清康熙 犀角雕「湖山古詩」圖盃

of conical form, rising from a narrow waisted base to a flared rim, intricately carved around the exterior in various levels of relief with a continuous lake scene depicting rocky islands lined with verdant trees and jagged cliffs surrounded by gently rippling waters, one side with a compound of multi-storeyed houses built high up on top of a steep mountain, above a moored boat partly concealed behind the bank, a group of wutong and a lofty pine growing on a rocky ledge forming an openwork handle on one side, with a gnarled branch bearing clusters of needles extending over the rim and on to the interior, the latter figured in imitation of craggy outcrops, the horn richly patinated to a rich amber tone darkening to a burnt-caramel colour towards the base and on the carved underside, wood stand

紐約佳士得1985年12月2日，編號367

《金木水火土：香港文物收藏精品展》，香港藝術館，香港，2004年

霍滿棠，《中國犀角雕刻珍賞》，香港，1999年，圖版162

Overall in good condition with minor condition issues. There are tiny areas of the branches to the interior of the mouth which have been broken off and polished down, and other minute areas to the exterior. There are typical age cracks to the surface.
"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 cup, carved in high relief with a continuous landscape and waterscape, is amongst the finest examples known decorated with this much favoured theme inspired by contemporary scroll paintings. The carving is forcefully rendered giving the composition a strong three-dimensional quality. While there are no human figures depicted, their presence is suggested by the inclusion of a temple gate and pavilions that appear in the distance while a small boat is shown anchored at the shore in the foreground. The carver has gone to great lengths to depict nature in detail, a theme that was especially popular with the literati who could imagine themselves enjoying the tranquillity and beauty of such settings.

For comparable examples see a cup, from the Avery Brundage collection, in the Asian Art Museum of San Francisco, illustrated in Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, pl. 275, with a single scholar standing on a bridge over a ravine in an idealized landscape of rocks, trees and water;  another, with the design of landscape and figures, in the Palace Museum, Beijing, published in The Complete Collection of Treasures of the Palace Museum. Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Shanghai, 2001, pl. 145; and a further example decorated with a crowded landscape with an incised stream running past trees and rocks, from the collection of Dr. Ip Yee, included in Dr. Ip Yee, ‘Chinese Rhinoceros Horn Carvings’, International Asian Antiques Fair, Hong Kong, 1982, p. 42, pl. 43.

Compare also a vase, from the collection of Kenyon V. Painter, Cleveland, sold in our New York rooms, 18th September 2007, lot 4, the exterior carved with a walled compound and pavilions amidst lush plants, trees and rocks with a bridge set over flowing waters; and another related example, sold in our New York rooms, 16th September 2009, lot 147, with a mountain landscape and towering pine trees.