A fine archaistic gilt-bronze and cloisonné enamel vase, zun


Incised Qianlong four-character mark and of the periodModelled after an archaic bronze zun, the square central section brilliantly enamelled on each side with an archaistic taotie mask separated by vertical flanges, raised on a spreading foot similarly decorated with a stylised mythical beast mask, surmounted by a trumpet neck enamelled with a band of pendent plantain leaves, the interior rim with a similar band of leaves, all on a turquoise ground. 14.6cm (5 5/8in) high.
|清乾隆 銅胎掐絲琺瑯仿古出戟方尊陰刻「乾隆年製」楷書款The form and design of the present lot are a direct result of the Qianlong emperor's wishes for craftsmen to take inspiration from antiquity, in order to 'restore the ancient ways', reinstating the intrinsic qualities of simplicity, sincerity and happy exuberance of the ancient cultures. For this purpose the emperor instructed the Court to collect drawings of antiquities, such as the 'Catalogue of Xiqing Antiquities' (Xi Qing Gu Jian 西清古鑑), which served as sources of designs for the production of vessels. Compare a related archaistic cloisonné enamel fang gu with a primary taotie motif, Qianlong four-character mark and period, illustrated in the Compendium of Collections in the Palace Museum: Enamels 2, Beijing, 2011, pl.143.此器仿上古青銅器造型，體現了乾隆帝崇尚慕古之風，認為古典器物樸素、精純、高雅、有意涵，為此曾命梁詩正等人纂修《西清古鑑》，記錄清代宮廷所收藏商周至唐代青銅器過千件，並交玉工作為製作新製玉器時造型及紋飾的藍本，此器正是受到此種審美影響下而產生的精美之作。北京故宮博物院藏一例可資參考，見《故宮博物院藏品大系：琺瑯器編2清掐絲琺瑯》，北京，2011年，編號143。