Page 112 - Bonhams Ming and Qing Cloisonne Hong Kong December 2, 2021

The present vessel is exceptionally rare and no other vessel of 此缽尺寸碩大，器型莊正，掐絲工藝精細繁複，琺瑯釉色豐富絢麗，
identical form, size and design appear to have been published. The 不論從器型、工藝程度以及紋飾來看，都體現內廷皇室富麗堂皇之氣
curved conical form with an inverted rim closely resembles that used 勢，缽下裝銅鎏金童子托形三足，在工藝和裝飾程度上都毫無妥協，
by Buddhist monks to gather alms. However, whilst the latter is of 加上缽上所飾四爪龍紋，可推斷此件大缽很有可能是內廷為供奉宮廷
hand-held size, the present vessel is of relatively massive proportions. 廟宇而特別訂造。
This, in turn, points towards the possibility that it may have been
used for a similar purpose but in a temple context in a fixed position. 此件大缽的雲龍紋仍有明早期遺風，參考大英博物館藏一件明宣德掐
It is clear from the impressive size, decoration and remarkable three- 絲琺瑯龍紋蓋罐，著錄於H.Brinker 及A.Lutz，《Chinese Cloisonné:
dimensional gilt-bronze ‘boy’ supports and bat-shaped loose-ring The Pierre Uldry Collection》，紐約，1989年，編號5。然其掐絲工藝
handles, that no expense was spared in the making of this vessel, 及琺瑯用色則與明代晚期至清代早期的宮廷掐絲琺瑯器一致，見北京
and the four-clawed dragons, also indicate that whilst this may have 故宮藏一件明晚期掐絲琺瑯 雙龍戲珠紋朝冠耳爐，著錄於《故宮博物
been an Imperial commission, it was likely made as an Imperial gift 院藏品大系：琺瑯器編1: 元明掐絲琺瑯》，北京，2011，圖版139，
for an important temple. 另參考一件清早期掐絲琺瑯雙龍捧壽紋人耳長方薰爐和一件清早期掐
絲琺瑯雙龍戲珠盤，著錄於《故宮博物院藏品大系：琺瑯器編2:》，
In design and general colour palette, the dragons amongst clouds are 北京，2011，圖版67及90。其口沿處的纏枝蓮紋有很強的萬曆時期風
reminiscent of the two important Xuande dragons jars and covers kept 格，然其祥雲紋樣式、寶石藍地及其他琺瑯釉色的運用更接近清代早
in the British Museum, London and the other in the Uldry collection, 期的掐絲琺瑯工藝，可謂是明末清初過渡期不可多得的一件作品。
Museum Rietberg, Zurich; for the Uldry jar and cover, see H.Brinker
and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, New 此缽底部採用三鎏金童子為托，此設計在清代早期宮廷琺瑯器如也有
York, 1989, no.5. More directly related designs can be seen on late 所見，如北京故宮收藏一件清早期掐絲琺瑯夔龍紋人足薰爐，見《故
Ming and early Qing cloisonné enamel vessels when comparing the 宮博物院藏品大系：琺瑯器編2:》，北京，2011，圖版72。
wire-inlay, colour palette and other elements such as the green waves,
clouds and dragons; see the Qing Court Collection, Compendium of 另比較一件明代晚期掐絲琺瑯大缸，後配法國銅座，售於香港蘇富
Collections in the Palace Museum: Enamels 1, Beijing, 2011, nos.93 比，2012年4月4日，拍品編號3219。
and 139; and ibid., vol.2, nos.67 and 90. The sophistication of the
present vessel in its more complex wispy cloud scrolls, dark blue
ground, providing a bold background representing the skies instead
of the more typical turquoise ground, point towards a certain maturity
of style, and therefore towards a very early Qing date. However, in
retaining many earlier stylistic elements, it represents an important link
in artistic continuity between the late Ming and early Qing periods.

The three outstanding gilt-bronze supports, both physically and
artistically elevate this vessel, particularly taking into consideration
the fine workmanship and detail on each figure; see a related use of
gilt-bronze and cloisonné enamel foreign-tribute figures supporting
an incense burner, early Qing dynasty, in the Qing Court Collection,
illustrated ibid., vol.2, no.72.

The bowl is rich in auspicious symbolism, from the Shou-character
held aloft by the yellow dragon within the flaming pearl of wisdom,
to the lingzhi fungus shaped clouds, representing the wish for long
life. The lotus, being one of the Eight Buddhist Emblems, symbolises
purity. The vessel is also decorated with elements of the Ba Bao, Eight
Treasures, symbolic of good fortune. Whilst the depiction of dragons
chasing the flaming pearl of wisdom is typical, it is rarer for depictions,
as on the present vessel of a dragon grasping the pearl by its claws.

Compare with a cloisonné enamel fishbowl, with French ‘Barbedienne’
mounts, the bowl, late Ming dynasty, which was sold at Sotheby’s
Hong Kong, 4 April 2012, lot 3219, decorated with panels enclosing
birds and flowers.

110 | BONHAMS