Song
Except otherwise stated, all results include the premium.
See also : China Chinese porcelain Song to Yuan porcelain Chinese art Musical instrument Chinese instrument Chinese calligraphy
Chronology : 1000-1400
See also : China Chinese porcelain Song to Yuan porcelain Chinese art Musical instrument Chinese instrument Chinese calligraphy
Chronology : 1000-1400
1070-1100 Willows and Geese by Zhao Lingrang
2017 SOLD for $ 27M by Christie's
Zhao Lingrang, a brother of the fifth Song emperor, painted scrolls and fans. He is a typical example of the prince-artist of the ancient Chinese dynasties.
He was active between 1070 and 1100 CE, which is a period of high refinement. He takes that opportunity to have an indolent life. He loves music, women, furs and horses. An art critic of his time, close to Su Shi, criticizes him for his immaturity.
Zhao does not travel : maybe his high rank does not allow it. He paints in a cool gentleness hazy ponds with ducks and geese, probably taking his inspiration from Tang artists.
A 33 x 93 cm handscroll in ink and color on silk showing willows and geese was sold for $ 27M by Christie's on March 15, 2017, lot 511 in the auction of the Fujita Museum Collection.
This work is not signed. The attribution to Zhao Lingrang is authenticated by a set of thirteen colophons from the period of transition between Southern Song and Yuan. It also bears 27 collectors' seals including six from the Qianlong emperor and one from the Jiaqing emperor. It is listed in the Shiqu Baoji which is the catalogue of the Qing imperial collection.
He was active between 1070 and 1100 CE, which is a period of high refinement. He takes that opportunity to have an indolent life. He loves music, women, furs and horses. An art critic of his time, close to Su Shi, criticizes him for his immaturity.
Zhao does not travel : maybe his high rank does not allow it. He paints in a cool gentleness hazy ponds with ducks and geese, probably taking his inspiration from Tang artists.
A 33 x 93 cm handscroll in ink and color on silk showing willows and geese was sold for $ 27M by Christie's on March 15, 2017, lot 511 in the auction of the Fujita Museum Collection.
This work is not signed. The attribution to Zhao Lingrang is authenticated by a set of thirteen colophons from the period of transition between Southern Song and Yuan. It also bears 27 collectors' seals including six from the Qianlong emperor and one from the Jiaqing emperor. It is listed in the Shiqu Baoji which is the catalogue of the Qing imperial collection.
1080 Letter to a Friend by Zeng Gong
2016 SOLD for RMB 207M by China Guardian
Zeng Gong lived at the height of the Song dynasty. He had received the jinshi, the highest degree of the imperial exams, and had a parallel literary and military career, as it was often the case. He was a historian, geographer, poet and essayist. Without being a professional calligrapher, he was a collector of ancient calligraphy and inscribed tablets.
An autograph letter has survived. 124 characters in regular kaishu script are distributed in thirteen columns in a perfect parallelism and spacing on a 29 x 38 cm sheet. It is precisely dated, corresponding to September 27, 1080 CE. The image is shared by Wikimedia.
In this document titled Jushi Tie (letter on some happenings), Zeng writes to a friend whom he had not seen for three years. He expresses his doubts about his ability to hold a post at the court. This question was on the spot since he will be summoned a month later in the capital Kaifeng to be awarded a promotion by the Shenzong emperor, with the mission of a study on the history of the Five Dynasties.
Jushi Tie was sold for RMB 109M by Poly on November 22, 2009, lot 5126, and for RMB 207M by China Guardian on May 15, 2016, lot 1424.
An autograph letter has survived. 124 characters in regular kaishu script are distributed in thirteen columns in a perfect parallelism and spacing on a 29 x 38 cm sheet. It is precisely dated, corresponding to September 27, 1080 CE. The image is shared by Wikimedia.
In this document titled Jushi Tie (letter on some happenings), Zeng writes to a friend whom he had not seen for three years. He expresses his doubts about his ability to hold a post at the court. This question was on the spot since he will be summoned a month later in the capital Kaifeng to be awarded a promotion by the Shenzong emperor, with the mission of a study on the history of the Five Dynasties.
Jushi Tie was sold for RMB 109M by Poly on November 22, 2009, lot 5126, and for RMB 207M by China Guardian on May 15, 2016, lot 1424.
Letter to a friend by Zeng Gong, sold by China Guardian on May 15, 2016, lot 1424. Significance as a piece of Chinese calligraphy. Condition and authentication.
Overview of the Artwork
The item in question is Jushi Tie (局事帖, often translated as "Letter on Current Affairs" or "A Letter on Happenings"), a personal letter written by the renowned Northern Song dynasty (960–1279) scholar-official Zeng Gong (曾巩, 1019–1083). This ink-on-paper work, measuring approximately 29 × 38.2 cm (11.4 × 15 inches), consists of 124 characters in regular script (kaishu). It was auctioned as lot 1424 in China Guardian's (中国嘉德) "Grand View: Chinese Paintings and Calligraphy Night Sale – Ancient" on May 15, 2016, in Beijing, where it sold for 207 million RMB (approximately US$31.7 million at the time), setting a record for a work of Chinese calligraphy by a single artist. The buyer was Wang Zhongjun, chairman of Huayi Brothers Media and a prominent art collector.
The letter was penned on September 27, 1080 (Yuanfeng 3), when Zeng was 62 years old. Addressed to a fellow countryman and friend known as "Wu Dang Xiangxian" (无党乡贤), it reflects on their three-year separation, expresses gratitude for the friend's support, laments Zeng's bureaucratic drudgery in provincial posts ("day after day lost in tedious official duties"), and subtly conveys envy for the friend's more leisurely life amid Zeng's own frustrations with court politics and delayed recall to the capital. Remarkably, less than a month later, Emperor Shenzong summoned Zeng to Kaifeng, promoting him to a central post—though he would pass away just three years later. The full text reads:
局事多暇。动履禔福。去远诲论之益。忽忽三载之久。跧处穷徼。日迷汨于吏职之冗。固岂有乐意耶。去受代之期。难幸密迩。而替人寂然未闻。亦旦夕望望。果能遂逃旷弛。实自贤者之力。夏秋之交。道出府下。因以致谢左右。庶竟万一。余冀顺序珍重。前即召擢。偶便专此上问。不宜。巩再拜。运勾奉议无党乡贤。二十七日。谨启。
(Seal: Zeng Gong Zai Bai)
Notably, the ink is applied to the reverse side of a printed Song-era book page, with faint traces of underlying text visible—a common recycling practice for paper at the time, adding a layer of historical texture to the artifact.
Significance as a Piece of Chinese Calligraphy
Zeng Gong's literary legacy towers in Chinese cultural history: he is one of the "Eight Masters of the Tang and Song" (唐宋八大家), alongside luminaries like Han Yu, Ouyang Xiu, and Wang Anshi. A pioneer of the Classical Prose Movement (古文运动), Zeng championed clear, argumentative prose over ornate styles, influencing generations of writers. His essays, such as those in Yuanfeng Leigao (元丰类稿), emphasize moral governance, historical insight, and simplicity—qualities that earned him posthumous acclaim from scholars like Zhu Xi.
Yet, for all his prolific writing, Zeng's calligraphy survives in just this single authenticated ink trace (zhuan shi mo ji, 传世墨迹). Even Zhu Xi, a devoted admirer born decades later, reportedly spent 50 years seeking a glimpse of Zeng's hand. This rarity elevates Jushi Tie to an unparalleled status: it is not merely a letter but the sole physical embodiment of Zeng's script, bridging his intellectual world with the tactile art of calligraphy.
Stylistically, the work exemplifies Song dynasty kaishu with influences from Tang masters Yan Zhenqing's Multi-Treasure Pagoda Stele (horizontal strokes fine, verticals robust) and Yang Ningstyle's Chive Flower Post (expressive, rugged vitality). Its structure echoes Cai Xiang (a near-contemporary), with elongated characters, vigorous yet refined strokes, and a fluid rhythm that conveys emotional depth—mirroring the letter's introspective tone. In Chinese art history, such personal missives (tie) are prized for their authenticity and immediacy, offering unfiltered glimpses into elite minds. Jushi Tie thus symbolizes the fusion of wenren (literati) ideals: literature, philosophy, and brushwork as one.
Its auction success underscores broader market trends. Previously sold at Christie's New York in 1996 for US$508,500 (to Belgian collectors Guy and Myriam Ullens) and Poly Auctions Beijing in 2009 for 108.64 million RMB (a then-record for Chinese calligraphy), the 2016 sale marked its third appearance, with a 45-fold appreciation over two decades. This trajectory reflects surging global demand for "national treasures" (guobao), especially Song-era works, amid China's cultural renaissance. Experts like Yi Guanghua (China Guardian) hail it as a "heart-pouring" artifact, its per-character value (over 1.6 million RMB) emblematic of calligraphy's role in preserving dynastic memory.
Condition and Authentication
The work is in exceptional condition for a millennium-old artifact, graded as "good" or "excellent" by auction standards. The paper remains intact and firm, with minimal foxing, creases, or insect damage typical of Song relics. Ink adhesion is strong, showing no significant fading or flaking, though the reverse-side printing subtly affects legibility in some areas— an intentional feature enhancing its authenticity rather than detracting. No restorations are noted in auction records, preserving its original patina.
Authentication is ironclad, rooted in meticulous provenance and scholarly scrutiny:
He Liangjun (何良俊)Ming (1368–1644)Early documented owner; collected Song letters for scholarly study.
Xiang Yuanbian (项元汴)MingAcquired He’s batch of 20+ Song missives; his seals affirm early Ming provenance.
An Yizhou (安仪周)Qing (1644–1911)Qing connoisseur; recorded in Mo Yuan Hui Guan (墨缘汇观), praising its vigor.
Zeng Yu (曾燠) & Wang Qisun (王芑孙)QingPassed through family lines; seals indicate careful stewardship.
Zhang Heng (张珩, "Zhang Congyu")Republican (1912–1949)Master appraiser; held by his family until mid-20th century export.
Zhang Wenkuan (张文魁)RepublicanBrief custodian; facilitated Western entry.
Guy & Myriam UllensModern (1996–2009)Belgian collectors; repatriated via 2009 Poly sale.
Seals from Xiang, An, and others are visible, forming a "chain of custody" unbroken since the Ming.
Modern validation includes:
Overview of the Artwork
The item in question is Jushi Tie (局事帖, often translated as "Letter on Current Affairs" or "A Letter on Happenings"), a personal letter written by the renowned Northern Song dynasty (960–1279) scholar-official Zeng Gong (曾巩, 1019–1083). This ink-on-paper work, measuring approximately 29 × 38.2 cm (11.4 × 15 inches), consists of 124 characters in regular script (kaishu). It was auctioned as lot 1424 in China Guardian's (中国嘉德) "Grand View: Chinese Paintings and Calligraphy Night Sale – Ancient" on May 15, 2016, in Beijing, where it sold for 207 million RMB (approximately US$31.7 million at the time), setting a record for a work of Chinese calligraphy by a single artist. The buyer was Wang Zhongjun, chairman of Huayi Brothers Media and a prominent art collector.
The letter was penned on September 27, 1080 (Yuanfeng 3), when Zeng was 62 years old. Addressed to a fellow countryman and friend known as "Wu Dang Xiangxian" (无党乡贤), it reflects on their three-year separation, expresses gratitude for the friend's support, laments Zeng's bureaucratic drudgery in provincial posts ("day after day lost in tedious official duties"), and subtly conveys envy for the friend's more leisurely life amid Zeng's own frustrations with court politics and delayed recall to the capital. Remarkably, less than a month later, Emperor Shenzong summoned Zeng to Kaifeng, promoting him to a central post—though he would pass away just three years later. The full text reads:
局事多暇。动履禔福。去远诲论之益。忽忽三载之久。跧处穷徼。日迷汨于吏职之冗。固岂有乐意耶。去受代之期。难幸密迩。而替人寂然未闻。亦旦夕望望。果能遂逃旷弛。实自贤者之力。夏秋之交。道出府下。因以致谢左右。庶竟万一。余冀顺序珍重。前即召擢。偶便专此上问。不宜。巩再拜。运勾奉议无党乡贤。二十七日。谨启。
(Seal: Zeng Gong Zai Bai)
Notably, the ink is applied to the reverse side of a printed Song-era book page, with faint traces of underlying text visible—a common recycling practice for paper at the time, adding a layer of historical texture to the artifact.
Significance as a Piece of Chinese Calligraphy
Zeng Gong's literary legacy towers in Chinese cultural history: he is one of the "Eight Masters of the Tang and Song" (唐宋八大家), alongside luminaries like Han Yu, Ouyang Xiu, and Wang Anshi. A pioneer of the Classical Prose Movement (古文运动), Zeng championed clear, argumentative prose over ornate styles, influencing generations of writers. His essays, such as those in Yuanfeng Leigao (元丰类稿), emphasize moral governance, historical insight, and simplicity—qualities that earned him posthumous acclaim from scholars like Zhu Xi.
Yet, for all his prolific writing, Zeng's calligraphy survives in just this single authenticated ink trace (zhuan shi mo ji, 传世墨迹). Even Zhu Xi, a devoted admirer born decades later, reportedly spent 50 years seeking a glimpse of Zeng's hand. This rarity elevates Jushi Tie to an unparalleled status: it is not merely a letter but the sole physical embodiment of Zeng's script, bridging his intellectual world with the tactile art of calligraphy.
Stylistically, the work exemplifies Song dynasty kaishu with influences from Tang masters Yan Zhenqing's Multi-Treasure Pagoda Stele (horizontal strokes fine, verticals robust) and Yang Ningstyle's Chive Flower Post (expressive, rugged vitality). Its structure echoes Cai Xiang (a near-contemporary), with elongated characters, vigorous yet refined strokes, and a fluid rhythm that conveys emotional depth—mirroring the letter's introspective tone. In Chinese art history, such personal missives (tie) are prized for their authenticity and immediacy, offering unfiltered glimpses into elite minds. Jushi Tie thus symbolizes the fusion of wenren (literati) ideals: literature, philosophy, and brushwork as one.
Its auction success underscores broader market trends. Previously sold at Christie's New York in 1996 for US$508,500 (to Belgian collectors Guy and Myriam Ullens) and Poly Auctions Beijing in 2009 for 108.64 million RMB (a then-record for Chinese calligraphy), the 2016 sale marked its third appearance, with a 45-fold appreciation over two decades. This trajectory reflects surging global demand for "national treasures" (guobao), especially Song-era works, amid China's cultural renaissance. Experts like Yi Guanghua (China Guardian) hail it as a "heart-pouring" artifact, its per-character value (over 1.6 million RMB) emblematic of calligraphy's role in preserving dynastic memory.
Condition and Authentication
The work is in exceptional condition for a millennium-old artifact, graded as "good" or "excellent" by auction standards. The paper remains intact and firm, with minimal foxing, creases, or insect damage typical of Song relics. Ink adhesion is strong, showing no significant fading or flaking, though the reverse-side printing subtly affects legibility in some areas— an intentional feature enhancing its authenticity rather than detracting. No restorations are noted in auction records, preserving its original patina.
Authentication is ironclad, rooted in meticulous provenance and scholarly scrutiny:
He Liangjun (何良俊)Ming (1368–1644)Early documented owner; collected Song letters for scholarly study.
Xiang Yuanbian (项元汴)MingAcquired He’s batch of 20+ Song missives; his seals affirm early Ming provenance.
An Yizhou (安仪周)Qing (1644–1911)Qing connoisseur; recorded in Mo Yuan Hui Guan (墨缘汇观), praising its vigor.
Zeng Yu (曾燠) & Wang Qisun (王芑孙)QingPassed through family lines; seals indicate careful stewardship.
Zhang Heng (张珩, "Zhang Congyu")Republican (1912–1949)Master appraiser; held by his family until mid-20th century export.
Zhang Wenkuan (张文魁)RepublicanBrief custodian; facilitated Western entry.
Guy & Myriam UllensModern (1996–2009)Belgian collectors; repatriated via 2009 Poly sale.
Seals from Xiang, An, and others are visible, forming a "chain of custody" unbroken since the Ming.
Modern validation includes:
- Xu Bangda (徐邦达): In Ancient Chinese Paintings and Calligraphy Seen and Verified (古书画过眼要录, 1987), he authenticated it as Zeng's hand via stylistic analysis and historical cross-references.
- Zhu Jiashu (朱家溍): Listed in Catalog of Famous Calligraphic Works Through the Ages (历代著录法书目, 1990s) as genuine.
- Yin Guanghua (尹光华): China Guardian's 2016 pre-sale essay (Initial Examination of Zeng Gong's Jushi Tie) dates it precisely to Yuanfeng 3 using internal references (e.g., the restored title "Fengyi," absent for over a century) and Zeng Gong Nianpu (曾巩年谱).
- Auction house forensics: UV/IR imaging and material analysis confirmed Song-era paper and ink.
1083-1085 Wood and Rock by Su Shi
2018 SOLD for HK$ 460M by Christie's
Under the Song, the literati are philosophers and humanists who sometimes have the audacity to oppose imperial politics. Their supreme mode of expression is calligraphy, which conveys to their readers the firmness and rhythm of their thought.
In 1071 CE, Su Shi had been expelled from the capital, starting at the age of 34 a second career as a provincial servant with increasingly mediocre missions despite his immense talent. He died in 1101. His younger friend Mi Fu escaped political persecution by his reputation for eccentricity. They were the two best calligraphers in their lifetime.
A nine-character autograph message on a 28 x 9.5 cm sheet sent by Su Shi to the governor of a locality that he was leaving was sold for $ 8.2M by Sotheby's on September 19, 2013.
Graphic art is exceptional in their works. The movement of the artist's hand is the same as for calligraphy. The rare drawings by Su Shi translate emotions too deep to be expressed in words. Mi Fu will only paint in the last years of his life, mostly after Su Shi's death.
On November 26, 2018, Christie's sold for HK $ 460M as lot 8008 a 26 x 50 cm ink on paper painted by Su Shi. This piece is extended by many colophons including an appreciation calligraphed by Mi Fu, and includes many seals. Please watch two videos shared by the auction house.
The image consists of two elements that join together : a leafless tree twisted into several undulations and a bulky rock. The dryness of the tree expresses the desolation of the artist in his exile while at the opposite edge on the left flank of the rock the sparse bamboos bring the hope of a new vitality.
Grokipedia input :
A rare purported authentic piece, Wood and Rock (also known as Frightened Wood and Strange Rock), depicts a gnarled tree and craggy rock in ink monochrome, symbolizing endurance amid adversity; this handscroll, dated to the 11th century, surfaced in auctions and is prized for its expressive minimalism, though debates persist on its genuineness due to the era's copying practices.
Grok reply to Grokipedia :
The description provided about Su Shi's "Wood and Rock" (also known as "Withered Tree and Strange Rock" in some translations) largely aligns with historical and art scholarship on the piece. This 11th-century handscroll, attributed to the Song dynasty polymath Su Shi (1037–1101), features a minimalist ink-on-paper depiction of a gnarled, leafless tree alongside a craggy rock, with emerging bamboo shoots adding subtle vitality. The composition, measuring approximately 26.3 x 50 cm for the painting itself (expanding to over 5 meters with colophons and mounting), embodies themes of resilience and harmony between nature and human experience, often interpreted as symbolizing endurance through life's adversities and the passage of time.
Su Shi, a renowned poet, calligrapher, statesman, and artist—often likened to a "Renaissance man" predating Leonardo da Vinci—pioneered a spontaneous, expressive style in literati painting that departed from the meticulous academic traditions of his era. This work exemplifies that innovation through its bold, impressionistic brushstrokes and minimalism, prioritizing personal expression over detailed realism. It includes colophons (inscriptions) by contemporaries like Liu Liangzuo (11th century) and the celebrated calligrapher Mi Fu (1051–1107), as well as later additions up to the 16th century, along with 41 collector's seals that trace its provenance.
The handscroll was originally a gift from Su Shi to a friend in Runzhou (modern Zhenjiang) and remained in private collections for centuries, including Japanese ownership from 1937 onward. It gained international attention when it surfaced at Christie's Hong Kong auction in November 2018, selling for HK$463.6 million (about US$59.2 million)—one of the highest prices for a classical Chinese painting at the time, though it fell short of breaking the overall Asian art record. As of mid-2025, it ranks among the top five most expensive Chinese scroll paintings ever auctioned.
Debates on its authenticity stem from the Song dynasty's prevalent copying practices, the scarcity of surviving Su Shi works (only one or two confirmed paintings exist, with another, "Bamboo and Rock," held by the National Art Museum of China), and its limited public exposure prior to the 2018 sale. Some scholars have questioned attribution based on stylistic analysis and historical documentation, with lingering skepticism noted around its undocumented periods in imperial collections. However, Christie's specialists and art historians, citing the colophons, seals, and brushwork consistency with Su Shi's known style, affirm its genuineness, emphasizing its role in illustrating the evolution of Chinese ink painting. The piece's cultural significance endures, reflecting Su Shi's profound influence on subsequent generations of artists.
In 1071 CE, Su Shi had been expelled from the capital, starting at the age of 34 a second career as a provincial servant with increasingly mediocre missions despite his immense talent. He died in 1101. His younger friend Mi Fu escaped political persecution by his reputation for eccentricity. They were the two best calligraphers in their lifetime.
A nine-character autograph message on a 28 x 9.5 cm sheet sent by Su Shi to the governor of a locality that he was leaving was sold for $ 8.2M by Sotheby's on September 19, 2013.
Graphic art is exceptional in their works. The movement of the artist's hand is the same as for calligraphy. The rare drawings by Su Shi translate emotions too deep to be expressed in words. Mi Fu will only paint in the last years of his life, mostly after Su Shi's death.
On November 26, 2018, Christie's sold for HK $ 460M as lot 8008 a 26 x 50 cm ink on paper painted by Su Shi. This piece is extended by many colophons including an appreciation calligraphed by Mi Fu, and includes many seals. Please watch two videos shared by the auction house.
The image consists of two elements that join together : a leafless tree twisted into several undulations and a bulky rock. The dryness of the tree expresses the desolation of the artist in his exile while at the opposite edge on the left flank of the rock the sparse bamboos bring the hope of a new vitality.
Grokipedia input :
A rare purported authentic piece, Wood and Rock (also known as Frightened Wood and Strange Rock), depicts a gnarled tree and craggy rock in ink monochrome, symbolizing endurance amid adversity; this handscroll, dated to the 11th century, surfaced in auctions and is prized for its expressive minimalism, though debates persist on its genuineness due to the era's copying practices.
Grok reply to Grokipedia :
The description provided about Su Shi's "Wood and Rock" (also known as "Withered Tree and Strange Rock" in some translations) largely aligns with historical and art scholarship on the piece. This 11th-century handscroll, attributed to the Song dynasty polymath Su Shi (1037–1101), features a minimalist ink-on-paper depiction of a gnarled, leafless tree alongside a craggy rock, with emerging bamboo shoots adding subtle vitality. The composition, measuring approximately 26.3 x 50 cm for the painting itself (expanding to over 5 meters with colophons and mounting), embodies themes of resilience and harmony between nature and human experience, often interpreted as symbolizing endurance through life's adversities and the passage of time.
Su Shi, a renowned poet, calligrapher, statesman, and artist—often likened to a "Renaissance man" predating Leonardo da Vinci—pioneered a spontaneous, expressive style in literati painting that departed from the meticulous academic traditions of his era. This work exemplifies that innovation through its bold, impressionistic brushstrokes and minimalism, prioritizing personal expression over detailed realism. It includes colophons (inscriptions) by contemporaries like Liu Liangzuo (11th century) and the celebrated calligrapher Mi Fu (1051–1107), as well as later additions up to the 16th century, along with 41 collector's seals that trace its provenance.
The handscroll was originally a gift from Su Shi to a friend in Runzhou (modern Zhenjiang) and remained in private collections for centuries, including Japanese ownership from 1937 onward. It gained international attention when it surfaced at Christie's Hong Kong auction in November 2018, selling for HK$463.6 million (about US$59.2 million)—one of the highest prices for a classical Chinese painting at the time, though it fell short of breaking the overall Asian art record. As of mid-2025, it ranks among the top five most expensive Chinese scroll paintings ever auctioned.
Debates on its authenticity stem from the Song dynasty's prevalent copying practices, the scarcity of surviving Su Shi works (only one or two confirmed paintings exist, with another, "Bamboo and Rock," held by the National Art Museum of China), and its limited public exposure prior to the 2018 sale. Some scholars have questioned attribution based on stylistic analysis and historical documentation, with lingering skepticism noted around its undocumented periods in imperial collections. However, Christie's specialists and art historians, citing the colophons, seals, and brushwork consistency with Su Shi's known style, affirm its genuineness, emphasizing its role in illustrating the evolution of Chinese ink painting. The piece's cultural significance endures, reflecting Su Shi's profound influence on subsequent generations of artists.
Relationship Between Su Shi and Mi Fu
Su Shi (1037–1101, also known as Su Dongpo) and Mi Fu (1051–1107, also known as Mi Youren or Haiyue Jushi) were prominent figures of the Northern Song dynasty (960–1127), both renowned as scholar-officials, poets, calligraphers, and painters. They shared a deep personal friendship and intellectual bond, forged during their overlapping careers in government service and artistic circles in cities like Kaifeng and Yangzhou. This relationship is well-documented in historical records, such as Su Shi's letters and Mi Fu's writings, where they exchanged poems, critiqued each other's works, and collaborated on artistic projects. Mi Fu, in particular, admired Su Shi's innovative approach to painting, which emphasized expressive brushwork over realistic depiction—a style Mi Fu himself emulated and championed. Their friendship exemplifies the literati (wenren) ideal of the Song era, where art, poetry, and philosophy intertwined among elites. In the context of Wood and Rock, Mi Fu's colophon (appreciation) not only praises Su Shi's painting but also responds poetically to a rhyme initiated by another mutual acquaintance, Liu Liangzuo, underscoring their collaborative creative exchanges. Christie's catalog describes Mi Fu explicitly as "a close friend of Su Shi," highlighting how his inscription elevates the scroll as a testament to their shared legacy in advancing ink painting and calligraphy as vehicles for personal expression.
Estimated Date of the Painting and Colophon
The painting Wood and Rock by Su Shi depicts a gnarled, withered tree emerging from a fantastical, cloud-like rock formation, executed in bold, expressive ink washes on paper—a hallmark of Su Shi's late style symbolizing resilience amid adversity (reflecting his own political exiles). Based on the colophons and historical provenance detailed in the Christie's auction catalog:
Su Shi (1037–1101, also known as Su Dongpo) and Mi Fu (1051–1107, also known as Mi Youren or Haiyue Jushi) were prominent figures of the Northern Song dynasty (960–1127), both renowned as scholar-officials, poets, calligraphers, and painters. They shared a deep personal friendship and intellectual bond, forged during their overlapping careers in government service and artistic circles in cities like Kaifeng and Yangzhou. This relationship is well-documented in historical records, such as Su Shi's letters and Mi Fu's writings, where they exchanged poems, critiqued each other's works, and collaborated on artistic projects. Mi Fu, in particular, admired Su Shi's innovative approach to painting, which emphasized expressive brushwork over realistic depiction—a style Mi Fu himself emulated and championed. Their friendship exemplifies the literati (wenren) ideal of the Song era, where art, poetry, and philosophy intertwined among elites. In the context of Wood and Rock, Mi Fu's colophon (appreciation) not only praises Su Shi's painting but also responds poetically to a rhyme initiated by another mutual acquaintance, Liu Liangzuo, underscoring their collaborative creative exchanges. Christie's catalog describes Mi Fu explicitly as "a close friend of Su Shi," highlighting how his inscription elevates the scroll as a testament to their shared legacy in advancing ink painting and calligraphy as vehicles for personal expression.
Estimated Date of the Painting and Colophon
The painting Wood and Rock by Su Shi depicts a gnarled, withered tree emerging from a fantastical, cloud-like rock formation, executed in bold, expressive ink washes on paper—a hallmark of Su Shi's late style symbolizing resilience amid adversity (reflecting his own political exiles). Based on the colophons and historical provenance detailed in the Christie's auction catalog:
- Date of the Painting: Estimated to 1083–1085 CE. This is inferred from the colophon by Liu Liangzuo (11th century, active ca. 1070s–1090s), a contemporary mutual friend of Su Shi and Mi Fu. Liu describes the recipient, "Master Feng" (a Taoist scholar in Runzhou/Zhenjiang), as being in his seventies with "dark beard and hair ever glowing," indicating advanced age and a long acquaintance. Liu notes it has been "thirty years" since Master Feng resigned his post to pursue Taoism, placing the gift and painting around the early 1080s. Su Shi was exiled to Huangzhou (Hubei) from 1080–1084, a period of intense creative output, aligning with the work's stylistic maturity and thematic depth.
- Date of Mi Fu's Colophon (Appreciation): Estimated to 1085–1087 CE. Mi Fu's inscription directly follows Liu Liangzuo's in the handscroll, responding to the same poetic rhyme with his own verses (beginning "Fu, following the rhyme: Who can say what it is like at the age of forty?"). This suggests it was added shortly after Liu's, during a brief window when the scroll circulated among their circle in the mid-1080s. Mi Fu was then in his mid-30s, serving as an official in Yangzhou (near Runzhou), making such an exchange feasible. Later colophons (e.g., by Yu Xilu in 1333 and Guo Chang in 1614) reference Mi Fu's addition as contemporaneous with the painting, reinforcing this timeline.
Christie’s Announces 1000-year-old $50m Su Shi Scroll https://t.co/eVdovdYFyr pic.twitter.com/XpeTTOdBby
— Art Market Monitor (@artmarket) August 30, 2018
1095 Calligraphy of a Tang poem
2010 SOLD for RMB 436M by Poly
A scroll of paper from Song period was sold for RMB 436M by Poly on June 3, 2010. It is completely covered with characters drawn in ink by Huang Tingjian, one of the most famous master calligraphers of his time. It is a fine example of his art consisting of semi-cursive letters in an energetic and accentuated style. Depending on location, this text includes from 4 to 15 characters within the height.
Completed around 1095 CE, this scroll is 37 cm high with a length exceeding 8 m, 15 m including the colohons contains 600 characters of which some examples are presented in the article shared by China Daily. Titled Di Zhu Ming, it is a copy of a Tang poem. It includes a small portrait of the calligrapher artist.
Grok thought from an ArtHitParade tweet :
Huang Tingjian's Dizhuming handscroll, created around 1095 during the Northern Song dynasty, transcribes a complete Tang dynasty poem titled Di Zhu Ming (likely referring to a work evoking themes of "emperor's bamboo inscription" or similar, though exact attribution varies in sources; it draws from Tang poetic traditions emphasizing nature, impermanence, and scholarly reflection). This is not a mere excerpt but a full, verbatim reproduction spanning approximately 600 characters, preserving the original Tang text's structure, rhythm, and imagery in semi-cursive (running) script. Its cultural weight lies in bridging Tang and Song literary worlds: the Tang era (618–907) represented the pinnacle of classical Chinese poetry, with masters like Li Bai and Du Fu setting enduring standards. By faithfully copying and thus revitalizing a Tang poem, Huang elevated it as a scholarly act of homage and transmission, aligning with Song literati's obsession with antiquity amid political turmoil (Huang himself faced exile in 1095 for his reformist associations). This "complete copy" underscores themes of cultural continuity—echoing Tang motifs of exile and resilience—while subtly critiquing Song court politics through the poem's undertones of loss and endurance. In the broader Song context, such transcriptions fueled the Jiangxi School of Poetry, which Huang founded, emphasizing "allusion and transformation" (bianfa) of Tang sources to innovate without rupture. The scroll's 2010 Poly Auction sale for RMB 436.5 million ($64 million USD) highlighted its role in modern cultural repatriation, symbolizing China's reclamation of Tang-Song heritage from Japanese collections.
Significance in Its Own Right as a Song Handscroll of Calligraphy
Beyond its role as a conduit for Tang poetry, Dizhuming stands as an autonomous masterpiece of Song calligraphy, exemplifying Huang's innovative "wild cursive" style influenced by Tang monk Huaisu (737–799) and his mentor Su Shi. Measuring about 8–10 meters in length (with colophons extending it to 15 meters), the handscroll format—unrolled sequentially for intimate viewing—embodies Song literati ideals of spontaneity (ziran) and self-expression, where calligraphy becomes "a picture of the mind" (xintu). Huang's script features bold, wave-like strokes, rhythmic ink density variations (dry to moist), and energetic flourishes that convey moral vigor and emotional depth, diverging from Tang's formal regularity toward Song's introspective dynamism. As one of the "Four Masters of Song Calligraphy" (with Su Shi, Mi Fu, and Cai Xiang), Huang's work here marks a stylistic evolution in his later years: more fluid and "transformed" than his earlier pieces, reflecting his exile's philosophical turn toward Chan Buddhist detachment. Its 600 characters pulse with vitality, turning transcription into creation—each stroke a meditation on impermanence, mirroring the poem's themes. This handscroll influenced subsequent generations, inspiring Ming-Qing collectors and modern auctions, where it set records not just for price but for embodying Song's shift from imperial grandeur to personal artistry. In essence, Dizhuming is a performative artifact: a scroll that, when unrolled, unfolds Huang's inner world, making it a cornerstone of Chinese calligraphy's expressive tradition.
Condition and Authentication of the Handscroll
The Dizhuming scroll is in remarkably well-preserved condition for a 900-year-old artifact, with minimal fading, tears, or insect damage, thanks to its provenance in protected Japanese and Taiwanese collections post-Song era. The core calligraphy remains vibrant, with original ink tones intact and paper supple, though age-related discoloration appears in mounting silk. Colophons—over 20 inscriptions from Song to Qing connoisseurs, including a Song emperor's seal—add historical layers but introduce minor repairs (e.g., silk reinforcements in the 18th century). Post-2010 auction conservation by Poly International likely involved pH-neutral mounting to stabilize it further.
Authentication has been rigorous and layered. Initially doubted during the Qing Qianlong era (1735–1796) as a "counterfeit" due to its atypical style (bolder than Huang's standard works), it was reaffirmed in the 20th century by Taiwanese scholar and calligrapher Tuo Zhonghua, who identified stylistic hallmarks like Huang's signature "rippling" horizontals and pressure variations, dating it precisely to 1095 via historical records of Huang's exile. Provenance traces to Song imperial collections, then Japanese temples (e.g., a private Kyoto museum until the 1980s), and a Taiwanese collector before the 2010 sale. Poly Auction's pre-sale experts, including infrared analysis and comparative studies against authenticated Huang works (e.g., Poem on the Hall of Pines and Wind at the National Palace Museum, Taipei), confirmed genuineness. No major disputes persist today; it's hailed as Huang's longest surviving regular-script scroll, with its $64 million price reflecting unassailable scholarly consensus.
Completed around 1095 CE, this scroll is 37 cm high with a length exceeding 8 m, 15 m including the colohons contains 600 characters of which some examples are presented in the article shared by China Daily. Titled Di Zhu Ming, it is a copy of a Tang poem. It includes a small portrait of the calligrapher artist.
Grok thought from an ArtHitParade tweet :
- The post highlights a 2010 Poly Auction sale of Huang Tingjian's "Dizhuming" scroll, a Song dynasty semi-cursive calligraphy of a Tang poem from circa 1095, which fetched RMB 436.5 million ($64 million USD), setting a record for Chinese calligraphy at the time.
- Huang Tingjian, a prominent Song-era poet and calligrapher under Su Shi's influence, produced this 8-meter-long work featuring 600 energetic ink characters, valued for its historical authenticity and artistic vigor amid rising demand for imperial-era artifacts.
- As entry #46 in @ArtHitParade
's auction catalog series, the post reflects the booming Chinese art market post-2000s, where such sales underscore cultural repatriation trends and Poly's role in elevating classical works to global investment status.
Huang Tingjian's Dizhuming handscroll, created around 1095 during the Northern Song dynasty, transcribes a complete Tang dynasty poem titled Di Zhu Ming (likely referring to a work evoking themes of "emperor's bamboo inscription" or similar, though exact attribution varies in sources; it draws from Tang poetic traditions emphasizing nature, impermanence, and scholarly reflection). This is not a mere excerpt but a full, verbatim reproduction spanning approximately 600 characters, preserving the original Tang text's structure, rhythm, and imagery in semi-cursive (running) script. Its cultural weight lies in bridging Tang and Song literary worlds: the Tang era (618–907) represented the pinnacle of classical Chinese poetry, with masters like Li Bai and Du Fu setting enduring standards. By faithfully copying and thus revitalizing a Tang poem, Huang elevated it as a scholarly act of homage and transmission, aligning with Song literati's obsession with antiquity amid political turmoil (Huang himself faced exile in 1095 for his reformist associations). This "complete copy" underscores themes of cultural continuity—echoing Tang motifs of exile and resilience—while subtly critiquing Song court politics through the poem's undertones of loss and endurance. In the broader Song context, such transcriptions fueled the Jiangxi School of Poetry, which Huang founded, emphasizing "allusion and transformation" (bianfa) of Tang sources to innovate without rupture. The scroll's 2010 Poly Auction sale for RMB 436.5 million ($64 million USD) highlighted its role in modern cultural repatriation, symbolizing China's reclamation of Tang-Song heritage from Japanese collections.
Significance in Its Own Right as a Song Handscroll of Calligraphy
Beyond its role as a conduit for Tang poetry, Dizhuming stands as an autonomous masterpiece of Song calligraphy, exemplifying Huang's innovative "wild cursive" style influenced by Tang monk Huaisu (737–799) and his mentor Su Shi. Measuring about 8–10 meters in length (with colophons extending it to 15 meters), the handscroll format—unrolled sequentially for intimate viewing—embodies Song literati ideals of spontaneity (ziran) and self-expression, where calligraphy becomes "a picture of the mind" (xintu). Huang's script features bold, wave-like strokes, rhythmic ink density variations (dry to moist), and energetic flourishes that convey moral vigor and emotional depth, diverging from Tang's formal regularity toward Song's introspective dynamism. As one of the "Four Masters of Song Calligraphy" (with Su Shi, Mi Fu, and Cai Xiang), Huang's work here marks a stylistic evolution in his later years: more fluid and "transformed" than his earlier pieces, reflecting his exile's philosophical turn toward Chan Buddhist detachment. Its 600 characters pulse with vitality, turning transcription into creation—each stroke a meditation on impermanence, mirroring the poem's themes. This handscroll influenced subsequent generations, inspiring Ming-Qing collectors and modern auctions, where it set records not just for price but for embodying Song's shift from imperial grandeur to personal artistry. In essence, Dizhuming is a performative artifact: a scroll that, when unrolled, unfolds Huang's inner world, making it a cornerstone of Chinese calligraphy's expressive tradition.
Condition and Authentication of the Handscroll
The Dizhuming scroll is in remarkably well-preserved condition for a 900-year-old artifact, with minimal fading, tears, or insect damage, thanks to its provenance in protected Japanese and Taiwanese collections post-Song era. The core calligraphy remains vibrant, with original ink tones intact and paper supple, though age-related discoloration appears in mounting silk. Colophons—over 20 inscriptions from Song to Qing connoisseurs, including a Song emperor's seal—add historical layers but introduce minor repairs (e.g., silk reinforcements in the 18th century). Post-2010 auction conservation by Poly International likely involved pH-neutral mounting to stabilize it further.
Authentication has been rigorous and layered. Initially doubted during the Qing Qianlong era (1735–1796) as a "counterfeit" due to its atypical style (bolder than Huang's standard works), it was reaffirmed in the 20th century by Taiwanese scholar and calligrapher Tuo Zhonghua, who identified stylistic hallmarks like Huang's signature "rippling" horizontals and pressure variations, dating it precisely to 1095 via historical records of Huang's exile. Provenance traces to Song imperial collections, then Japanese temples (e.g., a private Kyoto museum until the 1980s), and a Taiwanese collector before the 2010 sale. Poly Auction's pre-sale experts, including infrared analysis and comparative studies against authenticated Huang works (e.g., Poem on the Hall of Pines and Wind at the National Palace Museum, Taipei), confirmed genuineness. No major disputes persist today; it's hailed as Huang's longest surviving regular-script scroll, with its $64 million price reflecting unassailable scholarly consensus.
ca 1100 porcelain basin
2014 SOLD for HK$ 147M by Sotheby's
Under the Song dynasties, porcelain replaces jade for the dishes of the imperial palace, provided that its refinement is extreme. The greatest geometric simplicity is highly appreciated. The softness of the glazes is so great to the touch that up to present day it remains the unequaled summit of this art. Incised decorations are often exquisite but are not essential.
From the beginning of the dynasty with the white Ding type porcelain, some cups are multi-lobed, taking the shape of a blooming flower. This form has indeed a practical purpose because it helps to hold the brushes during washing.
A basin made in white porcelain at the time of the Northern Song Dynasty 900 years ago or slightly earlier was sold for HK $ 147M from a lower estimate of HK $ 60M by Sotheby's on April 8, 2014, lot 11. There is no evidence that this piece was imperial.
This large bowl 22 cm in diameter with high walls enters into the category of the Ding, vessels of good purity used for food or medicine. It is however the high end in this category, with some extreme refinements unique of their kind. Its glaze is colored in two very close ivory shades. It is in excellent condition.
Its theme is floral, first of all by its eight lobes of lotus petal shape. Inside, the floral patterns are finely incised under the glaze, barely noticeable in the photos. The central medallion is decorated with a peony and lotus stems adorn the inside walls. The exterior is blank.
The rim of the bowl is colored by a brown copper strip enabled by sparings in the glaze. This nice addition met the fashion of the time but did not please the emperor. It explains the development of the Ru production, monochrome without sparings, in the very last years of the dynasty.
From the beginning of the dynasty with the white Ding type porcelain, some cups are multi-lobed, taking the shape of a blooming flower. This form has indeed a practical purpose because it helps to hold the brushes during washing.
A basin made in white porcelain at the time of the Northern Song Dynasty 900 years ago or slightly earlier was sold for HK $ 147M from a lower estimate of HK $ 60M by Sotheby's on April 8, 2014, lot 11. There is no evidence that this piece was imperial.
This large bowl 22 cm in diameter with high walls enters into the category of the Ding, vessels of good purity used for food or medicine. It is however the high end in this category, with some extreme refinements unique of their kind. Its glaze is colored in two very close ivory shades. It is in excellent condition.
Its theme is floral, first of all by its eight lobes of lotus petal shape. Inside, the floral patterns are finely incised under the glaze, barely noticeable in the photos. The central medallion is decorated with a peony and lotus stems adorn the inside walls. The exterior is blank.
The rim of the bowl is colored by a brown copper strip enabled by sparings in the glaze. This nice addition met the fashion of the time but did not please the emperor. It explains the development of the Ru production, monochrome without sparings, in the very last years of the dynasty.
Ru Ware
Intro
In the history of mankind, artistic refinement is not a matter of continuous improvement, as one might believe. The chemical secret of the Imperial ceramics of the Northern Song is lost for a long time, and the quality of the smooth and translucent glaze using agate powder will never be equaled.
The best production center was known as the Ru kilns, Ru yao in Chinese. Ru ceramics are very rare because this operation lasted only a few years, 900 years ago during Zhezong and Huizong periods and was stopped by the fall of the dynasty. The site of the Ru yao, lost since the Yuan, was located in 1987 in Henan Province and excavated in 2000.
By a positioning on tiny studs during cooking without turning the piece upside down, the glaze savings that so displeased at the court of the Northern Song are avoided. The celadon color of which several shades are available equals the refinement of the jade. In the fashion of that time perfect proportions and minimalism are preferred to the complexity of shapes.
Located on what was to become a border zone between north and south, the Ru kilns did not survive the fall of the Northern Song. Their undocumented activity which was perhaps not in the service of the court had only lasted about two decades.
A quarter of a century after the fall of the Northern Song a courtier presents to the Gaozong Emperor of the Southern Song a significant group of Ru ware. The Emperor who was just managing to restore the legendary refinement of his dynasty admires the exceptional quality of these porcelains and especially some pieces whose surface has a texture like ice crackles. This effect modeling the creation of minerals in nature is appreciated as sensational. It was related to the chance of the cooling conditions in the Ru kilns but the Southern Song potters discovered the conditions to be applied to create such a texture at will.
87 pieces of Ru porcelain of the Northern Song are known. Four of them are in private hands.
The best production center was known as the Ru kilns, Ru yao in Chinese. Ru ceramics are very rare because this operation lasted only a few years, 900 years ago during Zhezong and Huizong periods and was stopped by the fall of the dynasty. The site of the Ru yao, lost since the Yuan, was located in 1987 in Henan Province and excavated in 2000.
By a positioning on tiny studs during cooking without turning the piece upside down, the glaze savings that so displeased at the court of the Northern Song are avoided. The celadon color of which several shades are available equals the refinement of the jade. In the fashion of that time perfect proportions and minimalism are preferred to the complexity of shapes.
Located on what was to become a border zone between north and south, the Ru kilns did not survive the fall of the Northern Song. Their undocumented activity which was perhaps not in the service of the court had only lasted about two decades.
A quarter of a century after the fall of the Northern Song a courtier presents to the Gaozong Emperor of the Southern Song a significant group of Ru ware. The Emperor who was just managing to restore the legendary refinement of his dynasty admires the exceptional quality of these porcelains and especially some pieces whose surface has a texture like ice crackles. This effect modeling the creation of minerals in nature is appreciated as sensational. It was related to the chance of the cooling conditions in the Ru kilns but the Southern Song potters discovered the conditions to be applied to create such a texture at will.
87 pieces of Ru porcelain of the Northern Song are known. Four of them are in private hands.
1
intense blue-green brush washer
2017 SOLD for HK$ 294M by Sotheby's
A 13 cm round brush washer was sold for HK $ 294M by Sotheby's on October 3, 2017, lot 5. This intense blue-green piece has an exceptionally shiny crackled surface. Please watch the short video shared by the auction house.
Relying on a brush washer sold by Sotheby's on October 3, 2017, lot 5, define the significance of Ru ware in the history of Chinese porcelain.
The significance of Ru ware (汝窯) in the history of Chinese porcelain can be powerfully illustrated through the extraordinary auction result of the brush washer sold by Sotheby’s Hong Kong on 3 October 2017 as lot 5 — the small, unassuming sky-blue dish (14.8 cm diameter) from the Northern Song dynasty (early 12th century) that fetched HK$294,300,000 (approximately US$37.7 million), setting the world auction record for any Chinese ceramic at that time.This object is one of fewer than 100 surviving pieces of genuine Ru ware known worldwide (scholarly estimates place the total at 79–87 extant examples, almost all in museum collections). The extreme rarity and the astronomical price paid for this brush washer underline why Ru ware is universally regarded as the most revered and historically significant of all Chinese ceramics. Here are the key reasons:
Relying on a brush washer sold by Sotheby's on October 3, 2017, lot 5, define the significance of Ru ware in the history of Chinese porcelain.
The significance of Ru ware (汝窯) in the history of Chinese porcelain can be powerfully illustrated through the extraordinary auction result of the brush washer sold by Sotheby’s Hong Kong on 3 October 2017 as lot 5 — the small, unassuming sky-blue dish (14.8 cm diameter) from the Northern Song dynasty (early 12th century) that fetched HK$294,300,000 (approximately US$37.7 million), setting the world auction record for any Chinese ceramic at that time.This object is one of fewer than 100 surviving pieces of genuine Ru ware known worldwide (scholarly estimates place the total at 79–87 extant examples, almost all in museum collections). The extreme rarity and the astronomical price paid for this brush washer underline why Ru ware is universally regarded as the most revered and historically significant of all Chinese ceramics. Here are the key reasons:
- It is the official ware of the late Northern Song imperial court (ca. 1086–1125)
Ru ware was produced exclusively for the Huizong Emperor (r. 1100–1125), the most artistically refined and aesthetically demanding ruler in Chinese history. Historical records (notably the 1420 text Gegu yaolun 清秘藏) state that the kiln at Baofeng, Qingliangsi, Ruzhou (modern Henan) was established by imperial order and fired for only about 20–30 years before the fall of the Northern Song to the Jurchens in 1127. No later dynasty ever succeeded in reproducing it. - It represents the absolute pinnacle of Song aesthetic ideals
Ru ware embodies the Song cult of understated elegance, restraint, and “heavenly” colour. Its pale sky-after-rain blue-green glaze (often described as “duck-egg blue” or “clair-de-lune”) was deliberately subtle, with an almost matte, jade-like surface, extremely fine crackle, and a soft opalescent glow. This was a radical departure from the bold colours and heavy decoration of Tang and earlier ceramics; it is the first deliberately monochrome, unadorned high-fired glaze in world ceramics history. - Technical perfection that has never been equalled
The glaze contains a tiny percentage of agate, producing its unique colour and opacity. The body is fired on five tiny sesame-seed-sized spurs, leaving almost invisible marks — a technique so refined that it remained unmatched for centuries. Later imitations by Yongzheng and Qianlong (18th century) Qing emperors came closest but are still instantly distinguishable to the trained eye. - Extreme rarity and institutional prestige
Of the roughly 80 surviving pieces:- National Palace Museum, Taipei: ~22
- Palace Museum, Beijing: ~17
- British Museum, Percival David Foundation: 9 (the finest private collection ever formed)
- Shanghai Museum, Sir Percival David, etc.: the rest
Only six or seven pieces have ever remained in private hands in modern times. The 2017 Sotheby’s brush washer was one of them, coming from the Au Bak Ling Collection and previously exhibited at the British Museum.
- Cultural and symbolic status
Already in the Ming dynasty, Ru ware ranked first in the traditional hierarchy of the “Five Great Wares” of the Song (Ru, Guan, Ge, Jun, Ding). Chinese connoisseurs have for 600 years repeated the saying:
“Even if you have ten thousand taels of gold, a piece of Ru ware is beyond price (有錢難買魯窯器).
900-year-old dish to smash US$36 million auction world record for Chinese antiques https://t.co/U56WqVJCQB pic.twitter.com/H7bBHIqiIv
— SCMP News (@SCMP_News) August 24, 2017
2
pale blue-green brush washer
2012 SOLD for HK$ 208M by Sotheby's
The classic color of Ru is a very pale blue-green jade imitation. A washer 13.5 cm in diameter in smooth texture and very good condition was sold for HK $ 208M from a lower estimate of HK $ 60M by Sotheby's on April 4, 2012. The edge is pinched in six locations, simulating the petals of a flower.
This washer was known long before the rediscovery of the site.
This washer was known long before the rediscovery of the site.
1120 Guqin
2010 SOLD for RMB 137M by Poly
The Huizong emperor, whose political incompetence led to the downfall of the Northern Song, was arguably the most important art lover of all time. At the beginning of Xuanhe, the sixth and final era of his reign, he had a catalog prepared of his collection, listing 6,391 paintings by 231 artists.
The esthete emperor was also a music lover. A self-portrait shows him playing the guqin, the zither with seven plucked strings used since the time of Confucius, 1600 years earlier.
An imperial guqin dated to the second year of Xuanhe, 1120 CE, has remained in a superb condition which has preserved its original sound. Some restorations under the Qing did not alter its sound box. According to the tradition for the most prestigious instruments, its name echoes its sound : Song Shi Jian Yi, stones amidst pine trees.
This classically shaped luxuriously lacquered instrument measures 126 cm overall, 21 cm shoulder wide and 4.7 cm thick.
After having been owned since 1953 by Fan Boyan, a famous guqin player in Shanghai, it was sold on December 5, 2010 by Poly for RMB 137M from a lower estimate of RMB 20M, lot 5681. It is illustrated in the post sale report by People's Daily.
The esthete emperor was also a music lover. A self-portrait shows him playing the guqin, the zither with seven plucked strings used since the time of Confucius, 1600 years earlier.
An imperial guqin dated to the second year of Xuanhe, 1120 CE, has remained in a superb condition which has preserved its original sound. Some restorations under the Qing did not alter its sound box. According to the tradition for the most prestigious instruments, its name echoes its sound : Song Shi Jian Yi, stones amidst pine trees.
This classically shaped luxuriously lacquered instrument measures 126 cm overall, 21 cm shoulder wide and 4.7 cm thick.
After having been owned since 1953 by Fan Boyan, a famous guqin player in Shanghai, it was sold on December 5, 2010 by Poly for RMB 137M from a lower estimate of RMB 20M, lot 5681. It is illustrated in the post sale report by People's Daily.
Letter to a Friend by Zhu Dunru
2020 SOLD for RMB 150M by China Guardian
A military officer and a poet, Zhu Dunru did not take part in the events of the fall of the Northern Song in 1127 CE but became provincial secretary in Shaoxing for the Southern Song and in 1135 CE followed the training for the jinshi, the highest degree of the imperial examinations. He died in 1159 CE, aged 78.
Zhu Dunru's known literary activity consists only of singing poems, a form that had previously been practiced by Su Shi, the most outstanding Song poet.
An autograph letter by Zhu Dunru was sold for RMB 150M by China Guardian on December 1, 2020, lot 279. The image is shared by China Daily in their review of the top results for Chinese art in 2020 auctions.
This letter to a friend in running and cursive script calligraphy on paper 35 x 46 cm is titled Kui Suo Tie, meaning "It has been a long time since I saw you". By its size and the number of its words spread over twelve columns, it is the most important of the four surviving autograph documents by this poet.
Zhu Dunru's known literary activity consists only of singing poems, a form that had previously been practiced by Su Shi, the most outstanding Song poet.
An autograph letter by Zhu Dunru was sold for RMB 150M by China Guardian on December 1, 2020, lot 279. The image is shared by China Daily in their review of the top results for Chinese art in 2020 auctions.
This letter to a friend in running and cursive script calligraphy on paper 35 x 46 cm is titled Kui Suo Tie, meaning "It has been a long time since I saw you". By its size and the number of its words spread over twelve columns, it is the most important of the four surviving autograph documents by this poet.
1244 Six Dragons attributed to Chen Rong
2017 SOLD for $ 49M by Christie's
The dragons, symbols of the emperor and his family, know how to confront the forces of nature. Their sinuous bodies sail like in weightlessness amidst clouds and waves. The varied expressions of their faces are always vigorous.
The hand scroll is an art much more refined than a mere drawing. The image is read from right to left as it is unfolded, offering the scene of a real action. The paper should also be exquisite in the touch.
Towards the end of the Southern Song Dynasty, the artist Chen Rong pushed his ink pictures of dragons to the rank of masterpieces. His scrolls were much admired by the Qianlong emperor who commented on the colophons and stamped his seals.
The drawing of the fabulous beast by Chen Rong is sharp and detailed, in contrast to its wet surrounding realized by an original method of ink spraying. In the Taoist tradition, such a scene is a magical summon to rain.
The Boston Museum retains a scroll starring nine young sons of the Dragon King, 46 cm high for 15 m long, including on the painting two autograph inscriptions that provide an estimate of the date of the artwork at 1244 CE.
A scroll featuring six dragons in a style similar as in the Boston specimen was sold for $ 49M from a lower estimate of $ 1.2M by Christie's on March 15, 2017 after deaccession from the Fujita Museum in Osaka, lot 507. Signed by one seal of the artist, it is 35 cm high with a length of 4.40 m for the image and 83 cm for the calligraphy. It is handled for our pleasure in the video shared by the auction house.
Grok thought :
Quote
Christie's @ChristiesInc Mar 16, 2017
Six Dragons handscroll attributed to Chen Rong, from the Fujita Museum sold for $48,967,500 against high estimate of $1.8m #AsianArtWeek
The hand scroll is an art much more refined than a mere drawing. The image is read from right to left as it is unfolded, offering the scene of a real action. The paper should also be exquisite in the touch.
Towards the end of the Southern Song Dynasty, the artist Chen Rong pushed his ink pictures of dragons to the rank of masterpieces. His scrolls were much admired by the Qianlong emperor who commented on the colophons and stamped his seals.
The drawing of the fabulous beast by Chen Rong is sharp and detailed, in contrast to its wet surrounding realized by an original method of ink spraying. In the Taoist tradition, such a scene is a magical summon to rain.
The Boston Museum retains a scroll starring nine young sons of the Dragon King, 46 cm high for 15 m long, including on the painting two autograph inscriptions that provide an estimate of the date of the artwork at 1244 CE.
A scroll featuring six dragons in a style similar as in the Boston specimen was sold for $ 49M from a lower estimate of $ 1.2M by Christie's on March 15, 2017 after deaccession from the Fujita Museum in Osaka, lot 507. Signed by one seal of the artist, it is 35 cm high with a length of 4.40 m for the image and 83 cm for the calligraphy. It is handled for our pleasure in the video shared by the auction house.
Grok thought :
Quote
Christie's @ChristiesInc Mar 16, 2017
Six Dragons handscroll attributed to Chen Rong, from the Fujita Museum sold for $48,967,500 against high estimate of $1.8m #AsianArtWeek
- This 2017 Christie's post celebrates the surprise sale of a 13th-century Song Dynasty handscroll "Six Dragons" by Chen Rong, which soared to $48.97 million—exceeding its $1.8 million high estimate by over 27 times—amid fierce bidding during Asia Week New York.
- The ink-on-paper scroll, depicting six ethereal dragons swirling through misty clouds, originates from Japan's Fujita Museum collection and was catalogued in the Qing Dynasty's imperial Shiqu Baoji archive, underscoring its rare historical provenance.
- The auction's outcome reflected surging global interest in classical Chinese art, funding Fujita Museum renovations while setting a then-record for a Chinese painting, as conservative estimates masked the work's authenticated imperial allure.
Six Dragons handscroll attributed to Chen Rong, from the Fujita Museum sold for $48,967,500 against high estimate of $1.8m #AsianArtWeek pic.twitter.com/rbMbIyub5P
— Christie's (@ChristiesInc) March 15, 2017
