Page 119 - 2018 Hong Kong Important Chieese Art

fig. 4
Shang Xi, The Emperor Xuanzong’s Pleasures, Ming dynasty
Qing court collection, Palace Museum, Beijing
After: Yang Xin, ed., Gugong bowuyuan cang Ming Qing huihua [Ming and Qing paintings in the Palace Museum collection], Beijing, 1994, cat. no. 2
圖四
明 商喜 《宣宗行樂圖》軸
北京故宮博物院藏品
出處：楊新編，《故宮博物院藏明清繪畫》，北京，1994年，編號2

Khan Hunting (fig. 3), now in the collection of the National 7 Wang Zhongshu, Han Civilization, trans. K.C. Chang and collaborators, New
35
Palace Museum in Taipei, and another scroll painting by Haven and London, 1982, pp. 8-9.
8 Roel Sterckx, The Animal and the Daemon in Early China, Albany, 2002, p. 113.
the Ming dynasty artist, Shang Xi (fl. c. 1430-40), titled The 9 Simon Schama, Landscape and Memory, New York, 1995, pp. 144-45.
Emperor Xuanzong’s Pleasures (fig. 4), from the Qing court 10 Thomas T. Allsen, The Royal Hunt in Eurasian History, Philadelphia, 2006, p.
36
collection and still in Beijing, in the Palace Museum. From 88.
11 Ibid., p. 88.
the arrangement and positioning of the figures and animals,
12 Mark C. Elliott, The Manchu Way: The Eight Banners and Ethnic Identity in Late
as well as the landscape setting, both these court paintings Imperial China, Stanford, 2001, p. 335.
would have served as early exemplars for the decoration of this 13 Ibid., pp. 182-86.
14 Ibid., p. 246.
screen.
15 Ibid., p. 246.
For rare examples of imperial screens from the Kangxi period 16 Allsen, op. cit., p. 46.
17 Ibid., p.46.
see a magnificent three-panel piece decorated with figures 18 Ibid., p. 46.
in landscape, formerly in the Low-Beer collection and now 19 Mark C. Elliott and Ning Chia, ‘The Qing hunt at Mulan’, in Ruth Dunnell, Mark
in the Museum für Ostasiatische Kunst, Berlin, illustrated in Elliott, Philippe Forêt et al. eds., New Qing Imperial History: The Making of
Inner Asian Empire at Qing Chengde, Routledge, 2004, pp. 73-4.
Harry Garner, Chinese Lacquer, London, 1979, pl. 184. Garner 20 Allsen, op. cit., p. 88.
considers this screen and its matching throne to be two of the 21 Elliott, op. cit., p. 186.
most important surviving pieces of mother-of-pearl furniture 22 Ibid., p. 186.
37
known, suggesting that at the time he was not aware of the 23 Wu Hung, The Double Screen. Medium and Representation in Chinese Painting,
London, 1996, p. 11.
existence of the present piece and its pair in Venice. See also 24 Ibid., p.11.
a screen dated to 1672, recorded as a gift to the governor of 25 Ibid., p. 68.
Yunnan province, Kong Yangchen, in commemoration of his 26 Schuyler Cammann, ‘The Development of the Mandarin Square,’ Harvard
Journal of Asiatic Studies, vol. 8, no. 2, 1944, p. 92.
retirement. The screen, which is in the collection of the Freer 27 Ibid., pp. 92-3.
Gallery of Art and illustrated ibid., pl. 206, and also described 28 Ibid., pp. 92-3.
in Jonathan Bourne, Christie Anthony and Craig Clunas et 29 The three upper banners were the Bordered Yellow Banner, the Plain Yellow
Banner and the Plain White Banner. See Peter C. Perdue, China Marches
al (eds.), Lacquer, Wiltshire, 1984, p. 60, depicts the Spring
West. The Qing Conquest of Central Eurasia, Cambridge, Mass., p. 113.
Festival in the women’s quarters of the Imperial Palace. 30 Elliott, op. cit., p. 81 and p. 366.
31 See the scroll painting illustrated in The Complete Collection of Treasures of
the Palace Museum. Paintings by the Court Artists of the Qing Court, Hong
1 David R. Knechtges, trans., Wen xuan or Selections of Refined Literature.
Kong, 1996, pl. 5.
Volume Two: Rhapsodies on Sacrifices, Hunting, Travel, Sightseeing, palaces 32 See ‘Kangxi, a Conference in Singapore, March 2009’, China Heritage
and Halls, Rivers and Seas, Princeton, 1987, p. 75. Quarterly, no. 17, March 2009.
2 Carl Skiff, The Land of the Dragon, Pittsburgh, 2014, p. 11.
33 Herbert Giles, China and the Manchus, Cambridge, 1912, p. 40.
3 Harry Garner, Chinese Lacquer, London, 1979, p. 259.
34 Regina Krahl, ‘The Kangxi Emperor: Horseman, Man of Letters, Man of
4 John Kieschnick, The Impact of Buddhism on Chinese Material Culture,
Science,’ China: The Three Emperors, London, 2005, p. 210.
Princeton, 2003, p. 135. Further explanation on the importance of Eastern 35 See this painting included in Jeannette Shambaugh Elliott and David
pearls in Manchu culture is provided in A Garland of Treasures: Masterpieces of Shambaugh, The Odyssey of China’s Imperial Art Treasures, Seattle and
Precious Crafts in the Museum Collection, Taipei, 2014, p. 60. London, 2005, p. 34.
5 Garner, op. cit., p. 262.
36 See this painting included ibid., p. 45.
6 See http://www.veniceinperil.org/projects/ca-Pesaro-oriental-museum-18th-
37 Garner, op. cit., p. 236.
century-chinese-screen, accessed 5th September 2018.
IMPORTANT CHINESE ART 117