Page 15 - Christie's Four Masterpieces of Jun Ware, May 29, 2019 Hong Kong
P. 15

(Sea Terrace) is an island in the Nanhai, the most southerly of the artificial   㚲卿ׅᙻ⡻●ఉ㇛࢈㬷ǯԳ㪏⎈ఫᇌഌ㇧᧘ᙃـ᫉
         lakes which make up the Taiye Lake ( എ᲋ᮆ ) in the imperial park next to
                                                               ༈卿ԆᕉᅤᏈझ✙㉑ᙼ卿ᬔჺᛌ❥ங᫉ᶨᏈ㐁ⳍ卿᪪
         the Forbidden City.  The island was constructed in 1421 on the orders of the
                                                               ᇅ⨍⯀ǯᅤ◙༈ऱ᧙ׅᙻ⡻●ఉ㇛࢈㬷卿ᙻ      ჺ
         Ming Yongle Emperor, but was given the name Yingtai by the Qing dynasty
         Shunzhi Emperor in 1655.   In addition to these secular locations, it is clear   Գ㪏ᯎӴᅤᎰǯ༈ݤஊ៣⪡ल㙠㚐卿Գ㪏⎏⊇ዪᛓཆ
         that some of the Jun ware vessels were also placed at the site of temples used
                                                               ԠᏢ㙁ἃᨉᜓስካক་㋇⨍⯀⎏⢞צࣸ⽔ǯẃ⯓஠
         by the imperial family, such as the Yong’ansi’ (Temple of Eternal Peace),
                                                               ⽔ᬚ㜐⡻●ఉ⎏ᇙⱤஊԠݤ卿ᛓഎ᲋ᮆᝬࢶ⛘⎏՞
         which was built with a Tibetan style white pagoda in 1651 on Qionghuadao
         ( ∾Ɽ࿬ Jade flower Island) in Beihai Park, and was renovated on the orders   ႙ᴓԠӬ ĜĜ ࢶᱡԋഒ⎏Ӭᄠཎ࿬ǯẃ⯓ᛓഠᚺ᭦
         of the Qianlong Emperor in 1743, when it was formally given the name
                                                               ᦼႽԠউᙻ      ჺᅤᎰ卿ֿ࣐⊐᳖ջ㮵ᯎႽᙻ
         Yong’ansi.
                                                               ჺ໸लǯ㩶Իӳ㘚⎏ӽزౚᏒ卿⎑།ཀᅏ㰆὞Ԯᝳᓚ
         Additional evidence of Qing dynasty imperial appreciation of these garden   ⊇㟕≢卿ݯԋӬ׾ἃ᭦໫ཀ卿㊃ཀᙻ      ჺⶔᎰ卿ׅ
         Jun wares can be seen in the fact that examples of lobed flowerpots and
                                                               ᙻ࢈ᱡݩஊ∾Ɽ࿬ӳ卿ཀݤᅤᝳӬᄠ⻦ᅴ⎊ⰰ੕ૐ
         stands or bulb bowls, belonging to the same group of Jun wares as the
         current vessels, are illustrated in Qing court paintings.  There is an album   ౲ 卿Գ㪏ᙻ      ჺӴռ㞒ـ卿Ԇ᫈ᅴᝤल᭦໫ཀǯ
         from the Qianlong reign, painted by the court artist Chen Mei ( 㪀  ៦
         AD 1697-1745), which is comprised of twelve leaves depicting Ladies’
                                                               ᫉ം卿᳖ջ༈ᅡ⥾⊺ԋᛞᝳ߅→㘆ַទ⢑ᐽ৅⎏ᣥ
         Seasonal Activities of the Twelve Months entitled  ᝲᝩ᳖᳸எ Strolling in
                                                               ऑⱤ⎺Ǯ⎺ᏤᎵӲ㑷ᰚ卿㑷㇦᳖༈ཌ᫉㯸ᄥஊ㟕≢
         the Moonlight, c. AD 1738, in the collection of the Palace Museum, Beijing.
         The leaves of this album depict ladies of the court pursuing various leisure   ׍✙㞒㇬ǯ࢈՗ᘢ༈Ⅷ⻦Գ㪏ᛞឆ༈ᅡ⊺།㪀៦卻ݩ
         activities within the palaces and gardens in each of the twelve months of the   ݉     ⯍      ჺ卼Ꮢ⥾ࢦՀბǶᝲᝩ᳖㙚எǷݺ卻⡙
                                           th
         year.   One album leaf represents activities of the 9  month, in which ladies
                                                                    ჺה卼卿⊺ԋ१→⎏ᛓ༈ݤມ൉ᙻࢦՀٖᝲ֍⎏
         are depicted in the palace gardens.  It is entitled Enjoying chrysanthemums on
         the ninth day of the ninth month ( 㞒㪈㐃ⴵ ) and is illustrated in The Golden   ⊂᰻⎋ጔǯݯԋԬᝲἃǴ㞒㪈㐃ⴵǵ卿ᓼ༵༈ԋհഺ
         Exile - Pictorial Expressions of the School of Western Missionaries’ Artworks of the
                                                               ⨍㫀Ɽஊ⎏ౚᜀ卿எ㇦Ƕᱡஇ᯳ạ厍᳖ջ༈ᅡ㇛ᰑ۔
         Qing Dynasty Court, Museu de Arte de Macau, 2002, no. 45/9 (fig. 2). This
                                                               ᘰ೥⊺Ⴧ⥾⊺᱁᰾⠢৅Ƿ⤔⽚     卻ḭ㧰厍ḭ㧰⻱
         particular album leaf depicts graceful palace ladies and their maids admiring
         Autumn chrysanthemums in one of the palace gardens.  In the foreground   ワࢷ⁒㱦卿    卼卻ॲ̤卼ǯ⊺ԋᝳഅल๼㪿★㿃⎏
         a lobed Jun ware flowerpot, with mottled purple exterior, is shown carefully
                                                               ມ൉ࣿ༈ഺ卿⪝ᙻᄥ㩴㈊㐃☌ⴵǯ߿ᜀज㇦Ӭ׾ᣥऑ
         placed on an ornamental rocky platform alongside another, rectangular,
                                                               㟕⚨Ɽ⎺卿଍ംᙼ⚨㍩⅌⇷⡻㞏卿⛘ᘞᙻڅྒྷഞ⒢
         planter.  The Jun flowerpot has been planted with a shumu penjing ᧦ណ⎺
         ᜀ miniature flowering tree.  It may be significant that there is a lobed Jun   Ԡӳ卿⎺ڬऔ㉑Ӭ㧩ᙹⱤ⎺ǯ㟕⚨Ɽ⎺ݤ᣿Ӭ᧦ណ
         ware flowerpot, of the same shape as the flowerpot illustrated in the album   ⎺ᜀǯज஄ज㿽⎏ᛓ卿࢈՗ᘢ༈Ⅷ⻦Ӭ׾ᣥऑ㟕⚨
         leaf, preserved in the collection of the Palace Museum, Beijing (illustrated
                                                               Ɽ⎺卿ݯᆨₕ⯝ݺ㮰ԋ⎏Ɽ⎺Ӭ᧘Ӭ᧙卿எ㇦߿㘚ⶬ
         in Porcelain of the Song Dynasty (I), op. cit., pp. 18-19, no. 15)(fig. 3). In
         addition to the number qi seven incised into the base under the glaze, the   הǶᘢ༈ࢷ⁒㩴⻦ᙔ⁒Ⅷ৅ݥ㫀   厍ݦ໬≢଍卻ӳ卼Ƿ
         Jun flowerpot from the Beijing Palace Museum bears two later inscriptions   㮰       ⤔⽚   卻ॲ˖卼ǯ࢈՗ᘢ༈㟕⚨Ɽ⎺㩶Ի଍
         incised into its base through the glaze.  One reads:  ᅤ◙༈ Jianfugong
                                                               ᄓ㞏ӴߴǸӮǹໃം卿㚍ᝳݦٖᇌ࠼᪪㍃卿Ӭ⩢ἃǸᅤ
         (Palace of Established Happiness)(fig. 4).  As mentioned above, the garden
         of the Palace of Established Happiness was constructed during the reign of   ◙༈ǹ卻ॲौ卼ǯൈӳᏒ㘚卿ᅤ◙༈ஊ៣ᅤᙻԳ㪏ჺ㧿卿
         Qianlong as a place of entertainment for members of the court, such as the   ս؊༈ᅡᎰ৘卻ൈ⊺ԋհഺ卼㙚㈊᝖㈇卿Ԇսᅤ❪⩠
         ladies in the painting and was famous for its fine buildings and exquisite
                                                               ♾ǮႫ཭⠢ഞ⪡लᙻӽǯ߿㘚Ɽ⎺⎏औӬٖ᪪㍃ἃ
         layout.  The other inscription reads: ⛛⒢څྒྷ⊇ Zhu shi jia shan yong ‘for
         use in the bamboo and stone artificial rockery’, presumably within that   Ǹ⛛⒢څྒྷ⊇ǹ卿ዏᇷᛓᑨ؊㊃⽔ⱤஊᏒ⊇ǯ⊐᫉ᓠ
         garden.  It is possible therefore that the garden and rockery in Chen Mei’s   ㋏卿㪀៦எݺᓼ⊺⎏ज⬒ᛓᅤ◙༈⎏ᄥஊྒྷ⒢卿⩧ᘢ


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