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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