A VERY RARE IMPERIAL PAINTED-GLASS INSET AND GILT-LACQUER DECORATED FIVE-FOLD SCREEN
A VERY RARE IMPERIAL PAINTED-GLASS INSET AND GILT-LACQUER DECORATED FIVE-FOLD SCREEN
A VERY RARE IMPERIAL PAINTED-GLASS INSET AND GILT-LACQUER DECORATED FIVE-FOLD SCREEN
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VARIOUS PROPERTIES
清雍正 黑漆泥金貼雞翅木玻璃炕屏

YONGZHENG PERIOD (1723-1735)

細節
圍屏邊框木製,共五扇。屏心正面嵌絹畫花卉,繪茶花、梅花、桂花、木蘭、蘭花、菊花、紫藤等。裙板朱漆地描金嵌玻璃開光,繪纏枝花卉紋,畫風吸收西洋技法。背面黑漆地描金彩漆亭台樓閣圖。屏上及側邊貼雞翅木雕纏枝牡丹紋。

此屏源自歐洲私人收藏,購藏於1980年代。這座華麗奇巧,別出心裁的屏風,結合了泥金洋漆,硬木鑲嵌,玻璃內畫等工藝,是傳世極少的典型雍正時期御製傢具。雖然目今還沒見到其他相似的屏風,但是從造辦處的活計檔記載上我們看到雍正時期所作的屏風有一半以上都帶有玻璃鑲嵌。大塊的透明平板玻璃在清初是極為貴重的奢侈品,需要由歐洲進口,並常被當作貢品。雍正九年時粵海關監督祖秉圭便進貢了一塊「長五尺,寬三尺四寸,隨白羊絨套,木板箱」的大玻璃一塊。傢具鑲嵌平板玻璃者,尤其是屏風、掛屏等,在當時是極其尊貴的物件,只有皇室或貴冑才能使用。從本屏風的尺寸看來,它應該是炕上使用的屏風。祖秉圭在雍正九年也曾進貢了一對「雕畫玻璃炕屏」,雍正皇帝特意下旨,交內務府海望收藏。這種玻璃炕屏在當時應該是非常時興,稀有的擺件,就連尊貴如紅樓夢裡的寧國府中也沒有,在請重要客人時要向榮國府鳳姐借一架玻璃炕屏去擺一擺,充個場面。不過到了乾隆後期,可能是因為玻璃的取得愈來愈容易,這種屏風不再像之前一樣流行,導致乾隆皇帝在二十年後屢屢下旨,把之前傢具上鑲有的玻璃取下,換成紫檀木板,這可能也是為什麼傳世例子如此之少的原因。北京故宮博物院現藏有一架鑲玻璃紫檀屏風,是僅有的幾件保有原裝玻璃的例子。

雍正皇帝偏愛漆作傢具,認為漆與硬木如紫檀、楠木同等,甚或更加堅實。有時他也會要求將硬木家具上漆。雍正尤其喜愛「洋漆」,也就是泥金黑漆或泥金紅漆等作裝飾的傢具,如北京故宮博物院所藏一件羅漢床,其上的黑漆泥金山水圖,就與本屏風上的非常相似。
來源
A European private collection, acquired in the 1980s

榮譽呈獻

Nick Wilson
Nick Wilson

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拍品專文

This magnificent screen, with its unusual decorative scheme combining painted lacquer decoration, hardwood inlay and painted glass panels is a rare example of the type of furniture made during the Yongzheng period. No other comparable examples seem to have survived, but from the records of the Zaobanchu, the Imperial Workshop of the Qing Dynasty, we learn that more than half of the screens that were commissioned in the Yongzheng period contain elements of glass inlay, inset or panels of some description. Large sheets of transparent glass at this time were considered luxury items, since they had to be imported from Europe, and were often sent as tribute from Canton. For example, in 1731 the customs officer Zu Binggui sent as tribute to Court such a sheet wrapped in white wool in a wooden box. Furniture pieces, especially screens and panels, inset with these glass sheets were very popular at Court. The current screen, due to its height, is likely to have been made for use on a kang bed. Records show that in the same year Zu Binggui also sent as tribute a pair of 'carved kang screens inlaid with painted glass panels' to Court, and the Yongzheng Emperor was clearly delighted with them, asking specifically for them to be taken into the collection of the Imperial household. However, fashion changed in the later part of the Qianlong period, probably due to the ready availability of sheet glass. The Qianlong Emperor asked for these glass insets to be removed from old furniture pieces and replaced with other materials, such as zitan panels, which explains why so few of these examples survived. Compare a large zitan screen which still has its painted glass panels intact, in the Palace Museum, Beijing, illustrated in Furniture of the Ming and Qing Dynasties (II), The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2002, p. 138, no. 203

The Yongzheng Emperor favoured painted lacquer furniture over hardwood furniture, considering lacquered pieces to be more durable than hardwood, and would sometimes even require hardwood to be lacquered in order to suit his taste. Many examples of lacquered furniture from the Yongzheng period survive in the collection of the Palace Museum in Beijing, such as the luohanchuang illustrated in ibid, p. 8-9, no.5, which has very similar gilt-on-black lacquered landscape scenes to those found on the current screen.

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