物以“犀”为贵存世不超4000件 犀角收藏的史与市

据相关部门统计，至今存世的犀角雕器不超过4000件。历代金、银、犀、玉并列，而犀又远比金、银、玉等器物名贵得多，因为犀角器的料源亚洲犀牛已经灭绝。

《笑傲江湖》第十四章，祖千秋说：“这一坛关外白酒，酒味是极好的，只可惜少了一股芳冽之气，最好是用犀角杯盛之而饮，那就醇美无比，须知玉杯增酒之色，犀角杯增酒之香。”

看来，金庸对酒具之道颇为了解。犀角自古就属奇药，居中国四大名药(犀角、麝香、熊胆、羚羊角)之首，古人以犀角制成器皿，饮用白酒。历代金、银、犀、玉并列，而犀又远比金、银、玉等器物名贵得多，因为犀角器的料源亚洲犀牛已经灭绝。

犀角器在古代工艺品中属凤毛麟角，在今天的艺术品市场上也是独领风骚。早在2005年，香港苏富比秋拍中，一件明末犀角雕双螭海棠形杯以1076万港币晋级“千万元俱乐部”；2010年，在香港佳士得春拍中，又有两件犀角器均以3986万港元的高价，打破了这项拍卖的世界纪录。

物以“犀”为贵，存世不超4000件

在今天的收藏市场上，犀角仍属于贵族收藏。苏州玩玉器的藏家于宏明告诉记者：“大部分玩古玩的收藏都对犀角望尘莫及，犀角的稀有度与艺术特征不是一般人能够了解的，浸淫其中的大藏家在全世界范围内都屈指可数。”

据相关部门统计，至今存世的犀角雕器不超过4000件。在这有数的存量中，大部分犀角均散落在海内外知名博物馆和大藏家手中。在中国内地，北京故宫有100多件，上海博物馆有40多件，南京博物馆有4件。在欧美博物馆中，爱尔兰国立博物馆藏有一批犀角器，约有160多件，居全球之冠。

业界人士告诉记者，近年出现在拍卖会的犀角雕，多数来自于欧美的旧藏，原因是一些博物馆经费不足或其他因素，而不得不把部分藏品拍卖。

玩犀角器的大收藏家，也都聚集在香港与欧美国家。其中，被业内所熟知的是香港名医叶义，北京故宫现存的100多件犀角中有81件是他捐赠的。除此之外，美国藏家黄蕙与霍满棠分别藏有犀角器40多件与80余件，也是业内公认的专业藏家。

犀角器如此稀缺，可以说是卖一件少一件，所以，犀角一旦被藏家收入囊中，一般不会再轻易出手。

资金全部吸纳，十年走出暴涨行情

今天，虽然玩犀角收藏的人越来越多，但全世界可供拍卖的犀角精品不过几百件。由于市场上流通数量有限，资金尚能将之全部吸纳，所以，行情一旦启动，就容易暴涨。

事实上，在2000年之前，犀角收藏还是一个偏门。雅昌艺术网数据显示，1994年至2000年间，犀角上拍量32件，成交价多为十几万元或者数十万元，超过50万元的寥寥无几。进入新千年之后，犀角拍卖在国际市场上逐渐升温，表现在投放量放大，成交率升高，成交纪录不断被刷新。

2005年，香港苏富比秋拍中，明末犀角雕双螭海棠形杯一举拍得1076万港币(当时约合人民币1140.56万元)，犀角器首次晋级“千万元俱乐部”；2006年9月的纽约苏富比秋拍，内地企业家徐其明以203.2万美元(约合人民币1680.4640万元)竞得清康熙尤侃款犀角雕仙人乘槎杯。

随着海外拍行公司掀起犀角热潮，中国市场也跟着活跃起来，2010年是国内外犀角器拍卖呈现井喷的一年。

2010年香港佳士得春拍中，松竹堂珍藏30件拍品全部成交，总成交额高达2.37亿港元。同年6月，北京古天一拍卖行犀角专场中，15件拍品同样百分百成交，成交额高达6266.4万元。同年12月5日，北京保利“酌兕觥”犀角专场中，21件犀角器拍出6046.9万元。这一年秋拍中，北京翰海投入犀角器30件，北京匡时投入33件，也全部成交。

资金门槛高，鉴定门槛低

犀角器的资金门槛高，但入门与鉴定的门槛很低。业内普遍认为，明清时代制作的犀角器是收藏的主要对象。明清时，犀角工艺到达一个高峰，到了清末，随国势不济而式微。

近几年，由于犀角行情空前高涨，市场也随之产生了大量赝品。仿犀角器在清末就很普遍，一是以非洲犀角充亚洲犀角，二是以水牛角等充之。然而，这类赝品非常容易辨认，即使行外，只要看几件犀角器，就能有一个感性的认识。

很多人认为，犀牛角越重越值钱。而专业藏家则认为，作为艺术品，犀牛角的质地、工艺、形状同样重要。亚洲犀角质感细腻、凝重、美观，非洲犀角是作为亚洲犀的补充，才进入中国市场的，其商业目的性强，艺术性也较低。

2011年底，我国出台了禁止公开销售象牙犀角的文件。拍卖行人士表示，尽管国家近期不会放开市场，但犀角的高价决定了其拥有者都有较强的实力，不可能低价出手。

“或者说，犀角价格短期不会下跌，倒有可能在未来几年造成有价无市的行情”。一位文物专家这样总结。

犀角雕刻的3个流派

据介绍，中国犀角雕刻大致可以分为三个流派：一是北京派，代表宫廷艺术，取材厚、大，表现皇室题材，工艺精美，不计工本材料；二是苏州派(包括嘉定)，工巧荟萃，讲究文人气息，多取材兰亭雅集、东坡游赤壁等题材，用料次于皇家；三是广东派，带有强烈的地方色彩，以花卉为主，用料较薄。中国历史上，犀角雕刻工艺在明清达到高峰，现存的亚洲犀角雕刻作品绝大多数是明清时代的作品。亚洲犀角绝迹后，非洲犀角取而代之，则是在清中叶以后，大多是为了贸易，作来料加工。此外，犀角雕刻作品除了看材质，还要看制作年代、雕刻流派以及是否名家手笔。

亚洲犀与非洲犀的4个区分

犀牛角有非洲犀牛角和亚洲犀牛角之分。目前，亚洲犀牛已经灭绝，因此亚洲犀角格外珍罕，价值高于非洲犀牛角；从药用价值上说，亚洲犀角是非洲犀角的20倍。所以，如何区分亚洲犀牛角和非洲犀牛角，就显得格外重要。

鉴别方法之一是看犀牛角，黑犀、白犀、苏门答腊(撒马利亚)犀这三类有双角，爪哇、印度犀则是单角。印度独角犀的角，由于数量极少，价值极高，非常珍贵。三种亚洲犀角中，最长的是印度犀角，最长的有20多厘米，东南亚犀角次之，苏门答腊犀角最短。二是形状比较特殊，角上有纵向纹路，类似甘蔗，横断面则呈“栗米纹”，底座呈马蹄形，最适合制作马蹄杯，角的前后有“天沟地岗”。三是药用价值高，有腥味。老作品有的已经有几百年历史，也有的皮壳上了漆，但只要在毛料上摩擦，就能闻到一股香味。四是亚洲犀角质地半透明，在光照下呈玛瑙色。还可以从犀牛的皮肤上进行区别，印度犀牛的皮肤上清晰可见深深的折痕，就好像穿了铠甲一样，而非洲犀牛的皮肤则比较光滑，没有折痕。

犀角器观赏5要点

• 一、刻工。精细入微，布局完美。一般而言，人物、动物图案优于山水、花卉、禽鸟图案，人物、动物、祥禽瑞兽图案优于规整且常见的螭龙图案。
• 二、材料。质地光泽莹润，颜色不能太深。亚洲犀角呈火红色，非洲犀角呈灰白色且透明度高。
• 三、题材。雕者一般会挑选自己最拿手的题材，同时也要应材料的形态、大小来决定刻什么，通常会采用大众都喜欢的典故，寓意吉祥的题材。
• 四、年代。犀角雕不是年代越早就越有价值，相反，年代较早的雕工不及明、清朝代时精细华丽，只要年代不低于18世纪便可接受。
• 五、作者。犀角雕上有作者留款的，即名家作品，如有题诗句的，与犀角雕的背景相映成趣，则更为难得。一般有名家留真款字的，百中无一，购买时要看清楚是真款还是后仿的。

Sotheby’s
IMPORTANT CHINESE ART
03 OCTOBRE 2017 | 2:00 PM HKT
HONG KONG

3704 A FINELY CARVED RHINOCEROS HORN ‘LOTUS LEAF’ LIBATION CUP
17TH CENTURY
Estimation 600,000 — 800,000 HKD
Lot. Vendu 2,500,000 HKD

DETAILS & CATALOGUING

modelled in the form of a finely veined lotus leaf, the exterior carved with a leafy millet spray on one side and a broad, downward folded leaf with furled edges on another, set on one side with an openwork handle formed from intertwining stems issuing a lotus flower, extended to the base as a further bloom maturing to a pod bursting with seeds, the interior worked in high relief with a crab clutching a millet spray in its claw, two small conch shells and a mentis, the horn patinated to a warm reddish caramel tone, wood stand
14.7 cm, 5 7/8 in.
LIRE LE RAPPORT D’ÉTAT
SALEROOM NOTICE
PROVENANCE
The Songzhutang Collection.
Christie’s Hong Kong, 27th May 2008, lot 1703.
EXPOSITION
Metal, Wood, Water, Fire and Earth: Gems of Antiquities Collection in Hong Kong, Hong Kong Museum of Art, Hong Kong, 2002-2005.

Sotheby’sCURIOSITY IV
3039
A HIGHLY IMPORTANT AND MAGNIFICENT RHINOCEROS HORN ‘DRAGON’ VESSEL
HOLY ROMAN EMPIRE, LATE 16TH – EARLY 17TH CENTURY
Estimate 8,000,000 — 9,000,000 HKD

DETAILS & CATALOGUING

CURIOSITY IV
02 APRIL 2018 | 10:30 AM HKT
HONG KONG
CONTACT INFO
A HIGHLY IMPORTANT AND MAGNIFICENT RHINOCEROS HORN ‘DRAGON’ VESSEL
HOLY ROMAN EMPIRE, LATE 16TH – EARLY 17TH CENTURY
powerfully carved as a mighty winged dragon depicted poised on all four feet, bristling with latent energy, its long scaly body boldly carved in relief with ribbed neck and naturalistic scales, its entire form suffused with impending movement, the splendid long tail depicted curling once and then more gently undulating upwards, tapering to a narrower tip, the ferocious head depicted raised with gaping jaws as an aperture framed by sharp fangs, its staring bulbous eyes fixed in an acute expression, flanked by two prominent wings depicted outstretched in anticipation of impending flight, the grain of the horn of a rich amber-yellow brown
54.2 cm, 21 3/8 in.

The outcome of Carbon-14 testing is consistent with the dating of this lot.
READ CONDITION REPORT
The dragon is in overall very good condition, considering its age and fragility, with only minor issues including age cracks and small chips and losses,
especially at the back of the cover. There are small circular apertures on the hair, possibly where it was mounted. The fragile area of the tongue, where
the cover meets the vessel has been replaced. The vessel itself is in good condition apart from small chips to the tip of the tail and the front left paw. The
wings are separately made. The present lot is offered with two Radiocarbon dating measurement reports (ref. nos RCD-8436 and RCD-8437) prepared by
J. Walker of RCD Lockinge, dated July 2015, which suggest a 95% probability that the rhinoceros horn from the top and bottom pieces respectively dates
between AD 1479 to AD 1644 and AD 1420 to AD 1525 plus AD 1557 to AD 1633.
“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.”

SALEROOM NOTICE
PROVENANCE
A European private collection.

CATALOGUE NOTE
A Renaissance Dragon
This extraordinary rhinoceros horn dragon vessel, superbly carved as a mighty beast poised and braced for attack, is a highly important relic of the European Renaissance. Emanating from the midst of the Holy Roman Empire, it would have been a truly opulent and exceptionally luxurious item created under royal patronage, or possibly commissioned for the ‘cabinet d’amateur’ of a great collector. It is extremely rare, with no other comparable example known. However, close comparison with stylistically similar works of art of the period enables it to be dated to the late sixteenth to early seventeenth century. This is also corroborated by Carbon-14 testing.

The idiosyncratic style of the dragon clearly relates to two famous object of the period. The first is a rock-crystal vase carved in the form of a flying dragon in the Prado, Madrid (fig. 1), illustrated in Arbeteta Mira, Letizia, ‘Taller de los Sarachi. Vaso en forma de dragón o ‘caquesseitão’ En:, Arte transparente. La talla del cristal en el Renacimiento milanés., Museo Nacional del Prado, Madrid, 2015, pp. 132-135 n.17. Created in Milan at the workshop of the Miseroni, possibly by Gasparo Miseroni (act. 1550-1570), it was an object of the uttermost luxury, created for the wealthiest of patrons. The form of the rock-crystal dragon, with its long winding neck and powerful winged and scaly body, matches that on the current vessel. In itself, it would have been a highly coveted item. The value of the rock-crystal itself would have been extremely high, as demonstrated by the fact that in Philip II’s (1527-98) will, the values for several of his carved rock-crystal objects greatly exceeded that of paintings by Titian, Bosch and Alonso Sánchez Coello. Such luxury items were clearly created for the highest ranking and wealthiest individuals.

The value of the rock-crystal, however would pale in comparison to the rare imported rhinoceros horn utilised to create the current dragon. It would have been a highly prized commodity, extremely difficult to procure. Like the rock-crystal dragon, the current object would probably have been originally mounted with elaborate gold or silver mounts, and embellished with enamelling, pearls and precious stones. It would also have had a complex locking mechanism using the tongue, possibly in red to depict fire. It would have been an object literally fit for an emperor.

The specific style of carving of the current dragon is very closely related to the jasper dragon head on a chalcedony pitcher dated to 1608 in the Kunsthistorisches Museum, Vienna (fig. 2), created by Ottavio Miseroni (1567-1624), illustrated http://www.khm.at/objektdb/detail/87871/. The powerfully carved dragon spout carved and signed 1608 by Paulus van Vianen (1570-1613) is of the exact same carving style as that of the current vessel.

Rhinoceros horns had long been venerated in China as possessing magical and medicinal properties, but in 16th century Europe the rhinoceros was already creating a mythology of itself. The famous woodcut print of a rhinoceros by Albrecht Dürer, created in 1515, was extremely popular throughout Europe and had a huge cultural impact. Sultan Muzaffar Shah II, ruler of Cambay (modern Gujarat), had presented the beast as a diplomatic gift to Afonso de Albuquerque, governor of Portuguese India, who then forwarded it to King Manuel I of Portugal. This was the first living rhinoceros that had been seen in Europe since Roman times. It created a huge stir, inspiring stonemasons to complete the Manueline Belem Tower, then under construction, with rhinoceros horn heads as gargoyles. A sculpture of a rhinoceros based on Dürer’s image was placed at the base of an obelisk placed in front of the Church of the Sepulchre in the rue Saint-Denis in Paris in 1549 for the royal entry welcoming the arrival of the new King of France, Henry II.

News had spread throughout Europe of the appearance of this near-mythical animal, which to European thinkers and artists in the context of the Renaissance, was akin to a piece of classical antiquity that had been rediscovered, like an ancient statue, and much attention was focused on accounts by Roman writers such as Pliny of the observances of rhinoceros behaviour in Roman times.

The first written evidence of Asian rhinoceros horn vessels being brought to Europe is between 1584 and 1586, when Japanese Christians visiting Europe presented a ‘vessel made of rhinoceros-bone, ornamented with silver’ to the Governor of Portugal. Rhinoceros horn was venerated for its medicinal properties in Europe. According to an inventory compiled between 1607 and 1611, the Holy Roman Emperor Rudolf II (1552-1612) had a total of thirteen ‘rhinoceros horn vessels’, most of which were mounted in gold. The value of the lavish gold used would have been little in comparison to the value of the treasured horn itself. Rudolf is also recorded as having presenting horns to his mother to help her combat depression. Clearly, the noble or wealthy individual who commissioned an object of this lavish size created of this venerated material would have had in mind its beneficial properties. The armorial bearings of the Worshipful Society of Apothecaries of London, created in 1617 and later emblazoned at the entrance to Chelsea Physic Garden, dedicated to the science of healing, depict an Asian rhinoceros derived from Durer’s print. Clearly, by the early 16th century the notion of rhinoceros horn as a potent medicine, a treatment for fever and other ailments, had already become widespread, as was the belief that rhinoceros horn vessels could protect against poison. These all point to why such a luxurious vessel as this would have been created.

In contrast to China, where the dragon is a benevolent force, the highest-ranking animal in the zodiac, emblematic of the power and authority of the emperor, dragons in the European tradition are traditionally perceived as malevolent beings. Existing in folklore and mythology throughout Europe, they are generally depicted as living in underground caves, rivers or other lairs, frequently with hidden gold treasure. The popular myth of Saint George and the Dragon describes the saint successfully taming and slaying a dragon that had been demanding human sacrifices, including the princess who would have been the next victim. The famous drawing of ‘A Dragon Striking down a Lion’ by Leonardo da Vinci (1452-1519) in the Uffizi Gallery, Florence, reveals the dragon in all its wrath. However, the Order of the Dragon, created to defend Europe against the invading Ottoman Turks in the 15th century, looked to harness the uncontrollable wrath and might of the mythical creature to enhance its protective power as a defender against such a strong external threat.

Whatever the precise meaning of the complex iconography on this extraordinary dragon, and for whomsoever it was created, it is clear that this truly opulent vessel, made from the most precious and near-mythical material, was fashioned into a luxury item of truly supernaturally exotic form, as a treasured and talismanic vessel for an emperor or wealthy member of the nobility.

 

CHRISTIE’S 2018 拍賣 2810
松竹堂珍藏 ─ 重要犀角雕刻 (II)
Hong Kong|2010年5月31日

拍品 1815
A RARE AND EXCEPTIONALLY WELL-CARVED ‘HUNDRED BOYS’ RHINOCEROS HORN LIBATION CUP

成交總額
HKD 25,300,000

估價
HKD 3,500,000 – HKD 4,000,000

明末 / 清初 犀角雕百子圖盃
尺寸：寬17.8公分, 木座
重：683 克

盃敞口，斂腹，平底。外壁雕嬰戲圖，雕松桐為鋬。山上古松參天，楓桐掩映，亭台高建；山下小橋平架，溪水蜿蜒，水面荷花點點。口沿內雕十六童子，六十四個童子於山間嬉戲，或放風箏、或騎馬、或聊天、或對奕、或觀戰、或撫琴奏樂、或聞歌起舞、或捉迷藏、或在溪邊採蓮，童趣盎然。器底刻「商銘」篆書款。

此盃色如蒸栗，上淺下深。器體碩大，外形樸實穩重，構圖滿密但層次分明，刀法俐落流暢，犀角器中之精品。

早於宋朝，庭園嬰戲的題材已頗為流行，南宋畫家蘇漢臣居功不少，他擅畫童子，臺北國立故宮博物院藏之《秋庭嬰戲圖》正出自他的手筆，在宋、金時期磁州窰的枕面上亦為多見。乾隆以前的百子或百鹿圖均不足一百之數，犀角器因材料體積的限制，更無法雕琢此數。

此器原為美國加州福勒博物館之舊藏，2002-2005年間於香港藝術館《金木水火土：香港文物收藏精品展》中展出。

來源
The Fowler Museum Collection, California

拍賣 2810 松竹堂珍藏 ─ 重要犀角雕刻 (II)
拍品 1817
AN EXTREMELY RARE AND EXQUISITELY CARVED ‘EIGHT STALLIONS’ RHINOCEROS HORN LIBATION CUP

成交總額
HKD 26,420,000

估價
HKD 2,500,000 – HKD 3,000,000
Follow lot
清康熙 犀角雕「穆王八駿圖」盃
尺寸：高17.8公分, 木座
重：392 克

盃敞口，斂腹、平底。外壁通體雕溪水淙淙，楓葉處處；八匹駿馬神采駿逸，姿態各異，或立或臥，或互相偎依，與兩位身穿官服的牧馬官悠然地憩息於樹下溪旁；器邊鏤雕楓樹由底至口沿形成盃鋬，枝幹延伸至器內，使盃身與盃鋬渾然一體；外壁空白處題「穆王八駿圖」，鈐「含卿」款。

此盃色如蒸栗，器形碩大，雄渾樸拙。採用浮雕及鏤空技法，用刀樸質有力，雕工細緻逼真，氣魄不凡。

唐朝詩人白居易有曰：「穆王八駿天馬駒，後人愛之寫為圖。」《八駿圖》是從六朝起就很流行的一幅畫，畫中描繪周穆王游崑崙山時為之駕車的八匹良馬。據《拾遺記‧周穆王》記載，「八駿圖」中的八匹馬傳為周穆王御駕坐騎，謂「王馭八龍之駿」，分為赤驥、盜驪、白義、逾輪、山子、渠黃、華騮、綠耳八駿。也寓人才濟濟、馬到功成之意。此題材在玉雕或犀角器中不為多見，唯見於明末竹器中，甚為珍罕。

此器1997年於倫敦寶龍(Bonham’s)拍賣，2002-2005年間於香港藝術館《金木水火土：香港文物收藏精品展》中展出。

來源
Previously sold at Bonham’s, London, 3 December 1997, lot 31

拍賣 2810 松竹堂珍藏 ─ 重要犀角雕刻 (II)
拍品 1823
A RARE AND SUPBERLY CARVED LOTUS-LEAF SHAPED RHINOCEROS HORN WATERDROPPER

成交總額
HKD 11,300,000

估價
HKD 2,000,000 – HKD 2,500,000
Follow lot
清康熙 犀角雕連科及第水注
尺寸：寬14.3公分, 木座
重：242克

水注以整角雕「一把蓮」式。器體為荷葉形，蓮花、蓮葉、蓮蓬、花苞及一莖蓼草纏繞器身，枝葉翻捲，葉脈清晰；口沿下一螃蟹斂螯舒腿，蟹夾蓼草，饒有生趣；器流中空，貫穿至器內中心，寓「心有靈犀」之意；背面留白處題「自茲連甲第，于以定玄黃。沈如怡製」。

此器色澤瑩潤，器形秀雅，寓意吉祥。工匠以淺刻、高浮雕及鏤雕技法，運刀如筆，雕琢精良。蓮和蓮蓬(顆)諧「連科」之音；蟹有甲殼，寓意為「甲」，一蟹為「一甲傳臚」，藉此傳達對赴試學子的期望。

此器2002-2005年間於香港藝術館《金木水火土：香港文物收藏精品展》中展出。

來源
Acquired in New York, 1985