A Chinese Nineteenth Century Qing Dynasty Carved Rhinoceros Horn

A magnificent intricately carved Chinese nineteenth century Qing Dynasty rhinoceros horn full-tip cup, the large tapering honey-coloured horn cup carved overall with detailed openwork utilising the natural curve of the horn, the pierced decoration featuring bamboo, prunus and pine, collectively known as ‘The Three Friends of Winter’, as well as other flora, scrolling waves, the figure of Shou Lao, god of immortality and other Daoist gods, a dragon and deer. Originally with a carved wooden stand that is now missing
China, almost certainly Canton, date mid to late nineteenth century
Height 74 cm.
Provenance: Purchased in 1968 in Switzerland by a private collector, for which there is the original receipt.
Literature: Jan Chapman, “The art of Rhinoceros Horn Carving in China”, 1980, p. 72, pl. 38, illustrating a very similar rhinoceros horn full-tip cup of almost the same size with all-over carving in the Durham University Oriental Museum.
Rhinoceros horn cups of this full-tip shape are impressive for their massive size; however, the present example is especially striking for its densely carved decoration that is bursting with auspicious design elements. It is an example of a vessel fashioned with the maximum amount of bold carving, perhaps made on commission for someone celebrating an important occasion. Made from the complete horn of a rhinoceros, this superb work demonstrates the infinite abilities of Chinese craftsmanship and artistic inspiration, comparing closely with one in the Durham University Oriental Museum (illustrated in Chapman ibid, p. 72 pl. 38), as well as one from the Jacobsen Trust collection, sold by Christie’s Hong Kong 28th November 2012. A slightly shorter but closely related cup, from the collection of Kenyon V. Painter, Cleveland, Ohio, was sold by Sotheby’s New York, 19th March 2007, lot 384, while a pair, similarly carved with figures in a natural landscape and surrounded by auspicious symbols, was sold at Christie’s New York, 19th March 2008, lot 300.
The inspiration for these elaborate carvings was probably influenced by those of the late Ming period, such as the reticulated example carved from tip to rim and into the interior, from the Palace Museum Collection, illustrated in “The Complete Collection of Treasures of the Palace Museum. Bamboo, Wood, Ivory and Rhinoceros Horn Carvings”, 2001, pp. 146-147, no. 131 (37.4 cm. long). Another vessel of this type made of Indian rhinoceros horn and carved and pierced with continuous landscapes and figures inspired by the famous work titled “Notes on the Pavilion of a Drunken Old Man” by Ouyang Xiu, is illustrated in Thomas Fok, “Connoisseurship of Rhinoceros Horn carving in China”, 1999, pl. 156.
The earliest full-tip cups had no or minimum decoration and were generally used to hold liquid, therefore they were intended as practical objects, rather than being made purely for their decorative appeal. In Chapman’s definitive book on the subject, the author notes that as a general rule the more complex the decoration of the horn surface on full-tip cups, then the later the date it was carved. The author continues to note that the example in Durham University Oriental Museum (cited above), dates to the end of the nineteenth century and was almost certainly made in Canton and most probably for the European export market. The same can be assumed to be the case with our work.
Historically, carved Chinese Rhinoceros horns have been highly prized for their rarity and beauty. Today, the Chinese rhinoceros is extinct, yet during the Neolithic period these magnificent horned beasts could be found freely roaming all over China, in particular near the lower regions of the Yellow River as well as other sections of northern and southern China. During this early era the first carved Chinese rhinoceros horns came into usage due to their abundance and because they had the ideal structure for fine carving. For instance, they were used for making ceremonial drinking vessels, especially prior to the introduction of the first cast bronzes in circa 2000 BC. During the Warring states period (475-221 BC), rhinoceroses were in great demand since their tough hides were considered perfect for making armour. During the Han (206 -220 BC) and Qin Dynasty (221-207 BC), these magnificent herbivores were becoming extremely scarce in northern China resulting in their near extinction and by the end of the Han Dynasty, they had been completely eliminated from the Guangzhou area.
By the Tang Dynasty (618-907) the scarcity of rhinoceroses made their horns extremely valuable, so much so that only the Emperor and Crown Prince could wear rhinoceros horn hairpins, which they used to hold their crowns in place. Court officials were also allowed to wear rhinoceros skin waistbands according to rank while cups and other carved rhinoceros horn objects were presented to students and scholars upon the completion of their examinations. The popularity of the rhinoceros horn after the Tang Dynasty never waned even though they themselves had to be imported from other parts of Asia, including Sumatra, Africa, India and Java.
Today the vast majority of surviving objects carved from rhinoceros horns, from cups, bowls and vases to figurines, date from the mid fourteenth to the mid seventeenth centuries, spanning the Ming and early Qing Dynasties. Due to the extreme scarcity of horns, very few, if any, carvers worked solely with the material and only did so when new horns became available. Of them, most were carved as a special commission for high-ranking government officials and wealthy merchants or were given in tribute to the court upon completion. The Qing Emperor Qianlong (1711-99), who was an avid scholar, was fascinated by the thousands of carved rhinoceros horn works of art in his imperial court collection, of which most dated from the Ming Dynasty. He studied them for hours marvelling at their shapes, styles and sizes. He also undertook the job of collating them and even wrote poems about them. So enamoured by them, Qianlong ordered that his imperial workshops should create new carvings in his name to be added to the collection.
Like many carved rhinoceros horn works of art, the present cup includes elements from both the animal and vegetable kingdoms. Here we see bamboo, prunus and pine, which were popular decorative motifs on such works and were collectively known as ‘The Three Friends of Winter’. They were so named as they flourish even under adverse conditions and together they symbolise longevity, perseverance and the virtues of the scholar-gentleman. The bamboo is never shown in flower since this would symbolise death since the bamboo only flowers once in a lifetime and then dies. Prunus includes numerous ornamental trees and shrubs, of which the cherry, peach and apricot families all belong. A powerful symbol of resilience, perseverance, and the promise of renewal, the prunus has long been admired in Chinese art.
Also included within the elaborate decorative scheme is a dragon. This mythical creature was undoubtedly the most important and widely used theme among animal carvings and was also supremely important to the Chinese. Not only does it represent the Emperor himself but also acts as the beneficent ‘bringer of rain’. The cup also features a pair of deer. The deer is an important symbol in Chinese legend since it is said to be the only animal that can find the sacred fungus of immortality. As a result, the deer is almost always shown in art in the company of the God of Immortality Shou Lao, who we see here toward the top of the cup. Shou Lao (or Shou Xing) is the most common of the gods and immortals found in the decoration of Chinese rhinoceros horn cups. He is one of the Eight Daoist Immortals and, of those eight, he is the most easily recognisable, owing to his pronounced bald head and long beard. As here, he is invariably shown dressed in the loose flowing robes of an early Chinese scholar. He is also often represented holding a long crooked staff or a peach, both symbols of long life. Below Shou Lao are two other Daoist Immortals, that like the surrounding figures, animals and vegetation are part of the rich tapestry of this extraordinary work.