Important pot à pinceaux en ivoire sculpté Chine, dynastie Qing, époque Qianlong (1736-1795)

le pourtour admirablement sculpté en haut relief d'une scène racontant l'histoire de l'Empereur Yu domptant les crues du fleuve, depuis un sentier surplombant une rivière où trois paysans manient la charrue tirée par un buffle, le tout dans un paysage montagneux planté de pins touffus

The brushpot is in very good overall condition with a very rich age patina to the ivory.
"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."

The present ivory brushpot is special for its superb three-dimensional carving that employs the technique known in Chinese as xian di shen ke or the ‘sunken ground deep carving’, developed by artists in the early 18^th century.  Wang Shixiang in Bamboo Carving in China, New York, 1983, p. 36, notes that this technique had its origins in bamboo carving, whereby artisans working in this medium transferred their skills to the carving of ivory. As may be seen on this example, the ‘ground’ is deeply sunk into the section of ivory to allow the figural and landscape sections to stand out and to be carved in round and with much use of undercutting.  For more information on this carving technique see Craig Clunas, Chinese Ivories from the Shang to the Qing, London, 1984, p. 126, where an ivory brushpot fashioned with a scene of rural life, from the Irving collection is illustrated ibid., pl. 176. Compare also a brushpot dated to 1774 carved with children at play and belonging to this special group of ivory wares, from the collection of Sir Victor Sassoon, also included ibid., pl. 179. Another brushpot attributed to the 18^th century and decorated in similar high relief with sages and attendants in a mountainous landscape, included in the exhibition Ivories of China and the East, London, 1984, cat. no. 142, shares similarities in the carving style and the arrangement of the pines and rocks as seen on this example. The brushpot was later included in the collection of Mary and George Bloch and sold in our Hong Kong rooms, 23^rd October 2005, lot 65. Compare also a slightly smaller brushpot carved with a fishing scene in a landscape of rocks, water, trees and pavilions published in Chinese Ivories from the Kwan Collection, Hong Kong, 1990, pl. 119, attributed to the early Qing period; and a piece with a design of joyful fishermen signed by the famous court artist and ivory carver Huang Zhenxiao, in the Palace Museum, Beijing, illustrated in The Palace Museum Collection of Elite Carvings, Beijing, 2004, pl. 121. Huang was recruited from Guangzhou, where many of the talented ivory carvers originated from, to work in the Palace Workshop in 1737 with the support of Qianlong’s court.

The subject matter seen on this brushpot may be that of a scholar with his attendant, who is holding his books, and the two gazing at the peasants ploughing. It may also refer to the story of the Great Yu (Da Yu), an ancient hero known for controlling floods, thus admired for his achievement in fighting nature. Yu found a way of digging channels to help conduct water away so it flowed into the sea. His remarkable achievement earned him support and in 2070 BC he established the Xia dynasty with its capital in Yangcheng (present day Dengfeng in Henan province). Yu is also remembered for his contribution to the development of agriculture at the time as well as his selfless nature and wish to help others. Water buffalo, as seen depicted here, were used for agricultural production as well as for digging. The story of Da Yu regulating watercourses to control flooding may be seen carved on a magnificent sapphire boulder in the Palace Museum, Beijing , included in The Complete Collection of Treasures of the Palace Museum. Jadeware (III), Hong Kong, 1995, pl. 75.