Page 14 - Multifarious Enamels Chiense Art.pdf
P. 14

fig. 2  A yangcai ‘hundred deer’ vase with iron-red handles. Qianlong mark and period.
                                          Sold at Christie’s Paris, 13 December 2017, lot 98
                              ॱ̣  ᪹̖㡲ǎ⌘⣐᧴ྐ㛵㕹⍫☽⡩Ⅾ㶏ബǎຆ㷓ωૈྴǎ     ໝ    ᕕ    ᑽǎሠި    ⴽ


         The quality of the enamels which have been used to decorate   㢪᢫Սໝ䢮     ໝ䢯䢲᪹᠒യ᢬ຄᕖ〦㍭䢲㧛Κ
         this vase is particularly high.  It is worth noting that enamels   ⅲႎᦷᆘ〶̷㑗ᑞ̖㡲ᕧⅲ㕵ࣰǐ΢ᒶ䢲ᕴሠ
         were on occasion sent to the imperial kilns at Jingdezhen from
                                                                  ި䢮ۢ⩮໛㏩Κϡ䢯㢳⡩ⅲ᫺ⳇ̃⨓ᣅ˙ഭັǐ◡
         the specialist imperial ateliers in Beijing, which also supplied the
         enamels to the porcelain painting workshops in the palace.  This is   ྐ⁅૯૨ኽᓢ㐞ⅲⳇྐ䢲⡊ᕴሠިⅲⳇྐ㍨ᗲݸ
         recorded in a palace memorandum as early as the sixth year of the   ᒝᯬǐ΢Ւ⁄⡩ⅲⳇ⨓䢲̷⿉ᑞᐅ೫Ὂⳉᐪϡ̖㡲
         Yongzheng reign (1728), and it is likely that similar provision would   ᾫῙྐ⁄ⅲ㌹㑆㚙♃ǐ͠᢬⨓᳦ঃⅲ⁅ബ䢲ۿ۞
         have been made for important commissions in the Qianlong reign.
                                                                  ⿉Ǘᐅ೫ښḵ㡗ⳉᐷḵὊިՈ㢣   䣀ὍὼྐǏ◡
         The especially rich blue of the handles on this vase, and the small
         number of others in the group, is unusual.  It is a somewhat softer,   ྐǘ㦓       ⛷ⴽ      䢮㪁᫓䣀    䢯䢮⛷ⴽ
         clearer blue than the basic cobalt enamel seen on the majority     䢲ॱ˕䢯ǐബ⡩ⅲ㐝ሏⳇྐ䢲̑⧀㨫㷌ྐ⹁♃⧀
         of famille rose porcelains.  However, the blue of the handles can
                                                                  ⩇ڐ♃ⅲ̣ϡ̖㡲ᾫῙྐ↡̃ⳇঃډֱ዁㏩䣀ˏ↡
         also be seen as a sgraffito ground on a small number of Qianlong
                                                                  ⁳⮓⫚⨞䢮&SOFTU (SBOEJEJFS䢲          ໝ䢯
         falangcai vases preserved in the palace collections. Vases with
         this ground are, for example, illustrated in Porcelain with Cloisonne   㑦㈌ຆ㷓ܑ⟞४⒤̯ᨕⳔ⻒ښḵ㩉䢲ॱ⿉ 9BWJFS
         Enamel Decoration and Famille Rose, The Complete Collection of   #FTTF ᆵ ⮏Ǘ-B $IJOF EFT QPSDFMBJOFTǘ 㦓
         Treasures of the Palace Museum, vol. 39, Hong Kong, 1999, pp.
                                                                      ⛷ⴽ   䢮ຆ㷓䣀    䢯䣁۷ˏ↡᳦ˮ㕶࿬૱
         36-38, nos. 29-31. (no. 30, fig. 3)  The blue used on the handles
                                                                  㒢⧃ⳉ䢲⚯㪁᫓ωૈྴᑞ      ໝ   ᕕሠ֨䢮ሠި
         is also strikingly similar in tone to that which provides the solid
         background colour to two Qianlong falangcai bowls decorated   ⛷ⴽ     䢯䢮ॱो䢯ǐ㦧਴Ἥݣⅲᒶ䢲̣↡̑ኽ
         with yellow chi dragons and flowers.  One of these bowls was   ̞Ⅾ㶏ബ㢳⡩ⅲⳇ㷌̣ྐ᳦˹⨓ǐ
         bequeathed by Ernest Grandidier (1833-1912) to the Musée
         national des artes asiatiques-Guimet in Paris (Illustrated by Xavier   㐝㧛Ⅾ㶏ബ˙ӆ͠★⽖ᾫῙྐᑃ⿉㟌䢲Ւ₝๼̞̃
         Besse in La Chine des porcelaines, Paris, 2004, p. 127, no. 49),
                                                                  ྴ䢲̷൲₝⁅㭙ᆾᆵ᳦䢲て⓼ᕧངሮᏲⅲ⣵๼๾ٱ
         while the other, formerly in the collection of Chutaro Nakano, was
         sold by Christie’s Hong Kong in June 2011, Lot 3650 (fig. 4).  It   ᆘॼᓣ࿍㜒ྼ⒋₝⁅䢲ᆘϭ⢓ᑞ೫ངηওǐ⚯㑁₝
         may be significant that the predominant colours on the bowls are   ສⅲ⩯࿘⚯᷌䢲ᕴሠިⅲ⫁ᕱݸ⟰㶏♢╈ח₝Ն࿇Ǐ


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