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A massive and rare famille rose painted enamel tray Qianlong
香港 北京时间
2020年12月01日 开拍 / 2020年11月29日 截止委托
拍品描述 翻译
A massive and rare famille rose painted enamel tray QianlongDelicately painted in nine panels with fauna and flora, the main rectangular panel depicting a pair of pheasants and a pair of mandarin ducks amongst flowery branches of peonies and magnolia, the pheasants roosting on rockwork, all within a leafy lotus-scroll border in pink enamel, reserved on white ground, the bevelled frame enclosing flowering blossom scrolls in black enamel with four quatrefoil panels at the sides and four triangular panels at the corners depicting branches of leafy flowers, the underside with a branch of two large finger citron reserved on white ground, all within a cracked-ice band at the exterior of the rim. 87.5cm (34 1/2in) wide x 57.2cm (22 1/2in) deep. 注脚 清乾隆 銅胎廣東畫琺瑯錦雞花卉長方大盤Notable for its impressive size, the present tray is a fine example of a beautifully-executed piece that synthesises Western painting techniques with Chinese decorative motifs. While the subjects enclosed in the panels, such as the birds and flowering branch issuing from rockwork in the centre, and landscapes on the frame, are familiar in traditional Chinese art, their meticulous execution provides a distinct Western flavour. The subtle gradations of tone and the rendering of light and shade are seen in the seated bird, rockwork and flowering branch, providing the composition with a three-dimensional effect, as the flowers depicted in full bloom appear to loom out from the contrasting plain white background.Painting in enamels on copper originated in Western art and gained prominence in northern Europe during the Renaissance, and was particularly popular in France at Limoges for the production of painted enamels on copper. It was brought into China by Jesuit missionaries through the trade port in Guangzhou at the end of the Kangxi period, and flourished during the reign of the Qianlong emperor.It is very rare to find painted enamel trays of this massive size; compare with a smaller tray of similar composition, similarly painted with birds and a flowering branch issuing from rockwork within a black-ground rectangular border and a yellow-ground frame, illustrated in Fran Kina till Europa, Stockholm, 1998, no.261. See also a large painted enamel tray of similar size, Qianlong, but painted with butterflies and flower sprays and set in a brass-bound lacquered wood frame, which was sold at Christie's London, 2 November 2016, lot 75.此盤尺寸碩大,是融匯西方繪畫技藝及中國傳統紋飾不可多得之例。紋飾中有錦雞、山石、鵪鶉等中國傳統圖案,以中國傳統山水畫構圖為佈局,而花瓣、花葉、樹幹及山石的繪畫則非常細膩,並以料彩濃淡凸顯西洋繪畫中所常見的光影效果,使整個畫面更具立體感。銅套畫琺瑯技術在北歐文藝復興時期已經盛行,清代初期這種技術被商人或傳教士通過廣東口岸帶入中國,康熙晚期,廣東工匠又將廣彩技藝帶入宮廷,深受皇帝喜愛,至雍正、乾隆時期在宮廷藝術中已十分盛行。同尺寸相同紋飾的銅胎畫琺瑯大盤非常少見,見斯特哥爾摩曾經展出一例銅胎畫琺瑯錦雞圖盤,尺寸較少,著錄於《Fran Kina till Europa》,斯特哥爾摩,1998年,圖261。另見倫敦佳士得曾售出一件銅胎畫琺瑯瓜果三多紋大盤,尺寸與此盤相當,2016年11月2日,拍品編號75。

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拍品估价:250,000 - 350,000 港币 起拍价格:250,000 港币  买家佣金:
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