Page 26 - 2020 December 1 Bonhams Hong Kong, Eternal Music in Chinese art

THE PROPERTY OF A GENTLEMAN 紳士藏品
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A RARE CLOISONNÉ ENAMEL AND ZITAN ‘TAO YUANMING’
TABLE SCREEN
Late Ming Dynasty
The main rectangular plaque framed by a fine zitan border, decorated
in vivid colourful enamels a sage with a cane followed by a young
servant carrying a guqin and welcomed by five youths before a
house, all in a landscape with white clouds, green mountains, willows
and other trees, with a further cloisonné enamel panel with shaped
aperture, decorated with scrolling flowers on a bright turquoise ground,
all supported on two fluted U-shaped feet.
Overall, 44cm (17 1/4in) high x 43.5cm (17in) wide.

HKD550,000 - 650,000
US$71,000 - 84,000

明晚期 銅胎掐絲琺瑯「歸去來兮」圖插屏

Provenance:
An important Asian private collection

來源：
亞洲重要私人收藏

The sage may be identified as Tao Yuanming (circa 365–427), also 插屏紫檀攢框，内嵌銅胎掐絲琺瑯，畫面取陶淵明《歸園田居》詩
known as Tao Qian, an important poet in Chinese literature. He was 意，掐絲作筆，填料成墨，畫心主題為陶淵明策杖，後有一童子抱琴
known for his cloistered life and nature-themed poems, or ‘Fields 跟隨，前方童子五人迎迓，門前柳樹粗壯繁盛，佔據三分之一畫面，
and Garden’ poetry. A low-ranking civil servant, he served in the 人物之外有藍地，青山，白雲，山石雜樹填以深濃淺淡之色，層次分
government and military for over ten years and was torn between 明，畫心邊框及銅絲皆鎏金，插屏滌環板亦嵌銅胎掐絲琺瑯，銅絲鎏
ambition and a desire for solitude, which was reflected in his early 金，掐作連枝花卉紋，填藍地，綠葉，紅白青黃花色。
poems. He resigned from government service in the Spring of 405,
and then spent the rest of his life in reclusion and accomplished the 此屏畫面取自陶淵明《歸去來兮辭》中 「乃瞻衡宇，載欣載奔，
majority of his ‘Fields and Garden’ poetry. This plaque illustrates a 僮僕歡迎，稚子候門，三徑就荒，松菊猶存」詩意。明代掐絲琺瑯
scene from Tao’s famous work Guiqu laoxi ci (Returning Home), which 插屏存世稀少，明末清初以降稍有可觀，可比較一件兩件相關銅胎
is also a famous piece of guqin music: 掐絲琺瑯插屏，藏於蘇黎世里特貝格博物館，館方定為十七世紀上

‘Then I see my family home! Filled with joy, filled with urgency, 半葉，題材皆為雅集圖，有高士童子山水流觴，人物刻畫及琺瑯
填彩可資比較，見Helmut Brinker及Albert Lutz著，《Chinesisches
my servants welcome me, my offspring at the gate; Cloisonné Die Sammlung Pierre Uldry》，蘇黎世，1985年，編號133
The three paths are almost overgrown,
but the pines and chrysanthemums are still here.’ 及134。關於掐絲琺瑯童子攜琴的高士圖題材還可比較巴黎裝飾藝術
博物館藏一件明嘉靖掐絲琺瑯高士訪友圖蓋盒，見Béatrice Quette
編，《Cloisonné：Chinese Enamels from the Yuan, Ming, and Qing
Illustrations of classic stories from literature were a popular source of
inspiration for Chinese works of art. However, Ming dynasty cloisonné Dynasties》, 紐約，頁244，編號39；北京故宮藏一件明晚期掐絲琺
enamel table screens with classical figures are rare. Compare with two 瑯山水人物圓盒，題材裝飾亦資比較，見《故宮博物院藏品大系琺瑯
related cloisonné enamel table screens in the Museum Rietberg, Zürich, 篇》，北京，2011年，卷1，頁288，圖版157。
first half 17th century, illustrated by H.Brinker and A.Lutz, Chinesisches
Cloisonné Die Sammlung Pierre Uldry, 1985, pls.133 and 134. Compare
with the sage and servant on a cloisonné enamel box and cover, Jiajing,
illustrated by B.Quette, ed., Cloisonné: Chinese Enamels from the Yuan,
Ming, and Qing Dynasties, New York, 2011, p.244, no.39; and with
another cloisonné enamel box and cover, late Ming dynasty, in the Qing
Court Collection, illustrated in Compendium of Collections in the Palace
Museum: Enamels, 2011, vol.1, p.288, no.157.

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