清雍正至乾隆 水晶雕雙龍靈芝式洗 |

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雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。

Naturally occuring crystal has long been prized in China amongst the literati who associated its understated qualities with 'plain beauty'. Flawless in appearance with an almost glass-like clarity, the raw material of the present vessel alone would have been a great luxury in the early 18th century, long before the annexation of Xinjiang in 1759 that led to more abundant sources of crystal. One of the earliest records on crystal dates from the Tang dynasty (618-907) where it is mentioned as a product of "water turned to stone" and "a beautiful material imported from Persia", hence the Chinese name shuijing, 'the brilliance of water'.

Crystal scholar’s objects produced for the imperial court are rare, with only a small number recorded from the Qing Court collection and preserved in the holdings of the Palace Museum, Beijing; two cups flanked with handles, one of lobed form and the other with facetted sides, are published in Zhongguo yuqi quanji [Complete collection of Chinese jades], vol. 6, Shijiazhuang, 1993, nos 13 and 14 respectively; and a cup, vase and duck-form water dropper are published in The Complete Collection of Treasures of the Palace Museum. Treasures of Imperial Court, Hong Kong, 2004, pls 22, 23 and 181 respectively, together with two mountain-shaped seals, pl. 266. See also a brushpot inscribed with the four-character Qianlong yuyong ('Made for the imperial use of the Qianlong Emperor') mark, attributed to the Palace Workshops, included in the exhibition Arts from the Scholar’s Studio, Fung Ping Shan Museum, Hong Kong, 1986, cat. no. 130; and an extremely rare Yongzheng mark and period crystal inkstone sold in these rooms, 7th April 2015, lot 104.

Although unmarked, the present piece closely relates to the marked group of crystal carvings. Further unmarked examples, all crafted with the same level of exquisite craftsmanship and unique in form and design, include a smaller washer, attributed to the Qianlong period (r. 1736-1795), from the collection of Mary and George Bloch, sold in these rooms 23rd October 2005, lot 18; another, from the Water, Pine and Stone Retreat collection, included in the Fung Ping Shan Museum exhibition, op.cit., cat. no. 93; and two archaistic vases, one from the collection of Lord Fairhaven and the other in the Victoria and Albert Museum, London, published in R. Soame Jenyns, Chinese Art. The Minor Arts II, Fribourg, 1965, pls 187 and 188 respectively. Clearly, the material itself was highly valued and only utilised for the highest quality works of art.