Page 86 - 2020 December 1 Bonhams Hong Kong, Fine Chinese Ceramics and Works of art

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A MASSIVE AND RARE FAMILLE ROSE PAINTED ENAMEL TRAY Painting in enamels on copper originated in Western art and gained
Qianlong prominence in northern Europe during the Renaissance, and was
Delicately painted in nine panels with fauna and flora, the main particularly popular in France at Limoges for the production of painted
rectangular panel depicting a pair of pheasants and a pair of mandarin enamels on copper. It was brought into China by Jesuit missionaries
ducks amongst flowery branches of peony and magnolia, the through the trade port in Guangzhou at the end of the Kangxi period,
pheasants roosting on rockwork, all within a leafy lotus-scroll border in and flourished during the reign of the Qianlong emperor.
pink enamel, reserved on white ground, the bevelled frame enclosing
flowering blossom scrolls in black enamel with four quatrefoil panels at It is very rare to find painted enamel trays of this massive size;
the sides and four triangular panels at the corners depicting branches compare with a smaller tray of similar composition, similarly painted
of leafy flowers, the underside with a branch of two large finger citron with birds and a flowering branch issuing from rockwork within a black-
reserved on white ground, all within a cracked-ice band at the exterior ground rectangular border and a yellow-ground frame, illustrated in
of the rim. Fran Kina till Europa, Stockholm, 1998, no.261.
87.5cm (34 1/2in) wide x 57.2cm (22 1/2in) deep.
See also a large painted enamel tray of similar size, Qianlong, but
HKD250,000 - 350,000 painted with butterflies and flower sprays and set in a brass-bound
US$32,000 - 45,000 lacquered wood frame, which was sold at Christie’s London, 2
November 2016, lot 75.
清乾隆 銅胎廣東畫琺瑯錦雞花卉長方大盤
此盤尺寸碩大，是融匯西方繪畫技藝及中國傳統紋飾不可多得之例。
Notable for its impressive size, the present tray is a fine example 紋飾中有錦雞、山石、鴛鴦等中國傳統圖案，以中國傳統山水畫構圖
of a beautifully-executed piece that synthesises Western painting 為佈局，而花瓣、花葉、樹幹及山石的繪畫則非常細膩，並以料彩濃
淡凸顯西洋繪畫中所常見的光影效果，使整個畫面更具立體感。
techniques with Chinese decorative motifs. While the subjects
enclosed in the panels, such as the birds and flowering branch issuing
from rockwork in the centre, and landscapes on the frame, are familiar 銅套畫琺瑯技術在北歐文藝復興時期已經盛行，清代初期這種技術被
in traditional Chinese art, their meticulous execution provides a distinct 商人或傳教士通過廣東口岸帶入中國，康熙晚期，廣東工匠又將廣彩
Western flavour. The subtle gradations of tone and the rendering of 技藝帶入宮廷，深受皇帝喜愛，至雍正、乾隆時期在宮廷藝術中已十
分盛行。
light and shade are seen in the seated bird, rockwork and flowering
branch, providing the composition with a three-dimensional effect,
as the flowers depicted in full bloom appear to loom out from the 同尺寸相同紋飾的銅胎畫琺瑯大盤非常少見，見斯特哥爾摩曾經
展出一例銅胎畫琺瑯錦雞圖盤，尺寸較少，著錄於《Fran Kina till
contrasting plain white background.
Europa》，斯特哥爾摩，1998年，圖261。另見倫敦佳士得曾售出一
件銅胎畫琺瑯瓜果三多紋大盤，尺寸與此盤相當，2016年11月2日，
拍品編號75。
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