Page 79 - Important Chiense Ceramics and Works of Art, Christie's.pdf
P. 79

AN IMPERIAL TREASURE  ᓱॢẻᏈ ĚĚ
               – A RARE POLYCHROME                     ౏Ὗଉᇯ℄⍆ᝡӅ
               QIANGJIN AND TIANQI
                                                       ᆌ᥼
               ‘DRAGON’ LACQUER
               INCENSE STAND
               (Abstract translation from the Chinese essay by
               Zhang Rong)

               The current incense stand delicately combines the   ޸卿ᇖײ⊇࠻⬒ӳߎ㯸卿ྏᙻऒݱۊك㯸ǯ࣊ज੷ℒ㪀㉑卿Քजהἃձ
               two lacquering techniques qiangjin (incised lines filled   ଍ԠᏤǯᇖㅳה႙⻱ߎ㯸卿Ꮐ㞖ᆭᶜ㫡䂆⡠޸ྏᙻऒջᶜ଍㯸ǯ޸卿㵶
               with gold) and caiqi (coloured lacquer). The qiangjin       㞕⟬卿㬷ἃ஋ᆨ卿⥊⭤卿೯㧰ᅴ⁅ຽ卿Նᢣ⭯卿Ӵᐂ஋ᆨ㮷ᆚᄠǯ
                                                       ޸㬷⯝㮷ᆚᄠ㬷㿩ᶜ⡵஠卿⡠᧙⏟ऱ卿᫈ԋ⣔ⰰஏ೰ໃ卿ӳᙹἃӬᢣ᫈
               technique was developed as early as the Warring
                                                       㬷䂆⡠卿ᆌऑ㬖⯢卿㫐⏖஋␪卿㕑㵲⠈೧卿䂆‣ᝳ࠺卿ॶஉ㿽⣧᱁㫡ǯ
               Sates period, widely adopted on lacquer wares from
                                                       Նᢣ⭯ӳㅛ㱈᱁㫡⡠卿㮷ᆚᄠӳㅛ㱈㫡〟⡠ǯ
               the Song dynasty, and was used on Imperial lacquer
                                                       Ꮐ㞖ᆭᶜྏᙻऒջ㶊ᶜ႙⻱❧⋍卿ᛓǸᏀ㞖ǹকǸᆭᶜǹݦ♎႙⻱ऱᛞ
               wares with dragon motifs during the Ming dynasty.
                                                       ᙼᙻӬ଍ԠӳǯǸᏀ㞖ǹ႙⻱ஙᏇᶴᛞឆ࣊սᓚ⊇卿໬ջᶜ଍ԋഌ㞔ײ
               The caiqi technique has an even longer history, and
                                                       ⊇卿ൈ      ჺᮅ⼖᫋㙊ತ߅க⎏ࢶ໬Ꮐ㞖ᶜ଍卿հഺஎല Ǯ߅㙚எ㧩
               could be traced back to as early as the Shang and
                                                       ᙹ⏁Ǯᠪ౵எ㧩ᙹ⏁卿ᐃ⻱Ԡ๼ᾳ卿ߴ⊺Ԡ⠢⡿卿㙤ߪԻ‐ỉ⡩㬪⎏☶
               Zhou dynasties. While the earliest time when these   ᄟ卿ᛓ໬ջᏀ㞖ᶜ଍⎏ջヿהǯ     ჺᮅ⼖ᮅ㩽೽ᳰ໬ತࣽ߅கԻӬ։

               two techniques were first used together on lacquer   㿳ᶜᏀ㞖㜼␮ᮅ⯰எ㧩ᙹ⏁ 卿໦⯝᫋㙊߅க⎏Ꮐ㞖߅㙚எ㧩ᙹ⏁ַԢ
               wares was unknown, by the Jiajing period in the   ᛓඁ൲❩卿ங⊺㬷ᦔஎᎵ՞⁒・ⶬ✙ᙹ㬷㛢۬ᛓヿ→ऱӬ஠㿽ǮऱӬ՞
               Ming dynasty, a large number of lacquer works were   ⁒ǮऱӬ㯪ឬǯ     ჺᛌ⯍      ჺߝ卿ஙྒྷែ㛵⥂⎉ᓒԻᚺ㷥⳧ℳប

                                                       ᨞ತ卿߅கԻᏀ㞖䂆⡠ᶜ❝ǮᏀ㞖ᶜ⏁ ǯǸᆭᶜǹ႙⻱᫓टᝤ࠼ኑԜ卿
               made utilising both the qiangjin and caiqi techniques.
                                                       ᚝ஙਦॶᛞឆݎᭆٛལႡ⣌ײ⊇ᆭᶜ႙⻱ㅛ㱈ᶜ଍ԻǯᏀ㞖⯝ᆭᶜ႙⻱
               There are in fact two types of caiqi techniques. The first   ऱᛞஙӬ։ᶜ଍ӳײ⊇卿♑ἃǸᏀ㞖ᆭᶜǹǯǸᏀ㞖ᆭᶜǹ׍ᛞऱஙӬ
               is tianqi (filled-in coloured lacquer), and the second   ։ᶜ଍ӳײ⊇卿⏖߿㉃㖊ԆӶᚺ┱卿ֿᇖᶜ଍༰⁒㈊༩卿Ꮐ㞖ᆭᶜ႙⻱
                                                       ᇖᚺջૃ㬬ង㧷ංႡ⣌ഌ㞔ײ⊇ǯ
               is miaoqi (painted coloured lacquer). When combined
               with qiangjin, the gold lines and polychrome lacquer   Ꮐ㞖ᆭᶜᝳݦ♎卿࣊ǸᏀ㞖ಃᆭᶜǹ卿কǸᏀ㞖ᓼᆭᶜǹ卿ங㦷ߣݯㅳ
               would together create a glistening and colourful   ה႙⻱ᛞ㫬կ⡿㈊༩卿㘺ݦ♎ڔᯧ㛢ᛓ⊇ǸᏀ㞖ǹࡷࡘ߅Ɽ⡠எᡪ⎏㖥
               effect. From surviving examples, we can conclude   ᅃࣿ៨⶟⎏⡿㛑⡠↚ǯᚺջ㪏ጻჺᶜ଍႙ࢎ㿩ᎰⶬǶ㶊㱈㢙Ƿԋᝠ厍Ǹಃ
                                                       ᶜ卿࣊ಃᆭᶜԮǯ╖㰆ݯᙔ卿ᝳԳⰰ卿ᝳṊⰰ卿ൎษݏᵴǯࣽᝳ㥝ူ⩢卿
               that the combination of qiangjin and tianqi techniques
                                                       ݯ஠㢶⣰⡿ᙔ⩢ع⧻㎔ǹ ǯ⊐᫉ज⒖卿ಃᶜᝳǸ╖㰆ǹ⯝Ǹ㥝ူǹݦ♎
               was more commonly used.
                                                       ᙹᯧǯ༰㪡ӳ卿ಃᶜ⎏ㅳה႙⻱ἃ卿ᶜ⫭ӳ㶊ᶜսᇌ卿ஙᶜ㬷ӳߴ᳍⩧
               A number of qiangjin  and caiqi lacquer wares were   ჹ⎏㩽⡠ǯߴᎰԠᇌ卿սᏒ㫬⎏ⰰᶜಃݣ㩽⡠卿ಃݣԠᶜ㫬Ḽ࣡卿Ꮅ㵶
                                                       ߅ᶜ஠ヿ㬷卿⣌╖㰆Ꮭ⬒⯝ࣥᶜ஠ჹᵴӬ㵲卿ݻ⣌ᓠݏ⩧Ꮀǯಃᶜה৅
               made during the Jiajing and Wanli periods, in boxes
                                                       ヿ㬷ჹᵴݏՙ卿⊇Ꮫᖧᖁ卿⡿⮏⩧ᷪᵴ卿ݰᝳᶜ⊺⎏⻱ワᘤ៧ǯᏀ㞖ᆭ
               and dishes of varying forms, such as a Jiajing-marked
                                                       ᶜ႙⻱ᛓཆǸᏀ㞖ǹ⯝ǸಃᶜǹᎵǸᓼᶜǹݦ♎႙⻱ႛ൘஠⢙भஙӬ㑌卿
               chrysanthemum-form dish decorated with dragon
                                                       ࠛ㙁߅Ӭ♎ݥᙲ⎏ݰᝳ㞖┡㖜Ὥᘤ៧⎏ᶜ଍ㅛ㱈ᐃᯧǯங㿩Ꮀⶬ㢙⎏Ƕ㶊
               and hibiscus motifs (fig. 1), and a Wanli-marked   㱈㢙Ƿԋ卿ཆᏀ㞖ᓼᶜߛݣǸᏀ㞖⡿㠏ᓼᶜǹ卿ཆᏀ㞖ಃᶜߛݣǸᏀ㞖
               prunus-form box decorated with dragons (fig. 2),   ⡿㠏ಃᶜǹǯᎱٛᇖ༰⁒㈊༩卿ᇌ⩢ײ⊇⎏ᝤഅ卿࣊Ꮐ㞖⡿㠏ಃᶜǯǶ㶊
               both from the Palace Museum Collection. Towards   㱈㢙ǷԋᝠǸᏀ㞖⡿㠏ಃᶜ卿࣊ஙᶜ஠ӳᑪᾅ㉑㈷⎏எᡪࠂߴ߅׆㪄⎏
               the succeeding Tianqi and Chongzhen reigns, the   Ɽ⡠卿Ɽ⡠Ԡݤಃⰰᶜ卿݋ᶕԠᇌ卿ݥ㛑╖ჹ卿㰆㬖߅ჹᙃݏᵴ⎏Ɽ⡠
                                                       ׹ǯ὞ᇌᯒⶬⱤ⡠㖥ᅃ⊇㠏߉ߴ߅⡠㒩卿Ɽ⡠ԋ㧿⎏⡠↚卿Ԯऱ᧙⊇߉
               qiangjin  and  tianqi caiqi  techniques were further
                                                       㠏߅ǯᝬᇌᏢ㞖⮈卿㏧㞖❌卿ײಃᶜⱤ⡠ᝳ㞖ⰰ⎏㩽ᙔ㚒ᡨক⡠↚ǯ໦
               applied onto furniture, such as a  Tianqi-marked
                                                       ⎏ം㎼⯝Ꮐ㞖⡿㠏ᓼᶜ⏟ַ卿ֿ୬⣌㙞╖㰆卿Ɽ⡠ᬘ㖅ݏᵴǹǯ
               incense stand in the collection of Östasiatiska museet,
                                                       Ꮐ㞖ᆭᶜᶜ଍ஙᚺջૃ㬬ⶃᝃង߅→प♎㙁௛⎏⏁⯝⏎卿ൈૃ㬬᪪Ꮐ㞖
               Stockholm, and a Chongzhen-marked luohan bed in
                                                       ᆭᶜⱍ⸊䂆⡠ⴵ≓⏎卻ॲː卼卿ⶃᝃ᪪Ꮐ㞖ᆭᶜ䂆⡠ᢐⱤᅴ⏁卻ॲ̤卼ǯ
               the Palace Museum Collection.
                                                       Ꮐ㞖ᆭᶜ႙⻱ங഍ਹক࿶◘ងशۊكᙹशᑃཿǯ⇧ݱᙱᇪড়‰ᕳែᙹ⻱
               The earliest known qiangjin and caiqi lacquer furniture   ワࢷ⁒㱦ᘘ⻦ᝳ഍ਹ᪪Ꮐ㞖ᆭᶜ޸卿࢈՗ᘢ༈ࢷ⁒㩴ᘘ⻦ᝳ࿶◘᪪Ꮐ㞖
               and vessels from the Qing dynasty date to the Kangxi   ᆭᶜ⧲ᶴᄍǯ
               period.  The Palace Museum has several Kangxi-  ᳖ջᝬ᚝⎏ǸᏀ㞖ᆭᶜǹۊكࣿᚚ჎⊂᰻⊇৅ᛓᄮᾭងㅳה⎏ǯ࢈՗ᘢ
               marked  qiangjin  and  caiqi  works, including a dish   ༈ࢷ⁒㩴Ⅷ⻦ᝳǸഌ᳖ᄮᾭჺㅳǹᏀ㞖ᆭᶜ䂆⡠⏎卻ॲ˖卼ǮǸഌ᳖ᄮ
               with dragon motifs (fig. 3), and stands with cloud   ᾭჺㅳǹᏀ㞖㫡䂆⡠޸卿ᝳᙹᆨ卻ॲौ卼Ǯ㫐஋ᆨǮᢐⱤᆨǮᱡᣗᆨ
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