A large cloisonné enamel 'lotus' tripod censer and cover, Qing dynasty, Qianlong period | 清乾隆 掐絲琺瑯纏枝蓮紋三足爐連蓋
Auction Closed
November 1, 04:48 PM GMT
Estimate
40,000 - 60,000 GBP
Lot Details
Description
A large cloisonné enamel 'lotus' tripod censer and cover
Qing dynasty, Qianlong period
清乾隆 掐絲琺瑯纏枝蓮紋三足爐連蓋
(2)
Overall height 52.8 cm, 20¾ in.
This lavishly decorated censer exemplifies the apogee of artistic and technical achievement of cloisonné enamel craftsmanship during the Qianlong period. The censer is of ding form, based on the shape of archaic ritual vessels of the Shang dynasty. Its cauldron-like shape, standing on three stout legs, reflects the predilection in the Ming and Qing periods for vessels in the form of archaic bronzes of the Shang and Zhou dynasties. Although the overall outlines of the archaic models were retained, the craftsmen liberally applied more contemporary lotus scrolls to the body.
Cloisonné enamel censers of this impressive size and decoration were made for the many temples located within the Palace compound. It was the Qianlong emperor who decided that the shapes of altar vessels should reflect those of archaic ritual paraphernalia. He ordered the Grand Secretaries to use classical material when designing ritual objects, and insisted that all designs had to be approved by him before manufacturing. Ritual objects designed under Qianlong's reign were 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 on an altar in front 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 Buddha's wisdom that lightens 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 Chiumei Ho and Bennet Bronson, Splendours of China's Forbidden City, Chicago, 2004, pl. 32.
Compare a similar example, presented to Queen Victoria in 1896 by Li Hongzhang, the Chinese Ambassador on behalf of the Emperor of China’s mission, and now in the Royal Collection of His Majesty The King, illustrated in John Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume III., London, 2016, pl. C&J 2106; and another one, sold in these rooms, 9th November 2011, lot 406.
Cloisonné enamel censers of this impressive size and decoration were made for the many temples located within the Palace compound. It was the Qianlong emperor who decided that the shapes of altar vessels should reflect those of archaic ritual paraphernalia. He ordered the Grand Secretaries to use classical material when designing ritual objects, and insisted that all designs had to be approved by him before manufacturing. Ritual objects designed under Qianlong's reign were 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 on an altar in front 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 Buddha's wisdom that lightens 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 Chiumei Ho and Bennet Bronson, Splendours of China's Forbidden City, Chicago, 2004, pl. 32.
Compare a similar example, presented to Queen Victoria in 1896 by Li Hongzhang, the Chinese Ambassador on behalf of the Emperor of China’s mission, and now in the Royal Collection of His Majesty The King, illustrated in John Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume III., London, 2016, pl. C&J 2106; and another one, sold in these rooms, 9th November 2011, lot 406.