China, 16^th-17^th century. Well carved, the God of Literature seated with hands clasped in front of the chest, the long robes draped in elegant folds and fanning out to either side, the head gently bowed with a pensive expression, the tall cap neatly carved with beaded, scrolling, and wavy designs.

Provenance: Old Czech private collection, acquired in China during the 1950s and thence by descent in the same family. Remnants of an old collector’s label to the wood base.
Condition: Fully original condition, with absolutely no touchups or repairs whatsoever, which is extremely rare to find on this type of lacquer figure. Losses, wear, weathering, age cracks, structural fissures. The book held in the figure’s hands and the cover for the aperture to the back are lost.

Weight: Figure 7 kg, Base 5.6 kg
Dimensions: Height 63 cm (excl. base) and 69 cm (incl. base)

The figure is seated on a custom-fitted hardwood base, finely carved in the form of a horseshoe-back chair, Quanyi, in several jointed sections, dating to the Qing dynasty. (2)

First worshipped as a snake god known as ‘the vipe’ in Sichuan during the Six Dynasties period, Wenchang Wang, the Daoist God of Culture and Literature, rose to prominence until by the Tang dynasty he was worshipped as part of the Imperial cult. In the Song dynasty the deity revealed himself in human form as a Daoist god, the Divine Lord of Zitong. From the Song period onwards, Wenchang was widely worshiped by the literati, particularly candidates in the civil service examinations, and he was also venerated for his powers of healing and exorcism. His cult ultimately achieved a national following. See S. Little, Taoism and the Arts of China, Chicago, 2000, page 267.

The technique of coating carved wood figures with gilt lacquer appears to have emerged during the early part of the Ming dynasty, continuing well into the Qing dynasty, and echoing Buddhist bronze figures in form and decoration.

Auction result comparison: Compare a related gilt-lacquered wood figure of Wenchang dated to the 17^th century, but larger (90 cm high) and in fully restored condition, at Bonhams London in Fine Chinese Art on 7 November 2019, lot 23, sold for GBP 75,062 (EUR 86,877). Compare also a closely related example in gilt-bronze, dated to the 16^th century, with a very similar headdress, upturned shoes, and hand posture, at Christie’s New York in The Sublime and Beautiful: Asian Masterpieces of Devotion on 20 March 2014, lot 1627, sold for USD 845,000.

明代大型漆金文昌君木像
中國，十六至十七世紀。文昌君木像開相標準，衣褶線條流暢自然。文昌帝君雙手交叉置於胸前，低著頭，神情若有所思，高高的儒冠。

來源：捷克私人老收藏，上世紀五十年代購於中國，在同一家族中保存至今。木底座上有老手藏家標籤。
品相：完全原始狀態，絕對沒有任何修飾或修補，這在這類的金漆木像上是非常罕見的。缺損、磨損、風化、老化裂縫和結構裂縫。 人物手中拿著的書卷和背面開孔處蓋封遺失。

重量：7 公斤 (木像)， 5.6 公斤 (底座)
尺寸：高63 厘米 (不含底座)，69 厘米 (含底座)

文昌帝君坐於定製的硬木馬蹄足圈椅式底座上，幾個關節部分，可追溯到清朝。 (2)

六朝時，被稱為蛇神的文昌君，也是是保護文運與考試的神祇，直到唐朝對他的信仰盛行。宋朝時，梓潼神逐漸轉化為人格神祇。宋代以後，文昌君受到文人的廣泛崇拜，尤其是參加科舉考試文人，除此之外還因為他治病驅邪而受到尊崇。最終， 文昌帝君得到了全國百姓及文人的追隨。見 S. Little，Taoism and the Arts of China，Chicago, 2000, 頁267。

木雕金漆工藝出現於明初，一直延續到清代，在造型和紋飾上與佛教青銅造像相應。

拍賣結果比較：一件漆金文昌君木像，十七世紀，但稍高 (高90 厘米) ，整體經過修復，見倫敦邦翰思 Fine Chinese Art，2019年11月 7日，lot 23, 售價GBP 75,062 (EUR 86,877)。一件鎏金銅造像，十六世紀，相似儒冠、鞋子和手勢，見紐約佳士得 The Sublime and Beautiful: Asian Masterpieces of Devotion，2014年3月20日，lot 1627，售價USD 845,000。