Page 109 - Sotheby's Speelman Collection Oct. 3, 2018
P. 109

early Qing dynasty, illustrated in The Complete Collection   its peak during 1771 and 1775, and the craftsmen extensively
                             of Treasures of the Palace Museum: Lacquer Wares of the   explored various new forms and decorations whilst taking
                             Qing Dynasty, Hong Kong, 2006, no. 4, where the discussion   clear references of Ming prototypes. The National Palace
                             notes that “the style of the dragons on this work shows typical   Museum, Taipei, houses a large number of Qianlong carved
                             characteristics of the Qing dynasty arts, and it is undoubtedly   lacquer boxes of different sizes, forms and names, Carving the
                             a piece made in the Qing dynasty”, p. 6. Compare a large   Subtle Radiance of Colours, op.cit., pp. 116-117, nos 105-123,
                             qiangjin and tianqi cinnabar lacquer box of Kangxi period   125-138, and 140-144.
                             from the Sakamoto Goro collection, with a related frontal   The present box, displaying the classic style of imperial
                             dragon design, sold in these rooms, 8th October 2013, Lot   lacquerware of the Qianlong period, is clearly a work of the
                             169. Similar designs can be seen on a number of carved   Imperial Workshop, Zaobanchu. One of the closely related
                             lacquer boxes from Qianlong period, whilst examples are   carved polychrome lacquer boxes, also in the collection
                             most commonly in the circular form, see Carving the Subtle   of the National Palace Museum, Taipei, is of square form
                             Radiance of Colours, op.cit., nos 133 and 135.
                                                                            with indented corners, slightly larger in size, the main motif
                             The Qianlong Emperor actively encouraged the production   of twin dragons in a similar water chestnut flower-shaped
                             of imperial lacquerware.  According to the palace records,   enclosure, with eight treasures and floral borders, published in
                             the Emperor commissioned lacquer boxes to be made with   Masterpieces of Chinese Carved Lacquer Ware in the National
                             his reign mark from the 3rd year of his reign (1738). The   Palace Museum, National Palace Museum, Taipei, 1981, pl. 23.
                             production of imperial carved lacquer treasure boxes reached
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