Page 97 - Bonhams Fine Chinese Ceramics and Works of Art, Nov 2014 Hong Kong

The Qianlong style of lacquer production is characterised by its crisp, 乾隆皇帝熱衷於宮廷漆器的製作，在風格上以較為鋒利的刀法為主，
confident carving and brilliant red hue. The present set is a particularly fine 雕刻層次多，作工嚴謹，華麗精巧。本組供器工藝精湛，而且傳世品
example of such lacquer ware, and it is remarkable to find a group of three 中能找到一組三件保存良好的供器實屬難得。
pieces preserved intact, including with the domed cover surmounted by its
bright gilt finial. 清代時,滿人掌握了對西藏和蒙古的統治權，乾隆帝尤其推崇藏傳佛
教，在宮中進行佛教禮儀，也在皇宮內外廣建寺院、佛室，一方面除
The Qing period saw the consolidation of Chinese influence over 了他個人對佛教有濃厚興趣,同時也利用佛教來鞏固自己的統治,反映
the Buddhist regions of Tibet and Mongolia, and the absorption 出十八世紀時的政治局勢。
of Buddhist ritual practices into court life, not only as a means of
pacification and solidarity with these regions, but also as a result of 類似本拍品的供器除了以漆製成，也以不同材料生產，如陶瓷和掐絲
the genuine personal drive and interest, on behalf of the Qianlong 琺瑯。清宮舊藏一組五件的清乾隆帶款的剔紅供器，同樣飾八吉祥紋
emperor in particular. Immense resources were spent on establishing 飾，但此組的爐不含蓋，可參閱《故宮博物院藏文物珍品全集：清代
Buddhist temples and monasteries, at Rehe as well as Beijing, and the 漆器》，上海，2006年，圖版25。另對比一單件的剔紅漆爐，也不
number of ritual objects and paintings required to fill these buildings 含蓋，藏於台北國立故宮博物院，著錄於《和光剔采：故宮藏漆》，
demanded the establishment of a separate centre of production, the 台北，1997年，圖版147。
Zhongzengdian, or Hall of Central Righteousness. Artisans in this
workshop were supervised by Rolpay Dorje, the Qianlong emperor’s
personal instructor in Buddhist texts.

Altar sets such as the present lot were produced in a variety of
materials, including porcelain and cloisonné, as well as lacquer.
Compare a lacquer five-piece altar set, also carved with Buddhist
Emblems and bearing Qianlong marks and of the period, from the
Qing Court Collection, and illustrated in The Complete Collection of
Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty,
Shanghai, 2006, no.25, although in this set the tripod incense burner
is without a cover. See also a single incense burner, missing its cover,
illustrated in carving in the Subtle Radiance of Colors: Treasured
Lacquerware in the National Palace Museum, Taipei, 1997, pl.147.

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