Description
the large black circular imperial inkcake inscribed with Qianlong sanshi nian zao (made in the 30th year of the Qianlong reign) equivalent to 1766 A.D, finely moulded with a landscape to one side, the other side bearing a poem by the Qianlong emperor, titled Guanhuai shanshui (landscape by Guanhuai), the characters picked out in gold surrounded by five-clawed dragons pursuing sacred pearls
(For a the description and images of the other inkcakes please see Sothebys.com)
Condition
The ink cakes are in overall good condition with the exception of some hairline age-cracks, minor mould imperfections, and tiny nibbles to the edges. In more detail in the order they are catalogued:
1. The ink has a hairline age crack running across the back and front face from 4 - 7 oclock, and short hairline age cracks to the rim at the top edge.
2. One is in good condition with the exception of light scratches to the raised edges and sides; the other has short hairline age-cracks to the top right corner and top right side of the front face, and a 2mm wide chip to the edge.
3. The ink is in good condition with the exception of light rubbing to the raised edges and short vertical mould line imperfections to the front face.
4. The ink has a vertical mould line imperfection to the front face and nibbles to the edges.
5. The ink has a deep 7cm. long age crack to the right side of the front face and to the rear, together with a crescent-shaped hairline age crack extending from 4-6 o'clock to the front and back face, and short hairline cracks to the edges.
6. The ink has short hairline age cracks to the side and light rubbing to the inscription on the side.
7. The ink has a matrix of hairline age cracks to the front and back face and pitting to the sides.
8. The ink has a matrix of hairline age-cracks, three small indentations at 4, 6 and 11 o'clock (3-6mm wide).
9. Good condition with te exception of loss to the gilding.
10. The ink has a age cracks to each corner and across the landscape scene of the front face.
11. The ink has a 4mm. wide chip to the top edge, hairline age-cracks to the sides and front face, and an 8mm wide bruise to the top corner.
12. The ink has age cracks to the front and back face as clearly illustrated in the catalogue.
13. The ink has a matrix of hairline age cracks to the front and back face, shallow chips and rubbing to the edges (1,4,6,10 and 20mm wide), and a vertical mould line imperfection running vertically up the length of the left side.
14. Both are in good condition with the exception of a vertical mould line running the length of the back face on one and light rubbing to the gilding on both.
15. Good 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
Ink cakes are among the 'four treasures of the scholar's studios' and have been prized by Chinese painters and calligraphers for centuries. Ink-making reached its height during the late Ming dynasty, and thus ink cakes became collectors' items in their own right. The flourishing literati culture of the late Ming period provided the impetus for the production of many writing objects, created and commissioned to satisfy scholarly tastes in the commemoration of events or as gifts.
Ink cakes were often carved and moulded with patterns designed by popular artists or established ink makers. Designs by court artists often carried inscriptions bearing the characters, yu mo (Imperial Ink) written in zhuan script. Inscriptions and illustrations could be carved in low-relief or intaglio, with many of the scenes depicted on ink cakes alluding to classical or literary stories. By the Qing dynasty, the interest in collecting ink cakes lead to the production of large sets which were stored in intricately carved lacquer or wooden chests.
Excavations reveal that ink cakes have been in production since at least the 3
rd century B.C., but it was not until the Tang period that the names of famous ink makers could be acknowledged through their official court employment and individual seal inscriptions.
