拍品信息
拍品名称
清乾隆 黃花梨框嵌象牙百寶端陽嬰戲圖掛屏一對 | A SUPERB PAIR OF IVORY EMBELLISHED 'DRAGON BOAT FESTIVAL' PANELS
年代
Qianlong
起拍价
HKD 1,000,000
估值区间
HKD 1000000 - 1500000
尺寸
未知
品相
未知
更多信息
Qianlong
Each panel depicting rocky mountain landscapes traversed by deep blue rivers, dotted with trees and pavilions, one panel with a dragon boat, aboard which boys beat a gong and play a drum, nearby bearded sages on the riverbank engage in discussion while a boy attendant carries books, a snake emerging from rocky undergrowth, on the opposite bank a demon brandishing a sword advances towards a boy holding a box and cover, the second panel similarly populated with boys at play, on the far right a large centipede, further snakes appearing along the far bank, demons interspersed among the figures, within a large compound to the left a scholar reads in his study, a figure stands in the main doorway beneath a four-character panel reading wufu linmen ('May the five blessings come to your door'), the huanghuali frames embellished with painted enamel scrollwork.
Each 136.5cm (53 3/4in) wide x 98.5cm (38 3/4in) high. (2).
Footnotes
清乾隆 黃花梨框嵌象牙百寶端陽嬰戲圖掛屏一對
Provenance:
Sotheby's Parke Bernet, Los Angeles, 14 June 1979, lot 813
洛杉磯蘇富比，1979年6月14日，拍品編號813
The present lot depicts both a dragon boat as well as a centipede and snakes, creatures representing the 'Five Poisons'. The Dragon Boat Festival (), observed on the fifth day of the fifth lunar month, is traditionally associated with the heightened presence of the (五毒), the 'Five Poisons': serpents, scorpions, centipedes, toads, and spiders, believed in popular cosmology to become especially active during the humid onset of summer. This seasonal threshold was understood as a moment of vulnerability, when illness and corruption of the body were thought to circulate more easily. As a result, the festival developed as a complex of protective practices aimed at expelling or neutralising these forces, combining herbal medicine, apotropaic imagery, and communal ritual.
Within this framework, the dragon boat race can be understood as both celebratory and prophylactic. The loud movement of boats, drums, and coordinated human activity were believed to disturb and drive away malevolent influences, while protective plants such as mugwort and calamus were hung in domestic spaces. The visual juxtaposition of a dragon boat with creatures such as a snake or centipede reflects this same conceptual world: the dragon, an auspicious, sovereign force of control over water and transformation, symbolically asserts mastery over the liminal, 'poisonous' energies of early summer. In such imagery, the presence of the in the present lot is not incidental but integral, marking the very dangers the festival was designed to contain and ritually overcome.
The demons interspersed among the children may be understood not only as malevolent beings but as visualisations of the various illnesses and harmful influences associated with the onset of summer. Yet they appear notably subdued and integrated within the scene, their presence rendered relatively tame and docile rather than overtly threatening, while the boys carry various talismans and ritual objects that signal protection and auspicious intent. This suggests a controlled and ritualised transformation of danger into symbolic order. It is possible that the panels were displayed in connection with the Dragon Boat Festival as part of a seasonal practice intended to ward off evil and illness at this liminal time of year. The abundance of children further evokes wishes for numerous offspring and the continuation of familial prosperity.
Compare with several ivory table screens, mid-Qing dynasty, in the Qing Court Collection, illustrated in , Hong Kong, 2002, pp.238-244, nos.189-195. See also a screen with kingfisher feather and ivory embellishments, Qianlong, illustrated in , Hong Kong, 1987, p.104, no.88.
See a polychrome ivory-inlaid panel, Qianlong, which was sold at Christie's Hong Kong, 28 November 2012, lot 2329.
此對掛屏尺幅宏闊，場面豐富。一屏繪端陽龍舟競渡之景：舟中數人奮力擊鼓鳴鑼，兩岸婦孺群聚觀賽，熱鬧非凡；岸邊有鬚髯高士臨流論道，童子攜書隨侍在側，後方草石之間隱見蛇影出沒。對岸則有一鬼怪持劍，作勢趨向一持盒童子，營造出節慶中驅邪辟惡之戲劇張力。另一屏則繪眾童子嬉戲於園林間，右方有大蜈蚣盤踞，遠岸復見蛇蹤，鬼怪穿插其間；左側院落中一士人伏案讀書，正門有人探首外望，門楣懸四字匾額，書「五福臨門」。
此對掛屏所繪，正呼應端陽節俗之精神。端午節，即農曆五月初五，民間認為此時盛夏濕熱初起，五毒俱出，不僅毒蟲活躍，疾病與穢氣易於蔓延，故節俗活動多圍繞驅邪避瘟，並結合草藥、避邪畫像與儀式，以保安康。在本拍品中，龍舟競渡既是節慶歡騰之景，亦具驅邪逐疫之功。舟行鼓震，人聲鼎沸，相傳可震懾邪祟；而民間亦以懸掛艾草、菖蒲於門戶，用以辟除穢氣。畫中龍舟與蛇、蜈蚣並置，實非偶然。龍為祥瑞靈獸，掌水司雨，具鎮伏之威，以其陽剛之氣制衡初夏萌動之毒邪。匠人安排「五毒」出現於畫面，正是節俗所欲鎮伏之外邪，亦為畫面張力所在。畫中童子之間穿插鬼怪形象，既可視為惡靈之屬，亦可理解為暑熱時節疾病與穢氣之擬人化。然而其形貌相對溫馴，融入情景，未顯威脅，而童子手持各式辟邪法器與吉祥物，更明確傳達避凶趨吉之意。此對掛屏或為端午期間懸掛之應景陳設，兼具裝飾與護佑之功；而畫面中眾多童子嬉戲之場景，更寄寓多子多孫、家族昌盛之願。
可比對清宮舊藏數件清中期象牙插屏，著錄於《故宮博物院藏文物珍品全集：竹木牙角雕刻》，香港，2002年，頁238至244，編號189至195。另見一件乾隆時期嵌牙點翠屏，載於《清代廣東貢品》，香港，1987年，頁104，編號88。
比較一件乾隆時期象牙雕群仙賀壽圖掛屏，售於香港佳士得，2012年11月28日，拍品編號2329。
Each panel depicting rocky mountain landscapes traversed by deep blue rivers, dotted with trees and pavilions, one panel with a dragon boat, aboard which boys beat a gong and play a drum, nearby bearded sages on the riverbank engage in discussion while a boy attendant carries books, a snake emerging from rocky undergrowth, on the opposite bank a demon brandishing a sword advances towards a boy holding a box and cover, the second panel similarly populated with boys at play, on the far right a large centipede, further snakes appearing along the far bank, demons interspersed among the figures, within a large compound to the left a scholar reads in his study, a figure stands in the main doorway beneath a four-character panel reading wufu linmen ('May the five blessings come to your door'), the huanghuali frames embellished with painted enamel scrollwork.
Each 136.5cm (53 3/4in) wide x 98.5cm (38 3/4in) high. (2).
Footnotes
清乾隆 黃花梨框嵌象牙百寶端陽嬰戲圖掛屏一對
Provenance:
Sotheby's Parke Bernet, Los Angeles, 14 June 1979, lot 813
洛杉磯蘇富比，1979年6月14日，拍品編號813
The present lot depicts both a dragon boat as well as a centipede and snakes, creatures representing the 'Five Poisons'. The Dragon Boat Festival (), observed on the fifth day of the fifth lunar month, is traditionally associated with the heightened presence of the (五毒), the 'Five Poisons': serpents, scorpions, centipedes, toads, and spiders, believed in popular cosmology to become especially active during the humid onset of summer. This seasonal threshold was understood as a moment of vulnerability, when illness and corruption of the body were thought to circulate more easily. As a result, the festival developed as a complex of protective practices aimed at expelling or neutralising these forces, combining herbal medicine, apotropaic imagery, and communal ritual.
Within this framework, the dragon boat race can be understood as both celebratory and prophylactic. The loud movement of boats, drums, and coordinated human activity were believed to disturb and drive away malevolent influences, while protective plants such as mugwort and calamus were hung in domestic spaces. The visual juxtaposition of a dragon boat with creatures such as a snake or centipede reflects this same conceptual world: the dragon, an auspicious, sovereign force of control over water and transformation, symbolically asserts mastery over the liminal, 'poisonous' energies of early summer. In such imagery, the presence of the in the present lot is not incidental but integral, marking the very dangers the festival was designed to contain and ritually overcome.
The demons interspersed among the children may be understood not only as malevolent beings but as visualisations of the various illnesses and harmful influences associated with the onset of summer. Yet they appear notably subdued and integrated within the scene, their presence rendered relatively tame and docile rather than overtly threatening, while the boys carry various talismans and ritual objects that signal protection and auspicious intent. This suggests a controlled and ritualised transformation of danger into symbolic order. It is possible that the panels were displayed in connection with the Dragon Boat Festival as part of a seasonal practice intended to ward off evil and illness at this liminal time of year. The abundance of children further evokes wishes for numerous offspring and the continuation of familial prosperity.
Compare with several ivory table screens, mid-Qing dynasty, in the Qing Court Collection, illustrated in , Hong Kong, 2002, pp.238-244, nos.189-195. See also a screen with kingfisher feather and ivory embellishments, Qianlong, illustrated in , Hong Kong, 1987, p.104, no.88.
See a polychrome ivory-inlaid panel, Qianlong, which was sold at Christie's Hong Kong, 28 November 2012, lot 2329.
此對掛屏尺幅宏闊，場面豐富。一屏繪端陽龍舟競渡之景：舟中數人奮力擊鼓鳴鑼，兩岸婦孺群聚觀賽，熱鬧非凡；岸邊有鬚髯高士臨流論道，童子攜書隨侍在側，後方草石之間隱見蛇影出沒。對岸則有一鬼怪持劍，作勢趨向一持盒童子，營造出節慶中驅邪辟惡之戲劇張力。另一屏則繪眾童子嬉戲於園林間，右方有大蜈蚣盤踞，遠岸復見蛇蹤，鬼怪穿插其間；左側院落中一士人伏案讀書，正門有人探首外望，門楣懸四字匾額，書「五福臨門」。
此對掛屏所繪，正呼應端陽節俗之精神。端午節，即農曆五月初五，民間認為此時盛夏濕熱初起，五毒俱出，不僅毒蟲活躍，疾病與穢氣易於蔓延，故節俗活動多圍繞驅邪避瘟，並結合草藥、避邪畫像與儀式，以保安康。在本拍品中，龍舟競渡既是節慶歡騰之景，亦具驅邪逐疫之功。舟行鼓震，人聲鼎沸，相傳可震懾邪祟；而民間亦以懸掛艾草、菖蒲於門戶，用以辟除穢氣。畫中龍舟與蛇、蜈蚣並置，實非偶然。龍為祥瑞靈獸，掌水司雨，具鎮伏之威，以其陽剛之氣制衡初夏萌動之毒邪。匠人安排「五毒」出現於畫面，正是節俗所欲鎮伏之外邪，亦為畫面張力所在。畫中童子之間穿插鬼怪形象，既可視為惡靈之屬，亦可理解為暑熱時節疾病與穢氣之擬人化。然而其形貌相對溫馴，融入情景，未顯威脅，而童子手持各式辟邪法器與吉祥物，更明確傳達避凶趨吉之意。此對掛屏或為端午期間懸掛之應景陳設，兼具裝飾與護佑之功；而畫面中眾多童子嬉戲之場景，更寄寓多子多孫、家族昌盛之願。
可比對清宮舊藏數件清中期象牙插屏，著錄於《故宮博物院藏文物珍品全集：竹木牙角雕刻》，香港，2002年，頁238至244，編號189至195。另見一件乾隆時期嵌牙點翠屏，載於《清代廣東貢品》，香港，1987年，頁104，編號88。
比較一件乾隆時期象牙雕群仙賀壽圖掛屏，售於香港佳士得，2012年11月28日，拍品編號2329。
常见问题
这件清乾隆 黃花梨框嵌象牙百寶端陽嬰戲圖掛屏一對 | A SUPERB PAIR OF IVORY EMBELLISHED 'DRAGON BOAT FESTIVAL' PANELS的成交价是多少？
落槌价为 预展中。 成交价为 预展中。
