Lot 41 清乾隆　掐絲琺瑯番蓮紋鼎式三足蓋爐 | A CLOISONNÉ ENAMEL TRIPOD INCENSE BURNER AND COVER, DING

清乾隆　掐絲琺瑯番蓮紋鼎式三足蓋爐 | A CLOISONNÉ ENAMEL TRIPOD INCENSE BURNER AND COVER, DING

Qianlong four-character mark and of the period

HKD 250,000

HKD 250000 - 350000

未知

未知

Qianlong four-character mark and of the period
The generously proportioned body richly decorated with six large, luxuriant lotus blooms amid scrolling foliage, raised on three tall cylindrical feet, the waisted neck embellished with chrysanthemums, surmounted by a domed cover similarly adorned with flowering sprays and foliage, between twin upright loop handles, fitted box.
32cm (12 5/8in) high. (3).
Footnotes
清乾隆　掐絲琺瑯番蓮紋鼎式三足蓋爐
掐絲填藍「乾隆年製」款
Provenance:
Countess Karen Grote (1884-1963), Denmark
A Scandinavian private collection
Christie's London, 10 May 2016, lot 2
來源：
Karen Grote 伯爵夫人（1884-1963），丹麥
北歐私人收藏
倫敦佳士得，2016年5月10日，拍品編號2
Countess Karen Grote (1884-1963), née von Holstein-Rathlou, was a Danish countess and missionary who served in Beijing in the early 20th century. Born at Rathlousdal near Odder in Jutland, she was the daughter of Emil von Holstein-Rathlou and Sophie, née Jerichau. Grote was also a writer; in 1926 she published ('When the Time of Song Came'), issued by the Missionstrykkeriet (Lohse), with several extracts subsequently published separately.
Although cloisonné enamel vessels with Qianlong reign marks and of the period are not exactly uncommon, those with enamel marks are highly unusual. See two rare archaistic covered tripod incense burners from the Qing Court Collection, illustrated in , vol.2, Beijing, 2011, pp.260-263, nos.209-210. Probably due to their technical complexity, cloisonné enamel reign marks were used only briefly during the Wanli period before their occasional reappearance in the Qianlong period. For Wanli period examples, see lots 20 and 24 in the present sale. See a related cloisonné enamel tripod incense burner and cover, Qianlong, which was sold at Bonhams London, 12 November 2015, lot 212.
The form of the present vessel draws upon the archaic bronze tradition of the Shang and Zhou dynasties; specifically the , a ritual food vessel used in ancient China. Such deliberate evocations of antiquity formed an important component of Qing Court taste. The Qianlong Emperor was particularly receptive to the revival of ancient forms and ornament, which he regarded as an important expression of Imperial connoisseurship and cultural continuity.
卡倫·格羅特伯爵夫人（Countess Karen Grote，1884至1963年，本姓 Holstein-Rathlou），丹麥伯爵夫人兼傳教士，二十世紀初曾於北京服事。格羅特伯爵夫人生於日德蘭半島奧德附近的拉特勞斯達爾（Rathlousdal），為埃米爾·馮·霍爾斯坦-拉特勞（Emil von Holstein-Rathlou）與蘇菲（Sophie，本姓 Jerichau）之女。格羅特亦是一位作家，曾於1926年出版著作《Da Sangens Tid kom》，由Lohse傳教士出版社出版），其中多個篇章隨後獨立發表。
參閲清宮舊藏兩件三足香爐，收錄於《故宮博物院藏品大系：琺瑯器編》，卷2，北京，2011年，頁260–263，圖版209及210。或許受限於工藝之複雜性，掐絲琺瑯款僅於明萬曆時期短暫使用，至乾隆時期方偶有重現。萬曆時期之例，參閲本場拍賣第20及24號拍品。另可比較一件相近之例，售於倫敦邦瀚斯，2015年11月12日，拍品編號212。
本品之造型汲取自商周時期古青銅器之傳統，特為祭祀之禮器「鼎」。此類刻意追摹高古之風尚，乃清代宮廷品味之代表。乾隆皇帝尤為推崇復古之器形與紋飾，並將其視為帝王鑑藏品味與文化綿延之重要體現。