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A FINE PARCEL-GILT SILVER-WIRE-INLAID
BRONZE PEAR-SHAPED VASE
17th century
The bulbous pear-shaped body and tall slender
flaring neck raised on a slightly-spreading foot, the
body with four lotus blossoms, between bands of
highly-intricate stylised foliage on a ring-punched
ground, the upper part of the neck with a key-fret
border of inlaid silver.
23cm (9in) high.
£6,000 - 8,000
CNY54,000 - 72,000
Please note this Lot is to be sold at No Reserve.
本拍品不設底價

十七世紀 局部鎏金銅嵌銀纏枝蓮紋膽瓶

The present lot is particularly finely cast, with formal
lotus scrolls, brilliantly gilt in contrast to the dark
delicately-stippled ground, offset by a more subtle
silver-inlaid key-fret band beneath the gilt rim.
The lotus blossoms are spread elegantly across
the bulbous body of the vase, giving a grounded
weight to the body in contrast to the lighter slender
neck. Such detailed and expert workmanship is
typical of the finest craftsmanship produced at the
workshops of the late Ming metal workers who
sometimes signed their work, such as Hu Wenming,
Zhu Chenming and Wu Daolong and this strongly
suggests that the present lot should be included
within the canon of their work: see the discussion
of the stylistic elements of Hu Wenming’s work by
U.Hausmann, ‘Later Chinese Bronzes, In Search
of Later Bronzes’, published by Sydney Moss Ltd.,
Documentary Chinese Works of Art: In Scholars’
Taste, London, 1983, pp.230-238. It is notable,
however, that the present vase is of unusually
large size, compared to the typically smaller items
intended for scholarly use produced at these leading
Ming workshops.

The present lot is related to a smaller parcel-gilt vase
illustrated by G.Tsang and H.Moss, Arts from the
Scholar’s Studio, Hong Kong, 1986, pp.240-241,
no.230, and inscribed on the base ‘Hu Wenming
zuo’. Compare also a parcel-gilt box and cover
with similar lotus to the present lot, signed Zhu
Chenming and dated 16th/17th century, illustrated
by R.Kerr, Later Chinese Bronzes, London, 1990,
p.54, no.42.

Hu Wenming (circa 1560-1620) from Yunjian
(present-day Songjiang) in the vibrant cultural and
economic hub known as Jiangnan, was one of the
most celebrated late Ming metalworkers. The master
and his workshop were particularly known for
creating pieces with glittering gilt, intricate designs,
and for the use of silver-wire inlay. The anonymous
author of the Ming dynasty Yunjian zazhi (Yunjian
Records) comments admiringly on the skill, elegance
and desirability of Hu’s work, and the high prices his
pieces commanded; see R.Kerr, ibid., p.52.

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