Page 121 - Scholarly Works of Art Hong Kong Sothebys March 3 2019

Superbly decorated in bright cloisonné enamels with taotie
masks, the present vessel with its flaring neck atop the
bulbous central section and splayed foot, is a remarkable
testament to the skilled craftsmanship of the Qianlong reign
and the Emperor’s fascination with archaism. The present
vessel belongs to a special group of vessels that took their
inspiration from archaic ritual bronzes, which can be seen
from not only its form but also its stylistic decoration that
echoes that of archaic vessels.
The choice of decoration against the bright turquoise ground
shows a notable emulation of early bronze ritual vessels,
which is evident in the main and subsidiary taotie masks, the
plantain blades and the kui phoenix encircling the trumpet
neck, as well as the thin wires of leiwen motifs in the bright
turquoise ground.
According to a record from the Zaobanchu Archives of
the Qing Imperial Household Department, on the 25th day
of the 11th month in the 39th year of the Qianlong reign,
it was decreed that a cloisonné enamel ware was to be
made for the Dongnuange (‘East Warm Pavilion’) in the
Ningshougong (‘Palace of Tranquil Longevity’). A draft of a
cloisonné enamel zun was presented on the same day to the
eunuch for the Emperor’s inspection. The imperial decree
was received that the draft was to be decorated for further
inspection and a jade moonflask was to be replaced upon
the production of the cloisonné enamel ware. On the 27th
day of the month, upon submission of a decorated draft, the
imperial decree was received that the zun was to be made
following the draft with the plantain and kui-phoenix designs.
On the 18th day of the 1st month of the 4[0]th year, a
cloisonné enamel zun and zitan stand were presented to the
eunuch for the Emperor’s inspection and it was decreed that
the gilt areas of the zun were to be re-gilt with the interior
gilt.
Cloisonné enamel production was rigorously monitored
during the Qianlong reign. It is notable that in the 33rd year
of his reign, it was ordered that the gilding of cloisonné
enamel wares was to be executed at least three times to
further encapsulate the imperial splendour.
Only a small number of these vessels appears to be
recorded. For a closely related Qianlong reign-marked
example of the same size, similarly decorated with taotie
masks, see The Complete Collection of Treasures of the
Palace Museum. Metal-bodied Enamel Ware, Hong Kong,
2002, no. 115. See another similar Qianlong marked vessel of
a slightly larger proportion, in the Uldry collection, illustrated
in Helmut Brinker and Albert Lutz, Chinese Cloisonné: The
Pierre Uldry Collection, London, 1989 (German edition
Zurich, 1985), no. 268.
The incorporation of golden-olive taotie masks
complemented with two blue subsidiary taotie masks is also
seen on a cloisonné enamel hu-shaped vase with the same
four-character reign mark cast in relief, sold at Christie’s
London, 15th May 2018, lot 3.

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