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A Pair of Large Chinese Engraved 'Ladies' Tombs Doors, Mid Tang Dynasty
美国
09月18日 晚上10点 开拍 / 09月16日 下午3点 截止委托
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拍品描述 翻译
盛唐 綫刻仕女圖青石墓門一對 Mid Tang Dynasty (8th Century) Each is rectangular, finely incised with a standing female figure elegantly attired in long, flowing robes, her hands clasped beneath billowing sleeves, set against a dense floral ground; the pair is rendered as mirror images. Fitted with a custom steel-and-plywood stand and mounting system for display. Among the high-ranking Tang Dynasty stone burial furnishings excavated to date, incised line-engraving represents one of the most accomplished forms of stone carving. According to Xuemiao Wang of Zhejiang University (1), a total of thirty-three Tang stone sarcophagi with incised decoration have been excavated or are preserved in public and private collections, comprising the tombs of: Li Shou (631), Zheng Rentai (644), Consort Wei (667), Dou Ji (669), Li Fu (669), Consort Yan (672), Princess Fangling (673), Li Hui (689), Qibi Ming (696), Princess Yongtai Li Xianhui and her husband Wu Yanji (706), Prince Yide Li Chongrun (706), Prince Zhanghuai Li Xian (706), Wei Dong (708), Wei Xun (708), Wei Hao (708), Wei Jiumei, Princess of Weicheng (708), Wei Shiyimei, Princess of Weinan (708), Wei Pi (708), Wei Xiang (718), an unidentified Wei-family stone sarcophagus (708–718), Xue Jing (721), Princess of Jinxiang (724), Qin Shouyi (724), Ashina Huaidao (727), Yang Hui (736), Empress Zhenshun of Jingling (737), Su Sizhu (740), Li Xian (742), Consort Wang (745), Wu Lingzhang (754), Li Cong (756), an unidentified Tang tomb at Changying, Yichuan, Luoyang (undated), and a sarcophagus with incised panels in the Han-Tang Stone Carving Museum (undated). Such high-ranking stone burial furnishings have been excavated in both Shaanxi and Henan; their decoration is primarily on figures and flowers. Among the earliest and most representative examples, all from the satellite tombs of the Qianling mausoleum, are the Court Ladies Wearing Buyao Feng-guan Headdresses on the sarcophagus of Prince Yide, the Ladies with Draped Shawls on that of Princess Yongtai, and the Ladies in Foreign Dress on that of Prince Zhanghuai. Treating stone as paper and the knife as brush, the craftsmen depicted the daily life of court ladies, eunuchs, guards, and attendants. Traditional subjects such as the Four Sacred Animals, Daoist themes, and Buddhist subjects are rare. By the mid-to-late Tang, the court life was faithfully incised into stone by these craftsmen, and the composition and layout of the panels evolved into the so-called Folin style (deriving from the artistic traditions of the Byzantine Empire/Eastern Roman Empire). The most representative example is the stone sarcophagus of Empress Zhenshun (Wu Huifei) of Jingling, repatriated from the US in 2010. Its interior walls carry ten incised pictorial panels depicting twenty-one court ladies set amid trees, flowers, and butterflies. Nine incised panels published in 2023 by the Han-Tang Dynasties Stone Carving Museum in Shaanxi belong to the same style. Further comparisons include the tomb of Consort Wang, one of the tombs of Emperor Xianzong's Jingling mausoleum, and the sarcophagus of Wu Lingzhang, Governor of Yinchuan, discovered in Jingbian County, Shaanxi. According to archaeological records, the incised Tang stone tomb doors measure approximately 43-47 in (110–120 cm) in height, 19-20 in (50 cm) in width, and 2 3/4-3 in (7 cm) in thickness—dimensions closely matching those of the present pair. For a complete ensemble of incised tomb doors together with their stone sarcophagus, see the tomb of Xue Jing, son-in-law of Emperor Ruizong of Tang, excavated at Huangfu Village, Wanrong County, Shanxi. (1) Wang Xuemiao, "A Study on the Identity of the Court Ladies Depicted in the Incised Screen Panels of Tang-Dynasty Stone Sarcophagi: the Incised Sarcophagus-Wall Panels in the Collection of the Shaanxi Han-Tang Stone Carving Museum," Journal of Nanjing University of the Arts (Fine Arts and Design), no. 5 (2024). 青石質地,門上留有榫头,門扉各有一穿孔,鋪首锈蚀无存。綫刻仕女梳倭坠髻,双鬓抱面,容态媚润,上著交领团花襦,外搭帔巾,下著長裙,裙腰高至腋下,以帶系扎。雙手交握,隱在披帛之下。足踏高头履,上翹的履頭同樣飾以團花。背景刻有似錦的蔓草繁花。爽利的圓刀描摹丰肥的肌體,“半露胸如雪,斜回脸似波”,冷冰冰的石头也有血有肉起來。 在出土的唐代高等级石葬具中,线刻画是石质文物極精彩的呈现。据浙大王雪苗《唐代石槨屏风线刻仕女身份研究》,目前出土與公私所藏唐代綫刻石槨共有33具,按年代羅列:李寿墓(631)、郑仁泰墓(644)、韦贵妃墓(667)、窦及墓(669)、李福墓(669)、燕妃墓(672)、房陵长公主墓(673)、李晦墓(689)、契苾明墓(696)、永泰公主李仙蕙与駙馬武

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