100% Authentic Ming Dynasty

Rhino Horn Cup In Museum Condition

Above Photos Taken With Canon EOS XSi Using Canon EF 24-70mm f/2.8L Lens

To us, this wonderful Rhinoceros horn libation cup is one of the finest examples of a true Ming Dynasty (1368- 1644 CE) cup we have ever examined, or owned. From its typical low relief design, to the Ming Dynasty wave patterns, to its wonderful feeling of peace so reminiscent of the fine Chinese silk paintings of the Song and Ming Dynasties, this fabulous, almost entirely in-situ Rhinoceros horn libation cup is truly the essence of the masters’ art of the middle Ming Dynastic Period. Many people have commented on this cup while it has been in our possession over the years. We were even reported by a nasty one to the Fish, Game and Wildlife Department simply because he could not “steal” it from us. Obviously, we have passed the test with them, as we still have the cup in our possession. Many have called it “ugly”, many have said it was a reproduction Water Buffalo horn. It has even been called, by another dealer, an American Bison horn reproduction, in an attempt to discredit it and discourage potential buyers from purchasing it. The lies that have been told about this horn have been so ludicrous and defaming that we figured it was finally time to publish this exquisite horn, and let people decide themselves on what is a true Ming Dynasty horn, from a scientific perspective.

In this article we will, as we do on our Timeless Jade web site, take you deeper and deeper into what a true Rhinoceros horn cup of extreme age should look like under high quality photography, including true Macro Lens photos and microscopic photos. We hope all who read this article will enjoy it and come back at later times to this site as more articles are produced.

Above Photos taken With Canon EOS XSi Using Canon EF 24-70mm f/2.8L Lens

In the above photographs, we start to get a clearer view of different aspects of this horn including the remaining “honey” color of the original horn. This honey color is so in vogue; today most true old horns have had their original lacquer finished removed by abrasion techniques. Many, if not most, of the truly old horns were lacquer finished, as during the Ming Dynasty they knew full well the ravages that time would place upon the horns if they were left carved and unprotected in their ‘original’ state. Rhinoceros horn is tightly compressed hair, and one can read about in detail in the wonderfully published book by Jan Chapman, The Art Of Rhinoceros Horn Carving in China – Christies Books. Jan’s book on Rhinoceros horn carving is an absolute masterpiece, and there are many examples of darker colored horns to be explored in this magnificent book. However, like most books, there is some slight misinformation, and what Ms. Chapman refers to as black painted horns were in reality mostly a brown lacquer coating. Due to the fact the Chinese knew well just how protective a coating lacquer truly is, they used it to keep the hair follicles of the Rhinoceros horn from separating due to moisture, temperature extremes, dehydration, and the ravages of time. It is one of the most fascinating coatings (and glues) that man has ever used – resistant to water and acetone like no other glue or coating with which we have ever dealt. Having been used by the Chinese since at least the late Neolithic Period, they have known about all its amazing qualities down through their illustrious periods of creative genius, and it is no wonder they chose this material to ‘protect’ Rhinoceros horn carvings from the natural tendency to split, and from the bugs that love to eat it. To make a treasure from an extremely rare material that had to be brought, through perilous journeys from so far away (Rhinoceros had long disappeared from mainland China by the time of the Ming Dynasty), it likely was viewed as a necessity, considering the Ming Dynasty literati were extremely well-versed in how old burial items degraded over centuries and millennia.

For this particular libation horn cup, we will attempt to show not only its extreme age (very few of which exist), but also, beyond a reasonable doubt, that this marvelous libation cup was a Ming Dynasty funereal piece unearthed many years ago, had been minimally cleaned, and was lightly re-waxed long ago to preserve its beauty and authenticity of both style and original degradation. This libation cup has been soaked four separate times in acetone for short periods and the old wax removed by successive ‘shootings’ of our water gun (which can break skin). It took four different cleaning sessions to remove the light waxing it had received since its cleaning after removal from burial. The older the wax (75-100 years on the re-waxing on this cup), the harder it is to remove. Rhino horn is not as ‘tough’ as jade and has to be treated more gently (the acetone baths had to be of much shorter duration than we use for the far tougher jades we clean, described on TimelessJade.com), relying more on the successive water jet cleanings. Indeed, we will be showing microscopic photographs in this article of original Ming Dynasty wax, put over the lacquer coating that has withstood the ravages of long term burial. With all the cleanings in acetone and with all the high pressure water gun spraying approximately 95% of the original lacquer that was initially on the cup has remained, and only minuscule ‘grains’ were lost.

Above Photo Taken With Canon EOS XSi Using Canon EF 24-70mm f/2.8L Lens

In the above photograph, we can see the end of an old lacquer glue repair to an inside natural crack that had developed in the Rhinoceros horn cup. It is visible to the viewer as the white line at the top of the crack on the side of the cup in the lower part of the photo. Under the microscope, this old lacquer repair appears more clear and less whitish, as it does in this photo. The lacquer appears to have only been used at the top of the crack, to stabilize it and prevent it from reaching any further towards the rim of the cup, and was never repaired lower than the existing line. Had this been a modern glue, it would never have survived the acetone baths, which never affect true lacquer, as will be seen in some of the following microscopic photographs. The losses of the old lacquer coating sustained on the outside surfaces of the Rhino horn cup (we try to reveal both the lacquer and the honey color in almost all photographs, whether regular or microscopic) is most assuredly from moisture penetration into minute, original cracking in the lacquer coating, causing the horn to swell. This effect of lacquer loss is also accelerated by expansion and contraction due to moisture penetration and subsequent evaporation, along with temperature changes such as freezing and thawing in extended burial conditions.

Above Photos Taken With Canon EOS XSi Using Canon MPE 65mm f/2.8 1-5X Lens

In the three above photos, we begin to get a better close-up view of the original degradation to the cup after the successive removals of the light coating of wax which was put on the cup to enhance its sheen long ago. By the number of dunkings in acetone and the cleanings with the water gun, we would estimate this secondary wax was put over the cleaned  burial horn approximately 75-100 years ago, and was a very thin coating when applied. Newer, heavier covering waxes will turn white with acetone soaking very quickly, and are usually removed with one single spraying (even thick coatings). Approximately 50-year-old waxes take longer to remove and usually require two soakings and two shootings with the water gun (even on jades). Later in this article, we will see that the original Ming Dynasty waxes which were put over the original lacquers were never effected either by the acetone or the water gun. The soil penetration (as one would normally see in an old burial jade) might be better described here as soil and detritus ‘adhesion’. Under microscopic conditions, it readily shows up similar to the potassium salts and calcifications which ‘grow’ on old burial pottery. In the three photos above, it appears as a ‘muddy’ colored coating on the top of the remaining original lacquer. This adhesion of soils and organic matter are in areas that were hard to get to when the item was first cleaned years ago, and are extremely indicative of long term burial, as newer, applied soils and fake calcifications will easily clean off under the conditions to we subject our items.

"Orange Peel" Effect Of Hair Fibers On Bottom Of Ming Cup At 1X Macro

"Orange Peel" Effect Of Hair Fibers On Bottom Of Ming Cup At 2X Macro

"Orange Peel" Effect Of Hair Fibers On Bottom Of Ming Cup At 3X Macro

Above Photos Taken With Canon EOS XSi Using Canon MPE 65mm f/2.8 1-5X Lens

In the three above photos, we see the famous “orange peel” effect found on Rhinoceros horn pieces, which shows the ‘jammed-together’ hair follicles from an end view. This effect is found on all Rhinoceros horns, from all species around the world. Another major feature shown in the above three photos is that, contrary to what has been written and practically taken as ‘gospel’, is the fact that Rhinoceros horn does have a tendency, with age, to crack around the inside fibers in an arching manner. However, it is never as deeply defined as in Water Buffalo horns where the chitin is formed in layers – one upon another. Also, under microscopic conditions, Water Buffalo will sometimes appear as if it has a ‘hair-like’ fibrousness much the same as Rhinoceros horn (microscopic comparisons between the two types of horn should be performed, as one does not look like the other, with Rhinoceros horn fibering being much more distinct). The biggest true telling differences are that Water Buffalo horn will never have this “orange peel” effect, and it will always show the minuscule, thin, side-to-side, hair-line fractures, so commonly noted in writings. As the bottom of this horn was treated and cleaned in exactly the same manner as the sides, we can see in the above photos the remainder of original burial soil and detritus in these aforementioned arch-shaped cracks.

Vertical Hair Fibers On Ming Rhino Cup At 10X Microscopic Power

Vertical Hair Fibers On Ming Rhino Cup At 20X Microscopic Power

Vertical Hair Fibers On Ming Rhino Cup At 30X Microscopic Power

Vertical Hair Fibers On Ming Rhino Cup At 45X Microscopic Power

Above Four Photos Taken With Canon EOS XSI Under Microscopic Power

In the series of Microscopic photographs above, we can easily see the famous hair fibering of true Rhinoceros horn. The ‘splitting’ of the pictures between areas that have lost their lacquer coating and adjacent portions with the lacquer remaining is intentional. In the above four photographs, the differing widths of the Rhinoceros horn hair strands can be discerned. Similar to tree rings, not all strands grow too exactly the same width, and differing pressures, as the horn grows, may account for some of this effect. It is also interesting to note the differences in the remaining original lacquer as it goes from a very shiny surface to a rather dull surface. Lacquer is applied in successive layers, and given that fact, it is not a big leap to expect that in different areas it will have differing thicknesses, weaknesses and strengths. It would be our best assumption that the portions that have taken the most wear from long-term burial would have started out as the thinnest, weakest layers of the lacquer, and with moisture working into and drying out of minute cracks, a cause of ‘crazing’, along with freezes and thaws from temperature changes in the burial environment, that all these combined factors would cause some of the layers of the lacquer to degrade faster than in other, more secure areas. It would also be our observation, given the extreme shininess of some segments of the original lacquer, that this horn’s burial origin would have most likely been inland, away from the more tectonically active Pacific Rim of Fire region, along the coastal area of China. With heavy tectonic movement, we would expect to see, under microscopic conditions, heavy scratching on the shinier portions of the lacquer which remains on this cup. As the Macro photos above of the remaining original soil deposits, and the following microscopic photographs will show, the burial was contaminated with soil and detritus. With the next set of photographs, we will also examine what we believe is another reason for the lacquer to be in rather fine shape after having been in extreme conditions.

Adhered Cloth Fiber Found On Rhino Horn Cup Under 10X Microscopic Power

Adhered Cloth Fiber Found On Rhino Horn Cup Under 20X Microscopic Power

Adhered Cloth Fiber Found On Rhino Horn Cup Under 30X Microscopic Power

Adhered Cloth Fiber Found On Rhino Horn Cup Under 45X Microscopic Power

Above Four Photographs Taken With Canon EOS XSi Under Microscopic Power

This piece of fabric still clings precariously to the inside of a deep groove of one of the carved pine tree branches on the upper portion of the handle on the Rhino horn Cup. This piece of cloth has withstood all four of the acetone soakings and all four of the high pressure water sprayings to which this cup was subjected. Whether it was a part of a swath of fabric to protect the piece during burial, or a piece of cloth from application of the lacquer, or just an associated burial fabric, it nonetheless remains adhered to the cup after all this time. Unfortunately, because of the ‘field of depth’ while taking these photos, coupled with the lack of lighting available to us, we thought it best to show the fabric in these photographs. Soil adhesion can be at least faintly seen in in the second photograph above, with the same colored dirt as on the fabric, at the bottom of the depression in which it lies (to the immediate right of the fiber). Under first-hand viewing, it is much easier to ‘work’ the piece around under the lighted microscope area, and the detritus on the fabric becomes quite a bit more discernible. If the libation cup was first covered in fabric (as many tomb items were, or placed on wood with swaths of silk,) this could also explain why some of the lacquer still shines today much as it did approximately 500 years ago. However, some things will always remain a bit of a mystery, never to be truly explained. That fact that it remains now still leaves us with that desire to go forward – always looking for new anomalies and possibilities.

Original Ming Dynasty Wax In Wave Grooves At 10X Microscopic Power

Original Ming Dynasty Wax In Wave Grooves At 20X Microscopic Power

Original Ming Dynasty Wax In Wave Grooves At 30X Microscopic Power

Original Ming Dynasty Wax In Wave Grooves At 45X Microscopic Power

Above Four Photos Taken With Canon EOS XSI Under Microscopic Power

In the above four photos, we find one of the only places left on the Ming Dynasty Rhinoceros horn cup where the original wax, which was used over the lacquer, still remains. The old waxes we find on the old jade items which are truly of age, like this artifact, are much the same, in that very little is found. This will vary from artifact to artifact, and especially with a re-cut and re-polished jade, as can be seen in some of our articles on our Timeless Jade web site. Of particular note in these photographs is the obvious soil and detritus adhering to the outside of the wax. As can easily be seen in the photographs, the adhered dirt appears much more defined on the wax inside the carved grooves of the Ming style waves, and less on the lacquer which lies above these grooves. However, small amounts of the same type of dirt still adhere in the natural cracks of the lacquer, which can be most easily seen in the last photograph above at 45X Power. As is also clearly visible, the shine of the least-effected portions of the old lacquer, and the lack of tectonic scratching has lead us to believe that this exquisite cup was from a more stable region. While one can never be 100% certain without having been at the original ‘dig’ site, it is at least a reasonable assumption, as lacquer will scratch, much as glazed pottery items do, through the constant movement of soils around long-term burial items. The more tectonic movement, the more one would reasonably expect an artifact to show more wear.

Original Soil Detritus On Ming Rhino Cup Under 10X Microscopic Power

Original Soil Detritus On Ming Rhino Cup Under 20X Microscopic Power

Original Soil Detritus On Ming Rhino Cup Under 30X Microscopic Power

Original Soil Detritus On Ming Rhino Cup Under 45X Microscopic Power

Above Four Photos Taken With Canon EOS XSi Under Microscopic Power

In these last four photographs above, we find undeniable soil adhesion to a portion of the Ming Dynasty Rhinoceros horn libation cup, on an area that has a high spot on a curve, which then undercuts through a hole to the viewer’s left, in each photograph. Again, because of ‘depth of field’ in the photographing process, we had to make a decision on which area to focus the lens. We have another fine, flatter area, photographed with the same soil adhesion, but we chose this series for the article as it will help our viewers to start recognizing the same effect while the photo goes out of focus around the curve. This particular area (and all areas which show the most soil adhesion) are in the more deeply cut areas of the libation cup carving – the hardest areas to clean when a person is readying a cup for showing. This curving portion where the carving has actually been drilled (many areas on this cup were drilled as part of the carving process) underneath a pine branch, is ‘pierced’ clear through the horn. It is an area where soil and detritus would collect and remain mostly undisturbed during extended burial conditions. We always focus on these types of areas during the authentication of jade artifacts, as they too, are often missed, or only slightly touched in the re-cutting and re-polishing process. Once again, under actual microscopic viewing conditions, one can have the microscope, on its moveable boom, set high and just ‘walk’ the section in the above photographs back and forth and up and down to see extremely clearly the soil and mineral adhesion through the entire area of the hole.

In closing, this is a true museum piece, at least in our hearts, and our highest hope for it would be that someday it will reside back in its native land in a beautiful climate controlled setting, to be shown to the world as one of the rarest types of Rhinoceros Horn Libation Cups in existence. If not there, then at least in a museum like the Asian Art Museum Of San Francisco – The “Met” in New York – Harvard’s wonderful Museum, or the Smithsonian, someplace where original art, in its original form, is fully appreciated . Some people only desire the “pretty honey horns” (which I do find to be marvelous), while our greatest passion is for the old, in as close to in-situ condition as possible.

David Fredericks — Yulongwei

Timeless Jade