Li Anren, Qing dynasty 

拍品描述

Li Anren, Qing dynasty Suizhao Qing Gong (New Year Still Life) Ink and pigment on silk, signed 廣陵李安仁恭畫 Guang Ling Li An Ren Gong Hua, and bearing six seals: 皇八子鑑賞之章 Huang ba zi jian shang zhi zhang, 十壹 shi yi, 永瑆印 Yong xing yin, 皇十一子 Huang shi yi zi, 莊游與印 Zhuang you yu yin, 南安仁印 Nan an ren yin 思勉 Si mian, mounted as a handscroll, then cut in two segments, each 45cm high x 201cm and 224cm long respectively, each framed and glazed (2). Provenance: collection of Sir John Barran of Leeds, first Barran Baronet, liberal MP and Mayor of Leeds, thought to have been acquired in the 1890s, and thence by descent. “Suichao” (歲朝), refers to the beginning of the year, namely the first day of the first lunar month. “Qinggong” (清供), originating from Buddhist offerings, can be traced back to the elegant gatherings organized by Wang Xizhi in the Wei and Jin periods, such as the Orchid Pavilion Gathering, where vessels, cups, and floral arrangements were displayed. By the Tang and Song dynasties, the concept of qinggong had expanded to include objects arranged indoors on scholars’ desks for appreciation, such as hardstone trees with jardinieres, flower arrangements, seasonal fruits, scholar’s rocks, antiques, and stationeries. On the first day of the New Year, the arrangement of “Suichao Qinggong” was intended to invoke good fortune and to invite the breath of spring into the household. The earliest known pictorial representation of “Suichao Qinggong” is found in the Song dynasty court painter Zhao Chang’s composition “Suichao Tu”. By the mid-to-late Qing dynasty, it had become a fixed pictorial formula within both imperial and literati painting traditions. A record from the Qianlong period “Gongdang jindan” (Imperial Presentation Register) states: “Your servant Lu Xikun respectfully presents… Chen Jiayan’s Suichao Qinggong, one hanging scroll…” The present work bears four seals of imperial princes, namely “Shi Yi” (Eleventh), “Yongxing yin” (Seal of Yongxing), “Huang Shiyi zi” (Eleventh Imperial Prince), and “Huang ba zi jianshang zhi zhang” (Appreciation Seal of the Eighth Imperial Prince). Among these, the seal “Shi Yi” closely resembles one found on Wen Zhengming’s (1470–1559) calligraphic handscroll Qiusheng Fu (Ode to Autumn Sounds) and may well be from the same seal. The above scroll was sold at Beijing Zhongmao Shengjia Auction House on 12 June 2024, lot 679. The seal “Huang Shiyi zi” is relatively unusual, featuring mirror-image phoenix motifs flanking the inscription. Aisin Gioro Yongxing (1752–1823), the eleventh son of the Qianlong Emperor, was enfeoffed as Prince Cheng in the 54th year of Qianlong’s reign and was once considered a strong contender for the imperial throne. Gifted in calligraphy and painting from an early age, he was praised by the Qianlong Emperor as having “noteworthy literary and calligraphic accomplishment in youth.” Later in life, he withdrew from political affairs and devoted himself to the arts, associating widely with leading scholars and earning considerable renown. Aisin Gioro Yongxuan (1746–1832), the eighth son of the Qianlong Emperor, suffered from a physical disability and likewise remained outside the imperial power struggle. Both princes held the role of principal general editor of the Siku Quanshu, the vast imperially commissioned compendium that gathered and systematised the classical literary canon under Qianlong. The offerings depicted, read from right to left, include a glass cylindrical vase, a bronze square vase (zun) with silver or gold inlay, a large celadon-glazed charger with ruyi decoration, a blue-and-white porcelain vase, a bronze gu-form vase, a glass fishbowl, a cloisonné enamel vase enamelled with dragon-and-phoenix, a white jade lotus-form cup, a flower basket, a red-glazed gourd-shaped vase, a clair-de-lune-glazed flowerpot, and a lobed rectangular planter. The vessels are refined and elegant in quality and arrangement, of a courtly standard not attainable by ordinary families. 李安仁，清 嵗朝清供圖 設色絹本，鏡心 款識：廣陵李安仁恭畫 鈐印：皇八子鑑賞之章、永瑆印、皇十一子、莊游與印、南安仁印、思勉。 來源：利茲約翰·巴蘭爵士（Sir John Barran）收藏，第一代巴蘭從男爵，自由黨國會議員及利茲市長，據稱約於1890年代入藏，其後由其家族傳承。 “嵗朝”顧名思義，即一歲之始，指農曆正月初一。“清供”源於佛供，回溯至魏晉時期王羲之舉行的蘭亭雅集所陳設的杯盞花瓶。至唐宋時期，清供品類已延申至擺設于室内案頭供觀賞的物品，如盆景，插花，時令鮮果，奇石，古玩，文房雅具等。大年初一做“嵗朝清供”，以求新年好運，春意入室。 《嵗朝清供圖》最早見于宋代宮廷畫家趙昌所繪的《嵗朝圖》，至清朝中後期，已成爲宮廷和民間盛行的文人畫題材中較爲固定的圖式。乾隆時期「供檔進單」載：「臣陸錫熊跪進……陳嘉言嵗朝清供一軸……」。 本拍品圖中鈐有四枚皇子印鑒，分別為「十壹」、「永瑆印」、「皇十一子」、「皇八子鑑賞之章」。其中「十壹」與文徵明（1470-1559）行書《秋聲賦》卷中的一枚印鑒極爲相似，或爲同一枚。該卷與北京中貿聖佳拍賣行于二零二四年六月十二日售出，為拍品第679號。「皇十一子」印則相較已知的幾枚較爲特殊，可見文字兩側裝飾有鏡像鳳凰。愛新覺羅·永瑆(一七五二 – 一八二三) 為乾隆皇帝第十一子，于乾隆五十四年受封為成親王，曾為皇位有力爭奪者之一。自幼工書，才華橫溢，乾隆稱其「幼齡所學文理字畫，尚覺可觀」。後期遠離政治權利中心，專精書畫，廣交飽學鴻儒之士，名重當時。皇八子愛新覺羅·永璇（一七四六 – 一八三二），生患足疾，遠離皇權爭鬥。二人曾共同任由乾隆皇帝組織編修的《四庫全書》的正縂裁官。 圖中所供，從右至左，涵玻璃筒瓶、銅嵌金或銀四方尊，青釉如意紋大盤，青花瓷瓶，青銅回紋花觚，玻璃魚缸，銅胎掐絲琺琅龍鳳紋瓶，白玉雕蓮紋杯，花籃，紅釉葫蘆瓶，天藍釉花盆，多棱長方花盆。器皿清雅綽約，規格上呈，非尋凡人家可有。

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