Page 119 - Sotheby's Speelman Collection Oct. 3, 2018

Impressive for their large size and vast mountainous See a polychrome ivory panel carved with meiren figures
riverbank scene, which is occupied by animated figures, these occupied in leisurely pursuits within a courtyard, from the
sumptuous panels represent the height of ivory workmanship Qing court collection and still in Beijing, illustrated in Zhongguo
in China. An added sense of luxury has been created through meishu quanji. Gongyi meishu bian [Complete series on
the twisting forms of the metal trees which have been painted Chinese Art: Arts and Crafts section], vol. 11: Zhu, mu, ya,
in dark colours to further enhance the precious ivory. They are jiao, qi [Bamboo, wood, ivory and horn], Beijing, 1987, pl. 104,
possibly the product of the skilled artisans working in the ivory together with another depicting three boys playing, pl. 103;
workshops in Guangdong where the majority of tributary ivory and another with figures, in Anglesey Abbey, Cambridgeshire,
carvings were made for the imperial court. From ancient times illustrated in Soame Jenyns and William Watson, Chinese
ivory has been considered an article of luxury because of its Art: Textiles, Glass and Painting on Glass, Carvings in Ivory
qualities of fine grain, creamy light colour, smooth texture and and Rhinoceros Horn, Carving in Hardstones, Snuff Bottles,
soft lustre. An increase in ivory imports following the lifting Inkcakes and Ink Stones, London, 1981, pl. 97. See also an
of the ban on maritime trade with foreign countries in 1684 ivory panel depicting scenes of the Eastern Sea with the Eight
enabled craftsmen in the region to develop their skills and to Immortals, sold in these rooms, 2nd December 1997, lot
explore innovative uses of ivory such as large panels of this 67; another magnificent panel with a scene inspired by the
type. In format and composition, these panels also appear to landscape of the Whampoa (Huangpu) region, Guangdong,
have been influenced by contemporary European prints and sold in our London rooms, 12th July 2006, lot 74; and a panel
paintings, thus reflecting the highly cosmopolitan nature of within a zitan frame, depicting a busy village scene, from
Guangdong arts and society and the Qianlong Emperor’s taste the Muwentang collection, sold at Christie’s Hong Kong, 1st
for the novel. December 2009, lot 1954. Compare also a pair of later ivory
and kingfisher-embellished panels, mounted on similarly
Guangdong was famous as the centre of fine craftsmanship
and among its various crafts ivory carving was one of the shaped and embellished zitan frames, depicting New Year’s
most technically advanced. It quickly emerged as the centre festival scenes, from the collection of Sir John R.H. and Lady
of this industry as craftsmen flocked to the region, where they Thouron, sold at Christie’s New York, 15th September 2009,
combined their traditional carving skills with this precious lot 275. For carved and painted appliqué panels of figures that
imported material. Ivory carvers became renowned for their would once have formed part of a screen, see the Oriental
ability to produce beautifully carved work, some of which Ceramic Society exhibition Chinese Ivories from the Shang to
was presented to the Qing court as tribute from officials in the Qing, British Museum, London, 1984, cat. nos 165-168.
the South. The most accomplished carvers were ordered to These panels illustrate scenes that are associated with the
work in the Imperial Palace Workshop in the Forbidden City. Dragon Boat Festival. One of the panels depicts clusters
Imperial records show that by the 7th year of the Qianlong of figures cheering on boys as they paddle a small dragon
reign (in accordance with 1742), ‘Guangdong ivory artisans boat, while the other depicts boys and the symbols of wudu
were in complete control of the Imperial Workshop and (five noxious creatures) which are linked to the Dragon
monopolised the production of ivory items in the Palace’ (see Boat Festival. A boat race is held during the Festival as a
Tributes from Guangdong to the Qing Court, Hong Kong, re-enactment of a legendary event that happened in Chinese
1987, p. 64). history when people in boats searched for the drowned body
Since the 16th century, Guangdong had comprehensive trade of the patriotic statesman Qu Yuan of the fourth and third
links with the rest of the world and traded extensively with century B.C. The race is held annually on the fifth day of the
European merchants, particularly from Britain and Portugal. fifth month of the lunar calendar to commemorate Qu’s death,
The Qianlong Emperor displayed a passion for foreign and a loud noise of drums and paddles splashing on water is
curiosities and trends and, like his predecessors, began to made to ward evil spirits away. Food is thrown into the water
collect imported luxuries as well as commissioning pieces that as an offering to distract the fish from eating his body. On this
drew from both Chinese and European traditions. While the day the people also try to battle and expel the wudu, which
subject and materials employed are Chinese, compositional consists of the centipede, snake, scorpion, gecko and toad,
and stylistic devices draw from European traditions. For as it falls close to the summer solstice – a critical moment of
example, the use of perspective and condensing the image transition when mankind is particularly exposed to danger.
into a landscape format creating a sense of depth similar to
European landscape paintings. Furthermore, the idealised
landscape and placement of figures is reminiscent of pastoral
scenes. While the use of blue as a compositionally unifying
device also refers to Western tradition, in Chinese tradition it
also refers to the ethereality of the scene.