AN OUTSTANDING IMPERIAL CARVED CINNABAR LACQUER 'DRAGON' BOX AND COVER QING DYNASTY, QIANLONG PERIOD

of large rectangular form supported on four short feet, the flat top surface with subtly rounded edges exceptionally well carved and incised in shallow relief through the rich red lacquer with three ferocious leaping five-clawed dragons in mutual pursuit of a 'flaming pearl', the faces of the beasts meticulously incised with bulbous eyes, flaring nostrils and long curling whiskers above gaping jaws revealing sharp fangs and below a pair of horns at the forehead, their long scaly bodies writhing and thrashing powerfully through tumultous foaming waves reaching out with outstretched claws, the straight sides encircled by ornately carved lotus scroll meanders, the interiors and base lacquered in black

There are a few small nicks to the base of the box and expected age cracks to the interior, but otherwise the piece is in very good condition, and has been very well preserved.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Magnificently composed of three dragons jumping in pursuit of a flaming pearl, the dynamism and remarkable detail of the present piece reveals the opulent taste of the Qianlong emperor and the zenith of lacquer carving achieved during his reign. Rendered with ferocious expressions, gaping jaws that reveal sharp fangs, bulbous eyes and flaring nostrils, the intricately modelled scaly bodies thrash through the waves to create a brilliant scene of intense strength and energy. Moreover, the combed lines of the turbulent water and crashing waves provide a striking setting for the dragons. Boxes of this type were possibly made in the Lacquer Workshops of the Zaobanchu (Imperial Palace Workshop) located in the Forbidden City. The subject and style of carving are very similar to those of a smaller square box with carved cloud sides, in the National Palace Museum, Taipei included in the exhibition Carving the Subtle Radiance of Colors, Treasured Lacquerware in the National Palace Museum, Taipei, 2008, cat. no. 133.

The five-clawed dragon is symbolic of the emperor and the pairing of dragons and flaming pearl that adorns this box appears to represent a combination of elements from two separate traditions, the dragon from Chinese mythology and the jewel from Buddhist iconography. Often referred to as a pearl in English, the jewel derives from the Buddhist ruyi baozhu, a talismanic wish-granting jewel that symbolises transcendent wisdom and can grant every wish, and the flames symbolise its magical powers. Expanding upon Buddhist tradition, Chinese lore maintains that the magical jewel is obtained not only from the relics of a Buddha, but from the dragon-king of the sea or from the head of the mythical hybrid creature known as a makara. The motif of dragon-and-pearl thus associates the dragon with knowledge and supernatural powers, which was highly suited to the emperor, whose status was said to be heaven-endowed.

Carved cinnabar lacquer boxes of various shapes contain this dragons and pearl motif, although it is more common to find waves carved on the sides; for example, see a smaller rectangular version sold at Christie's Hong Kong, 31^st October 2000, lot 979; two circular boxes with Qianlong reign mark and of the period, one in the Palace Museum, Beijing, illustrated in Carved Lacquer in the Palace Museum, Beijing, 1985, pl. 310, and the other sold in our London rooms, 16^th May 2007, lot 75; a cylindrical box in the Asian Art Museum of San Francisco, San Francisco, illustrated in Chinese Art in Overseas Collections. Lacquerware, Taipei, 1987, pl. 154; and a quatrefoil-shaped version sold at Christie's London, 11^th December 1989, lot 273.

The inspiration for the present piece may have been drawn from Imperial Court robes (jifu), which formed part of the Imperial Wardrobe and were worn by the Emperor or Empress for occasions such as birthday celebrations. See a robe with similar decoration, but with dragons leaping amidst clouds and water, from the Qing Court collection, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Costumes and Accessories of the Qing Court, Hong Kong, 2005, pl. 60; and a silk table frontal with a central dragon clutching the pearl, flanked by two slightly smaller dragons, included in the exhibition Weaving China's Past: The Amy S. Clague Collection of Chinese Textiles, Phoenix Art Museum, Phoenix, 2000, cat. no. 22.

The regular, symmetrically arranged lotus scrolls around the sides reflect the influence of Western baroque styles introduced by the Jesuit artists working at court. A box of similar proportions and lotus scroll sides, but with two dragons in pursuit of a flaming pearl, in the Qing Court Collection and still in Beijing, is published in The Complete Collection of Treasures of the Palace Museum, op. cit., pl. 46.