明末 / 清初十七世紀 犀角雕「山水圖」盃 盛輔功製 《盛輔功》款 「文樞藏」印

of conical form, the flaring sides tapering to a rounded square foot, carved around the exterior in high relief with a continuous riverscape, a stream flowing tortuously through jagged cliffs and rocky outcrops cascading into the underside of the foot, one end of the horn set with an openwork handle formed by the gnarled trunk of a lofty pine, twisting through the pierced crevices its branches extending over the rim and onto the interior, the cup inscribed Sheng Fugong in relief within a recessed cartouche on the rock face of the cliff near the handle, and Wenshu cang (collection of Wenshu) in an oval cartouche below the front lip, the horn richly patinated to a rich toffee tone darkening to a deep brown colour on the carved underside, wood stand

自歐洲私人收藏購入，1982年

《金木水火土：香港文物收藏精品展》，香港藝術館，香港，2004年

Jan Chapman，《中國的犀牛角雕刻藝術》，倫敦，1999年，編號152
霍滿棠，《中國犀角雕刻珍賞》，香港，1999年，圖版160
呂建昌，《象牙犀角：瀕臨消失的工藝品》，上海， 2004年，圖76

There is general surface wear and typical age cracks to the surface. There are also losses to the extremities of the design, notably small areas of the branches at the interior of the cup and at the handle.
"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 is notable for a number of reasons. Firstly, it bears the rare signature of its maker, Sheng Fugong who was probably active in the 17th century. Jan Chapman in The Art of Rhinoceros Horn Carving in China, London, 1999, p. 136, lists Sheng amongst recorded carvers and mentions that a four-legged ding, in the collection of the Arthur M. Sackler Museum, Harvard University, Cambridge, Mass., also bears his signature on the underside of the piece rendered in the form of a four-character seal Sheng Fugong zuo (Made by Sheng Fugong) and is reputed to be dated to the late Ming period.

Another interesting aspect of this cup is that there is another seal reading Wenshu cang (Collection of Wenshu) which infers that this carving was admired and collected by the great rhinoceros horn master Zhou Wenshu. For detailed information on Zhou see the notes to another cup in this catalogue (lot 3152) and Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, pp. 142-44.

The decoration on this vessel is most unusual and rare. Nature scenes and landscapes, devoid of figures, animals or pavilions, are almost unheard of, making this cup an example of plain natural beauty that accentuates the sense of tranquillity. According to Thomas Fok in Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, p. 219, ‘the aspiration and romantic temperament of 17th century scholars are fully evident.’  A comparable example of a cup with landscape only, formerly in the collection of Thomas Fok, and published ibid., pl. 163, was sold at Christie’s Hong Kong, 31st May 2010, lot 1811; and another with landscape and pine motif, from the collection of Mr. Chun-hung Li, is included ibid., pl. 167.