Ji, that is, auspicious; jin, that is, jian, ancient sacrifice as an auspicious ceremony, so the Ding Yi instruments after the Shang Zhou Dynasty were collectively called Ji Jin. Antique artifacts have always pursued subtlety and perfection. This time Beijing Poly 2021 autumn auction selected dozens of cases of court Ji JinShan copper furnishings, for the Qianlong Emperor to identify the ancient works, more inheritance and orderly, can see the palace temple, is called "Yu Gong". It also covers jade enamel, etc., all of which are excellent works, and can still get a glimpse of the full range and get their own ancient rhyme.
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Qianlong Imperial bronze casting "Catch the Pearl Cloud Dragon" figure giant five offerings
炉:W:87cm、H:78cm;
瓶:H:75cm、H:76cm;
Candlestick: H: 79cm, W: 43cm, total weight 735KG
The "Qianlong Year System of the Great Qing Dynasty"
remark:
1. Late nineteenth century and early twentieth century, Italy made a great envoy from China, family collection until 2008;
2. Sotheby's Hong Kong, 11 April 2008, no. 2826
This product is a set of groups, stable shape, beautiful casting, huge size, the total weight of up to 735 kg. The mighty dragon pattern shows supreme imperial power and is a rare complete set. Most of the sacrificial utensils of this grade were custom-made for the palaces and temples in the Forbidden City, or as tributes to the emperor. Compared with the collection of the Forbidden City, the process of the five offerings in this group is more abundant, the carved dragon pattern process is more exquisite, and the decoration of ancient bronzes is referred to in the local detail design, and the grade is obviously higher. It is worth saying that the copper casting five offerings kit is cast with fine copper, and the copper used in this product is an alloy copper specially made for the court, which contains many precious metals, with deep color, inner essence, and has gone through wind and rain without rust, which is a must. The Museum of Fine Arts in Boston, USA, has a set of cast cloud dragon pattern five offerings that can be compared, and a pair of large offering bottles with cast cloud phoenix pattern in the old collection of the mountain residence.
Qingqianlong Copper Five For Collection of the Museum of Fine Arts, Boston, USA
Qingqianlong Copper peony phoenix pattern gilded double hammer phoenix ring ear large bottle a pair put in the old collection of mountain residence
Christie's London 09 November 2004 Number 17
Qingqianlong "Dragon Fragrance" Imperial Ink (a set of ten squares)
Sizes vary
"Qianlong Yi Wei Nian Reloaded" (lacquer box), "Great Qing Qianlong Year System" (Royal Ink) section
1. Mr. Liu Hanlin (1920-2006) "Yourongtang" old collection;
2. Beijing Poly Auction, June 6, 2015, No. 6302
Qing Yongzheng Shoushan Hibiscus Button "Bao Prince Bao" Seal
3.2×3.2×5.2cm
"Erzhuo" paragraph
Remarks: Old collections of Japanese collectors
The Palace Museum Collects the Seal Of the Empress of the Qing Dynasty, Qianlong Vol. III, p. 261
The top is made of tile button style carved double buttons, the body is strong, the hair is flowing, which is typical of the early Qing Dynasty Shoushan stone seal new carving style. This seal is engraved with the name of the button maker, which is very rare in the seal of the emperor of the Qing Dynasty. According to the custom, the royal craftsmen who served in the court undertook to do the work, and few signed the works to engrave the money, but this seal had the "Erzhi Zuo" lishu paragraph. "Erjie" is the character and number of the Putian huang hub. Although the Qianlong Emperor used more than 1800 seals in his lifetime, he only used more than 70 seals during his imperial period, which was even more precious.
Qing Kangxi Imperial pine stone inlaid with fish dragon stone
L:17.2cm
"Body Element Master", "Ten Thousand Spare Time" section
The former collection of Hyojiro Yata, Japan, was purchased in Nara in the 1990s by an important Asian collector
Qing Kangxi Pine Flower Stone Double Phoenix Brick With inlaid glass, fish fossil brick box Collection of the National Palace Museum in Taipei
This stone is made of green pine flower stone, the stone is warm and clean, the texture is natural and clear, and the stone color is green and elegant. The forehead of the stone is full of carved Kunpeng patterns in relief, in which the kuni is carved from shells and embedded in the brick body. Above the kunpeng is the kunpeng, which is surrounded by raging waves and rolling clouds. There is a inscription in italics in the back of the hand: "Shou is ancient and moist, green in color and clear in sound." The ink is good, so its treasure is also. "The lower part of the engraving of the square and the circle seal is one each, the circle seal is engraved with the seal book "Body Element Master", the upper and lower seals are engraved with Qiangua and Kun Gua, the left and right are engraved with dragon patterns, and the dragon head is one up; the square seal book is engraved with "Ten Thousand Spare Time". "Body Master" Round Seal and Square Seal "Ten Thousand Spare Time" is a common seal on the pine flower stone stone of the Kangxi Dynasty.
Songhuajiang stone is a brick produced in northeast China, the main production area is in the songhua river bank of jilin province and Benxi, Liaoning, the former is a green stone with horizontal stripes throughout, and the latter has purple-green color, yellow-green color and purple stone. Songhua Jiangshi, also known as Songhua Jade, real name Ula Stone, was first published in the "Gezhi Jingyuan" compiled by Chen Yuanlong in the last years of the Kangxi Dynasty, which said that the Kangxi Emperor had "tasted its best, created from the Sacred Heart, and ordered the creation of Yan". The Manchus originated in the northeast, so the northeast belonged to the land of Longxing, and the products of the northeast had a lofty status in the Qing Dynasty. Pine flower stones are mainly used for royal treasures, as well as for courtiers. Its production flourished in the Three Dynasties of Kang, Yong and Qian.
In this autumn auction of ancient ceremonial vessels, two bronze heavy objects will be presented to collectors, Chen Jieqi's old collection of western Zhou bronze fish statues, and Pan Zuyin's old collection of the late Shang Dynasty.
First of all, the Western Zhou Bronze Fish Zun type is solemn and upright, which is popular in the early and middle western Zhou Dynasty. The figure is embossed with a dragon head in the center of the neck on both sides, and the dragon head is decorated with two groups of dragon patterns on the side, the neck is decorated with four banana leaf patterns, the banana leaves are filled with retrospective phoenix patterns, and the abdomen and the outer part of the high circle foot are decorated with a set of four retrospective large phoenix patterns. This kind of retrospective phoenix pattern is a unique manifestation of the early to middle Western Zhou Dynasty, the long crown of the phoenix head is divided into two branches, one branch hangs behind the neck, one branch curls in front, and the long tail branches droop; the phoenix pattern is not embossed, but the outline is formed by a wide line, and the thin Raven is used as the ground, which is extremely fine and gorgeous. The inscription "Fish as Father Gengbao Zun Yi" (Baozun two characters upside down, wrongly located under the fish character) inscribed by YuZun in this piece belongs to the "sacrifice words" type inscriptions with complete record information, which is a typical style of the ritual inscription format from the early Western Zhou To the middle Western Zhou Dynasty.
Western Zhou Yuzun
H:22.5cm
Inscription: Fish as Father Gengbao Zun Yi (Baozun two words upside down, the error is located under the fish character)
1. Chen Jieqi's Old Collection (for details, see "Interpretation of the Examination of the Relics of the Yi Instrument", Vol. 17, No. 30);
2. Japan Yamanaka Shokai Old Kura;
3. Mutsuyuki Ogawa, Kyoto, Japan (for details, see "Japan's Search for The Essence of Bronze in China", Vol. 2, No. 155)
exhibit:
It was exhibited at the Osaka Museum of Art, and the label of the Osaka Museum of Art is left on the bottom and outside of the box
Description:
1. "Interpretation of the Yi Instruments of the Relics", vol. 17, No. 30; Fang Junyi, ed., 20 years of Guangxu (1894), 1935 Hanfenlou lithograph;
2. "Japan's Search for the Essence of Bronze in China", Volume II, No. 155, edited by Sueji Umehara, published by the Yamanaka Chamber of Commerce in Japan in 1959;
3. "China, Japan, Europe, America, Australia, and New Zealand", 6-612, 7-776, Edited by Zhang Guangyu and Bana, 1978;
4. "Three Generations of Jijin Wencun Supplement" No. 649, Zhou Fagao, ed., 1980;
5. "Research on Bronze Ware in the Yin Zhou Dynasty - An Overview of Yin Zhou Bronze Ware I", 12, edited by Naofu Hayashi, published by Hirofumi Yoshikawa, Japan, 1984;
6. "Yin Zhou Jinwen Integration" Revised Supplement, No. 05833, edited by the Institute of Archaeology, Chinese Academy of Social Sciences, printed by Zhonghua Bookstore in 2007
The first edition of this vessel is the first edition of the 1894 Edition of the Interpretation of the Yi Instrument of the Relics of the Relics, and it is stated that it is from the collection of Chen Jieqi, a famous epigrapher and great collector of the Qing Dynasty. Chen Jieqi was once regarded as the most outstanding epigrapher and paleographer in late Qing Dynasty China for his possession of the famous vessels mao gongding and the celestial death vessel. After Chen Jieqi's death, his descendants sold the gold stones they had hidden, which is now rare. Later, it flowed into Japan and was the old collection of Kyoto Ogawa Mukunosuke, the most outstanding Collector of Chinese art in Japan at the beginning of the 20th century, and the Ogawa clan has a heavy collection, including many large honorary items, such as: Tang Zhiyong's "True Grass Thousand Character Text"; Tang Wangwei's "Jiangshan Xueji Map" volume; and dongyuan's "Xishan Travel Map" volume of the fifth dynasty. This piece of Western Zhou bronze fish is handed over by famous artists, with prominent origins, all because of its representative shape and pattern characteristics, its casting process is exquisite, the ornamental details are gorgeous, the inscription is beautiful, the content is complete and clear, and it is a rare boutique in the three generations of bronze ceremonial vessels.
Another heavy vessel, the late Shang Dynasty Zhongwan Ding, was also from a prominent background, which was first seen in the first edition of the 1872 edition of the Pangulou Yi Ware Collection, which can be known to be from the Late Qing Dynasty Heavy Minister and the Golden Stone Collection Giant Pan Zuyin Pan Zuyin Pangu Lou with Chen Jieqi and known as "Southern Pan Bei Chen". Later, it flowed into the West, and was considered by Chen Mengjia to be a representative work of Chinese bronzes in Europe and the United States, and was included in the important epigraphy of later generations, and appeared again in the "Dai Runzhai" special session, which can also be known that after its outflow from China, it was also secretly collected by important collectors in Europe and the United States, and it was circulated. Its shape is different from the common round ding and square ding in the same period, but it is a very special mane style. Standing ears, drum arc abdomen, the bottom of the instrument is three bags, the lower support of three columnar solid feet. This form of the Shang Zhou split crotch Ding form, relative to the garden Ding and Fang Ding is very small, and only popular in the late Shang Dynasty to the early Western Zhou Dynasty, is a very characteristic of the bronze ceremonial vessel type. At the same time, the whole vessel is strictly structured and exquisitely carved, with the abdomen as the core, the animal face with the nose bridge as the center and the three feet opposite, and a dragon strip on the top. The pattern of the whole body is clear, which shows that its casting skills are exquisite, the animal face is vicious, and the eyes are prominent, which is a model beast of the late Shang Dynasty. The engraved four-character inscription "Zhongwan Ding", with smooth strokes and comfortable penmanship, is a rare and wonderful product of the late Shang Dynasty gold documents. The whole vessel has a uniform color, thick paste, and is well preserved, which should be treasured by successive collectors.
Late Shang Dynasty Middle Woman Dingding
H:23cm,D:17cm
Inscription: Zhongwan Ding
1. Pan Zuyin (1830-1890) old collection;
2. Lu Qinzhai C.T. Loo (1880-1957)
3. Dai Runzhai J.T. Tai (1910-1992) delivered
1. "Pangulou Yi Instrument Style Knowledge" Volume No. 14, is a book containing Pan Zuyin Tibetan instruments, written by Wang Yirong, 1872 Pan Shi Huan Xi Zhai self-engraved;
2. "The Ji jinlu seen by Heng Xuan", No. 6, by Wu Da Yi, 1885 self-engraved version of Yu Zhai;
3. "Pangulou Collection of Artifacts", Ding No. 8, Wu Dayi Manuscript, this rare book was originally stored in the National Roosevelt Library, and is now in the Chongqing Municipal Library;
4. "Interpretation of the Interpretation of the Yi Instruments", Vol. III, No. 8, written by Fang Maoyi in 1894, And Hanfenlou Lithograph in 1935;
5. "Ancient Records of the Collection of The Collected Works of Wu Zhai", vol. 6, p. 16, No. 6, written by Wu Dayi in 1896, HanFenlou Lithograph in 1919;
6. "Jin Wen of Yuhua Pavilion", p. 58, No. 3, by Qing Shengyu, compiled by Luo Zhenyu in 1928;
7. "Wu County Pan Pan Gu Lou Wu Clan Shu Zhai Two Collections of Artifacts", page 74, No. 4, Gu Tinglong Series, published in the National Beiping Library Journal, Volume VII, No. 2, 1933;
8. "Continuing Yin Wencun", vol. 17, p. 11, no. 11, by Wang Chen, printed in 1935;
9. "Small School Jingge Jinwen Tuoben", vol. 2, page 22, No. 5, by Liu Tizhi, 1935 lithograph;
10. "Three Generations of Ji Jin Wencun", vol. 2, page 31, No. 7, by Luo Zhenyu, 1937 Shangyu Luoshi Hundred Lords Zhai Print;
11. "Jin Wenyan, Ed., Ltd., as Seen in China, Japan, Europe, Australia, and New Zealand", No. 881, by Bana and Zhang Guangyu, published in 1978;
12. "Three Generations of Jijin Wencun Supplement", No. 262, Zhou Fagao, ed., 1980;
13. "Jin Wen Collection" No. 0452, by Yan Yiping, published by Taipei Art Press in 1983;
14. "Research on Bronze Ware in the Yin Zhou Dynasty - An Overview of Yin Zhou Bronze Ware I", No. 85 of The Manding, by Naofu Hayashi, published by Kobunkan in Kyoto, Japan, 1984;
15. "Yin Zhou Jinwen Integration", No. 01714, edited by the Institute of Archaeology, Chinese Academy of Social Sciences, printed by Zhonghua Bookstore in 2007
In the 54th year of the Qing Kangxi Dynasty (1715), the imperial copper gilt Pu Prison button Bagua pattern "Nan Lu" and "Gu Shoot" chimes
H:30.5cm
Qingqianlong Copper gilded treasure Taiping has an elephant
H:67.3cm
1. Collections of important collectors on the West Coast of the United States;
2. Bonhams, June 21, 2011, sold for $1,834,000
"Taiping has elephants", which is loved by orientals, not only symbolizes the peace of the world, the abundance of grain, but also the beautiful vision of "the state elephant is the world is peaceful, the family has an elephant is auspicious and peaceful" in the decorative pattern, has become the theme of all kinds of treasures in the Ming and Qing Dynasties, now in the Beijing Palace Museum's "Map of the Coming of all nations" is to depict the grand scene of the clans and foreign envoys to the Forbidden City, led by elephants, the entire tribute scene is magnificent. The elephant carved in this product has a calm posture, majestic momentum, magnificent shape, upright on all fours, a long nose and a curly nose, a thick look, with copper as a tire, and the whole body is gilded and gorgeous, which is inlaid with red, blue and green material stones, polished smoothly, and contains treasure light. Under the treasure elephant, the enamel throne is brightly gilded and the glaze is bright. The overall shape is still known for its magnificence, the craftsmanship is complicated, the production is exquisite, lifelike, breathtaking, the completion of a tool will take a long time, manpower and material resources are uncountable, it can be called a case offering, and the palace atmosphere is strong.
Qingqianlong copper gilded gem-inlaid ding-style furnace
H:61cm
Qing Kangxi Copper Oshi furnace is connected
W: 33cm, furnace weight: 8800g, seat weight: 4175g
"Xuande Year System" seal book
1. Taiwan Yang Bingzhen Collection;
2. JiJin - an important private collection of Ming and Qing Dynasty bronze ware;
1. Golden Jade Green Smoke - Mr. Yang Bingzhen Treasures Ming and Qing Copper Furnace, Taiwan History Museum, 1996;
2. (Taiwan Museum of History) Collection of Ivory Carving and Ming and Qing Dynasty Copper Furnace Special Exhibition, Kumamoto Municipal Museum, Japan, 1997;
3. Treasure Yangxin- Ming and Qing Copper Furnace in the Reading Building, Taiwan History Museum, 2009;
4. Jijin - Special Exhibition of Ming and Qing Dynasty Copper Furnaces, Tianjin Museum, 2015
publication:
1. "Golden Jade green smoke - Mr. Yang Bingzhen's Treasures of the Ming and Qing Copper Furnaces", Taiwan History Museum, 1996, p. 125, Figure 24;
2. "Special Exhibition of Ivory Carvings in the Collection and Copper Furnaces of the Ming and Qing Dynasties", Taiwan Museum of History, 1997, p. 43, Figure 68;
3. "Treasure Yangxin- Reading Building Collection of Ming and Qing Copper Furnaces", Taiwan Museum of History, 2009, pp. 38, 39, Figure 10 and cover;
4. "Jijin - Special Exhibition of Copper Furnaces in the Ming and Qing Dynasties", Tianjin People's Fine Arts Publishing House, 2015, p. 253, Figure 226
Ming Jiajing/Wanli Copper local gilded dragon ear beast pattern smoker
L:40.6cm,W:25cm,H:24.5cm,重:7845g
"Daming Xuande Year System" letter paragraph
Beijing Kuangshi Auction, June 7, 2016, no. 3750
Qingqianlong Imperial copper tire filigree enamel spring shou treasure box
Diameter: 20.3cm
1. Acquired and collected by the eminent French aristocracy in the mid-nineteenth century
2. Released with Bong San Tang on October 9, 2007 in Hong Kong. Sotheby's Lot1323 enamel Chunshou Treasure Box pair and Beijing Poly's Lot7168 enamel Chunshou Treasure Box photographed on December 5, 2013 are both in the old collection of the same family in France
3. David Huang & Son Art Foundation
California Overseas Chinese Cultural Exchange Association, June 17-July 17, 2016, No. 1
Qingqianlong Copper tire filigree enamel Hu people offer treasure lion button large smoker
L:111cm
1. Old collection of Sir Thomas Fermor-Hesketh (1881-1944);
2. Bonhams Auction, 27 May 2012, no. 0012
Rectangular large box, plate along the edge of the mouth, the mouth along the outer wall of the gilded back pattern a circle, rectangular cover high long, a copper gilded lion cub as a button, the cub four claws on the top of the cover, looking back, its eyes are round, the hair at the vertical tail is falling downwards, the cover wall and the lid lion button below and the two areas symmetrical to the left and right are decorated with blue enamel glaze, and decorated with copper tire filigree tangled floral patterns, while the rest of the lid is decorated with hollow tangled branches and dragon patterns. The furnace body is also decorated with blue enamel glaze as the ground color, and the filigree is filled with filigree to decorate the lotus pattern, one person on each side is half-squatting with his back to the incense burner and dragging the bottom of the stove with his hands, the two stove people are gilded with gold on the face, palms and feet, both wear spiral-shaped pointed hats, they are dressed in Chinese official uniforms with copper tire filigree ornamentation, one person has a single knot at the neckline, the other person wears a single knot at the neckline, the other person uses a gluttony pattern as the collar, the two have different expressions, although they both stare roundly, but one person has a tightly closed lips and a serious expression, and the other has a curled beard, opens his mouth and spits his tongue, and is full of qi.
Qing 18th century Coral red ground filigree enamel Fuxi Shennong Liu Kai Baizi Dazun
H:146cm
Beijing Poly Auction, December 5, 2016, no. 5180
Qingqianlong Pick red spring shou peach shaped large bunch box into pairs
46×46×17.7cm
Old collections of European collectors
Qing Yongzheng - Qianlong White material tire painting enamel crab pattern water beggar
In:5.5cm
1. Christie's Hong Kong, 30 May 2012, No. 4017;
2. Beijing Poly, June 7, 2015, no. 7768
Ben Shui is flat and round, with a flat bottom of the shoulder bulge and a white tire painted with enamel. The glass tire is smooth and clean, warm as jade, and the painting brushwork is delicate and expressive. In addition to the bottom of the mouth, the body is applied to the ochre yellow ground, and the middle is painted with enamel color cockroach dragon pattern, and the dragon pattern has a delicate yellow cirrus pattern lace, and the next ruyi cloud head text, the beginning and tail echo, round and lovely.
This dragon has a unique shape, different from the thin and strong length of the general cockroach pattern, but fat and full, the color is exaggerated and gorgeous, the red, blue and yellow dragons are intertwined and intertwined, and the latter dragon hugs the tail of the previous dragon, blending with each other and rolling in a circle. Dragons have huge heads, eyes like brass bells, noses like mountains, wide mouths, and majestic winds. There are neck-necked overlookers, there are people looking up, different postures, overlapping temperaments, rich layers, dazzling colors, for the typical Yonggan period enamel color, to the scrutinizer with a sense of momentum and heroism.
Both the Kang and Yong Emperors liked glass, and the Kangxi Emperor ordered the Germanic missionary Father Ji Ruian to guide the creation of the Silkworm Pond Mouth Glass Factory, which, like other imperial workshops, was under the jurisdiction of the Ministry of Internal Affairs, which was responsible for the production, maintenance and custody of royal artifacts. The Interior Ministry was the largest government agency in the Qing Dynasty, and the main workshop of the office under its jurisdiction was originally set up in the Yangxin Hall, and after most of it was moved to the Cining Palace in 1691, it still used the old name "Yangxin Hall Construction Office". The Yongzheng Emperor moved the Silkworm Pond Mouth Glass Factory to the Sixth House in the Yuanmingyuan, but the Silkworm Pond Mouth Glass Factory did not stop production until after 1758 of the Qianlong Dynasty.
Two out of sixteen
Sixteen out of sixteen
QingQianlong Imperial Pen Pacifying Miaojiang Battle Map Sixteen Verses
51×87cm
Mid-Qing Dynasty Bright yellow silk plate golden dragon pattern color embroidery cloud bat longevity twelve chapters of jifu robe
155×215cm
1. Christie's Hong Kong, 26 April 2004, No. 1014;
2. North American Ten-Faced Lingbi Mountain Residence Collection, EK216;
Christie's Hong Kong 20th Anniversary 1986-2006, Selected Chinese Porcelain and Crafts, p. 332
Qingqianlong Ancient jade imperial inscription poetry Gui
L:39.7cm
Beijing Poly Auction, June 5, 2011, no. 7176
Qingqianlong Topaz antique dragon pattern pendant
In:12.5cm
1. Captain James Gunter's old collection;
2. Beijing Poly Auction, December 6, 2011, No. 5018
Qingqianlong Jasper carved imperial inscription filled with gold seven Buddha bowls
D:12.8cm
Qingqianlong TraceDustan style imperial inscription poetry jade cup
L:12.6cm
Old collections of Japanese collectors
Qingqianlong White jade carving Cui Zi Zhongtong Yin Bo Gutu jade pot
H:27cm
Qingqianlong White Jade Dragon Button Double Lion Ear Spherical Furnace
Qingqianlong Rosewood Hundred Treasures Inlay Frame Silk Dragon Boat Racing Gourd Hanging Screen Pair
H:100cm
1. Old collections of American collectors;
2. Beijing Poly Auction, June 5, 2011, No. 7304
back
Qingqianlong Copper gilded inlay stone abacus
15×9.7×1.6cm
British A&J Speelman Old Collection
Qingqianlong Copper tire painting enamel Western character smoke pot
H:7cm
"Qianlong Year System" section
1.Ko Family Collection；
2. London Auction, 14 June 1971, no. 190;
3.Derham；The J & J Collection；
4. London Auction, 12 October 1987, no. 346;
5. Sotheby's New York, September 14, 2010, no. 174;
6. Beijing Poly Auction, June 5, 2011, no. 7355
1.JICSBS, September 1976, p5, no.2；
2.JICSBS, Autum 1989, p22, fig.8；
3.Patrick K. M. Kwok, Arts of Asia, November-December 1993, p92, no.3
Qingqianlong gold inlaid with hundreds of treasures to fast gourd pei
L:7.5cm
Beijing Poly Auction, June 6, 2011, no. 8757