Page 38 - 2020 Nov 30 Christies Hong Kong Springfield Museum Imperial Art
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fig. 1  Collection of the Palace Museum, Beijing    fig. 2  Sold at Christie’s Hong Kong, 29 November 2017, lot 2915
                            ॱˏ  ٫̺ᐅ೫ښḵ㡗ⳉި                              ॱ̣  㪁᫓ωૈྴ䢲    ໝ  ᕕ  ᑽ䢲ሠި    ⴽ

            The present vase, with its exquisite enamelling and elaborately   pou, both of the Qianlong period and formerly in the Juan Jose
            cast handles is undoubtedly made for imperial use and is   Amezaga Collection, sold at Christie’s Paris, 13 June 2007, lots
            representative of Qing imperial cloisonné enamels of the   23 and 25, respectively; as well as on the upper body of a large
            highest quality.                                  cloisonné censer dating to the mid-Qing dynasty in the Palace
                                                              Museum, Beijing, illustrated in  Compendium of Collections in
            The Qing Court Collection has a number of cloisonné enamel   the Palace Museum, Enamels-3-Cloisonne in the Qing Dynasty,
            vessels set with similar gilt-bronze phoenix handles, although   Beijing, 2011, pp. 236, no. 202, where the  bi-disc occupies a
            very few of them are executed with the same degree of   more prominent role on each side of the body and is held by two
            meticulous attention to detail. Examples include a cloisonné   mythical beasts above a taotie mask.
            enamel zun with handles of similar form but of less elongated
            form (fig. 1); a censer with handles in the form of phoenix with   ᪹೫⧃ⳉⅲኯ⚘ᾫὼࣰˮ㢰ᕖ㨫͠㛵㕹㘌㲋⡩ⅲϡಠ䢲΢Ւ★♢␙༂
            abstract scrolling bodies; and a censer flanked by a pair of   ૨˙ۢ᢬ǐ٫̺ᐅ೫ښḵ㡗ⳉ˕ͬ㲋⡩㏩Κϡ䢲ٝሳˏͬബۢՉͬ
            abstract stylised phoenix handles, all dating to the mid-Qing   ˕㉚㪁ᷳ䢲⿉ᐅ೫ښḵ㡗ⳉި૯☴Ǘᾫὼࣰ⛷   ᪹ኯ⚘ᾫὼǘ䢲٫
            period and illustrated in  Compendium of Collections in the   ̺䢲    ໝ䢲ॱḛ  Ǐ   ۢ   ⴽǐて˕ͬኯ⚘ᾫὼࣰⅳ೛ໝ᳦᪹
            Palace Museum - Enamels (3) - Cloisonne in the Qing Dynasty   ˮᕩ䢲Ւˮ͠ബⅲ㲋⡩㐤া⧀᢬ᕏ᳦⇂Κ䢲΢㌪ྋ㍨૊⌆䢮ॱˏ䢯ǐ
            (1644-1911), Beijing, 2011, nos. 77, 197, and 206 respectively.
                                                              ۷ۿ᣻㍨ˏ̖ͬ㡲ኯ⚘ᾫὼ㲋⡩˕㉚ᷳ䢲Ւ⢵˖̷㨫ᕖ㧰ᙂ㏩Κⅲ
            Compare, also a massive cloisonné enamel censer with gilt-bronze
            phoenix handles of the Qianlong period sold at Christie’s Hong   ଫჍ㟚Բ䢲΢ӆ͠㷖㕲ѷ࡚⨓ٚ㑵䢲˙Κ᢬ͬ͠㷖☽㢳⨓ٚ㑵䢲⿉
            Kong, 29 November 2017, lot 2915 (fig. 2), which is decorated with   㪁᫓ωૈྴ    ໝ  ᕕ  ᑽሠ㇫䢲ሠި    ⴽ䢮ॱ̣䢯ǐ͠㢳⨓
            similar ruyi-shaped panels on the shoulders, but with only a single   ٚ㑵ⅲѷ᧊̷⿉ᑞᕴ਽ሠ㇫ˮⅲኯ⚘ᾫὼ㩱㩏♃䢲Ւ㧀㒴˖ⅲⱖ⮂
            band in black enamel rather than a double-band in black and red   ♃͠㷖ⳇ㢳⨓ٚػ䢲⿉ሠި    ⴽǐ
            as in the case of the current vase. Similar treatment of a double-
            band border on shaped panels is also found on the massive hu-  ἔ ♃㢰ӆᑞ᢬⁄˖ѷ᳦㍶إ♃㨫䢲΢⌔ᕖ₝㹩㷠∌̃ᐇǐՒ͔㨫
            form taotie vase in this sale, see lot 2805.      ͠ἔ ♃ⅲኯ⚘ᾫὼࣰۿ۞⡃+VBO  +PTF  "NF[BHB⧃ⳉˮⅲˏ
                                                              ̖ͬ㡲ኯ⚘ᾫὼឭ㟯བྷᷳ䢮㭙  Ռֱ䢯̖ۢ㡲ኯ⚘ᾫὼ⁊䢮㭙
            The motif of the  bi-disc is rarely seen on cloisonné enamel   ՌֱǏങ  Ռֱ䢯䢲⿉ຆ㷓ωૈྴ䢲    ໝ ᕕ  ᑽ䢲ሠި  ۢ
            vessels, although it can be found on the body of a pagoda-form     ⴽ䣁ۢ٫̺ᐅ೫ښḵ㡗ⳉˏͬ⹁㹩ሸ ♃˕㉚ᷳ䢲⿉Ǘᾫὼࣰ
            censer, and on the middle register of a large cloisonné enamel   ⛷   ᪹ኯ⚘ᾫὼǘ䢲٫̺䢲    ໝ䢲㦓   䢲ॱḛ   ⴽǐ



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