A FINE AND LARGE CLOISONNÉ ENAMEL AND GILT-BRONZE VASE, YENYEN

Qianlong

Footnotes

清乾隆 銅胎掐絲琺瑯蕉葉如意紋鳳尾尊

Published, Illustrated and Exhibited: The Oriental Art Gallery Ltd., Oriental Works of Art, London, 1995, no.120 (the vase)

展覽著錄： The Oriental Art Gallery Ltd.，《Oriental Works of Art》，倫敦，1995年，編號120 (僅尊，無底座)

The present piece exemplifies the monumental scale, meticulous craftsmanship and cosmopolitan internationalism of Imperial taste during the Qianlong period. The presence of acanthus leaves on the inner side of cloisonné enamel handles is highly unusual, it is a motif more commonly found in European decorative arts, particularly in Baroque and Rococo styles. In Chinese art, floral patterns typically adorn prominent areas like the vessel's body or rims, making this subtle placement intriguing. The acanthus, a staple of Rococo ornamentation, became synonymous with European elegance in the 18th century, and its use here suggests a deliberate nod to Western aesthetics. Given the Qing Court's fascination with European styles, particularly under the Qianlong Emperor, this detail may reflect Imperial preferences for the exotic West, as best exemplified in the Western style palace of the Yuanmingyuan. Compare the mythical beast head handles to those on a cloisonné enamel incense burner and cover, mid-Qing dynasty, in the Qing Court Collection, illustrated in Compendium of Collections in the Palace Museum: Enamels, 3, Beijing, 2011, p.227, no.192.

Such exotic embellishment suggests a sophisticated audience that appreciated intricate craftsmanship beyond surface decoration. The design may have been influenced by French and German silverwork, where acanthus scrolls often adorned secondary areas. But rather than direct imitation, this fusion of styles exemplifies the creative adaptation that defined crafts during the Qianlong era. See for example, a cloisonné enamel incense burner and cover with elaborate handles, Qianlong, at Anglesey Abbey, Cambridgeshire (acc.no.NT 513463).

Aside from exotic Occidentalism, the archaistic scroll work and taotie masks featured on the vase also serve as a reflection of the Qianlong Emperor's deep admiration for ancient Chinese art and his deliberate promotion of archaism. During his reign, the Qianlong Emperor sought to connect his reign with the grandeur of past dynasties, particularly the Zhou and Han periods. By incorporating these elements, he positioned himself as a defender of tradition while subtly asserting the continuity of Imperial power. The scroll work, with its intricate and flowing design, evokes the elegance of earlier dynasties, while the taotie masks—an iconic motif often seen on bronzes from the Shang and Zhou periods—invoke a sense of ancient authority and power. This deliberate emulation of past styles was not only a form of artistic expression but also a political statement, demonstrating the Emperor's desire to blend cultural preservation with his vision of Imperial greatness. See for example, a cloisonné enamel vase with phoenix-shaped handles and taotie mask design, mid-Qing dynasty, Compendium of Collections in the Palace Museum: Enamels, 3, Biejing, 2011, p.11, no.77.

Compare with a related monumental gilt-bronze and cloisonné enamel 'lotus' vase, 18th century, which was sold at Sotheby's Paris, 15 June 2023, lot 63.