明十六 / 十七世紀 犀角雕「蒼松」圖盃

the pale honey-coloured horn carved in low relief on the exterior with two gnarled pine trees set on opposite sides, the surface further enhanced with small craggy knots, below an irregular lobed rim, the interior left plain, all resting on a shallow round foot, the patina of smooth tone

紐約蘇富比1985年4月17日，編號136
仇大雄收藏

《Craving for Carvings: Rhinoceros Horn from the Chow Collection》，亞洲文明博物館，新加坡，2003年，編號FC60

Apart from a few natural age cracks on the mouth, the overall condition is very good.
"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 charming for its unusual shape and decoration that has been fashioned all over its exterior surface to resemble the bark of an ancient pine tree.  The pine tree was amongst the most popular motifs in the horn carver's repertoire, much favoured by the literati for its representation of nobility and venerability and also being an important symbol of longevity. Cups bearing this highly auspicious decoration would automatically carry wishes for a long life with it. The placement of the bark nodules and needles seen here is particularly attractive and indicates that the vessel is the work of a talented and skilful carver.

While there are numerous pine-tree decorated rhinoceros horn carvings, the present example is an especially fine one. For further cups in this group see one in the British Museum, London, included in Derek Gillman, 'A Source of Rhinoceros Horn Cups in the Late Ming Dynasty', Orientations, December 1984, p.12, fig. 4; another from the collection of Dr. Ip Yee published in in Dr. Ip Yee, 'Chinese Rhinoceros Horn Carvings', International Asian Antiques Fair, Hong Kong, 1982, p. 40, pl. 38; and one with a strongly modelled pine tree with a graded and twisted trunk rising to form the handle, from the collection of Thomas Fok, illustrated in Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl.160. Compare also a cup, from the collections of Edward T. Chow and Franklin Chow, sold in these rooms, 8th April 2011, lot 2712; and another vessel from the Estate of Nils Nessim, Stockholm, sold in our New York rooms, 27th February 1981, lot 320.

The shape of this cup is reminiscent of a related small cup, from the collection of Franklin Chow, sold in these rooms, 8th April 2011, lot 2721, finely carved with an image of three boys at play. Cups of this type may have been intended to contain water for the scholar's table where it would have been placed together with his other materials for writing and painting.

This cup is also special for its natural light honey-tone colouration. Jan Chapman in The Art of Rhinoceros Horn Carving in China, London, 1999, p.60, notes that the yellow and honey colours are thought to be the result of the natural ageing process of the horn and some of the earliest known carvings are described as being yellow in colour. Vessels of this light tone are almost invariably associated with the best quality carvings. The exceptional finish of the rounded foot seen here is also worth noting. Although the base is never exposed, the carver has nevertheless fashioned his piece with care, further displaying his high level of attention to every detail.