PROVENANCE:
Private collection, Taiwan

Xu Weiren (1788-1855) styled Wen Tai, literary names Zi Shan, Zishan, and the unsleeping official in retirement. During the Qing Dynasty, Xu lived in Shanghai, and was a well-known book collector, expert on ancient bronze and stone inscriptions, and paintercalligrapher. Xu mastered calligraphy at an early age, and was particularly proficient at Han Dynasty kai script. Xu amassed a large collection of rubbings from stone inscriptions, and became skilled at identifying them, which led to his being called the Great Eye by his contemporaries. Xu particularly admired the Tomb Inscription of the Beautiful Madam Dong from the Kaihuang period of the Sui Dynasty, which prompted him to refer to himself as Sui Xuan. He later obtained Jian Zhaoyen's stirrups, which had formerly been in the collection of Wang Chang, and he made a Room of Western Han Stirrups in his home. At the age of 38, he suddenly began studying painting, and made paintings of orchids, bamboo, and landscapes. He delved deeply into painting, collected works from past dynasties, and wrote calligraphic dedications on celebrated paintings. Xu also took an interest in local literature, and collected copies of the sole existing versions of the Jiajing period (1522-1567) Shanghai County Gazetteer and Wanli period (1573-1620) Shanghai County Gazetteer.

One of the characteristics of water-carved Taihu stone is a pale color with black marks. This piece has a rugged appearance, with high peaks and deep gorges, undulating ripples, and an otherworldly look. The stone emits a clear sound when struck, and its features include wrinkles, voids, windows, and narrow columns and ribbons. Strange, ugly, clean, uncanny, and resonant aesthetics are combined in the piece; its luster is elegant, and its texture is tough yet delicate. Because strange stones seem to transcend worldliness, they have been prized by literati since ancient times. This Taihu stone mountain bears four seal characters with the meaning of Small Hidden Cavern, and it also notes Xu Weiren, 1843. This work was perhaps a display piece in Xu's home. Xu kept large numbers of bronze and stone works in his home, and they were designated protected artifacts during the wars and chaos that marked the late years of the Qing Dynasty. Xu reached a compromise with the Small Sword Society at that time, but died while unjustly imprisoned after Qing forces recovered the area. Coming face-to-face with this piece today is like having a personal encounter with someone from ancient times.