T he third installment of the Monochrome series presents a diverse range of exceptional artworks characterised by their timeless aesthetic, exemplifying the most refined sensibilities in Chinese art. Highlights of the sale include an important pair of Bodhisattvas carved by imperial sculptors during the era of Empress Wu in the early Tang dynasty. There is also a superb Sui dynasty limestone head of a Bodhisattva, an outstanding Song dynasty Junyao purple-splashed dish, and a large Dingyao ‘fish’ basin. The sale also presents a group of Ming furniture, including a pair of side tables with unusual hexagonal legs, and a selection of archaic jades, highlighted by an Eastern Han dynasty bi disc cherished by the Qianlong Emperor, as well as exquisite examples from the celebrated Hei-Chi collection.
第三場的「凝盈一色」，繼續以色選物，超越年代規範，精挑珍品，集萃一堂，悅目引思，典雅雋永，冀為一眾鑑藏名家、好藝文士帶來嶄新美學體驗。焦點藝品，要數唐初武則天治下宮廷藝匠石雕菩薩立像成對、隋代石灰岩加彩菩薩頭像、宋代鈞窰天青釉紫斑折沿盤及定窰白釉魚藻紋大盌。專場且呈一系列的珍貴明式家具，包括六方材霸王棖條桌成對，殊為珍罕。其他精品且有私人珍藏歷代玉器，如東漢「延年」璧，原為清宮所藏，為乾隆帝所珍，極為罕稀。
Intricately carved for the imperial court of the Eastern Han dynasty, this outstanding large archaic jade disc was prized by the Qianlong Emperor, one of the most passionate collectors in Chinese history. It is incised with a poem composed by his majesty and mounted in a superbly carved zitan table screen, which demonstrates its imperial provenance. Similar examples are extremely rare even in the Palace Museums and the present screen is unique on the market.
東漢「延年」玉璧，上方出廓，鏤雕二龍，尺寸碩大，應為漢宮而製。歷經百世，幸入清宮，為乾隆帝所珍，邊刻御製詩文，配以紫檀作硯屏。一屏一璧，記兩朝御作、宮藏傳承。即便兩岸故宮有藏類例，如此者極罕，藝術市場上絕無僅有，獨一無二。
Exceptionally worked to conform to the natural contours of the jade pebble, this carving of a buffalo is a remarkable – and arguably unparalleled – example of the craftsmen’s sensibilities and ability to plan and execute down to the finest detail. While bearing the original shape of the pebble, the jade buffalo is veiled with a lustrous patina that only points to its being handled as a plaything over the ages.
灰玉雕牛圓潤立體，以卵玉本體為礎，雕工細緻精妙，展現臥牛生動姿態，靈動有神。多年把玩摩娑，玉牛更顯溫潤柔膩。
The slender but fleshy face, as well as the high chignon adorned with a Dharma wheel amidst cloud-head clusters, encapsulate the classic style of the Bodhisattva image in the Sui dynasty. In its opulence, the head belongs to a mature phase of Sui artistic production, when craftsmen synthesised styles from within and beyond China into graceful yet dynamic compositions that expressed the transcendental majesty of the Buddhist subject.
此尊石雕菩薩頭像，雕工嫻熟細膩，展現菩薩莊嚴華貴，仁慈沉靜，屬隋石雕工藝之最。菩薩面容纖腴合度，高髻以雲頭法輪寶冠綴之，萃集隋代經典佛相於一體。
Closely related in style to a group of high-relief stelae dated to AD 703-704 and dedicated to an imperial pagoda in Chang’an, these graceful Buddhist deities bear testimony to the sculptural style in the era of Empress Wu Zetian, arguably the most powerful woman in Chinese history.
菩薩立像成對，體態柔美，雅姿悅目，彰顯聖明。論風格，與原奉長安光宅寺七寶臺之佛像極為接近，殘石紀年長安三至四年，時武則天權傾一時，篤信佛教，大弘法事，成就中國雕塑藝術史上的輝煌盛世。
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