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A SET OF THE 'PEI-WEN' STUDIES
Description
Provenance
Collection of E. A. Strehlneek.
Collection of Klas Fahraeus 1913-26.
Collection of David Charles Tomsett Esq.
Condition
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
All of the images in this set have been paper-woven; a technique that involved the extremely skilful and delicate intertwining of long, thin strips of paper, without the aid of a pen, pencil or brush. A regional, ephemeral pictorial type of Southern China, paper-weaving is likely to have served the export market, and was employed for the reproduction of painting and calligraphy by weaving very fine paper strips in colour or in black and white into a sheet as if it were made in fabric with other fibres.
From an early stage, paper was the most popular medium for artistic use by the Chinese, who adopted it not only for painting and calligraphy, but also for rubbings from inscriptions and engravings and for various kinds of decorative arts such as paper-weaving. Paper-weave painting is one of the traditional folk arts of the Yongchun county of Fujian Province. The paper-weaving of Yongchun was once regarded as one of the four master weaving arts of China. The paper-weaving tradition existed as early as the Tang dynasty. First, the original painting was drawn onto a piece of Chinese ink painting paper, which was then cut into long rectangular strips no more than 2mm wide. Another piece of ink painting paper was then cut into long strips of the same width, which were then woven together with the painted strips using a special paper-weaving tool. Finally, the newly woven paper was coloured according to the original painting.