simplicity and happy exuberance. In a poem entitled 'The Ballad on a Cup of Jade', composed during the eighth year of his reign (1743), the Emperor maintained the importance of appreciating jade as a genuinely personal path towards virtue. The Emperor instructed the Court to collect drawings of antiquities, such as the Xi Qing Gu Jian (Catalogue of Xiqing Antiquities). To fulfill the Emperor's ambitious project therefore, the artisans working at the Imperial Ateliers and in jade workshops in Suzhou were encouraged to carefully study the remarkable archaic bronzes in the Court collection or woodblocks depicting such antiques to draw inspiration for their new creations; see Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50.The exceptional quality of the white jade stone which was used to produce this vessel would have become more available for the Jade Workshops following the Qianlong Emperor's conquest of the Dzungar Khanate between 1755 and 1759, where much of the jade was sourced. The jade carver, whilst demonstrating his skills in the form and relief carving, ensured that the magnificent quality of the stone would be exhibited through the areas left unadorned. The present vessel therefore encapsulates the Qianlong Emperor's personal taste for antiquity in form and design, combined with the superb jade material.A related white jade archaistic pouring vessel yi carved with clambering chilong, Qianlong, in the Musée National du Chateau de Fontainbleu, France, is illustrated in Jade: From Emperors to Art Deco, Paris, 2016, p.238, no.192.白玉琢制，圓身深腹，柄以攀爬於口沿之上的一尾螭龍為飾，流口位置與螭龍柄相對。雙浮雕螭龍分飾盃身兩側，穿行於縷雲之間。本例可謂乾隆年間玉雕器皿之佼佼者。其玉色光潔，精巧雕工在優雅蜿蜒的龍身上尤為突出。玉質之純淨在精心打磨過的素面之處表露無遺。除其精湛玉工外，該匜亦融合了乾隆皇帝所推崇的復古風格。該器以古代青銅匜為濫觴。後者在上古時代常與青銅盤搭配，於儀禮上供濯洗之用。盤匜搭配作為儀禮水器的使用方式興自西周，匜器也逐漸取代了之前流行的注水器如觥、盉等，並一直延續到東周時期。以螭龍紋為飾的西周青銅匜，可見於J.Rawson著，《The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes》，香港，1988年，圖版31。本例玉匜上的螭龍形象則可能源於漢代，參見一例漢螭龍紋玉劍珌，收錄於J.Rawson著，《Chinese Jade From the Neolithic to the Qing》，倫敦，1995年，頁299，編號21:9。乾隆皇帝筆下有八百多篇詠玉的詩文，足見其對這種材質之喜愛珍重。加上他對古物的追慕之情，當時宮廷內按其交辦所製之復古風格玉雕數目龐大。乾隆一生以「復古」為念，更在作於乾隆八年（1743年）的御製文《玉盃記》中以玉工所言煉玉之法比之於君子之道，並直言「執藝以諫者，古典所不廢」讚賞&#... For further information on this lot please visit Bonhams.com
A SUPERB IMPERIAL CLOISONNÉ ENAMEL, LACQUER AND ZITAN EMBELLISHED DOUBLE-SIDED SCREEN AND STANDQianlongThe central moon-shaped circular panel framed by a gilt-bronze band finely incised with a foliate scroll, the medallion exquisitely inlaid with jade and various hardstones with a rabbit on rockwork gazing up at a gnarled pine tree with coral lingzhi issuing from the roots, all on a turquoise ground surrounded by five bats, wufu, in flight amidst ruyi-shaped clouds amidst flowering and fruiting branches, the reverse with a further gnarled pine tree issuing from an ivory ground with grass and rockwork against a black-lacquered ground, all set within a cinnabar lacquer frame with key-fret border, further inlaid with lime-green-stained-ivory carved with diaper-patterns, the zitan stand elegantly carved and pierced with further floral scrolls and further ivory lime-green sections. 43.3cm (17in) high x 40.3cm (15 7/8in) wide. (2).Footnotes:清乾隆 紫檀嵌象牙座剔紅框銅胎掐絲琺瑯鑲漆地嵌寶「蟾宮月兔圖」插屏Provenance:Spink & Son Ltd., London,E. A. Parry, London (1879-1946), acquired from the above on 15 May 1925, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1925年5月15日購自上者，並由後人保存迄今The opulence and exquisite craftsmanship shown in the present screen exemplifies the peak of Qianlong period craftsmanship. No cost was spared to accomplish the auspicious Daoist representation, utilising different techniques and a variety of prized materials, from cloisonné enamel, gilt-bronze, carved lacquer to hardstone inlay, stained ivory, zitan and boxwood. With its exquisite decoration of the rabbit with a lunar-like roundel, the present lot was most likely associated with the Moon festival or Mid-Autumn festival, when China's Emperors worshipped the moon and offerings were made to Chang'e the Moon Goddess of Immortality, for bountiful harvests. A companion of Chang'e is the Moon rabbit, sometimes also known as the Jade rabbit, who constantly pounds herbs for the Immortals. In time, the rabbit became synonymous with the moon, as the famous Tang poet Li Bai (701-762) relates: 'The rabbit on the moon in vain pounds the elixir'The screen also contains several other auspicious symbols beside the moon rabbit. Towering above the rabbit is a gnarled pine tree. The pine tree, bamboo and plum blossoms were called the 'Three Friends of Winter' because they grew and stayed green when nothing else did in the cold winter. Thus, the pine came to symbolise perseverance through difficulty and integrity. Furthermore, the cloisonné enamel has five bats (wufu), a rebus for the 'Five Blessings' of longevity, health, wealth, love of virtue and a good end to life. There are also ruyi clouds that resemble the shape of a lingzhi fungus, said to have life-prolonging properties. The motif can be further interpreted as a pun on the word 'cloud', yun, which is a homophone for fuyun, 'good fortune'. In an agricultural society, the rain-bearing clouds would have been perceived as a benevolent omen, for the necessary irrigation of the crops. Peaches can also be seen, which are symbols of longevity. Peaches were associated with the Queen Mother of the West who grew a peach orchard. Her peaches were said to grant Immortality, and the God of Longevity, Shoulao, is frequently depicted carrying a peach. See a lotus-leaf-shaped dish with a central roundel of a rabbit pounding an elixir of Immortality, Qianlong six-character mark and of the period, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Shenzhen, 2006, p.28, no.17. Other related ivory, jade and wood inlaid screens, mid Qing dynasty, in the Qing Court Collection, are illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2002, nos.192-195.The elaborate and opulent combination of various prized materials in the production of the present screen can also be noted on a pair of Imperial embellished lapis lazuli 'Da Ji' double-gourd plaques, Qianlong, also made of gilt-metal, jade, and standing on zitan and ivory stands, which was sold at Christie's London, 5 November 2019, lot 116.插屏中央月洞形開光以鏨卷草紋鎏金銅帶為緣，開光內於平面松綠漆地上鑲嵌各色玉石，組成「蟾宮月兔圖」；玉兔蹲坐石上，昂首仰望蒼松，蒼松之下有靈芝一株。開光四周為掐絲琺瑯流雲五蝠花果紋。插屏背面為另一幅黑漆地嵌寶松石圖。剔紅屏框以回紋為飾，並在邊框上方兩角及上緣嵌有灰綠象牙錦地紋條。所附紫檀底座亦同樣嵌有牙雕飾件及黃楊木鏤刻纏枝花卉。本插屏造工之精細及裝飾之富麗，可堪體現乾隆時期工藝高峰。全器之製作包括了掐絲琺瑯、銅胎鎏金、雕漆等工藝，材料則囊括了從象牙、紫檀至黃楊種種珍貴之物。工不厭細，料不厭精，終成這座融匯多種祥瑞寓意之珍品。屏上精嵌的玉兔形象及月洞形開光均蘊含中秋意象。中秋為帝王祭月祈賀豐收之時。傳說中，與居於月宮的嫦娥為伴的玉兔長年不停搗製長生藥；古詩中也往往以兔指代月，如李白所之詩句「月兔空搗藥」。開光圖案之外... This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
A MUGHAL-STYLE JADEITE 'CHRYSANTHEMUM' TRAY19th centuryOf oval form, exquisitely carved with radiating bands of chrysanthemum petals, flanked at each end with a single flowerhead issuing arched leaves to form the handles and suspending loose rings, the translucent stone of pale lavender tone, with hongmu stand. 11.3cm (4 1/2in) long. (2).Footnotes:十九世紀 花式雙柄翡翠水丞Provenance: Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Compare with a related white jade chrysanthemum petalled dish in the National Museum of History, Taipei, illustrated in The Jade-Carving Art in the Ch'ing Dynasty, Taipei, 1990, p.31.參考台北國立故宮博物院館藏一例白玉花式雙柄水丞，收錄於林淑心主編，《清代玉雕藝術》，台北，1990年，頁31。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A RARE PALE GREEN AND BLACK JADE 'LINGZHI' AUSPICIOUS EMBLEM17th centurySkillfully carved in openwork as an auspicious lingzhi fungus issuing four ruyi-heads with interlocking stems, the stone of pale grey-green tone with black and brown striations and cloudy inclusions, with hardwood stand. 18.5cm (7 1/4in) high. (2).Footnotes:十七世紀 青玉黑褐沁靈芝擺件Provenance:Spink & Son Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 31 July 1928, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1928年7月31日購自上者，並由後人保存迄今The present lot, symbolising the wish for longevity, was used as an auspicious symbol atop a vase as part of a five-piece garniture. See a pair of bronze and champlevé enamel gu vases with gilt-bronze lingzhi-shaped finials in the Pavilion of the Rain Flowers, Yuhua ge, in the Forbidden City, illustrated by E.Rawski and J.Rawson, eds., China: The Three Emperors 1662-1795, London, 2006, p.131; see also ornamental lingzhi finials atop a pair of cloisonné enamel vases, Kangxi marks and of the period, in the National Palace Museum, Taipei, illustrated in A Garland of Treasures: Masterpieces of Precious Crafts in the Museum Collection, Taipei, 2014, p.33, no.1.10.青玉琢制，呈靈芝形，象徵吉祥長壽，或作五供等佛前供器的頂飾之用。參考北京故宮雨花閣四樓供器中，一對鏨胎琺瑯花觚之上各飾一隻鎏金銅靈芝形飾件，圖見E.Rawski與J.Rawson編著，《China: The Three Emperors 1662-1795》，倫敦，2006年，頁131。另有台北國立故宮博物院館藏一組清康熙掐絲琺瑯冰梅紋五供，兩具小爐之上皆有靈芝形頂飾，圖見《集瓊藻: 院藏珍玩精華展》，台北，2014年，頁33，編號1.10。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A FINE WHITE JADE RETICULATED INCENSE BURNER AND COVERQianlongExquisitely carved and pierced in openwork with a dense profusion of undulating leafy peony stems, within plain and stylised key-fret pattern borders and lotus lappets above the stepped foot, the domed cover similarly carved and surmounted by a large single peony spray forming the finial. 10.6cm (4 1/4in) diam. (2).Footnotes:清乾隆 白玉鏤雕牡丹紋帶蓋花薰Provenance:Spink & Son Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 26 February 1920, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1920年2月26日購自上者，並由後人保存迄今The present jade incense burner is remarkable for the intricacy of design of the multiple interlacing floral tendrils, and attention to detail and naturalistic realism noted in the overlapping petals of the blossoming peonies. Referred to in Chinese as mudan or fuguihua, peonies were regarded as the 'King of Flowers' and symbolise wealth and honour. See a related white jade incense burner and cover, but with floral handles, Qianlong, from the Qing Court Collection, illustrated by E.Rawski and J.Rawson, China: The Three Emperors 1662-1795, London, 2006, p.301, no.228; another white jade example with handles, Qing dynasty, from the Qing Court Collection, is illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (III), Hong Kong, 1995, pl.42.A related pale green incense burner and cover, Qianlong, was sold at Christie's New York, 20 September 2005, lot 16; and a related white jade incense burner and cover, 19th century, was sold at Bonhams Hong Kong, 26 May 2014, lot 184.牡丹素有「花王」之美譽，雍容華貴，富麗堂皇。乾隆年間，鏤雕玉器頗為盛行，以人力之工剔除及掩蓋玉材自身之瑕疵。參考北京故宮博物院藏一例清乾隆白玉鏤雕牡丹紋帶蓋香爐，見E.Rawski與J.Rawson編著，《China: The Three Emperors 1662-1795》，倫敦，2006年，頁301，編號228。另見一例清中期碧玉鏤雕牡丹紋熏爐，形制與紋飾皆似本例，收錄於《故宮博物院藏文物珍品全集：玉器（下）》，香港，1995年，圖版42。紐約佳士得曾售一件清乾隆青白玉鏤雕熏爐，2005年9月20日，拍品編號16；以及倫敦邦瀚斯曾售一件十九世紀白玉鏤雕牡丹紋花薰，2013年11月7日，拍品編號108，可資比對。For further information on this lot please visit Bonhams.com
A RARE WHITE JADE CUP18th centuryThe undecorated vessel with tall sides rising from a short foot, the stone of attractive lustrous white tone, with reticulated zitan stand. 5.7cm (2 1/4in) high. (2).Footnotes:十八世紀 白玉盃Provenance: Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Well proportioned and smoothly polished to a lustrous sheen, white jade cups such as the present example highlight the flawless quality of translucent stone and the purity of the material. They allow the beholder to revel in the natural beauty of the stone and the elegant pure form of the cup.See a pair of similar white jade cups, Qianlong, in Manchester Art Gallery, acc.nos.1934.36-37. Compare also a related white jade wine cup, Qianlong mark and period, illustrated in Virtuous Treasures: Chinese Jades for the Scholar's Table, Hong Kong, 2008, p.76, no.26.Compare with a similar pair of white jade cups, of the same size and form, which was sold at Christie's New York, 17 March 2017, lot 1102.白玉整挖而成，直口直壁，至腹部下方處下斂至圈足。器身線型圓潤，光素無紋，彰顯玉材自身之清素雅緻。曼徹斯特美術館館藏相似乾隆白玉盃一對，藏品編號1934.36-37。另見一例清乾隆白玉盃，收錄於《閣有天珍：中國文房玉雕》，香港，2008年，頁76，編號26。紐約佳士得曾售一對白玉盃，2017年3月17日，拍品編號1102，形制大小皆似本例，可為比對。For further information on this lot please visit Bonhams.com
A PAIR OF PALE GREEN JADE BOWLS18th centuryEach carved with deep rounded sides rising from a crisply-cut foot ring to a gently everted rim, the semi-translucent stone of an even pale green tone with a few cloudy inclusions, with hongmu stands. Each 16.5cm (6 1/2in) diam. (4).Footnotes:十八世紀 青白玉盌一對Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Compare with a related green jade bowl, incised Yongzheng four-character mark and of the period, in the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Jade, 10, Beijing, 2011, p.202, no.153. See also a pale green jade bowl, Qianlong six-character mark and period, in the Victoria and Albert Museum, London, acc.no.5527-1901.A similar pale green jade bowl, Qianlong, was sold at Bonhams London, 7 November 2013, lot 136.對比一例清宮舊藏清雍正青玉盌，「雍正年制」篆書款，收錄於《故宮博物院藏品大系：玉器編10，清》，北京，2011年，頁202，編號153；及倫敦維多利亞和阿爾伯特博物館館藏一例清乾隆青白玉盌，藏品編號5527-1901。倫敦邦瀚斯曾於2013年11月7日售出一件清乾隆青白玉盌，拍品編號136，可為參考。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A SPINACH-GREEN JADE RETICULATED MUSICAL STONE SUSPENDING A DOUBLE-FISH PENDANTQianlong/JiaqingThe upper pendant finely pierced as a chime surrounded by floral scrolls and above twin confronted fish, suspending a smaller double-fish pendant from a chain, the stone of dark-green tone with black speckles, all suspended from a later carved openwork hongmu stand. The large plaque 10.1cm (4in) wide; the stand 34.5cm (13 1/2in) high. (3).Footnotes:清乾隆/嘉慶 碧玉吉慶有餘磬Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 30 September 1923, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1923年9月30日購自上者，並由後人保存迄今Meticulously carved with intricate reticulated designs, the present lot underscores powerful auspicious symbolism related to the social values of the time. The pendant is shaped as a chime, an important musical instrument employed since at least the Eastern Zhou period, and highly regarded for the mysterious reverberating unearthly sound it produced. The archaic origins and moral purpose of chimes would have greatly appealed to the Qianlong Emperor, who placed much emphasis on high moral behaviour which he advocated through the restoration of ancient ways. Archaism was part of a larger scholarly trend stemming from a renewed interest in ancient texts. The Emperor is recorded to have exhorted his Court and craftsmen to look to China's archaic past for moral guidance and artistic inspiration, and the Xiqing gujian (Catalogue of the Xiqing Antiquities) provided abundant prototypes for the recreation of archaistic pieces. The Qing Court Collection includes a number of jade chimes in various forms, Qing dynasty, illustrated in Compendium of Collections in the Palace Museum: Jade 8 Qing Dynasty, Beijing, 2010, nos.127-139.One of the Eight Buddhist Emblems, the double-fish motif symbolises freedom from restraint as well as the wish for marital bliss, prosperity and an abundance of good luck. Because fish are reputed to swim in pairs and are known for their reproductive power, the double-fish stands for the joys of union and numerous offspring.A related pale green suspended jade chime, 18th/19th century, was sold at Christie's London, 16 May 2014, lot 1208.碧玉質，主體透雕懸磬及雙魚，其下又墜以相對的玉魚，寓意吉慶有餘。磬為古代石製打擊樂器，最早用於樂舞活動，後用於歷代帝王及統治階層的殿堂宴享、宗宙祭祀、朝聘禮儀活動中的樂隊演奏，並成為像徵其身份地位的禮器。宋明以來，復禮之思潮盛行，文人熱衷於通過古器物考證古代的典章制度且以好古來增添文房清趣，這種好古的傳統至乾隆時期盛極一時。乾隆皇帝深受漢文化熏陶，全盤接受文人倡導的古典主義，認為追慕古風可以修養德行。其更是諭令將內府庋藏的青銅器分門別類，薈輯成《西清古鑑》，並令工匠將這些古器物的圖錄作為新制玉器時造型、紋飾的樣本。參考清宮舊藏數例清代玉磬，收錄於《故宮博物院藏品大系：玉器編8，清》，北京，2010年，編號127-139。雙魚為佛教八寶之一。「魚」與「餘」同音，寓意祥瑞，為吉慶之象徵；且因魚的旺盛繁殖力，有子嗣興旺的寄意。倫敦佳士得曾於2014年5月16日售出一例十八/十九世紀白玉雕磬，拍品編號1208，可資比對。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Seven early jade carvings together with a turquoise carving of a bovine beast-headShang/Han DynastyComprising a bird plaque, the stone of pale-grey tone, 5.9cm (2 1/2in) long; a yellow jade stylised dragon pendant, 8.9cm (3 3/8in) long; a rectangular plaque carved with 'C-scroll' patterns, the stone of dark greenish-brown tone, 6cm (2 3/8in) long; an elongated tapering plaque, the stone of grey tone with white and brown calcified patches, 11.8cm (4 1/2in) long; a reticulated rectangular plaque carved with chess-board pattern flanked by scrollwork, the stone of pale green tone with brown patches, 3.3cm (1 1/4in) long; a stylised 'lotus' pendant, the stone of pale green tone with areas of white calcification, 4.7cm (1 3/4in) long; a comb-shaped pendant, the stone of dark chocolate tone, 4.5cm (1 3/4in) long; and a turquoise bovine-head carving, 2cm (3/4in) long. (8).Footnotes:商/漢 玉飾七件 及綠松石牛首紋珠 一組八件Provenance: Mlle Densmore, Paris, 19 September 1961 (elongated tapering plaque)Frank Caro, New York, November 1953 (reticulated rectangular plaque)Frank Caro, New York, April 1954 ('lotus' pendant)Mrs Gret Hasler (1895-1971), Winterthur, Switzerland, acquired from the above in 1961, 1953 and 1954 respectively, and thence by descentA trip to New York, Chicago and Washington in 1937 was the starting point for Mrs Gret Hasler's interest in Chinese art. This she continued until the Second World War by acquiring objects from dealers in Paris, Sweden and New York.來源：巴黎古董商Mlle Densmore，1961年9月19日（圖示最下之柄形器）紐約古董商Frank Caro，1953年11月（鏤雕長形飾）紐約古董商Frank Caro，1954年4月（圖示左上之花形飾）瑞士溫特圖爾Gret Hasler夫人（1895-1971）舊藏，分別於1961年、1953年及1954年入藏，並由後人保存迄今Gret Hasler夫人對中國藝術的興趣始於1937年的紐約、芝加哥和華盛頓之行。此後，她持續自巴黎、瑞典和紐約的古董商處購藏藝術品，直至第二次世界大戰後。See a similar turquoise carving of an animal face, Shang dynasty, illustrated in the Compendium of Collections in the Palace Museum: Jade, 2, Beijing, 2011, p.156, no.166. A similar jade bird, Shang dynasty, is also illustrated in ibid. p.170, no.190. Compare the rectangular C-scroll jade plaque to a related jade pendant of stepped form, Spring and Autumn period, illustrated in the Compendium of Collections in the Palace Museum: Jade 3, Spring and Autumn Period and Warring States Period, Beijing, 2011, p.53, no.44. Another similar jade carving of a bird, Shang dynasty, is also illustrated by J.Rawson, Chinese Jade: From the Neolithic to the Qing, London, 1995, p.226, no.12:28 See also a related jade stylised dragon pendant, Warring States period, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1995, p.180, no.150This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Six early jade carvingsWestern Zhou/Han DynastyComprising a smoothly-carved bi-disc, the stone of pale green tone with mottled white and brown patches, 10.8cm (4 1/4in) diam.; a small cong with square-cut exterior and cylindrical interior, the stone of olive-green tone with orange-russet patches, 4.5cm (1 3/4in) wide; a cicada, the stone of yellowish tone with extensive creamy-white calcification, 5.7cm (2 1/4in) long; a sword slide carved in shallow relief with a stylised mythical beast with eye and bushy eyebrows, archaic C-scrolls extending down the back, the stone of green tone with creamy patches, 7.4cm (3in) long; a huang pendant carved on both sides with archaic pommel patterns, the stone of warm amber tone, 8.5cm (3 1/4in) wide; and a disc incised with a stylised mythical animal, the stone of pale grey tone with some red pigment in the incisions, 3.7cm (1 1/2in) diam. (6).Footnotes:西周/漢 玉飾一組六件Provenance: C. T. Loo, New York, 17 June 1948 (the cicada); June 1948 (the huang), Catalogue circa 1941-1942; Paris, January 1951 (the sword guard)Mlle Densmore, Paris (the cong)Mrs Gret Hasler (1895-1971), Winterthur, Switzerland, and thence by descentA trip to New York, Chicago and Washington in 1937 was the starting point for Mrs Gret Hasler's interest in Chinese art. This she continued until the Second World War by acquiring objects from dealers in Paris, Sweden and New York.來源：紐約古董商盧芹齋，1948年6月17日（玉蟬）；1948年6月（玉璜），約1941-1942年出版於《圖錄》；巴黎古董商盧芹齋，1951年1月（玉劍彘）巴黎古董商Mlle Densmore（玉琮）瑞士溫特圖爾Gret Hasler夫人（1895-1971）舊藏，並由後人保存迄今Gret Hasler夫人對中國藝術的興趣始於1937年的紐約、芝加哥和華盛頓之行。此後，她持續自巴黎、瑞典和紐約的古董商處購藏藝術品，直至第二次世界大戰後。Compare the jade cong with a similar example, Western Zhou dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (I), Hong Kong, 1995, p.94, no.78. See a similar jade carving of a cicada, Han dynasty, from the Qing Court Collection, illustrated in Ibid., p.232, no.193. For a similar jade huang, Spring and Autumn period, see Ibid., no.106.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A yellow jade bi-disc and a mythical-beast plaqueZhou/Han DynastyThe disc carved in shallow relief with archaic motifs of C-scrolls, the stone of pale yellow tone with russet and cream-white calcified patches; the plaque finely pierced and carved as a taotie mask, the stone of translucent grey tone with dark speckles. The disc, 5.8cm (2 1/4in) diam.; the plaque, 5.5cm (2 1/8in) wide. (2).Footnotes:周/漢 黃玉玉璧及玉獸面紋珮 一組兩件Provenance: C. T. Loo, New York, 1950 (the plaque)Mrs Gret Hasler (1895-1971), Winterthur, Switzerland, and thence by descentExhibited and Illustrated:: C.T.Loo, Catalogue, New York, 1950, pl.56, no.4 (the plaque)A trip to New York, Chicago and Washington in 1937 was the starting point for Mrs Gret Hasler's interest in Chinese art. This she continued until the Second World War by acquiring objects from dealers in Paris, Sweden and New York.來源：紐約古董商盧芹齋，1950年（玉珮）瑞士溫特圖爾Gret Hasler夫人（1895-1971）舊藏，並由後人保存迄今展覽著錄：盧芹齋，《圖錄》，紐約，1950年，圖版56，編號4（玉珮）Gret Hasler夫人對中國藝術的興趣始於1937年的紐約、芝加哥和華盛頓之行。此後，她持續自巴黎、瑞典和紐約的古董商處購藏藝術品，直至第二次世界大戰後。Compare the mythical beast plaque to a related jade ornament with design of a dragon with one head and two bodies, Warring States period, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (I), Hong Kong, 1995, p.193, no.161.A related green jade 'dragon and phoenix' pendant, Warring States period, was sold at Bonhams Hong Kong, 30 May 2017, lot 38.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A yellow and russet jade tubular beadEastern Zhou DynastyThe expertly-hollowed cylinder carved around the exterior with five bands of raised concave ribs, the stone of pale yellow-white tone with dark-brown-russet patches. 5.5cm (2 1/4in) long.Footnotes:東周 黃玉弦紋管形飾Provenance: C. T. Loo Chinese Art (Frank Caro), New YorkMrs Gret Hasler (1895-1971), Winterthur, Switzerland, acquired from the above on 12 April 1954, and thence by descentExhibited and Illustrated: C.T.Loo Inc., An Exhibition of Chinese Archaic Jades, New York, Norton Gallery of Art, West Palm Beach, Florida, January - March 1950, pl.XXXVI, no.6.A trip to New York, Chicago and Washington in 1937 was the starting point for Mrs Gret Hasler's interest in Chinese art. This she continued until the Second World War by acquiring objects from dealers in Paris, Sweden and New York.來源：紐約古董商盧芹齋中國藝術（Frank Caro）瑞士溫特圖爾Gret Hasler夫人（1895-1971）舊藏，於1954年4月12日購自上者，並由後人保存迄今展覽著錄：盧芹齋，《An Exhibition of Chinese Archaic Jades》，紐約，諾頓美術館，西棕櫚灘，佛羅里達，1950年1-3月，圖版XXXVI，編號6Gret Hasler夫人對中國藝術的興趣始於1937年的紐約、芝加哥和華盛頓之行。此後，她持續自巴黎、瑞典和紐約的古董商處購藏藝術品，直至第二次世界大戰後。This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Two pale green jade square seals18th/19th centuryOne square seal carved on top with a mythical qilin standing ready to pounce with large eyes and pricked ears, the seal face carved with the inscription Bin Wu zhi zhang ('Seal of Bin Wu'), the other seal carved with a mythical beast atop the tall square plinth, coiled with powerful arms and legs, the seal face reading 'He shen dang chun' ('Pleasant Spring'), both the stones of even pale green tone. The smaller, 3.4cm (1 3/8in) high; the larger, 3.8cm (1 1/2in) high. (2).Footnotes:十八/十九世紀 青白玉雕獸鈕印 一組兩件Provenance: Couchoud Collection, Paris, prior to 1941 (the smaller seal)Jaquerod, 1941 (smaller); Summer 1937 (larger)Mrs Gret Hasler (1895-1971), Winterthur, Switzerland, acquired from the above in 1941 and 1937 respectively, and thence by descent來源：1941年前，巴黎Couchoud舊藏（較小者）古董商Jaquerod，1941年（較小者）；1937年夏（較大者）瑞士溫特圖爾Gret Hasler（1895-1971）夫人舊藏，分別於1941年及1937年購自上者，並由後人保存迄今This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A grey and russet jade 'deer and egret' reticulated plaqueYuan DynastyThe oval plaque exquisitely cared and pierced with elaborate foliage and trees issuing auspicious lingzhi fungus, a parrot perched high above a deer and egret, the stone of warm beige tone with some russet inclusions. 9.8cm (3 7/8in) wide.Footnotes:元 青灰玉鏤雕鹿鶴同春紋牌Provenance: A UK private collection來源：英國私人收藏The word for deer, lu, is a homophone for emoluments, while the word for juniper is bai, which sounds like the word for hundred. Put together, they form the phrase bai lu, 'One hundred emoluments', thereby wishing that 'Heaven grant the owner one hundred emoluments', Shou tian bai lu.See a related white jade belt ornament with design of crane and deer, Song dynasty, illustrated in the Compendium of Collections in the Palace Museum: Jade, 5, Beijing, 2011, p.175, no.191.For further information on this lot please visit Bonhams.com
A pale green jade openwork 'Spring Water' oval plaqueMing DynastyIntricately carved in openwork and in layered relief to depict a goose in flight amidst long stems of lotus and lotus blossoms, its long neck curving upward from beneath a spray of lotus, the stone of even pale greenish-white tone. 10.4cm (4 1/8in) wide.Footnotes:明 青白玉鏤雕春水紋牌Provenance: Bonhams Hong Kong, 28 November 2011, lot 427A UK private collection來源：香港邦瀚斯，2011年11月28日，拍品編號427英國私人收藏The motif of the present plaque originated from the annual goose hunt in the Spring conducted by the Khitan in the Liao dynasty and the Jurchens in the Jin dynasty. Jade plaques from the Liao and Jin periods however, usually also have a falcon used by hunters. Later examples from the Yuan/Ming period, such as the present lot, tend not to have a falcon. See a similar jade plaque, Yuan dynasty, illustrated by James C.Y.Watt, Chinese Jades from the Collection of the Seattle Art Museum, Seattle, 1989, no.40; and another in the British Museum, London, illustrated by J.Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, p.335, fig.1. Another very similar jade plaque of a goose, Yuan/Ming dynasty, is illustrated by Spink & Son Ltd., Chinese Jade: An Important Private Collection, London, 1991, p.39, no.78.For further information on this lot please visit Bonhams.com
A PALE GREEN JADE ARCHAISTIC VASE, HUMing Dynasty The vase of flattened pear shape rising from a slightly spreading foot to an everted rim, the body finely carved on each side with a large taotie mask beneath a Shou character, the neck flanked by a pair of loop handles beneath a descending bat, the mouth rim surrounded by a band of plantain-shaped panels enclosing stylised cicada designs, the stone of pale green tone with brown inclusions. 15.7cm (6 1/2in) high.Footnotes:明 青玉雕仿古壽字紋壺A related jade vase, Ming dynasty, is illustrated by Zhang Guangwen, Mingdai Yuqi, Beijing, 2006, pl.101.Compare also with a related archaistic pale green and russet jade vase, Yuan/Ming dynasty, which was sold at Bonhams London, 11 May 2021, lot 109.For further information on this lot please visit Bonhams.com
A PALE GREEN JADE 'NORTH STAR' BRUSH WASHER16th/17th centuryOf tapering square form, carved in openwork relief to one side with Kuixing, the Star Lord, forming the handle of the dipper, a scarf billowing about his body, the tapering square vessel divided by a central strap, the stone of pale green tone with faint mottled grey inclusions, set on a recessed square base. 10.5cm (4 1/8in) long.Footnotes:十六/十七世紀 玉雕北斗筆洗Kuixing (魁星), sometimes known as Great Kui the Star Lord is the God of Examinations, and an associate of the God of Literature, Wenchang. Kuixing literally means 'Chief Stars' however, and refers to the four stars in the first section of the Northern Dipper (北斗). The present lot, therefore, cleverly forms a rebus for the North Star.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
AN EXTREMELY RARE AND IMPORTANT CLOISONNÉ ENAMEL 'POMEGRANATES' CIRCULAR BOX AND COVERIncised Xuande six-character marks and of the periodThe slightly-domed cover exquisitely enamelled in gradating tones of red, green and yellow in the centre with two ripe pomegranates, one bursting with ruby-red seeds highlighted with white, issuing from gnarled gold branches with blossoms and further smaller fruit, the undulating leaves with shades of red, yellow and blue picked with gold veins, the vertical sides of the cover and box decorated with formal lotus scrolls, the slightly recessed base incised with a Xuande six-character mark, the interior of the cover similarly incised with a six-character mark. 12cm (4 3/4in) diam. (2).Footnotes:明宣德 掐絲琺瑯石榴紋蓋盒「大明宣德年製」楷書刻款Provenance: Spink and Son, Ltd., London, purchased by Lord Cunliffe in 1946Rolf, Lord Cunliffe (1899-1963), Honorary Keeper of the Far Eastern Collections at the Fitzwilliam Museum, Cambridge (collection no.E2), and thence by descentPublished, Illustrated and Exhibited: Mostra D'Arte Cinese (Exhibition of Chinese Art), Venice, 1954, p.203, no.754The Arts Council of Great Britain and the Oriental Ceramic Society, The Arts of The Ming Dynasty, 15 November - 14 December 1957, no.300 (published and exhibited)H.Garner, Chinese and Japanese Cloisonné Enamels, London and Boston, 1962, pl.23 (published)Rolf, Lord Cunliffe, began collecting Chinese art in London towards the end of the Second World War. Over the next 20 years, he acquired over five hundred Chinese ceramics, jades and bronzes; buying judiciously but regularly from the best dealers in Chinese art dotted around Mayfair and St James in London, including galleries such as Bluett & Sons, John Spark, and Spink & Son. At his London flat in the heart of Mayfair, across the street from the famous Dutch dealer in Chinese art Peter Boode, he squeezed his growing collection into steel filing cabinets inconspicuously tucked away in his bathroom! Visiting collectors like the King of Sweden would spend happy hours sitting on the edge of the bath, discussing the finer points of a jade rhyton or a Junyao bowl. The present important cloisonné enamel box and cover, Xuande marks and of the period, has been a prized object in the collection, previously exhibited on two occasions, lastly in 1957, and published in the important and early publication by Sir Harry Garner in 1962.來源：1946年，倫敦古董商Spink and Son, Ltd.劍橋大學菲茨威廉博物館東方藝術部名譽主任，Rolf，Cunliffe勛爵（1899-1963）舊藏（藏品編號E2），並由後人保存迄今展覽著錄：「Mostra D'Arte Cinese（中國藝術展）」，威尼斯，1954年，頁203，編號754英國藝術委員會與倫敦東方陶瓷學會，「The Arts of the Ming Dynasty（明朝藝術）」，1957年11月15日-12日14日，編號300（展覽並出版）H.Garner著，《Chinese and Japanese Cloisonné Enamels（中國與日本掐絲琺瑯）》，倫敦和波士頓，1962年，圖版23Rolf，Cunliffe勛爵，第二次世界大戰後期開始收藏中國藝術品；並在之後的二十年內有規律地光顧倫敦當時最為頂尖的中國藝術古董商，如Bluett & Sons、John Spark、和Spink & Son 等，購藏了五百餘件中國藝術品，所藏涵括瓷器、玉器、和青銅器等門類。其倫敦的公寓位於梅費爾地區腹地，與著名中國藝術經紀Peter Boode隔街相望；而他就將其日益壯大的中國藝術收藏收納在公寓浴室中毫不起眼的金屬櫃裡！登門造訪的收藏家，譬如瑞典國王，則會花幾個小時坐在浴缸邊沿，愉快地交流諸如玉雕來通盃或鈞窯盌上的精彩細節。本例明宣德掐絲琺瑯石榴紋蓋盒，「大明宣德年製」楷書刻款，在Cunliffe勛爵的收藏中也備受重視，曾經兩次公開展出，最近一次展於1957年，且被收錄在早在1962年出版的加納爵士（Sir Harry Garner）關於掐絲琺瑯的重要著作中。Cloisonné enamel wares, though introduced in the 14th century during the Yuan dynasty, are widely considered to have reached artistic maturity in the early 15th century during the early Ming dynasty. In terms of their dynamic designs and powerful palettes, framed and heightened by the richly gilt wires, the Xuande period represents the pinnacle of cloisonné enamel craftsmanship as exemplified in the famous 'dragon' jars and covers in the British Museum, London and the Uldry Collection in Museum Rietberg in Zurich. The present lot is an exceptionally rare example of this early period, bearing two incised Imperial Xuande reign marks, demonstrating the bold palette and decorative features of the period, exquisitely shown in the juicy translucency of the ripe and bursting fruit. Apart from being extensively published, the present lot is important as it is one of only four published similar cloisonné enamel boxes. Each of these four boxes is similar in form, in size (approximately 12cm diam.), in the lotus scroll decoration around the sides of the box and cover, and in the main decorative motif being a type of auspicious fruit: pomegranates, persimmons, melons and grapes. Importantly, each of these boxes are doubly marked with an incised Xuande six-character reign mark, once on the underside of the box and again on the interior of the cover. The Cunliffe box is the only one remaining in a private collection with the other three in public museums and institu... For further information on this lot please visit Bonhams.com
A RARE EMBROIDERED PALE-BLUE-GROUND SILK DAOIST PRIEST'S ROBE, JIANGYICirca 1880Of rectangular form with a central opening at the front, the heather-blue brocade woven with intricate pale pink designs of sinuous dragons striding chasing flaming pearls amid clusters of vaporous clouds and leafy vines, the back elaborately decorated with the square Daoist diagram incorporating symbols of the sun and moon (cockerel and rabbit), the constellations and the symbolic forms of the Five Sacred Mountains, all surrounded by cloud fronds, cranes and phoenix, all worked in a fine net pattern of metallic couched threads, all within borders incorporating five-clawed dragons, cranes, carps and heavenly horses striding above rolling waves at the hems and back and front sleeve openings, worked in very fine couched gold, multi-coloured threads and gold leafed paper on a deep blue ground.158 (62 2/8in) wide x 136cm (53 1/2in) long.Footnotes:約1880年 淺藍緞地繡鬱羅蕭台瑞獸紋道教絳衣Provenance: a distinguished New York private collection來源：紐約顯赫私人收藏Finely embroidered in multi-coloured silk, couched gold wrapped thread and gold-leaf paper, this exquisite garment was made for a Daoist Priest of the First Degree. Daoist garments, also known as robes of descent, jiangyi, evoked the meditative transcendence of the wearer and are among the most sumptuous and visually spectacular works of Daoist ritual art.Jiangyi robes worn by the grand master consisted of two main lengths of yardage, sewn together up the back, with the front-left open. The most important decoration appeared on the back of the garment as this was seen by the supplicants as the priest faced the altar to perform his rites. However, the grand master also faced outward, sometimes descending to the lay people's level, hence the translation 'robe of descent'. Symbolically, the wearers of garments decorated with such cosmic designs were thought of becoming the animators of rituals and promoting harmony with Heaven and stability on Earth. The symbolism underscored by the subjects depicted on Daoist robes combined in richly orchestrated displays related to Daoist vision of an ordered cosmos, harmonious existence with nature, and heavenly paradise. The principal features include a central pagoda within a circle or ovoid, surrounded by stars, clouds, and a rainbow pattern representing paradise. The circle itself is often ringed with flames, with the symbols of the sun and the moon, containing respectively the three-legged cockerel and the rabbit pounding the elixir of longevity, positioned at the top. Surrounding the circle are plain disks representing the stars. The Jade Emperor sat within his palace as the focus of the glowing arch formed by the stars around him. The side and hem borders include a a version of the celestial landscape populated by dragons and other mythical creatures; see J.Vollmer, Imperial Silks. Ch'ing Dynasty Textiles in the Minneapolis Institute of Arts, Minneapolis, MA, 2000, p.354-357.The formula of portraying the cosmos with the Daoist palace at the centre, flanked by the sun and the moon, dates from at least the Han dynasty and an early form may be noted on the famous banner excavated from tomb 1 in Mawangdui, Changsha, Hunan, which depicted the deceased's journey toward the Daoist Immortal realm. A similar depiction of the Immortal land as an icon survives in 14th century wall frescoes in the Yonglegong, Shanxi Province and others preserved in the Royal Ontario Museum, Toronto, illustrated by C.Brown, Chinese Scholars' Rocks and the Lands of Immortals: Some Insights from Paintings, in R.D.Mowry, Worlds Within Worlds: The Richard Rosenblum Collection of Chinese Scholars' Rocks, Cambridge, MA, 1997, p.67, fig.4.Compare with a related pale blue-ground embroidered silk Daoist Priest's robe, late Qing dynasty, illustrated in Heaven's Embroidered Cloths. One Thousand Years of Chinese Textiles, Hong Kong, 1995, pp.186-187, no.48.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A rare pair of Imperial white and spinach-green jade and cloisonné enamel 'Shou Characters' screensQianlong The jade rectangular plaques of pale white tone, each inscribed with 60 Shou characters in zhuanshu calligraphy and decorated with gilt, the reverse with pomegranates, butterflies, and narcissus, the other with lotus and a pair of Mandarin ducks, each encased in a cloisonné enamel frame with diaper pattern, supported on a zitan wood stand with spinach-green jade spandrels and shaped apron. Each 24.1cm (9 1/2in) high. (4).Footnotes:清乾隆 御製紫檀嵌碧玉座框銅胎掐絲琺瑯鑲白玉雕壽字紋硯屏一對Provenance: Sir John William Buchanan-Jardine, 3rd Baronet (1900-1969), LondonSpink & Son Ltd., LondonAn English private collection, with one of the pair of screens acquired from the above on 30 November 1954 (to join the pair to it which was previously separated), and thence by descentExhibited and Published: Royal Academy of Arts, International Exhibition of Chinese Art 1935-6, London, 1935, p.245, no.2859Captain Sir John W. Buchanan-Jardine became, like his family predecessors, the Chairman of Jardine, Matheson & Co. He was among the largest lenders to the Royal Academy of Arts International Exhibition of Chinese Art in Burlington House in 1935-36, his loan including the present pair of screens. The Exhibition remains the most important exhibition of Chinese Art ever held in Europe.來源：倫敦第三代John William Buchanan-Jardine男爵（1900-1969）舊藏倫敦古董商Spink & Son Ltd.英國私人收藏，其一於1954年11月30日購自上者（將兩屏合為一對），並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935年，頁245，編號2859John W. Buchanan-Jardine男爵，如他的家族前輩一樣，曾為怡和洋行（原名渣甸洋行）董事長。同時，他也是1935-36年於英國皇家藝術學院伯靈頓宮舉辦的「中國藝術國際展覽會」最大的借展方之一，並借展了本對硯屏。該展覽仍為歐洲迄今最為重要的中國藝術展覽。The present lot has sixty Shou (壽) characters on each screen. It is likely therefore, that it was made for the occasion of the Qianlong Emperor's 60th birthday celebration (held on the 1st month of the 35th year of his reign, approximately 1770). The motif of numerous Shou characters (meaning 'longevity') is common for birthday celebrations and appeared as early as the Kangxi reign. See a massive blue and white 'Ten thousand Shou vase, which bears 9,999 Shou characters and one wan character, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red (III), Hong Kong, 2002, pp.8-9, no.5.See a single related incised celadon jade and lacquer 'longevity' table screen, 18th century, which was sold at Sotheby's Paris, 10 June 2021, lot 101.For further information on this lot please visit Bonhams.com
AN ARCHAISTIC PALE GREEN JADE VASE, HUQianlongThe vessel of flattened baluster shape rising from a stepped foot to a waisted neck flanked by a pair of archaistic chilong handles below the lipped rim, the body finely carved on each side with a large taotie mask, the stone of pale green tone with a few dark brown and green inclusions, with a spinach-green jade stand supported by four ruyi feet. With the stand 15.5cm (6in) high. (2).Footnotes:清乾隆 青白玉浮雕仿古紋瓶The taotie masks on the present jade vase, based on ancient bronze vessels, show the enthusiasm at Court for archaism. The Qianlong Emperor proposed to 'restore ancient ways', referring to the view of ancient culture as having intrinsic moral qualities of sincerity, simplicity and happy exuberance. For this purpose the Emperor instructed the Court to collect drawings of antiquities, such as the Xiqing gujian (Catalogue of Xiqing Antiquities). Jade carvers were thus encouraged to study archaic bronze vessels in the Qing Court Collection or in illustrated woodblock prints, and adapting them to the medium of jade; see Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50.Compare with a related white jade incense tool vase, with archaistic motifs, Qianlong, which was sold at Bonhams London, 5 November 2020, lot 141.For further information on this lot please visit Bonhams.com
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