Qing Dynasty rectangular Luo Shu inkstone Luo Shu inkstone, rectangular, pond head carving picture analysis: The carved cun (divine turtle) carries the book box, symbolizing the "Luo book" it carries from Luo Shui. The lower wave pattern represents "Luo Shui", and the upper cloud pattern symbolizes the sacred heavenly world. This work symbolizes wisdom, longevity, stability and strength. As the bearer, the Luo book symbolizes "virtue and carrying things", while the Luo book on the back represents mastering the truth and law. Mesh ice patterns and blue and white can be seen in the ink hall. The seal inscription on the right side of the inkstone: Qianlong was forty-one years old, and Huang Yi was thirty-five years old in Bingshen, and he got the Duanxi high-grade old pit ice pattern inkstone Jiading Qian Qian inscription. The regular script inscription on the left: Heaven and Yu Luo Book out of the divine turtle and the negative text are listed on the back, and there are nine Yu, so they are divided into nine categories. The mountain boat beam is the same as the title of the book. Seal: Liang Tong Book Seal. Mahogany box, the lid is inlaid with a piece of Fulu Shou white jade. @ Mahogany is 25.5 cm long, 17 cm wide, and 5.8 cm thick Regarding Luo Shu, the most widely circulated story occurred in the era of Dayu's flood control in ancient times: it is said that Dayu was ordered to control the flood, and he formulated the strategy of "dredging and blocking", but due to the lack of systematic planning and mathematical guidance, the water control work is still progressing difficultly. One day, Dayu was controlling the water by the Luo River (now the Luo River in Henan), and the river suddenly became calm in the Qing Dynasty. A huge divine turtle emerges from the water. This divine turtle is not an ordinary turtle, it holds its head high and carries a mysterious "book plate". Dayu ordered people to record the pattern carved on the back of the turtle, and found that it was a mysterious matrix of numbers composed of black and white dots. This is the "Luo Book" (also called the "Turtle Book"). Dayu comprehended the mathematical mysteries in the Luo Book (that is, "wearing nine shoes one, left three and right seven, two four as shoulders, six eight as feet, and five in the center", that is, the third-order magic square in modern mathematics), and mastered the laws of the operation of heaven and earth. Based on this, he formulated the "Nine Domains of Flooding" for governing the country and the country, and successfully controlled the flood and delineated Kyushu. Huang Yi (November 22, 1744 – March 26, 1802), courtesy name Dayi, known as Xiaosong, Qiu Xi, also known as the owner of Qiuying Monastery, and a native of Sanhuatan. A native of Qiantang, Zhejiang, the eighth generation of the Qiantang Huang family. He is also good at seal carving, and is known as "Ding Huang" with Ding Jing, one of the "Eight Families of Xiling". Qian Qian (1744-1806), courtesy name Xianzhi, Xiaolan and Shilan, self-signed Quanqiu, was a native of Jiading, Jiangsu Province (now Jiading District, Shanghai), a scholar and calligrapher of the Qing Dynasty. Liang Tongshu (1723~1815), Qing Dynasty calligrapher. Zi Yuanying, known as Shanzhou, in his later years, he called himself Bu Weng and Xinwu Changweng, a native of Qiantang (now Hangzhou, Zhejiang). He was the son of Grand Secretary Liang Shizheng. In the twelfth year of Qianlong (1747), he was a scholar, and in the seventeenth year (1752), he was specially awarded a jinshi and an official lecturer. He is the author of "Pinluo'an Relics", "Pinluo'an Treatise", "Pinluo'an Calligraphy and Painting", etc. Liang Tongshu's family has a source of learning, and his father, Grand Scholar Liang Shizheng, was ordered to compile the "Sanxitang Law Post". He was exposed to calligraphy at an early age and was able to write large characters at the age of 12. He first learned Yan Zhenqing and Liu Gongquan, and after middle age, he took the method of Mifu, and after the age of 70, he was integrated and purely natural. He has been studying calligraphy for more than 60 years, and has been famous for a long time, and has written a lot of inscriptions. He is good at regular script and running script, and can still write small letters in his later years, and his books are rigorous in large characters, and the small script is elegant, especially exquisite. Together with Liu Yong, Weng Fanggang, and Wang Wenzhi, he is known as the "Four Masters of the Qing Dynasty", and together with Liang Shan, he is also known as the "Second Liang". Huang Yi and Qian Qian are both leaders of "Qianjia Epigraphy". After Huang Yi visited the inscriptions, he often "corroborated" with Qian Qian and other scholars, jointly examined the text, and supplemented the history of the classics. Qian Qian once inscribed a portrait of Huang Yi and engraved it on the inkstone, which shows that the two have a deep personal relationship, which goes beyond ordinary academic exchanges. Huang Yi and Liang Tongshu: The "year-end friendship" of relatives and friends, kinship: Huang Yi's mother Liang Ying is the daughter of Liang Shisui in Qiantang, and Liang Tongshu is also a member of the Liang clan in Qiantang, and the two have a certain relationship of the same clan or in-laws. Huang Yi often called himself a "foolish nephew" in his letters, and bowed to Liang Tongshu. Huang Yi once asked Liang Tongshu to inscribe a plaque for his study "Qiuying An", and often gave Liang Tongshu his collection of precious steles (such as Shen Zhou and Fu Shan rulers), and the two exchanged frequently in the appreciation of calligraphy and painting. Qian Qian and Liang Tongshu both belong to Huang Yi's "Jinshi Circle of Friends". In the exchange of elegant collections and letters organized by Huang Yi, the two, as core members of the circle, must have indirect exchanges and interactions. These three people represent a typical ecology of the literati circle in the Qianjia period: with epigraphy as the link, with "doers" like Huang Yi as the core, connecting "researchers" like Qian Qian and "artists" like Liang Tongshu, forming a close network of resource sharing and academic interaction. SIZE: Mahogany box L: 25.5cm W: 17cm T: 5.8cm (The Dimensions Of All Batches Are Manually Measured.If You Need More Detailed Information, Please Contact Our Customer Service Before Bidding.)

In Good Condition Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Eastern Art Auction shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging.