A CARVED THREE-COLOUR LACQUER CIRCULAR BOX AND COVER
A CARVED THREE-COLOUR LACQUER CIRCULAR BOX AND COVER

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A CARVED THREE-COLOUR LACQUER CIRCULAR BOX AND COVER
QIANLONG SIX-CHARACTER INCISED AND GILT MARK AND OF THE PERIOD (1736-1795)

The top of the cover deeply and crisply carved through the outer cinnabar-red layer to the dark green and amber layers of lacquer, with a large central Chun, 'Spring', character incorporating a medallion of Shoulao, hovering above a basket filled with auspicious objects, with three-colour rays radiating towards a pair of dragons amidst ruyi-clouds, the sides of the box and cover carved with figural landscape vignettes in shaped cartouches alternating with further auspicious symbols reserved in a two-colour diaper ground, with lingzhi scrolls at the rims, the inside of the cover with the four-character mark, Shou chun bao he, 'Treasure box of longevity and eternal spring', the gilded reign mark incised on the black-lacquer base
12 1/4 in. (31 cm.) diam., box

Lot Essay

The various themes of longevity on boxes of this type, with the large central Chun character, indicate that they were made for birthday celebrations or were commissioned by the emperor to be given away on the occasion of a birthday. The size of the boxes varies from about 31 cm. to 39 cm., but the composition remains the same for all boxes.

A similar box and cover in the Palace Museum, Beijing, is illustrated in Zhongguo Meishu Quanji, vol. 8, Lacquer, Beijing, 1989, pl. 172; one from the National Palace Museum, Taiwan, was included in the Special Exhibition of Palace Lacquer Objects, Taiwan, 1981, Catalogue no. 67, together with the Jiajing prototype of this box, no. 37; one from the Avery Brundage Colelction, is illustrated by Sir Harry Garner, Chinese Lacquer, London, 1979, p. 148, fig. 90; an example from the Manno Art Museum was sold in these Rooms, 28 October 2002, lot 568; and another was sold in our New York Rooms, 21 September 2004, lot 84.

For another Jiajing prototype, see the Illustrated Catalogue of Chinese Government Exhibits from the International Exhibition of Chinese Art in London, vol. IV, Miscellaneous, Nanjing, 1936, p. 87, fig. 4. It is interesting to note that the later Qianlong examples were specifically commissioned to emulate the quality and elaborate use of the different lacquer colours on the Ming prototype.

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