- 141
Grand brûle-parfum couvert en bronze doré et émaux cloisonnés Chine, dynastie Qing, époque Qianlong (1736-1795)
Estimate
80,000 - 120,000 EUR
bidding is closed
Description
- bronze and enamel
reposant sur trois pieds cambrés émergeant de la gueule grande ouverte de masques de chimères en bronze doré, la panse globulaire ornée de chauves-souris en vol, symboles bouddhistes bajixiang et fleurs de lotus épanouies parmi des rinceaux feuillagés sur fond turquoise, les anses en forme de "S" et le col habillé de motifs géométriques, le couvercle à décor ajouré de chauves-souris en vol parmi les nuages stylisés et de cartouches ruyi à décor de lotus épanouis, chauves-souris et caractères shou parmi les rinceaux feuillagés, la prise ronde en bronze doré sculpté d'un dragon à cinq griffes, socle en bois sculpté (3)
Condition
The censer is in very good overall condition with expected very light wear to the gilding to the gilt-bronze masks to the legs and to the feet.
"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."
"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."
Catalogue Note
This censer is notable for its impressively large size and ornate decoration. Such cloisonné enamel vessels were made for the many temples located within the Palace compound. This censer takes its form from archaic ritual ding vessels of the Shang and Zhou periods. The Qianlong emperor decided that the shapes of altar vessels should reflect those of archaic ritual paraphernalia and ordered the Grand Secretaries to use classical material when designing ritual objects. Furthermore he insisted that all designs had to be approved by him before they were manufactured. Ritual objects designed for use in the Palace under his reign are illustrated in The Illustrated Regulations for Ceremonial Paraphernalia of the Qing Dynasty (Huangchao liqi tushu).
Censers of this type were generally part of a five-piece altar set comprising one censer in the form of a tripod ding, two candlesticks and two flower vases. The set would have been placed in front of a figure of a Buddha during ceremonies. Incense and flowers are mentioned in the Lotus Sutra as two of the main offerings, while the lamps and candles represent the Buddha’s wisdom that lights up darkness and dispels ignorance. See a five-piece cloisonné enamel altar set in situ in the Qianqing Gong (Mansion of Heavenly Purity), illustrated in the exhibition catalogue, Splendors of China’s Forbidden City, The Field Museum, Chicago, 2004, pl. 32.
Smaller censers of this type can be found in important museums and private collections; for example see one with a Qianlong reign mark and of the period, from the Palace Museum, Beijing, included in the exhibition China. The Three Emperors, The Royal Academy of Arts, London, 2005, cat. no. 44. This Palace Museum censer appears to be that exhibited at the Macao Art Museum, in Lightness of Essence, Macao, 2003, cat. no. 106-4, where it is identified as belonging to the Forilou Temple in the Forbidden City, The Forilou was built in the 37th year of Qianlong’s reign (1772) and was an important place for storing Buddhist scriptures. Compare another censer illustrated in Sir Harry Garner, Chinese and Japanese Cloisonné Enamels, London, 1962, pl. 70; another of related form decorated with flower blooms, illustrated in Gunhild Gabbert Avitabile, Die Ware aus dem Teufelsland, Hannover, 1981, pl. 92; one from the collection of the late Captain Herber Wootten, sold in these rooms, 12th March 1982, lot 208; and a fourth censer sold in our London rooms, 9th November 2011, lot 406.
Censers of this type were generally part of a five-piece altar set comprising one censer in the form of a tripod ding, two candlesticks and two flower vases. The set would have been placed in front of a figure of a Buddha during ceremonies. Incense and flowers are mentioned in the Lotus Sutra as two of the main offerings, while the lamps and candles represent the Buddha’s wisdom that lights up darkness and dispels ignorance. See a five-piece cloisonné enamel altar set in situ in the Qianqing Gong (Mansion of Heavenly Purity), illustrated in the exhibition catalogue, Splendors of China’s Forbidden City, The Field Museum, Chicago, 2004, pl. 32.
Smaller censers of this type can be found in important museums and private collections; for example see one with a Qianlong reign mark and of the period, from the Palace Museum, Beijing, included in the exhibition China. The Three Emperors, The Royal Academy of Arts, London, 2005, cat. no. 44. This Palace Museum censer appears to be that exhibited at the Macao Art Museum, in Lightness of Essence, Macao, 2003, cat. no. 106-4, where it is identified as belonging to the Forilou Temple in the Forbidden City, The Forilou was built in the 37th year of Qianlong’s reign (1772) and was an important place for storing Buddhist scriptures. Compare another censer illustrated in Sir Harry Garner, Chinese and Japanese Cloisonné Enamels, London, 1962, pl. 70; another of related form decorated with flower blooms, illustrated in Gunhild Gabbert Avitabile, Die Ware aus dem Teufelsland, Hannover, 1981, pl. 92; one from the collection of the late Captain Herber Wootten, sold in these rooms, 12th March 1982, lot 208; and a fourth censer sold in our London rooms, 9th November 2011, lot 406.