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来自北美的冬季拍卖会

掌上历史
2017-01-24
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倒数3天就是期待已久的冬季拍会,把握找失落美洲的宝物

3 more day

Lot 7: http://en.51bidlive.com/Item/536984

迷幻镜花水月,慈美的除难观音

水月观音为三十三观音的化身之一,早期只能在敦煌壁画中找到。传说在古姑苏(今苏州)因战火,数十万百姓被杀变成冤魂,观音心生慈悲化作美丽妇人下凡作善四十九天。后来众人悟到妇人就是观音菩萨的化身,上前拜道之际却已消失在月亮的水中月影。

展开剩余98%

明朝以前,观音的化身都描绘为男性,而此作品正是制于当代,正是观音还是男性的时代。

此作品以青铜製作,鑑赏价值甚高,其纹饰工艺更反映代年的时代兴衰。但这艺术品最着眼的部份莫过于观音脚下的麒麟,寓意吉祥和慈爱。

A rare parcel gilt bronze seated figure of 'Water-Moon' Guanyin, Late Yuan/ Early Ming 13th-14th Century. The bodhisattva shown seated in rajalilasana with left leg pendent and resting on a recumbent Qilin, the right arm extended resting on the right knee, the face finely cast with a contemplative expression that embodies both male and female characteristics, the hair in long knotted plaits falling onto the shoulders and adorned with a crown, the figure seated on an ungilded integral rocky base.

141)Rare shadow agate Snuff Bottle, Qing Dynasty

lot 141: http://en.51bidlive.com/Item/537119

玛瑙鼻烟壶:

罕有的清朝鼻烟壶制品,全体以玛瑙制成,正中央刻有红黑色泽的禽鸟贝类,雕刻了一只飞翔的鹰,体现了一番大自然原生态的感觉。全体油润,从玛瑙的色泽上可以断定是不可多得的优质品,顶端时雕刻着绿玉和封顶的偏橙色调的玛瑙。高5.3厘米。

苏州制的玛瑙品著名于其高品质和手工,而这古物的原产地正是苏州。

Rare shadow agate Snuff Bottle, Qing Dynasty Circa 1750-1850, Probably Suzhou carved, of oblong flattened flask form, with rounded shoulders curving inwards at the base all resting on a finely squared, recessed and polished foot rim, honey colored agate well worked with shadow inclusions, cleverly relief-carved to depict an eagle, a snail and another shell below, later stopper. 2 1/8" h., 5.3 cm. [Excluding stopper].

81)Large celadon jade Hu-form archaistic vase, Ming Dynasty

lot 81: http://en.51bidlive.com/Item/537058

壶型古代玉器:

明朝制品,以玉打磨成壶型瓶器,由古代雕刻拼凑成装饰,巧妙地映托了此玉器的价值,附有赤龙图腾的把手呈现出管状,其蜿蜒向上的曲线,都体现了整体的美感,在瓶腰处淡淡地印刻了对称的龙像,全体瓶身都附有丰富的雕刻,实在是展现精致雕工的一件宝物,瓶口也被打磨圆滑,高18.7厘米,瓶身的围度恰如引诱人一般的饱满,完美对称的图腾,都无一不展示了它的珍贵。

A large celadon jade Hu-form archaistic vase, Ming dynasty, flattened Hu-form and worked with bands of archaic decoration, centered on both sides by a panel of entwined chilong, tubular lug handles at the waisted neck, all raised on a low spreading oval foot, Imperial Zitan stand. 7 3/8" h., 18.7 cm. [excluding stand]

75) Mutton Fat White Jade 'HeHe Erxian', Ming Dynasty

lot 75:http://en.51bidlive.com/Item/537052

白玉和合二圣,破不灭的友情

和合二仙,亦称和合二圣,为掌管和平与喜乐的神仙,为拾得与寒山两位名僧之合称。相传两位高僧因为情感融洽,故能保佑世间朋友友谊长存,情侣情意绵长。此白玉二圣被雕制於明朝期间(14-15世纪),当时的白玉工艺未尝成熟,但造功却如此精巧细致。相信只有当是明朝帝国专属的珠宾工房裹资深的专家学所制作

A rare mutton fat white jade group, Ming Dynasty (circa 14-15th Century), worked with two boys side by side, one standing and holding a lotus branch stretched and arched over his shoulder (Shide), the other nestled against his friend from a sitting pose and holding a box (Hanshan), the two known as the HeHe twins or HeHe Erxian.

The standing Shide with head turned and with a sweet expression as he glances over towards his friend and Hanshan replies the affectionate greeting with his head angled up and a glowing smile on his face, the wonderful stone is considered to be a quartered mutton fat white jade pebble and is of fine even white tone with little to no inclusions visible. Details are finely rendered using carving on different planes and the whole elegantly polished throughout. 2 1/2" L., 6.3 cm.

Lot notes: Carvings from the Ming dynasty in white jade are rare. The purity of the subject and the high quality of the stone suggests this was likely produced in the Imperial Jade Workshops of the first half of the Ming. This is an early and fine example of the HeHe Erxian boys. <<"Han Shan and Shi De were monks and good friends in the Zhenguan Period of Tang Dynasty. The Chinese characters for “harmony and good union as a phrase (hehe) mean a harmonious mind, reconciliation, and smooth going. The god of harmony and good union, originally was in charge of family relationships, gradually evolved into the god of marriage. It also changed from one god to two gods, one holding a lotus and the other a treasure box. Han Shan and Shi De were officially canonized as the God of Harmony and the God of Good Union in the first year of Yongzheng rule in the Qing Dynasty. They are widely regarded as gods who bless love between husband and wife.

62) A 'Longquan' celadon tripod dish, Ming dynasty

lot 62:http://en.51bidlive.com/Item/537039

龙泉瓷盘:

明朝制品,以瓷制作的盘子,透着灰绿色光泽,外缘印刻有八卦阵,内部呈棕色部分描画的是叶子,灰绿色的瓷器岑托出其淡然和清新,八卦阵的刻画又与宗教信仰先关联,作为明朝时候所使用的食用器皿,其特色更放映了但是社会重文采,偏好于淡然情怀却又不失艺术气质的风气。可想而知,此物件的出现是具有丰富社会意义的。直径为33厘米。

A 'Longquan' celadon tripod dish, Ming dynasty, of stoutly potted circular archaic form with unglazed central reserve of foliage, Bagua band exterior, on three mask feet. 13" dia. (33cm dia.)

Provenance: Sothebys New York

106)A Rare Imperial Beijing Glass Tripod Censer, Qianlong

lot 106:http://en.51bidlive.com/Item/537084

乾隆玻璃制三脚鼎

此作品追索至乾隆时期,以高火制作的玻璃功艺极为罕见。整作品以猛兽为主旨,手柄以狮子作题材,令鼎增添一份威严,再以其爪作脚;原来只是烧至焦糖色的外表,被工匠巧妙地切割至平衡而雪白的表面,面本带的焦糖部份再更上一层楼的作为各种神兽,造功精美讲究至极。 这作品原为瑞典收藏家Carl Lindgren所拥有,他于1863年在中国大沽行船,后来因身体问题于1870年11月回到伦敦后于1871年病逝,作品就由其家人承继。

A rare Imperial Peking glass tripod censer, Qianlong Period, of stout globular form with carved lion and ring handles, tripod stylized animal head feet and waisted neck rising to a rim with bail handles, the thick walled caramel color body deeply cut to reveal white glass with a band of double chilong and 'c' scrolls below a lappet ring band, hardwood fitted base and cover with agate finial. 5 1/8" h., 13 cm. [excluding stand]

Provenance: Previously from the collection of Carl Lindgren (1843-1871) a Swedish Sea Pilot and Businessman Carl Lindgren (1843-1871). He came to Taku close to Tianjin in 1863, at that time China's most important port north of Shanghai. Due to health problems Carl Lindgren left China in November 1870 and died in London during the spring 1871. This glass censer was among the things collected by his family after his death. By descent within the family. From a Montreal Collector Lot notes:"A new chapter in the history of Chinese glassmaking began in 1696, the thirty-fifth year of the reign of Kangxi, when a glass factory was established within the imperial city in Beijing under the direction of the Jesuit missionary Kilian Stumpf (1655-I720). The type of glass produced there, of which this vase is an example, was subsequently known in the West as Peking glass. Craftsmen were recruited from Boshan, the traditional center of glassmaking in China, and from Guangzhou (Canton). The workshop's peak period, in both quantity and quality of its wares, was between 1740 and 1760, in the early reign of the Qianlong emperor. Palace records show that Jesuits with expertise in certain Western glassmaking techniques were active in the workshop at this time. After 1760, glass production in the palace workshop declined rapidly, as did the quality of the wares." -Metropolitan Museum New York Bulletin.

Carl Lindgren (1843-1871)

Lindgren’s permit for travelling in and out of China

Lindgren出入中国之证件

59) Qianlong period brushpot with guan type glaze (Lot 59)

lot 59:http://en.51bidlive.com/Item/537036

乾隆时期笔筒:

以光釉为原材料制成的笔筒,经过判定是乾隆时期的作品,由两部分组成,一部分是支撑本体的三脚架,另一部分是画有狮子头像的杯部,此作品透着灰色的光泽,是瓷窑的一种类型,常用于古时代笔墨工具的置放,出现于书香门第和达官贵人之家,也代表了收到教育的程度,也是一种反映社会阶级的工具。由于古时候,常云:贵人之家笔墨也,也代表的是只有一定社会身份的人,才有资格去接触文房四宝墨香飘逸也。

A Qianlong period brushpot with a Guan - Type glaze. The brush pot potted in two parts, a tripod stand and a cup flanked with lion head masks, the glaze of blue-ish grey color, the crackle with certain lines painted with pigment and re-fired in the kiln for the pigment to be absorbed.

4 1/4" h., 10.7 cm.

Provenance: A French Home. A Montreal Collector

80)A rare Chinese jade Dhyana mudra Buddha - Liao Dy.

lot 80:http://en.51bidlive.com/Item/537057

辽朝的「艺」,古物的「美」。

中国的佛教历史悠久深远,加上制玉的功艺技术到唐朝才渐催成熟,可见出产自辽朝的中国古玉佛象已是寥寥可数的历史文物。此佛象以禅定印的方式,双手手心向上放在下腹,并以吉祥坐的姿态坐立於莲花上,表示禅思,使内心安定之意。

A rare Liao Dynasty Chinese jade Buddha depicted in Dyana mudra or meditation pose, depicted sitting upright in with eyes closed and hands together palm up in his lap. Feet are held in the full lotus position with the souls of the feet facing up. Buddha sits atop a stylized double lotus throne. The stone of a celadon tone with sugar inclusions. Some alteration is visible, some earthen encrustations extant. 3 3/8" h., 8.5 cm.

Provenance: From a Pennsylvania Collection Lot notes: Religious icons in jade are particularly rare and usually from a much later date than the present lot. Although in modern terms 8.5 cm is not a very large size - for the time this statue was produced that was among the largest size items one might expect in jade. This would have been produced for an altar in a meditation sanctuary of a temple.

74) White Jade Mythical Beast, Qing Dynasty,17/18th c.

lot 74: http://en.51bidlive.com/Item/537051

不甘留在博物馆的中国灵兽—獬豸

此羊脂白玉制的庄严法兽出自17-18世纪的明朝,是为獬豸。獬豸是像徵公正丶廉明丶忠贞职守之意的灵神,头顶正中一独角,圆润浮凸大眼晴看似会看穿所有事物的真相。獬豸一般都会被摆放在学者专家的桌子上,尤其玉制的獬豸更被纳入博物馆的保护物之一。除此之外,传闻乾隆帝爱玉成癖,此雕刻品的设计和质素更达到乾隆帝的收藏要求,是非常罕见的珍贵品。

A white jade Mythical Beast, Qing dynasty 17/18th c., the recumbent beast formed nicely from a quartered mutton fat white jade pebble, the beast is shown with one horn on it's head, two side swept ears, bulbous eyes and a flattened nose and jade, nose forming a stylized Lingzhi, the body with strong definition to depict body strong body shape, the hindquarters with a bifurcated tail, the beast is grasping a Lingzhi branch which is elegantly carved to show gnarls and a leaf along with the mushroom (Lingzhi), the stone of an even milky white texture with natural russet highlights to one side, wood stand. 2 3/8" L., 6cm.

Provenance: From A Montreal Collector Lot Notes: Jade beasts such as this were carved with lifelike and supernatural characteristics because they sat as a friend on a scholar's desk. Typically an animal such as this would be used as a brush-rest. Many such scholars desk set's and treasure boxes are preserved in the Place Museum in Taipei. This elaborate tradition employing small jade animals such as this was observed by only the highest officials and especially Emperor Qianlong himself who was a tireless collector of small jade curios. The style observed here is typical of the highest level works produced at the end of Ming in the first half of the 17th century however many of these stylistic traditions continued until the Qianlong period so it it is difficult to specify. It is well known that this type of material was very rare and expensive especially before the later Qianlong period.

72) A pale celadon archaistic jade vase, 18th. c.

lot 72: http://en.51bidlive.com/Item/537049

五龙交织,神幻云轮显「圣」。

灰白绿古玉,於18世绝康熙朝隆时代出自北京宫廷御用玉制师之手。本玉尊罕有地结合异国元素,以「象头」作花瓶手柄并以「象鼻」凌驾手环,极显灵洁感。除此之外,玉尊水滴型的瓶身切割,鲜有地雕刻上传统中国古龙设计。根据玉尊的藏书记录,玉制品用上古代图案的机会甚微,一般只会出现在青铜器上。但如此两代艺术的串联,线条轻巧地刻画历旧的图案特显庄严感,令整个古玉花瓶格外神圣。

曾由著名收藏家Count Primo Alsocernantoni Louis von Cseh (伯爵)所擁有,並於1963年7月16日在纽约的Christies拍賣會中賣出,這玉瓶在當年已被視為重要拍賣品,上一手藏家來自蒙特利爾,最後由Valeona Gallery帶給大家。

A pale celadon archaistic jade vase, 18th. c., Kangxi - Qianlong, Beijing Imperial Workshop, of flattened HU form with elephant head handles and suspended rings, carved in relief with an interwoven stylized pattern of archaic dragons, below a wide wavy band under the rim, stone of even translucent light celadon color. 8 1/2" h., 21.8 cm.

Provenance: -Collection of Count PrimoAlsocernantoni -Louis Von Cseh of New York City -1963 July 16th Christies New York. Lot 22 -Montreal Collector Lot Notes: Archaic motifs are commonly incorporated into jade carving design however the present lot exhibits a very respectful invocation of traditional motifs original to an ancient Chinese bronze. the carver of this object possesses Scholarly knowledge of ancient bronzes as well as a high level of skill suggesting that this vase could have been produced in Beijing on imperial commission.

77) White jade 'Cats and Dragonfly' group, 18th c.

lot 77: http://en.51bidlive.com/Item/537054

家堂福齐,「三猫」的隐藏故事。

此玉尊出自乾隆时代的宫廷玉製师之手。古代的玉艺作品都离不开神兽和大自然境物,加上乾隆时代玉艺品的品质监製非常严格,但如此高质素的和田玉却和「猫与蜻蜓」结合,营成强烈的违和感,暗地裹反托出当中的神隐疑迷。玉尊凋画出两大一小的猫咪和气地在叶片上依偎着一起,大猫口中更担着一只蜻蜓。原本一切喻意着蚕的守护者,因为猫有驱赶鼠患之意。还有「蜻」一字有「清」之意,喻意和平,有「福」,「禄」,「寿」之意。

White jade 'Cats and Dragonfly' group, 18th c., Qianlong Period - Attributed to Palace workshop Beijing c. 1760-1795. Well worked as one large and two smaller cats, the larger depicted with a dragonfly grasped in its mouth, all recumbent on a naturalistically rendered leaf selectively eaten in a linear track by a worm, the white pebble stone of even tone and with natural russet markings. 3 7/8" L. 9.8 cm. (excluding stand)

Provenance: From a Montreal Collector Lot notes: White jade has always been a very expensive stone. During the reign of emperor Qianlong white jade was controlled, carefully passing an official assay and only then distributed to workshops based on the quality of that workshop's production. In the Imperial Palace Workshops it is said that the master carver would take time and careful study the nature of the stone - Here, a quality stone was selected and this whimsical 'Cats and Dragonfly' group emerged. This depiction of three cats presents a wish for many generations and the worm on the underside contrasts with the dragonfly. It suggests a notion of metamorphosis from worm to butterfly. Additionally cats are known as protectors of silk worms as they keep rats away and rats are known to pray on silk worms. The expression Tsan-Mao or Silkworm-Cat is a homophone for San-Mao (Three cats). The dragonfly or qing-ting represents peace because of the word "qing" which also means "peace". The whole evoking wishes for peace, longevity and many generations and wealth.

137) Qianlong White Jade Snuff Bottle, 18th Century

lot 137:http://en.51bidlive.com/Item/537115

白玉鼻烟壶:

乾隆时期,此作品以白玉制成,手柄的小猛狮仔细简洁漂亮,再配合高颈口的设计,令整体更简单美好。

A Qianlong white Jade snuff bottle, 18th Century, of elongated bottle form with high relief mask and ring handles, the stone of exceptional even tone mutton fat jade, later stopper. 2 3/8" h., 6 cm. [excluding stopper]

190) A Chinese silver 'Rooster' necklace Qing.

lot 190: http://en.51bidlive.com/Item/537169

清朝銀雞項鍊

由兩小一大的銀雞和七彩繽紛的寶石串成,製於清朝,帶帶濃厚的民族風,今年正好是農曆雞年,雖說此品並非連城之寶,但卻可愛而又迎新年。

A Chinese silver 'Rooster' necklace Qing Dynasty, the long chain fitted with hand worked silver roosters and hanging bell tassels and strung with natural carnelian, chalcedony and coral beads. approx: 32" L., 81 cm.

如有任何问题,请电邮:info@valeona.com。

或电话:+1-514-669-3508

加微信号:@noblestranger

地址:Valeona Gallery (維利安郍) 3737 圣雅克路 ��北蒙特利尔市 加拿大

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孫郎谈古之浅谈王审知与闽南文化

声明:本文由入驻搜狐号作者撰写,除搜狐官方账号外,观点仅代表作者本人,不代表搜狐立场。

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