AN IMPERIAL KESI PANEL OF WANNIANQING MOUNTED AS A HAND SCROLL
AN IMPERIAL KESI PANEL OF WANNIANQING MOUNTED AS A HAND SCROLL
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AN IMPERIAL KESI PANEL OF WANNIANQING MOUNTED AS A HAND SCROLL

QIANLONG PERIOD (1736-1795)

Details
AN IMPERIAL KESI PANEL OF WANNIANQING MOUNTED AS A HAND SCROLL
QIANLONG PERIOD (1736-1795)
The rectangular panel is finely woven with a Qianlong imperial poem titled ‘Wannianqing painted by Chen Kua’, followed by the depiction of a jardinière holding the eponymous fruiting plant, framed by a border containing stylised Shou characters flanked by pairs of bats interspersed by wan emblems. The whole is mounted as a handscroll accompanied by a cover exquisitely worked to depict a recumbent mythical deer sitting on a rock emerging from crested waves under the sky filled with ruyi-shaped clouds, with a label woven with the title of the poem.
Panel: 50 ¾ in. x 15 5/8 in. (129 cm. x 39.6 cm.)
Provenance
Chen Qinghua, a renowned book collector of the late Qing dynasty to the Republic period (by repute)

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Lot Essay

This imperial poem is included in Qing Gaozong Yuzhi Shiwen Quanji, ‘An Anthology of Imperial Poetry and Prose Composed by Gaozong of the Qing Period’, vol. 4, juan 65 (fig. 1). Judging from the chronological sequence of the cited publication, the poem dates to the second or third day of the first month of 1780, and consists of two parts. The first part is in prose style and discusses a painting of wannianqing (fig. 2) by late-Ming dynasty painter Chen Kua (dates unknown, active in 16th century) in the Qing Court Collection, on which the Qianlong Emperor inscribed a colophon two years prior, which forms the second part of this poem.

As wannianqing, Rohdea japonica, literally means ‘verdant over ten-thousand years’, and the character qing is a synonym with the character for purity, it became a symbol of everlasting rule and political purity, and a subject matter suitable for imperial works of art, as evidenced by an album leaf (fig. 3) painted by court painter Shen Huan (active 18th to early 19th century), which may have been the source of inspiration for the current scroll.


A very similar kesi handscroll (fig. 4) is in the Palace Museum, Beijing, which is woven with an additional signature of Wu Yuan (d. 1786), a minister of the Qianlong period, followed by two woven red seals reading Wu Yuan, and jingshu, ‘respectfully inscribed’.


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