Asian Art in London
29 October - 7 November 2009
14. An Ivory Brushpot
Xing Xianzhi, Kangxi period (1662–1722)
The cylindrical brushpot is carved in shallow relief around the exterior with a continuous scene depicting the eighteen luohan: one descending from the heaven astride a dragon; some riding on a wooden raft crossing the sea; some amongst clouds; some having a discourse on Buddhist sutra; one pacifying a tiger, and the last group behind a rock inscribed with the maker’s mark Xianzhi jingzhi, ‘respectfully made by Xianzhi’, with a seal mark Xing. The eyes of the arhats, dragon and tiger inlaid in dark horn.
13 cm. high; 9.5 cm. diam.
According to the Gaochun Xianzhi compiled by Li Siquan of the Kangxi period, Xing Xianzhi, probably born in the late Ming, specialised in the minute carving of olive-nuts, and was famous for his depictions of luohan. It was very common in the Ming and Qing period for carvers to work in various different media. The Yongzheng period ivory carver Chen Zuzhang, who carved the Pleasure of Court Ladies in Twelve Month (in Palace Museum, Beijing, illustrated The Complete Collection of Treasures of the Palace Museum – Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2002, no. 188, p. 231) was also known for his olive-nut carving (an example of his olive-nut is in the National Palace Museum, Taipei). While the current brush pot is carved with Xing Xianzhi’s most renowned subject, the style of the carving seems much closer to the early Qing period. It is possible that Xing Xianzhi was still active during the Kangxi reign. Certainly in the Jiajing edition of the Gaochun Xianzhi there was no mentioning of him, so we can surmise that he only became well known afterwards. In any case the carving on the current brush pot is of superb quality and vitality, and shows that Xing was a very skilful and versatile carver.
The style of carving on the current brushpot is very similar to the ‘reduced background relief decoration (bo di yang wen)’ technique used by bamboo carvers such as Wu Zhifan in the early Qing period. Essentially a technique of shallow relief carving, it requires a great deal of subtlety and skill to create layering effect and details on a otherwise fairly flat surface (A bamboo brush pot by Wu Zhifan carved in this style is in the Palace Museum, Beijing, illustrated in ibid, no. 31, p. 32). It is possible that Xing Xianzhi was influenced by Wu Zhifan in his ivory carving. They were both from the Jiangsu area and would have both been familiar with the Jiading school of carving (fig. 15).
Compare also a carved cinnabar and green lacquer brush pot depicting the Eighteen Luohan, dated to the mid Qing period, is in the Palace Museum, illustrated in Gugong Bowuyuan Cang Diaoqi, Beijing, Wenwu Cubanshe, 1985, pl. 279 – (fig. 16).
