十七世紀 犀角雕荷葉形盃

the rich honey-toned horn carved in the form of a furled lotus leaf, the exterior subtly dimpled corresponding to the junction of the lightly incised veins on the interior, the foot formed from the curled stem extending up the sides and ‘cut’ at the rim revealing the open holes on the interior, the horn with an attractively smooth patina

香港蘇富比1986年11月19日，編號323
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《Craving for Carvings: Rhinoceros Horn from the Chow Collection》，亞洲文明博物館，新加坡，2003年，編號FC45

Apart from a couple minute nicks on the rim, the overall condition is very good. The patina is especially smooth and rich.
"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 miniature cup is a beautiful example of simplicity and taste. It is of exquisite honey tone and the highly polished undecorated surface is reminiscent of Song dynasty ceramics and lacquer wares that prized shape, colour and medium over decoration. The beauty of its simplicity is emphasized by the long lotus stem which curls around the base to form a foot to the piece and then up the side, ending just below the lip. The interior of the cup is also highly polished and has been delicately incised with shallow lines to indicate the veins of the lotus leaf.  Cups of this small size may have been used as wine containers or water holders for the scholar’s desk.  It may be attributable to the late Ming or early Qing periods as the carver has produced a vessel that has enhanced the material so that it could be fully appreciated. It was only later, when there was an increase in the supply of horn, that more intricately carved designs started appearing with emphasis on skill and technique rather than on the material.

Rhinoceros horn wine cups,  with a commanding presence for their plain surface and simple  naturalistic form are rare, although two are illustrated in Jan Chapman in The Art of Rhinoceros Horn Carving in China, London, 1999, pl. 63, and pl. 64, from the collection of Thomas Fok. Chapman also includes one of the oldest rhinoceros horn cups known, ibid., pl. 66, in the Shoso-in Repository, Nara, Japan,  and believed to have been placed there at a later date in exchange for the original pieces described in the Deed of Gift, which was drafted when the widow of Emperor Shomu presented them to Todaiji Temple after his death in 756.

Compare another miniature cup that similarly represents  a scholarly taste for its elegant modelling and plain surface with only a single round cartouche containing the ‘earth’ diaper on the body, from the collections of Edward T. Chow and Franklin Chow, sold in these rooms, 8th April 2011, lot 2713.