A VERY FINE AND WELL-CARVED AGATE SNUFF BOTTLE
A VERY FINE AND WELL-CARVED AGATE SNUFF BOTTLE

OFFICIAL SCHOOL, 1740-1840

Details
A VERY FINE AND WELL-CARVED AGATE SNUFF BOTTLE
OFFICIAL SCHOOL, 1740-1840
Of compressed bulbous form with a concave lip and recessed foot, the well-hollowed stone of even honey color, one side with sparse dark markings used to depict Zhong Kui dancing energetically in front of a cloud of swirling mist, his young human attendant holding a parasol, the other side carved with a swirl of mist and five bats emerging from a large pot, tourmaline stopper with silver collar
2 9/16 in. (6.57 cm.) high
Provenance
Hugh Moss
Literature
Moss, Graham, Tsang, The Art of the Chinese Snuff Bottle. The J & J Collection, Vol. I, no. 146.
The Art of the Chinese Snuff Bottle, Poly Art Museum, p. 40
Exhibited
Hugh M. Moss Ltd., London, September 1974
Dallas Convention, October 1985
Christie's, New York, 1993
Empress Place Museum, Singapore, 1994
Museum für Kunsthandwerk, Frankfurt, 1996-1997
Percival David Foundation of Chinese Art, London, 1997
Naples Museum of Art, Florida, 2002
Portland Museum of Art, Oregon, 2002
National Museum of History, Taipei, 2002
International Asian Art Fair, Seventh Regiment Armory, New York, 2003
Poly Art Museum, Beijing, 2003

Lot Essay

For discussions on Zhong Kui, the Demon Queller, see Moss, Graham, Tsang, The Art of the Chinese Snuff Bottle. The J & J Collection, nos. 217 and 434. The immortal is typically shown either accompanied by a group of dutiful, subdued demons or dancing with bats. Here, however, Zhong Kui is shown with a young male servant (shutong), while the bats are disposed on the opposite side to form a unified, continuous subject. The five bats symbolize the five blessings of a perfectly fulfilled life (longevity, wealth, health, love of virtue, and a natural death). They rise from a magical vapor emanating from a little pot, a symbol of an alternative mystical realm.
The artist of this delightful bottle has managed to capture vivid movement and whimsy. With one leg raised and an arm flung out, Zhong Kui is depicted in uninhibited dance while his charmingly rendered young attendant carries his master's parasol. The added diagonal of the rock on which the two figures are disposed and the swirl of mist rising from it to form the clouds behind the dancing figure of Zhong Kui are clever additions which add dynamism to the whole scene.

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