Page 146 - The Parry Collection Bonhams London November 2 2021

The remarkable screens showing idyllic
mountain landscapes and an attendant
carrying a wrapped guqin to a scholar, were
inspired by literati paintings and ideals. Images
of the private retreat proliferated among the
scholar-officials from the early Song dynasty,
when visions of the natural hierarchy became
metaphors for the well-regulated state. The
scholars extolled the virtues of self-cultivation
and asserted their identity as literati through
poetry, calligraphy, and painting. The images
of old trees, bamboo, rocks, and retirement
retreats created by these scholar-artists
became emblems of their character and spirit.
Pine trees, for example, remaining green
even during the winter, came to represent
the sturdy and morally upright scholar. The
conquering Manchu Emperors desired very
much to show themselves as the custodians
of Han Chinese culture and adopted it fully,
including the ideals of literati from the Yangzi
Lot 49: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, delta region.
pp.215-216, no.2500
In addition to literati landscape paintings, the
Qianlong Emperor also showed himself as a
custodian and connoisseur of China’s ancient
This important pair of screens was included variety of materials and in the case of the heritage by championing archaism as both
in the International Exhibition of Chinese Art present pair, utilising the brilliant enduring an aesthetic and intellectual movement. The
held at the Royal Academy of Arts, Burlington colours of kingfisher feathers meticulously inlaid superbly carved and prized zitan frames and
House, London, in 1935-1936. This seminal within the design. stands follow the Qianlong Emperor’s taste for
exhibition had the patronage of their Majesties archaism, utilising motifs seen on early ritual
King George V and Queen Mary, and the Kingfisher feathers were admired and prized in bronze vessels, such as taotie masks and
President of the Chinese Republic. It included ancient China, and as early as the Spring and S-shaped scrolls.
over 3,000 objects. These were loaned by the Autumn period (770-475 BC) they adorned
Chinese Government, including pieces shown clothes and accessories. A Tang dynasty With its smooth and silk-like texture, fine and
for the first time outside China, objects from poem by Chen Zi’ang, 661-702 AD) reads: dense grain and strikingly deep lustre, zitan
the collection of Sir Percival David, which were wood has long been the most prized wood for
exhibited for the first time in public, pieces The halcyon kingfisher nests in the South furniture makers in China. The majority of zitan
from the British Royal Collection, and from Sea realm; furniture was made for the Imperial Court and
many important museums including the British Cock and hen in groves of jewelled trees; the furnishing of palace halls. The slow growth
Museum, V&A, the Louvre, Guimet, Cernuschi, How could they know that the thoughts of of Zitan leading to diminishing supplies,
Topkapi Saray, the Metropolitan Museum of lovely women; made it one of the most treasured materials
Art, Cleveland, Kansas City, Cologne, Dresden, Covet them as highly as yellow gold?’ in the country. The Qing Court therefore took
and from notable private collectors including measures to protect zitan by restricting and
HRH Crown Prince of Sweden, Alan Barlow, The popularity of the use of the prized regulating its use and only a small amount
R.C. Bruce, Buchanan-Jardine, Mr & Mrs Alfred feathers in appliqué technique continued was ever allowed outside the Palace.
Clark, Dr Leonard Gow, C.T. Loo, Carl Kempe, into the 18th century, with the majority of
H.J. Oppenheim, Oscar Raphael, F. Schiller, workshops specialising in utilising the feathers The elaborate workmanship of the reticulated
Mr & Mrs Walter Sedgwick, A. Stoclet, S.D. for decoration and in carving the precious floral designs of the present stands closely
Winkworth and Prof. W. Perceval Yetts - the roll zitan wood, located in Guangzhou. Such compare with the reticulated floral borders
call of the greatest collectors of Chinese art in works were commissioned by the Qing Court framing a zitan screen from the Qing Court
the west in the 20th century. E.A. Parry loaned and made as Imperial-tribute. Compare with a Collection, illustrated in The Complete
6 pieces to the Exhibition, demonstrating the pair of related screens with kingfisher feather Collection of Treasures of the Palace Museum.
superb quality of the Collection and the high decoration, Qianlong, in the Shengyang Furniture of the Ming and Qing Dynasties,
esteem in which it was held by the Exhibition Palace Museum, and a further panel in the Hong Kong, 2002, p.238, no.203. See also
Committee, which was directed by Sir Percival Forbidden City, illustrated by B.Jackson, the reticulated floral frieze decorating a zitan
David. These pieces were admired to this date Kingfisher Blue: Treasures of an Ancient table, Qianlong, also from the Qing Court
in the Parry family homes and this is the first Chinese Art, Berkeley, Toronto, 2001, pp.30- Collection, illustrated in ibid., p.143, no.127.
time since the 1935-1936 Exhibition that they 31 and 186. See also three other screens
are seen in public once again. decorated with kingfisher feathers, mid Qing Compare the present screens with a related
dynasty, made in Guangzhou as Imperial- painted ivory and kingfisher feather-decorated
The remarkable screens demonstrate the tribute, illustrated by Hu Desheng, Ming Qing wall panel within a zitan veneered frame,
exceptional artistry of the 18th century Gu Gongting Jia Zhu Da Guan, vol.1, Beijing, 18th/19th century, which was sold at Christie’s
craftsmen reproducing idyllic landscapes in 2006, nos.388, 394 and 396. Hong Kong, 15 September 2009, lot 288.

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