明末 犀角雕仿古饕餮紋海棠口盃

of quatrefoil section, the barbed lobed rim tapering to a low foot of conforming shape, the exterior carved in shallow relief with four pairs of archaistic taotie masks on a leiwen ground, the rim with a key-fret border set with a leafy spray of stylised magnolia carved in high relief forming the handle, the horn of a warm amber tone

瑪麗及莊智博收藏
香港蘇富比2005年10月23日，編號24

There is a small 5 x 5 mm. repaired flake to the front of the rim at about 11 o'clock, another nick to the rear of the rim on the right of the handle at approx. 5 o'clock. Otherwise 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."

Expertly carved, this cup exemplifies the aesthetic fascination with archaism during the late Ming period. Archaistic motifs were favoured by the nobility who were keen collectors of ancient artefacts. The fashion of archaism in the Song dynasty resulted in the production of pattern manuals and books which were widely copied. Carvers and artists were able to transfer the ritual heritage of designs found on bronzes to mediums such as rhinoceros horn, ceramics and jade.

A similar cup with a phoenix handle is illustrated in Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 18.  Compare also a related example with a band of taotie masks, chilong handle and leiwen-decorated rim, sold in our London rooms, 12th June 2003, lot 8.

While vessels decorated in this manner are readily found, the present cup is special for its compact rounded shape with straight sides tapering gently towards the base. A cup of similar form, from the collection of Franklin Chow is illustrated in Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 14; and another cup of this shape was sold at Christie’s London 15th May, 2007, lot 43. See also a plain cup with the handle in the form of a pine branch illustrated in Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, pl. 313, together with another rounded cup with the handle in the form of a boy climbing up the side, from the collections of Edward and Franklin Chow, pls. 310-311. Chapman, ibid., pp. 147-155, examines the category of ‘archaistic decoration’ on rhinoceros horn carvings and concludes that whilst most vessels in this group are shaped as wine goblets, there are a few that echo the forms of specific types of early bronze vessels influenced by the fashion for archaism.