A MAGNIFICENT SIX-PANEL SOAPSTONE-INLAID HONGMU SCREEN QING DYNASTY, 18TH CENTURY

THIS IS A PREMIUM LOT. CLIENTS WHO WISH TO BID ON PREMIUM LOTS ARE REQUESTED TO COMPLETE THE PREMIUM LOT PRE-REGISTRATION 3 WORKING DAYS PRIOR TO THE SALE.

each panel set with a removable panel exquisitely inlaid with vibrantly coloured and finely decorated soapstones on a painted silk ground limning scenes of Daoist immortals in fantastic settings, the reverse decorated with naturalistically painted cushioned silk birds and flowers on a silk ground, the silk layered upon one another creating a three-dimensional effect, depicting pairs of mandarin ducks, sparrows, flycatchers, kingfishers, magpies, and butterflies in lush surrounding of blooming prunus, iris, peonies, roses, hydrangeas, asters, magnolia, wintersweet and camellias, all enclosed within a silver wire inlaid hongmu frame with three pierced archaistic panels centered on soapstone inlaid shou characters with further embellished auspicious emblems and floral borders, the gilt-bronze tipped feet cast with dragons, chilongs and auspicious symbols and inlaid with bright turquoise feathers



Panel 1
depicting three men standing on a terrace of a seaside palace accompanied by a pet qilin, one of the men, a regally dressed gentleman holds the hand of an old man while pointing at the sky, a third man stands calling to a crane sweep down from the sky, inscribed fenglin chengshui (phoenix and unicorn bring prosperity and luck)

Panel 2
depicting three men in a luxurious seaside palace playing touhu - tossing sticks into a large vase, the sticks delivered by a flock of white cranes swooping down out of the sky, each carrying a stick between its beak, inscribed haiwu tianshou (increased wealth and happiness to all)



Panel 3
depicting two foreign tribute bearers leading an elephant carrying a vase on its back across a balustraded walkway over a lotus pond, in the foreground Shoulao directing two ment carrying a giant peach over a moon bridge, inscribed taiping jing xiang ( peaceful conditions prevail everywhere)



Panel 4
depicting four immortals standing on a cliff above turbulent waves, greeting a large bright-red sun emerging from behind swirling clouds, inscribed Yaotian shunri (times of prosperity and peace)



Panel 5
depicting an old man holding a staff accompanied by a boy holding a bamboo flute, joined by four females, all below a large pine tree and a turbulent sky, inscribed cheshu yiliu (uniformity creates the best world)



Panel 6
depicting four ladies resting beneath two pine trees, entranced by a colony of red bats dancing in the air, inscribed hongfu qitian (vast happiness under heaven)



 

In good overall condition. The screen has some possible replacements and restored fragments in the embellished areas. The silk panels on the reverse with very minor stains, particularly to the top areas. The colors are lighter than the catalogue images suggest.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

THE EMPEROR'S AUSPICIOUS SCREEN
Hajni Elias

Screens have traditionally been an essential element of Chinese interior and exterior furnishing and from excavations it is known that they were already used in China during the Han dynasty. A study of Chinese literature and paintings show that screens were used to divide rooms and large halls, and were placed at entrances, behind thrones and beds or used as windscreens in gardens or on terraces. A painting by Wang Qihan (active 961-975) titled Examining a Book, in the collection of the Nanjing University and illustrated in Zhongguo meishu quanji. Huihua bian, vol.2, Beijing, 1984, pl. 60, depicts a scholar seated on a daybed in front of a magnificent wooden three-fold screen painted with landscape. The screen not only serves as a room divider to allow the scholar to engage in his literary pursuit in a private setting but it is also a decorative piece that gives him pleasure. The fact that screens were decorated on both sides suggests that they were to be viewed and appreciated from all angles and were not made to hide things as was generally the case with screens in the West.  

The making of the present screen undoubtedly tested the skills of the artisans working with various materials in the Palace Workshops under the supervision of the Zaobanchu (Imperial Palace Workshop), belonging to the Neiwufu (Imperial Household Department), in the Forbidden City. This screen is possibly one of the finest examples of wooden screens of its kind and no other similar example appears to be recorded. The superior quality of the workmanship both in the carving of the panels and the inlaying of the various types of hardstones, along with the highly specialized and skilfully executed embroidery on the silk panels, confirm the importance of this piece which was either commissioned by the emperor himself or was made as a tribute gift for the Court. Screens were usually made as birthday presents, retirement or promotion gifts. The expression of good wishes was considered the highest form of respect and screens became one of the most valued and expensive ways of expressing one's respect.

The inlaid decoration is meticulously detailed and is executed with great skill. Special care has been taken with the arrangement of the design that perfectly fits into its wooden frame. It was undoubtedly a valued addition to the emperor's vast collection of treasures. As well as being highly decorative, the subject matter displayed on the screen was chosen for its auspicious meaning. The theme is based on the 'World of the Immortals', a Daoist religious image that can be found in Chinese art, as early as the Song dynasty (960-1279), but became most popular during the Ming and Qing periods. The world of the Immortals is situated in the Kunlun Mountains by the Jade Sea that lies at the foot of the mountain. The use of this theme suggests good luck and longevity for the owner of the screen. The six four-character inscriptions, seen on the panels, are auspicious idioms which can be translated as follows (from left to right):

Fenglu wangshui
Phoenix and unicorn bring prosperity and luck
Haiwu tianshou
Increased wealth and happiness to all
Taiping jingxiang
Peaceful conditions prevail everywhere
Guantian huari
Times of prosperity and peace
Cheshu yiliu
Uniformity creates the best world
Hongfu qitian
Vast happiness under heaven

The figures depicted on the panels are from the Daoist pantheon: for example, the God of Longevity, Shou Lao, can be seen holding a staff and standing next to two attendants carrying a large peach - the symbol of immortality. Dong Wang Gong, the King of the Eastern Paradise, can also be seen holding a fan. He is standing on the terrace next to the Sea of Happiness that lies to the east of his kingdom. The old man on the top of a cliff accompanied by a young boy is Dao Jun, keeper of the sacred books. His presence symbolizes a wish for good luck. Animals are also an important part of Daoist symbolism - for example, the flying cranes were believed to carry the dead to the land of Immortals and the depiction of mythical animals such as the unicorn added magical value to the composition. Pavilions represented Tiantang or the Daoist Paradise and the phoenix, lingzhi fungus, sceptre, scroll, bridges were all symbolic with deep auspicious connotations.

For examples of Imperial panels embellished with hardstones see one in situ in the Chonghua Gong (Palace of Double Brilliance) illustrated in The Complete Collection of Treasures of the Palace Museum. Furniture of Ming and Qing Dynasties (II), Hong Kong, 2002, pl. 259; and a pair of embellished lacquer panels sold at Christie's New York, 29th March 2006, lot 254. Other inlaid wood and lacquered panels, from the Qing Court collection and still in Beijing, are published ibid.,vol. 1, pls. 196, 200 and 201.
 
The other side of the screen consists of six panels beautifully embroidered with one of the most popular themes in traditional Chinese painting, birds and flowers. Official silk workshops of the Qing dynasty were established in the Palace Workshops, in Beijing, as well as in major silk weaving centres such as Jiangning, Suzhou and Hangzhou. Silks from the imperial and official workshops were mainly used for imperial attire, palace and temple furnishings, presentations and dress for the officials. It is recorded that by the 18th century Suzhou employed over four-thousand workers and operated thousands of looms. Silk weaving was the principal source of income for the majority of families living in the area. Embroidery on silk was done by artists working in both the Palace Workshop and in the official workshops in the Jiangnan (south of the Jiang River) area. Artisans were commissioned to make reproductions of paintings from the Imperial Painting Collection for use in the many halls of the Palace. Technical and stylistic advances in silk craftsmanship reached a peak under the Qianlong emperor and embroidered silk became extensively used for furnishing, festivities and daily life.

The composition of the embroidery pictures seen on this panel is given considerable depth by the overlay technique whereby the stitches are done in different directions. This technique also allows the material to appear glossy and fresh. The composition is perfectly placed and the line of the embroidery work fits perfectly the outline of the wooden frame indicating that the embroidery was specifically made for this panel. Fine embroidery of this type was undoubtedly made on commission, possibly by the emperor himself. The fact that it is not 'painted' but embroidered is not to the detriment of the final product. It added value to a screen that was already luxurious and lavish. 

Representation of actual paintings or painting styles in needlework first appeared during the Song dynasty (960-1279). Embroidery of that period was worked over a sketch which indicated its importance. Emperor Huizong (r. 1101-1126) set up a specialized division devoted to embroidered painting. This was divided into the categories of landscape, buildings, figures, and birds and flowers. Following in his footsteps, Emperor Gaozong (1127-1162) had the Bureau of Fine Textiles established in Hangzhou, the Southern Song capital. Ming connoisseur Dong Qichang (1555-1636) noted the following on Song embroidery:

'The stitchery is fine and tight. Floss is used so that not more than one or two strands per inch (are used), and the needlework is as fine as human hair. The coloring is marvellous in an ingeniously fine manner, its splendour quite dazzling the eye. Lanscapes distinguish the qualities of the distant and the near; buildings capture the solid form of deep perspective recession. Glances cast by human figures have an expressive feeling of life-like movement, while birds capture extremely well the attitudes of mildness or rapacity. The finest ones are even better than painting...'¹

The decoration on one of the panels seen on this screen - a small bird perched on prunus blossom - closely follows a Song period silk embroidery found in an album, formerly in the collection of Yuan Yuan (1764-1849), a noted connoisseur of the Qianlong period, and now in the Museum of Fine Arts, Boston, illustrated in Jean Mailey, Embroidery of Imperial China, New York, 1978, pl. 1. This embroidery is the first page in a leaf album of fourteen leaves with all the other leaves paintings and not embroideries.

Ming embroiderers continued to copy Song embroidered paintings as well as interpreting contemporary paintings. One of the most important Ming period silk embroiders, who were greatly influential on the development of Qing period silk embroidery, were the Gu Family members. Gu Mingshi, who lived in Shanghai, developed a delicate style that was practiced and admired for generations, well into the Qing dynasty. For examples of Gu-family embroidery, see a scroll depicting a prunus, camellia and four sparrows worked in polychrome silks making up a typical spring scene, included in the exhibition Heaven's Embroidered Cloths. One Thousand Years of Chinese Textiles, Hong Kong Museum of Art, Hong Kong, 1995, cat.no. 124. A kingfisher perching on a branch of cotton-rose tree is embroidered on another scroll by the Gu Family, included ibid., cat.no. 126, a scene closely related to that seen on the present panel.

The richness of embroidered silk suited the lavish taste of the Qing emperors, especially the Qianlong emperor who was known for his opulent lifestyle. Under his reign and imperial tutelage enormous quantities of furnishings were produced for the many halls and Buddhist temples in the palace. From archival records it is known that women of higher rank in the Palace were involved with embroidery and continued the ancient tradition of home embroidery while a tremendous amount was supplied by craftsmen and artists².  See a set of four furnishing panels embroidered in satin stitch with the motif of rocks, plum blossom, bamboo, fungus and peach, illustrated in Shelagh Vainker, Chinese Silk. A Cultural History, London, 2004, pls. 120-123. For similar realistic details of flowers and birds, as seen on the present panel, compare a leaf from the embroidered album 'Everlasting Verdure of Elysian Parks', published in Masterpieces of Chinese Silk Tapestry and Embroidery in the National Palace Museum, Taipei, 1998, pl. 36. Ibid., p. 97, it is noted that the 'drawing of the original sketch is extremely realistic. The embroidery work itself is at once elegant in a fine, meticulous way and able to convey the vital spirit of the subject'. Another leaf from this album, depicting a kingfisher and a lotus flowers, is included ibid., pl. 37.

The depiction of the flowers of the four seasons is an auspicious one, with the peony representing wealth and honour and standing for spring, the lotus for summer, the chrysanthemum for fall and the camellia for winter. Together they form the pun 'yinian fugui' which can be translated as 'may you enjoy wealth and happiness throughout the year'. The flowers and birds embroidered on this panel are all symbolic and auspicious; for example the pair of mandarin ducks stands for a blissful marriage, and the swallow represents the arrival of spring and a new beginning.     

1. Jean Mailey, Embroidery of Imperial China, New York, 1978, p. 12.
2. Ibid., p. 15.