Page 13 - Multifarious Enamels Chiense Art.pdf
P. 13

fig. 1  A pair of yangcai ‘hundred deer’ vases with blue-enamelled handles. Qianlong marks and period.
                                                Collection of the National Palace Museum, Taipei
                                            ॱˏ  ᪹̖㡲ǎ⌘⣐᧴ྐⳇ⡩Ⅾ㶏ബˏയǎ४⒤ᐅ೫ښḵ㡗ⳉިǎ


               ෝറཽ૱ 1879-1945 - and now in the Seikadō Bunko Art Museum,   ⧃ⳉ䢲ॱ⿉Ǘ㤔ࢦਕⳉ᪹ᕧ㡦⁅ᓣ࿍㜒೙⒋̯⟞ǘ
               is illustrated in the catalogue Seikadō zō Shinchō tōji. Keitokuchin   ॱ㙼㦓    ⛷ⴽ   䢮ᖥ̺䣀    䢯ǐ     ໝ   ᕕ䢲
               kanyō no bi Ǘ㤔ࢦਕⳉ ᪹ᕧ㡦⁅ᓣ࿍㜒೙⒋̯⟞ǘ  Qing porcelain
                                                                        㪁᫓ωૈྴ̷ᕍሠ֨ˏϡ̖㡲ⳇ⡩Ⅾ㶏ബ䢮ሠި⛷
               in the Seikado collection - Beauty from the Imperial Kiln at
                                                                        ⴽ     䢯ǐ
               Jingdezhen), Tokyo, 2006, p. 68, no. 58.  A further Qianlong deer
               vase with blue handles was sold by Christie’s Hong Kong in May
                                                                        ήಧ̖㡲Ⅾ㶏ബូབྷ૨ㅌ䢲ᕏັ⿉⡅㨫㛵㕹☽⡩䢲
               2005, lot 2188.
                                                                        ଫຆ㷓ωૈྴ      ໝ    ᕕ    ᑽሠ㇫ˏϡ䢲ሠި
               There is considerable variety amongst extant Qianlong ‘hundred
                                                                           ⴽ䢮ॱ̣䢯䢲۷ᕖഒഒᐪϡӏᕴሠި⧝㨫͠ⳇ⡩䢲
               deer’ vases.  The most frequently seen examples have red and
                                                                        ґᕖᴰ⡩̃ηǐ͠᝷ॱݸ₝๼Ԙء⡊〕䢲て⓼ηި
               gilt handles, such as the example sold at Christie's Paris, 13
               December 2017, lot 98 (fig. 2); there is a small group with blue   ⭷ກ㦧૯ǐॏ᢬䢲㨫ⳇ⡩ⅲ˖̊̃ηീ᳦⑪֨䢲ॏ
               handles, including the current vase, and occasional examples   ᳦೉о˙ӆኽ̞⇂ܔⅲᾫῙྐᑃݸ₝㧰䢲⟰㶏൶
               without handles.  Both the layout of the design and the quality   ᗆⅲΤ൐̷ˏុˏូǐ⩮で؟᣻യ٫̺ᐅ೫Ǐ܀٫
               of the painting are somewhat variable between the groups.  It is
                                                                        ᐅ೫Ǐڙ̺ښḵ㡗Ǐ㤔ࢦਕὊⳉ⧀ᕴሠި䢲ڭۿⅬ
               significant, therefore, that the especially fine examples with blue
                                                                        ή܍ϡⅲዟഘᆾ᧊ଫ֨ˏ㎥䣁ߵˏⅲڈ׆ॼᑞ䢲⧀
               handles all have the same enamels, painting style and disposition
               of deer, trees and landscape.  Careful comparison of the designs   ٫̺Ǐ܀٫ݸڙ̺ⳉި⇂᣻䢲ᕴሠިݸ㤔ࢦਕⳉި
               on the Beijing Palace Museum, National Palace Museum, Nanjing   㟢ᆘᕒയ゠㢩㶏ⅲ㧐⨓䢲ଫⅭᕎ͞㈠⽤䢲ۥ̷̃
               and Seikado vases with the current vase show identical depiction
                                                                        ᵁǐ㡙̞ґḓ゠ዪ㧐⨓䢲ᆵᕖⳇ⡩⁄ⅲ⟰㶏Τ൐⧀
               – the only difference being the occasional swapping of colours
                                                                        ₝㧰ⅳᴰ̣⦱ǐ
               (white for russet, and vice versa) between some of the hinds on the
               current vase and that in the Seikado collection when compared
                                                                        ᢬ബ⼾㨫ⅲᾫῙྐᑃ⽖ҧ★⨑ǐѢྴˏዠⅲᒶ䢲
               to the vases in Beijing, Taipei and Nanjing.  The positions and
               painting style of the deer are the same on all the blue-handled   ٫̺೫ངⅲപᜬηওґḓᕒഩᾫῙྐᑃⅬྤᓣ࿍㜒
               vases, only the colours are occasionally exchanged.      ྼ⒋䢲ܔᓁ᳦̑೫Շ❡⁅ηওϭᅠᾫῙྐᑃǐᒀᑞ


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