Page 268 - Important Chinese Art Hong Kong April 2, 2019 Sotheby's

This tray is striking for its meticulous carving of two formations are modelled in the form of the immortality
ferocious dragons leaping towards a sphere containing fungus, and dragons are not only symbolic of the emperor
a shou (longevity) character. Vigorously rendered with but also of the contrasting cosmic forces of yin and yang.
gaping mouths and bulging eyes, the dragons’ movement According to Qinggong neiwufu zaobanchu dang’an [Archival
is successfully captured through the sharp contours of records from the Qing imperial household department
their sinuous bodies and detailed web of scales. A sense of workshop], a cinnabar square dish of Jiajing mark and period
three-dimensionality is further conveyed through the clever was sent to Suzhou to be re-lacquered and replicated in
use of a dark-coloured ground, which also enhances the the 42nd year of the Qianlong period (corresponding to
thickly built-up lacquer layers. In its liveliness and detailed 1777). Four copies, incised with six-character reign marks
rendering, this piece exemplifies the artistic advances made of the Qianlong period, were sent to Ningshougong and
in lacquer carving during the Qianlong reign.
Qianqinggong in the 44th year of the period (corresponding
This dish closely follows in both form and subject matter to 1779).
prototypes made in the Jiajing reign, although the original A closely related tray from the Qing Court collection and
version was cleverly adapted to suit the aesthetic taste of the still in Beijing, is illustrated in Carved Lacquer in the Palace
Qianlong period. Dragons are rendered with more powerful Museum, Beijing, 1985, pl. 331; the pair to this dish was
and fierce expressions, their scaly bodies are carved with sold in our London rooms, 8th July 1975, lot 21, and again
meticulous details, and contrasting lacquer colours are used in these rooms, 20th November 1985, lot 251, possibly the
more subtly. Furthermore, the composition appears less same dish sold also in our London rooms, 1st-2nd November
chaotic. A Jiajing dish carved with this motif, in the Palace 1984, lot 232, which is now in the Tokyo National Museum,
Museum, Beijing, is illustrated in Carved Lacquer in the Tokyo (accession no. TH 474); and a third dish was sold at
Palace Museum, Beijing, 1985, pl. 175.
Christie’s London, 10th June 1996, lot 8.
Carved lacquer of the Jiajing reign was an important source The design carved on this tray is also found on circular boxes
of inspiration amongst lacquer craftsmen of the Qianlong with Qianlong marks and of the period, such as a box in the
period, despite the almost ubiquitous presence of Daoist National Palace Museum, Taipei, illustrated in Carving the
elements in its designs. While Jiajing was a fervent believer Subtle Radiance of Colors. Treasured Lacquerware in the
in Daoism, Qianlong seems to have been ambivalent about National Palace Museum, Taipei, 2014, pl. 136; and another
the religion and although he provided state sponsorship from the Edward Krolik collection, illustrated in B. St. J.M.
for some Daoist deities, he banished from the court Daoist Morgan, ‘Carved Lacquer in the Krolik Collection’, Oriental
alchemists who had served his father, the Yongzheng Art, vol. XIII no. 4, Winter 1967, fig. 7, and sold twice in our
Emperor. Every element of the design on this dish is steeped London rooms, 24th February 1970, lot 85, and 29th October
in Daoist symbolism. The sphere that encloses the shou 1982, lot 247.
character resembles a flaming pearl and a taiji circle, cloud