the substantial stone of irregular mountain form, intricately carved through the milky honey-brown skin in shallow relief, one face depicting two ladies playing weiqi around a table surrounded by attendants, on the left a lady and an attendant crossing a bridge, all set amongst a fenced garden with a gnarled prunus tree and overhanging willow, the reverse similarly decorated with a lady seated on a rocky ledge reading a book, beside a group of further ladies appreciating a scroll painting in a garden with plantain, the stone of a rich caramel-brown tone with orange mottling and veins, wood stand

Collection of Tsai Chen-Nan, acquired in the late 1980s.

In overall very good condition, with the exception of old shallow flakes to the base and some natural flaws.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Superbly carved with a delicate figural scene, this piece is a rare example of the masterful workmanship of craftsmen active in the eighteenth century. The sheer skill of the carver is demonstrated through his success in taking an image derived from a painting or woodblock and successfully transcribing it onto a three-dimensional object whilst preserving the most desirable features of the natural golden pebble. Essentially retaining the original shape of the asymmetrical boulder, the carver has masterfully worked through the convoluted surface of the stone to create a continuous, three-dimensional canvas for the relief decoration. This treatment deviated from the conventional technique where the boulder was usually cut into cuboid shapes and carved with three-dimensional finials for seals. This acute utilisation of the natural shape of the stone fully exemplifies the artist’s understanding of the material and his technical perfection.

Moreover, the pale ochre-yellow skin of the stone (pu) is seamlessly incorporated into the overall design, creating an effect similar to that of a cameo relief. The natural, paler pigmentation of the oxidised pebble skin subtly contrasts with the boulder of slightly darker tone. This sensitive preservation of the skin on the present piece creates a subtle three-dimensionality appropriate to the scene presented. The delicacy of femininity is suggested through the exquisitely rendered branches which frame the ladies’ activities.

See a boulder carving rendered with pine trees growing from rocky grounds and five bats flying amidst wispy clouds, sold at Christie’s Hong Kong, 27th May 2008, lot 1901. Seals were also carved in a similar style; for example one, depicting the scene Qiujian daidu [Waiting for the ferry on an autumn river], in the Palace Museum, Beijing, is published on the Museum’s website //www.dpm.org.cn/collection/seal/228550.html; and another carved with dragons, attributed to the Kangxi period, from the Water, Pine and Stone Retreat collection, was included in the Oriental Ceramic Society of Hong Kong exhibition Arts from the Scholar’s Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, cat. no. 54.