Importante paire de grands vases en bronze doré et émaux cloisonnés Chine, dynastie Qing, marque et époque Qianlong (1736-1795)

de forme gu, à décor de différentes fleurs dans leur feuillage sur fond turquoise, l'épaulement habillé d'une draperie nouée en bronze doré finement ciselé de motifs géométriques, le caractère shou de la longévité décliné tout autour du pied, marque à six caractères en cachet à la base ; petits manques (2)

Left vase in catalogue illustration The base shows a ca. 10cm wide V-shpaed crack as well as a ca. 8cm long crack, both extending from the rim into the base. There are two cracks to the gilt-bronze band around the foot. There are several areas of loss to the enamel immediately above the gilt-bronze band, the largest 2.3cm and filled in with wax, and a second measuring 2cm. The enamel around the splayed foot is a little dry and dirty. There is a ca. 15cm wide dent to the gilt-bronze band around the foot (visible in the catalogue illustration and not affecting the enamels). There are smaller areas of loss to the enamel scattered around the body and neck but overall the enamels on this vase are in very good condition considering the extremely large size and weight of the vase. Right vase in catalogue illustration There is a ca. 5cm long crack to the base extending from the rim into the base and there is a ca. 1cm large hole to the base sheet near where it is joined to the body of the vessel. There are several areas of loss to the enamel around the body, the largest measuring ca. 4cm. The colour of the turquoise ground shows some areas of lighter tone, possibly due to misfiring. Overall, the enamels on this vase are in overall very good condition considering the extremely large size and weight of the vase. Both vases are extremely large and very heavy. The gilding on the base and around the foot and neck is very rich.
"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."

Possibly made for furnishing the interior of one of the vast halls in the Forbidden city, this pair of cloisonne enamel vases is impressive for its large size and eye-catching decoration that simulates a brocade wrapped around the vessels. The design suggests the value placed on the vessels as well as on the art of 'ornamental presentation' during the reign of the Qianlong emperor. The implication is that a piece tied with a silk cloth is also rich in symbolism. The ribbon tied in a knot (jie) is a pun for good luck (ji), while the endless knot (panchang) symbolizes perpetuity and is one of the eight Buddhist symbols. This  design is better known from porcelain and enamelled wares; for example, compare a blue-and-white vase with the drape design in famille-rose enamels, in the collection of the Musee Guimet, Paris, included in the exhibition The Imperial Packing Art of the Qing Dynasty, Palace Museum, Beijing, 1999, pp. 160-161, cat. no. 66; and a zun form vase with the cloth motif in fencai enamels, illustrated in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p.359, pl. 40. See also a Beijing enamel jar and cover, in the National Palace Museum, Taipei, published in Enamel Ware in the Ming and Ch'ing Dynasties, Taipei, 1999, pl. 108. For a cloisonne enamel example, compare a Qianlong period twin-vase, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum. Metal-bodied Enamel Ware, Hong Kong, 2002, pl. 98, the two vases tied in a similar manner with a large brocade.

Cloisonné enamel wares of this magnificent size required the highest level of technical skills of artists working in the Imperial Manufactories that produced wares in a variety of forms and sizes for the emperor and the imperial court. They represent the grandeur of production in this specialized field, when a greater level of expertise and control were required in the decoration, casting and firing of large monumental vessels. Decorative pieces in imitation of ancient bronze wares are among the finest and most impressive examples known. See a set of cloisonné enamel ceremonial furnishings in the Qianqing gong (Palace of Heavenly Purity), depicted in situ, illustrated in Qingdai gongting shenghuo (Life in the Palace During the Qing Dynasty), Hong Kong, 1985, p. 56, pl. 69.

Smaller related archaic gu form cloisonne enamel vases have been sold at auction; see one sold in our London rooms, 15^th April 1983, lot 25; and another with animal mask handles sold at Chrsitie's London, 23^rd July 1973, lot 161.