Deep‑Relief Carved Pen Holder of Seven Sages of the Bamboo Grove, Old‑Sandalwood
Deep‑Relief Carved Pen Holder of Seven Sages of the Bamboo Grove, Old‑Sandalwood
Deep‑Relief Carved Pen Holder of Seven Sages of the Bamboo Grove, Old‑Sandalwood
Deep‑Relief Carved Pen Holder of Seven Sages of the Bamboo Grove, Old‑Sandalwood
Form: Brush Pot
Artist: Dayatang 大雅堂
Material: Old‑Sandalwood, common name: White Sandalwood; accepted name: Sandalwood, Latin name: Santalum album L.
Dimensions: Length 20.5 cm, Width 17 cm, Height 28.5 cm, Weight: 4678 g
This large “Seven Sages of the Bamboo Grove” brush pot is carved from a single block of old‑sandalwood. The wood features tight grain and a mellow warm hue. The exterior is executed in deep‑relief and open‑work carving techniques. Lush bamboo groves, swirling pine clouds, and pavilions are nestling deep among woods. Seven erudite scholars wander through the bamboo grove: some play the zither to give vent to their sentiments, others compose poems over wine, each bearing an easy‑going and free‑spirited demeanour. The carving progresses in successive layers, seamlessly integrating landscapes, woods and human figures, fully embodying the uninhibited spirit of Wei‑Jin literati. Placed in a study alongside writing brushes, ink sticks and books, it evokes the charm of the Wei‑Jin era and reveals the untrammelled temperament of traditional scholars.
Form: Brush Pot
Artist: Dayatang 大雅堂
Material: Old‑Sandalwood, common name: White Sandalwood; accepted name: Sandalwood, Latin name: Santalum album L.
Dimensions: Length 20.5 cm, Width 17 cm, Height 28.5 cm, Weight: 4678 g
This large “Seven Sages of the Bamboo Grove” brush pot is carved from a single block of old‑sandalwood. The wood features tight grain and a mellow warm hue. The exterior is executed in deep‑relief and open‑work carving techniques. Lush bamboo groves, swirling pine clouds, and pavilions are nestling deep among woods. Seven erudite scholars wander through the bamboo grove: some play the zither to give vent to their sentiments, others compose poems over wine, each bearing an easy‑going and free‑spirited demeanour. The carving progresses in successive layers, seamlessly integrating landscapes, woods and human figures, fully embodying the uninhibited spirit of Wei‑Jin literati. Placed in a study alongside writing brushes, ink sticks and books, it evokes the charm of the Wei‑Jin era and reveals the untrammelled temperament of traditional scholars.
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