Page 16 - 2020 Nov 30 Christie's Hong Kong Important Chiense Works of Art

fig. 1 Collection of the National Palace Museum, Taipei fig. 2 Collection of the National Palace Museum, Taipei
எӬ झ࢈இ⛁ᘢ༈ࢷ⁒㩴⻦৅ எՀ झ࢈இ⛁ᘢ༈ࢷ⁒㩴⻦৅

3003 Continued

Poppies have numerous names in China, including yumeiren (beautiful Ǹ⽙⧻՞ǹἃ⧅⠌Ɽྏ卿ஙԋஇल♑␕അ卿Ǹ㢶ㄴⱤǹԛᯒ⊇ႡԜ⎏
woman). Poppies were a popular choice among painters on silk ल♑ԠӬ卿٨ᑨ㕇⚅㢶・卿ݻᅸ⊒ἃ㢶ㄜ࠼㕇⎏㵶໶ǯ⧅⠌ⲋ㇏ս⁍
and paper in the late 17th and early 18th century, see for example
ԕ卿ߺ्Ǹ㢶・ℱ㰱ǹԠዪǯ⽙⧻՞㘺Ӭ㯪ឬ卿Ք⏇リᙻࢦӮӽ⡕ថক
an album leaf painting in colour on silk by Yun Shouping (1633-
ࢦݨӽ⡕ߝ⎏⢷ទক⡮ទ⊺ǯ࢈՗ᘢ༈⻦ዎ೰ჹ卻 ჺ卼⥾ᙻ
1690) in the National Palace Museum, Taipei, accession number:
gu-hua-003200-00002 (fig. 1), where the painter has realistically ჺ⎏ǶⱤࢭஎݺǷࢦ㧷ԠӬ؝ᛓ⡚ⰰ⽙⧻՞卿எ㇦& 4 3BXTLJ ࣿ
portrayed the softness of the undulating petals with varying shades of + 3BXTPO भ⤔⎏Ƕ⏇ӽⵖ⛌Ƿཿ㈇எ㢙卿ٳᘹ卿 ჺ卿㮰 卿 ⤔
pink and purple, while using a darker tone to depict the veining, both of
⽚ ǯ
these treatments can also be seen in the painting on the current bowl.
झ࢈இ⛁ᘢ༈ࢷ⁒㩴Ⅷ⻦ዎ೰ჹ卻 ჺ卼הⱤࢭஎݺԋᝳǸ⧅
Poppies were a theme embraced not only by Chinese artists, but also
by the European Jesuit artists at the Qing court. The most famous ⠌ǹӬݺ卿㇦ݱ⻦⤔⽚厍ᘢ ⊺ 卻ॲː卼卿⊺།ս⡻⡚㯭
of these, Giuseppe Castiglione (Lang Shining 1688-1766), painted ᙠڔ᷉ྉᳳ᠎卿ݻս㖅᳅⎏ⰰ㊽ᓼ⥾⶟⬛卿ヿ→߅Ɽ≓㪪㰍ᔵᝣǮ㖔⎻
poppies on several occasions, including leaf number five from the ෞෆ⎏නጔ卿⩧᫉⎷ཌⱤ≓⎏ᓼ⊺⯝Ԡ⏟㯸卿Ꮅᝪईݯᆴ㮮ǯ
album Immortal Blossoms of an Eternal Spring (fig. 2), preserved in the
collection of the National Palace Museum, Taipei, in which a red poppy ⽙⧻՞ᚘᛓԋஇ⻱ワ།੧⪡ᦼ㇦⎏㯪ឬ卿Ք᳅ई؊⪰᳖ᅡ⎏᪹ᰲ⪉♤
and a purple iris have been depicted beside a rock. The treatment of ᝯ۔ᘰ೥㬪␫ǯᝬⶬल⎏׾ຽⴢൈ㚿ӽ༱卻 ě ჺ卼ǯझ࢈இ
petals seen in the Castliglione leaf where he applies a lighter shade of
red for the interior and a darker shade for the reverse is similarly found ⛁ᘢ༈ࢷ⁒㩴Ⅷ⻦⎏Ƕմⶓ㧩ᛌǷஎݺ✄Ն㧷卻ॲ̤卼ᓼ⥾⎏؝ᛓ⡚
on the painting on the current bowl. ⰰ⽙⧻՞Ǯ⡻〲〴⼵⯝ᴓ⒢卿எ㇦Ƕ㫇᫈厍᳖ӽ໵ᙔ⁒ഌཿǷ㮰 ⤔
⽚** ǯ㚿ӽ༱ங㘺ზה৅ԋ卿ك⡿ዪᓼᖂ༵ⱤⴏԠᝢᐙ⯝ⱤⶓԠڂ
A nearly identical pair of cups was sold at Christie's Hong Kong, 3
November 1998, lot 961, and another single cup is illustrated by Lady ௗ卿ս᳅᳍ݦ♎ⰰ㊽⚇㰆Ɽ≓⎏᫈ं㬷卿ऱ᧙⎏ᏛᯧՔ㇦ᙻ᫉⎷Ԡӳǯ
David in Ch'ing Enamelled Wares in the Percival David Foundation 㘆Ԣ⏟ऱ⎏㫇᫈⟾ᆭ⽙⧻՞⡠⎷जࣻ⩠㲞ᳰצ೥ᇑᝪ⣌ᐽ㐈Ӭཌ卿㇦
of Chinese Art, section 2, London, 1958, pl. X, no. 878 (9.3 cm.
diam.). Compare also to a cup with flaring sides of slightly different ჺ ᝲ ᚚ卿ᐽ৅ ⽚卿սࣿഌヵᇪఫ㞖ᝯԋӬ։卿㇦Ƕ$I JOH
composition and use of enamel colours, with the mark enclosed within &OBNFMMFE 8BSFT JO UIF 1FSDJWBM %BWJE 'PVOEBUJPO PG $IJOFTF "SUǷ卿ٳ
a double circle, illustrated ibid., p. III no. 821 (9.1 cm. diam.). The Percival ᘹ卿 ჺ卿எ‸9卿⤔⽚ ǯഌヵᇪఫ㞖ᝯབᝳӬ։ᙢ೅卿Ɽ≓ᆨₕ
David bowls have fruit, seeds and petals on the interior rather than the ࣿ㉑ⰰӶऱ卿ᄓᝧ㫐஄᪪⎏㘆ַ׾卿㇦߿ᔘᝧ卿㮰***卿⤔⽚ ǯ
flowerheads as on the present bowl.
औᬘ㖅ᡳ㯀㝴⊂⯠⻦⎏Ӭཌ㫇᫈⟾ᆭ㙞៨⽙⧻՞Ɽࢭ⡠⎾卿㇦㲞ᳰצ೥
Compare also to a pair of larger Yongzheng-marked bowls with this
motif in guozhihua design but without the scattered petals or seeds ᇑ卿 ჺ ᝲ ᚚ卿ᐽ৅ ⽚ǯ
on the interior, from the Dr. James D. Thornton Collection, sold at
Christie’s Hong Kong, 29 November 2017, lot 2806.

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