Page 41 - Nov 28 Chinese Art Hong Kong

This lacquer box and cover is remarkable for its impressive size and 盒長方形，天蓋地式，平蓋面，通體以黃漆為地色，紅漆雕圖紋。蓋
well-detailed decoration carved in cinnabar red lacquer on a yellow 面黃漆錦紋之上雕壽山福海、雙龍戲珠及祥雲紋。盒壁以錦紋為地，
ground. The subject matter, of contrasted dragons emerging from 前後、兩側共雕六組開窗纏枝番蓮紋，開窗以夔龍紋為花邊。盒身邊
waves and pursuing the flaming pearl of wisdom, follows on that seen 沿飾如意雲頭一周，盒底座則飾錦地紋。盒內髹黑漆。
in late Ming dynasty lacquer-wares, such as a carved red and yellow
lacquer tray, 16th century, illustrated in Carving the Subtle Radiance of 海水龍紋圖最早在明代宮廷雕漆上就已經出現，例如台北國立故宮
Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 博物院藏一件明十六世紀宣德款剔彩龍紋長方盤，著錄於《和光剔
2008, no.99. This subject matter continued into the Qing dynasty as 采—故宮藏漆》，台北，2008年，編號99。此紋飾在清代宮廷雕漆
can be seen in related variously shaped red lacquer boxes and covers, 中得以延續，如台北國立故宮博物院中所藏清乾隆剔紅雲龍寶盒，以
18th century, illustrated in ibid., nos.134 and 153; and see also a large 及雲龍紋方匣，見同著錄，編號134及153。北京故宮博物院也藏有
red lacquer box and cover, early Qing dynasty, and another with a 此類雕漆大盒，如一件清早期剔紅雲龍紋長方盒，以及一件清中期剔
pair of dragons above waves, mid-Qing dynasty, from the Qing Court 彩雲龍紋長方盒，見《故宮博物院藏文物珍品全集：清代漆器》，上
Collection, illustrated in The Complete Collection of Treasures of the 海，2006年，編號2及46。另見台北國立故宮博物院藏一件剔紅輦式
Palace Museum: Lacquer Wares of the Qing Dynasty, Shanghai, 2006, 三層套盒，其側面番蓮紋與本拍品類似，同著錄，編號164。與此盒
nos.2 and 46. For a related design of stylised lotus scrolls as can be 如意形足類似之例，見台北國立故宮博物院，同著錄，編號167，168
seen on the sides of the box, see a carved red lacquer ‘cart’ box, 18th 及179。此盒器形碩大，蓋面雙龍於翻騰海水追趕火焰珠，海水洶
century, in the National Palace Museum, Taipei, illustrated ibid., no.164. 湧、祥雲四起，一幅氣勢澎湃景象。宮中此類大盒可能是用於放置寫
Related carved red lacquer ruyi terminals stands were often used on 本冊頁之用。
Imperial lacquers to elevate vases or boxes; for related examples,
18th/19th century, see ibid., nos.167, 168, and 179. This type of
decoration and highly accomplished execution exemplify the high level
of craftsmanship achieved by the lacquer ateliers in the mid-Qing
dynasty period, responding to the Imperial Court’s exacting demands.