Page 118 - 2018 Hong Kong Important Chieese Art

fig. 3
Liu Guandao, Kubilai Khan Hunting, Yuan dynasty
© Collection of the National Palace Museum, Taipei
圖三
元 劉貫道 《元世祖出獵圖》
© 台北國立故宮博物院藏品

Apart from the symbolism of the imagery represented on the pageantry and ceremonies, that rules concerning insignia were
present screen, traditional Chinese influence is reflected in particularised. 28
its use as part of an imperial furnishing. The Chinese term
The central figure’s headdress is embellished with two long
for screens of this type, zhang, which may be translated as a
pheasant feathers, known in Chinese as lingzi and worn by
‘shield’ or ‘to shield’, denotes the basic function of screens as
military generals of the highest rank. Although it is impossible
important architectural tools for distinguishing private spaces
to identify the rider with surety, an imperial connection is
within a larger area. According to Wu Hung, screens had a
further revealed in the banner held by the soldier leading
versatile function as an architectonic form; in a palace hall they
the procession. It is the Bordered Yellow Banner in the Eight
surrounded the throne or divided a large space into separate
Banners system that was established by Nurhaci (1559-1626),
quarters, and in the bed chambers they maintained discretion
founding father of the Manchu state, as a patrilineal system of
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and privacy. Screens have an established history in China,
military and administrative division into which all the Manchu
dating to as early as the Zhou dynasty (1027-256 BC). The
families were placed. The Bordered Yellow Banner, which was
Li ji [Book of Rites] records that a formal audience with the
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the first banner among the upper three banners, belonged
emperor required the emperor to face south while situating
to the imperial ancestry and was directly responsible to the
himself in front of a screen – a tradition that continued
emperor. Furthermore, the Bordered Yellow Banner was
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throughout China’s imperial history. Screens were also
also the emblem of the Imperial Bodyguard, the most elite
utilised to create a sense of excitement and suspense with
imperial guard unit who followed the emperor everywhere
their ability to transfer the perspective from one location to
and was responsible for protecting his safety at all times,
another. It not only defined two separate areas, one in front
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within and without the palace. Could the central figure be the
of it and the other behind it, but its decoration invited one to Kangxi Emperor himself? A painting depicting the emperor
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explore a different world. The present screen is a masterpiece
on his second inspection tour of the southern regions in
for transforming an indoor space within the palace compound
1689, portrays him with his distinctive facial moustache and
into an ingenious allusion to the much beloved hunting parks
mounted on a similar white horse with bright red trappings
outside. We can only speculate how this screen was deployed.
as seen on the present screen. The painting, titled Emperor
Was it used in a private chamber or in a more formal setting?
Kangxi Going on an Inspection Tour to the South (scroll no. 1,
Its large size and decorative theme suggests a more formal
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fig. 2) is the work of the court artist Wang Hui (1632-1717)
rather than informal setting.
and his assistants and is now housed in the Palace Museum,
And now, let us return to the insignia and the clues they Beijing. Interestingly, the Kangxi Emperor’s early inspection
provide on the identity of the central figure. Eight years tours involved the gifts of imperial favour that took the form of
after the founding of the Qing dynasty, in 1652, regulations handing out spoils of his hunts and exotic goods to generals
regarding imperial costume requirements in the Manchu and to Han scholar-officials as a symbol of domination
national style were instituted which stipulated that first and and their incorporation into the empire. Furthermore,
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second degree princes were commanded to wear jackets with the emperor is described as physically fairly tall and well
square rank badges on their breast, backs and shoulders. proportioned, a man who loved all manly exercises and
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Although early Qing statutes did not give details about the devoted three months annually to hunting. He was an active
costume of the emperor, and fail to mention coats with insignia ruler who considered physical strength and energy assets that
for his use, nevertheless, Manchu etiquette demanded that an aided mental vigour and endurance.’ 34
outer coat be worn over all but the state robes on any public
Artists working on the present screen may have been familiar
appearance. It is most likely that the emperor would have worn
with earlier paintings depicting imperial hunts, such as the
an insignia of some sort on his outer coat. It was later, during
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hanging scroll by Liu Guandao (fl. c.1275-1300) titled Kublai
the reign of the Qianlong Emperor, who was especially fond of
116 SOTHEBY’S 蘇富比