清十八世紀 犀角雕「赤壁」圖盃

the horn of deep brown colour and lustruous patina, carved with a continuous landscape depicting the Song dynasty poet Su Dongpo’s second visit to the Red Cliff when Su left his boat and companions and climbed up the steep cliff, on one side Su is seated on a ledge jutting out from the high cliffs watching a single crane flying in the distance, while his two friends stand at the base of the cliff with the boat, two lofty pines growing in openwork at one end to form the handle, titled in relief with the three characters inscription Chibi tu ('Scenes of the Red Cliff') below the rim in front of the cup

1965年購於香港
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，日內瓦，1988年，編號R4
《Craving for Carvings: Rhinoceros Horn from the Chow Collection》，亞洲文明博物館，新加坡，2003年，編號FC4

Jan Chapman，《中國的犀牛角雕刻藝術》，倫敦，1999年，圖版290
霍滿棠，《中國犀角雕刻珍賞》，香港，1999年，圖版133

There are tiny chips to the mouthrim and foot, which do not detract from the form of the cup. Other general surface wear, but overall in good condition. The colour of the cup in the catalogue illustration has slightly too much of a red tinge. In reality it is a richer and more attractive dark-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."

This cup depicts the Song poet, Su Dongpo’s, second visit to the famous Red Cliff or Chibi. On this occasion, Su left his boat and companions and climbed up the steep cliff by himself. On the cup he is shown seated on a ledge jutting out from the high cliffs. His two friends, the monk Fo Yin and the scholar Huang Lujie, are left standing at the base of the cliff with the boat drifting in the river. According to the poem by Su titled Later Ode to the Red Cliffs, his second visit to this memorable location took place one night in 1032. A single crane may be seen carved under the lip of the cup, depicted flying in from the East and heading towards the West. The crane appeared as a Daoist immortal in Su’s dream later that night, asking him whether he enjoyed his outing. Su then realized that the crane and the immortal were one. 

The carving style and technique employed on this vessel suggests an 18th century attribution, as does Edward T. Chow’s own notes on the piece. For rhinoceros horn carvings showing scenes from the Ode to the Red Cliff see a cup in the Chester Beatty Library, Dublin, included in Jan Chapman, Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, p. 213, pl. 291; one published in Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 132, formerly in the collection of Thomas Fok and last sold at Christie’s Hong Kong, 27th May 2008, lot 1710; and a further example, in the Harvard University Art Museum, Cambridge, Mass., included ibid., pl. 164.