民國 象牙「庭院人物」圖刻字隨形牌 于碩（1873-1957）刻 《在甲子仲秋于碩》《于碩刻》款

題洛賓王《徐敬業討武曌檄》及《般若波羅蜜多心經》

The ivory plaque is overall in very good condition. The carver has skillfully incorporated the original age cracks in the material into the design. The colour of the ivory is slightly more toned compared to the catalogue illustration. It has been suggested that this plaque may have been made from an ancient ivory hu tablet.
"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."

Yu Shuo (1873-1957), also known by the names Xiaoxuan and Xiaoxian, was a native of Jiangdu (present-day Yangzhou) in Jiangsu province. He is one of the finest micro-engravers who popularized this art form from the late Qing to the Republican periods. Yu specialized in ivory engraving to the exclusion of other materials, and many of his works have survived to this day. For a history of Yu Shuo and other micro-engravers see Cai Guosheng, Jianshi yadiao [The appreciation of ivory carving], Fujian, 2001.

The present plaque is unusual for a number of reasons. It is likely made from an ancient ivory hu, a tablet held in both hands by officials and ministers at imperial audiences, or by deities in religious paintings when in the presence of a higher deity. Yu has skilfully used part of an old tablet and transformed it into a fine work of art. Furthermore, amongst Yu’s work, it is unusual to find him create an image drawn from a handscroll format with a central painting of horizontal shape flanked on either side with calligraphy. The script seen on this piece is also rare as Yu seldom used clerical script in his carvings. The first part of the inscription is from the writing by Luo Bingwang, one of the ‘Four Heroes’ of the Tang dynasty, followed by a section from the Heart Sutra.

For examples of Yu’s carvings see an ivory seal, from the collection of Mary and George Bloch, sold in these rooms, 23rd October 2005, lot 141; a cigarette holder depicting a landscape scene, included in the exhibition Chinese Ivories from the Kwan Collection, the Art Gallery, Chinese University of Hong Kong, Hong Kong, 1990, cat. no. 200; and a table screen, included ibid., cat. no. 143, where the author, on p. 244, notes how Yu was able to carve approximately forty lines of characters on a fan stick. Another ivory table screen by Yu is published in Zhu mu ya jiaoqi zhen shang, Hong Kong, 1995, pl. 145; and one in Gerard Tsang and Hugh Moss, Arts of the Scholar’s Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, cat. no. 27.