Pair of imperial cloisonné enamel and gilded bronze vases
7.000 €
This monumental pair of cloisonné enamel vases on bronze and copper (50 x 30 cm each) stands as a testament of exceptional technical and heritage value, representative of the height of imperial decorative arts from the late Qing Dynasty, specifically the Guangxu period (c. 1895–1908). Crafted with virtuoso craftsmanship in the distinguished workshops of Beijing (Peking) affiliated with or closely linked to the Imperial Household suppliers (Zaobanchu), these examples are remarkable for their imposing volume and rigorous formal articulation, highlighted by thick, freestanding handles in the shape of archaic dragons (Chilong) cast in bronze, meticulously chased and mercury-gilded, alongside a flared mouth rimmed with the classic thunder pattern (leiwen). Given the extraordinary complexity of their manufacture, their monumental scale, and the refinement of their finishes, this pair most likely represents a commission of the highest dignity, expressly designed for the decoration of the Imperial Palace chambers, the residence of a high-ranking official of the mandarin court, or as a prestigious diplomatic state gift. Technically and materially, the surface displays an exquisite cloisonné technique featuring copper wires filled with polychrome vitreous enamels, whose subtle porosity or pinholes (pitting) on the white grounds and the gold-punched relief cartouches unequivocally confirm its pre-industrial handcrafted manufacture in traditional coal firing kilns. Iconographically, the decorative scheme is organized in layered registers enriched with refined narrative cartouches of the Huaniao type (flowers and birds), where the detailed rendering of the rooster, peacock, peony blossoms, and the Shou character creates a sophisticated symbolic repertoire of longevity, nobility, and prosperity over a turquoise-blue ground adorned with interlocking lotus scrolls (chanshi lian). The pristine and symmetrical preservation of this matching pair heightens its historical and artistic significance, establishing it as a first-rate decorative typology fully comparable in quality, style, and era to the major Qing enamel collections preserved in world-renowned institutions such as the Palace Museum in the Forbidden City in Beijing, the Victoria and Albert Museum in London, the Musée Guimet in Paris, the Museo Nacional de Artes Decorativas in Madrid, and the Museu Nacional d'Art de Catalunya (MNAC) in Barcelona.
TechniqueEsmalte alveolado (cloisonné) sobre cobre, con elementos de bronce cincelado y dorado al mercurio
Dimensions50x30cm
YearCirca 1895-1908
ArtistBEIJING, Talleres de esmalte de
BEIJING, Talleres de esmalte de
The enamel workshops of Beijing (Peking) represent the historical pinnacle of cloisonné (Jingtailan, 景泰蓝) production in China. The tradition of cloisonné enamel in the imperial capital reached maturity during the reign of the Jingtai Emperor (1449–1457) of the Ming Dynasty, a period that gave this technique its official Chinese name due to the prevalence of its signature turquoise blue. During the Qing Dynasty (1644–1912), under direct court patronage, the golden age of these workshops was consolidated. In the 18th century, the Qianlong Emperor reorganized the Zaobanchu (Imperial Household Workshops), creating specialized divisions within the Forbidden City devoted exclusively to enamelwork, where master craftsmen combined bronze casting, chasing, and glass chemistry. In the late 19th and early 20th centuries, coinciding with the reigns of the Tongzhi and Guangxu Emperors (1875–1908), the hub of enamel production expanded beyond the strictly courtly sphere, concentrating in the famous guild district of Liulichang and the Chongwenmen area in southern Beijing. Within this environment, private workshops of supreme commercial and aristocratic prestige emerged, supplying both the Manchu nobility and international collectors and diplomats. Among these prominent firms was Lao Tian Li (老天利), celebrated for the exceptional purity of its gilding and the refinement of its wirework, which earned international acclaim at the 1915 Panama-Pacific International Exposition in San Francisco, along with other renowned workshops such as De Xing Cheng (德兴成) and Jing Tai Cheng (景泰成). These workshops excelled in preserving traditional coal-firing kiln techniques, manual mercury-gilding and chasing, and imperial-grade iconographic design, establishing Beijing as the undisputed world capital of cloisonné art. Today, masterpieces from these same Beijing workshops are preserved and exhibited in the Oriental art collections of the world's most prestigious public institutions, most notably the Palace Museum in the Forbidden City in Beijing, the National Palace Museum in Taipei, the Victoria and Albert Museum in London, the Musée Guimet and the Musée Chinois du Château de Fontainebleau in France, the Metropolitan Museum of Art in New York, the Museo Nacional de Artes Decorativas in Madrid, and the Museu Nacional d'Art de Catalunya (MNAC) in Barcelona.
Recommended works
Other selected pieces from the Art Andorra catalogue.
