Late Ming Dynasty Of rectangular form, lavishly and boldly enamelled on one side depicting two cranes wading in each side of a lotus pond amidst blossoming lotus flowers and large scrolled lotus leaves, further scattered with sprigs of osmanthus flowers emerging from rockwork, the large lotus leaves dramatically and realistically rendered with multi-coloured enamels in different tones, all on a turquoise ground inlaid with foliate diaper cloisons, all enclosed within a blue-ground border enclosing sinuous lotus sprays and blooms, wood frame. 84.5cm (33 1/4in) x 37cm (14 1/2in) 注脚 明晚期 銅胎掐絲琺瑯荷塘清趣圖掛屏 The present panel is striking for its impressive size and the exceptional quality of its realistic renditions of the lotus leaves in different tones. Various tones of green, yellow and red enamels are skilfully applied to the lotus leaves and flowers, providing a painting-like aquatic scene with a sense of light and shadow. A much smaller but closely related cloisonné enamelled panel (39.5 x 55cm) depicting a similar scene and similarly framed by a border of sinuous lotus sprays, dated to the first half of the 17th century, is illustrated by H.Brinker and A.Lutz, Chinesisches Cloisonné: Die Sammlung Pierre Uldry, Zurich, 1984, pl.155. See also a related cloisonné enamel vat decorated with a lotus pond and egret in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Metal-bodied Enamel Ware, Hong Kong, 2002, no.62. The texture of the enamelling and precise decorative techniques, notably the large lotus leaf with gently undulating edges and the similar diamond diaper ground, are closely related to a cloisonné enamel 'birds and flowers' panel, 17th century, illustrated by B.Quette, ed. Cloisonné. Chinese Enamels from the Yuan, Ming, and Qing Dynasties, New York, 2011, p.142, fig.7.25. See also a related cloisonné enamel 'landscape' panel of similar size, Jiajing/Wanli Period, which was sold at Sotheby's Hong Kong, 2 April 2018, lot 3438. 掛屏四方形，屏芯以掐絲琺瑯飾荷塘清趣圖，以深淺的綠色琺瑯彩飾水波紋以及大片荷葉於荷塘之上，間以盛開的荷花，遠處飾山石桂花樹，樹枝蔓延至荷塘之上，枝上桂花多多盛開，屏邊飾纏枝蓮花一周。此掛屏掐絲作筆，填彩成墨，荷葉以濃淡不同至琺瑯區分以變現層次及光影，猶如一幅著色水墨畫，技藝之高超。 參看一例尺寸較小的十七世紀上半葉銅胎掐絲琺瑯荷塘白鷺屏，著錄於， H.Brinker and A.Lutz, 《Chinesisches Cloisonné: Die Sammlung Pierre Uldry》，蘇黎世，1984年，圖版155。另見清宮舊藏一件明晚期 掐絲琺瑯荷塘白鷺圖缸，《故宮博物院藏文物珍品系：金屬胎琺瑯器》，香港，2001年，編號62。 對比參考一件巴黎裝飾藝術博物館藏十七世紀掐絲琺瑯山石牡丹花鳥掛屏，其牡丹葉掐絲技法、使用濃淡不一色彩的表現手法以及錦地紋飾均與本拍品非常相似，見B. Quette, ed. 《Cloisonné. Chinese Enamels from the Yuan, Ming, and Qing Dynasties》， 紐約，2011年，頁142，圖7.25。 另見香港蘇富比曾售出一件銅胎掐絲琺瑯山居人物圖掛屏，尺寸與本拍品相當（85.5 x 33釐米），2018年4月2日，拍品編號3438。