ARCHAISTIC RHYTON.

Ming Dynasty or later, China. Nephrite: greyish-yellow green (celadon) with brown splotches and streaks. One of the most familiar shapes in Chinese hardstone history, the rhyton with animal mouth base and tail is an important component of the jade workshop repertoire from the Song period until today. The Chinese name for a bronze form roughly akin to this is guang (NPM, #23, a Song jade guang), but because there are so many versions of that form, and because of the non-Chinese origin of this particular version of a basic cup form, in English these works are generally labeled “libation cups” or “rhytons” (or, more properly, “rhyta”). Originating in the Hellenistic world and transmitted to China via the Sassanian empire trade from Persia, the earliest examples in Chinese art history are said to be the Tang Dynasty libation cups created in various media including gold, ceramic, onyx and agate (Gure, pl. 29, #102; Roberts, p. 44, #32; ROM, pp. 26-7, #11). The form is a deep horn-like cup “apparently engulfed by the open jaws of a powerfully fanged dragon” (Lion, p. 119). Because of the extended period of popularity of this form, there are numerous “period styles”, with variations in terms of proportions, size, surface motifs, and handle form. Even the creature’s facial appearance may differ markedly from one cup to the next. It is not uncommon for the gently swelling cup portion to have circular bronze-style decor bands over most of its surface, and for chilong (immature dragons) to be sculpted freely around the outside as well as the inside of the cup (Ip, pp. 240-42, #214; SNY 4/10/86, #263; CSHK 3/19/90, #886; TCJ, p. 339; Hai, p. 91, #91, an example in the Musee Guimet). The handle is often twisted and diagonally-oriented in relation to the cup (as here), and may develop into a floral scroll, rather than sustaining the animal mouth/ mask theme. Although the yellow jade Song pieces (Foster, p. 68, #97; ACGB, p. 88, #277) have proved difficult for later workshops to copy, due to the lack of similar material, the green/ brown Song works (D’Argence, p. 88) and grey/brown-toned Yuan-Ming jade materials (lp, pp. 240-41, #214) are imitated in many later archaizing cups. Some of the Qing works also take advantage of the beautiful white jade (Spink 81, #13) or spinach-green jade (SNY 4/10/86, #263) available during that period. Although the present jade has many Song features both in its proportions and decor types, the flatness of the base has led most observers to conclude that it must be dated to the Ming period, if not later. This is a very rewarding piece to handle, with a tactile surface and thin, somewhat translucent, walls. Although its appearance would seem to indicate that it is a weighty work, in fact it is relatively light. Its surface is loaded with refined carving of carefully arranged archaic designs such as key frets, blades and stipple marks. The base has a complex of spirals related to the animal shape holding the cup, and the contorted handle is striated overall. Reference: The Yangtze River Collection, Later Chinese Jades published by Helga Wall-Apelt, 1993. SIZE: 5.25″ x 5″ x 2.63″. (13.3 x 12.7 x 6.7 cm.) CONDITION: Very good. 9-94924 (6,000-8,000) – Lot 26

Auction: FAAA - Wall-Apelt Collection - March 2015

Please Note: All prices include the hammer price plus the buyer’s premium, which is paid by the buyer as part of the purchase price. The prices noted here after the auction are considered unofficial and do not become official until after the 46th day.

Image	Lot	Price	Description
	26	$5,925.00	ARCHAISTIC RHYTON. Ming Dynasty or later, China. Nephrite: greyish-yellow green (celadon) with brown splotches and streaks. One of the most familiar shapes in Chinese hardstone history, the rhyton with animal mouth base and tail is an important component of the jade workshop repertoire from the Song period until today. The Chinese name for a bronze form roughly akin to this is guang (NPM, #23, a Song jade guang), but because there are so many versions of that form, and because of the non-Chinese origin of this particular version of a basic cup form, in English these works are generally labeled “libation cups” or “rhytons” (or, more properly, “rhyta”). Originating in the Hellenistic world and transmitted to China via the Sassanian empire trade from Persia, the earliest examples in Chinese art history are said to be the Tang Dynasty libation cups created in various media including gold, ceramic, onyx and agate (Gure, pl. 29, #102; Roberts, p. 44, #32; ROM, pp. 26-7, #11). The form is a deep horn-like cup “apparently engulfed by the open jaws of a powerfully fanged dragon” (Lion, p. 119). Because of the extended period of popularity of this form, there are numerous “period styles”, with variations in terms of proportions, size, surface motifs, and handle form. Even the creature’s facial appearance may differ markedly from one cup to the next. It is not uncommon for the gently swelling cup portion to have circular bronze-style decor bands over most of its surface, and for chilong (immature dragons) to be sculpted freely around the outside as well as the inside of the cup (Ip, pp. 240-42, #214; SNY 4/10/86, #263; CSHK 3/19/90, #886; TCJ, p. 339; Hai, p. 91, #91, an example in the Musee Guimet). The handle is often twisted and diagonally-oriented in relation to the cup (as here), and may develop into a floral scroll, rather than sustaining the animal mouth/ mask theme. Although the yellow jade Song pieces (Foster, p. 68, #97; ACGB, p. 88, #277) have proved difficult for later workshops to copy, due to the lack of similar material, the green/ brown Song works (D’Argence, p. 88) and grey/brown-toned Yuan-Ming jade materials (lp, pp. 240-41, #214) are imitated in many later archaizing cups. Some of the Qing works also take advantage of the beautiful white jade (Spink 81, #13) or spinach-green jade (SNY 4/10/86, #263) available during that period. Although the present jade has many Song features both in its proportions and decor types, the flatness of the base has led most observers to conclude that it must be dated to the Ming period, if not later. This is a very rewarding piece to handle, with a tactile surface and thin, somewhat translucent, walls. Although its appearance would seem to indicate that it is a weighty work, in fact it is relatively light. Its surface is loaded with refined carving of carefully arranged archaic designs such as key frets, blades and stipple marks. The base has a complex of spirals related to the animal shape holding the cup, and the contorted handle is striated overall. Reference: The Yangtze River Collection, Later Chinese Jades published by Helga Wall-Apelt, 1993. SIZE: 5.25″ x 5″ x 2.63″. (13.3 x 12.7 x 6.7 cm.) CONDITION: Very good. 9-94924 (6,000-8,000) – Lot 26 Auction: FAAA - Wall-Apelt Collection - March 2015 Please Note: All prices include the hammer price plus the buyer’s premium, which is paid by the buyer as part of the purchase price. The prices noted here after the auction are considered unofficial and do not become official until after the 46th day.

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ARCHAISTIC RHYTON.