Imperial throne, 3rd quarter 17th century, Qing Dynasty. Color lacquer and gold paint on rosewood with mother of pearl inlays, gold and silver foil, 105 x 105.5 x 73.5 cm. Ident.Nr. 1972-15.Collection: Museum of Asian Art. Photo: Jürgen Liepe © Photo: Museum of Asian Art, the National Museums in Berlin - Prussian Cultural Heritage.

The throne and the corresponding three-piece folding screen set among the surviving works with "Perlmuttereinlagen" from the imperial workshops, the main work of the early era Kangxi (1662-1722). The rich scenic representations on the gold-based frames of the show sides pass through the virtuosic use of countless pink, purple and green iridescent Perlmutterteilchen (laque burgautée) to a play of colors of magnificent effect. It is enhanced by the designed in great variety borders of the framework, which reveal an astonishing technical mastery and size of the artistic design. The profusion of the decoration of this ensemble brings wishes for long life and auspicious messages of all kinds to express the main theme of the picture frames on the inner sides of arms and back of the throne seat as well as the three major frames the face side of the Screens is the Taoist "Western Paradise" which is dominated by Xiwangmu, the Queen Mother of the West. Neck adhesive give the representations on the throne of the mountain and lake scenery with terraces, pavilions and palaces again, which appears on the Screen full of majestic Great. Shown is the arrival of the Queen Mother of the West, Xiwangmu, the riding comes down to a phoenix in the paradise landscape where the immortals await them. In the illustrations on the throne and the Screen expect the "Eight Daoist Immortals" in a prominent place. In the middle panel of Screens they are united on the large central patio, numerous other immortals to revive water and on land the heavenly landscape. On the two inner sides of the throne armrests exceed four of the "Eight Daoist Immortals," the central terrace where the Goddess is expected.Screen throne and in 1924 acquired by a French businessman of Chinese previous owners in Tianjin, Shandong Province. As is evident from what was then accompanying Chinese document, the ensemble of the Imperial Travel Palace of Panshan originates in the district Jizhou, Zhili Province (now Hebei Province), which the Manchu emperors on their travels in their summer holidays in Chengde, about 250 kilometers northeast of Beijing , used. Under the emperors Kangxi (r. 1662-1722), Yongzheng (r. 1723-1735) and Qianlong (r. 1736-1795), China experienced a more than century-old flowering period and reached the greatest territorial expansion in its history. The uniqueness and grandeur of the Emperor also found in the image art reflected. In multiple roles of imperial splendor we encounter numerous pictures on the emperor enthroned amid beautiful Staatsrobe in imperial ceremonial, as writers and connoisseurs, as a hunter and as a religious figure of salvation.The subject sits on the throne and Screen allows the herrscherliche authority to those based on the Mandate of Heaven reign of Emperor appear in a special light and highlighted the desire that they should last forever. Took the emperor on the throne seat, he sat in the center of the paradise of immortals and was as it were of the same part.