Page 86 - Bonhams Fine Chinese Art Nov 2013 London

The gilt-bronze and filigree semi-precious stone inset hat-stand There is no doubt that the present remarkable hat stand was
stands amongst the finest works of art made in the Imperial inspired in its subject matter, design and quality by the finest
workshops in Guangzhou for the Imperial court during the reign of European clocks made for the Chinese market in the 18th century.
the Qianlong Emperor. Hat stands were made for the Imperial court in Its particular purpose and the clever use of the ruyi shape to form
various materials from porcelain, to cloisonné enamel, jade, painted supports for the hat, clearly point to the ingenious adaptation by the
enamel on copper, bamboo and other mediums. The present hat Imperial workshops in Guangzhou and is a testament to their superb
stand is extremely rare and no other similar example appears to have craftsmanship and innovation.
been published.

In its superb craftsmanship and decorative style it is reminiscent 這一件御製銅鎏金嵌百寶纍絲象式冠架造型精美，紋飾華麗繁複，典
of the impressive clocks made in Europe for the Imperial court 型地代表了乾隆時期廣州宮廷造辦處的工藝水準和宮廷風格。冠架是
and those of similar style produced in the Imperial workshops in 帝后生活中不可缺少的用具，因此，冠架的質地很多，有瓷、掐絲琺
Guangzhou as tribute for the Qing court. This is evident in the various 瑯、玉、銅胎畫琺瑯、竹雕等。此冠架極其珍罕，即便是在其他的皇
decorative elements which will be discussed below: 家珍藏中也是難得一見。
The very fine ‘checkerboard’ black and white enamelled rectangular
base is very similar to that engraved on a gilt bronze pedestal on 其工藝精細及富麗堂皇的風格可以讓人聯想到歐洲為朝廷製作的西洋
an automaton clock made by William Carpenter, circa 1780, in the 鐘和廣州的宮廷造辦處製作用來進貢的鐘，可以從以下幾點來看：
Victoria and Albert Museum, London (see I.White, English Clocks for
the Eastern Markets, Ticehurst, Sussex, 2012, p.231). An interesting 冠架的底座如同黑白棋盤的四方形格紋，與William Carpenter約1780
anecdote related to this design is Lord Macartney’s note on 23 年製作的自動機械鐘上的銅鎏金底座非常相似，此鐘現藏於倫敦維多
August 1793 during his embassy to meet the Qianlong Emperor, 利亞與艾爾伯特博物館，見I.White編《English Clocks for the Eastern
describing in his journal the floor of the great throne hall in the Markets》，薩塞克斯，2012年, 頁231。關於這個設計，有一則趣聞
Yuanming Yuan as made ‘[...]of chequered marble, grey and white, 軼事曾記敘在Macartney勳爵於1793年8月23日覲見乾隆皇帝時所寫
with neat mats laid upon it in different places to walk upon.’ (see Lord 的筆記。據記載，「圓明園大殿內以大理石鋪地，地板都嵌成灰白格
Macartney, An Embassy to China: Being the Journal kept by Lord 紋，在不同的位置上也整齊地鋪了地毯...」，詳見Macartney勳爵編
Macartney during his embassy to the Emperor Ch’ien-lung 1793- 《An Embassy to China: Being the Journal kept by Lord Macartney
1794, ed.J.L.Cranmer-Byng, 1962, p.95). during his embassy to the Emperor Ch’ien-lung 1793-1794》，
The elephant is symbolic of strength and wisdom and when J.L.Cranmer-Byng，1962年，頁95。
combined with a vase as in the present piece (supported by a
kneeling European figure) represents the wish for peaceful times. 大象在中國傳統文化裡是吉祥和太平的象徵，也是強壯與智慧的化
The elephant is a popular symbol in Chinese art and depicted in 身。象馱寶瓶的圖案取「瓶」與「平」之同音，寓意著「太平有象」
various mediums. The use of an animal as the supporting and ，如同此拍品。大象在中國藝術上是一個十分受歡迎的吉祥圖案，因
central element can be seen on other clocks made for the Chinese 此也用在不同的材料上。在其他為中國宮廷製作的西洋鐘上也能看見
market, also using the forms of deer, crane, horse, bull, lion and 運用了動物來做支柱和主要元素，例如鹿，鶴，馬，公牛，獅子和
ram. Compare several clocks with gilt-bronze elephants from the 羊。可參考其他清宮舊藏的銅鎏金象式鐘，現藏於北京故宮博物院，
Qing Court Collection in the Palace Museum, Beijing, illustrated by 見White編同書，頁188，192-193，圖7.32和7.36-7.37。另一件例
White, ibid. pp.188,192-3 figs.7.32 and 7.36-7 and see also Liao Pin, 子，可參考廖平編《清宮鐘錶集萃：北京故宮珍藏》，北京，2002
Clocks and Watches of the Qing Dynasty - From the Collection in the 年，頁73，圖版40。
Forbidden City, Beijing, 2002, p.73, pl.40.
It is possible that the use of elephants originated in clocks made by 倫敦著名鐘錶大師William Carpenter 和James Cox可能是首位鐘錶
the renowned London clock makers William Carpenter and James 匠以大象作為鐘的造型。他們以銅鎏金大象作為鐘的支柱，例子可參
Cox who used gilt-bronze elephants as supports and whose clocks 見乾隆時期的宮廷珍藏，見廖平編同書，頁110-111，圖版71；及烏
were amongst those included in the Imperial collection during the 特勒支博物館編，《Schatten uit de Verboden Stad - Treasures from
Qianlong period (see Liao Pin, ibid. pp.110-1, pl.71; and Schatten the Forbidden City》，烏特勒支，2010年，頁91，圖2.1。大象配
uit de Verboden Stad - Treasures from the Forbidden City, Museum 鞍，再嵌上玻璃及百寶是十八世紀晚期典型的工藝。
Speelklok, Utrecht, 2010, p.91, fig.2.1). The caparisoned elephant is
adorned with inlaid pastiche glass and semi-precious stones typical 此拍品上騎在象背的銅鎏金人物托著寶瓶，從服飾風格上可辨認為歐
of the workmanship in the late 18th century. 洲人。北京故宮博物院藏有一件James Cox製的西洋鐘，鐘上的人物
The gilt-bronze figure kneeling on the back of the elephant supporting 與本拍品類似，詳見I.White編同書，頁188，圖7.32。人物托著的寶
a vase, can be identified as European by his buttoned long coat with 瓶以瓷瓶作為藍本，運用了纍絲及嵌琺瑯玻璃的工藝，呈瓜棱形，此
lace adorned sleeves, scarf and the neatly tied queue at the back of 瓶有太平的寓意。
the neck. A similarly poised figure can be seen in a James Cox clock
in the Palace Museum, Beijing, illustrated by I.White, ibid. p.188,
fig.7.32. The filigree and enamel pastiche-glass inlaid lobed vase,
forming the pun for peace, is formed after a porcelain shaped vase.

Among the more remarkable and rare features on this hat stand are 另外值得注意的是鐘的頂部設有五件銅鎏金如意作為冠帽與圓蓋盒的
the five semi-precious-stone-inlaid gilt-bronze ruyi sceptres forming 支托，每一件如意嵌有寶石，實屬難得一見。如意意味著如意吉祥，
the supports for the hat and the engraved box and cover. The ruyi 稱心如意，也寓意平安、強壯與智慧，加上蝙蝠桃紋、如意結和其他
further reinforce the wish for peace, strength and wisdom and are 吉祥物，此物有福壽雙全的象徵。布魯克林博物館藏的一件乾隆時
decorated with bats suspending peach, the Endless Knot and other 期的銅胎畫琺瑯冠架有類似的結構，也是以如意作為冠帽與蓋盒的
auspicious symbols. These represent the wish for good fortune and 支托，參見J.Getz編《Catalogue of the Avery Collection of Ancient
happiness (fu) and longevity. A related example of the use of ruyi as Chinese Cloisonnés》，紐約，1912年，頁72，編號143。
means of supporting a hat with a perfumier box and cover in the
centre can be seen in a painted enamel on copper hat stand of the 冠架上的圓蓋盒嵌玻璃，呈花開形，與自動機械鐘上嵌有彩色玻璃轉
Qianlong period, from the Museum of the Brooklyn Institute of Arts 花的設計類似。
and Sciences, illustrated by J.Getz, Catalogue of the Avery Collection
of Ancient Chinese Cloisonnés, New York, NY, 1912, p.72, no.143. 毫無疑問，此盡顯皇家風範的的冠架無論從主題，設計與工藝上的靈
The cover of the separate box and cover is inlaid with pastiche glass 感皆來自十八世紀時期歐洲為中國製造的西洋鐘。而以如意作為冠帽
and its radiating floral form is similar to rotating pastiche-glass inlaid 支撐的造型也顯示出廣州造辦處在設計上的出色創意與機巧，無疑提
flowers decorating clock automatons. 升了他們的工藝層次。