A 'LOTUS LEAF' RHINOCEROS HORN LIBATION CUP 17TH CENTURY

the well-polished horn of chestnut tone, carved in low relief around the exterior of the shallow wide-mouth cup with the fine veins of a furled lotus leaf, enveloped by two thin reeds, the openwork handle on one side with three intertwining stalks tied together by the tips of the reeds and extending to the base, resting on two small lotus bud feet, the interior left plain save for the subtle wavy contours imitating a leaf's natural shape, wooden stand

Collections of Edward T. Chow (purchased in Hong Kong, 1972) and Franklin Chow.

 

Craving for Carvings: Rhinoceros Horn from the Chow Collection, Asian Civilizations Museum, Singapore, 2003, cat. no. fc11.

 

The overall condition is very good except for a few small areas of insect holes. The holes are on the front of the body beneath the reeds. They are only on the exterior and not visible on the interior. There are a few other holes on the handles. The polish is very smooth.
"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."

This cup is a superb example of what is possibly one of the most popular decorative themes in the rhinoceros horn carver's repertoire – the lotus leaf and flower. While it displays characteristic elements seen on cups of this design, such as the veining on the exterior of the leaf, the lotus stems and buds, this vessel stands out for the unusual fashioning of its foot which is in the form of three entwining stalks.  The carver has created an openwork design by binding the stalks together with the millet grass. While stalks are frequently made into a ring-base for the vessel, this carver has created an original design. Nature was also on the forefront of the carver's mind when rendering the veins of the leaf which he has outlined in low relief rather than simply incising them.

The millet grass that binds the lotus leaf and the stems is important for a number of reasons; it gives the design a sense of strength; and the combination of the lotus leaf and millet grass together form the visual pun hehe (harmony) that expresses the wish for 'living in harmony year after year'. The lotus itself is the symbol of purity and uncontaminated beauty, and is associated with the pure and virtuous character of the gentry and scholar-literati.  

Edward Chow in his notes describes the cup as keai ji zhi ('beautiful and adorable') and praises the skills of the carver for producing a delicate piece which he found unusual for its time. He also mentions that the cup is 'in the style of Cheng and Hong (you Cheng Hong zuo feng)'. Cheng Hong represents the period between the Chenghua and Hongzhi reigns of the Ming dynasty, suggesting a strong Ming period influence on the decoration.

Although no other similar example appears to be recorded, a cup from the Murray bequest and now in the Victoria and Albert Museum, London, illustrated in Craig Clunas, Chinese Carving, London, 1996, fig. 31, uses two intertwining stems to form the base that extend upwards to become the handle of the vessel. Another related cup is published in Dr. Ip Yee, 'Notes on a collection of Chinese rhinoceros horn carvings', International Asian Antiques Fair, Hong Kong, 1982, p. 35, pl. 28; and a third, in the form of a large lotus leaf carved with the lotus stalks and millet grass tied together by a ribbon, from the collection of Thomas Fok, is included in Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 97.