Glistening Like the Moon
Praising Crystal By Wei Yingwu (Tang Dynasty 618-907 CE)
“Reflecting objects, it takes their hues; Embracing emptiness, no form shows through. Held up to the bright moon, Its glitter fears to melt to dew.” (映物隨顔色，含空無表裏。持來向明月，的爍愁成水。唐.韋應物〈詠水精〉卷 193）
In ancient China, rock crystal was imbued with poetic reverence. The Tang poet Wei Yingwu (韋應物) offers a meditation on the metaphysical nature of rock crystal, blending sensory observation with philosophical depth.
Mythological texts from the Jin dynasty (266–420 AD) further elevated the status of rock crystal. According to the Records of the Supernatural (Soushenji搜神記), the immortal Chisongzi (赤松子) consumed crystal referred to as “water jade” (服水玉，能入火自燒), so “the Legend gained extraordinary abilities: immunity to fire and the power to travel freely between heaven and earth.”
Archaeological evidence reveals the early use of rock crystal in China. A Neolithic-era crystal earring, exquisitely polished and unearthed from a Lingjiatan culture site (3800–3300 BCE) in Anhui, attests to ancient artistry. By the Warring States period (476–221 BCE), advancements in sourcing larger materials led to creations like the 2,500-year-old rock crystal cup collected in Hangzhou Museum—a national treasure whose sleek, almost modern design continues to astonish. Yet it was not until the Qing Dynasty, particularly during Qianlong period (1736-1796 AD) that scholarly artworks in crystal flourished, reaching their zenith of refinement.
TO BE OFFERED SEPTEMBER 19, NEW YORK
Three Chinese Rock Crystal Scholar's Objects, 19th-20th Century 晚清民國 水晶文玩一組三件 | $2,500-3,500
During Asian Art Week 2025, Freeman's | Hindman will present an exceptional single-owner collection of Chinese rock crystal vessels and scholarly items, acquired between 1986 and 1996. Highlights include an 18th/19th century ruyi scepter adorned with lingzhi motifs, comparable to an 18th-century example in the Heber R. Bishop collection at the Metropolitan Museum of Art, New York; a rare Qing dynasty censer featuring an unusual openwork domed cover, evolved from earlier jade prototypes such as one housed in the Palace Museum, Taipei (故玉000882N000000000); an elegant small Qing dynasty vase and cover flanked by lingzhi, similar to a coverless example in Taipei (故雜000133N000000000); and a floral vase whose composition references late Qing designs such as a Victoria and Albert Museum lidded vase (724 to B-1903), accessioned in 1903 from the W. H. Cope collection.
TO BE OFFERED SEPTEMBER 19, NEW YORK
A Chinese Rock Crystal Vase Flanked by Flowers, early 20th Century 二十世紀初 水晶靈芝芙蓉花樽 | $1,500-2,500
A Small Chinese Rock Crystal Vase and Cover with Wood Stand, Qing Dynasty 清 水晶靈芝如意小蓋壺 | $1,000-2,000
A Chinese Rock Crystal Censer and Openwork Cover, early 20th Century 二十世紀初 水晶鏤空龍紋銜環香爐 | $1,500-2,500
The legacy of Chinese rock crystal collecting owes much to visionary Western connoisseurs such as Heber R. Bishop, whose monumental 1902 bequest of Asian decorative arts—including jades and carved hardstones—formed the cornerstone of the Metropolitan Museum’s holdings; and Major General and Mrs. William Crozier, whose 1944 donation of exquisite Chinese art, including imperial crystal objects, enriched the Philadelphia Museum of Art.
These rock crystal vessels and scholarly items offer a rare opportunity for collectors to acquire works often overlooked by many connoisseurs—it is a privilege to see these precious gems shine again.
INQUIRES: [email protected]
VIEWING: September 12-13, 15-18
32 East 67th St, New York, NY