Page 14 - Nov 2019 Christie's Hong Kong a Falancai Imperial Bowl.

fig. 1 Qian Xuan, White Lotus, handscroll, ink and light colour on paper
Collection of the Shandong Museum
எӬ 㢲㚁 Ƕ⎊⸥எǷ ⡮ទ ㉑ⰰ
ྒྷែ⏥ࢷ⁒㱦⻦৅

workshops were moved to the Cining gong ( ጑༱༈ Palace of Benevolence ⡻●ఉ㇛໫㧰卼㩠㘆⯞ᅤהரǯ༈ᅡ⅘∇ᅐ㩶Իㅳ
and Tranquillity) in 1691. Other imperial workshops were set up in the הपᅴㅛ㱈⅘∇ক㥚‷ം卿㚍ࣻ⯝Ⓔ⎉㞖ྏ଍ক≢
Yuanming yuan ( ஋ᚺஊ Garden of Perfect Brightness) northwest of the
଍⎏पⰰ⇈⇶ᆭ卿սឆ໭੓≾Ꮅइջ᪹ᰲ㙊ऑ⇈⇶
Imperial City. They were in the area of the garden called Dongtian shenchu
( ᰠ഍᳅⽔ Deep Vault of Heaven) in a complex bearing the evocative name ᆭǯǶ᪩໸ഌ᳖ᝯݱԿ׾Ƿ㖊㘚卿⇈⇶הரᙻᄮᾭ
Ruyi guan ( ൈዪ໶ Hall of Wishes Fulfilled). A crucial part of the Kangxi ՆࢦӮჺ卻ݩ݉ ჺ卼ᇖ᫋Ⲗᬆ㚀߅卿Ԇ☭Ւ
Emperor’s mission to have fine imperial enamelled wares made in China, was
㱐ᇵᬆ❖↚ࣿಫ㜩՞Ꮫǯ
his establishment of an imperial glass factory in 1696. The emperor installed
a Bavarian missionary, by the name of Kilian Stumpf, as director, and ordered
ᛓ᪖ᐽ㐈⎏ᄮᾭᇙㅳ⎾౑♑⢞ⰰ卿ݯ⡠㱈⠦भԻ⇈
the building of the glassworks near to the residence of the French Jesuits and
the church at Canchiko プᮆऑ , near the Xi’an Gate in the Forbidden City. ⇶ᙲᆭ⎏ӲഌᎰ৘卿⩧Ӳ⩢⎐⊐༈ᅡהரⒺㅳ卿ݯ
In addition to making all types of ornamental glass and lenses, the imperial 㜩ᙹ⯝᪹ᰲ‸ទ㘓὞ᝳ⊿ǯݯԋᝬἃ՞♑㙣⩢卿ᛓ
glassworks were also involved in the development of a palette of enamels
ទ⎾⎏ⰰ஠⯝⟾⡚⸥≓Ꮢ⊇⎏⬄⬖⡚ᙠ卿㱛ӴՀ⩢
for painting on metal and porcelain to augment, and eventually replace, the
enamel colours being imported from Europe. According to the Collected ἃ⎊ᙠ⯝㿩ᙠ卿ݦ⩢மἃ⡠㱈எᡪಫⰰӶཐǯߎ៝
th
Statutes and Precedents of the Qing Dynasty ᪩໸ഌ᳖ᝯݱԿ׾ , in the 57 ⢙៧㰆▔卿ԋஇ⎏⬄⬖⡚ᙠᛓս㿩㞖⮈ₕ㯤⠄१
year of the Kangxi reign (AD 1718) the enamel ateliers were moved from
ⰰǯԋஇ⬄⬖⡚ᙠ⯝᪹ᰲǸࢽᙱ㩛ᙱ⡻ǹ ໫ᇪἍ Ĥ
the Wuying dian ( ᫋Ⲗᬆ Hall of Martial Valour) and came under the direct
ࢽᙱՌᙱᙻ ჺ߿ᇌⒺ⎉ᙻ⵭㯀卼ᝳݦഌࢥߣǯ
auspices of the Yangxin dian, with additional administrative staff.
ԋஇ⇈⇶ᆭ⎏्㞖㞔㙭׆ᙻ᪹ᰲ‸ទ卿ӻㅳۄᙹᅴ
The current stunning Kangxi yuzhi bowl employs three of the important
Ԯᝳ⊿ᙻ᪹ᰲ⎏ࢽᙱ㩛ᙱ⡻ǯ᫉ം卿ԋஇᆭᙠ्㢻
colours from the new enamel palette, which were all developed in the
≾׆卿႙ࢎ፽ᛓݎㅳᎰ⡚⅘∇卿ԆཆԠⒺᎰ⟾ថₕ
imperial ateliers to different recipes than those used in Europe. The most
famous of these is the ruby red, which provides the exceptionally rich ⎏㯭ᙠ卿ݻ⯝㘲ᚺὍⰰ⎏⇈⇶ᙠᐼࡵǯ㘺♎ទக႙
background colour on this bowl, and was also used to create the pink lotus ⻱ங⅘∇ࢎ⋁ԋࢦߎ᱁リ卿ݯܵࡥஙᙻ㿩㞖⊇㞔㖅
blossoms, while the other two colours are white and yellow – both of which
ཐ卿୬⩧Ꮀទ㖅׆卿ӻ⇈⇶ᆭ⎏१ⰰᝤமࡵ卿⊺Ⴧ
have significantly contributed to the beauty of the design on the current
bowl. Analysis has shown that the rose colour of the Chinese enamel was ⶔ✖⎽⎉㬦࡚ᔙằǯ
due to tiny colloidal particles of gold. Two aspects of the Chinese rose
enamel differentiate it from the European colour - the so-called ‘Purple of ⯍ᙻӶ㘲ᚺ⎏⟾⡚ᆭ卿؝ᛓ⊇㘺♎⡚⅘∇⟾ថ⯝ⓕ

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