拍品 2051

2051

A SMALL IMPERIAL CLOISONNE ENAMEL BOTTLE VASE

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Inspired by Antiquity: A Legacy of Imperial Cloisonne Enamels Rosemary Scott, International Academic Director, Asian Art Cloisonne enamels provide a fruitful topic for study in a number of different areas. They are an interesting example of East-West artistic and technological interchange; they provide the key to understanding some of the developments in Qing enamelled porcelains; and they highlight certain important themes in the decorative arts made for the Qing court. Examination of a limited number of metal objects, which have survived from the Western Zhou dynasty (1046-771 BC), suggests that the use of small amounts of enamel inlaid into metal may have been current in China from this early date. An iron axe blade in the collection of the Freer Gallery in Washington, D.C., and a bronze ladle in the collection of the British Museum, London, appear to have reddish brown glass-paste inlay, while the axe also has green glass-paste inlay. Technical analysis revealed that these were siliceous enamels coloured with cuprous oxide [1]. Both the axe and the ladle have been dated to the 11th century BC, and it has been confirmed that the siliceous enamels are original to the pieces. The use of what would have been applied as molten glass to provide decoration on metal also appears on items of the Warring States period, the Han and the Tang dynasties, albeit that objects thus decorated have not survived in great numbers. One of the candidates to be the earliest cloisonne enamel made in East Asia is a hexagonal bronze plaque with six-petalled flower motif, which was excavated from a 7th century tomb, known as Asago-zuka or Kengoshi tumulus near Asuka-mura, Takaichigun, Nara prefecture, Japan. This small plaque, now in the Yamato Rekishikan in Kashiwara, Nara prefecture, may have wires affixed to the surface to form the cells or may have individual dish-shaped elements to contain the enamel for each cell [2]. The most famous Tang dynasty example of what appears to include a mixture of cloisonne and champleve enamels is the magnificent mirror in the Shoso-in, in the Todai-ji, Nara. Although there has been scholarly discussion as to the date and provenance of this object, an 8th century date is widely accepted, and a Chinese provenance is probable on the basis of decorative style [3]. However it appears to have been in the Yuan dynasty that Chinese craftsmen began to produce fully developed cloisonne enamelled wares and their wares reached a high standard [4]. Chinese cloisonne enamels from the Yuan to the Qing dynasty were all made by affixing very thin metal strips to the surface of the metal body (usually copper or bronze) to create specifically-shaped cells. The cells were then filled with enamel mixture, which was then rapidly fired in a muffle kiln to approximately 680o to 720o C. The quick low temperature firing fused the enamel without melting the metal surrounding it. This was repeated until the cells were completely filled. The entire surface was then sanded-down with an abrasive, such as pumice, until smooth, and then polished. The surface of any of the visible wires and other metal parts were gilded. The cells created by the wires could either be used to separate areas of differently coloured enamels, or could be used to create texture within large areas of a single colour. The Gegu yaolun (jn The Essential Criteria of Antiquities) published by Cao Zhao L in 1388 contains a section on Dashi yao (Moslem Ware) which has been translated by Sir Percival David as reading: 'The base of this ware is of copper, and the designs on it are in five colours, made with chemicals and fired. It is similar to the Fo-lang-k'an (enamel ware). I have seen pieces such as incense-burners, flower vases, boxes, and cups, which are appropriate for use [only] in a woman's apartment, and would be quite out of place in a scholar's studio.' 'It is also known as Ware from the Devil's Country (Kuei-kuo yao) [5].' In his 1456 annotated edition of the Gegu yaolun Wang Zuo added a comment, which David translated as: 'In the present day a number of Yunnan people in the Capital [Peking] make wine cups [of this ware], commonly known as inlaid work of the Devils' Country (Kuei-kuo k'an).' 'The objects made in the Imperial Palace are fine, lustrous, and [therefore] delightful. [6]' The Chinese cloisonne enamels are known as falang W, indeed one of the names for cloisonne enamel is qiasi falang tW, or 'pinched wire' work. The term falang is applied to various types of enamel on metal and also to a particularly fine groups of porcelains decorated in overglaze enamel. There has been much scholarly debate as to which country or group of people in the West the term falang refers, however several scholars have pointed to the fine cloisonne enamel wares being made by craftsmen in the Byzantine empire in the 12th century and the fact that some of them share certain enamel colours with Yuan dynasty Chinese cloisonne wares [7]. It seems likely that Byzantine enamels provided inspiration for developments in Chinese enamel production. Although relatively few Chinese cloisonne enamels have survived from the period prior to the Ming dynasty Xuande reign, it would seem that wares of the 14th already demonstrated the sophisticated techniques associated with later wares, such as the use of at least seven different colours, and the application of two differently coloured enamels in a single cell to create the appearance of a third colour - red and yellow to create orangey-red, for example. There is some debate as to whether the application of red and white together in order to create pink was a Yuan or a Ming dynasty development. The enamels used were lead potassium silicates, more akin to the materials used by Western glass makers than to early Chinese glass, which was lead barium silicate. The link with glass makers was key to some of the innovations in enamel wares of the Qing dynasty, after the Kangxi Emperor established the Imperial Glassworks in 1696 under the directorship of a German Jesuit missionary by the name of Father Kilian Stumpf (1655-1720), whose Chinese name was Ji Li'an zw. Cloisonne enamels, specifically those made in the imperial ateliers, were able to benefit from developments, such as new colours, achieved by the Imperial Glassworks. These new colours and their innovative use are among the distinctive features of imperial cloisonne wares of the Qing dynasty. Records suggest that a number of imperial workshops were established by the Kangxi Emperor in 1680. These workshops, which grew in number, were established to manufacture, repair and maintain articles for use in the imperial household. The Glassworks and the enamel workshops came under the administration of the Zaobanchu, the Department of Palace Supply, within the Neiwufu, Imperial Household Department. The latter, which managed the day-to-day affairs of the court and the palace, was in fact the largest Qing dynasty central governmental organisation. The major parts of the Zaobanchu Imperial Workshops or ateliers, were originally set up in the Yangxin dian (Hall of Mental Cultivation), and even though many of them moved to the Cining gong (Palace of Benevolence and Tranquillity) in 1691 the phrase 'Zaobanchu of the Yangxin dian' continued to be used [8]. In 1709 significant additional workshop space was provided behind the Baihu dian (White Tiger Hall). In the Yongzheng reign some of the workshops were moved out of the Forbidden City, to become part of the Liusuo (Six Workshops). By the beginning of the Qianlong reign there were 38 workshops in the imperial palaces, and in 1758, 28 of these were amalgamated and reduced to 5, while the other 10 remained as they were. It is an indication of the importance attached to imperial enamels that the enamel workshop was one of those to remain intact. Indeed it is worth noting that in 1741 six more enamel workshops were added to those already established, in order to meet the demands of the court. Cloisonne enamels were therefore an important part of Qing court life. Enamelled objects from the Kangxi and Qianlong reigns were of a particularly high standard, benefiting from imperial patronage and exchange of technology between the imperial ateliers, as well as interesting developments in decorative style. A major influence on both the shape and decoration of enamel wares was the interest in antiquity evinced by the emperors themselves and other members of the elite. The expense of fine cloisonne wares was such that only members of this group would have had access to them. This interest in antiquity resulted in archaism being a significant aspect of the designs of cloisonne enamels. This was not a new development in the Qing dynasty, but can be said to have reached its zenith in the 18th century. The publication of illustrated books purporting to show bronze objects from antiquity provided inspiration for the decorative arts as early as the Song dynasty [9]. Some of these were catalogues of imperial collections, such as those of the Northern Song Emperor Huizong and the Qing dynasty Qianlong Emperor. It is certainly ancient bronzes, rather than ancient works in any other media that provided the major influence on archaistic styles in Qing enamelled wares, although influences from textiles, lacquer, and jade can occasionally be discerned. The current collection includes some especially interesting examples of enamels with archaistic forms and designs. One of the few jade forms to be represented among cloisonne enamels can be seen in Lot 2075, which takes its shape from an ancient jade cong. The rectangular section of the vase is not notched as on the original jade form, but has been left smooth in a manner similar to monochrome porcelain vases of similar date. The smooth surface facilitates the use of the sides to depict ornate pavilions in mountainous landscapes, which can also be seen on a small number of well-painted porcelains decorated in overglaze enamels. The collection includes a range of hu vases, which display aspects of archaism in different ways. The magnificent champleve hu Lot 2068 has taken inspiration for both its form and its decoration from cast bronze vessels of the Zhou dynasty, indeed the ancient form to which it refers is illustrated in the Qianlong Emperor's catalogue Xiqing gujian (Mirror of Antiquities [prepared in] the Western Halls), which was published between 1749 and 1755, while a supplement was published in 1793 . Although the decoration has been somewhat adapted from the Zhou original, the flattening and interlocking of the bands, as well as the distinctive indented wave band - around the neck of the vessel - make its origins clear. While the overall form of Lot 2071 is taken from ancient bronze vessels, the decoration has only selective archaistic elements. The bands around the foot and mouth both probably have their origins in the 'hanging blade' designs seen on cast bronzes of the Shang dynasty, while the angular debased dragon design around the shoulder probably takes its inspiration from inlaid bronzes of the late Bronze Age. A third hu vessel, Lot 2063, has a form that adheres very closely to a Han dynasty bronze shape, even down to the inclusion of three groups of narrow encircling bands, as well as the flattened mask and ring handles. In contrast, the squirrel and grape design which occupies all four broad decorative bands is not one associated with cast bronze vessels. The motif of grapes entered the Chinese repertoire in the Tang dynasty from the Near East and appears on mirror backs of that date. The combination of squirrels and grapes can be seen on painted porcelains of the Ming dynasty, and continued to be seen in that medium into the Qing. It is relatively rare in cloisonne enamels of the Ming and Qing dynasties. Several vases in the current collection owe their forms to ancient gu or zun vases. This serves to remind us that many cloisonne enamel vessels were linked to ritual, particularly Buddhist ritual. This latter fact is emphasised by the decoration on a particularly beautiful vase Lot 2067. The essential form of the vase comes from ancient gu vases, although the shape has been smoothed and rounded in this version. Part of the finely wrought decoration is inspired by that on cast bronze vessels, such as the blade form on the upper and lower sections. However, just below the rim are the bajixiang, Eight Buddhist Emblems, while on the inside of the mouth are four shou characters,which although they are normally more closely associated with Daoism, are here shown resting on lotus blossoms of the type usually seen with Buddhist emblems. The vase Lot 2052 incorporated some elements in its decoration that can be traced back to ancient bronze vessels, but it is aspects of its form that are perhaps more interesting. Firstly the lower part of the vessel has been significantly truncated compared to the bronze originals, and the neck is less flared. However the vessel does include the distinctive vertical flanges that were an integral part of this zun form in the Western Zhou period. The exceptional pair of square section vases Lot 2061 have shapes which have been skilfully adapted from a range of elements found on ancient bronze vessels of different periods. Square zun or gu vessels were made in the Western Zhou period, and indeed one of the former is illustrated in the Xiqing gujian. However, the reticulated, flattened dragon handles take their inspiration from a later period, while the dragons flanking the shou character in the middle section owe their posture to Tang dynasty dragons, while the frontal dragons on the upper and lower sections are in a stance that does not pre-date the Ming dynasty, and is typical of the Qianlong reign. The pair of miniature gu vases Lot 2060 serve as a reminder of the fascination with miniature objects amongst the Qing literati, and particular the Qianlong Emperor. Small, precious, vessels of this type were displayed in collector's cabinets, while even smaller examples would have been placed into intricate 'treasure' boxes. The gu vases were often part of sets of ritual vessels that could be placed on an altar. Central to such sets was a censer, which would have been flanked by the vases and a pair of candlesticks. The current collection includes several exceptionally fine cloisonne enamel censers. Lot 2058 is a square, four-legged censer with blade-shaped legs, which takes its form from Zhou dynasty vessels, a number of which are illustrated in the Xiqing gujian. Apart from elaboration of the masks on the legs and the finial on the top of the lid, the decoration on this vessels can clearly be traced back to its roots in antiquity, albeit combining elements from different periods and adding Qing dynasty flourishes. The two halves of the taotie mask flank the central vertical flange, while the mask itself is flanked by serpentine dragons which have their origins a little later in the Bronze Age. Interestingly, elements derived from such creatures have been used on the lid in scroll form to suggest another dissolved taotie, identified by its eyes. Perhaps the censer that can trace its basic form to antiquity, but most clearly represents the most magnificent 18th century style is the large and splendid tripod incense burner Lot 2064. All the elements of this vessel are of superb quality. The blade-shaped legs, the imposing phoenix handles, and the reticulated dragon and cloud finial are exquisitely cast and finely gilded. The cloisonne enamel decoration is of similarly exquisite quality. The wires forming the cells are especially fine and the cells themselves are often of very small size, giving the decoration a delicacy and a level of detail that is very rare on cloisonn? pieces. The design makes full use of the expanded palette of colours that was available to the imperial enamellers by this date, to produce a floral design of a complexity to rival the that painted on millefleurs enamelled porcelains of similar date. This vessel, perhaps more than any other exemplifies the technical excellence of the Qing craftsmen, the technological advances that provided their expanded palette, and the combination of archaism and modernity that is one of the characteristics of Qing court taste. [1] H. Brinker and A. Lutz, Chinese Cloisonn? - The Pierre Uldry Collection, New York & London, 1989, pp. 32-3. [2] Illustrated ibid., p. 37, fig. 15. [3] Illustrated by Ryoichi Hayashi, The Silk Road and the Shoso-in, New York &Tokyo, 1975, p. 116, pl. 126. [4] Yang Boda (ed.), Zhongguo meishu quanji: gongyi meishu bian 10 - Jin yin boli falangqi, mNuNs 10 Wn Beijing, 1987, p. 23. [5] Sir Percival David, Chinese Connoisseurship - The Ko Ku Yao Lun, The Essential Criteria of Antiquities, London, 1971, p. 143. [6] Ibid., p. 144. [7] B. Quette, 'The Emergence of Cloisonne Enamels in China', in Cloisonne Chinese Enamels from the Yuan, Ming and Qing Dynasties, New Haven, 2001, pp. 3-4. [8] For further discussion see Peter Y. K. Lam, 'Three Studies on the Glasshouse of the Qing Imperial Household Department', Luster of Autumn Water - Glass of the Qing Imperial Workshop, op. cit., p. 68. [9] Rose Kerr has discussed these publications in 'A Reverence for the Past: Influences from Chinese Antiquity', Cloisonne Chinese Enamels from the Yuan, Ming and Qing Dynasties, (B. Quette ed.), New Haven, 2001, pp. 88-91.

A SMALL IMPERIAL CLOISONNE ENAMEL BOTTLE VASE

QIANLONG INCISED SIX-CHARACTER MARK AND OF THE PERIOD (1736-1795)

细节

A SMALL IMPERIAL CLOISONNE ENAMEL BOTTLE VASE
QIANLONG INCISED SIX-CHARACTER MARK AND OF THE PERIOD (1736-1795)
The globular body of the vase is delicately enamelled with two hexafoil cartouches, each enclosing a lotus bloom with scrolling tendrils against a bright pink ground, surrounded by multi-coloured lotus and prunus sprays reserved on a turquoise ground. The long slightly waisted neck is decorated with further prunus sprays above a raised band of classic scrolls on a pink ground. The gilt base is incised with the reign mark in a horizontal line, above a single character Ji.
4 in. (10.1 cm.) high

来源

Sold at Bonhams London, 6 November 2006, lot 196

出版

Reverence and Perfection: Magnificent Imperial Cloisonné Enamels from a Private European Collection, Hong Kong, 2013, no. 42

荣誉呈献

Mathilde Courteault (Paris)

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拍品专文

Compare to a miniature gourd-shaped vase, similarly decorated with four hexafoil cartouches with lotus blooms on a pink ground admist floral sprays, from the Beijing Palace Museum Collection and illustrated in Compendium of Collections in the Palace Museum - Enamels (2) - Cloisonne in the Qing Dynasty (1644-1911), Beijing, 2011, no. 152.