Page 34 - Sotheby's Dr. Wou Kiuan Collection CHINESE ART , Oct. 9, 2022

Cloisonné enamel censers of this monumental size and complex ornamentation are
extremely rare. Measuring over 120 cm in height, this imposing censer is among the largest 掐絲琺瑯鼎式爐，華美富麗，鉅碩恢弘，高
vessels of its type, and only one closely related censer appears to be recorded. The present 度超過120公分，可謂同類器物中尺寸最大
piece is a fine example of imperial enamel craftsmanship of the Qianlong period (1736-95) 者，現知類例僅一，珍稀至極。器身掐絲琺
when cloisonné enamelling reached its zenith. This is evident in the well-planned, detailed 瑯工藝，精湛細膩，彰顯乾隆時期宮廷琺瑯
製作已達巔峰。整體紋飾設計精美典雅，色
and precisely laid-out design and the wide range of bright, delicately blended enamel
彩繽紛細緻，如此尺寸與製作水平，應出自
colours. Sophisticated gilding can also be seen on the crisply cast decorative bands
北京紫禁城造辦處琺瑯作，納全國技藝最精
around the body and the three solid, sculptural legs. With this size and overall intricacy,
之能匠，致力追求美善至臻，以博帝王歡
this magnificent censer could only have been made in the Cloisonné Enamel Workshop 心。爐沿六字年款，亦確認其御製出身。
within the Zaobanchu (Imperial Palace Workshops) located in the Forbidden City, Beijing,
where the most skilful artists and craftsmen were encouraged to produce pieces that were 乾隆一朝，運用掐絲琺瑯工藝製作大量各式
creative, technically challenging and aesthetically eye-catching to please the Emperor. The 器物。乾隆皇帝慕古，尤喜仿古風格，工匠
們遂以古式為礎，添加新穎設計，創造新舊
six-character reign mark prominently incised at the centre of the gilt mouth rim confirms
融合的仿古器物。本品以古青銅三足鼎為
its imperial status.
本，原型屬商周時期盛裝食物、牲禮之禮
器，現作為大型香爐，筒形爐身、沖天耳造
The Qianlong period saw a great resurgence and expansion in cloisonné making whereby 形、足上紋飾，皆甚少見，即使乾隆朝掐絲
vessel forms and designs proliferated. The Emperor, a keen collector of objects and 琺瑯香爐中，亦罕得之。
connoisseur of art, is known to have favoured works of art that were modelled after relics
from antiquity. The Qing craftsmen added their own design elements, made innovative 創新之餘，此爐紋飾富載傳統祥瑞意涵。雲
間遊龍，兩兩相對，自古即象徵至高官階與
changes to the prototypes and applied their own style, thus creating archaistic pieces that
權力，下方黃色小龍，意味「蒼龍教子」，
were nevertheless contemporary. This censer takes its form from an archaic tripod vessel
寄意祝賀皇權傳承千秋萬世。雙龍捧「壽」
known as ding, which was originally used for holding or serving food and other offerings
，祝意高壽。爐腹中段鎏金，綴淺浮雕仿古
during the Shang (c. 1600-1046 BC) and Zhou (c. 1046-221 BC) dynasties. This vessel, no 夔龍紋。通體遍飾番蓮搭配華麗卷葉紋，屬
longer created as a food container but an incense burner, is unusual in its cylindrical body 乾隆時期特有風格，多見於佛教相關器物。
shape, squared scroll handles and curly motifs at its legs – features rarely seen even on
Qianlong cloisonné censers. 宋朝以降，祭典場合常用鼎式三足
爐焚香，歷代皆然，此件鼎式爐應
為五供之一，相應之燭台一對、瓶
Further to the integration of innovative designs, decorating this impressive censer are
一對，現藏法國楓丹白露宮（藏品編
motifs that are also steeped in tradition and auspicious associations. The confronting
號：F1332C、F1328C、F1735C；圖
dragons among clouds is a classic design element symbolising high rank and power since 一）。
ancient times. With smaller yellow dragons playing right beneath the larger blue ones,
together they might represent the Chinese saying canglong jiaozi (‘old dragon teaching its 乾隆皇帝篤信佛教，大舉翻修京司、禁城內
young’) and convey a wish for passing the power from one generation to the next. Between 之佛寺廟宇。北京紫禁城內乾清宮帝王寶座
二側，陳設一對大型四足掐絲琺瑯香爐，刊
the confronting dragons are roundels of the Chinese character shou, meaning longevity.
於《清代宮廷生活》，北京，1985年，頁
The dragon scroll on the waist band, cast in low relief and gilded, is closely copying archaic
56，圖版69。
dragon designs. The ‘foreign lotus’ (fan lian) adorning the vessel overall – a stylised
version of the lotus flower that is accompanied by scrolls with fanciful foliation instead of 參考一例相類直腰筒形香爐，尺寸較
naturalistic leaves – is a motif archetypal in this period, particularly in a Buddhist context. 小，62.9公分高，雙耳、壽字紋、龍紋、
番蓮，皆與本品相似，惟無鎏金銅腰帶，
Ding tripod vessels were used in a ceremonial context as incense burners at least since the 腿上綴獸面紋，帶蓋，出自 Edward G.
Kennedy 舊藏，現藏於紐約大都會藝術博
Song dynasty (960-1279) and continued to be used in this way, even though the Hongwu
物館（藏品編號：22.93a–c）。比較另一
Emperor (r. 1368-98) had decreed that daily utensils should be used during state rituals.
例，65.5公分高，雙耳稍異，圓腹，綴花
The intended use of the present censer as the central piece of a five-piece altar garniture,
卉紋，現藏北京故宮博物院，藏品編號：
wugong (the five offerings), is confirmed by the only existing companion piece, which 新-80295，錄於《故宮博物院藏品大系：
is preserved together with a matching pair of candlesticks and vases in the Château de 琺瑯器編》，卷2，北京，2011年，圖版
Fontainebleau, France (accession nos F1332C, F1328cC and F1735C, fig. 1). 236。

中國掐絲琺瑯技術的開端，雖仍有不同看
The Qianlong Emperor, a keen follower of Buddhism, saw himself as the religious leader of
法，現今廣為接受的是，應為元代，拜占庭
the empire and commissioned ceremonial furnishings for shrines and temples as well as
傳入。製作掐絲琺瑯器，繁瑣費時，各階段
for the compound of the Imperial palace. Opulent pairs of four-legged censers were also

66 A JOURNEY THROUGH CHINA’S HISTORY THE DR WOU KIUAN COLLECTION PART II