Page 17 - Multifarious Enamels Chiense Art.pdf
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fig. 5  A Hundred Deer by Ignatius Sichelbarth (1708-1780).  Collection of the National Palace Museum, Taipei
                                             ॱ̩  ⨞ࠜ⯄            ǎǗⅮ㶏ॱǘǎ४⒤ᐅ೫ښḵ㡗ⳉި






               Autumn Forest ⏯ᗆ⟰㶏ॱ , also sold by Christie’s Hong Kong in   ₤ˮዠ׍ଣॼǗ᨞〚᠒ǘⅬήⅲˏ⓹〦㙼䢲Ǘ᨞〚᠒ǘ
               May 2005, lot 1207 (fig. 6), were much admired by the Qianlong   ˾♞⎲৬Շف໼䢮✼┹ⅴೣ૯റ̢ف䢯㎝˗㨳࿘
               Emperor. It is especially interesting to note similarities between
                                                                        ᣩ㐤㏇ⴷᆵᕖᇥ㏇᨞〚̃᠒ᙍ✼ٺǐ༩ᤧቋ֨ǙⅮ
               the scene depicted in Deer in an Autumn Forest and that on the
                                                                        ⎰ǚബ䢮͠Ǚബǚܕ̃ᒶॏ᢬˾۵㤍㘌ྋד䢯᷂
               current vase and others in the blue-handled group.  A number
               of the stances of the deer appear on both the porcelain and the   㐤ᑞ̖㡲׀ໝ䢲˩ዠ̖ۢ㡲˕ໝ䢮     ໝ䢯Սᕕ
               painted silk.  The depiction of ancient pine trees with twisted   Ǘ᨞〚᠒ǘⅲˏ⓹〦㙼䣀Ǚ᧴ྐⅮ⎰㢳⡩ബˏͬ䢲
               trunks appear on both, and in the foreground of the hanging scroll
                                                                        ᵨូ᷂㐤˙⿀⡩ಠǐǚ䢮で⿉ע㏽Ǘ⬹㶦ྐ⁅䣀̖
               are rocks of bluish-green and a small stream reminiscent of those
                                                                        㡲᧴ྐǘ㦓     ⛷ⴽ   䢯ǐ༩ᤧዃႲ᢬ⴷⅲǙⅮ⎰ǚ
               seen on the vases.
                                                                        ബڭǙⅮ㶏ǚബ䢲⧀܀٫ᐅ೫Ὂⳉⅲˏയⳇ⡩ബ
               While discussing the pair of blue-handled deer vases in the
                                                                        ⇂ͱ䢲˩Ꭿ᢬ഩ̣ബᑚ᳦͞      ໝⅲηިǐႥ㦚
               collection of the National Palace Museum, Taiepei, in the
                                                                        ˏዠⅲᒶ䢲㤔ࢦਕᐷ༆⟞⻒㩉ⅲὊⳉ䢲ᒶຄⅬ⻢
               catalogue for the exhibition Stunning Decorative Porcelains from
                                                                        ᴰ⡩Ⅾ㶏ബⅲಯި䢲ॱ⿉ע㏽Ǘ㤔ࢦਕⳉ᪹ᕧ㡦
               the Ch’ien-lung ReignǗ⬹㶦ྐ⁅ – ̖㡲᧴ྐǘ, op. cit., the curator
               Liao Baoxiu  ༩ഡ⏨ notes a reference in the Huojii dang  ᨞〚᠒ ,   ⁅ᓣ࿍㜒೙⒋̯⟞ǘ㦓  ⛷ⴽ  䢮ॱˑ䢯ǐ᢬ബ
               which incorporates the original records of all works undertaken   ⅲ₝๼䢲⧀ᆵᕖҷˠⳇ⡩Ⅾ㶏ബ䢮⁡ᆘᆵᕖ㍨ັ
               by the Construction Office of the Yangxindian ( 㨳࿘ᣩ Hall of
                                                                        ⿉ⅲ☽⡩Ⅾ㶏ബ䢯ⅳ㏶ᵁᕖ׆ǐ
               Mental Cultivation in the Forbidden City), which exclusively served
               the Qing imperial family.  Liao notes that ‘hundred blessings’
               Ⅾ⎰ vases (which she refers to as jars - zun ➣ - because their   ᕖ́ቋ֨䢲̖㡲ⅴᑞ    ໝ၇࿂ⅴೣ⏯ἁ䢲᷂㐤
               form originated in ancient bronze vessels) were made early in   Ⅾ㶏ബᆘᒶ᳦᢬ぺᄞǐ΢᪹܂പ೰ᢜ⒤࿍䢮.BSL
               the Qianlong reign.  Liao draws attention to an entry in the Huoji
                                                                        &MMJPU䢯ほ᳦䢲̖㡲ⅴՒഓᒶॼ    ໝ၇࿂⻍ἁ䢲で
               dang relating to the sixth month of the third year of the Qianlong
                                                                        ⿉Ւ⮏ηǗ&NQFSPS 2JBOMPOH 4PO PG )FBWFO
               reign (1738) which mentions a ‘hundred blessings’ vase and the
               command for another to be fired, but without handlesǙ᧴ྐⅮ⎰㢳  .BO PG UIF 8PSMEǘ㦓  䢮♈☼䣀    䢯ǐ٫̺ᐅ
               ⡩➣ˏͬ䢲ᵨូ᷂㐤˙⿀⡩ಠǚ(see Stunning Decorative Porcelains        ೫Ὂⳉ    ໝ㒢ˠഔηǗ߂㶏ॱǘ䢮ॱՋ䢯䢲਴ۿ


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