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Lot Essay
The Imperial poem, 'carefully written by the Minister Yu Minzhong', describes one of the four scholar's treasures (paper) in the Emperor's study. The four treasures are: pen, paper, ink and ink stone. Yu Minzhong (1714 - 1779) was a prominent minister famed for his calligraphy and prose, and was responsible for many of the Imperial inscriptions and edicts.
A similar cloisonné landscape panel, also with a poem by the Emperor Qianlong inscribed into a similar lotus-scroll-incised gold background, in the National Palace Museum is illustrated in Enamel Ware in the Ming and Ch'ing Dynasties, Taiwan, 1999, p. 123, pl. 45. Compare, also, a set of four panels of similar type, each with an Imperial poetic inscription inlaid in enamel in a similar incised gold sky, sold Christie's, Hong Kong, 28 April 1996, lot 23. The inscriptions on the four allude to weather conditions depicted in the panels, i.e., rain, mist, a clear night under the moon, and wind. A pair of similar panels from the Staatliches Museum für Völkerkunde, Munich, is illustrated and discussed by G. Avitabile in the exhibition catalogue, Die Ware aus dem Teufelsland: Chinesische und Japanische Cloisonné-und Champlevé-Arbeiten von 1400 bis 1900, Frankfurt am Main, 1981, p. 168 - 70, no. 95. On all of these panels the black enamel used for the inscriptions and the red enamel used for the seals imitates the color of the black and vermilion inks found on paintings on silk and paper.
A similar cloisonné landscape panel, also with a poem by the Emperor Qianlong inscribed into a similar lotus-scroll-incised gold background, in the National Palace Museum is illustrated in Enamel Ware in the Ming and Ch'ing Dynasties, Taiwan, 1999, p. 123, pl. 45. Compare, also, a set of four panels of similar type, each with an Imperial poetic inscription inlaid in enamel in a similar incised gold sky, sold Christie's, Hong Kong, 28 April 1996, lot 23. The inscriptions on the four allude to weather conditions depicted in the panels, i.e., rain, mist, a clear night under the moon, and wind. A pair of similar panels from the Staatliches Museum für Völkerkunde, Munich, is illustrated and discussed by G. Avitabile in the exhibition catalogue, Die Ware aus dem Teufelsland: Chinesische und Japanische Cloisonné-und Champlevé-Arbeiten von 1400 bis 1900, Frankfurt am Main, 1981, p. 168 - 70, no. 95. On all of these panels the black enamel used for the inscriptions and the red enamel used for the seals imitates the color of the black and vermilion inks found on paintings on silk and paper.