RARE ET IMPORTANT BRULE-PARFUM TRIPODE EN BRONZE DORE ET EMAUX CLOISONNES

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'The passion for decorative arts guided our initial steps towards other cultures in which utility by itself was not enough, and yet it added beauty. The mixture of the useful and the beautiful: why not the fusion between the useful and that which also soothes the soul? The use of enamel on mainly liturgical objects arises from a need resulting from the high costs of other decorative elements such as precious stones and metals. Surely, the enamelling technique so well developed in the West, take Limoges for example, arrived and was developed in China. And, as so often happens, the student surpassed the master, not only in the application of the enamelling technique, but also in the exploitation of its uses. The encounter with Sir Harry Garner's book* played a critical role in forming our interest. Constant visits to antique dealers, museums, auction houses, and other books from the growing, although not overly-ample, library on the subject finally shaped our desire to start a collection of this artwork. What therefore began as a primary interest in the art of Europe's Middle Age transformed into our passion for Cloisonné. We believe this collection represents a fine example of the evolution of this art form through its distinct "schools," periods, and styles. We would like to thank all of those who, in one way or another, have contributed to our efforts and interest. Without naming them individually, we are sure that through these lines they will recognise their contribution.' Juan José Amezaga. * Sir Harry Garner, Chinese and Japanese Cloisonné Enamels, London 1962. CHINESE CLOISONNE TECHNIQUES Enamels in China were based on those of Western Asia and Europe. They were made in the first place as a substitute for precious stones in jewellery. When the craftsmen were able to make glass, coloured glass replaced the precious stones. At first, the glass was cut to shape and mounted in the same way as the natural stones. Later, cells were prepared into which glass fragments were placed and fired until they melted to form a true enamel. The difficulty of obtaining a secure attachment of the enamel to the metal forced the early craftsmen to enclose the enamels in small cells. There are three ways of doing this, known as 'cloisonné', 'champlevé' and 'repoussé'. The present collection illustrates two of these techniques. Applying the 'cloisonné' technique, the craftsmen made cells of thin wire which were attached by soldering to the metal base. In the 'champlevé' technique, the cells were carved out in the solid metal. As a technique, 'champlevé' is simpler than 'cloisonné' and one might have expected that it would have been the first type of enamel to be used. In fact, 'cloisonné' was used centuries before. The reason is that 'cloisonné' was the most economical way of using the precious gold to the best advantage with less waste. BASES AND WIRES The bodies of the cloisonné pieces were made either of copper or an alloy of copper with other metals, to which the term bronze was generally applied. The gilded fittings such as handles, covers and feet were also made of one of these two metals. Thus, the alloys used for cloisonné pieces were not, strictly speaking, bronze. The earliest cloisonné pieces were made with bases of cast bronze. They were then heavy. In the early 16th century cast bases began to be replaced by bases built up from metal sheet. Thin sheets, generally of copper, were hammered into shape and soldered together to form the base. The wires used in Ming cloisonné were invariably of bronze, hammered from ingots, and all exposed fittings were made of the same material. It was during the second half of the 17th century that the bronze began to be replaced by copper. This material, much softer, was particularly suitable for the new technique introduced at that time in China and which consisted to draw the wires through dies. However, the wires and exposed fittings, whether of bronze or copper, were always gilded at the time of the manufacture. Another technical feature in the manufacture of cloisonné that changed a great deal was the method of attachment of the wires to the base. In the earlier work solder was always used. On some places the solder oozed through the enamel or spread at the junctions of the wires. Both are characteristics of the early pieces (cf. detail of lot 1). The alternative method of using an adhesive of vegetable origin that burnt up in the heat of the enamelling process, leaving the wires to be held in place by the enamel, appeared in China probably during the late 17th century/early 18th century. COLOUR CHANGES FROM MING TO QING The enamels of the first half of the 15th century were simple, consisting in turquoise-blue used for the background, dark green, cobalt-blue, red, yellow and white. Later on, other colours were used to supplement the simple palette of the early 15th century. The first new colours consisted of a semi-translucent purple and the so-called 'mixed-colours' consisting of large fragments of paste of different colours fired so that they are joined together but not completely fused into each other. This particular colour consisting of red and white fragments is the so-called 'Ming pink' which served as the only pink until the rose-pink enamel derived from gold appeared in the 18th century. At the end of the 15th century or at the beginning of the 16th century, these colours were followed by a mixed colour made of fragments of yellow and green. In the early 16th century further new colours were introduced. These included a turquoise-green ground and a semi-translucent brown. The cobalt-blue became dull and greyish and used only to a limit extend. By the middle of the 16th century, more complex mixed colours were in use, sometimes as many as three separate pastes being used for a single colour. The 17th century saw the most complex colour schemes with a great variety of mixed enamels, sometimes with four colours in combination in a single cell. In the early 18th century the introduction of the rose-pink enamel derived from gold transformed the colour scheme. New colours were brought and were paler and less effective than the earlier ones. DECORATIONS AND SHAPES FROM THE 15TH TO THE 18TH CENTURY Lotus scrolls form a prominent feature in cloisonné decoration of all periods but a close study shows considerable changes in detail design from period to period. The 15th century scrolls were designed so as to cover the available space, so that no subsidiary scroll-work was necessary to fill in the background (cf. lot 1). The tripod censer ding (cf. lot 2) is typical from the 15th century. It is decorated with lotus scrolls with double-lined stems, band of cloud and gilt-bronze circular bosses. These latter being a familiar feature in 15th century celadons. The handles are decorated in champlevé. This simple colours and lotus designs, the elegance of the shapes (for ceremonial use) make these cloisonné wares particularly striking. At the beginning of the 16th century, rapid changes occurred. Although the cloisonné of the 16th century rarely reached the standard of the 15th, it showed much greater variety. The most important changes were the development of an entirely new range of enamels with the so-called 'Ming pink' (cf. lot 5) and the opening up of the designs which necessitated the introduction of background scroll decoration (cf. lot 8). Among the well known 16th century patterns were the grape vines and fruiting branches such as those on lots 5 and 8. The mandarin ducks swimming on a lotus pond were also a recurrent motif (cf. lots 6 and 8). A very rare piece is the cloisonné dish decorated with a central dragon and bearing the mark of the emperor Jiajing (1522-1566), as very few marked examples are recorded (cf. lot 10). Another change of the 16th century was the shape of the incense burners. The type of ding was superseded by one in which the feet had become shorter and the side-handles were replaced by loop-handles forming an integral part of the mouth rim (cf. lot 7). Another shape found in cloisonné of the 16th century was the meiping shape (cf. lot 4). During the Transitional period (early 17th century) the decoration continued to be based on lotus scrolls and the enamels didn't show very much changes over those of the 16th century. Despite this continuity, the mixed enamels tended to be more finely divided, a new enamel appeared and was used widely: a yellow-green derived from a green enamel paste with fine specks of yellow (cf. detail of lot 11). Among the new cloisonné wares of the 17th century were panels decorated with figures and landscapes (cf. lot 3). At the end of the Transitional period, small intimate pieces of distinctive shapes were produced, with a preference for foliated sections and a great use of archaistic dragons supplemented by good luck characters (cf. lots 16, 17 and 18). Although it is not easy to say at what stage during the 17th century, the new techniques (discussed earlier) were introduced, it seems that a turning point was reached when a new factory for the manufacture of cloisonni enamels was set up in Beijing round about 1680. During his reign, the emperor Kangxi (1662-1722) seems to have taken a special interest in the manufacture of cloisonné vessels for use in Buddhist temples. It was his practice to present to these temples, at their inauguration, sets of ritual vessels. The main decoration was still provided by lotus scrolls and (or) archaistic designs but less formal motifs appeared such as flowering plants, trees, rocks, animals, butterflies Lot 19 is a perfect example of this symbiosis. No pieces of cloisonné are known with a Yongzheng mark (1723-1735) but there can be no doubt that pieces belonging to his reign are in existence. They are almost certainly attributed to the Qianlong reign. For the Qianlong period (1736-1795), there is a wealth of material including many pieces with the mark. The enamels colours were distinctive: the rose-pink of course but also a dark turquoise-green, a number of pale yellowish-green enamels and new purple and lilac shades (cf. lot 24). The decoration continued to use the archaistic patterns (dragons, chilong, taotie) but in a much more decorative way (cf. lots 23 and 25). The classical lotus scroll tended to be much more elaborated with a roccoco lotus flower and foliate stems in the pure 18th century style (cf. the jacket of the two figures lot 27) To this floral repertoire was also added an abundance of new flowers for which lot 34 is a magnificent illustration. The variety of shapes made during this period is particularly striking. Many large vessels continued to be offered for the Buddhist temples or kept for the Palaces (cf. lots 23, 25, 26, 27, 30 and 34) though an extensive group of small pieces (vases, incense burners, brush rests), invariably decorated with lotus scrolls, was produced to be displayed on cabinets (cf. lots 31, 32, 40, 41 and 42). Mention has to be made of the figures of animals and birds which were made in a great number in the 18th century when models of animals were particularly in favour. Some of these animals are much rarer than others such as the parrot of the exceptional bird cage offered here (cf. lot 38) and the chimera censer (cf. lot 22). The treatment of both pieces is naturalistic and of high execution. Ducks also were particularly appreciated by the emperor and the pair of ewers presented here is one of the finest example ever produced (cf. lot 24). Human figures, on the contrary, are very rare in cloisonné. The earliest examples date from the 17th century. The superb pair of figures offered in the present sale (cf. lot 27) is one of the rarest representation of human beings ever seen. Both are portraits of foreigners from West of China's border. In addition to the historical interest they represent, they also embody the talent of the craftsmen who combined both the 'cloisonné ' technique and the 'champlevé' technique to give one of the most magnificent cloisonné ware.

RARE ET IMPORTANT BRULE-PARFUM TRIPODE EN BRONZE DORE ET EMAUX CLOISONNES

CHINE, DYNASTIE MING, XVEME SIECLE

細節

RARE ET IMPORTANT BRULE-PARFUM TRIPODE EN BRONZE DORE ET EMAUX CLOISONNES
CHINE, DYNASTIE MING, XVEME SIECLE
Reposant sur trois pieds galbés, chacun orné d'un lotus, la panse circulaire décorée en émaux de couleurs vives, de rinceaux feuillagés et lotus épanouis ou en boutons, les anses élégamment cambrées et rehaussées de grecques et de lotus
Hauteur: 14,6 cm. (5¾ in.), Largeur: 33,2 cm. (13 in.)

來源

Bluett & Sons Ltd. London, 4 July 1985.

注意事項

No VAT will be charged on the hammer price, but VAT payable at 19.6% (5.5% for books) will be added to the buyer’s premium which is invoiced on a VAT inclusive basis

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A RARE AND IMPORTANT GILT-BRONZE AND CLOISONNE ENAMEL TRIPOD CENSER
CHINA, MING DYNASTY, 15TH CENTURY

拍品專文

The scrolling lotus pattern of undulating veins encircling each formalised lotus bloom, appears on a number of early 15th century cloisonné vessels.
Compare with circular censers of comparable date decorated with similar floral treatment: the first, applied with phoenix handles and cabriole legs in the Musée des Arts Décoratifs, Paris, illustrated by Sir Harry Garner, Chinese and Japanese Cloisonné Enamels, London 1962, no. 15 ; and the pair sold in our Hong Kong Rooms, The Imperial Sale, 29 April 2001, lot 598.

Cf. two polychrome ceramic censers both enamelled with similar scrolling lotus blooms in varied colours and comparable strap-handles, the first without a reign mark, in the Palace Museum, Beijing, illustrated in Porcelains in Polychrome and Contrasting Colours - The Complete Collection of Treasures of the Palace Museum Hong Kong 1999, p. 39, pl. 36; and the other bearing a six-character Wanli reign mark, in the Tokyo National Museum, illustrated in The World's Great Collection - Oriental Ceramics, Vol.1, Kodansha International Ltd. 1982, pl.125. Both these examples are related to a group of cloisonné censers that were popular during the Yongle/Xuande period.