Page 104 - 2019 Nov 28 Sir Quo-Wei Lee Collection Hong Kong

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A WHITE JADE ARCHAISTIC INCENSE 清乾隆 白玉仿古饕餮紋雙獸活環耳四足方蓋爐
BURNER AND COVER
QING DYNASTY, QIANLONG PERIOD 白玉蓋爐，滿綴螭龍、饕餮紋，呼應乾隆皇帝慕古之
of rectangular section, the straight sides with tubular corners 情。器形傚仿商周青銅器，用以裝盛繪畫器具，鄭德坤
rising on four round feet, flanked by a pair of animal mask 於專文〈The t’u-lu colour-container of the Shang-
loop handles suspending loose rings, the exterior worked Chou period〉，《B.M.F.E.A》，第37期，1965年，
in low relief with abstract archaistic dragon scrolls between 頁239-250，論及此類青銅器形，四角圓柱原應用於貯
cicada lappets and chevron bands, the domed cover of
corresponding shape and surmounted by a coiled dragon 存色料，中心盛水。傳至清時，其原用途已廢，而作為
finial, framed by four coiled chilongs at the corners, the stone 三式之爐器。「三式」包含爐、盒、瓶，寓意富足、高
of an even white tone, wood stand 壽、祥和。
l. 14 cm, 5½ in.
北京故宮博物院藏一件類同白玉蓋爐，刊於《故宮博物
HK$ 900,000-1,200,000 院藏文物珍品全集．玉器（下）》，香港，1995年，圖
US$ 115,000-154,000
版156；布倫戴奇舊藏一例，現藏舊金山亞洲藝術博物
Intricately carved around the body with dragons and taotie 館，載於 René-Yvon Lefebvre d’Argencé，《Chinese
masks, this censer encapsulates the Qianlong Emperor’s Jades in the Avery Brundage Collection》，三藩
devotion towards China’s past and his efforts to revive 市，1977年，圖版 LV（左）；另一例現存印第安納波
celebrated traditions. This piece is modelled after archaic 利斯藝術博物館，曾展出於《Radiance and Virtue: The
bronze containers made in the Shang (16th century- c.1046
BC) and Western Zhou (c.1046-771 BC) dynasties, which R. Norris Shreve Collection of Chinese Jade and Other
are believed to have been used for storing artists’ materials. Oriental Works of Art》，印第安納波利斯，1983年，
Cheng Te-kun in “The t’u-lu colour-container of the 編號29；第四例為伍夫爵士珍藏，展於《伍夫收藏中國
Shang-Chou period”, B.M.F.E.A., no. 37, 1965, pp 239-250, 玉器》，蘇富比，倫敦，2013年，編號21，曾於倫敦蘇
discusses the bronze prototypes of this piece and suggests
that pigments were stored in the hollowed tubes, while the 富比售出，1987年12月16日，編號470。
central compartment would have contained water. In the
Qing dynasty the original function was abandoned, and 北京故宮亦藏一件碧玉蓋爐，器形相類，為三式之
vessels of this type were instead used as incense burners in 一，錄於《故宮博物院文物藏品大系．玉器編》，卷
three-piece garniture sets. The ‘Three Accessories’ (sanshi) 10：清，北京，2011年，圖版111；倫敦維多利亞與
included a censer (lu), a box (he) and a vase (ping), which
are together homophonous with the words for wealth, 艾伯特博物館亦藏一例，刊載於劉明倩，《Chinese
longevity and peace. Jades》，倫敦，2004年，圖版52；第三例作鳳形耳，
錄於 Robert Kleiner，《哈特曼收藏中國玉器》，香
A similar white jade censer and cover in the Palace Museum,
Beijing, is illustrated in The Complete Collection of Treasures 港，1996年，圖版74；布倫戴奇亦藏一例，現貯舊金山
of the Palace Museum. Jadeware (III), Hong Kong, 1995, pl. 亞洲藝術博物館，前述出處，圖版 LV（右）。
156; one from the Avery Brundage collection, in the Asian
Art Museum of San Francisco, is illustrated in René-Yvon
Lefebvre d’Argencé,Chinese Jades in the Avery Brundage
Collection, San Francisco, 1977, pl. LV (left); another in the
Indianapolis Museum of Art, was included in the Museum’s
exhibition Radiance and Virtue: The R. Norris Shreve
Collection of Chinese Jade and Other Oriental Works of Art,
Indianapolis, 1983, cat. no. 29; and a fourth censer, from the
collection of Sir John Woolf, included in the exhibition The
Woolf Collection of Chinese Jade, Sotheby’s, London, 2013,
cat. no. 21, was sold in our London rooms, 16th December
1987, lot 470.
See also a spinach-green jade censer and cover of this form,
in the Palace Museum, Beijing, illustrated as part of a three-
piece altar garniture set in Compendium of Collections in the
Palace Museum. Jade, vol. 10, Qing Dynasty, Beijing, 2011,
pl. 111; another in the Victoria and Albert Museum, London,
published in Ming Wilson, Chinese Jades, London, 2004,
pl. 52; a third with phoenix-shaped handles, illustrated in
Robert Kleiner, Chinese Jades from the Collection of Alan
and Simone Hartman, Hong Kong, 1996, pl. 74; and a further
example with strap handles, from the Avery Brundage
collection in the Asian Art Museum of San Francisco,
published op.cit., pl. LV (right).

102 SOTHEBY ’S CHINESE ART