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Description

This product continues the style of the famous Qianlong imperial artifact, Bai Lu Zun. The body of the artifact is painted with a powder painting of a hundred deer in a landscape garden. However, the terrain across the shore is undulating, with lush vegetation, and groups of three or five spotted deer, running, resting, or cuddling, with different postures, but the depiction is brief, highlighting the contrast between distant views. In the close-up view, the depiction is detailed, with longevity stones overlapping and a rugged and rugged appearance. Two tall pine trees on their sides are leaning against each other, with strong branches and a pine canopy like an umbrella. Under the shade of the pine trees, several sika deer stroll among them. The deer pattern in this painting is quite Western, and the texture of the deer fur is finely expressed through the contrast of light and dark, with vivid and vivid colors. The painting rules of the mountain, stone, and pine trees more closely follow the brushwork of traditional Chinese landscape painting, and the two blend in this world, making it an excellent tool for combining Chinese and Western painting. Deer sounds homophonic with "Lu", and "Bai Lu" means "Bai Lu", meaning high official and generous salary. Therefore, this vessel is also known as the "Bailu" Zun. Deer is an immortal bird, symbolizing the will of immortality and longevity, along with auspicious grass, Ganoderma lucidum, peach, and pine trees. This painting depicts the important hunting activity of the Qing Dynasty, the Mulan Autumn Robe. Mulan is in Manchu, meaning "sentinel deer", while Qiusheng refers to hunting in autumn. This is a grand ceremony held almost every autumn since the 22nd year of the Kangxi reign, not for hunting and entertainment, but with significant political and military significance. Emperor Kangxi opened up a hunting ground north of Chengde to train his army. Every autumn, during hunting, he used Eight Banner soldiers to wear deer heads and learn how to sing deer in the forest to lure the opposite sex. When the deer came out, they would gather and hunt. Emperor Qianlong attached great importance to this ancestral tradition and even ordered court painters to record the actual situation. Craftsmen in Jingdezhen followed these scrolls and reproduced this important activity on the Hundred Deer Statue. The Hundred Deer Statue of Qianlong has become a famous ceramic product. Although this product was made during the Daoguang Dynasty, its painting skills and color materials are not inferior to those of Qianlong.