清乾隆 白玉雕仿古饕餮紋螭龍耳三足蓋爐

the rounded sides finely carved with two archaistic taotie masks divided by ingot-shaped flanges and set with opposing chilong form handles, all supported on three short curled feet, the domed cover carved with a similar taotie motif surmounted by an openwork coiled dragon finial, the stone of an even white color (2)

T.B. Kitson, Esq收藏
倫敦蘇富比1961年5月30日，編號430
John Sparks Ltd.，倫敦

There is a chip to the head and a minute chip to the end of the lingzhi sprig held in the mouth of the chilong finial. There are some minute nicks along the rim of the censer mouth. Overall the censer is in good condition. The stone has a lustrous polish and even color with some cloudy inclusions on the base.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

According to palace records, the Qianlong emperor had exacting standards for his jade, especially when it came to the quality of the stone. He frequently questioned officials in charge of the jade atelier regarding their selection of craftsmen and the quality of their work.

The present censer is outstanding not only because it is carved from stone of exceptional quality and color, but also for its fine carving and elegant form. The gently rounded body carved in low relief and flanked by mirror-imaged chilong clinging to its sides is perfect for highlighting the ideal beauty of the stone. In a continuation of the Song dynasty tradition of carving jade vessels in the form of archaic bronzes, the Qing dynasty, adapted classical forms and reinterpreted them in new ways.

It is clear that the decoration on the present censer takes its inspiration from ritual bronze vessels such as the Western Zhou dynasty gui, sold in these rooms, 17th September 2013, lot 3; and the coiled chilong finial crowning the cover resembles Han dynasty bronze weights such as the one also sold in these rooms, 19th March 2013, lot 67. The increased supply of jade during Qianlong's reign made it feasible and attractive to reproduce the shapes and styles of decoration found in ceramics and bronzes. 

For a Qianlong period white jade censer of a similar shape but with flared handles, see Humphrey Hui, Tina Pang, and Michael Liu, Virtuous Treasures: Chinese Jades for the Scholar's Table, Hong Kong, 2008, cat. no. 11; and an example with similar taotie decoration and ingot-shaped flanges was sold at Christie's Hong Kong, 1st June 2011, lot 3564.