A magnificent and very large rhinoceros horn 'Romance of the Western Chamber' libation cup


17th centuryOf massive proportions and naturalistic tapering form, carved and pierced in high relief with figural scenes inspired by the Xixiang ji ('Romance of the West Chamber'), the figures in various activities amidst pavilions, shrines and walls, walking on rocky ledges, riding pack-animals and carrying a palanquin, all amidst large gnarled pine forming the handle, pawlonia, cypress, willow and plantain growing from jagged outcrops below clouds and above a stream, the interior carved below the tri-lobed spout in high relief with five scholars and attendants on a bridge opposite the pine-handle growing over the rim, carved hardwood stand, box. 20cm (7 7/8in) high x 20.5cm (8 1/8in) across (3).
|十七世紀 犀角雕「西廂記」大杯Provenance: Chung-Kit Fok Collection, CanadaSotheby's Hong Kong, 8 October 2006, lot 1137Angela Chua Collection, Hong KongExhibited:Hong Kong Museum of Art, Metal, Wood, Water, Fire and Earth: Gems of Antiquities Collections in Hong Kong, 2002–2005 Published and Illustrated: T.Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, p.191, no.138來源：加拿大霍宗傑先生收藏香港蘇富比，2006年10月8日，拍品1137香港蔡劉木蘭女士收藏展覽：2002-2005年間於香港藝術館《金木水火土：香港文物收藏精品展》中展出出版及著錄：霍滿棠，《中國犀角雕刻珍賞》，香港，1999年，頁191，圖138The present cup is remarkable for its very large proportions and superb multi-layered three-dimensional high-relief carving. The large size and depth of the rhinoceros horn allowed the master carver to create a detailed design drawing its inspiration from Xixiang ji (西廂記 'Romance of the Western Chamber'). The meticulous design includes an impressive thirty-four figures within a complex setting filled with various trees, rocky ledges and outcrops, shrines, pavilions and walls. The Romance of the Western Chamber, formally written into the story we recognise today by playwright Wang Shifu 王實甫 (1250-1300), was immensely popular among all levels of society. Woodblock illustrations in the many editions helped conventionalise images that were instantly recognisable to the general public, thus creating a corpus of motifs that was widely used by painters, silk embroiderers, lacquer workers and other craftsmen including rhinoceros horn carvers. The scenes depicted around the exterior include:Scene 3 (Book 1). The Young scholar Zhang Sheng while on his way to the capital to sit for the Imperial civil service examinations, stays at a monastery where he sees and falls in love with Cui Yingying, the daughter of the deceased chief minister at the Tang Court. Scene 4 (Book 1). Shortly after Zhang asks permission from the abbot to stay at the monastery. He is shown seated respectfully before the abbot and another monk with shaved heads. Scene 6 (Book 1). The memorial service for Mr Cui, which has brought Cui Yingying and her mother to the temple, is held in the temple. The service is led by the abbot before a minutely carved figure of Buddha. Scene 8 (Book 2). News of Cui Yingying's beauty has spread and the local bandit, Sun the Flying Tiger and his troops, have surrounded the monastery in the hope of taking her. Yingying's mother agrees that whoever can drive away the bandits can have Yingying's hand in marriage. Zhang promises he will disperse the bandits and gives the fighting monk Huiming (with stick) a letter asking his childhood friend, General Du Que, for help against the bandits. Scene 13 (Book 4). The general subdues the bandits, and it seems that Zhang Sheng and Cui Yingying are set to be married. However, Yingying's mother begins to regret her rash promise to Zhang, and takes back her word, with the excuse that Yingying is already betrothed to the son of another high official of the court. Zhang is greatly disappointed and begins to pine away playing the zither or guqin, while Yingying and Hongniang tiptoe to the window to listen. Scene 16 (Book 4). Zhang and Yingying begin exchanging love letters. Zhang having read Yingying's letter, rushes to meet her in the garden and even climbs over the wall, supporting himself with the willow branches. Yingying, however, turns away, angry at his uncouth behaviour, while Hongniang rebukes him. Scene 20 (Book 6). Zhang finally departs for the capital to sit for his exams, bidding farewell to Yingying. His servants carry in carts his luggage, books and scrolls, symbolising literally the weight of his erudition. Scene 21 (Book 6). While sleeping at an inn, Zhang dreams that Yingying has left the monastery and joined him. The dream is depicted within a balloon, a tradition commonly seen in woodblock prints. Scene 25 (Book 8). The final scene depicted in the interior, shows Governor Du Que rejecting Yingying's cousin Zheng Heng's claim to marrying Yingying at court. With no obstruction, Zhang and Yingying can finally be happily married. Figural scenes on rhinoceros horn carvings, porcelain, jade or lacquer were treasured for their reference to a particular novel or play well known by the literati. Compare a related rhinoceros horn cup, entitled 'West Wing Picture', from the Field Museum of Natural History, which appears to depict a number of similar scenes to the present cup, illustrated by J.Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, p.209, fig.287; see also a further related rhinoceros horn 'Orchid Pavilion' cup, 17th century, illustrated by T.Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pp.192-193, no.139, which was later sold at Christie's Hong Kong, 27 May 2008, lot 1709.See a related rhinoceros horn 'Peony Pavilion' libation cup, 17th century, which was sold at Christie's Hong Kong, 30 November 2011, lot 3039. Compare also a related but smaller rhinoceros horn 'Romance of the West Chamber' libation cup, signed Zhi Sheng, 18th century, which was sold at Sotheby's Hong Kong, 8 October 2013, lot 3247.以人物故事題材為犀角雕刻裝飾紋飾十分盛行於明清時期，有以《赤壁賦》、《蘭亭序》、《西廂記》、《牡丹亭》等典故為題的作品，這類裝飾題材也有見於以其他材料製成的作品，如瓷器、玉器及漆器等。此杯以高淺浮雕和透雕等技藝描繪出《西廂記》的故事人物片段，構圖巧妙精彩，人物描繪活靈活現，技藝精湛，堪稱犀角雕精品。其中可考的畫面有佛堂奇逢（第一本第一折）；僧房假寓（第一本第二折）；齋壇鬧會（第一本第四折）；忠明寄書（第二本第一折）；鶯鶯聽琴（第二本第四折）；乗夜逾墻（第三本第三折）；長亭分別（第四本第三折）；草橋驚夢（第四本第四折）；衣錦還鄉（第五本第四折），據《繡像西廂時藝》，康熙四十二年（1703）本。與本器相類之例可參考芝加哥自然歷史博物館藏一例，見Jan Chapman，《中國的犀牛角雕刻藝術》，倫敦，1999年，編號287；另參考松竹堂舊藏一件十七世紀蘭亭序大杯，錄於霍滿棠，《中國犀角雕刻珍賞》，香港，1999年，頁192-193，圖139，後售於香港佳士得，2008年5月27日，拍品1709。香港佳士得曾售出一件十七世紀犀角雕《牡丹亭》杯可資參考，2011年11月30日，拍品3039。也可參考香港蘇富比售出一件十八世紀《西廂記》杯，2013年10月8日，拍品3247。