Download Lot Listing

Total Page:16

File Type:pdf, Size:1020Kb

Download Lot Listing ASIAN WORKS OF ART Monday, March 15, 2021 DOYLE.COM ASIAN WORKS OF ART AUCTION Monday, March 15, 2021 at 10am Eastern EXHIBITION Friday, March 12, Noon – 5pm Saturday, March 13, Noon – 5pm Sunday, March 14, Noon – 5pm And by Appointment at other times Safety protocols will be in place with limited capacity. Please maintain social distance during your visit. LOCATION Doyle Auctioneers & Appraisers 175 East 87th Street New York, NY 10128 212-427-2730 This Gallery Guide was created on (date) Please see addendum for any changes The most up to date information is available On DOYLE.COM Sale Info View Lots and Place Bids Doyle New York 1 6 A Chinese White Jade Snuff Bottle A Large Chinese Blue, White and Copper Red 18th/19th Century Porcelain Table Snuff Bottle Carved with a basketweave texture. Height 2 1/4 Qing Dynasty inches Of cylindrical form, decorated to show a lone C Estate of Loucel G. Lipman immortal among animals. Height 4 1/2 inches $600-800 C $600-800 2 A Chinese Amber Snuff Bottle Carved in the round depicting a female on one side and crane and pine on the reverse, 7 conforming lid. Height overall 3 inches. A Chinese Cloisonné Enamel Snuff Bottle C Late Qing Dynasty $400-600 Of flattened ovoid form, decorated with blossoming lotus and scrolling foliage, on a turquoise ground. Height 2 1/4 inches. C $400-600 8 A Chinese Cinnabar Lacquer Snuff Bottle The compressed ovoid form, carved in the round 3 depicting figures in various pursuits. Height 2 1/2 Three Chinese Blue and White Porcelain inches. Snuff Bottles C Qing Dynasty $400-600 Of cylindrical form and decorated in underglaze blue with figural scenes. Height of largest 3 3/4 inches. C $800-1,200 9 4 A Chinese Cinnabar Lacquer Snuff Bottle Two Chinese Smoky Quartz Snuff Bottles Qing Dynasty Qing Dynasty Of square form and well carved. Height 2 3/4 Each of flattened, rounded-shoulder form. Height inches 2 3/4 inches. C C $600-800 $600-800 5 A Chinese Chalcedony Snuff Bottle Qing Dynasty Of rounded form, subtly carved to show a scholar on a raft. Height 2 1/2 inches. C $800-1,200 Sale Date - 03/15/2021 Page 1 Doyle New York 10 16 A Chinese Chalcedony Snuff Bottle A Chinese White Jade Snuff Bottle Qing Dynasty 19th Century Of rounded form, unadorned. Height 2 3/4 The flattened ovoid body is well carved overall inches. with a basket-weave pattern below the plain C cylindrical neck, the stone a buff tone with $600-800 opaque white inclusions; Together with a Chinese Agate Snuff Dish. Height of bottle 2 1/8 inches. C $2,000-3,000 11 17 Three Chinese Glass Snuff Bottles A Chinese Carved Amber Snuff Bottle Late Qing Dynasty Late Qing Dynasty Of rounded form and with carved mask handles Comprising a rounded realgar bottle, a faux white jade bottle with mask handles and a at sides. Height 2 3/4 inches. faceted ruby glass bottle. Height of largest 2 1/4 C inches. $500-700 C $1,000-1,500 12 A Chinese Agate Snuff Bottle Of compressed globular form, carved in relief with two boys amongst pine and rockwork, beneath a metal mounted neck and mouth rim, 18 the pale honey tone stone with russet and ochre A Chinese Carved Hardstone Snuff Bottle inclusions. Height 2 inches. Qing Dynasty C The ovoid form carved through the speckled gray $800-1,200 and black skin depicting a fu lion and pup in pursuit of a brocade ball, the stone a pale honey tone. Height 2 1/4 inches. C $800-1,200 13 A Chinese Jade and Silver Snuff Bottle The cylindrical jade base surmounted by a silver pagoda. Height overall 2 7/8 inches. 19 C Three Chinese Snuff Bottles $500-700 Late Qing Dynasty Comprising a carved porcelain bottle, a copper red decorated porcelain bottle, and a carnelian bottle . Height of largest 3 1/4 inches. C $800-1,200 14 A Chinese Cameo Agate Snuff Bottle 20 19th Century A Chinese Inside Painted Glass Snuff Bottle The well-hollowed, rounded-square body carved The flattened ovoid form raised on an oval foot, depicting a scholar and a boy atop an ox, the painted on both sides with female musicians. semi-transparent stone a warm honey tone. Height 2 1/2 inches. Height 2 1/4 inches. C C $400-600 $2,000-3,000 15 Two Fine Chinese Lac Burgaute Snuff Bottles Qing Dynasty Comprising a tapering, pear-form bottle and a flattened bottle with figural panels at sides. Height of largest 3 inches. C $800-1,200 Sale Date - 03/15/2021 Page 2 Doyle New York 21 26 A Chinese Imitation Coral Glass Snuff Bottle Two Chinese Jade Snuff Bottles Of elongated ovoid form, carved all over with a Comprising one carved as a finger citron and the basketweave pattern, the bright red tones other as a cicada; Together with Two Chinese mimicking coral. Height 2 1/2 inches. Agate Snuff Bottles. Height of tallest 2 1/2 C inches. $400-600 C $600-800 27 Two Chinese Agate Snuff Bottles Qing Dynasty Comprising one of rounded rectangular form, incised on one side and utilizing the dark brown markings to depict a duck, flanked by a fixed mask and ring handles, the other of compressed ovoid form with dark brown and russet markings. Height of tallest 2 1/8 inches. 22 C A Group of Three Chinese Snuff Bottles $400-600 Qing Dynasty and Later Comprising a red lacquered example of 28 compressed ovoid form, carved with a A Group of Three Chinese Snuff Bottles continuous scene of figures at leisure; an Qing Dynasty and Later enameled example of ovoid form; and a metal Comprising a porcelain example of compressed snuff bottle carved in relief with fu lions in pursuit ovoid form enameled in the round with birds; a of brocade balls. Height overall of tallest 3 1/2 biscuit porcelain example decorated with a inches. writhing dragon; and a banded agate example. C Height of tallest 3 inches. $500-700 C $500-700 23 A Group of Four Chinese Glass Snuff Bottles 29 Qing Dynasty and Later Ten Chinese Blue and White Porcelain Snuff Comprising a semi-transparent ruby red glass Bottles example of compressed ovoid form; a semi- Qing Dynasty transparent blue of pear shape; a faceted semi- Height of largest 3 1/4 inches. transparent blue example; and a red overlay C turquoise glass example. Height of tallest 2 1/2 $800-1,200 inches. C $400-600 30 A Group of Five Chinese Blue and White Glazed Porcelain Snuff Bottles 24 Qing Dynasty A Group of Four Chinese Snuff Bottles Each of cylindrical form, painted in the round Qing Dynasty and Later depicting figures in various pursuits. Height of Comprising a carved turquoise example; a tallest 3 1/4 inches. porcelain example of cylindrical form; a buff jade C example carved with a basketweave pattern; and $400-600 a molded porcelain lotus-form bottle. Height of tallest 3 1/2 inches. C 31 $400-600 A Chinese Carved Agate Snuff Bottle Qing Dynasty Of compressed rounded form, carved depicting 25 two figures seated under pine, the stone a pale A Group of Four Chinese Snuff Bottles gray tone with honey color inclusions and dark Qing Dynasty and Later brown markings. Height 2 1/4 inches. Comprising a jasper example; a pink and black C glass example; an agate example; and a pale $2,000-3,000 pink and brown hardstone example. Height of tallest 2 1/2 inches. C $500-700 Sale Date - 03/15/2021 Page 3 Doyle New York 32 38 A Chinese Tourmaline Bamboo-Carved Snuff A Chinese White Jade Carving Bottle 18th Century Late Qing Dynasty Carved to show a monkey and large peach. Of square form, the light blue stone carved with Length 2 inches. bamboo ribs and leaves. Height 2 inches. C C $800-1,200 $500-700 39 A Chinese White Jade Pebble Qing Dynasty With russet inclusion; carved with peach on branch. Length 1 3/4 inches. C $800-1,200 40 33 A Chinese Strand of Carved White Jade A Chinese Russet Jade Carving of a Goose; Beads Together with a Chinese Gray Jade Carving Late Qing Dynasty of a Mythical Creature Length 30 inches. Depicting a creature with insect wings, human C face, and four animal like legs. Width of largest 2 $700-900 3/4 inches. C $600-800 41 A Chinese Celadon Jade Bangle 34 Qing Dynasty Group of Ten Chinese White Jade Carvings Diameter 3 inches. Qing Dynasty, Republic Period C Length of largest 3 1/2 inches $400-600 C Estate of Ethel L. Farrand $1,000-1,500 42 A Chinese Celadon Jade Pendant Late Qing Dynasty Carved as a cross section piece of bamboo. 35 Length 2 1/2 inches. A Chinese White Jade Beaded Necklace C Late Qing Dynasty $1,000-1,500 Length 24 inches. C 43 $800-1,200 A Chinese White Jade Pendant Qing Dynasty Carved to resemble beans on a vine. Length 2 1/4 inches. 36 C A Pair of Chinese Jadeite and Gilt Silver $1,000-1,500 Earrings Late Qing Dynasty Length 2 inches. 44 C A Chinese White Jade Pendant and Beaded $300-500 Necklace Qing Dynasty Carved as a double gourd, with russet striations. 37 Length 2 inches. A Chinese White Jade Beaded Necklace C Late Qing Dynasty $1,500-2,500 Length 26 inches.
Recommended publications
  • Keeping Watch on Intangible Cultural Heritage: Live Transmission and Sustainable Development of Chinese Lacquer Art
    sustainability Article Keeping Watch on Intangible Cultural Heritage: Live Transmission and Sustainable Development of Chinese Lacquer Art Xiaoting Song 1, Yongzhong Yang 1,*, Ruo Yang 1 and Mohsin Shafi 2 1 Business School, Sichuan University, Chengdu 610065, China 2 School of Economics and Management, Leshan Normal University, Leshan 614000, China * Correspondence: [email protected] Received: 19 May 2019; Accepted: 9 July 2019; Published: 16 July 2019 Abstract: Countries all over the world have been constantly exploring ways to rescue and protect intangible cultural heritage. While learning from other countries’ protection measures, the Chinese government is also constantly exploring ways that conform to China’s national conditions. As China’s first batch of intangible cultural heritage, lacquer art boasts a brilliant history, but many people are not familiar with it today. Moreover, in the process of modernization, the lacquer art transmission is declining day by day, and it is facing unprecedented major crises such as loss and division of history into periods. Hence, it is essential to verify and reveal the challenges and dilemmas in the lacquer art transmission, and come up with corresponding protection measures around these problems. First of all, this research, through literature review, “horizontally” explores the current research status and the universal problems of lacquer art transmission from the macro level. With a view to make up for the deficiencies of the existing research and further supplement the empirical evidence, the current research, with the transmission of “Chengdu lacquer art” as an example and through in-depth interviews, tracks and investigates the whole process of transmission of Chengdu Lacquer Art Training Institute, and “vertically” analyzes the survival situation of lacquer art transmission and the core problems affecting transmission behaviors from the micro level.
    [Show full text]
  • Inheritance, Protection and Innovative Development of China's Intangible Cultural Heritage—Carved Lacquerware
    https://doi.org/10.37420/icaces.2020.031 Inheritance, Protection and Innovative Development of China's Intangible Cultural Heritage—Carved Lacquerware Desai Jiang, Yue Xu College of Arts, Guilin University of Technology, Guilin 541006, China Abstract: This paper studies the protection and inheritance of this precious China’s intangible cultural heritage from the aspects of carving lacquer technology, personnel training and innovation. Focusing on the protection of carving lacquer technology and the innovation in the design and production of carved lacquer handicrafts, it is proposed to protect the carving lacquer technology from three aspects which is intellectual property right, personnel training and raw material. In terms of technical innovation, the possibility of combining carved lacquer with various materials is studied and analyzed. Keywords: Carved lacquer; Arts and crafts; Lacquerware; Intangible cultural heritage 1 Introduction Carved lacquer is a unique category of arts and crafts in China. It can also be called Tihong, Tihuang,Tihei,Ticai and Tixi, because of its different colors. Among them, Beijing carved lacquerware is the most representative example, and has many quality products in the world. Carved lacquer has a long history. According to records, it can be traced back to the Tang Dynasty. The Yuan Dynasty carved lacquer gradually flourished, and the Ming and Qing Dynasties were its heyday of development. Carved lacquer handicrafts have won many awards in international expositions and earned a lot of foreign exchange for the country in special period. In 2006, carved lacquer was listed in the first batch of national intangible cultural heritage list in China. Unfortunately, since the 1990s, the carved lacquer industry has gradually shrunk, as the number of employees is extremely reduced and the trend is aging, cause the inheritance of skills has seriously broken down.
    [Show full text]
  • Langdon Warner at Dunhuang: What Really Happened? by Justin M
    ISSN 2152-7237 (print) ISSN 2153-2060 (online) The Silk Road Volume 11 2013 Contents In Memoriam ........................................................................................................................................................... [iii] Langdon Warner at Dunhuang: What Really Happened? by Justin M. Jacobs ............................................................................................................................ 1 Metallurgy and Technology of the Hunnic Gold Hoard from Nagyszéksós, by Alessandra Giumlia-Mair ......................................................................................................... 12 New Discoveries of Rock Art in Afghanistan’s Wakhan Corridor and Pamir: A Preliminary Study, by John Mock .................................................................................................................................. 36 On the Interpretation of Certain Images on Deer Stones, by Sergei S. Miniaev ....................................................................................................................... 54 Tamgas, a Code of the Steppes. Identity Marks and Writing among the Ancient Iranians, by Niccolò Manassero .................................................................................................................... 60 Some Observations on Depictions of Early Turkic Costume, by Sergey A. Yatsenko .................................................................................................................... 70 The Relations between China and India
    [Show full text]
  • Rank Badges for Civil Officials
    Section 2. Cranes and Peacocks: Rank Badges for Civil Officials Introduction Scholar-officials (called mandarins by Westerners) held the most prestigious positions in the Chinese imperial bureaucracy. As early as the Zhou dynasty (1027–256 BCE), court officials were selected based on ability. In the Tang dynasty (618–907) candidates for office were tested on their literary knowledge. It was the Qing dynasty (1644–1911), however, that refined the multi-tiered examination system; until their abolition in 1905, passing these examinations was the most certain path to social and material advancement for the successful candidate and his family. Candidates aspired to posts on the emperor’s advisory council (for first-rank officials) or to a provincial post. With further study a mandarin might gain promotion to the higher ranks—some ranks could also be purchased. There were nine civil ranks, each represented by a bird, with minor variations between the Ming and Qing dynasties. Birds were selected because they featured frequently in literary works and literati paintings. It could take years to obtain an appointment and once achieved, there were rules of appropriate behavior for civil officials. For example, they were not permitted to walk, but were required to travel in a sedan chair with the number of attendants and outriders appropriate to their rank—these could number more than fifty men. For mandarins above the fourth rank, all street traffic had to stop when they passed, gongs were beaten, and cannon fired when they entered or left a building. From a very early age boys were prepared for success in the examinations.
    [Show full text]
  • English Version
    Bat Cave: Treasures of the Day and Chamber 1 14 Hard wood case carved with bats and clouds 27 Vase with bats, gourd vines, and character 40 Hair ornament with bats in gilt silver and gems 53 Gourd-shaped wall vase with bats and Qing dynasty, 19th century “shou” in underglaze blue Qing dynasty, 19th - early 20th century characters “daji (luck)” in famille-rose enamels Creatures of the Night 1 Dish with bat-and-peach design Mark and period of Qianlong (1736 - 1795), Qianlong period (1736 - 1795), Qing dynasty Cheng Xun Tang Collection Mengdiexuan Collection in famille-rose enamels Qing dynasty Exhibit Checklist and Gallery Floor Plan Mark and period of Yongzheng (1723 - 1735), Huaihaitang Collection Huaihaitang Collection Qing dynasty 41 Copper snuff bottle with Daoist immortals in enamels falangcai 54 Gourd-shaped jade scent holder with bats Hong Kong Museum of Art Collection, 15 Pair of bowls with five bats in underglaze blue 28 Dragon-handled vase with a hundred “ ” Mark and period of Qianlong (1736 - 1795), shou and characters “ (luck)” in openwork Gallery Floor Plan Donated by B.Y. Lam Foundation Mark and period of Yongzheng (1723 - 1735), characters in gilt on lime green ground Qing dynasty daji Qing dynasty Mark and period of Qianlong (1736 - 1795), Qing dynasty (1644 - 1911) Qing dynasty Huaihaitang Collection 2 Dish with bat-and-peach design C. P. Lin Collection Hong Kong Museum of Art Collection in famille-rose enamels Mark and period of Yongzheng (1723 - 1735), Yi Tak Tang Collection 42 Pair dishes with bats, peaches, and seascape 16 Gourd-shaped bottle with bat-and-cloud Qing dynasty in doucai enamels design in doucai enamels 55 Jade pendants in blessings-and-longevity- th 29 Bat-handled vase with floral patterns and Mark and period of Yongzheng (1723 - 1735), Collection of the Art Museum, CUHK, Qing dynasty, 18 century before-your-eyes design characters “ ” in enamels Qing dynasty th Gift of B.
    [Show full text]
  • Textiles, Technology, and Gender in China
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by East Asian Science, Technology, and Medicine (EASTM - Universität Tübingen) EASTM 36 (2012): 167-176 Epilogue: Textiles, Technology, and Gender in China Dorothy Ko [Dorothy Ko is Professor of History at Barnard College, Columbia University. She is a cultural historian whose research focuses on gender and the body in early modern China. Her recent monograph, Cinderella’s Sisters: A Revisionist History of Footbinding (California, 2005), seeks to locate the practice of binding feet in the history of fashion and textile production. She is writing a book on the female inkstone carver Gu Erniang (fl. 1700-1724), a case study in the making and circulation of things and knowledge in the high-Qing empire. Contact: [email protected]] * * * The seminal research of Francesca Bray (1997) and Susan Mann (1992, 1997) on women and domestic work, especially textiles, have inspired a generation of new research in cultural history and art history, and the articles presented in this special issue attest to the productivity of this emergent field of inquiry. But curiously, historians of science and techno- logy—Bray’s intended audience—have been slow in embracing gender in their research agendas (with the notable exception of historians of medi- cine.) The reasons for this lacuna are complex, but the three articles gathered here suggest at least one answer: that one cannot take gender and women seriously without questioning existing paradigms about innovation, knowledge-making, and skills, and thus the very meanings of “science” and “technology.”1 Women and Innovations in Textile Technologies The three authors bring a range of disciplinary concerns and interdiscipli- nary methods to bear on their inquiries, revealing in the process the com- plexities that belied the simple rubric of “textile technology.” One salient 1 For enabling definitions of “science,” technique” and “technology,” see Bray 2008.
    [Show full text]
  • Download Article (PDF)
    Advances in Engineering, volume 100 International Conference on Manufacturing Engineering and Intelligent Materials (ICMEIM 2017) Research on Production and Use of Silk Material for Mounting Traditional Chinese Calligraphy and Painting 1 2 Chun-hua Gu ,and Qin-ru Huang 1College of Textiles & Clothing, Anhui Polytechnic University,Wuhu,China 2College of Textiles & Clothing, Anhui Polytechnic University,Wuhu,China Keywords: Silk, Material, Production, Use. Abstract. There is a long history of mounting traditional Chinese Calligraphy and Painting. The mounting technology became more and more skilled and impeccable after the developed in Song, Yuan, Ming and Qing dynasty. The production of silk material--brocade, kesi, damask silk and silk tabby mounting for Chinese ancient calligraphy and painting became more ripen, there are different production places, production way and usages in different historical periods. Introduction From Jin dynasty on, the mounting art became popular. The silk manufacturing technology arrived at a higher level in Sui dynasty, and it had taken sharp that the production of brocade, damask silk and silk tabby. At the same time, the mounting technology got a new development. It had peaked in Song dynasty. Although the Art academies system had been canceled in Yuan dynasty, the people still pay more attention to mounting painting and calligraphy. They had sent the court calligraphy and painting to Hangzhou to mounting. There were mounting shops in Ming dynasty, while there were the best pavilions like Art academies in Qing dynasty. The calligraphy and painting wrote by emperor and the images of emperor and empress mounting in the court house all time [1]. During the Song, Yuan, Ming, Qing and other dynasties period, there were different production way and usages in silk material -- brocade, damask silk and kesi which mounting for traditional Chinese calligraphy and painting.
    [Show full text]
  • Lacquerware Qīqì ​漆 器
    ◀ K Comprehensive index starts in volume 5, page 2667. Lacquerware Qīqì ​漆 器 Lacquerware—objects made of wood, metal, versatile, as shown by the wide range of objects included or porcelain to which layers of lacquer have among the wares. been applied— first developed as an art form East Asian lacquer is different from the lacquer that in China and dates from about 1600 bce. forms the basis of some of the varnishes used in the japan- ning (applying varnish to yield a hard, brilliant finish) of Carved lacquer is a uniquely Chinese achieve- European furniture from the sixteenth century onward. ment and is considered lacquer art in its pure Differences exist in chemical composition and sources: form. The English resin lac or shellac comes from a substance deposited on trees by certain species of insects. Two broad categories of lacquer objects exist. In one acquerware refers to wares that are made of wood, category the lacquer has been applied largely to protect metal, or porcelain to which lacquer has been ap- and to decorate. Therefore, the application of lacquer does plied. Lacquer is the resin or sap of the lacquer not change the form of the objects, such as wooden chairs, (rhus verniciflua) or varnish tree, which is native to central that are so decorated. In the second class the objects, such and southern China and perhaps to Japan. When lacquer as containers, are made mostly of leather, supported by is applied to wood, metal, or porcelain, it gives the ware a nonlacquer core. The core can be wood, hemp cloth, or a smooth, hard, transparent, and shiny surface.
    [Show full text]
  • Embroidering Guanyin: Constructions of the Divine Through Hair*
    EASTM 36 (2012): 131-166 Embroidering Guanyin: Constructions of the Divine through Hair Yuhang Li [Yuhang Li is a Mellon Postdoctoral Fellow at Grinnell College, and will start to teach as an assistant professor of Chinese Art History at the University of Wisconsin at Madison in the fall of 2013. She received her Ph.D. from the University of Chicago in 2011, and was a postdoctoral fellow at Yale University from 2011 to 2012. She is the author of “Oneself as a Female Deity: Representa- tions of Empress Dowager Cixi as Guanyin,” Nan Nü 14 (2012). She is currently completing her book manuscript entitled Gendered Materialization: An Inves- tigation of Women’s Artistic and Literary Reproduction of Guanyin in Late Imperial China. Contact: [email protected]] * * * Abstract: Hair embroidery was a particular technique practiced by lay Buddhist women to create devotional images. The embroiderers used their own hair as threads and applied them on silk to stitch figures. This paper will analyze the religious connotation of hair embroidery, the ritual process and the techniques for making hair embroidery in the Ming (1368-1644) and Qing (1644-1911) dynasties. By tracing its appearance in both literary texts and actual surviving objects, this essay will ask how and in what circumstances human hair was applied to embroidery? What was the significance of transferring one’s own hair onto an icon? How did hair embroidery combine women’s bodies (their hair) with a womanly skill (embroidery) to make a unique gendered practice in late imperial China? During various stages of writing this paper, Paul Copp, Jacob Eyferth, Anup Grewal, Marsha Haufler, Dorothy Ko, Viren Murthy, Angela Sheng, Susan Strauber, Wu Hung, Chun-fang Yu, and Judith Zeitlin have offered their insightful comments and suggestions.
    [Show full text]
  • The Embodiment of Craftsman's Spirit in Silver Inlay Lacquerware and Its
    Advances in Economics, Business and Management Research, volume 155 Proceedings of the 2020 2nd International Conference on Economic Management and Cultural Industry (ICEMCl 2020) The Embodiment of Craftsman’s Spirit in Silver Inlay Lacquerware and Its Inheritance in Furniture Design Geng Yien1, Dong Wenying1, * 1Art Design, Sichuan Agricultural University, Chengdu, Sichuan, China *[email protected] ABSTRACT Analyses and investigates the craftsman’s spirit and the silver inlay lacquerware, as well as the crafts of “silver inlay”, “texture engraving”, and “halo color” in the process of silver inlay lacquerware’s “carved silver silk halo design”. Interpretation the craftsman’s spirit of the Chengdu silver inlay lacquerware, which includes improving constantly, constant striving for perfection, innovation and compatibility. Discusses the methods of applying the craftsman’s spirit embodied in the silver inlay lacquerware to the modern furniture design both from theory and practice aspect. Find a way to combine traditional culture, modern art education and modern furniture design, so as to inheriting and carrying forward the excellent traditional crafts and the craftsman’s spirit of them as well as offering new ideas for furniture design. Keywords: Silver inlay lacquerware, carved silver silk halo design, craftsman’s spirit, furniture design Then carved the line texture on the silver flake that inlaid 1. INTRODUCTION in the lacquerware, and finally apply the transparent lacquer. Due to the crafts of carving, embedding and Lacquerware occupies a pivotal position in the history of lacquering, the lacquerware patterns are vivid, stereoscopic Chinese handicrafts, from the Neolithic Age to the present, and rich in layers. The ingenious integration of various lacquerware has evolved from simple and practical to craftsmanship also makes the silver inlay lacquerware elegant art.
    [Show full text]
  • Asian Antiquities & Decorative Objects!
    Asian Antiquities & Decorative Objects! – SESSION TWO Friday May 5th @ 5:00PM 16% Buyers Premium In-House & 21% Buyers Premium Online/Phone (425) 235-6345 SILENT AUCTIONS Each. Gold and silver thread embroidery with polychrome silk. A true pair of Lots 1,000’s End @ 8:00PM Mandarin squares. Scattered edge fray. 19th century, Qing dynasty. Lot Description 506 Pair Chinese Silk Calligraphy Sleeve Panels 21.5"x6". Unusual pair with lines of 500 Chinese Imperial Dragon Silk Brocade Robe calligraphy and a red artist chop seal. 52"x83". Fine gold thread imperial Polychrome forbidden stitch silk embroidery five-clawed dragons against a cobalt blue with precious objects and blossoming prunus ground. Depicts nine dragons chasing the flower motifs. A true pair with yellow flaming pearl with one hidden. It has all five ground. Light overall wear. 19th century, of its original gold buttons. Excellent Qing dynasty. condition with light edge fray and staining. 507 2 Pairs Chinese Silk Embroidered Sleeve Early to mid 20th century, late Qing or Panels. Polychrome silk embroidery against Republic era. a pink coral ground. One has bats with a gold 501 Chinese Imperial Dragon Silk Brocade Panel thread border 31"x6" each and the other has 64"x31". A framed robe panel depicting four scholarly objects with a censer 34"x5.5" silver thread five-clawed imperial dragons each. Slight edge fray with some staining. chasing the flaming pearl. Framed 66"x33". 19th century, Qing dynasty. Excellent condition. Early to mid 20th 508 2pc Chinese Mandarin Silk Embroidered century, late Qing or Republic era. Robe & Skirt.
    [Show full text]
  • A COMMEMORATIVE RED, BLACK and BROWN LACQUER RECTANGULAR PANEL Lot 41 / Sale 6637 QIANLONG (1736-95)
    A COMMEMORATIVE RED, BLACK AND BROWN LACQUER R... http://www.christies.com/lotfinder/LotDetailsPrintable.aspx?intObject... A COMMEMORATIVE RED, BLACK AND BROWN LACQUER RECTANGULAR PANEL Lot 41 / Sale 6637 QIANLONG (1736-95) Price Realized £22,705 ($35,965) Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees or application of buyer’s or seller’s credits. Estimate £15,000 - £25,000 ($23,760 - $39,600) Sale Information Sale 6637 CHINESE CERAMICS & CHINESE EXPORT CERAMICS & WORKS OF ART 12 November 2002 London, King Street Lot Description A COMMEMORATIVE RED, BLACK AND BROWN LACQUER RECTANGULAR PANEL Qianlong (1736-95) Finely carved to depict the victorious army of General Agui advancing through the mountains of Sichuan and laying waste the stone forts of the rebel forces, the sky with an inner panel enclosing a long inscription describing the campaign, all within a frame carved with dragons contesting flaming pearls amidst clouds, the reverse painted in gold and red with auspicious emblems and bats amidst clouds on a black lacquer diaper ground 24 5/8 in. x 39 3/8 in. (62.5 x 100 cm.) Special Notice No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis Provenance Christie's New York, 21 March 2000, lot 70 Spink and Son Ltd., 1983, cat. no. 3 Lot Notes A similar panel is illustrated by D. Clifford, Chinese Carved Lacquer, London, 1992, p.125, pl.99, where the author notes that the panel shows the campaign of General Agui, sent in 1771 to suppress an uprising in the mountains of Sichuan.
    [Show full text]