A set of six gemstone-inlaid panels of gods and goddesses

17th/18th century

Front of panels decorated with exceptional details of gods and goddesses in a setting of pavilions, trees, and rocks. Back of panels painted with 'five virtues' motifs, peony, lotus and lingzhi. All panel feet encased with metal. (6).

H: 61 3/4, W: 15 5/8 in. (H: 156.85, W: 39.69 cm. (each, approximately))

Provenance: Private estate, Rancho Mirage, California. The late collector owned an antique business in San Francisco. His primary interest was Asian antiquities. Lot 33 to 35, Lot 125 to 146, and Lot 193 to 204 are from the same collector.

Click here for high resolution images.

This six-panel screen is entirely covered in rich black lacquer, inlaid with precious gems carved into figures of immortals celebrating longevity. The figures are exquisitely carved, with every little detail down to the hair and beard finely depicted, and their clothing flowy and smooth. The background features gilded paintings of phoenixes, cranes, and mandarin ducks, adding auspicious and festive meanings. The craftsmanship of the whole piece is complex, with innovative design and well-balanced composition, showcasing the artisan's superb skills. It can be said that precious gems are used everywhere, sparing no expense, making it a magnificent and luxurious piece of furniture. A poem is inscribed on the screen, composed by Emperor Kangxi for his grandmother, Empress Dowager Xiaozhuang, on her birthday, portraying her as the chief among immortals, receiving congratulations from them.
During the 16th and 17th centuries, China imported a large number of Japanese lacquerware items. During the Kangxi and Yongzheng reigns, artisans of the Imperial Household Department were ordered to imitate this type of Japanese lacquerware, which was then referred to as 'foreign lacquer'. Although the lacquer painting technique originated in China, it developed further and was more richly applied after being introduced to Japan. The Qing court also emphasized the use of gold gilded decorations, which were commonly found on lacquer boxes, cabinets, and screens. This screen, with its exquisite materials and craftsmanship, combined with the finely drawn background and the inscription of imperial poems, is likely an object originally used by Emperor Kangxi to celebrate a birthday. Preserved to this day, its condition is great and it is indeed rare.

See below references for similar items: Palace Museum, No. 00210892 ; Christie's Paris, December 2019, Lot 042; Beijing Hanhai, 2014 Spring Sale, Lot 3814.

本件作品爲六屏，整屏以黑漆爲底，嵌百寶雕刻群仙祝壽圖 。畫風冩實精細，須眉毫髮刻畫入微，衣紋細勁流暢，恍若行雲流水。背景爲描金彩繪的鳳凰、仙鶴、鴛鴦，祥瑞之意錦上添花。整器工藝繁複，設計新穎，構圖疏密有度，展現出匠人高超的技巧，可謂百寶遍地，不惜靡費，富麗堂皇，實爲上乘之作。屏上所雕詩句“和風瑞氣滿簾櫳，慈壽無疆祝上宮。 喜得萬方同孝養，千秋福德並蒼穹” ； “透戶卿雲接禦香，彤墀新柳拜韶陽，宮中堯舜兼文母，恭捧南山萬壽觴”。這兩首詩收錄於康熙皇帝的《恭上太皇太後萬壽詩二首》。爲當年給其祖母孝莊文皇後祝壽時所作，將孝莊文皇後比作衆仙之首，接受群仙的祝賀。
在十六、七世紀年間、中國進口了大量日本漆器。康熙、雍正朝內、造辦處的藝匠奉旨仿效生産這類日本漆器、並稱之爲「洋漆」。漆繪工藝雖本源自中國、但傳入日本後得到更大的髮展和豐富運用。而清宮亦非常強調金彩繪飾的應用、在漆盒、櫃格和屏風上俯拾皆是。此作品整器用料講究，工藝精美，結合鳳凰背景圖飾和兩首禦詩，應是康熙帝當初祝壽之物。保存至今，品相完整，實屬難得。

相似藏品可參閱：故宮博物館館藏，編號故00210892；佳士得拍賣2019年12月巴黎拍賣，編號 042；北京瀚海2014年春拍，編號3814