Page 125 - Christie's, Important Chinese Works of Art December 2, 2015 HK

It appears that no other imperial screens decorated with this
complex combination of materials and techniques have been
published. Its mixed sinicised baroque and Chinese elements
suggest an archetypal high Qianlong taste. The varied techniques
including painted lacquer, wood carving, overlay, paintings on
silk and on paper, kesi silk embroidery and gilding must have
employed the expertise and co-operation from several of the imperial
workshops.

Highly elaborate large screens of this type using a complex
combination of media and techniques were probably specific
imperial commissions to commemorate special occasions. Compare
with a pair of massive screens made to celebrate the sixtieth
birthday of Emperor Kangxi, illustrated in Furniture of the Ming
and Qing Dynasties (II), The Complete Collection of Treasures of
the Palace Museum, Hong Kong, 2002, pp. 228-231, no. 196-197.
Each of the Kangxi screens is constructed of sixteen folds, and inset
with panels of calligraphy executed by the imperial princes and set
within zitan frame embellished with mother-of-pearl and polychrome
lacquer.

Compare with a related huali wood nine-fold screen in the Palace
Museum Collection, similarly embellished with kesi panels of flowers
and rockwork, illustrated op. cit., 2002, p. 220, no. 189, dated to
the Yongzheng-Qianlong period. An imperial throne with equally
fine polychrome lacquer and intricately carved details sent by the
Emperor Qianlong for his personal use during a visit to Prince
Ji, formerly in the Philippe Berthelot and Regency Collections,
illustrated by M. Beurdeley in Chinese Furniture, 1979, pl. 176.

㱽⚳⶜湶Compagnie de la Chine et des Indes
ΐ㔎A & J Speelman
䲸䲬喯⭴㭼炻1985⸜6㚰5㖍炻㉵⑩362嘇