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十八/十九世紀 黑漆百寶嵌嬰戲圖屏風四扇一套
美国 北京时间
01月19日 晚上10点 开拍 /11天7小时
此拍品禁止/限制出入境
拍品描述 翻译
尺寸:H: 67 3/8, W: 16 5/8 in. (H: 171.13, W: 42.23 cm. (panel, each))
A Chinese precious stone-inlaid black lacquer four-panel screen
18th/19th century
品相:鑲嵌局部有缺損並粘修,整體有漆裂及脫漆;三隻金屬腳缺失,一隻金屬腳鬆動;年代磨損
英文描述:Comprising four gilt-decorated panels inlaid with precious stones, the central row depicts a lively outdoor scene with pavilions, trees, and interactions among villagers. The top row features 'hundred antiques' motif, while the lower row showcases various 'beast' motifs.
Private collection, Roswell, Georgia.
来源:喬治亞州羅茲韋爾私人收藏
With areas of loss and reattachment to inlaid stones, lacquer cracking and loss throughout; missing three metal feet and a loose metal foot. Wear commensurate with age.
屏風,中國傳統建築物內部擋風用的一種傢俱,最早稱之為“邸”,是天子專用的器具。所謂“屏其風也”,屏風作為傳統傢俱的重要組成部分,歷史由來已久。漢代劉熙《釋名·釋床帳》謂:“屏風,言可以屏障風也。” 中國傳統的工藝五花八門、名類繁多,可古人還是對屏風情有獨鍾。因為它融實用性、欣賞性於一體,既有美學價值又有實用價值。 清代屏風大部分為單一工藝製作而成,如竹木屏風、硬木雕刻屏風、彩繪屏風等。少數也運用了多種工藝綜合製作而成,如紫檀木框鑲嵌掐絲琺瑯、雕漆屏風嵌玉等。此件“漆嵌百寶百子圖紋屏風”則採用了漆木、百寶鑲嵌、描金彩漆等工藝製作而成,是十分難得之清代工藝巨制。屏分四扇,正面以百寶嵌工藝做百子圖,庭院中孩童分散各自玩耍嬉戲,有下棋的,放風箏的,捉蟋蟀,學習書畫,乘船遊玩,習武,採花,捉迷藏,文物皆具,孩童臉部神態各異,刻畫細微,使整幅畫面生動活潑,栩栩如生。“百子圖”也稱為百子迎福圖、百子嬉春圖、百子戲春圖。在中國傳統文化中有它的一種特定含義。由於“百”含有大或者無窮的意思,因此把祝福、恭賀的良好願望發揮到了一種極至的狀態。傳聞周文王有九十九個兒子,在路邊又撿個雷震子正好一百個,所以說文王百子。古人的觀念是生得越多越好,“子孫滿堂”被認為是家族興旺的最主要的表現,“周文王生百子”更被認為是祥瑞之兆,所以古代有許多“百子圖”流傳。百子的典故最早出於《詩經》,是歌頌周文王子孫眾多的。畫面常用諧音諧意,寓意多福多壽,多子多孫,子孫昌盛,萬代延續。屏風上方是多寶嵌博物紋圖,博古紋是中國傳統裝飾紋樣的一種,源自北宋時期。當時,宋徽宗下令編繪《宣和博古圖》,這是一本收錄了宣和殿所藏古代器物的書籍,後人將繪製古代器物的畫作統稱為“博古”,寓意著清雅高潔,博古紋在清代特別流行。屏風下方是百寶嵌的四隻神獸。整件屏風背面是黑漆描金花卉紋,底部包銅片。 中國傳統的工藝五花八門、名類繁多,可古人還是對屏風情有獨鍾。因為它融實用性、欣賞性於一體,既有美學價值又有實用價值。清代中期這種將玉器雜件鑲嵌于屏風之上的博古做法甚為流行,正迎合了當時的盛世之風。此件屏風皇家風格,背面用彩漆描繪四季花卉,所嵌玉飾螺鈿品質上乘,屬於同類中等級較高之作品,且歷經數百年保存完好,十分難得。
相似拍品可參閱:北京瀚海2014年春季拍賣,編號3814
Traditional Chinese furniture used indoors to block the wind, originally referred to as "di," an item reserved for emperors. The term "screen" is derived from its function of blocking wind. Screens, an integral part of traditional furniture, have a long history. Liu Xi of the Han Dynasty stated in Shiming·Shichuangzhang: "Screens block the wind." Chinese craftsmanship is diverse and varied, yet screens have always held a special place in traditional culture due to their combination of practicality and aesthetics. Screens have both artistic and utilitarian value. During the Qing Dynasty, most screens were made using a single craft, such as bamboo and wood screens, hardwood-carved screens, or painted screens. A few screens combined multiple techniques, such as zitan wood frames inlaid with cloisonné enamel or carved lacquer screens embedded with jade. This "Black Lacquer and Precious Stone Inlay Children at Play Screen" utilizes lacquer wood, inlaid baibao (precious stones), and gold-painted lacquer, making it an exceptional masterpiece of Qing Dynasty craftsmanship. The screen is composed of four panels. The front features depictions of children at play crafted with inlaid baibao techniques. In a courtyard setting, children are seen engaging in activities like playing chess, flying kites, catching crickets, studying painting and calligraphy, boating, practicing martial arts, picking flowers, and playing hide-and-seek. Each child's facial expression is intricately detailed, bringing the scene to life. The "Children at Play" motif, also known as Baizi Tu, symbolizes blessings and good fortune in Chinese culture. The number "hundred" signifies abundance or infinity, representing the ultimate expression of blessings and well-wishes. According to legend, King Wen of Zhou had 99 sons, and upon adopting Leizhenzi, he had precisely 100 sons, leading to the saying "King Wen's Hundred Sons." In ancient times, having many offspring symbolized family prosperity, with the phrase "a house full of children and grandchildren" considered a mark of familial success. The "Children at Play" theme originated in the Book of Songs and often incorporates symbolic imagery representing prosperity, longevity, and a flourishing lineage. The upper part of the screen features a Baibao design with "bogu" motifs (ancient artifacts) originating from the Northern Song Dynasty. The term "bogu" stems from Emperor Huizong's order to compile Xuanhe Bogu Tu, a catalog of ancient items housed in the Xuanhe Hall. "Bogu" symbolizes elegance and refinement and became particularly popular in the Qing Dynasty. The lower part of the screen features inlaid depictions of four mythical beasts. The reverse side of the screen is decorated with black lacquer and gold-painted floral patterns, with copper trim at the base. Chinese traditional craftsmanship is highly varied, yet screens remained a favorite for their blend of utility and artistry. Mid-Qing screens featuring inlaid jade and decorative items were especially popular, aligning with the grandeur of the era. This screen exhibits a regal style, with the reverse side painted with seasonal flowers in vibrant lacquer and embedded with high-quality jade and mother-of-pearl, marking it as a superior piece within its category. Remarkably well-preserved over centuries, it is a rare artifact.
See below reference for similar item: Beijing Hanhai Auction, May 2014, lot 3814.
高清細圖链接:https://oag.smugmug.com/175-Chinese-Jade-and-Ceramics

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