Page 42 - Multifarious Enamels Chiense Art.pdf

fig. 5 Collection of the National Palace Museum, Taipei
ॱ̩ ४⒤ᐅ೫ښḵ㡗ⳉި

Judging from the extant porcelains preserved in the palace collections, the ⅲ⿊ᐦڰᗋ♃䢲Ւᗋ໡Ǐ⩇ᕺ᪨᪰ᕖ⦱Ǐ
deep rouge enamel was especially admired for those pieces with sgraffiato ᫖ᗱྴೝǐߢ⩹ॼᐷ⒯ˮቋ֨䢲᧴ྐⅲ♃
(incised) designs cut through the enamel. Interestingly, the majority of
㨫☉ܐ̞⾾ᑜྗ㦑䢲㐝˙ӆۥᒪॼ๼ᐦ٘
those preserved in the palace collections appear to have similar feather-like
␴ⅲ➁ᗋ⩇ڐ䢲̷㭕ήᑞ₝ᾫῙⅲԲྗᒝ
scrolling designs to those seen on the current vase, although a few, like the
ᔄݸⅭᑃ᫖ᗱǐ㐝̮ྐ❡ڰ⫁♃䢲⩮⾲͠
vase illustrated in Stunning Decorative Porcelains from the Ch’ien-lung Reign,
ץঃᡷᙂ㚙♃ᆘᕴሠިᆵ⍷ⅲ♢ח㲋ൎ
op. cit., pp. 104-5, no. 29 have a lattice design (fig. 3). Many of these National
Palace Museum vessels share with the current flask distinctive painted formal ♃䢲Ւ⟞⿭␙༂らᴰოᑞǙ❎˖᪱⩇ǚ̃
floral scrolls with shaded stems and blooms. In his writings, Tang Ying noted ㅁǐ
that the decoration on yangcai porcelains was influenced by the West, and
this can be seen not only in the formal style of these floral scrolls, but the use ࿚㦚ˏዠⅲᒶ䢲᪹᠒ᕖˏ⓹̖㡲ˑໝ䢮Ռ
of shading and white details in the painted enamels. These painted scrolls, Ԭ ໝ䢯Ջᕕډˏᑽⅲ〦㙼䣀Ǚߢ⩹
presented against a background of incised lattice, or, as in the case of the
ഩ᧴᭿ᏻറ⠢ঃ㚙˖᪱⩇ճ㤍ἲ․૽㩾⩇
current vase, a delicate incised feather-like scroll, do indeed merit comparison
⁄⓼Սډ̏ͬቈ㐭ǐଃᑿ䣀ģģྼ⽖た۶
with the silk brocades suggested by their Chinese name.
₝൶᥅૊➬⁡ଦ䢲͟ߢ⩹˙ỵ᢬૊➬ᢍ
It is significant that records show that on the eleventh day of the eighth བྷ䢲׆ូ⁄̷ᵨᕖた۶Ǐ൶᥅Ǐ⩇ڐ䃤㐤ǐ
month of Qianlong seventh year [1742] the Emperor decreed: ‘Albarello jars ᢌ᢬ǐǚ
with imperial poems and landscapes are rather nice. Order Tang Ying to fire
other vases with poems, landscapes and flowers, and do not restrict these to ܀٫४⒤ᐅ೫ᕖᐪϡ↚Ǐ↡ݸ↱䢲ⅳ㨫͠
albarello jars.’
⣧⣹♞ץঃ㚙♃൶᥅㟚Բ䢲Ւॱϡオ⿉ע
̖㡲ˑໝ䢮1742䢯 ㏽Ǘ⬹㶦ྐ⁅䣀̖㡲᧴ྐǘ㦓 ⛷ⴽ
Ջᕕډˏᑽ䢲“ ܇༆Ⅽˠ⏨Ǐ׺Ұ✼㑇ಠഩߢ⩹᷂㐤ྴ …… ⁄⓼Սډ̏ͬቈ㐭䢲̵ ۢ㦓 ⛷ⴽ 䢮ॱो BC䢯ǐ
૱↰㭙ἔ݊⿪ǐଃᑿ䣀…… ྼ⽖た۶₝൶᥅૊➬⁡ଦ䢲͟ߢ⩹˙ỵ᢬૊➬ᢍབྷ䢲׆
΢Ւ㟚Բ̃Ⳕ⻒᥅ໜ䢲㯶⣵ͳۢᕴሠި
ូ⁄̷ᵨᕖた۶Ǐ൶᥅Ǐ⩇ڐ᷂㐤ǐᢌ᢬ǐ”
ⅲ㐞ᓣ൶᥅䢲᢬〕̷㑗ᑞע㏽⮏η㦓
There are a number of cups, bowls and dishes in the collection of the National ⛷ⴽ ˏയ⣧⣹♞ץঃ㚙♃ो
Palace Museum which have landscape panels reserved against a sgraffiato ᑜ⁄ⅲ൶᥅㟚Բǐ൶᥅ॱ⣵⧀ᕴሠިట⟞
decorated deep rouge ground – such as those illustrated in Stunning
⡅䢲Ⴅᕖ४⒤ᐅ೫Ὂⳉⅲˏയ⁅⁄䢲ॱ
Decorative Porcelains from the Ch’ien-lung Reign, op. cit., pp. 58-9, no. 8, pp.
⿉ע㏽Ǘ⬹㶦ྐ⁅䣀̖㡲᧴ྐǘ㦓
62-71, nos. 10-12 (figs. 4ab). However, the panels on these vessels is not
⛷ⴽ 䢮ॱ̩䢯ǐ㐝യ⁅⁄ᴰ⨓ঃ䢲
of the same quality as the landscape which encircles the current vase. The
same may be said of the landscape panels which decorate a pair of square- ӆ❡㐞ᓣ൶᥅䢲͠ⅴ೰७ᗆ᳦㧍䢲˩㧍ᕖ
section vases with deep rouge incised ground, illustrated pp. 92-95, no. 23 of ̖㡲ຠ ໝⅲたηǐ४⒤ᐅ೫ॱ㙼ⅲ
the same volume. The only vessels decorated with landscapes comparable to ⛷ᎏ⡅͠ᐷἆ㇔ᑃ᳦਎⍕䢲ഩてയ⁅⁄ᑚ

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