Page 37 - Nov. 27, 2019 Christie's Important Works of Art HK
P. 37

fig. 5  A blue and white ‘boys’ bowl, Yongle period. Tianminlou Collection  fig. 6  A blue and white ‘boys’ bowl, Chenghua period.
                           எՆ  ᚺ᭦ᦼ   㬪ⱤວᏈஎ⎾   ഍ᭆ᧊⻦৅                       Collection of the Jingdezhen Ceramics Institute
                                                                         எݪ  ᚺᎰࢇ   㬪ⱤວᏈஎ⎾   ᜀᇪ㤯Ⴊ㪃≢Ⓔ♾Ꮢ⻦৅


               emperor’s desire for sons should be translated into designs on imperial   ᚘ὞ӳᝳᏒൃ卿༈ᅡㅛ㱈⻱ワ໸὞Ք᫊Ք
               decorative arts, including porcelains.                      㑮卿≢଍ՔӶ׾ംǯ

               It is interesting to note that Ming dynasty bowls decorated with boys   ཝ㮷Ӭᓽ⎏ᛓ卿ວᏈ㯪ឬஙࢦݨӽ⡕᳖ᅡ
               at play were included in the 1728 handscroll painted for the Yongzheng   ،὞᱁リӻۄई㞒㇬卿୬᫉ங㫇᫈⎑Ⴝ
               emperor, since this theme was clearly one which was still popular and        ჺউ՞⥾ㅳ⎏Ꮫ࣍ԋ卿խ⧲ߛԻӬᏼ
                                              th
               important at the Qing court of the 18  century.  In fact, the theme of   ᚺջວᏈ⎾ǯ㊦὞卿Գ㪏ង㪪࣊㘃׹Իວ
               boys at play reached a further peak of popularity in the Qianlong reign.    Ꮘஎ⎏औӬٖ㿩㞖ჺջǯԳ㪏Ⴝཌ㘺㯸ㅛ
               The emperor’s fondness for this decorative theme is emphasised by the   㱈㯪ឬካᝳℒ㤃卿ལ᫉ज㌴㋭༈ᅡ⊺Ⴧℳ
               existence of a beautiful ㏧ⶔ tieluo mural painted by the court painter  ᄁໝ卻Ⴧᇖ᪹ᰲ⪉♤ᝯ۔ᘰ೥㚿ӽ༱卼Ꮢ
               ℳᄁໝ Wang Youxue, who was a disciple of the European Jesuit artist   ⥾⎏Ӭზ⠢⧻㏧ⶔ卿ࣿݯ⥾ᙻԳ㪏୨ࢦӬ
                                                              th
               Castiglione ( 㚿ӽ༱ Lang Shining), and others on the 28  day of the   ჺ卻ݩ݉      ჺ卼ՀᝲՀࢦݨᚚ⎏औӬᏼ
                nd
               2  month in 1776 (illustrated in A Lofty Retreat from the Red Dust: The   ⊺ה卿எ㇦Ƕ㯎㱐㌎ಋੰ厍Գ㪏⎑Ⴝ⎏☖
               Secret Garden of Emperor Qianlong, Hong Kong, 2012, pp. 170-5, no. 33).   ༗ⱤஊǷ㮰     ⤔⽚  卻㲞ᳰ厍    卼卻ॲ
               (fig. 7) This mural is on the west wall of the central room of the 㱐ক  ˒卼ǯ㊃ზ㏧ⶔׅᙻ࢈՗⡻●ఉ⎏Գ㪏ᇙ
               ⠢⯣ Yanghe Jingshe (Supreme Chamber for Cultivating Harmony),   Ɽஊݤ卿⠉㏧ᙻ㱐ক⠢⯣ᚺ㧿㇛ೀԠӳǯ
               which is in the Qianlong Emperor’s gardens in the Forbidden City,   ༈ݤᝳഅზ㘻ᜀ㏧ⶔ㇡⸌ᙃ㬷ೀ೅卿቗ⲋ
               Beijing.  The painting is one of several trompe d’oeil murals created in the   ༀݤ⚁㧿⎏ᅠֳ卿⩧߿㘚㏧ⶔ⎏ᄥஊᜀ⯎
               palace which cover a whole wall and appear to extend the room, and in   Քᡎᡎൈ㇦ǯ᫉ה⥾ݨल⎑ຽᙻᄻӴງᏈ卿
               this case offer a view into a garden beyond.  The focus of the scene is a   ݦׅℳ൉ஙᙿᾅ⏭卿औᝳ⛐ຽஙஊݤງ⩨ǯ
               group of eight imperial children at play, accompanied by two imperial   ⊺ԋ⎑ຽ⎏▵ጔካₕ卿⯝ទᐽ৅⎏⛐ຽൈ
               concubines, while two more boys are depicted in the garden itself.  The   ߅Ӭ㗂ǯ
               depiction of the young princes has strong similarities with the boys on
                                                                           Գ㪏ᛞឆᓼ⥾⛐ຽᙻⱤ⒢᧦ណ㧿ງᏈ⎏
               the current jar.
                                                                           ה৅㚍ᝳ㞖ᅡ᧐⎏Ƕ⨍ວ㶯ⳞஎǷ㉑ⰰ
               Another rendering of young boys playing amongst flowers, rocks and trees,   ⡮ទᑦ㕻卿→⻦࢈՗ᘢ༈ࢷ⁒㩴卿எ㇦
               dating to the Qianlong reign, is a hanging scroll in ink and colour on   Ƕ'PSCJEEFO  $JUZ   *NQFSJBM  5SFBTVSFT  GSPN
               paper entitled Children Playing in the Garden ⨍ວ㶯Ⳟஎ by the court artist   UIF 1BMBDF .VTFVN  #FJKJOHǷ㮰         எ
               Jin Tingbiao ( 㞖ᅡ᧐ active 1757-1767) preserved in the Palace Museum,   ‸    卻⣠मཪՌ厍    卼卻ॲՌ卼ǯ᫉
               Beijing (illustrated in Forbidden City: Imperial Treasures from the Palace Museum,   எ⊂࡚஠ᓼ⥾Ի໐⛐㊘⏻㶯Ⳟ⎏ካᜀ卿ठ


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