拍品信息
拍品名称
十八世紀 填漆五龍圖掛屏 | A RARE LARGE TIANQI POLYCHROME LACQUER 'FIVE DRAGON AND EIGHT TREASURES' PANEL
年代
18th century
起拍价
HKD 250,000
估值区间
HKD 250000 - 350000
尺寸
未知
品相
未知
更多信息
18th century
The shaped panel enclosing an elaborately-decorated surface with five five-clawed dragons amidst wispy ruyi clouds, all pursuing a flaming pearl in the centre, above crashing waves and rocks, the detail precisely picked out in the 'gold-engraved and filled-in' technique.
109.7cm (43 1/4in) wide.
Footnotes
十八世紀 填漆五龍圖掛屏
Provenance:
Roger Keverne Ltd., London
Bonhams London, 11 May 2021, lot 341
來源：
倫敦古董商Roger Keverne Ltd.
倫敦邦瀚斯，2021年5月11日，拍品編號341
The 'five dragon' motif is rooted in classical Chinese cosmology, in which the number five corresponds to the Five Phases (五行) and the five cardinal directions. The central dragon, placed within the composition of four further dragons, may thus be understood as an expression of the ordered cosmos, with the Emperor occupying its centre and the four surrounding dragons corresponding to the four quarters. The dragons' association with clouds further reinforces this cosmological reading: according to the , '雲從龍，風從虎' ('Clouds follow the dragon; wind follows the tiger'), reflecting the traditional belief that the dragon's breath generated the clouds and rain upon which agriculture depended.
Of particular interest in the context of the Yongzheng period is the depiction of the clouds in multiple colours. Five-coloured clouds, known as (五色雲) or (慶雲), were regarded as auspicious manifestations heralding peace and prosperity and were closely associated with the benevolent workings of Heaven. The Yongzheng Emperor appears to have had a particular fondness for this motif during the seventh to tenth years of his reign (1729–1732), when sightings of auspicious five-coloured clouds were repeatedly recorded in Palace memorials; the Imperial archives also record that he ordered paintings depicting such clouds in 1730. The presence of five-coloured clouds on the present panel may therefore have carried a specifically auspicious and political significance, evoking the harmonious relationship between Heaven and Imperial rule.
The additional incorporation of the Eight Buddhist Treasures ( 八寶) further enriches the auspicious vocabulary of the composition. Although originally Buddhist emblems, the Eight Treasures were widely adopted in Qing decorative arts as symbols of good fortune, prosperity and auspiciousness, and could be combined with Imperial imagery without necessarily retaining a strictly religious meaning. Their juxtaposition with the five dragons and auspicious clouds brings together Buddhist, cosmological and Imperial symbolism in a characteristically Qing synthesis of auspicious imagery.
A related treatment of dragons amidst clouds, executed in the technique on a table top of the early Qing dynasty, is illustrated in , vol.1, Beijing, 2006, p.192, pl.203.
A very similar 'five-dragon' polychrome lacquer panel, 18th century, likely the pair to the present lot, with the front-facing dragon rendered in green rather than the red of the present panel, was sold at Millon Paris, 23 June 2020, lot 40. Of particular note is the similarly sophisticated gradation of colour employed in the lacquer decoration of a related and boxwood-inlaid 'landscape' panel, Qianlong, which was sold at Sotheby's Paris, 16 June 2022, lot 151.
五龍深繫中國傳統宇宙觀，五對應五行、五方，位處中央之龍象徵君權，四方之龍各司其域；龍亦有司雨水、調節自然之力，深寓天人合一、君德配天之意。《易經》有云：「雲從龍，風從虎」，反映傳統觀念中龍之氣息化為雲雨，而雲雨乃農耕之所賴。
以多色繪雲彩之藝術風格常見於雍正時期。五色雲或慶雲，被視為祥瑞之兆，預示太平盛世，與上天仁德之施密切相關。雍正帝於七年至十年（1729-1732年）間，似尤鍾此紋，其時奏摺中屢見五色祥雲之紀錄；宮廷檔案亦載雍正八年（1730年）曾命繪五色雲圖。本品之五色雲紋，或具特殊祥瑞與政治意涵，象徵上天與皇權之諧和。
畫面中更融入八寶紋飾，賦予吉祥意義。八寶雖源於佛教，然於清代裝飾藝術中已廣為採用，成為吉祥、繁榮之象徵，並常與皇家符號結合，未必保留嚴格之宗教意義。其與五龍、祥雲並置，融合佛教、宇宙觀與皇權象徵，正是清代典型之吉祥圖樣。
類似的填漆工藝，參考一件清初雲龍紋桌，見《明清宮廷家具大觀》，上卷，北京，2006年，頁192，圖版203。一件極為相似之十八世紀掛屏，或為本品之成對者，其正面龍紋以綠彩繪成，有別於本品之紅彩，曾售於巴黎Millon拍賣行，2020年6月23日，拍品編號40。另參考一件乾隆時期雞翅木鑲黃楊木山水圖掛屏，其色彩之漸層技法與本品相類，售於巴黎蘇富比，2022年6月16日，拍品編號151。
The shaped panel enclosing an elaborately-decorated surface with five five-clawed dragons amidst wispy ruyi clouds, all pursuing a flaming pearl in the centre, above crashing waves and rocks, the detail precisely picked out in the 'gold-engraved and filled-in' technique.
109.7cm (43 1/4in) wide.
Footnotes
十八世紀 填漆五龍圖掛屏
Provenance:
Roger Keverne Ltd., London
Bonhams London, 11 May 2021, lot 341
來源：
倫敦古董商Roger Keverne Ltd.
倫敦邦瀚斯，2021年5月11日，拍品編號341
The 'five dragon' motif is rooted in classical Chinese cosmology, in which the number five corresponds to the Five Phases (五行) and the five cardinal directions. The central dragon, placed within the composition of four further dragons, may thus be understood as an expression of the ordered cosmos, with the Emperor occupying its centre and the four surrounding dragons corresponding to the four quarters. The dragons' association with clouds further reinforces this cosmological reading: according to the , '雲從龍，風從虎' ('Clouds follow the dragon; wind follows the tiger'), reflecting the traditional belief that the dragon's breath generated the clouds and rain upon which agriculture depended.
Of particular interest in the context of the Yongzheng period is the depiction of the clouds in multiple colours. Five-coloured clouds, known as (五色雲) or (慶雲), were regarded as auspicious manifestations heralding peace and prosperity and were closely associated with the benevolent workings of Heaven. The Yongzheng Emperor appears to have had a particular fondness for this motif during the seventh to tenth years of his reign (1729–1732), when sightings of auspicious five-coloured clouds were repeatedly recorded in Palace memorials; the Imperial archives also record that he ordered paintings depicting such clouds in 1730. The presence of five-coloured clouds on the present panel may therefore have carried a specifically auspicious and political significance, evoking the harmonious relationship between Heaven and Imperial rule.
The additional incorporation of the Eight Buddhist Treasures ( 八寶) further enriches the auspicious vocabulary of the composition. Although originally Buddhist emblems, the Eight Treasures were widely adopted in Qing decorative arts as symbols of good fortune, prosperity and auspiciousness, and could be combined with Imperial imagery without necessarily retaining a strictly religious meaning. Their juxtaposition with the five dragons and auspicious clouds brings together Buddhist, cosmological and Imperial symbolism in a characteristically Qing synthesis of auspicious imagery.
A related treatment of dragons amidst clouds, executed in the technique on a table top of the early Qing dynasty, is illustrated in , vol.1, Beijing, 2006, p.192, pl.203.
A very similar 'five-dragon' polychrome lacquer panel, 18th century, likely the pair to the present lot, with the front-facing dragon rendered in green rather than the red of the present panel, was sold at Millon Paris, 23 June 2020, lot 40. Of particular note is the similarly sophisticated gradation of colour employed in the lacquer decoration of a related and boxwood-inlaid 'landscape' panel, Qianlong, which was sold at Sotheby's Paris, 16 June 2022, lot 151.
五龍深繫中國傳統宇宙觀，五對應五行、五方，位處中央之龍象徵君權，四方之龍各司其域；龍亦有司雨水、調節自然之力，深寓天人合一、君德配天之意。《易經》有云：「雲從龍，風從虎」，反映傳統觀念中龍之氣息化為雲雨，而雲雨乃農耕之所賴。
以多色繪雲彩之藝術風格常見於雍正時期。五色雲或慶雲，被視為祥瑞之兆，預示太平盛世，與上天仁德之施密切相關。雍正帝於七年至十年（1729-1732年）間，似尤鍾此紋，其時奏摺中屢見五色祥雲之紀錄；宮廷檔案亦載雍正八年（1730年）曾命繪五色雲圖。本品之五色雲紋，或具特殊祥瑞與政治意涵，象徵上天與皇權之諧和。
畫面中更融入八寶紋飾，賦予吉祥意義。八寶雖源於佛教，然於清代裝飾藝術中已廣為採用，成為吉祥、繁榮之象徵，並常與皇家符號結合，未必保留嚴格之宗教意義。其與五龍、祥雲並置，融合佛教、宇宙觀與皇權象徵，正是清代典型之吉祥圖樣。
類似的填漆工藝，參考一件清初雲龍紋桌，見《明清宮廷家具大觀》，上卷，北京，2006年，頁192，圖版203。一件極為相似之十八世紀掛屏，或為本品之成對者，其正面龍紋以綠彩繪成，有別於本品之紅彩，曾售於巴黎Millon拍賣行，2020年6月23日，拍品編號40。另參考一件乾隆時期雞翅木鑲黃楊木山水圖掛屏，其色彩之漸層技法與本品相類，售於巴黎蘇富比，2022年6月16日，拍品編號151。
常见问题
这件十八世紀 填漆五龍圖掛屏 | A RARE LARGE TIANQI POLYCHROME LACQUER 'FIVE DRAGON AND EIGHT TREASURES' PANEL的成交价是多少？
落槌价为 预展中。 成交价为 预展中。
