China Guardian Spring Auction 2024
Phase 1
Preview time
May 7 - May 10
Auction time
Chen Reward - Ming and Qing Dynasty Imperial Porcelain Treasures May 12 19:30 postponed
Auction location
Guardian Arts Center
(No. 1, Wangfujing Street, Dongcheng District, Beijing)
The Ming and Qing dynasties were the last two feudal dynasties in China and witnessed the prosperity and transformation of Chinese history. During the Xuande period of the Ming Dynasty, the pursuit of the beauty of craftsmanship reached new heights, while the Qing Dynasty was known for the cultural enthusiasm and strict requirements for artistic quality of the Kang, Yong, and Qiandi emperors, resulting in the extremely luxurious imperial system.
The China Guardian 2024 Spring Auction "Chen Appreciation - Ming and Qing Dynasty Imperial Porcelain Treasures" night show features important court arts, integrates the essence of antique plates, and shows the treasures of traditional Chinese civilization. In addition to the important porcelain plates of the Ming and Qing dynasties, this special session also selected more than 10 pieces of rare court antiques from the early Ming Dynasty, Xuande, Wanli, early Qing Dynasty and Qianlong periods, including cloisonné enamelware, Jijin bronze ware, red lacquerware, court material ware, bamboo and wood scholarware, etc., including the Ming and Qing court aesthetics and literati tastes. The exquisite ornamentation of enamel and bronze, the red, and the elegant landscape of the scholar are all the flashing stars in the long river of history. Behind each lot, there is a historical precipitation and cultural heritage, calling people to touch, taste and think.
Lot 1224
Early Ming Dynasty
Cloisonné enamel grape pattern furnace
D: 15.5 cm
See:
The Palace Museum Collection - Enamel Ware 1 - Yuan and Ming Dynasty Cloisonné Enamel, Forbidden City Publishing House, Anhui Fine Arts Publishing House, 2011, pp. 112, 113, plates 40, 41;
The Collection of Cultural Relics and Treasures in the Palace Museum - Metal Fetal Enamelware, Shanghai Science and Technology Publishing House, pp. 15, 16, plates 13, 14
This furnace is made of fine copper, the shape is regular, the body is rigorous, and the lines are round and smooth. Bundle the neck and bulge the abdomen, gradually close downward, bear the head and feet of the three elephants, make a semi-circular Ruyi pattern ear along both sides of the mouth, stand up to the sky, symmetrical with each other, quite aura. The ears, along the mouth and the elephant's head and feet are all gilded, brilliant and dazzling. The elephant head and the ruyi cloud pattern are finely engraved, gorgeous and abnormal, following the auspicious meaning of "Taiping has an elephant".
The furnace body is decorated with single-line cloisonné enamel technology, with sky blue enamel glaze as the background color, and dark green, dark purple, red, light green, white, yellow and other enamel glaze cloisonné filling patterns, giving people a fresh and elegant, noble and calm feeling. The belly of the furnace body is decorated with grape pattern, the vine leaves are creeping down from the shoulder, meandering on the surface of the vessel, the branches and leaves are wide and thick, the edges are jagged, and the leaf veins are used to express the stem pattern with filigree gold thread, although it is a decorative pattern, it can also reflect the twists and turns of the leaf veins. There are several clusters of purple grapes hanging down the foliage, and the grapes are ripe and full, showing a hearty and luxuriant trend. The grape branches and leaves are mostly dyed in green, and the green glaze texture is crystal clear, showing a translucent texture effect, like jasper jade, reflecting the light refraction. Purple and dark green are deep in color and transparent in texture, like jade and amethyst. This classic ornament and color scheme was extremely popular in the early Ming Dynasty. The bottom of the furnace is decorated with cloisonné enamel entwined chrysanthemum patterns, filled with various colored materials, the layout is complex but not chaotic, delicate and beautiful.
Grape has the beautiful meaning of "many sons and many blessings", and the grape pattern appeared very early in China, and it has been very popular in the Tang Dynasty, appearing in a large number of bronze mirrors, gold and silverware. In the early Ming Dynasty, porcelain, lacquerware, and majolica also liked to decorate grape patterns.
Collection of the Palace Museum
There are four examples of similar cloisonné enamel grape pattern furnaces in the Palace Museum in Beijing, all dated to the early Ming Dynasty (see "The Palace Museum's Collection—Enamel Ware Ed. 1—Yuan and Ming Dynasty Cloisonné Enamel", Forbidden City Publishing House, Anhui Fine Arts Publishing House, 2011, pp. 112, 113, plates 40, 41). "The Collection of Cultural Relics and Treasures in the Palace Museum - Metal Fetal Enamelware", Shanghai Science and Technology Publishing House, pp. 15, 16, plates 13, 14).
Collection of the National Palace Museum, Taipei
Another example is now in the National Palace Museum in Taipei, the shape and the gilt decoration technique and glaze color decoration are completely the same as this product, the only difference is that the size diameter is 11.3cm, which is smaller than the grape pattern furnace on the auction, and one of the feet is defective, and this product is almost perfect.
This furnace shape is exquisite, Ruyi moire ears and elephant feet are very special, it is a typical palace system, its painting theme is rich in the natural atmosphere of life, the color is gorgeous, the filigree is smooth, the texture is delicate and clean, especially the dark green, purple glaze is translucent, the glaze glass texture is very strong, and the quality is well preserved, it is the best of the same kind seen in the auction market over the years, and it is more valuable for research and appreciation.
Lot 1229
Ming Xuande
Imperial cloisonné enamel entwined branch lotus pattern towards the crown ear furnace
Shuanglong holds the four-character Yang text of "Jingtai Year".
In: 43.5 cm
See:
The Palace Museum Collection - Enamel Ware 1 - Yuan and Ming Dynasty Cloisonné Enamel, Forbidden City Publishing House, Anhui Fine Arts Publishing House, 2011, p. 104, plate 35;
《Chinese Enamels from the Yuan，Ming，and Qing Dynasties》，纽约Bard 研究中心出版，2011年，图版22
The furnace body is oblate and round, square lips, the abdomen is vertical and short, the double crown ear shape is elegant, placed on both sides of the furnace wall, the shape of the double ear curved arc and the smooth sample of the body reflect each other, which not only shows the dignified and regular Ding furnace, but also shows the soft and beautiful state of the furnace, the flat bottom shape, the lines are smooth, the corners are clear, and the beauty is generous. At the bottom of the furnace, three Ruyi cloud plates are placed with small feet, which are concise and thick, ancient and calm. The edge of the mouth and the outer side of the double crown ears are engraved with precise back lines, and the three-legged chisels are engraved with Ruyi cloud patterns, all of which are gilded thick and bright, which is the effect after multiple gilding. The belly of the furnace is decorated with sky blue enamel technology, decorated with single-line cloisonné enamel technology, and applied red, blue, yellow, white, green and other enamel glaze to fill the five-color entwined lotus, the flowers are full, and the green branches and leaves are connected with each other, the branches and leaves are rolled and entangled, and the veins of the flower tendons and leaves turn smoothly, and they are all meticulous, presenting a complex and rich feeling. The center of the furnace bottom is embossed and gilded with double dragon patterns, the two dragons are grouped into a circle, and the four-character regular script of the Yang text "Jingtai Year" is engraved inside, and it is refined, the font is solemn and beautiful, the knot has a degree, and the apostrophement is powerful.
So like this, the real thing of the early Ming Dynasty Jingtai model looks at the Yuan Dynasty to the early Ming Dynasty enamel ware in the Forbidden City, most of the bottom of the "Jingtai year" four-character model or "Daming Jingtai year" six-character model and Shuanglong hold the "Jingtai year" four-character model or "Daming Jingtai year" six-character model. The reason for this phenomenon is that according to the comparison of a large number of enamel objects and historical materials, this Jingtai period of enamel ware should be considered to be of very high quality in the Ming Dynasty. At the end of the Ming Dynasty and the beginning of the Qing Dynasty, under the propaganda of the palace and the literati, there was such a consensus in this society, and it was natural to pursue the transformation of the "Jingtai" model under many early utensils. This kind of restructuring was popular until the Qianlong Dynasty of the Qing Dynasty.
Xuande cloisonné enamelware, with the example of the surviving belt, can know the style and quality of this period. Regardless of the type and decoration, Xuande cloisonné enamel ware is the same as other Xuande porcelain, lacquerware and other craft styles. In terms of ornamentation, it is mainly based on lotus patterns, and it is also seen in those with lotus patterns such as this product. In short, there are very few cloisonné enamels in the early Ming Dynasty that have been handed down, and most of them have been included in the collections of major museums at home and abroad, and folk circulators are even rarer.
Collection of the Palace Museum
Similar collections can be seen in the Palace Museum's collection of an early Ming Dynasty cloisonné enamel entwined lotus pattern washing furnace, see "The Palace Museum's Collection of the Great Series - Enamel Ware Ed. 1 - Yuan and Ming Dynasty Cloisonné Enamel" plate 35. A similar Xuande cloisonné enamel furnace in the collection of the Musée des Arts Décoratifs in Paris, whose ears and lining were replaced in the eighteenth century, see Chinese Enamels from the Yuan, Ming, and Qing Dynasties, 2011 exhibition catalogue, New York, plate 22.
Collection of the Musée des Arts Décoratifs, Paris
Another recent example from the A&J. Speelman Collection of the United Kingdom, Ming Xuande Bronze Cloisonné Enamel Lotus Pattern Chaoguan Ear Furnace, also dated Xuande, sold at auction in Beijing, 7 June 2015, lot 8140, sold for RMB 3,450,000. It is similar to the shape, process and decoration of this product, but the size is smaller, and it is non-style, and the local decoration and process are also slightly different, which can be compared.
Beijing auction, 7 June 2015, lot 8140
Beijing auction, 4 December 2014, lot 7304
In addition, there is an example in the possession of the David Huang & Son Art Foundation in the United States, Ming Xuande Imperial Copper Tire Cloisonné Enamel Entwined Branch Lotus Pattern Double Elephant Ear Three-legged Furnace, Nian Xuande, which was sold at the Beijing auction on December 4, 2014, Lot No. 7304, sold for RMB 5,520,000, similar to the shape of this product, but the ears are elephant ears, the ornamentation is slightly different, and there is no model at the bottom, which can be used as a reference.
Lot 1228
Ming Wanli
Cloisonné enamel double dragon holding longevity pattern square lid furnace
"Made in the Ming Dynasty".
H: 21.8 cm、L: 20.4 cm
Source:
New York Auction, 17 January 1976, lot 356;
New York Auction, 18 September 2007, lot 136
See:
The Complete Collection of Cultural Relics and Treasures from the Palace Museum - Metal Fetal Enamelware, Hong Kong, 2002, p. 53, plate 51;
The Palace Museum Collection - Enamel Ware 1 - Yuan and Ming Dynasty Cloisonné Enamel, Forbidden City Publishing House, Anhui Fine Arts Publishing House, 2011, pp. 200/201, plate 99
This furnace is rectangular, facing the sky and square ears, swallowing the feet of beasts, the shape of the feet is very similar to the practice of "several" legs in the Ming style furniture, showing a curved streamline, which is a typical copper furnace shape in the middle and late Ming Dynasty. The whole body copper tire, the cloisonné enamel process is decorated, the royal blue enamel material is the ground, the mouth edge is decorated with a week and two continuous lines, the furnace body is on both sides, the cloisonné is decorated with the double dragon arch longevity pattern, the dragon is the flower and grass dragon, it is the common flower tail dragon of the Jiajing Wanli two dynasties, the hair is raised, the eyes are round and open, the pig's nose and mouth, the dragon wears the flower, the yellow land pearl in the middle, there is the word "longevity" inside, it is very eye-catching. The yellow material on the pearl is decorated with two "swastika" characters, which means "longevity without borders". There is a week of lotus petal decoration below. The side of the furnace body is also made of royal blue material, decorated with flowers and grass patterns, and the halberd is hung up in the blue vase above the sea water, and there are tail catfish on the left and right sides, which means "more than auspicious". The four-legged shoulders are decorated with cloisonné enamel. The bottom of the furnace is decorated with the unique hook cloud pattern of the Wanli Dynasty, the center of the bottom is embedded with a square frame, and the inner book is "made in the Wanli year of the Ming Dynasty" cloisonné filled with red glaze.
The other side of this product
The top of the furnace is equipped with a wooden cover, the cover surface is carved on all sides of the double dragon play bead pattern, the top is inlaid with white jade mandarin duck lotus as a button, round and full, lifelike, the mouth is a lotus branch, the flowers are in full bloom, a huge lotus leaf at the bottom holds up the mandarin duck, the side is embossed with two continuous lines, the cover surface decoration and the furnace body decoration echo up and down, and contrast with each other. This lid furnace can be used as a smoker, and smoke can be floated out of the hollow gap of the lid surface.
The imperial superintendent of the Ming Dynasty was the official institution for the production of enamels, and among the surviving enamels, only the artifacts of the Xuande, Jingtai, Jiajing and Wanli dynasties have official dates. The Forbidden City in Beijing has more than 4,000 pieces of cloisonné enamelware, including 15 pieces of Wanli enamel, three plates, three furnaces, three boxes, two candlesticks, and four ends; the National Palace Museum in Taipei has only one known Wanli enamelware, that is, a chrysanthemum petal plate with a diameter of 48 cm; in addition, a round box with a diameter of 10.5 cm is in the private collection of Switzerland. Looking at the Wanli style of enamelware, it is different from other periods in terms of glaze color, pattern, filigree, style and use, etc., forming a unique feature of the Wanli Dynasty.
This product
Collection of the Palace Museum
In the Wanli Dynasty, the copper tire cloisonné enamel ware was especially rare. For example, this product with the Wanli model of the Ming Dynasty court bronze cloisonné enamel ware survives less, throughout the global public and private collections, there are only a few examples. Looking at this product, the enamel hair color is pure, and the color is more natural than the natural, which shows that the craftsman is proficient. Referring to an example, Jingtai Nian, collected in the Palace Museum in Beijing, recorded in The Complete Collection of Cultural Relics and Treasures in the Palace Museum - Metal Fetal Enamelware, Hong Kong, 2002, p. 53, plate 51, Ming Wanli copper cloisonné enamel double dragon holding longevity pattern four-legged furnace, the shape and pattern of the two are almost the same.
In another recent example, a Ming Wanli cloisonné enamel lid furnace was sold at the London auction (see London auction 5 November 2007, lot 98), which was similar in shape and ornamentation to the original, but was larger in size, which was once in the collection of Basil Goode (1883-1957) and has since been passed down by the family; II, 2007, Hong Kong, pp. 44-49, sold at Hong Kong Auction, 2 December 2021, lot 3420, re-released for HKD 5,040,000 for reference.
Lot 1227
Qianlong of the Qing Dynasty
A set of cloisonné enamel treasure flower animal face pattern tripod furnace and flower goose
鼎H: 46.5 cm、H: 52 cm (含座)；
花觚H: 36 cm (2)、H: 41 cm(2) (含座)
Three for the style is consistent, the shape is dignified and steady, elegant atmosphere, the whole body cloisonné enamel process production, sky blue enamel glaze for the ground, with red, white, yellow, green, dark blue and other enamel glaze fill color decoration animal face main body decoration, very decorative, give people a strong visual impact, the decoration is gorgeous and bright, redundant and detailed, meticulous. The furnace ears are decorated with animal face patterns and treasure patterns, and the furnace lid and four-legged ridges are decorated with entwined flower patterns. The neck and foot wall of the flower goose are decorated with the same pattern, echoing each other, and are decorated with the pattern of the entangled branch treasure phase, lined with banana leaf pattern. The inner wall of the square mouth is also decorated with a pattern of entangled branches, with five built-in gilt holes, a large hole in the center, and four small holes around it, which can be used for inserting the offeror.
The whole set of three offerings is square, the carcass is heavy, dignified and simple, the modeling and decoration of the ancient bronze ware is applied to the production of enamelware, the picture is full of denseness, the filigree is neat and delicate, the glaze is full, the color is gorgeous, the gilt is bright, graceful and gorgeous, extremely luxurious, it has the artistic style of typical Qianlong court enamelware, when it is the Qing Dynasty royal Buddha incense for the royal fine products of "the common people get a glimpse", the status is noble, and it is well preserved, it is rare in the world.
This set of three offerings was originally supposed to be five offerings, although a pair of candlesticks have been lost, but the remaining three offerings have been preserved intact is really rare. This set of offerings should be an important palace furnishing, and is also used for palace sacrifices, ceremonies and other activities. Among them, there are many incense burners in the old collection of the Qing Dynasty that are similar in form, but different in size and decorative details. The Qianlong bronze cloisonné enamel furnace decorated with gluttonous patterns can be compared to several examples from the Qing court collection, see The Palace Museum Collection: Enamel Ware Series 2, Beijing, 2011, figs. 68 and 245, 246, and another from the National Palace Museum in Taipei, recorded in Ming and Qing Enamel Exhibition Catalogue, Taipei, 1999, plate 59.
Hong Kong auction, 30 November 2020, lot 2911
Hong Kong auction, 29 November 2023, lot 863
See also two similarly decorated Qianlong copper cloisonné enamel furnaces, one sold at the Hong Kong auction on 30 November 2020 for HKD 4,750,000 at lot 2911 and the other at the Hong Kong auction on 29 November 2023 at lot 863 sold for HKD 1,528,000. The age, shape, and craftsmanship are all the same as those of the cloisonné enamel tripod furnace in the lot, which can be compared here. However, this lot is a set of three for more completeness. The casting is exquisite, the glaze is full, and the gilt shine is brilliant, which is a rare example of similar works, and it is even more precious and rare.
Lot 1223
Qianlong of the Qing Dynasty
Pick the red eight immortals across the sea and hold the box
D: 47.4 cm
The box shape is classic, huge and full, flat and round, but it does not lose its graceful and dignified atmosphere. Zhou Zheng is rigorous, with a flat top arc wall, and the cover body is combined with the mouth of the mother and son on the lips, and the bottom bears the circle foot. The inside and bottom of the box are painted black, and the outer wall is decorated with reddish craftsmanship. Around the opening of the cover, along the lips of the mouth, and on the foot wall are carved with continuous back lines. Cover the surface of the open light, the carved horizontal fold brocade pattern for the sky, the water wave brocade pattern for water, the rhombic brocade pattern for the ground, the pressure carving on the distant mountains, the mountains and rocks stacked on top of each other, the ancient trees are abundant, the water waves are surging, the waves are surging, the waves are crashing on the shore, the waves are rolling between, the eight immortal characters or take the chariot boat, or step on the sea waves with the foot of the magic instrument, the expression is joyful, the scene is festive and lively. Not far away, strange peaks and strange stones, ancient pines are uneven, the pavilions are elegant, the eaves are warped, and the artistic conception can be visited and lived. The birthday star stands in the pavilion, full of smiles, accompanied by children, and is obviously the protagonist of the picture. The wall of the box is full of carved entwined branches treasure phase pattern and entwined branch lotus pattern, the carving is fine, the lines are smooth and neat, the knife is skillful and refreshing, the knife work is deep and delicate, the edge of the ornament is almost not polished, the characteristics of the times are distinct, and the typical palace production techniques.
It is worth mentioning that the black lacquer on the inner wall of this product is painted with gold and Fushou pattern, which is really rare. Bat longevity peach, Ganoderma lucidum and other Rui things fly in the clouds, only different, different forms, auspicious clouds, auspicious bats salty gathering, meaning "thousands of auspicious clouds, Hong Fu flocks". In the middle, the lotus petal pattern is opened to depict the group of longevity, which is quite decorative, and the auspicious meaning of the Fushou pattern is pointed, which is quite ingenious.
As we all know, the carved lacquerware of the Qianlong period, there are generally two styles in the carving knife method, one is to have the characteristics of both the late Yuan Dynasty and the early Ming Dynasty, and the delicate and delicate Ming evening, the style of the blade is revealed, often there are both grinders and blades on a vessel, and different knife techniques are used according to the different objects and ornaments. The other is a new style that has never been seen before, that is, the sharp and precise blade, and the deep and sharp edges of the edge. Obviously, the above characteristics are vividly reflected in the big box of this lot. The whole lacquer is heavy, the paint color is red and bright, the lacquer is crisp, the carving is fine and ingenious, the composition is complicated and quite lawful, the ingenuity is heavenly, the ornamentation is extraordinary, exquisite, and the diameter is nearly 50 centimeters, it is very rare in the world, it is the embodiment of the spirit of the times of the Qianlong court of the Qing Dynasty, and it is very royal style.
Lot 1226
Qianlong of the Qing Dynasty
Copper inlaid with silver wire
"Qianlong Year of the Qing Dynasty" six-character engraved model, with the original base
W: 40 cm、H: 22 cm
Publication:
Imperial Treasures: Chinese Court Art of the Ming and Qing Dynasties, 2015, pp. 152-153, no. 04
Publication: Imperial Treasures: Chinese Court Art of the Ming and Qing Dynasties, 2015, pp. 152-153, no. 04
The major events of the country, in the worship and Rong, the worship of heaven and the ancestors of the royal family is the primary thing of the royal family of the past dynasties, and the royal sacrificial vessels are the embodiment of the ritual system, which is indispensable, carrying the awe and worship of the gods and saints of heaven and earth, and the ancestors of the saints, and is endowed with the status of respect and sacredness. Since the Song Dynasty, such sacrifices have been widely used in various ceremonial furnishings, and in the "Xuanhe Bogutu", the sacrifice is in the shape of a cow. In the Yuan Dynasty, sacrificial honor was not only one of the focal points of the debate among Confucian officials at that time, but also some such ritual vessels were cast in various places. Qing Chengming system, still attaches great importance to the production of sacrifices and sacrificial vessels, although the Manchu Qing Dynasty first won the world but the ancient Chinese ritual culture absorbed rapidly, the ancient three generations of mysterious and energetic bronze works of the unrestrained lines and mysterious and complex ornamentation of the Yong, Qiandi Emperor has a strong attraction, sacrificial Zun has become the source of inspiration for craftsmen to make imitation of ancient works, drawing on the original process modeling and ornamentation at the same time for extraction, bronze, jade, The enamel has been copied and given a new interest to the work, becoming an auspicious ornament that is widely displayed in the study hall.
This fine copper is made of fine copper, finely made, and heavy to start. The shape is high and forward, the forehead is smooth, the head shape is like a cow, the ears are swept back, the eyebrows are thick and long, and the eyes are attached to the eyes with back lines as decorations, chic and elegant, the eyes are convex and eye-catching, blazing, staring ahead, the mouth is like a rhino, there is a decoration with concave lines, the lips are closed, the nostrils are like a cow, the jaw line is beautiful, the expression is gentle and quiet, and the atmosphere is relaxed. The body is plump and fat, the muscles and bones are strong, the muscles are plump, the limbs are thick and hoofed, strong and powerful, the short tail hangs down and is close to the buttocks, decorated with back lines, full of mysterious power, and the overall shape has the strength of a cow and is more intelligent and smart. The abdomen is hollow, the back is open and the button cover is set, and the cover is engraved with the six-character regular script of "Qianlong Year System of the Qing Dynasty". The lid is partially retained with silver wires.
In the concept of the ancients, a divine beast with a strong physique and powerful limbs has spirituality, so let it serve as a medium for communication between humans and gods, for sacrifices, and as an assistant to communicate with the gods of heaven and earth. This divine beast ornament imitates the bronze sacrifice of the ancient Warring States Period, the breath is ancient, the shape is peculiar, it is unforgettable, the skin color of the whole vessel is delicate such as steaming chestnut, it is simple and steady and adds a lovely atmosphere, solemn and elegant, the charm is vivid, the body surface decoration lines are smooth, highlighting the perfect combination of mythology and art, it is a rare Qianlong antique holy weapon.
Lot 1225
Qianlong of the Qing Dynasty
Copper sprinkled gold dragon pattern ear bottle
"Qianlong Year of the Qing Dynasty" paragraph
H: 15 cm
"Shanggu" is one of the characteristics of Chinese culture. For utensils, it is especially reflected in the worship and obedience to the classic shapes of the past. After Emperor Qianlong ascended the throne, he collected the treasures of the world, which was the interest of bone Dong treasures. This piece of copper sprinkled gold dragon pattern ear bottle is a masterpiece of antique in the palace, the fine material is beautiful, in line with the regulations.
This bottle is cast of fine copper, thick tires, dignified and elegant, handicap, long neck, sloping shoulders, drumming belly and constricting, to the feet gradually skimming. The neck is decorated with dragon ears, the head and tail are arched, and the bottle ears are skillfully made. The body decoration is divided into six sections, complicated and detailed, in order for the milk nail pattern, banana leaf pattern, Ruyi cloud head pattern, milk nail pattern, back grain ground kui dragon pattern, cicada pattern. The ornaments are separated by string patterns, and the casting is finely carved and full of three-dimensional effect. The box at the bottom of the bottle is minus the six-character regular script of the Yang text casting "Qianlong Year of the Qing Dynasty". The shape of this vessel is uniquely designed, the pattern is nostalgic, and it is a vessel of elegance.
The most eye-catching part of the whole vessel is its sprinkled gold skin color, the body is sprinkled with gold as a decoration, the distribution of gold pieces is natural, sparsely distributed, the treasure light is contained, heavy and moist, and the bronze color of the copper tire body complements each other, quite ingenious, showing the luxurious and extraordinary atmosphere. This bottle decoration technique is very high-level, when the palace office copper work carefully designed and made, rare in the world, for the same kind of ware rare, can be described as exquisite.
Lot 1222
Qianlong of the Qing Dynasty
Imperial transparent material set red material dragon pattern color beads
D: 3.7 cm
In the Qing Dynasty, high-ranking aristocratic women such as empress dowagers, empresses, concubines, Fujin, and wives wore formal dresses when wearing scarves called Caiwei, also known as Caiwei. According to the portrait of the concubine of the Qing Dynasty that has been handed down to this day, it can be known that the color silk is used with the dress, and it is worn on the second button of the court gown and hangs down on the chest.
Empress Xiao and Rui's court dress is worn in the center of the statue is this kind of colored beads
According to the records of the Qing court archives, most of the colored glass artifacts of the Qianlong Dynasty are large utensils, and the smaller types of utensils are mainly snuff bottles.
The diameter of this Qing Qianlong transparent material set red material dragon pattern color beads is 3.7 cm, which is a circular hollow color bead carcass made by the two-color nesting process of transparent material sleeve red material, and then in the two-color nesting carcass, the surface is carved out of the transparent red dragon chisel pattern around the bead body by the jade processing technology of the ground reduction high relief technology technique.
The bead body of this color bead is hollow, and the middle hole is two-way sleeved with a pair of gold tired silk bead pattern hoops with eight sides of the Ruyi pattern casing. This pair of gold beaded pattern hoops eight-sided Ruyi pattern casing is finely made, the eight-sided Ruyi pattern is bent into shape with gold twisted wire, and then in the center of the Ruyi pattern, the thin gold wire is made of a hair-thin silk with a tired silk process, and then welded with the gold beaded pattern hoop and sleeve as a whole. By passing the two opposite each other through the hole in the beads, it plays the role of decorating the beads. In other words, the process of making this transparent piece of red material and the pearl requires the cooperation of the craftsman who makes the glassware and the craftsman who makes the gold filament. It can be seen from this that this transparent material set of red material tiger bit zhi pattern color beads is an extremely rare type of color beads in terms of material and production process and metalworking decoration technology. And because its ornamental style and workmanship have obvious court utensils style in the heyday of Qianlong, this transparent material set of red material dragon title zhi pattern color beads must be made by the craftsmen of the glass factory of the Qianlong palace office and the craftsmen of the silk industry. In terms of the difficulty and rarity of its craftsmanship, the identity of its user must also be a noble woman of the Qing Dynasty with a very high status.
Lot 1230
bright
Agarwood carved landscape figure pen holder
H: 19 cm
This pen holder is made of fine agarwood materials, and the material is huge, which is extremely rare. The whole body is dark in color, oily and abnormal, the luster is warm, and although it has gone through hundreds of years, it still exudes a faint fragrance. The barrel body is decorated and carved with the shape of the material, and inlaid with the shape of the mouth and the bottom, and the lower bearing is four-legged, which is not interesting. The author makes full use of the original grain direction of the wood, the branches are concave and convex, and uses high relief, bas-relief and Yin carving techniques to show a magnificent and majestic landscape pavilion figure painting. The carved cliffs are steep and abrupt, the mountains and rocks are rugged, the pine and willow have their own postures, they are very exquisite, the portrayal is realistic, just like being in it, I can't help but tremble; This pen holder is not only well-selected and rare, but also cleverly conceived, clearly layered, sharp and tactful carving knife method, smooth and powerful, thick pulp, and lustrous color, which fully embodies the elegant life interest of the literati of the Ming Dynasty, and must be a precious and rare masterpiece.
Lot 1232
Early Qing Dynasty
Bamboo carving "West Garden Elegant Collection" incense tube
H: 18.6 cm
Publication:
"Bamboo Edge Ingenuity - Jiading Bamboo Carvings in the Ming and Qing Dynasties", edited by Shanghai Jiading Museum, Shanghai Painting and Calligraphy Publishing House, pp. 168, 169
Exhibit:
"Bamboo Edge Ingenuity - Ming and Qing Jiading Bamboo Carving Collection", May 2018, Jiading Bamboo Carving Museum, Shanghai
The incense tube is carved from bamboo stems, cylindrical, with thick walls and amber color, bright and moist, concise and elegant. The multi-level relief carving and carving techniques of the outer wall are carved to depict the elegant collection of the West Garden, and in the scenery of the mountains and rocks, the pines, cypresses, maple and tung are interspersed and covered. Between the pavilions and water pavilions, the streams mean, the small bridges are flat, and the scenery is charming. The picture is divided by mountains and rocks and old trees for viewing paintings, poems, dialogues, and enjoying the scenery. An old man in the pavilion pressed the drawing paper with his left hand, and wanted to paint with a pen in his right hand. Across the other end of the rock, three gentlemen sit around the table, caressing their beards and talking about the affairs of the world; across the other end of the lush trees, the green shade is dense, and the literati and scholars gather in twos and threes, or enjoy the pine scenery, or talk highly, write poems, and the child servants accompany them, or hold the fine wine, and feel comfortable. The whole knife method is crisp, and the big trend is seen in the small. Although there is no knowledge, it can be seen that the maker uses bamboo ribbon silk, carved deep dew, fine into the hair, applies the knife and brush, creates a rich layer, the water and stone gurgling, the grass and trees are self-sweet, and the joy of the world is vividly presented on the incense tube, which is the style of Jiading.
According to legend, the West Garden Elegant Collection was a grand literati gathering held during the Northern Song Dynasty, inviting famous literati and scholars at that time, including Su Shi, Su Zhe, Huang Tingjian, Li Gonglin, Mi Fu, Master Yuantong and other celebrities to gather in the West Garden of the Mansion of Wang Xu. The literati recited poems and lyrics, talked and laughed, indulged in landscapes, read and traveled, representing the cultural tastes and fashions of the time, and became a classic literati gathering activity in history, as well as a common theme of painting and sculpture in the Ming and Qing dynasties.
This product is published: "Bamboo Edge Ingenuity - Jiading Bamboo Carvings in the Ming and Qing Dynasties", edited by Shanghai Jiading Museum, Shanghai Painting and Calligraphy Publishing House, pp. 168 and 169
After the late Ming Dynasty, the carvings were mostly collected by literati, wealthy merchants or emperors, and the taste of the literati dominated the direction of the scholar's carving process. Many literati and doctors yearn for the hermit life in the Wei and Jin dynasties, so the artworks all use the themes of "Seven Sages of the Bamboo Forest", "Lanting Cultivation", "Nine Elders of Xiangshan", "Red Cliff Boating", "West Garden Collection", "Panasonic Coats" and other themes, in order to convey pure thoughts and ancient feelings, and this piece is a masterpiece of this kind.
Lot 1231
Early Qing Dynasty
Bamboo carving hunting pen holder
H: 14.4 cm、D: 10 cm
The pen holder is carved with natural bamboo, which is cylindrical, bearing three short feet under it, and the whole body is red in ochre, and the bamboo is just at the bottom end, giving people a sense of stability. The outer wall is carved with a relief technique, and the whole scene is carved with a high-relief technique to carve a hunting picture of rounding up tigers, which presents the living habits of the Jurchen people in the early Qing Dynasty and the scene of the imperial nobles hunting in the royal garden in autumn and winter every year. In the picture, the mountains are stacked with rocks, the strange rocks are craggy, the ancient pines and strange vines are vigorous, sparse and dense from far and near, and they are scattered. The hunter in front of him is galloping, and when he looks back and pulls the string, a bow and arrow are out. The three hunters in the rear galloped on their horses, chasing relentlessly, raising their bows and shooting in the air, taking arrows in their sheaths, or arrows on the string, attacking with both sides, chasing and rounding up the strong tigers, giving people a feeling of the fierce and tense scene of hunting. Today, the Palace Museum in Beijing has a collection of Qing "bamboo carving hunting drawing pen holders", its hunting clothing and bow and quiver are very similar to this work, but the image of this instrument is more realistic and delicate, reflecting the hunting process, and the round-up atmosphere is better.
← Press and hold the image and swipe left and right to view the full →
Looking closely at the instrument, the characters, horses, and tiger expressions are meticulous, the eyebrows are unremarkable, lifelike, the composition is realistic, and the characters who ride on the horses and run wildly to escape the tiger are accurately portrayed, and the skilled riding skills and martial arts are successfully displayed, which is interesting and vivid. Its unique grassland culture, condensed on it, reflects the simple and honest national character, has a strong artistic appeal, should be made by Jiading bamboo carving masters.
China Guardian Contact Information (Swipe to view)
China Guardian International Auction Co., Ltd. (Headquarters)
Customer inquiry: (86-10) 8592 8288-3
Settlement Services: (86-10) 8592 8288-4
Media Cooperation: (86-10) 8592 8288-5
Transportation Inquiries: (86-10) 8592 8288-9
Online Auction Consultation: 15010006220 / 15910807786 ext. 9
Official website: www.cguardian.com
Contact Email: [email protected]
Address: No. 1, Wangfujing Street, Dongcheng District, Beijing
China Guardian (Hong Kong) International Auction Co., Ltd
Customer Enquiries: (852) 2815 2269
Contact Email: [email protected]
Address: 5th Floor, Lippo Centre One, 89 Queensway, Hong Kong
Liaison with regional offices
Shanghai
Tel: (86-21) 5466 0508
E-mail: [email protected]
———
Guangzhou
Tel: (86-20) 3808 8589
Email: [email protected]
———
nanking
Tel: (86-25) 8670 2356
Email: [email protected]
———
Hangzhou
Tel: (86-571) 8535 9925
Email: [email protected]
———
Xiamen
Tel: (86-592) 566 9168
E-mail: [email protected]
——
Taiwan
Tel: (886) 2 2757 6228
Email: [email protected]
———
Japan
Tel: (81-3) 6206 6682
Email: [email protected]
———
United States
Tel: (212) 308 8889 / (888) 799 8830
E-mail: [email protected]