Page 90 - Bonhams Chinese Works of Art June 2015 Hong Kong

VARIOUS OWNERS
各方藏家

43
A RARE PAIR OF GILT-BRONZE AND CLOISONNÉ ENAMEL
STEM CUPS
Incised Qianlong six-character marks and of the period
Each with deep rounded sides raised on a tall splayed foot, the body
with four archaistic chi dragons, each within a lobed cartouche evenly-
spaced between leafy floral scrolls, the foot decorated with further
floral scrolls between bands of pendant leaves and ruyi heads, all
brilliantly enamelled in various vibrant colours and shades of white,
red, blue, yellow, pink and green on a vivid turquoise ground, the base
incised with a six-character kaishu mark.
Each 11.6cm (4 5/8in) high (2).

HK$500,000 - 800,000
US$65,000 - 100,000

清乾隆 銅胎掐絲琺瑯團螭龍紋高足杯一對
陰文「大清乾隆年製」楷書款

Provenance 來源:
Formerly from the collection of Claude Burrard Reboul (1825-1886)
and thence by decent to Colonel Jaques-Frederic Reboul (1863-1937)

Claude Burrard Reboul (1825-1886年)舊藏，由Jaques-Frederic
Reboul上校(1863-1937年)繼承

The present pair of cloisonné enamel cups are rare in decoration and 此對掐絲琺瑯高足杯紋飾及造型新穎罕見，傳世品稀少，體現出乾隆
form, and are indicative of the flourishing production of outstanding art 一朝掐絲琺瑯工藝的高超水平。杯上所飾螭龍紋效法古代青銅器紋
during the Qianlong emperor’s reign. 飾，反映出乾隆帝慕古之風。乾隆一朝大舉提倡復古主義，又下喻命
內廷畫師為宮中所藏高古青銅器繪製《西清古鑑》，繼而為工匠提供
The chi dragons on the cups, with scrolling bodies and pronounced 靈感。雖然類似的螭龍紋可從其他材料的作品中看得到，但像本器般
slightly hooked snouts, were inspired by those found on archaic 以六瓣式開光內繪此螭龍紋卻殊為少見。參考一件故宮博物院藏乾隆
bronzes. This follows the Qianlong emperor’s affinity for antiquity and 帶款掐絲琺瑯爵，器身為海棠式開光，內飾螭龍紋，見《邃古今來：
‘ancient ways’, which directed craftsmen to draw inspiration from 清宮仿古文物精品特集》，澳門，2005年，頁100至101，編號23。
archaic objects. However, while these stylised versions of dragons with
elongated sinuous bodies are typically found on all variety of medium 乾隆時期國家昌盛，工藝品不斷加入了不少創新元素，本拍品的高足
and Chinese works of art, to find them in hexalobed medallions on 杯無論從設計紋飾，構圖以及器形都明顯地展示了這一特徵。可參閱
cloisonné enamel, such as those on the present cups, is extremely B.Quette著，《Cloisonné, Chinese Enamels from the Yuan, Ming and
rare. See a cloisonné enamel embellished jue and stand, Qianlong Qing Dynasties》，2011年，紐約，頁53。
mark and of the period, with a pair of chi dragons within a lobed
cartouche on each side, in the Palace Museum Beijing, illustrated in Pierre Uldry藏一件乾隆帶款的掐絲琺瑯高足杯可作對比，該器
Views of Antiquity in the Qing Imperial Palace, Macau, 2005, pp.100- 足部較本器短，口部較寬且撇口，著錄於H.Brinker and A.Lutz，
101, no.23. 《Chinesisches Cloisonné. Die Sammlung Pierre Uldry》，雷特伯格博
物館，蘇黎世，1985年，頁263，編號262及262a。
Such innovative approach to design and composition is characteristic
of art from Qianlong’s reign, where archaic designs and iconography
were creatively combined with fresh elements or reinterpreted and
revised. Unlike wares from the previous reigns, which more generally
adhered to design principles following archaic objects or Ming dynasty
cloisonné enamels, Qianlong period pieces exhibit greater diversity of
design: see B.Quette, ‘Cloisonné Form and Decoration from the Yuan
through the Qing Dynasty’, in Cloisonné, Chinese Enamels from the
Yuan, Ming and Qing Dynasties, 2011, New York, p.53.

The goblet form of the present lot, with a considerably longer foot
than most cloisonné enamel cups, is also very rare. Compare with an
example of another cloisonné stem cup with a similar incised Qianlong
six-character mark and of the period, but with a shorter stem and
wider flaring sides in the Pierre Uldry Collection, illustrated by H.Brinker
and A.Lutz Chinesisches Cloisonné. Die Sammlung Pierre Uldry,
Museum Rietberg, Zurich, 1985, p.263, nos.262 and 262a.

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