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清乾隆 御製銅胎畫琺瑯西洋人物鼻煙壺 四字藍料款 IMPERIAL, PALACE WORKSHOPS, BEIJING, QIANLONG FOUR-CHARACTER MARK IN BLUE ENAMEL AND OF THE PERIOD, 1736-1780
美国
09月17日 晚上11点30分 开拍 / 09月15日 下午3点 截止委托
拍品描述 翻译
清乾隆 御製銅胎畫琺瑯西洋人物鼻煙壺 四字藍料款
1 13/16 in. (4.6 cm.) high, bronze and gold-decorated stopper, possibly original
清乾隆 御製銅胎畫琺瑯西洋人物鼻煙壺 四字藍料款 1 13/16 in. (4.6 cm.) high, bronze and gold-decorated stopper, possibly original 倫敦蘇富比,1982年4月20日,拍品編號164 莫士撝,倫敦 E. B. Curtis,〈Enamels East and West: European Watches to Chinese Bottles〉,《Arts of Asia》,第16卷第4期,1986年7–8月,頁54 〈The J & J Collection〉,《Christie’s International Magazine》,倫敦,1987年9–10月,頁7 C. Sheaf,〈The J and J Collection〉,《Arts of Asia》,第17卷第5期,1987年9–10月,頁147 《100 Selected Chinese Snuff Bottles from the J & J Collection》,倫敦佳士得,1987年,封底及編號17 《Journal of the International Chinese Snuff Bottle Society》,巴爾的摩,1989年秋季,封面 《Journal of the International Chinese Snuff Bottle Society》,巴爾的摩,1992年秋季,封面及封底 莫士撝等編,《The Art of the Chinese Snuff Bottle: The J & J Collection》,卷一,紐約,1993年,頁279–280,編號172 C. Lawrence,〈The Chinese Snuff Bottles in The J & J Collection〉,《Arts of Asia》,第28卷第6期,1998年11–12月,頁71,圖4及5 J. A. Millward,〈Not Just China: Qing Dynasty Expansion and Eclecticism〉,《Journal of the International Chinese Snuff Bottle Society》,巴爾的摩,2001年春季,頁12,圖20 保利藝術博物館,《中國鼻煙壺藝術》,北京,2003年,頁62 C. L. Chu,〈Exhibition Review: The J & J Collection of Chinese Snuff Bottles〉,《Oriental Art》,第49卷第2期,倫敦,2003年,頁63,圖5 倫敦佳士得,「100 Selected Chinese Snuff Bottles from the J & J Collection」,1987年10月 紐約佳士得,1993年 新加坡,皇后坊博物館,1994年 法蘭克福,工藝美術館,1996–1997年 倫敦,大維德中國藝術基金會,1997年 佛羅里達州那不勒斯,那不勒斯藝術博物館,2002年 緬因州波特蘭,波特蘭美術館,2002年 台北,國立歷史博物館,2002年 紐約,國際亞洲藝術博覽會,2003年 北京,保利藝術博物館,「中國鼻煙壺藝術」,2003年 J & J珍藏重要中國鼻煙壺
拍品專文 The intricate design and craftsmanship of this snuff bottle reflect the high artistic standards and innovative techniques of the enamelers within the Imperial Palace Workshops during the Qianlong period (1736-1795). The bottle is delicately painted on either side with a European lady within a raised panel, with a smaller panel on each narrow side containing ruby-tone European-style scenes of a country dwelling in a landscape rendered in ruby tones. The panels are set on an elaborate yellow ground of formalized floral motifs and are enclosed at top and bottom by formal lappet bands. The European-style ladies and landscapes reflect the influence of the Jesuits at the imperial court. These Jesuits first introduced the technique of painting in enamels on metal to China in the late Kangxi period (1662-1722), and their influence in subject matter and style continued through the Qianlong reign. The two depictions of European ladies on the present bottle were likely done by a Court artist who had practiced the European style with standards set by the Jesuits. The finely painted ruby-tone vignettes on this bottle are particularly noteworthy. H. Moss et al. in The Art of the Chinese Snuff Bottle, The J & J Collection, vol. I, New York, 1993, p. 280, note that European enamel panels were imported to China and converted into boxes and covers during the Qianlong period, probably in the Palace workshops. One of these boxes has European ruby enameled panels on a white ground, which may have served as the inspiration for this type of ruby-tone landscape that became so popular on metal, glass and porcelain. Additionally, according to the archival records of the Imperial Household department, in the third year of Qianlong (1738), the emperor gave praise to ‘snuff bottles enameled with red landscapes’ and ordered more similar bottles to be made. Qianlong not only demanded technical perfection but was willing to expend considerable sums in order to obtain innovative and artistically superior pieces. To produce such ruby-tone enamels of such high quality and consistent color, even for a small landscape, would have been very costly and would have presented a challenge to even the most skilled of enamelers. For two enamel-on-copper snuff bottles with ruby enamel landscape panels on each main side, see The Complete Collection of Treasures of the Palace Museum - 47 - Snuff Bottles, Hong Kong, 2003, p. 122, no. 175; and D. Low, More Treasures from the Sanctum of Enlightened Respect, pp. 4-5, no. 2. See also, a snuff bottle painted with a continuous scene from the J & J Collection, sold in Christie's Hong Kong, 25 April 2004, lot 837. A mirror image of the J & J bottle is also illustrated in The Complete Collection of Treasures of the Palace Museum - 47 - Snuff Bottles, Hong Kong, 2003, no. 174. Also noteworthy on the present bottle are the raised metal lines that define the panels. This is a rare feature for a painted enamel snuff bottle, and would have likely been the work of the same artisans who created the metal bodies for cloisonné enamel snuff bottles. The raised lines on the present bottle serve to frame the panels and differentiate the decorative areas, whereas the raised wires on cloisonné wares create the network for the overall design. For another rare painted enamel bottle of flattened circular form with a raised metal line enclosing a lacquer panel, Kangxi mark and period, see Snuff Bottles in the Collection of the National Palace Musuem, Taipei, 1991, p. 80, no. 3. A similar Beijing enamel snuff bottle of rounded rectangular form, decorated with main panels of European ladies enclosed by a raised metal line, and with smaller side panels of ruby-tone landscapes, Qianlong mark and period, was sold in The Meriem Collection of Important Chinese Snuff Bottles, Part II; Christie's New York, 19 March 2008, lot 295 (Fig. 1) and is now in The Water, Pine and Stone Retreat Collection of Snuff Bottles, e-yaji.com, Part 1, p. 3, no. 21.3.752.

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