Page 179 - Bonhams FINE CHINESE ART London November 2 2021

338 TP
A PAIR OF GILT-DECORATED BLACK LACQUER CABINETS The present lot is unusual both in its technique of gilt-lacquering and
Jiaqing/Daoguang also the Buddhist motif of luohans. The slightly raised gold technique,
Each of upright rectangular shape, set with a pair of doors fitted with was inspired a Japanese technique known as takamaki-e; see for
a large canted rectangular lockplate and four side hinges, the doors example, a black and gilt lacquer casket with this raised technique,
opening to reveal two shelves and two short drawers, above a small Japan 1630s, illustrated in Encounters: The Meeting of Asia and
apron and short rectangular feet, each cabinet painted in gilt lacquer Europe 1500-1800, London, 2004, p.238. This ‘foreign style’
on a black ground, each door with two panels depicting a group technique became popular during the reign of the Yongzheng Emperor,
of luohan gazing at the riverside scene dotted with pine trees and who especially appreciated and collected Japanese-style gold and
flowering shrubs, beneath a shaped cartouche depicting a writhing five silvered lacquer (maki-e), renowned for its use of extensive amounts
clawed-dragon chasing the flaming pearl reserved on a square diaper of gold. The gold-lacquer style continued into the Qing dynasty. See
ground, the borders with further cartouches depicting sinuous chilong, for example, a handled case with gold-painted landscape in the same
the sides with floral scenes. raised technique, in imitation of a Japanese case, mid Qing dynasty,
Each 143cm (56 2/8in) high x 97cm (38 1/8in) wide x 41cm (16 1/8in) from the Qing Court Collection, illustrated in The Complete Collection
deep. (2). of Treasures of the Palace Museum: Lacquer Wares of the Qing
Dynasty, Hong Kong, 2006, p.192, no.144.
£8,000 - 12,000
CNY71,000 - 110,000 The Buddhist motif of luohans also implies that these cabinets
were not made for export, but catered for Chinese taste. The motif
清嘉慶/道光 黑漆描金「十八羅漢圖」立櫃一對 of luohans was particularly popular at the Imperial Court, where
the Qianlong Emperor had a zitan and lacquer screen with sixteen
panels with luohans; see N.Berliner, The Emperor’s Private Paradise:
Treasures from the Forbidden City, New Haven and London, 2010,
pp.165-172.

For details of the charges payable in addition to the final Hammer Price of each Lot
please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 177