十七世紀 犀角雕「張鶱乘槎」器

superbly carved in varying relief with the figure of the great Han statesman and explorer, Zhang Qian, perched in a small nook at the stern of a raft, exquisitely formed as a long hollowed segment of a gnarled tree trunk, pierced and carved with naturalistic knots and twisting boughs issuing from the sides and jutting out from each end of the boat, the broad central cavity tapering to a pointy end at the prow forming the spout, atop swirling waves deftly carved in low relief to the underside and rising up from the base to crest gently against the sides, the animated figure of Zhang Qian reclining against thick knotty branches at the stern, wearing a small cap and loose fitting robes fluttering in the breeze, his face with softly modeled features and pointed beard gazing forward in serene contemplation, his left hand placed atop an open book on his raised knee, the other tucked beneath his robes beside a double-gourd wine container attached to curling strings looping delicately over the edge of the raft, the polished horn of honey-brown colour deepening in areas to a rich reddish amber tone, wood stand in the form of swirling waves

John Sparks，倫敦，1977年
仇焱之及仇大雄收藏

《One Man's Taste. Treasures from the Lakeside Pavilion》，鮑氏東亞藝術博物館，日内瓦，1988年，編號R10
《Craving for Carvings: Rhinoceros Horn from the Chow Collection》，亞洲文明博物館，新加坡，2003年，編號FC10

Jan Chapman，《中國的犀牛角雕刻藝術》，倫敦，1999年，圖版51
霍滿棠，《中國犀角雕刻珍賞》，香港，1999年，圖版74

There are tiny bruises to the underside of the vessel, with corresponding minor losses to the tips of the waves, and a small loss to a branch on the reverse. There are minor losses to the extremities of the raft on each side, where the tips may possibly have been slightly polished in places where there were small chips. Otherwise it is in overall in good condition. The colour of the vessel does not have so much of a red tinge as shown in the catalogue illustrations. In reality, the colour is a more attractive and rich honey-brown.
"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."

本品雕張騫乘槎，屬犀角器中一少數特殊品類之佳品，無作流嘴，為現知唯一非作酒器使用之器，更顯獨秀非凡。其用途未明，從器腹深度及形制判斷，應為書案筆洗之用。匠人刀法嫻熟，於良質厚沿火犀流暢雕出漢代著名使節張騫。張氏常作道教仙人之姿，為漢朝首位通使中亞之官使，據傳出使為尋長江之源，銀河之始，及葡萄釀酒之法，因此酒器常作張騫題材。本器雕張氏，盈盈笑面，手持書卷，葫蘆斜倚身畔，彷若方飲美酒。整體作長形中空樹槎，此類造型，技巧上繁複費工，實為考驗匠人技藝。Jan Chapman，《中國的犀牛角雕刻藝術》，倫敦，1999年，頁101-105，詳釋雕作槎器所需工序，並歸結「只有最巧工之匠人，才會嘗作此形。」

都柏林切斯特比替圖書館，收藏現知最多犀角雕槎器，共有四例，其一錄於，同書，圖版47。其他作例可見，三藩市亞洲藝術博物館藏一例，作張騫手持拂塵，圖版48；北京故宮藏三例，錄於《故宮博物院藏文物珍品全集‧竹木牙角雕刻》，上海，2001年，圖版118-20；還有一例，現藏巴黎裝飾藝術博物館，刊錄於 Jan Chapman，〈The Use of Manipulation in Chinese Rhinoceros Horn Cups〉，《Arts of Asia》，1982年7-8月，圖6。另一例，現存台北國立故宮博物院，鐫乾隆御題銘文，紀年乾隆四十七年（1782），曾以中國政府名義借展1935年倫敦皇家藝術學院展覽會，參考《參加倫敦中國藝術國際展覽會出品圖說》，北京，1936年，編號60（或倫敦版圖錄，編號2948），並展出於《匠心與仙工：明清雕刻展》，國立故宮博物院，台北，2011年，編號30。

亦可比較四例犀角雕槎盃，錄於霍滿棠，《中國犀角雕刻珍賞》，香港，1999年，圖版70，現藏上海博物館。圖版71，藏於麻州劍橋哈佛大學博物館。圖版72，出自黃惠英珍藏。圖版73，曾為賽克勒收藏。Kenyon V. Painter 藏一例，售於紐約蘇富比2006年9月21日，編號8。斯德哥爾摩 W. Felischer 珍藏另一盃，刊錄於 Bo Gyllesnyard，〈Two Yuan Silver Cups and Their Importance for Dating of Some Carvings in Wood and Rhinoceros Horn〉，《Bulletin of the Museum of Far Eastern Antiquities》，斯德哥爾摩，第43期，1971年，圖版5，同錄圖版4為瑞典國王珍藏二盃，以及一件元代銀器，圖版3。銀張騫乘槎或為相類題材器之雛本，三例銀槎，鐫朱碧山印，紀年元至正五年（1345），分別藏於國立故宮博物院、北京故宮、克里夫蘭美術館，錄於 Chapman，《中國的犀牛角雕刻藝術》，前述出處，圖版382-4。