38
38
A LARGE AND IMPORTANT TWELVE-PANEL COROMANDEL LACQUER SCREEN
QING DYNASTY, KANGXI PERIOD, DATED TO THE GUIYOU YEAR CORRESPONDING TO 1693
Estimate
150,000200,000
LOT SOLD. 212,500 GBP
JUMP TO LOT
38
A LARGE AND IMPORTANT TWELVE-PANEL COROMANDEL LACQUER SCREEN
QING DYNASTY, KANGXI PERIOD, DATED TO THE GUIYOU YEAR CORRESPONDING TO 1693
Estimate
150,000200,000
LOT SOLD. 212,500 GBP
JUMP TO LOT

Details & Cataloguing

Important Chinese Art

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London

A LARGE AND IMPORTANT TWELVE-PANEL COROMANDEL LACQUER SCREEN
QING DYNASTY, KANGXI PERIOD, DATED TO THE GUIYOU YEAR CORRESPONDING TO 1693
elaborately carved on both sides and painted in polychrome, the front depicting the 'one hundred birds courting the phoenix', with a central pair of phoenix perched on rockwork beside flowering peony and beneath a large flowering tree, with numerous other birds including egrets, crane, pheasants and mandarin ducks beside flowering lotus, magnolia and peony, all between a mountainous river landscape and mythical beast panels, the reverse with a long dedicatory inscription by the scholar Zheng Zhong to Liu Lang’s mother for her 70th birthday, with other dedicatory inscriptions from regional officials and the cyclical guiyou date corresponding to 1693, all reserved on a brown lacquer ground
Quantity: 12
355 by 53.5 cm, 139 3/4 by 21 in (each panel).
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Provenance

A French noble collection.

Catalogue Note

Decorated with a complex and extravagant scene depicting an array of birds amongst flowering trees, this is an outstanding and rare example of Coromandel lacquer made for the domestic Chinese market. Its intricate decoration and large size are testament to its owner’s wealth and high social standing. Dated to the guiyou year of the Kangxi reign, corresponding to 1693, according to the dedicatory inscription on the reverse, this screen was commissioned to honour Liu Lang’s mother's on her 70th birthday and bears the seal mark of Zheng Zhong, a scholar known for his poetry and originally from Shaanxi province. The inscription recounts details from the life of Liu’s mother and praises the way she raised a virtuous gentleman.

 

The screen is decorated  with a carefully selected and auspicious design of ‘hundred birds courting the phoenix’ (bainiao chaohuang or bainiao chaofeng), or ‘hundred birds paying homage to the king’ (bainiao chaowang). As the phoenix is the king of birds, this motif illustrates the ‘Picture of the Five Relationships (luxutu, wuluntu): the cranes represent the relationship between father and son; mandarin ducks the relationship between husband and wife; wagtails the relationship between brothers; and the relationship between friends is represented by the orioles.

 

A slightly smaller undated screen decorated with this theme, from the C.T. Loo collection, is illustrated in Michel Beurdeley, Chinese Furniture, Tokyo, 1979, col. pl. 184; another was sold in our New York rooms, 7th/8th April 1988, lot 445; a third, from the collection of the Countess of Bismarck, was sold in our Monaco rooms, 30th November 1986, lot 739; and a further example from the collection of the Carnegie Museum of Art, Pittsburgh, was sold at Christie’s New York, 19th March 2008, lot 383. Although Coromandel lacquer screens were made mainly for the domestic and export markets, a small number of screens also entered the imperial collection, such as an eight-panel screen decorated on one side with birds and flowers, and on the reverse with figures, illustrated in A Treasury of Ming & Qing Dynasty Palace Furniture, Beijing, 2007, pl. 377, together with a twelve-panel example with figures, pl. 378. 

 

Large Coromandel screens of this type were made from the late Ming period, although their popularity grew in the Kangxi reign. Highly expensive and laborious to produce, these screens were often commissioned by wealthy merchants as birthday gifts and made at centres in Jiangsu, Fujian, Guangdong, Zhejiang and Jiangxi province.

Important Chinese Art

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London