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LOT 33Y

A RARE CINNABAR LACQUER CARVED TRIPOD INCENSE BURNER, DING

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Qianlong

Qianlong
Of archaistic form, carved around the exterior with taotie masks and archaic style motifs on a diaper-pattern ground, the globular body supported on three legs terminating in clawfeet issuing from mythical-beast heads, set with a pair of S-shaped handles, with hardwood stand and cover with jadeite finial, original metal liner.
15.1cm (6in) wide. (3).

清乾隆 剔紅饕餮紋三足爐

Provenance:
Spink & Son Ltd., London (label)
Parry Collection, London, and thence by descent

來源:
倫敦古董商Spink & Son Ltd.(標籤)
倫敦Parry家族收藏,並由後人保存迄今

See a related carved cinnabar lacquer tripod incense burner and cover, second half of the 18th century, without handles but with similar globular body and carving, in Brighton Pavilion until 1848, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, vol.III, London, 2015, p.873. See also a related cinnabar lacquer box and cover in the form of a tripod ding, Qianlong/Jiaqing, illustrated by D.Clifford, Chinese Carved Lacquer, London, 1992, p.138, pl.113.

Drawing inspiration from antiquity in form and design was strongly advocated by the Qianlong Emperor who actively guided the production of Court lacquerwares. He proposed to 'restore ancient ways', referring to the view of ancient culture as having intrinsic qualities of sincerity, simplicity and happy exuberance. For this purpose the Emperor instructed the Court to collect drawings of antiquities, such as the Xi Qing Gu Jian (Catalogue of Xiqing Antiquities); see Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50; and see Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, p.117, and for Qianlong period archaistic lacquer examples see nos.167-169.

Compare with a carved cinnabar lacquer tripod bowl and cover, Qianlong, without handles, but of similar globular form, which was sold at Sotheby's Hong Kong, 2 June 2017, lot 666.

造型古雅,獸面蹄足上承半球形腹,口沿兩側各有一曲耳,器外壁以錦地饕餮紋為飾。布萊頓英國皇家行宮內於1848年前藏有一例十八世紀下半葉剔紅鼎式帶蓋香爐,與本例形制相似惟無附耳,圖見J.Ayers著,《Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen》,卷三,倫敦,2015年,頁873。另參考一例清乾隆/嘉慶剔紅鼎式帶蓋盒,收錄於D.Clifford著,《Chinese Carved Lacquer》,倫敦,1992年,頁138,圖版113。

乾隆帝十分推崇自古物中取材器物造型與設計,其慕古之情對清代宮廷漆器藝術之影響甚深。亦因其提倡「復古」,當時清宮內匯集大量古物圖譜如《西清古鑑》等,相關討論可參見張麗端《宮廷之雅:清代仿古及畫意玉器特展圖錄》,台北,1997年,頁49-50。另有多例乾隆年間的仿古漆器,見《和光剔彩——故宮藏漆》,台北,2008,編號167-169,可為參考。

香港蘇富比曾於2017年6月2日售出一座清乾隆剔紅三足蓋盌,拍品編號666,可資比對。

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[ translate ]

Qianlong

Qianlong
Of archaistic form, carved around the exterior with taotie masks and archaic style motifs on a diaper-pattern ground, the globular body supported on three legs terminating in clawfeet issuing from mythical-beast heads, set with a pair of S-shaped handles, with hardwood stand and cover with jadeite finial, original metal liner.
15.1cm (6in) wide. (3).

清乾隆 剔紅饕餮紋三足爐

Provenance:
Spink & Son Ltd., London (label)
Parry Collection, London, and thence by descent

來源:
倫敦古董商Spink & Son Ltd.(標籤)
倫敦Parry家族收藏,並由後人保存迄今

See a related carved cinnabar lacquer tripod incense burner and cover, second half of the 18th century, without handles but with similar globular body and carving, in Brighton Pavilion until 1848, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, vol.III, London, 2015, p.873. See also a related cinnabar lacquer box and cover in the form of a tripod ding, Qianlong/Jiaqing, illustrated by D.Clifford, Chinese Carved Lacquer, London, 1992, p.138, pl.113.

Drawing inspiration from antiquity in form and design was strongly advocated by the Qianlong Emperor who actively guided the production of Court lacquerwares. He proposed to 'restore ancient ways', referring to the view of ancient culture as having intrinsic qualities of sincerity, simplicity and happy exuberance. For this purpose the Emperor instructed the Court to collect drawings of antiquities, such as the Xi Qing Gu Jian (Catalogue of Xiqing Antiquities); see Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50; and see Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, p.117, and for Qianlong period archaistic lacquer examples see nos.167-169.

Compare with a carved cinnabar lacquer tripod bowl and cover, Qianlong, without handles, but of similar globular form, which was sold at Sotheby's Hong Kong, 2 June 2017, lot 666.

造型古雅,獸面蹄足上承半球形腹,口沿兩側各有一曲耳,器外壁以錦地饕餮紋為飾。布萊頓英國皇家行宮內於1848年前藏有一例十八世紀下半葉剔紅鼎式帶蓋香爐,與本例形制相似惟無附耳,圖見J.Ayers著,《Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen》,卷三,倫敦,2015年,頁873。另參考一例清乾隆/嘉慶剔紅鼎式帶蓋盒,收錄於D.Clifford著,《Chinese Carved Lacquer》,倫敦,1992年,頁138,圖版113。

乾隆帝十分推崇自古物中取材器物造型與設計,其慕古之情對清代宮廷漆器藝術之影響甚深。亦因其提倡「復古」,當時清宮內匯集大量古物圖譜如《西清古鑑》等,相關討論可參見張麗端《宮廷之雅:清代仿古及畫意玉器特展圖錄》,台北,1997年,頁49-50。另有多例乾隆年間的仿古漆器,見《和光剔彩——故宮藏漆》,台北,2008,編號167-169,可為參考。

香港蘇富比曾於2017年6月2日售出一座清乾隆剔紅三足蓋盌,拍品編號666,可資比對。

[ translate ]
Sale price
Unlock
Estimate
Unlock
Time, Location
02 Nov 2021
USA, Bond Street, NY
Auction House
Unlock