拍品 76
76
RARE ET IMPORTANTE CLOCHE ARCHAISANTE EN EMAUX CLOISONNES
RARE ET IMPORTANTE CLOCHE ARCHAISANTE EN EMAUX CLOISONNES
RARE ET IMPORTANTE CLOCHE ARCHAISANTE EN EMAUX CLOISONNES
14 更多
RARE ET IMPORTANTE CLOCHE ARCHAISANTE EN EMAUX CLOISONNES
17 更多
ƒ: In addition to the regular Buyer’s premium, a c… 顯示更多 PROPERTY OF A LADYFurther testament to Emperor Qianlong’s fascination with antiquity: A superb cloisonné enamel bell with Qianlong markYang YongAs a rule, the sacred rituals of the Zhou dynasty commenced with resounding music made with instruments such as bronze bells, in a bid to facilitate communion with gods and ancestral spirits. Paeans extolling the merits and virtues of forebears followed. Bronze bells from the Zhou period provided the inspiration for an archaistic cloisonné enamel bell, which will be presented this fall by Christie’s Paris (fig. 1). The bell features a loop and a pair of chi dragons as well as taotie masks against a green ground on both its flat top and in the lowest register of decoration. The raised bosses usually seen in the midsection of the bronze prototypes here give way to yellow rings flush with the surface. The upper section of the bell is decorated on one side with two chi dragons pursuing pearls, while a reign mark of Qianlong nianzhi in double squares appears between two chi dragons on the other. The entire bell is covered in rich, lustrous enamels applied in a network of wire cells, rendered with even thickness and painstaking precision, and showing few signs of spillovers. It is elegantly shaped and a pleasure to handle (weighing 4.5 kg.), and the gilding is thick and evenly applied, leaving no doubt that this is a work from the Palace workshops of the Qianlong reign.Following the inception of the Qing dynasty, three of its emperors, namely Kangxi, Yongzheng and Qianlong, all made a point of insisting their rule be seen as part of the Chinese orthodoxy rather than that of barbarian interlopers. Against this backdrop, the Qianlong emperor presided over a period of political stability, economic prosperity and a great revival of antiquity. The dynamic, robust shapes of the prototypes of archaistic works such as the current lot subsequently morphed into more sensual forms, leading to the decline and eventual disappearance of the awe-inspiring ferocity often seen in sacred vessels from the Xia, Shang and Zhou dynasties. These works offer us a taste of the lasting influence of antiquity yet remain distinctly different from the originals they were based on. Published in the 20th year of the Qianlong reign, the Xiqing gujian features 42 bronze bells of various forms (fig. 2). During the 24th year of the Qianlong reign, eleven bozhong or flat-bottomed ritual bells were unearthed in Linjiangfu in Jiangxi province and later presented by the provincial governor to the Imperial court. The emperor’s own examination revealed that these were Zhou relics, and the Pengyingzaiwang in the vicinity of Yingtai was subsequently renamed Yungutang (“Hall of Rhyming Antiquity”) and was designated as the place for the collection. To mark the occasion, the emperor also composed Yungutang ji (“On the Yungutang”), which is included in Initial Collection of Imperial Literary Works, Volume VII. In the 29th year of his reign, the emperor wrote another poem entitled “In praise of a Zhou bell with a loop and decorated with chi dragons”. By the 42nd year of his reign, six more Imperial poems were composed celebrating the set, a powerful testament to his fascination with these bells. As shown in fig. 2, one prominent feature of these niuzhong or bells with a loop with dragon decoration is the taotie masks in their lowest registers, which may well have inspired the present bell.Cloisonné enamel works in the form of bronze bells are exceedingly rare. Three are now preserved in the collection of the Palace Museum, Beijing (fig. 3-5) and the only one to come to the open market was sold by Christie’s New York in 2008 (fig. 6). While the example shown in fig. 5 is dated to the late Qing, the other three are all from the Qianlong reign. The four cloisonné enamel Qianlong bells compare very closely in terms of workmanship, but the current lot is significantly larger than those from the Palace Museum collection (as illustrated in the table below). It is also worth noting that the present bell bears a Qianlong mark. Closer scrutiny reveals no sign of chipped glaze or wax fill-ins round the inscribed metal plate, suggesting that the cloisons that form the decorative pattern and the inscribed plate must have been affixed well before the enamel-filling and firing. In other words, there is simply no way that the reign mark could have been added at a later date. The collection of the Palace Museum, Beijing boasts some 3,600 cloisonné enamel works, yet those bearing reign marks account for less than 30%. What is the real significance of such inscriptions found on Imperial wares? According to the Qing Archives of the Imperial Workshops, one of Emperor Yongzheng’s edicts stated, “Of all the wares made, inscribe only those well-made; otherwise, no inscription is required.” The Qianlong Emperor similarly remarked, “Have someone examine the red lacquer shelf. Inscribe it if it is well-made; if not, just send it in.” Viewed in this light, it is safe to say that the present bell, with its Imperial Qianlong reign mark, must have been highly appreciated by the emperor and hugely satisfying to his aesthetic taste.
清乾隆 掐絲琺瑯螭鈕鐘 方框四字刻款

CHINE, DYNASTIE QING, MARQUE INCISEE A QUATRE CARACTERES DANS UN CARTOUCHE EN BRONZE DORE ET EPOQUE QIANLONG (1736-1795)

細節
清乾隆 掐絲琺瑯螭鈕鐘 方框四字刻款
Hauteur: 27 cm. (10 5⁄8 in.)
來源
英國私人珍藏，購於二十世紀上半葉，后家族傳承
注意事項
ƒ: In addition to the regular Buyer’s premium, a commission of 5.5% inclusive of VAT of the hammer price will be charged to the buyer. It will be refunded to the Buyer upon proof of export of the lot outside the European Union within the legal time limit. (Please refer to section VAT refunds)
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英國私人珍藏

乾隆倣古的又一例證——乾隆款掐絲琺瑯螭鈕鐘
楊勇

周代舉行宗廟祭祀時，須先以銅鐘之類奏樂，激揚和聲，以感通神靈，進而敬獻頌歌，以報祖先之功德。今年的巴黎佳士得秋拍出現一件模仿周代青銅鐘製作的掐絲琺瑯螭鈕鐘（圖1），舞部及鼓部裝飾綠地饕餮紋，中部原本凸起的枚改由平面的黃色圓圈表現。鐘的上部一面裝飾雙螭戲珠，另一面的雙螭中間有“乾隆年制”雙框楷書款。整器釉色純正，掐絲粗細均勻，填釉嚴謹，少見出廓現象，器形規整，手感頗佳（重4.5KG），鎏金厚而均勻，明顯屬乾隆年間的造辦處作品。
滿清王朝建立以後，康熙、雍正、乾隆三位皇帝極力宣揚自己並非蠻夷，同樣屬於華夏正統。在此背景之下，乾隆當政時期政治穩定，經濟繁榮，倣古活動發展到了頂峰。琺瑯鐘等倣古器的線條大都由剛健有力轉向柔和，夏商周三代禮器的獰厲之美隨之消失，令觀者能夠感受到慕古思潮的影響，但並不會將其誤認為上古作品。
成書於乾隆二十年的《西清古鑑》著錄有各式銅鐘四十二件（圖2）。乾隆二十四年，江西臨江府出土了十一件青銅镈鐘，巡撫恭送至宮廷。皇帝考證後認為是周代遺物，特將瀛台附近的“蓬瀛在望”改名“韻古堂”，作為其收藏之所，並創作《韻古堂記》（《御製文集·初集·卷七》）以銘記之。乾隆二十九年，弘曆創作《詠周螭鈕鐘》。此後直至乾隆四十二年，又有六首關於青銅鐘的御製詩問世，乾隆皇帝對於青銅鐘的關注可見一斑。圖2顯示，螭鈕鐘的顯著特點是下部裝飾饕餮紋，本拍品的製作或受其啟發。
模仿青銅鐘製作的掐絲琺瑯器非常稀少，故宮博物院僅收藏三件（圖3、4、5），市場上似乎僅2008年紐約佳士得拍賣過一件（圖6）。圖5的年代為晚清，其餘三件皆屬乾隆朝製作。就精美程度而言，四件乾隆琺瑯鐘不分伯仲，但本拍品的尺寸明顯大於故宮藏品。（下表）
本拍品還有一個重要特點值得關注：刻有乾隆款。近距離觀察會發現，刻款銅片周邊未見磕釉補蠟痕跡，暗示在掐絲紋樣及刻款銅片固定好之後，才能進行填釉燒製。換句話說，款識絕非後刻。
故宮收藏清代掐絲琺瑯器3600餘件，擁有年款的不足三成。在御用器上刻款意味什麼？清宮造辦處檔案的記載，雍正曾下詔：“凡做的活計，好的刻字，不好的不必刻字”。乾隆曾傳旨：紅雕漆春格一件“著認看，如好，刻款；不好，送進”。因此，鐫刻乾隆款的本件拍品必然更被皇帝看重，更加符合皇帝的藝術品味。

榮譽呈獻

Tiphaine Nicoul
Tiphaine Nicoul Head of department
+33 (0)1 40 76 83 75

拍品專文

A slightly larger cloisonné enamel bell is illustrated in The Complete Collection of Treasures of the Palace Museum - 43 - Metal-bodied Enamel Ware, Beijing, 2002, p. 156, no. 148. Christie's New York sold a cloisonné enamel bell dating to the Yongzheng-Qianlong periods, slightly larger at 40 cm high but without an imperial reign mark, 19 March 2008, lot 366.

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