Page 29 - Bonhams Chinese Works of Art June 2015 Hong Kong

The usage of materials, forms, and techniques all reached new 在十八世紀，鼻煙在歐洲被視為具療效的奢侈品，明末清初由西方傳
heights of skill and design during the Qianlong reign. Painted enamel, 教士、大使和商人傳入中國，捲起鼻煙熱潮，鼻煙壺也成為風尚，迅
first introduced during the Kangxi reign by foreign missionaries, 速融入了中國的藝術風格。
became a defining art form of the Qianlong style, in quality, innovation
and unsurpassed opulence. The actual painting on the present snuff 本盒無論從其裝飾紋飾以及器形均明顯展示了中西文化上的交流。盒
box was probably done by artists employed by private ateliers in 上所飾番蓮紋是吸收了印度佛教文化後在中國的應用，蓮花旁的葉紋
Guangzhou who were capable of producing intricately designed 也充滿了法國洛可可風格，而題材選用西洋人物，本器無疑是中西文
pieces combining Chinese and European elements. 化融合的結晶。

Compare related examples of painted enamel boxes and covers, 乾隆時期，中國的工藝在用料、造型、裝飾和技術上已發展至頂峰。
Qianlong marks and of the period, also applying a related composition 本器所運用的畫琺瑯工藝始於康熙年間，到了乾隆一朝發揚光大，相
of a Western scene encircled by Chinese elements, from the National 對於清宮造辦處畫琺瑯工藝較為注重傳統手法的宮廷樣式，本器上所
Palace Museum, Taipei, illustrated by Shi Jingfei, Radiant Luminance: 飾的西洋人物題材構圖繁密，線條奔放，色彩諧調，洋溢著西方畫
The Painted Enamelware of the Qing Imperial Court, Taipei, 2012, 風，相信是出自技藝高超的廣東畫琺瑯工匠之手。
pls.93, 94 and 104; and see also E.Rawski and J.Rawson, China: The
Three Emperors, 1662-1795, London, 2005, pl.98. 類似於本器的畫琺瑯鼻煙盒非常少見，其他乾隆帶款飾西方題材的
相關例子可參考國立故宮博物院的藏品，見《通嚏輕揚：鼻煙壺文
化特展》，台北，2012年，圖版93、94及104；也對比E.Rawski and
J.Rawson著，《China: The Three Emperors, 1662-1795》，圖版98。