Bidspirit auction | Carved Polychrome Panel ”Autumn Prosperity:

Carved Polychrome Panel ”Autumn Prosperity: Chrysanthemums, Bamboo and Golden Pheasants” from the Quadriptych ”The Four Seasons”. Southern China, Guangdong Province; Chaozhou school of carving. Late Qing Dynasty, 1890–1910. Solid sandalwood, gesso, mineral pigments, gold leaf. Dimensions: 96.5 × 40.5 × 5.5 cm. Condition: very good; original paint layer and gilding with minimal wear; the reverse retains the original texture of the sandalwood block with traces of hand-tooling typical of the late 19th century; no signs of restoration or joins — the panel is carved from a single solid block. The wall panel is a multi-figure carved composition conveying the atmosphere of autumn — a season of maturity, resilience and well-earned prosperity. The central place is occupied by golden pheasants (Jǐnjī), frozen in a silent dialogue: one bird inclines its head towards the other, while long, flowing tails cut through the space like streams of water. In Chinese tradition the golden pheasant symbolises high rank, official good fortune and beauty; the depth of the carving renders the birds almost lifelike, barely touching the gnarled bamboo stems with their claws. The chrysanthemums, the principal flower of autumn and an emblem of longevity, are carved with exceptional plasticity: thanks to the layer of antique gesso, the edges of the petals curl into elaborate ”claws”, creating a complex rhythm. Gradations from ochre to deep coral tones lend the flowers density and volume. The bamboo forms the structural framework of the composition: its sturdy yet supple stems and sharp, tangible leaves accentuate the graphic quality of the work and symbolise unyielding will and nobility. A distinctive technique produces the effect of ”porcelain wood”: the layer of chalk gesso gives the sandalwood surface the density and refinement of antique porcelain, allowing exceptional detail — from the finest veins on bamboo leaves to the multi-layered corollas of the chrysanthemums. The white ground, delicately showing through at points of natural wear, creates a sense of inner luminosity. Deep openwork carving (up to 5.5 cm) produces the effect of a ”floating garden”: the birds and plants are almost entirely detached from the background and held by concealed bridges, generating a vivid interplay of light and shadow within the panel. In terms of the quality of the timber, the complexity of the multi-tiered carving and the preservation of the original surface, the panel ranks among high-status commissions of the Chaozhou school.