Lot 67
Lot 67
Treasury 6, no. 1079
HK$2,640,000
Basket of Abundance
Famille rose enamels on copper, with gold; with a flat lip and slightly recessed, slightly concave foot surrounded by a protruding flat footrim; painted to simulate a basket of flowers, the base of the bottle acting as the woven basket, its upper edge with a band of fylfots (wan symbols) enclosed in circles and the foot of the basket with a diaper pattern of the same motif, the two basket handles on the narrow sides with a separate carrying handle hooked into them, dividing at the shoulders to encircle the neck, each with a tied ribbon on the main side, the basket filled with two peaches growing from an unseen branch, the leaves of which are visible, a bunch of grapes, two Buddha’s hand citrons, two plums, a persimmon, and other fruit, with chrysanthemums and daisies, the upper body with a blue-stippled white ground representing the sky; the foot inscribed in blue regular script Qianlong nian zhi (Made during the Qianlong period); the interior covered with a patchy, turquoise-blue enamel; the exposed metal gilt
Imperial, palace workshops, Beijing, 1736–1770
Height: 4.22 cm
Mouth/lip: 0.68/1.19 cm
Stopper: gilt bronze; chased with a formalized floral design
Illustration: watercolour by Peter Suart
Lot 67 Provenance:
Martin Schoen
Paul and Helen Bernat
Sotheby’s, Hong Kong, 15 November 1988, lot 79
Published:
Moss 1976, plate 27
Arts of Asia, September-October 1990, p. 96
JICSBS, Winter 1992, front cover
Kleiner, Yang, and Shangraw 1994,no. 5
Kleiner 1995, no. 8
Treasury 6, no. 1079
Exhibited:
Hong Kong Museum of Art, March–June 1994
National Museum of Singapore, November 1994–February 1995
British Museum, London, June–October 1995
Israel Museum, Jerusalem, July–November 1997
Lot 67 Commentary
The subject of a basket of flowers or fruit, or both, was a popular one at the palace workshops during the eighteenth century. It appears on glass snuff bottles that can be attributed to the court starting from the early Qianlong period at the latest (see Moss, Graham, and Tsang 1993, no. 362, where no. 393 is a spectacular late-Qianlong, double overlay with begonias in a basket). It was also a popular design on the Guyue xuan group of enamelled glass wares from the second half of the Qianlong reign, represented in the Bloch Collection by Treasury 6, no. 1105. Others may be found in the J & J Collection, Moss, Graham, and Tsang 1993,no. 200; Kleiner 1990, no. 51 (decorated with two baskets, one with the emblems of the Eight Immortals, one with flowers); Chinese Snuff Bottles 6, no. E.7, and JICSBS, Spring 2004, back cover, lower-left, the spectacular example from the Marakovic Collection. Although the design was popular in the Qianlong period, it can be traced back to palace enamelling of the Kangxi reign. One of the enamelled porcelains bowls with floral decoration bearing the mark Kangxi yuzhi (Made by imperial command of the Kangxi emperor) has a group of auspicious flowers contained within a ‘basket’ of lotus petals, the foot of the bowl painted as a cylindrical segment of the upper stem (Guoli Gugong bowuyuan 1967a, plate 8). It would have been a small leap of the imagination to evolve this design into the popular baskets of flowers of the Qianlong period. The popularity of the subject probably arises from one likely symbolic reading of the basket (lanzi) that may suggest male children (nanzi), one of the three desires dear to the Chinese heart that are embodied in the term Sanduo (Three plenties). These are, Duofu (Plenty of happiness), Duoshou (Plenty of years to live) and Duonanzi (Plenty of male children). The concept can be traced back to the ‘Heaven and Earth’ chapter in the Zhuangzi, compiled during the Warring States period. The ‘Three plenties’ or ‘Three abundances’ are also represented by the Buddha’s hand citron, peach, and pomegranate, two of which appear in the basket here. The pomegranate may have been considered superfluous given the similar symbolic meaning of the basket itself, or the inclusion of grapes, which are also a symbol of ample progeny. Longevity is represented by the peach.
It seems technically preferable to enamel both the inner and outer surfaces of any form when painting with enamels on metal. This helps equalize the tensions between the brittle, glassy enamel surface and the metal ground, and with one or two rare exceptions (significantly, experimental wares from early Guangzhou production, such as Treasury 6, no. 1124), enamelled snuff bottles have a coating of enamel inside. Decoratively this is meaningless, since it is all but invisible, even without any snuff in the bottle. Functionally, it could have done little to maintain the qualities of the snuff, since in most cases the interior enamelling is sufficiently patchy that significant areas of metal are left exposed. Covering the interior surface of a snuff bottle with enamel was obviously rather difficult, more difficult than glazing the interior of a larger vessel, and the fact that even flat panels intended to be inserted in furniture or other objects, where their backs would never be seen, are similarly enamelled suggests that it can only have been a technical requirement. Although there are exceptions, as there always are to those ‘rules of thumb’ in which beginners delight and that experts try to avoid, there is one that may prove a useful, even if not infallible guide to origin: it seems that the majority of eighteenth century Beijing enamel snuff bottles were painted inside with turquoise enamel, while white was used on their Guangzhou counterparts. The occasional late-Qianlong Beijing enamel may flout the rule, as does Treasury 6, no. 1107, but it is a useful one nonetheless.