Page 111 - Christie's, Important Chinese Works of Art December 2, 2015 HK

Ṕ㓭⭖⌂䈑昊㓞啷䘬ᶨ⣿晵㬋⸛慹ḅ漵⯷桐䘬䲳梦㤝䁢䚠 to Yongzheng periods.The upper floral panels are typical of Qing
Ụˤ⯷桐枪䪗ẍ⚆䲳ἄᶲ䚱炻䨢䔞嗽搚德晽㉸⫸䲳≈⌟勱䲳 court paintings popular during this particular period.
剙㜧⽫炻℞⌟勱䲳冯娚⯷桐䘬德剙攳⃱栆⎴ˤ⯷⽫䰛湫刚
⛘炻ẍ⸛慹ⶍ喅ㇳ㱽墅梦⎬䧖⦧ン䘬漵䲳ˤ㬋ᷕ䁢ᶨ侩漵炻 The panels depicting dragons amidst clouds are not the
㉓柕㔋檖炻漵䚱㛅ᶳ炻漵䇒䁢Ḽ䇒炻桐干䉨炻漵⯦䦵䳘炻漵 conventional dragons that are commonly seen because they
柕ᶲ䪗三⚻⢥⫿炻ᶳ悐㴟㯜㰇Ⲿ炻℞ᷕ䘬Ⱉ䞛炻㍷丒䘬㖊䗎 have been re-adapted as decorative motifs. These eight dragon
ᶼ䳘炻␐⚵墅梦䘬㳩暚⛯䁢⮷暚柕炻᷎㚱㚚⧱䘬暚ⷞ忋㍍ˤ panels are rendered in four pairs, with each pair shown in mirror
暚漵䘬䈡溆冯娚⯷桐⤪↢ᶨ廵ˤ漵䲳⛐㖶㶭ℑẋ䘯⭖ᷕ⎬ᾳ image. Each panel is decorated with a border of twenty red bats.
㗪㛇㚱叿㖶栗䘬⋨⇍炻㖶ẋ䘬漵䲳䃉婾漵幓䁢ỽ䧖》ン炻℞ This screen is very similar to a nine dragon screen in the Palace
漵檖⣏⣂⽆漵奺ᶨ“⎹ᶲ檀倛炻⏰⾺檖堅ⅈ䉨ˤℍ㶭⼴䘬⹟ Museum, dated to the Yongzheng period, particularly in the use
䅁㗪㛇炻漵䲳䘬漵檖悥庫攟炻⏰㉓柕㔋檖䘬㧋⫸ˤ漵幓橼ン of the openwork floral and scrolling motifs. The Palace Museum
庫䰿炻⦧ン晬‍㚱≃ˤ漵䘬䚱㮃⛐㖶ẋ⣏⣂㛅ᶲ炻ᶼ悥㗗⮾ screen is also inset with golden ground panels similar to the
䚱䦵ˤ⇘Ḯ㶭ẋ⹟䅁㗪㛇炻漵䚱ṵ䃞㛅ᶲ炻Ữ䚱䦵⇯嬲䁢⚻ present screen. Additionally, the mature full-faced, dragon with
柕ˤ晵㬋㗪㛇䘬漵䲳柕悐⣏橼怬ᾅ㊩叿⹟䅁㗪㛇䘬䈡溆炻侴 bushy hair and the five claws painted in a wheel format and a small
漵䚱ᶨ⼳㛅ᶳ炻᷎⣂䁢⚻柕ˤ漵檖庫䞕炻↮Ḽ䵡ㆾℕ䵡㔋Ự tail, are identical those found on the Palace Museum example.
⛐柕⼴炻␴㔜ᾳ漵幓㭼庫炻漵柕栗⼿䔍⮷炻漵幓ḇ庫䳘ˤḦ Although the Palace dragon has an embroidered Shou character
昮㗪㛇漵䘬柕枪栗↢ᶫᾳ⚻⊭炻㬋ᷕ䦵⣏炻␐⚵䔍⮷ˤḦ昮 on its forehead, it is designed above similar breaking waves. The
ẍ⇵䘬漵䲳⣏⣂⦧ン⃒伶ˣ呤≩㚱≃ˤ军㶭⼴㛇炻漵幓八儓 rocks on the Palace screen are narrow and small, and surrounded
⏮㜧炻尒䃉䤆㯋ˤ by smaller shaped clouds that are inter-locked. Dragon motifs
were popularly adopted throughout the Ming and Qing dynasties.
⯷桐側朊䘬剙⋱炻⇯ẋ堐Ḯ⛐゚⢥⸛ˣ哋⺟拓䔓桐⼙枧ᶳ⭖ During the Ming period, irrespective of their posture, dragons
⺟剙⋱䔓䘬℠✳朊䚖ˤἄ⑩ℙ⋩ⷭ炻↮⇍丒㠭剙ˣⰙ勞ˣ三 are invariably depicted with upswept hair. By the Qing dynasty
䎫ˣ㡏㟸ˣ㟫剙ˣ卲剙ˣ䈥䈃ˣ䞛㥜ˣ匟剙ˣ⣑䪢ˣ䈉ᷡˣ Kangxi period, the hair of the dragon is depicted as dishevelled,
剁呱ˣ嘆伶Ṣ䫱㧡㛐ˣ剙勱⋩检䧖ˤ忁ṃ剙⋱炻㗗⁛䴙剙⋱ the body is more muscular; they are powerful and lively. Ming
䔓ⷠ夳䘬柴㛸炻⚈℟㚱⎱䤍ˣ伶⤥䘬╣シ炻ᶨ凔塓䓐Ἦ堐䎦 dragons have upward pointing eyebrows. The eyebrows of Kangxi
丒䔓侭⮵㕤⍿䔓Ṣ䘬ⲯ檀孂伶␴堟⽫䤅䤷炻⯌℞㗗⛐⭖⺟墅 dragons are similar but their tips are rounded. Yongzheng dragons
梦ᷕ㚜䁢㘖念ˤ⎬ⷭ㍉䓐㉀㝅㥳⚾炻剙㝅㈞䔷炻ᶵ⎴⬋䭨␴ are similar to Kangxi dragons but their eyebrows are downward
䧖栆䘬剙㛝䪞䚠䵣㓦炻Ṍ䚠廅㗈炻ᶨ䇯䴊䇃ˤ pointing with rounded tips. The Kangxi dragon has short hair
with five or six tufts emerging from behind its head. Compared
ἄ侭⛐∝ἄᶲ傥⣈ℤ栏ⶍ䫮冯⮓シ䘬ⶏ⥁䳸⎰炻㇨㚱䘬剙 to the body, the Yongzheng dragon head is relatively smaller
柕⛯䓐ⶍ䫮䱦⽫㍷丒炻剙匾⍲叱䇯⇯⍫ẍ⮓シ䫮㱽炻᷎䓐 and the body is slimmer. By the Qianlong period, the dragon’s
ˬ㰺橐˭岎刚㘰㝻炻刚⼑㶉晭㶭渿炻⟒䧙⭖⺟䔓䘬檀ㇳ䓐⽫ forehead is slightly different in that it is further detailed with the
ᷳἄˤ appearance of several nodules surrounding a larger central nodule.
During and prior to the Qianlong period, dragons are elegantly
and powerfully portrayed. Subsequently, dragons’ bodies tend to
be over-sized, stylised and lacking in spirit.

The ten paintings are typical of the style of Yun Shouping’s floral
court paintings; they include camellia, hydrangea, wutong, peach
blossoms, chrysanthemum, morning glory, pomegranate, lotus,
geranium, peony, hibiscus and corn poppy. These flowers have
traditional auspicious associations and as such they convey these

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