Page 15 - Multifarious Enamels Chiense Art.pdf
P. 15

fig. 3  A falangcai ‘flowers and butterflies’ vase.   fig. 4  A falangcai ‘kui dragons’ bowl. Qianlong mark and period.
                      Qianlong mark and period.                  Sold at Christie’s Hong Kong, 1 June 2011, lot 3650
                 Collection of the Palace Museum, Beijing  ॱो  ᪹̖㡲ǎᾫῙྐૣ㹩♃↡ǎ㪁᫓ωૈྴǎ     ໝ   ᕕ   ᑽǎሠި      ⴽ
                   ॱ˕  ᪹̖㡲ǎᾫῙྐⳇ♞ঃ⩇⸗♃⁄ǎ
                         ٫̺ᐅ೫ښḵ㡗ⳉި


               blue and yellow, as they are on the handles of the ‘hundred deer’   㚢⭷ᕖ⦱䢲Ւ㟢๪๲ᗆ⒤Ǐ⚷៉ᆓⱂ䢲⓹ჍዼᲔ✰
               vases.                                                   ៸ǐ᢬૥䢲൶ᗆ᪹ᬲ̷⁥ؽഘഓ䢲η⡅ᕇ๾㠠⑤

               Not only is the quality of the enamels used on these vases   㟢䢲ㅒ⟰㶏ྸྫྷ౪ᆫ䢲᝷ॱ₶೺ྴ₤ǐ⁄㌪⟰㶏⎘
               exceptional, the quality of the painting is clearly achieved by   ჷ⦪ᵁǏؽ㤔⇂㢍䢲؟˖ोݙⅲ൶᥅ᙂ൐䢲ᴰ˙ϕ
               exceptionally skilled ceramic decorators; probably from amongst   ́⢌Ⴒ㈯᧖ດ●̯⡬⑇ᕒҷᐓૈ⨞ࠜ⯄䢮*HOBUJVT
               the admired artists who were co-opted to paint on imperial
                                                                        4JDIFMCBSUI䢲          ໝ䢯ⅲǗⅮ㶏ॱǘڰ
               porcelains either at the Jingdezhen kilns or the Beijing ateliers.
               The ceramic artist working on this vase has created very effective   䢮ॱ̩䢯䢲᢬₝ή᳦܀٫४⒤ᐅ೫ښḵ㩉Ὂⳉǐらᵁ䢲
               juxtapositions of delicate detail in the grasses, undergrowth   ᴰゲᒶ́㊀ᖧᵁⅲ൶᥅Ⅾ㶏ॱ䢮ଫ⨞ᤧǗⅮ㶏ॱǘ䢯䢲
               and the deer themselves, with the bold treatment of the rocks
                                                                        ᆘᒶ⟰㶏ᐪ↹㍨ളⅲ₝η䢲঑᪨̖۫㡲ⅴࡊ۫䣁͠
               and trees.  The layout of the design is also skilful in the way that
                                                                        ྯ⡅⡊〕䢲ۿ۞⿉೰ࡣᆮᔩⅲᢜᨕҷᐓૈᔎⳔ⻒೰
               the landscape, vegetation, and streams are naturalistic whilst
               providing perfect clearings in which the deer can be placed   㒢ˠഔ䢮(JVTFQQF $BTUJHMJPOF䢲          ໝ䢯
               to best visual advantage.  The natural, playful, way in which   ᆵηǗ⪁㕶㲌⏯ǘۢǗ⏯ᗆ⟰㶏ǘ䢲ע⡅⚯㪁᫓ω
               the deer interact with each other on the vase, as well as the   ૈྴᑞ      ໝ   ᕕሠ֨䢮ሠި⛷ⴽ    䢯䢲ྯ⡅
               type of landscape in which they appear, is reminiscent of the
                                                                        ̷ᑞ㪁᫓ωૈྴॼ      ໝ   ᕕᆓ̵䢮ሠި⛷ⴽ
               imperial handscroll A Hundred Deer  Ⅾ㶏ॱ by the Bohemian
               Jesuit missionary Ignatius Sichelbarth ( ⨞ࠜ⯄ Ai Qimeng 1708-      䢯ǐ㩮೾⧁ݣⅲᒶ䢲Ǘ⏯ᗆ⟰㶏ǘ䢮ॱՍ䢯ⅲ₝
               1780), which is preserved in the collection of the National Palace   㤚⧀ᕴሠިۢՒ㏩Κϡ㦧᳦዁㏩ǐՒˮᐪ㶏ⅲ⎘ჷ䢲
               Museum, Taipei (fig. 5).  Indeed, images of deer in landscape,   ॼ⁅ബݸ⚚ᕴ₝η঑ᕖ֨ήǐՉ⡅঑❡↱㮛ⵋᕅⅲ
               without human figures, such as Ignatius Sichelbarth’s A Hundred
                                                                        ۵ᖲ䢲⒤㍞❡₝ⅲעᓣᕖ㤍⚷အ⊅ݸᬲ᯹䢲⧀⁅ബ
               Deer, and images of smaller numbers of deer, such as the painting
               Autumn Cries on the Artemesis Plain  ⪁㕶㲌⏯ by the most    ᆵ⿉㑋⇂ݫᅠǐ
               famous of the European missionary artists, Giuseppe Castiglione
               (Chinese name Lang Shining 㒢ˠഔ 1688-1766), sold by Christie’s   ॼע㏽Ǘ⬹㶦ྐ⁅䣀̖㡲᧴ྐǘॱ㙼ˮ䢲┈ൢ́
               Hong Kong in April 2000, lot 518, and Castiglione’s Deer in an   ༩ഡ⏨ᕍኾ〝܀٫४⒤ᐅ೫ⅲˏയⳇ⡩Ⅾ㶏ബ䢲


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