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拍品專文
This album is very rare and precious. Few examples are recorded.
For similar albums comprising impressions of antique seals from the collection of the Emperor Qianlong, refer to two very close examples kept at the Musée Guimet, Paris, under the inventory numbers BG48165.I and BG31148.I.
Two other similar albums also belonging to the Musée Guimet, Paris, are illustrated in From Beijing to Versailles, Artistic Relations between China and France, Hong Kong Museum of Art and Musée National des Arts Asiatiques-Guimet, Hong Kong 1997, pp.178-181. The album illustrated on pages 178-179 is very close to the present one. It also comprises a roundel with the portrait of the Emperor Qianlong painted by Qian Weicheng (1720-1772). The Emperor is preparing a poem ; he is older than on the current album but wears the exact same traditional Han costume worn by Manchu Emperors in private life and the same hat. On both portraits, the handling of the drapery and the subtlety of the face show the influence of Giuseppe Castiglione (1688-1766). The circular format of the painting reinforced by the presence of the seals establishes the figure as the Son of Heaven.
Very close comparison can be made with a series of portraits from the National Palace Museum, Taipei. Several of these were included in the exhibition 'Emperor Ch'ien-lung's Grand Cultural Entreprise' and illustrated in the Catalogue, 2002, pp.14-17
For a portrait of the Emperor wearing the same costume, see the handscroll sold in our Hong Kong Rooms, 31 October 2004, lot 898.
For the three large square seals, see the previous lot and refer to a 16 leaves album by Xu Yang, entitled 'Battles scenes of Quelling the Rebellion in two Jinchuan Regions', illustrated in Paintings by the Court Artists of the Qing Court, The Complete Collection of the Treasures of the Palace Museum, Hong Kong 1996, p.259, pl.69
For similar albums comprising impressions of antique seals from the collection of the Emperor Qianlong, refer to two very close examples kept at the Musée Guimet, Paris, under the inventory numbers BG48165.I and BG31148.I.
Two other similar albums also belonging to the Musée Guimet, Paris, are illustrated in From Beijing to Versailles, Artistic Relations between China and France, Hong Kong Museum of Art and Musée National des Arts Asiatiques-Guimet, Hong Kong 1997, pp.178-181. The album illustrated on pages 178-179 is very close to the present one. It also comprises a roundel with the portrait of the Emperor Qianlong painted by Qian Weicheng (1720-1772). The Emperor is preparing a poem ; he is older than on the current album but wears the exact same traditional Han costume worn by Manchu Emperors in private life and the same hat. On both portraits, the handling of the drapery and the subtlety of the face show the influence of Giuseppe Castiglione (1688-1766). The circular format of the painting reinforced by the presence of the seals establishes the figure as the Son of Heaven.
Very close comparison can be made with a series of portraits from the National Palace Museum, Taipei. Several of these were included in the exhibition 'Emperor Ch'ien-lung's Grand Cultural Entreprise' and illustrated in the Catalogue, 2002, pp.14-17
For a portrait of the Emperor wearing the same costume, see the handscroll sold in our Hong Kong Rooms, 31 October 2004, lot 898.
For the three large square seals, see the previous lot and refer to a 16 leaves album by Xu Yang, entitled 'Battles scenes of Quelling the Rebellion in two Jinchuan Regions', illustrated in Paintings by the Court Artists of the Qing Court, The Complete Collection of the Treasures of the Palace Museum, Hong Kong 1996, p.259, pl.69