AN IMPERIAL GILT-BRONZE ARCHAISTIC TEMPLE BELL, BIANZHONG MARK AND PERIOD OF KANGXI (DATED IN ACCORDANCE WITH 1715)

the large bell finely cast, suspended from a double-headed dragon handle, each beast powerfully cast with eyes bulging and nostrils flaring above long curling whiskers, the mouth clenched open to reveal its tongue thrust between sharp fangs, with a pair of straight horns extending back over its head along a combed mane with fine details, the two scaly bodies intertwined and crouching in ambush, the large barrel-shaped body with four panels of alternating bosses and trigrams, divided by two rectangular panels, one inscribed with the characters Kangxi wushisi nian zhi ('Made in the 54th year of Kangxi') corresponding to 1715, and the other with zhonglü (the sixth tone)

There are bruises and dents to the extremities, but the dragon finial itself is in good condition. The gilding is rubbed away in areas.
"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."

During the Qing dynasty bianzhong were produced for the court and they became an essential component of Confucian ritual ceremonies at the Imperial altars, formal banquets and processions. The music produced by these instruments was believed to facilitate communication between humans and deities. Gilt-bronze bells of this type were assembled in sets of sixteen and produced twelve musical tones, with four tones repeated in a higher or lower octave. Of equal size but varying thicknesses, these bells were attached to tall wooden frames in two rows of eight, as depicted by Guiseppe Castiglione (1688-1766) in his painting Imperial Banquet in Wanshu Garden (ca. 1755), included in the exhibition Splendors of China's Forbidden City. The Glorious Reign of Emperor Qianlong, The Field Museum, Chicago, 2004, cat. no. 101.

Four sets of bells of this form appear to have been created during Kangxi's reign; the first two sets in the 52nd year (1713) and the second two sets in the 54th year (1715), and are believed to have been made for the Temple of Agriculture in Beijing. Several bells from the latter sets have been offered at auction. See two examples, one of yingzhong tone and the other of huangzhong tone, sold in these rooms, 8th April 2010, lot 1858, and 7th October 2010, lot 2105 respectively; a pair, of yingzhong and ruibin tones, sold at Christie's Hong Kong, 1st December 2009, lot 1942; and two sets of five bells, formerly in the Audrey B. Love collection, sold at Christie's New York, 20th October 2004, lots 455 and 456.

For bells from the set dated to 1713, see one sold in our New York rooms, 24th April 1975, lot 240; and two sold in these rooms, 9th October 2007, lot 1327, and the other, 17th May 1979, lot 454.

The dragons surmounting this bell are known as pulao, which according to ancient Chinese legend is one of the nine sons of the dragon. In this myth it was said that pulao resided close to the shore while his arch enemy, the whale, lived in the ocean. Whenever the whale would come to attack, pulao would sound a roar. The structure of a bell is thus associated with this legend; the clash of the bell, pulao, with the striker, the whale, would result in the dragon producing its loud ringing roar.