A libation cup

Ming dynasty, 16th/17th century
China

width: 18.2 cm

The supply of rhinoceros horn to China was very limited until the early Ming dynasty; but by the early 17th century a flourishing industry in rhino horn carving had been established in the south of the country – largely because of imports, by sea, of African horn; however, the Asiatic variety was also used (being smaller in size, it is possible that this was the preferred type for carving libation cups). The increased availability of the raw material facilitated the continuation of an ancient tradition of fine carvings in horn; these works of art were held in high esteem – not only by the Chinese but also by European monarchs and wealthy collectors. Despite its increased supply during the Ming dynasty, the rhino horn was still considered to be extremely precious (being thought to have magical qualities), and it continued to be much sought after, in all its forms.

This exceptionally large vessel, of a warm honey colour (through years of handling) is superbly carved in high relief, and with openwork around its sides, to depict Shoulao – the God of Longevity, who descends from the clouds on a crane to meet the Eight Immortals, each bearing their attribute. They stand on rocky outcrops by a fruiting peach tree in the Land of the Immortals, accompanied by a recumbent deer that grasps a sprig of lingzhi in its mouth. The interior of the cup is incised to represent the veins of a lotus leaf – its wavy edges forming the mouth rim.

similar examples
‘The Art of Rhinoceros Horn Carving in China’, by Jan Chapman, Christie’s Books Ltd., London, 1999: figures 270–272 illustrate an equally large rhino horn libation cup with the same theme of the Eight Daoist Immortals – from the Chester Beatty Library, Dublin; figure 266 illustrates a smaller cup – also encircled with the Immortals – in the Osaka Municipal Museum.

‘Connoisseurship of Rhinoceros Horn Carving in China’, Thomas Fok, Hong
Kong, 1999 – no. 82.