清乾隆 廣東銅胎畫琺瑯西洋人物圖沖天耳鼎式蓋爐 《大清乾隆年製》款 |

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This large and opulently decorated covered incense burner, modelled in the form of an archaic bronze fangding vessel, would have been commissioned by the Imperial court from workshops at Guangzhou. Since the technique of enamelling on metal was introduced by Jesuit missionaries residing in Guangzhou around 1684, the craftsmen of Guangzhou proved so proficient in the new craft that by 1716 the Kangxi Emperor is known to have summoned two artisans from there to work in the enamel workshop of the Imperial Household Department in the Palace. By the Qianlong Emperor’s reign, the art of enamelling on metal had reached exceptionally high standards, and this art form continued to receive the Emperor’s foremost interest and patronage.

The distinctive seal mark on the underside of the incense burner, enamelled in blue in zhuanshu (seal script), is also found on a European-subject enamelled vase illustrated by Yang Boda in the catalogue to the exhibition Tributes from Guangdong to the Qing Court, Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1987, cat. no. 44, where the original archival records of the Guangdong Maritime Customs Office and Imperial Household Workshop are discussed. These reveal the extent to which the Imperial Household oversaw the process of production, including the Emperor himself approving specimens of the seal marks. For other examples of Qianlong reign-marked Guangzhou-enamelled metalwork decorated with European subject matters, see a vase in the British Museum, illustrated in Soame Jenyns and William Watson, Chinese Art II, New York, 1980, p. 162, pl. 113 and a fangzun-shaped vase from the collection of Arthur Harris, sold at Bonhams Hong Kong, 24th November 2012, lot 540.