拍品专文
For another Imperial bottle also Qianlong marked and depicting a continuous scene of a European subject of a shepherdess, young boy and three goats, see Hugh Moss, Victor Graham and Ka Bo Tsang, The Art of the Chinese Snuff Bottle, The J and J Collection, Hong Kong, 1993, pp. 277-278, no. 171
For a small famille rose-enameled rectangular porcelain box and cover painted with a similar single composition of a European lady under a tree with three sheep alongside, from the National Palace Museum, Taipei, see Zhongguo Taoci Daxi, Qingdai Taoci Daquan (Chinese Ceramics Series, Qing Dynasty Ceramics), Taipei, 1987-1989, p. 271
The theme of three goats on snuff bottles is not unusual. In a Chinese context they often appear under a bright sun and form the rebus Sanyang kaitai (New spring and future prosperity). In the present example it is probably mere coincidence that the goats number three. However, though not Chinese in subject and perhaps more loosely painted, this particular bottle comes closest in overall comparison to two Chinese-subject bottles, also from the Imperial Palace Workshops, one illustrated by Hugh Moss, Victor Graham and Ka Bo Tsang, The Art of the Chinese Snuff Bottle, The J and J Collection, Hong Kong, 1993, pp. 284-285, no. 175; and the other illustrated by Robert Kleiner, Chinese Snuff Bottles in the Collection of Mary and George Bloch, London, 1993, Catalogue, pp. 12-13, no. 6
For a small famille rose-enameled rectangular porcelain box and cover painted with a similar single composition of a European lady under a tree with three sheep alongside, from the National Palace Museum, Taipei, see Zhongguo Taoci Daxi, Qingdai Taoci Daquan (Chinese Ceramics Series, Qing Dynasty Ceramics), Taipei, 1987-1989, p. 271
The theme of three goats on snuff bottles is not unusual. In a Chinese context they often appear under a bright sun and form the rebus Sanyang kaitai (New spring and future prosperity). In the present example it is probably mere coincidence that the goats number three. However, though not Chinese in subject and perhaps more loosely painted, this particular bottle comes closest in overall comparison to two Chinese-subject bottles, also from the Imperial Palace Workshops, one illustrated by Hugh Moss, Victor Graham and Ka Bo Tsang, The Art of the Chinese Snuff Bottle, The J and J Collection, Hong Kong, 1993, pp. 284-285, no. 175; and the other illustrated by Robert Kleiner, Chinese Snuff Bottles in the Collection of Mary and George Bloch, London, 1993, Catalogue, pp. 12-13, no. 6