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A magnificent and rare mid/late Qing Dynasty red lacquer box depicting a scene of “A Dream at the Red Mansion”
美国 北京时间
2015年09月30日 开拍
拍品描述 翻译
Dr. Lin 3585. A magnificent and rare mid/late Qing Dynasty red lacquer box depicting a scene of “A Dream at the Red Mansion”. Lacquer has been used in China since about 4000 years ago. During late Southern Song a new technology was invented. By this technology, liquid lacquer of a chosen color (usually red) is applied onto an object, and after drying, another layer is applied and dried. This process is repeated, until dozens or over a hundred layers are applied in this way to form a thick coating. This process may take months, as lacquers do not dry readily. Then the thick layer of lacquer is elaborately carved to form decorations in relief. This box has an elaborate body material of cloisonné on bronze. The cloisonné coating provides an inert, wear-resistant, and pleasing surface. On the external surfaces and on top of the bronze-cloisonné body, dozens of layers of red lacquer was applied and beautifully carved. The romance “A Dream at the Red Mansion” is one of the most read book in Chinese history. The magnificently carved cover of this box depicts the principals of the romance, the pair of young lovers Gia Bao Yu and Lin Dai Yu enjoying a glorious spring day in the garden of Da Guan Yuan. Gia wears a traditional gown with broad sleeves and booth, his long hair combed neatly and tied as a knob above his head, with one hand touching the slender waist of his lover Lin, and looks at her. Lin also has long hair tied as a knob above her head with a large flower attached to the knob. She wears a floor-dragging long gown with a soft silk ribbon that flows in the gentle wind. While watching two maids playing with a butterfly, her head and body lean toward her lover. The two maids both wear long, floor-dragging gown with flowing silk ribbon. One holds an elliptical feather fan, the other plays with a butterfly flying in front of them. The garden is surrounded by bushes of blossoming flowers, lavish tall trees, and magnificent rocks of unusual shapes. Each person is clearly carved with eyes, nose, mouth, ears, hands, and posture artistically done so that they are animated. The red color is intense but slightly dark and mellow, due to aging. This type refined lacquer artworks were made primarily between Qianlong and late Qing, and are rare. The outer base of the box has the hall mark “Yian Sin Dien”, which is a principal mansion of the Forbidden City and served as the residence of emperor Qianlong. Thereafter, Qing emperors used it as an office. In addition to the aforementioned outstanding features, this box also distinguishes itself from other similar lacquer works in that it has four bronze balls attaching to the outer base to serve as elegant feet, whereas most other lacquer works are without special footing or paying little attention to the foot. (From Dr. Robert I-San Lin’s Collection of Important Chinese Arts, California). L 9.8 cm, H 4.7 cm, W 275 grams. 極精緻且稀有的清中晚期剔紅雕?紅樓夢故事銅琺瑯胎盒. 中國漆器始於新石器時代,四千多年前的河姆渡文化及良渚文化遺址中都有漆器出土. 南宋晚年剔紅工藝品開始出現. 此工藝是在胎上髹塗紅漆、每層乾後再髹數十至百層、使漆層加厚以便剔去部份紅漆、雕刻成半立體的紋飾. 乾隆時剔紅器為皇上喜愛、故精品甚多、且以多種材料為胎. 此盒先以銅為胎成形、再附藍色琺瑯一層入爐燒成、使其表面更穩定、不易腐蝕、然後在外壁髹上數十層紅漆、最後精雕而成. 費工甚巨. 從第一步到雕成可能費時二三個月. 此盒為清朝中晚期的精品、外底刻"養心殿" 款. 養心殿是清宮主要殿、是乾隆臥睡的殿、也是晚清皇帝接見大臣的辦公大樓. 比盒蓋雕小情侶賈寶玉及林黛玉遊大覌園的情景. 寶玉高髻、髻上插玉針、穿寛袖長袍及長靴、腰束帶、一手撫住黛玉的??腰、双眼凝視黛玉、默默含情. 黛玉高髪髻戴大花一朵、身穿寬袖曳地長裙、腰束隨風而飄的錦帶、頭及腰向寶玉彎斜、似將依偎寶玉、两眼看着前面的飛蝶 、似有述不盡的情.可憐可愛、这双情侣的傍边有两位头戴大花身穿曳地裙的體態修長窈窕侍女、其中一女手揮橢圓形扇、似在戯蝶、動態十足. 另一女亭亭玉立静靜覌看. 園中叢花盛開、茂密的綠樹參天、奇石圍遶、確是大觀園世外桃源、舒情的勝地良辰. 蓋的四週及盒的直壁各飾纒枝牡丹及折枝海棠一週. 在主次飾之間以利刀細刻多層同心回字、作為錦上添花地紋的單元、所刻之線路細如毛髮. 更細緻驚人的是雙情侶及侍女的面目五官及神態都細細刻出、這種細緻工藝通常在象牙雕刻中或可見到、在漆雕中少有. 剔紅藝術中雕人物園景的少、雕紅樓夢故事的更稀少、如鳳毛麟角. 此一盒是孤品僅存. 晚清之後這種細工大都消失. 由於年代稍久、原來的朱紅色己老化為暗紅、近於過熟之紅棗色. 在漆器中红漆为主流、早在东周红漆已為众所喜愛、古时红色代表太陽、後来一直當做吉祥之色. 因費工費時、晚清以後剔雕漆器渐少見、而以雕木為胎再薄塗红漆、这种工艺与剔红不同. 價值也有天地之差. 精細剔紅器多體積較小, 更特別是此盒有四個青銅珠高足。

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