Lot 228Y 清乾隆　御製掐絲琺瑯馥蘭佳松圖詩文扇式掛屏 | A MAGNIFICENT AND RARE IMPERIAL CLOISONNÉ ENAMEL FAN-SHAPED PANEL

清乾隆　御製掐絲琺瑯馥蘭佳松圖詩文扇式掛屏 | A MAGNIFICENT AND RARE IMPERIAL CLOISONNÉ ENAMEL FAN-SHAPED PANEL

Qianlong

HKD 4,000,000

HKD 4000000 - 6000000

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Qianlong
Finely decorated with a sweeping, gnarled pine bough stretching across the panel, its twisted trunk rendered with subtle knotting and its needles picked out in rich gilt and green enamels, beneath the pine rises a craggy rock, modelled in three graduated tones of blue to create depth, issuing further sprays of orchids, the scene set against a delicate blue enamel diaper-pattern ground, with a poetic inscription in clerical script reserved in the upper left corner, followed by the characters reading gonglu yuzhi shiju, chen Yu Minzhong ('Imperial poetic verses by his Majesty respectfully recorded by his servant Yu Minzhong'), concluding with two seals chen and Minzhong, mounted within a huanghuali frame fitted with a gilt-bronze hinge cast with bat and geometric motifs.
Including the frame: 139cm (54 3/4in) wide.
Footnotes
清乾隆　御製掐絲琺瑯馥蘭佳松圖詩文扇式掛屏
「臣于敏中」款
Provenance:
Carlo Maria Franzero (1892-1986), London, by repute
傳Carlo Maria Franzero（1892-1986），倫敦
Carlo M. Franzero was a writer, known for the film Cleopatra (1963).
This impressive panel, depicting a pine tree rising from textured rocks and accompanied by graceful orchid sprays, exemplifies the refinement achieved in the Imperial cloisonné workshops at the height of the Qianlong reign. The design is enlivened by precisely applied gilt cloisons that give definition and luminosity to the rich enamel tones. The enameller has handled contrasting surfaces with remarkable assurance: the crisp articulation of the pine needles, the rugged modelling of the bark, the faceted rockwork and the soft, ribbon-like leaves of the orchids all show an acute sensitivity to texture. Set against a meticulously executed -diaper ground, the panel reflects both the technical ambition of the Imperial Workshops and the Qianlong Emperor's preference for bold, complex and visually commanding designs.
Large cloisonné enamel panels of this scale and format appear to be an innovation of the Qianlong reign. Such broad, flat surfaces required a high degree of technical control over the metalwork, enamel composition and firing. The fan-shaped outline and asymmetric composition recall the aesthetic of painted fans and album leaves, suggesting that the conception may have been informed by models produced by Court painters.
The inscription reads:
淨馥逓因臨砌卉，佳陰羃喜撫庭松。
恭錄御製詩句，臣于敏中。
Which may be translated as:
The two lines are taken from the Qianlong Emperor's poem 〈季夏玉泉山〉, recorded in 《御製詩三集》, 83, and composed in the thirty-fourth year of the Qianlong reign (1769). The poem describes a visit to Jade Spring Mountain, evoking the fragrance of flowers and the shade of pines. Yu Minzhong's inscription identifies him as the official responsible for respectfully recording the Emperor's verses, a role in which he frequently transcribed poems composed by the Qianlong Emperor during his travels and visits to the Imperial gardens.
Yu Minzhong (1714–1779) was a native of Jintan, Jiangsu Province. Yu achieved the degree as (first in the examinations), served as a senior compiler in the Hanlin Academy, and thereafter occupied a succession of influential posts both in the provinces and at Court. From the early 1750s he worked in close proximity to the Qianlong Emperor, advising on matters of state and administering major cultural projects. He is particularly known for his role in the compilation and transcription of the Emperor's poetry, as well as for directing the vast (Complete Library of the Four Treasures). Yu also played a key role in the Jinchuan campaign (1771–1776) against the Jinchuan hill peoples in Sichuan. See A.W.Hummel, , Washington, 1944, pp.942–944.
Two rectangular panels depicting landscape scenes and also with calligraphy by Yu Minzhong, Qianlong, are in the Qing Court collection, illustrated in the , vol.3, Beijing, 2011, pp.96-97, nos.63-64. See also a related large cloisonné enamel panel, Qianlong, but of circular shape, illustrated in , p.100, no.67; and few more rectangular cloisonné enamel panels, Qianlong, in the Qing Court collection, nos.55-56, and 61-62. Another cloisonné enamel rectangular landscape panel, Qianlong, with Yu's calligraphy, is in the collection of the Palace Museum, Taipei, illustrated in , Taipei, 1999, p.123, no.45.
Compare also with an Imperial inscribed cloisonné enamel and gilt-bronze -shaped panel, Qianlong, which was sold at Bonhams London, 11 July 2005, lot 58. The panel was then entered the collection of Robert Chang, and later sold again at Christie's Hong Kong, 30 May 2016, lot 3028.
卡洛·弗朗澤羅（Carlo M. Franzero）為作家，曾參與電影《埃及豔后》（1963）之製作。
屏心藍地鐫萬字錦，飾蒼松立於奇石之間，幽蘭綽約相伴。左上方陰刻填黑乾隆御製詩：「淨馥逓因臨砌卉，佳陰羃喜撫庭松。恭錄御製詩句。臣于敏中」，後鈐「臣」、「敏中」朱印。掛屏鎏金、掐絲處理細密，紋飾輪廓勾勒利落，琺瑯釉彩繽紛明麗，體現清宮琺瑯作坊鼎盛時期之精湛工藝。工匠純熟運用掐絲工藝處理不同畫面質感：松針如傘，樹皮斑駁，山石嶙峋，蘭葉柔婉，諸般元素各具其趣，足見對萬物細節的敏銳觸覺。背景滿飾「卍」字錦地，整體布局規整，裝飾華麗，深合乾隆帝絢麗氣派之審美。
此類大尺幅之掐絲琺瑯扇式掛屏，考驗工匠對金屬胎體、琺瑯釉料與燒造火候之掌控，技術要求甚高，在宮廷作坊工藝臻於成熟時方能實現，乾隆朝掐絲琺瑯工藝達至頂峰，故應為當時新創。扇形輪廓與構圖，令人聯想書畫扇面與冊頁之審美意趣，或由宮廷畫師提供稿本。屏上御製詩收錄於《御製詩三集》卷八十三之〈季夏玉泉山〉，作於乾隆三十四年（1769年）。詩詠玉泉山遊覽之景，花氣松陰，悠然可會。
落款「臣于敏中」，即清代重臣于敏中（1714–1780），江蘇金壇人。乾隆朝狀元，授翰林院修撰，歷任內閣學士，兵部、刑部、戶部侍郎，軍機大臣等職，頗受乾隆帝信任，積極參贊政務，並主持重大文化工作，尤以編纂乾隆御製詩集及主持《四庫全書》修纂最為人所知；亦曾參與平定金川之亂，詳見恆慕義《清代名人傳略》，華盛頓，1944年，頁942至944。于氏常隨乾隆帝巡幸園林，奉旨抄錄御製詩文，以供珍藏。
其他「臣于敏中」款之掛屏，參考清宮舊藏兩件山水圖長方掛屏，載於《故宮博物院藏品大系：琺瑯器編3：清掐絲琺瑯》，北京，2011年，頁96至97，編號63及64；又可參考一件掐絲琺瑯桂花圖圓掛屏，見頁100，編號67；及其他同時期山水圖、吉祥圖長方掛屏，編號55及56、61及62。台北故宮博物院另藏一件乾隆朝掐絲琺瑯山水圖長方掛屏，亦附于敏中題詩，見《明清琺瑯器展覽圖錄》，台北，1999年，頁123，編號45。
另比較一件乾隆時期掐絲琺瑯銅鎏金御製詩萬年如意掛屏，售於倫敦邦瀚斯，2005年7月11日，拍品編號58，為張宗憲先生珍藏，後售於香港佳士得，2016年5月30日，拍品編號3028。