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fig. 7   A yangcai ‘hundred deer’ vase. Qianlong mark and period.
                                                 Collection of the Seikadō Bunko Art Museum
                                             Seikadō Bunko Art Museum Image Archives/DNPartcom
                                               ॱˑ  ᪹̖㡲ǎ⌘⣐᧴ྐⅮ㶏ബǎ㤔ࢦਕᐷ༆⟞⻒㩉ⳉި
                                                㤔ࢦਕᐷ༆⟞⻒㩉ɇʄʚɛɅʚɎɇɹ   %/1BSUDPN


               Society, vol. 74, 2009-2010, p. 24).  Lam suggests that this style   ᆘ̃עǐ᢬૥䢲ᗆᜬཱᐓኧᕍن؝㗲ᦌ̖㡲ໝⴽ
               of reign mark was prevalent from the late 1740s to the late 1780s,   ᢍូབྷ䢲⡊ᕴሠިۢ㏩Κⳇ⡩ബⅲໝᢍ঑⧀ᗆᤧ
               but notes that the dates could be somewhat stretched at either
                                                                        ᢷ♅ⅲǙⓧՍ㧛ǚ㗠ܐ䢲で⿉Ւ⮏ηǕ5PXBSET
               end (i.e. perhaps into the early 1740s).  In view of the various clues
                                                                        B  %BUJOH  'SBNFXPSL  GPS  2JBOMPOH  *NQFSJBM
               to dating available at present, it seems probable that fine blue-
               handled ‘hundred deer’ vases, such as the current example, were   1PSDFMBJOǖ䢲㍭ᑞǗᖥᑜ㡦⁅ೀᕒᕒֵǘ
               made in the period 1738-1756.
                                                                            ໝֵⴽ  㦓  ǐᗆᤧほ᳦䢲᢬㧛ໝᢍ㐞ᑞ
               The National Palace Museum, Taipei, has in its collection an       ໝ͞ᕳ⦰    ໝ͞ᕳ䢲΢㐝ˏ╊६ᆘ㦚␛؟
               anonymous Ming dynasty handscroll with a similar theme of   ዠעᆘགྷྯ䢮ڭᕖۿ⣵୥ᑞ    ໝ͞׀䢯ǐ⿭̅
               ‘a hundred deer’ in landscape with the addition of groups of
                                                                        ຄᕖⅲᑚ͞⛪♚䢲͠ᕴሠި᳦ϡⅲ˖̊ⳇ⡩Ⅾ㶏
               immortals.  It is worth noting that in most instances in the Chinese
                                                                        ബ䢲᜴ۿ⣵᷂㐤ᑞ    ⦰    ໝᕩ㟢ǐ
               arts the term ‘a hundred’ was not intended to be taken literally,
               but simply implied an abundance.  The title of the Ming dynasty
                                                                        ܀٫ᐅ೫Ὂⳉˏູᒝ́ᆾڰǗⅮ⎰ॱǘ䢲❡㏩Κⅲ
               scroll, A Hundred Blessings Ⅾ⎰ॱ   explains the rebus provided by
               the theme.  The deer – lu 㶏 – in the paintings (and on the vases)   ൶ᗆⅮ㶏䢲˩؟ዢ⟰͗ǐႥ㦚᧚Ⴭⅲᒶ䢲ˮ४Ⳕ⻒
               provide a rebus for the word lu ⎰ , which can mean good fortune   㧍ᖏˮⅲǙⅮǚದ䢲ډ൓Ւ̏ㅿ࿋ᐪ↹̃⇸䢲⡊㤖
               or blessings.  A hundred deer Ⅾ㶏 bai lu thus suggests the wish ۫
                                                                        ഓᐪǐて₝ⅲឳ㧍㑆̞֨Ⅾ㶏㧍ᖏⅲഄჍǐ₝ˮݸ
               ૰Ⅾ⎰ shoutian bailu ‘May you receive a hundred blessings from
                                                                        ബ㌪ᆵ⍷ⅲǙ㶏ǚ䢲㦈ܔǙ⎰ǚ䢲⎰⡅⎼̑䢲ഄჍ
               heaven’.  The number one hundred is implied by two other rebuses
               within the design on the current vase.  One of these is provided   ⎻⎟ǐᐅ᢬䢲ǙⅮ㶏ǚᔄࡣǙ۫૰Ⅾ⎰ǚǐᕴሠި
               by the inclusion of a cypress tree in the design, since the name for   ⅲ᝷ॱ̃ˮ䢲㑰ᔄⳉՉйǙⅮǚⅲ⛪♚䣀ˏ⡅ᒶ₝
               cypress in Chinese is also bai ᗭ .  The other rebus is the inclusion
                                                                        ˮⅲᗭ៉䢲ॏǙᗭǚ⧀ǙⅮǚܔ㦈䣁̣⡅ᒶ᪮㢶ॼ
               of white deer amongst the brown and russet animals, since the
                                                                        ⽤㶏Ǐ㈠⽤㶏ˮ̃Ⅽ㶏䢲⡊ǙⅭǚ̷チǙⅮǚǐ㦧
               word for white in Chinese is bai  Ⅽ – another homophone for the
               word meaning a hundred.  It is also interesting that there are   ਴Ἥݣⅲᒶ䢲Ⅾ㶏ബ˖ഹᕖ㢩㢡Ⅽ㶏ᐪ㢙䢲⯯ॏ
               several deer with white coats depicted on the vessels – both stags   Ⅽ㶏˾૯ܑ̃ԯǐᓇ͞ೀ⡅⮓ᨍ䢮ՌԬ   ⦰


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