Page 164 - The Parry Collection Bonhams London November 2 2021

The present lot was exhibited in one of the most historic and prestigious grew in a small patch by the eastern fence of his retirement estate; see
exhibitions of Chinese art ever held. The exhibition’s importance is S.Nelson, ‘Revisiting the Eastern Fence: Tao Qian’s Chrysanthemums’,
reflected by its patrons who not only included King George V and Queen The Art Bulletin, 2001, vol.83, no.3, pp.437-460.
Mary, but also the President of the Chinese Republic. The committee
of honour included luminaries such as Hu Shi and Cai Yuanpei; and The chrysanthemum, an autumnal flower, together with Tao’s
the executive committee counted among its members renowned poetry of retirement, came to encapsulate the eremitic ideal of the
collectors and scholars such as R.L.Hobson, George Eumorfopoulos scholar returning to nature for quiet contemplation. Over time, the
and Sir Percival David. With 3077 exhibits, it was not only one of the chrysanthemum, together with the bamboo, orchid and prunus was
largest exhibitions of Chinese art, but many of the exhibits, including regarded as one of the ‘Four Gentlemanly Flowers’: flowers that
rare objects from the Palace Museum were seen in Europe for the first represented Confucian ideals to be emulated by true gentlemen. As
time. In this extraordinary exhibition, the present lot was amongst the such, the chrysanthemum flower provided much inspiration to artists
very few Imperial Qianlong period lacquer wares chosen to be included, and craftsmen from as early as the Song dynasty.
alongside a red lacquer ‘chrysanthemum’ dish, Qianlong mark and of
the period, inscribed with an Imperial poem, lent by Sir Percival David, Bowls and vessels decorated with chrysanthemum motifs were
who was the Director of the Exhibition Committee. traditional gifts bestowed at Imperial celebrations, particularly during
the Double Ninth festival (occurring on the ninth day of the ninth
Compare with an identical lacquer chrysanthemum-shaped tea month) or Double Yang festival, where it was customary to climb
bowl and cover, also gilt decorated with two Qianlong seal a high mountain, drink chrysanthemum liquor and wear
marks and an inscribed Imperial poem, in the Qing chrysanthemum flowers. Chrysanthemums were
Court Collection, illustrated in Lacquer Wares of considered to have cleansing qualities and
the Qing Dynasty: The Complete Collection were used in medicine to cure illness and
of Treasures of the Palace Museum, Hong thus were also emblematic of longevity
Kong, 2006, pp.215, no.164. See also and fertility, because of the multitude
another identical bowl in the Victoria of their petals. Chrysanthemums
and Albert Museum, London, gifted appear to have been popular motifs
by Sir Harry Garner, illustrated decorating vessels produced during
by H.Garner, Chinese Lacquer, the reign of the Qianlong Emperor,
London-Boston, p.150, pl.97. and because of the flowers’
association with longevity, it is
The present bowl and cover were possible that the Emperor took an
made by Imperial commission by increasing interest in the motif as
artisans in Suzhou specialising in he approached retirement. See
the ‘hollow dry-lacquer’ technique, also a red lacquer chrysanthemum-
with the inscriptions then carved shaped box and cover, Qianlong
in the Imperial Workshop in Beijing. seal mark and of the period, with
With remarkably thin and delicate gilt poetic inscription, from the Qing
walls, the ‘chrysanthemum’ petals Court Collection, illustrated in The
of the cover perfectly fit the fluted Complete Collection of Treasures of
bowl, representing the highest quality the Palace Museum: Lacquer Wares
of Qing Imperial lacquer craftsmanship. of the Qing Dynasty, Shanghai, 2006,
The interior of the bowl and the cover both p.216, no.165.
have a gilt inscription of a poem by the Qianlong
Emperor, dated 1776 which compares the vessel to a The Qianlong Emperor’s enthusiasm for the
chrysanthemum flower. chrysanthemum motif may also have been inspired by a
powerful predecessor of his, the Yongle Emperor. On a red lacquer
The poems may be translated as follows: ‘chrysanthemum’ dish, Qianlong mark and of the period, illustrated by
J.Ayers, Chinese and Japanese Works of Art in the Collection of Her
‘It is made in the form of a fragrant chrysanthemum, Majesty The Queen, London, 2016, vol.III, p.848, no.1954, there is a
And yet it is even more delicate, poem dated 1774, the title of which is ‘In praise of a chrysanthemum
Drinking tea from it may be likened to sipping dew, dish made in imitation of the vermillion lacquer of the reign of the Yongle
from a newly plucked blossom. Emperor’ (Yong fang Yongle zhuqi juhua pan). The Ming dynasty Yongle
Imperially inscribed in the Spring of the Bingshen year of the Qianlong reign’. Emperor (1403-1424) was one of the most energetic and powerful
rulers in Chinese history. Under his vibrant reign, numerous technical
The Qianlong Emperor’s poem likens drinking tea from this cup to heights were reached in the production of porcelain and lacquer. Not to
drinking dew from a chrysanthemum: a fairy-like experience reserved be outdone, the Qianlong Emperor also may have felt that he wished
for poets, Immortals and sages. The chrysanthemum was long to appropriate the chrysanthemum form of lacquerware for himself,
associated with the poet Tao Yuanming (365-427) who lived during as both a homage to former glorious Emperors and also as a subtle
the turbulent transition between the Jin and Liu Song dynasties. To expression of his own stature.
escape the political turmoil, he retired in midlife to a small estate to
live out his days in rustic obscurity, drinking wine and writing poetry. Compare with an identical cinnabar lacquer ‘chrysanthemum’ bowl
Private and quiet as his life was, Tao’s reputation grew steadily after his and cover, Qianlong seal mark and of the period, which was sold at
death, particularly for his associations with chrysanthemums, which he Bonhams Hong Kong, 24 November 2013, lot 342.

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