Page 114 - 2018 Hong Kong Important Chieese Art

THE IMPERIAL HUNT

A MAGNIFICENT TWELVE-PANEL LACQUER
SCREEN OF THE KANGXI REIGN

HAJNI ELIAS

“Have you not seen what is truly To appreciate fully the importance of this screen as an imperial
furnishing, we should consider the technique of the screen’s
great and beautiful? decoration, the significance and meaning of the hunt and
hunting parks, and the role of screens as imperial furnishing.
Have you alone not heard of the We will also examine in more detail the insignia and the clues
Imperial Park of the Son of Heaven? they provide as to the identity of the central figure, who may
indeed be the emperor himself.
Sima Xiangru (179-117 BC)” Arts during the Kangxi period were influenced by the
emperor’s personal vision, which was in turn shaped by his
Shanglin fu [Rapsody on the Imperial Shanglin Park] 1
Manchu heritage, his traditional Chinese cultural upbringing
and his keen interest in innovation, science and technology. In
its workmanship, the screen represents a complex technique
that was invented in the 17th century and developed by
The present magnificent twelve-panel lacquer screen Chinese craftsmen working in one of the twenty-seven
epitomises the aesthetic beauty and exceptional workshops under the directorship of Viceroy Lang Tingzuo
craftsmanship associated with objects made for the imperial (1656-1668) in the newly established Zaobanchu (Imperial
court during the reign of the Kangxi Emperor (r. 1662-1722). Manufacture Department) in the Forbidden City. The screen
2
The decoration depicts a procession entering a walled hunting was produced using a technique that constitutes the final
park through a gate. The party consists of mounted huntsmen stage in the history of lacquerware technology in China. 3
and women, attendants and soldiers, accompanied by several The twelve large wooden panels are covered with layers of
hounds. The central figure, who is portrayed slightly larger black lacquer which are carved and decorated with inlaid
in size than those accompanying him, is depicted seated on tortoiseshell and mother-of-pearl containing painted details,
a splendid white stallion. He is shielded from the sun by an and further applied with gold and silver leaf and dust. The
extended golden-yellow canopy held by an attendant and is luxurious pictorial effect of the composition is achieved by
wearing the traditional Manchu short black winter coat over the use of the precious mother-of-pearl, which was employed
an elaborately embroidered long robe. The outer coat bears a for its significance to the Manchu culture. Small freshwater
square insignia of rank in the front, which also appears to be seed pearls, also known as ‘Eastern pearls’ were harvested
repeated on his shoulders. The insignia provides an indication from the Sungari, Yalu and Amur Rivers in Manchuria. Hence,
of the rank of this huntsman, who if not the emperor himself, these pearls were especially prized by the emperor for their
was certainly one of the imperial princes of first or second association with his Manchu homeland. In fact, their use was
degree (see below). restricted predominantly to the decoration of objects and
costumes kept in the imperial palace or worn by the emperor
Other participants in the hunt consist of riders who appear
and members of his family. 4
to be members of the Manchu nobility, including two court
ladies, one holding a musical instrument and the other a pipe The screen is a remarkable example of a piece of palace
which she is extending in a gesture of offering to the central furnishing. The extreme rarity of imperial lacquer screens from
figure. The party is depicted fully engaged in the pursuit of the Kangxi period is noted by Sir Harry Garner in his work on
game and birds, and are shown using weapons that include the history of Chinese lacquerware. Only one other screen
5
bows and arrows, slings, spears, bolas and a gun. Their of this twelve-panel form and decoration is recorded, the
enjoyment of their sport is reflected in the informal exchanges companion to the present piece, preserved in the collection
between riders and in some of the witty details included in the of Ca’Pesaro, the Museum of Oriental Art in Venice (fig. 1),
composition. The procession is headed by the soldier holding and illustrated in Annamaria Rispoli Fabris, L’Arte della Lacca,
the Bordered Yellow Banner, two behind him are blowing Milan, 1974, pl. 44. The Ca’Pesaro collection was formed
hunting horns for signalling messages to the huntsmen and around the possessions of Prince Enrico di Borbone, Count
the hounds, and a further two horsemen each carry gold of Bardi, who acquired his artefacts during a 2-year visit to
incense burners to clear the air. A dog may be seen held in the Indonesia, the Malay Peninsula, Indochina, China and Japan
lap of one of the riders, while another huntsman crossing the between 1887 and 1889. However, the Borbone twelve-panel
bridge is holding a raptor on his arm. The hounds are playfully screen, which has recently been meticulously restored to its
wrestling with their prey, one with a monkey and another with former glory, was already in the possession of the family at the
a leopard, and a humorous touch is provided by a stallion time of the prince’s tour and was not acquired during these
discreetly defecating in the corner, away from the other riders. travels according to the museum’s website. 6
Overall, it is a composition that would have brought a smile and
The subject matter of the screen reflects the importance of
pleasant memories to its owner, not only for its content but
the hunt in early Qing political culture. Imperial hunts were not
also for the remarkable detail and exceptional workmanship.

112 SOTHEBY’S 蘇富比