Page 127 - Sothebys Speelman Gems of Chinese Art

FOR AN IMPERIAL ALTAR

REGINA KRAHL

This dignified altar vase belongs to the exceptional cloisonné Only one direct companion piece to our vase appears to be
works created in the early 15th century for Buddhist usage, at recorded, the vase in the Uldry collection, which is executed
a time when the Yongle (1403-1424) and likewise the Xuande in the same elaborate style, has the same form and the same
Emperor (1426-1435) were deeply involved in all artistic basic design, but displays slight differences in detail, most
production of the empire and recruited the greatest artisans notably in the enlacement of the lotus scroll, confirming the
to create objects in a variety of media for use in Tibetan individuality of the production process (fig. 1). The Uldry vase
Buddhist ceremonies. Even among roughly contemporary is well published, was sold at Christie’s London, 26th October
cloisonné vessels we rarely see the attention to detail afforded 1964, lot 61, from the collections of Mrs J.M. Hanbury, and in
to this piece, which suggests a very early date, probably in the our London rooms, 2nd July 1968, lot 48, from the collection
Yongle period. Only one companion piece appears to exist and of Mariquita Sedgwick, is illustrated in Sir Harry Garner,
few cloisonné vessels can compare in quality. Chinese and Japanese Cloisonné Enamels, London, 2nd
ed., 1970, col. pl. C; and in Helmut Brinker and Albert Lutz,
Vases of this shape with the distinct splayed, angular rim, are
Chinese Cloisonné: The Pierre Uldry Collection, London, 1989
characteristic of forms used in Tibetan Buddhist ceremonies
(German edition Zurich, 1985), col. pl. 9. Brinker and Lutz, in
and are reminiscent of the bumpa shape, the classic Tibetan
discussing this vase, state (p. 88) that the vase represents
‘treasure vase’, which mostly, however, has a distinct foot,
“quality of the highest order in early Chinese enamelling” and
is often depicted tied with ribbons, or enveloped in a silk
write “An exquisite lotus decoration covers the ovoid body
pouch, or shown holding triple jewels or peacock feathers; the
of the base. Foliate scrolls gracefully encircle the fully open
same form also comes with a spout. The shape without foot
flowers, while two more formally designed bands of stylised
is better known from vases with elaborate dragon appliqués
lotus petals provide delimiting borders. The two friezes on
as handles, described as vases for holy herbs, such as two
the neck are enriched with the traditional bajixiang, the Eight
later examples in the Palace Museum, Beijing, one from the
Buddhist Symbols … Even though the bajixiang do not appear
Qing court collection, both of which bear Jingtai (1450-1456)
in a prominent position, an assumption that the vase once
reign marks, but are attributed to the middle Ming (1368-
served Buddhist ritual purposes seems justified.”
1644) period, see The Complete Collection of Treasures
of the Palace Museum: Metal-bodied Enamel Ware, Hong
Kong, 2002, pls 35 and 36, where a third vase of that type
in the Museum, pl. 3, also from the Qing court collection, is
attributed to the Yuan dynasty (1279-1368).

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