Page 79 - March 23, 2022 Sotheby's NYC Fine Chinese Works of Art

The present twelve panels epitomize the elegance and In addition to its evocative significance, the choice of
opulence of Qing dynasty imperial taste. Extant examples subject matter explicitly connected the art and ideology of
of folding screens in the Palace Museum, Beijing, reveal the Qing court to the illustrious flower and bird paintings
that they were executed in an impressive array of media. A of the Northern Song dynasty, when under the patronage
variety of lacquer techniques, hardwoods, jade, and textiles, of Emperor Huizong (r. 1101-1125) the Imperial Academy
woven, embroidered, and painted, were often combined to was established. The Kangxi emperor, a dedicated scholar,
create lavish compositions that were both functional and sought to revitalize the Imperial Academy under Qing rule.
expressive. Examples of screens in which the paintings on He reinforced his advocacy by reintroducing and popularizing
silk form a continuous scene are exceedingly rare. Typically, Song literati themes such as bird and flower painting
the paintings are self-contained compositions that, once so resplendently expressed in the present panels. As an
enclosed in hinged hardwood frames, form a complementary indication of the Qing imperial commitment to revitalize the
whole. As an example of this type, see the imperial screen even surpass the academic achievements of the Song, the
with floral paintings sold at Christie’s Hong Kong, 1st Kangxi emperor commissioned The Compendium of Birds,
December 2015, lot 3128. The present example may have an impressive album depicting 360 birds, each meticulously
been framed but it is more likely to have been seamlessly painted and paired with a textual description.
mounted, allowing for uninterrupted viewing. For an example While conjuring up imagery of the past, the bold palette,
of seamless mounting, the eight-panel screen of an elegant painterly style, and rich composition of the present paintings
gathering of ladies attributed to Jiao Bingzhen (active ca. exemplify sumptuous Qing imperial taste. Shading, a facet
1680-1720) is illustrated in The Complete Collection of Ming of European illusionistic painting incorporated into imperial
and Qing Furniture in the Palace Museum, vol. 20, Beijing, court painting in the early 18th century, imbues depth and
2015, pp 388-391. A twelve-panel screen with a framed series richness to the lush peonies. Crisp linearity heightens and
of paintings forming a continuous scene, featuring kuancai enlivens the profusion of phoenix feathers. From delicate
work on the lower section is in the Calouste Gulbenkian washes and stippling to decisive bold strokes, the seemingly
Museum, Lisbon (accession no. 1023). incompatible range of brushwork merge to articulate a
As well as being highly decorative, the subject matter magnificent statement. Panels of similar superlative painterly
displayed on the screen was chosen for its auspicious quality and vibrant tonality are extremely rare however, a
meaning. As the phoenix is the legendary sovereign of birds, closely related screen from the collections of Francis Egerton
the depiction of phoenix surrounded by many birds is known and the Duke of Kent was sold in our London rooms, 12th
as ‘Hundred Birds Courting the Phoenix’ (bainiao chaohuang May 2010, lot 40.
or bainiao chaofeng), or ‘hundred birds paying homage’ Alan Priest, curator of Asian Art at the Metropolitan Museum
(bainiao chaowang). Because the phoenix only appears of Art from 1927-63 acquired the panels in Beijing in 1919
during peaceful reigns, it is closely connected with dynastic and included the screen in several exhibitions throughout
rule, and in this sense, it emblemizes the relationship his tenure at the museum. The panels were bequeathed to
between ruler and subject. Many of the other birds also Robert H. Ellsworth (1926-2011) who loaned them to the
carry symbolic meaning. For instance, the ‘Picture of the Five Metropolitan Museum for the exhibition, The Manchu Dragon:
Relationships’ (luxutu, wuluntu) is referenced by the presence Costumes of the Ch’ing Dynasty 1644-1912, 1980-1981. Mr.
of the cranes symbolizing the relationship between father Ellsworth, a prominent art dealer, author, and philanthropist,
and son; mandarin ducks, the relationship between husband was renowned for his expertise on Chinese painting and
and wife; wagtails, the relationship between brothers; and classical furniture. The collection of Asian art from his estate
orioles, the relationship between friends.
was later sold at Christie’s New York, 17th-27th March, in a
seven-part sales series.

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