AN INLAID CARVED PORCELAIN AND SOAPSTONE ZITAN REVOLVING SCREEN WITH IMPERIAL POEMS SEAL MARKS AND PERIOD OF QIANLONG

one side of the revolving rectangular porcelain screen inlaid with carved porcelain and soapstone with a butterfly fluttering above delicate chrysanthemum blooms borne on thin gnarled stems, the lower left section with two seal marks reading Qianlong chenhan ('the Qianlong Emperor's own mark') and weiyi weijing ('be precise, be undivided') respectively, the reverse with an excerpt of an imperial poem in running script followed by the same seal marks, all against a dark-brown glazed ground, enclosed in a frame carved with scrollwork, the zitan stand adorned with reticulated gilt-decorated celadon-glazed flanges modelled in the form of floral scrolls and kui dragons

The wood screen is preserved in overall good condition with typical age cracks and minor general surface wear. There is a retouched crack below the tip of one of the porcelain scroll handles. There are small chips and bruises to the edges of the framework with the gilding slightly rubbed. The framework has been refixed to the screen. There are minor bruises and losses to the embellished floral decoration.
"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."

This striking screen has been executed with meticulous detail and great skill in trompe l'oeil inlaid onto a flat surface. The production of screens of this type required the cooperation of various Palace workshops, where skilled craftsmen paid particular attention to recreating elements of the design in their specialised medium. In its novelty, subject and complexity of production, it represents the Qianlong Emperor's penchant for the novel, while spanning a range of literati disciplines including poetry and calligraphy.

In both technical expertise and script, the inlaid calligraphy on this screen is noteworthy. The script closely resembles that of Tang Ying (1683-1756), Superintendent of the imperial kilns in Jingdezhen during the Yongzheng and Qianlong reigns. While he is most celebrated for his work at the kilns and his ability to translate the emperors' tastes into porcelain, he was also an accomplished calligrapher and poet. The masterful dexterity of potters of the Qianlong period is represented in the striking fluidity of the porcelain strokes, which upon first glance appear to have been rendered with a brush. It is extremely rare to find calligraphic porcelain inlay, although a pair of panels with unglazed seals of Tang Ying reading Tang Ying shu ('calligraphy by Tang Ying') was sold at Christie's Hong Kong, 29th May 2013, lot 2012; and another pair is illustrated in Chugoku bijutsu shiho ten, Tokyo, 1981, pl. 59. 

The writing style of the panels also closely compares to the calligraphy of Tang Ying found on porcelain wares; see a waterpot in the Palace Museum, Beijing, published in Qingdai yuyao ciqi, vol. 1, pt. II, Beijing, 2005, p. 9; a brushpot sold in these rooms, 8th April 2011, lot 3073; and a cup sold at Christie's Hong Kong, 1st December 2009, lot 1921.

The crossover between porcelain and this piece is also seen in the revolving nature of this screen. Most double-sided screens would have been mounted as table screens, able to be seen from both sides. While this screen also features a mount, which is unusual yet lavish in its combination of porcelain with zitan, it has an added revolving function. In this sense it is reminiscent of revolving vases, an innovation of the Qianlong period and a product of Tang Ying's creative genius that would have satisfied the emperor's fondness for technically challenging and innovative designs.