An Inside-Painted Glass ‘Landscape’ Snuff Bottle Ding Erzhong, Circa 1897-1900

Dr and Mrs Louis E. Wolferz.
Hugh M. Moss Ltd, 1985.

Moss et al., 1996-2009, vol. 4, no. 551.

The painting is in good condition. The glass has been polished especially mouth.
"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."

Ding Erzhong cites a Yuan source for this painting, and it is one of the occasions where he has changed his painting style quite radically in response to an earlier artist. Although one can recognize Ding’s typical trees and the masterly painting of the figures in the boat, their personalities and postures achieved so effortlessly with a few deft strokes, the landscape style is quite unlike his usual paintings. One obvious difference is to be found in the density of the mass of individual brush strokes, performing the function of the more integrated wash-and-line technique in his earlier landscapes. But the most noticeable debt to the Yuan ideal is represented by the waterfall tumbling straight onto rocks, which divides the water at its base. This simple depiction, with childlike strokes developed out of a highly sophisticated re-acquired naïveté, was typical of the Yuan ideal.

Although this bottle is undated and difficult to date accurately, since Ding was following a style different from his usual one, this was probably painted in the few years between 1897 and 1900. It is a pity that one cannot be more accurate, since it is the only known bottle with the studio name Iron Inkstone Studio (Tieyan zhai). This was not an uncommon studio name, which raises the possibility that Ding was simply sojourning in someone else’s studio when he painted this.