A MAGNIFICENT SPINACH-GREEN JADE BRUSH POT, BITONG

QIANLONG PERIOD (1736-1795)

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A MAGNIFICENT SPINACH-GREEN JADE BRUSH POT, BITONG
QIANLONG PERIOD (1736-1795)
The thick cylindrical sides finely and deeply carved with scenes of Daoist immortals in a continuous dramatic mountain landscape, one scene depicting a bearded immortal carrying a lotus flower accompanied by a young male attendant and a deer approaching a pavilion, while a second immortal in the distance feeds a crane a sprig of lingzhi, another scene showing two immortals, one of whom wears a straw hat and holds a large finger citron followed by a young male attendant toting a large double gourd, traversing a narrow ledge past a grove of bamboo and beneath a large overhanging paulownia tree, and a third scene with an immortal carrying a large pomegranate crossing the turbulent waters of a rushing river while standing upon a large leaf to meet a further immortal carrying a large fruiting peach branch accompanied by his young attendant carrying a tall gnarled staff, all below the cloud-enshrouded rim, the stone of deep green color with some paler mottling and dark speckling throughout
5 11/16 in. (14.4 cm.) high

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拍品專文

Compare the green jade brush pot dated to the Qianlong period with similar dense carving in the National Palace Museum illustrated in The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp. 172-3, no. 55. See, also, the equally well-carved green jade brush pot of slightly larger size (15.8 cm. high) dated to the Qianlong period decorated with foreigners and a caparisoned elephant sold in our London rooms, 13 May 2008, lot 54, and the Qianlong-period green jade brush pot of broader proportions carved with the Four Noble Professions from the personal collection of Alan and Simone Hartman sold in our Hong Kong rooms, 27 November 2007, lot 1521. In a discussion of the large green jade brush pot dated to the 18th century in the collection of Sir Joseph Hotung, Chinese Jade: From the Neolithic to the Qing, British Museum, London, 1995, p.407, no. 29.18, the author, Jessica Rawson, notes that jade workshops sometimes used conventional painting and printing themes as the basis for their designs. The carver treated the surface of the jade almost like a sheet of paper and used his "techniques to produce the effects of a painting."

For a discussion of the subject matter of the present brush pot, see the introductory essay by Rosemary Scott on pp. .