A ZITAN QIN-FORM WRIST REST 18th century

A ZITAN QIN-FORM WRIST REST
18th century
Finely carved to imitate a qin instrument with delicate contours and eleven equally spaced bone-inlaid dots in a single row, and with the bridge and ends carved in relief, raised on short feet at each end and the underside has recesses for the soundboards, the wood with an attractive soft polish.
11 7/8in (30.1cm) length
Footnotes:
十八世紀 紫檀古琴形臂擱

Provenance:
Andrew Kahane, Ltd., Oriental Art, New York, 2005

來源：
紐約Andrew Kahane古董行，2005年

Compare a similar zitan qin-form wrist rest from the J.C.Y. Watt Collection illustrated by Stephen Addiss, The resonance of the Qin in East Asian Art, China Institute in America, New York, 1999, p. 93, no. 18c. The elongated tapered form of our example can be compared with an earlier Ming period lacquered wood qin in the Minneapolis Institute of Arts dated by inscription to 1634 and illustrated by Robert Jacobsen, Appreciating China, Minneapolis, 2002, p. 347, no. 216.

See 'Nick Grindley LLC: The Online Chinese Scholar's Object Show,' (https://www.nicholasgrindley.com/chinese-scholars-object-show.html) October, 2020, no. 0118-03 for an early 19th century zitan qin wrist rest with camel bone inlay, formerly in the John C. Weber Collection, New York, 1994-2018. See also a larger (11 1/4in) example in jichimu of similar form attributed to the early nineteenth century Qing maker, Guo Shangxian (1785-1833) sold at Sotheby's Hong Kong, Water, Stone and Pine Retreat Collection, Scholarly Art II, Lot 121.

In Daoist thought, the qin is a pathway to inner peace and enlightenment and the elements of the instrument are related to the cosmos.
This lot is subject to the following lot symbols: Y
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