A CARVED BAMBOO VENEER WRISTREST BY ZHANG XIHUANG 17TH / 18TH CENTURY

of rectangular outline with a curved face, skilfully carved in liuqing technique with a painterly landscape of different varieties of trees emerging from rocky islands, a figure crossing the river running through a gorge on a balustraded bridge, with the river opening out in the foreground, below a multitude of craggy mountains in the far distance, all lightly carved through the paler ochre skin to the rich reddish-brown body beneath, the top inscribed in running script with a four-character title Qiulin qinyun (‘the sound of the qin in the Autumn woods’) followed by the signature Xihuang and a circular seal Zhang, the surface with lustrous patina

Collection of Yuan Xi, China (prior to 1932, box label).

Apart from some very minor surface scratches, the overall condition is very good.
"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 exceptional wristrest is by the hand of one of China’s most outstanding master carvers, Zhang Zonglue, whose hao was Xihuang. A native of Jiangyin in southern Jiangsu province, Zhang was active in the late Ming and early Qing periods. He was especially renowned for his use of the liuqing technique, a method of carving that involved the manipulation of the contrasting colours of the smooth greenish bamboo skin and the darker and more fibrous inner layer of the stalk. In this method of carving, the upper layer of the bamboo is cut away, leaving a dark background while the skin is left in relief to form the positive image. The result is a pronounced contrast between dark and light tones which is achieved through a dying process in which the green skin of the material turns into a rich light brown colour while the inner layer of the worked bamboo matures into a darker lustrous brown tone.

The carved decoration on this wristrest is unusual, for it is rare to find a young servant carrying a qin on his own. More common are images of a scholar accompanied by his servant carrying his musical instrument for him. However, the title of the piece Qiulin qin yun which may be translated as ‘the sound of the qin in the Autumn woods’ suggests that the subject matter is the sound of the qin and not the scholar.

A number of carvings are known by Zhang, for example see a brushpot, depicting a continuous mountainous landscape interspersed with figures and pavilions, sold in these rooms, 4th April 2012, lot 120; another brushpot bearing his signature and carved with the composition of a mansion among a rocky landscape published in Craig Clunas, Art in China, Oxford, 1997, pl. 102; and a third brushpot, in the Metropolitan Museum of Art, New York, depicting a scene from the scholars’ outing recorded in the famous Ode to the Pavilion of the Inebriated Old Man by Ouyang Xiu (1007-1072) included in the museum’s official website.

A bamboo wristrest carved with a river landscape and bearing Zhang’s signature, from the Norton collection, was sold in our London rooms, 26th March 1963, lot 17, and again, 24th February 1970, lot 63; and another wristrest decorated with a tranquil landscape scene portraying four figures engaged in various pursuits amidst lush trees, also signed by Zhang was sold in these rooms, 10th April 2006, lot 1655. Compare two other examples offered at Christie’s, one in London 15th May 2007, lot 75, and one in Hong Kong, 30th May 2006, lot 1487, both bearing Zhang’s signature.