Page 19 - Nov 2019 Christie's Hong Kong a Falancai Imperial Bowl.
P. 19

fig. 3  A famille verte ‘birthday‘ dish, Kangxi mark and period
                      Collection of the Sir Percival David Foundation of Chinese Art, currently on loan to the British Museum © The Trustees of the British Museum
                                                       எӲ  ᳖ᄮᾭ   Նᆭ⸥ᮆஎ⏎   ݪໃᥓᝧ᪪
                                                        ഌヵᇪఫ㞖ᝯ⻦৅   →٨ཿԽഌⲖࢷ⁒㱦



               the lotus were prized, so all stages of the lotus’s life cycle were revered.  Even   ᫉㉼הᙻӭࣆ୨ᝲ卻࣊ݩ݉      ჺ卼卿ज㇦㘺Ջ
               in the winter, when all that remained above the surface of the pool were   ༈ԋ⁞㉑⎏ᵐᮆ卿ײ⎑ӳ᚝ᙻᜰᛌ࣊ज㐃⳴卿⩧ᬑ
               the bent and broken stems, these were admired by scholars, who saw in the
                                                                               㮷ᇅߪ೽ᜠԠᛞǯ
               reflection of the stems in the still water a likeness to the brush strokes of fine
               calligraphy.
                                                                               ᄮᾭՔዏᙹ㉑ᯧ卿ݴஎங༈ԋᇑՖ㐃⳴Ԡᦼǯ⸥Ɽ
               The appreciation of lotuses by the emperors of the Qing dynasty is attested   ჎⯝ᱲ᜜⏟ᓽԆ㋏卿ᘢ᫉ῂᯇ卻իᯇ࢈ᐂᇪ卼リ༈
               to not only in the art created for their courts, but in their own determination
                                                                               Ԯᝳ⸥⎏ⱥ㔌ǯ⋁஠⨍ྒྷஉ⥴卿ᄮᾭᙻ      ჺᘬ
               to surround themselves with the living plants. Among the many poems on
                                                                               ռங᫉⽔࡚႙⯞ᅤ㚈᜜ྒྷⴃǯԖ༈ᬆ⨍ᙻ      ჺ
               the subject of lotuses composed by the Kangxi Emperor’s grandson, the
               Qianlong Emperor (1736-95), several refer to special warm springs or warm   ⛎႙卿ᄮᾭ㐁लǸ㚈᜜ྒྷⴃǹ卿Ԇ㚁Ӳࢦݪ⽔ࡠᜀ卿
               ponds (wenquan ᳪᯛ , tangquan ᴨᯛ or wenchi ᳪᮆ ) in which lotuses were   प㐋㉼㊗Ԡ卿औ㉭ռ⊺།ᮨ္ἃ㉼ㅳஎ卿     ჺ⢙
               grown.  One of these poems, entitled Tangquan xinhe  ᴨᯛᙲ⳴ New Lotus
                                                                               㫀ἃஎᙔԆⲧ⎏Ƕᇙㅳ㚈᜜ྒྷⴃ㉼Ƿ卿ᄮᾭ⁞ἃ᫉
               in the Hot Spring (recorded in Qing Gaozong yuzhi shi chuji ᳖㵶໵ᇙㅳ㉼ߝ
                                                                               הᄑ卿Ԇ᪩໸ᝧԋ㯪㉙ǯཝ㮷Ӭᓽ⎏ᛓ卿⎑ӳᇙ㚁
               㫀 , juan 40, makes it clear that these warm pools or warm springs enabled
               lotuses to blossom much earlier in the year than they would naturally have   ࡠᜀԠԋ卿അ⽔᣿ᝳ⸥Ɽ卿ᄮᾭᝤ㋢ռஙリ༈㉑㈷
               done.  Part of the poem may be translated as:                   ԋ࠼㉑⸥ᮆ卿Ꮢս㚈᜜ྒྷⴃݤ卿⸥Ɽ㪪⽔ज㇦ǯ༈
                                                                               ݤᝤཆᙃ‷㩴ⶔ⸆᭢ἃᮆ卿ս؝♎᣿㞖⸥ǯ㞖⸥⊄
                  ‘In the other pools the new leaves are just beginning to sprout,
                  While the warm pool is already full of glorious lotus blossoms.   ⯇ᘭᶴᚐ卿஠⽔ⷡऒ஠ࢥ卿ᘢࣽलǸᘭᶴ⸥ǹ卿᫉
                  The temperature difference between the cold and warm [pools] is such   Ɽ㰍න⣯⡙卿ӻ㯄ἃ⩫༠ǯԳ㪏ᙻ      ⯍      ჺ
                  That the speed [of growth] is altered accordingly.’
                                                                               㧿উ՞⤔⦕Ƕ᪩໸ῂᯇሂǷ  ᘘ㢙ᙻǶ୨ᄣݥᝧǷ卼卿
               As the poem was composed in the fourth month of the dingmao year   ᗌ࣍Ԭࢦ୨㉃㖊厍ǸᘭᶴᏒ⊄卿㖅㨸ݤཝצ卿ྒྷⴃ
               (equivalent to AD 1747) it would seem that, by employing these specially   ☭᣿Ԡǯ౻ം஠༠卿Ⳟណഅ᚝㿩ⶔ卿⳴ℒ᳅☌བ㧷卿
               warmed pools, the court could enjoy the beauty of lotus flowers in late
                                                                               ណ⼵୪㓾ᛞ⃫ᝳ㧷ᘞ⩢ǯǹ
               spring, rather than having to wait for the warmer summer months.

               The Kangxi Emperor also ensured that he could enjoy lotuses within his   ᄮᾭႽᝳ୨㲛ঘ⸥㉼۔ӽ卿Ӳ⩢⎐ᓽߪǸࢨ⶟⸥ǹǯ
               palaces. Lotuses were especially associated with relief from the heat of   սӴǶࢨ⶟⸥ǷӬ㉼᫈ᛓ༵ձஙᇙⱹஶ⏭ᙢ㪈卿␓


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