Page 118 - The Parry Collection Bonhams London November 2 2021

Notable for its elegant form, the exquisite painterly enamelled red and blue, turquoise and brown-black. Additionally, the European
decoration and the perfect combination of opulent decoration and influence, through the involvement of Jesuit painters in the Imperial
technical perfection, conveyed by the juxtaposition of polychrome Workshops, as well as the influence derived from European works of
enamels, including Imperial yellow richly decorating the cover, and the art given to the Court, is evident in the landscape scenes, as well as in
meticulous attention to detail devoted to the decorative designs, make decorative motifs such as the elaborate curling fronds.
the present teapot an exceptionally rare outstanding example of the
Imperial Workshops in Beijing during the early years of the celebrated In addition, the tiny pale blue speckles on the landscapes depicted
Qianlong period. in the cartouches display the stippling technique which can also be
seen on Western enamelled vessels. This artistic device created a
The technique of enamelling on metal was first introduced in Guangzhou gradation of shade or colour through the application of a multitude of
by Jesuit missionaries around 1684. Beginning from the reign of the tiny dots, which allowed for wide variation in intensity of colour without
Kangxi Emperor and throughout the reign of the Qianlong Emperor, constantly changing the saturation of the enamel; see Shi Jingfei,
however, more artisans were sent to Beijing to set up the Imperial Radiant Luminance: The Painted Enamelware of the Qing Imperial
Workshops. The manufacturing process usually began by coating the Court, National Palace Museum, Taipei, 2012.
metal object with a white ‘glaze’ similar to that used on porcelain. The
vessel was then fired at low temperature, which secured the enamel to The melon form of the present teapot appears, however, to have been
the metal body. Decorators then applied the design in coloured enamels inspired by Imperial jade prototypes. These, in turn, were influenced
and the piece was fired again at low temperatures. The final stage by Mughal jades, which were much admired by the Qianlong Emperor;
involved the gilding of the rims where the copper was left exposed. see a while jade ‘melon-shaped’ teapot and cover, with gilt-bronze
Referred to as yangcai or ‘foreign enamel’ as it was initially imported and cloisonné enamel mounts, Jiaqing yuyong mark, Qianlong period,
from Europe, the enamelling pigments started being produced in China illustrated in Compendium of Collections in the Palace Museum: Jade
from around 1728, with the creation of opaque white enamel. 10 Qing Dynasty, Beijing, 2011, no.125.
In Qing Palace records, painted enamel was categorised into enamel Idyllic mountainous landscape scenes, as seen on the teapot, were
painting on gold, silver, copper, enamel painting on Yixing stoneware, popular with scholars during the Qing dynasty, frequently portraying
enamel painting on porcelain and even enamel painting on glass. The one or more number of sages often accompanied by their attendants.
Imperial Household Workshops, Zaobanchu, of the Qing dynasty Deemed to function as analogues to their real counterpart, these
were established in the Hall of Mental Cultivation, Yangxindian, during model landscapes provided the learned men with an idealised escape
the Kangxi reign. The ‘Records of the Various Imperial Household from the world of mundane affairs where they could forge their identity
Workshops’, Zaobanchu gezuocheng zao huoji qingdang, begun as poets, calligraphers and philosophers; for further discussion see
in 1723 and continued up to 1911, faithfully recording the names, A.Stein, ‘The World in Miniature: Container Gardens and Dwellings’,
places of origin, times of creation, formats, materials, manufacturing in Far Eastern Religious Thought, Stanford, 1990; and J.Rawson,
processes and even the edicts associated with them. ‘Cosmological Systems as Sources of Art, Ornament and Design’, in
Bulletin of the Museum of Far Eastern Antiquities, 2000, pp.133-189.
By the 18th century, the craft of enamelling on metal had reached
perfection with forms and designs reflecting the Emperor’s extravagant The two other similar teapots are in the museum collections of the
and opulent taste. During the early decades of the Qianlong reign, no National Palace Museum, Taipei (see H.Chen, Enamel Ware in the
expense was spared in developing the Palace Enamelling Workshops Ming and Ch’ing Dynasties, Taipei, 1999, pp.224-225, no.114); and
using a wide range of subjects. The Qianlong Emperor not only the Nelson-Atkins Museum, Kansas City, as noted above. However,
demanded technical perfection but was willing to expend considerable compare also, from the Qing Court Collection, a related painted
sums in order to obtain innovative and artistically superior pieces. enamel teapot and cover, Qianlong mark and period, of lobed
octagonal shape, decorated with cartouches depicting landscape,
Teapots reserved for use by the Emperor and high-ranking members flowers and bird designs, illustrated in The Complete Collection of
of the Court were made in various forms, including globular and Treasures in the Palace Museum. Enamels. Painted Enamels in the
lobed shapes, and the decoration ranged from floral shrubs, ‘cracked Qing Dynasty, vol.5, Beijing, 2011, pp.156-157, no.116; and see
prunus’ designs, flower heads, mythical creatures, to European also a related white-ground painted enamel teapot and cover with a
subjects and landscape scenes, many of which were inspired by the lobed body, Qianlong mark and period, decorated with polychrome
painting production of the time. flowerheads, illustrated in Ibid., p.154, no.114.
The various decorative elements depicted on the present vessel The present lot displays exceptional complexity in form and in its
ingeniously combine Chinese and European traditions and innovations, variety of designs including landscapes, figures, flowers and butterflies
exhibiting total technical control and superb artistry accomplished by as well as geometric designs. However, see a related Beijing enamel
the Qianlong-period enamellers at their zenith. This can be seen in the teapot, Qianlong four-character mark and period, but of simpler
remarkable richness and variety of the enamel colours evident in the curving rectangular form with floral designs, which was sold at
wide variety, ranging from bright yellow tone, various shades of pink, Sotheby’s Hong Kong, 7 April 2004, lot 1804.

116 | BONHAMS