Page 84 - Bonhams Hong K June 2016

The present lot is very rare for its combination of impressive size 此盒銀錠式，剔彩備紅、黃、綠三色，蓋面隨形開光，雕人物故事圖，
and the ingot form, offering many auspicious connotations and 盒壁上下各有開光四組，以斜格錦紋為地，壓雕鹿紋、飛鶴紋、雲紋、
masterfully carved in three-colour lacquer. It is a testament to the skilful 梧桐樹和山石紋，上下口緣雕迴紋，蓋面及足外牆雕蓮瓣紋。盒內及底
craftsmanship achieved by the lacquer ateliers at the height of the 髹黑漆。此盒造型仿明嘉靖銀錠式器物，但比嘉靖漆器雕刻得更精細，
Qing dynasty. 刀法精謹圓熟，圓滑與鋒利相得益彰，表現出清晰、準確的色漆層次，
十分精緻華麗，反映出乾隆年間剔彩的精湛工藝。
Gold and silver ingots, known as yuanbao 元寶, were used in
ancient China as a form of currency and therefore, the ingot form 本盒所飾紋飾充滿了吉祥寓意。首先以其銀錠式造型為例，銀錠在中國
came to symbolise prosperity and wealth. The Chinese character 貨幣史上曾被稱為為人熟知的「元寶」，是中國傳統吉祥紋飾「八寶」
for 'ingot' (ding 錠) is formed of two radicals or components: the left 之一，象徵財富。除了銀錠以外，盒面上所刻的如意和珊瑚也屬於「八
is that of 'gold' (jin 金) and the right is that of 'certainty' (ding 定). 寶」圖案，為明、清時期流行的紋飾。盒壁所飾的鹿紋取其同音，象徵
Together they form the pun for 'wealth will come most certainly'. The 祿位；而鶴寓意長壽；另外，「鹿鶴」與「六合」同意，梧桐樹的「
auspicious symbolism is further reinforced by the deer (lu 鹿) which 桐」與「同」同音，因此將鹿紋、鶴紋和梧桐樹刻於同一畫面中，有「
signifies longevity, and the crane (he 鶴), which is a homophone for 六合同春」及「福祿長壽」等美好寓意。其他飾有八寶紋的漆盒例子，
'togetherness' (he 合), with both often shown beside Shoulao, the God 可參考懷海堂藏一件明嘉靖剔紅雜寶紋葵瓣式盒，著錄於香港歷史博物
of Longevity. Since there are six cranes depicted on the present lot, 館編，《日昇月騰 1368-1644：從敏求精舍藏品看明代》，香港，2015
they form the rebus liuhe tongchun 六合同春, meaning 'the universe 年，頁205，編號151。
is enjoying springtime and longevity'. Furthermore, the iconography
of the ingot (ding 錠), sceptre (ruyi 如意) and coral (shanhu 珊瑚) form 銀錠式漆器始見於明代，參考清宮舊藏一件明嘉靖帶款的戧金彩漆龍
three of the Eight Treasures (babao 八寶), which are commonly seen 鳳紋銀錠式盒，見《故宮博物館藏文物珍品全集：元明漆器》，上
on Buddhist-themed objects. For a lacquer example with the babao 海，2006年，圖版152；另見一剔紅銀錠式盒，同樣為明嘉靖帶款，著
motif, see a lobed cinnabar lacquer box and cover from the Jiajing 錄在P.Frick，《Chinesische Lackkunst: Eine Deutche Privatsammlung》
period in the Huaihaitang collection, illustrated in The Radiant Ming ，明斯特，2010年，編號20。 最後一件類似之清乾隆剔紅山水人物圖銀
1368-1644. Through the Min Chiu Society Collection, Hong Kong 錠式蓋盒，詳見涉谷區立松濤美術館編，《中國之漆工藝：開館10週年
Museum of History, 2015, p.205, no.151. 紀念特別展》，東京，1991年，編號79。

Ingot-shaped lacquer examples first appeared in the Ming dynasty;
see a tianqi lacquer ingot-shaped box and cover, Jiajing mark and
period, from the Qing Court Collection, illustrated in The Complete
Collection of Treasures of the Palace Museum: Lacquer Wares of
the Yuan and Ming Dynasties, Shanghai, 2006, pl.152; and a carved
cinnabar lacquer ingot-shaped box and cover, Jiajing mark and
period, illustrated in P.Frick, Chinesische Lackkunst: Eine Deutche
Privatsammlung, Münster, 2010, no.20. A very similar carved ingot-
shaped cinnabar lacquer box and cover, Qianlong, from Shibuyaku
Shoto Museum is illustrated in Kaikan Jusshunen Kinen Tokubetsu-ten:
Chugoku no Urushi Kogei, Tokyo, 1991, no.79.

Image after Kaikan Jusshunen Kinen Tokubetsu-ten:
Chugoku no Urushi Kogei, Tokyo, 1991, no.79.
著錄於《中國之漆工藝：開館10週年紀念特別展》，
東京，1991年，編號79。

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