Page 35 - Sotheby's Dr. Wou Kiuan Collection CHINESE ART , Oct. 9, 2022

placed on either side of the Emperor's throne in the Qianginggong (Palace of Heavenly
Purity), in the Forbidden City, Beijing, as illustrated in situ in Qingdai gongting shenghuo / 均需巧匠能工方成。首先，製作金屬胎身，
Life in the Palace During the Qing Dynasty, Beijing, 1985, p. 56, pl. 69. 焊接金屬細線於上，勾勒紋飾輪廓，復填各
色琺瑯料於其中，入窰燒製，反覆數次，直
Another incense burner of related cylindrical shape but much smaller in size (62.9 cm in 至厚度合宜，方可進行打磨、鎏金。成品耀
height), with handles of similar form and motifs of shou characters, confronting dragons 眼奪目，繽紛華貴。本品如此璀璨壯麗，輝
映乾隆朝強盛之國力與工藝成就。
and lotus flowers, but lacking the gilt-bronze waist band, with lion masks on the legs
and covered with a lid, formerly in the collection of Edward G. Kennedy, is now in the
Metropolitan Museum of Art, New York (accession no. 22.93a–c). Compare also another
smaller ding (65.5cm in height) with a pair of different squared scroll handles, of globular
form and decorated with floral motifs only, preserved in the Palace Museum, Beijing
(accession no. xin-80295), illustrated in Compendium of Collections in the Palace Museum:
Enamels. Cloisonné in the Qing Dynasty, vol. 2, Beijing, 2011, pl. 236.

Although the beginnings of the cloisonné technique in China are still debated, the
technique is now generally believed to have been introduced to China, possibly from
Byzantium, in the Yuan dynasty (1279-1368). The process of making cloisonné enamel
wares is a complex one which involves several laborious and specialized stages. First, the
vessel body is cast, following which the very fine wires that outline the design are soldered
onto the body to form pockets into which enamel is poured or applied, and then the
vessel is fired. This process is repeated several times and the enamel is layered on until
the desired thickness is achieved. The ware is completed after grounding and polishing to
make it smooth, before finally plating the bronze elements with gold. With its striking and
glamorous, this awe-inspiring censer demonstrates the immense artistic and technical
achievements of the imperial workshops at the time and embodies the grandeur and
power of the Qianlong reign.

Fig.1 A set of five clolisonne enamel 'kui dragon' altar vessels, marks and period of Qianlong, Palace of Fontainebleau
Photo © RMN-Grand Palais (Château de Fontainebleau) / Gérard Blot
圖一 清乾隆 掐絲琺瑯夔龍纏枝蓮紋五供 《大清乾隆年製》款 法國楓丹白露宮 圖片 © RMN-Grand Palais（楓丹白露宮）/
Gérard Blot

68 A JOURNEY THROUGH CHINA’S HISTORY THE DR WOU KIUAN COLLECTION PART II SOTHEBY’S HONG KONG 69