The craftsmanship of this large pavilion-style incense burner is extremely complex, and its shape is extremely unique and exquisite. It cleverly combines Qing Dynasty palace architecture with cloisonné enamel, showing its royal style.
Its enamel glaze has bright color and smooth glaze.
The filigree gilt is brilliant, and the main accessories are connected with metal screws, which is in line with the characteristics of the filigree enamel craftsmanship during the Qianlong period of the Qing Dynasty.
Although there is no additional mark, the characteristics of the era are obvious, and it is indeed a typical fine enamelware made by the Imperial Manufacturing Office of the Qianlong Dynasty;
In addition, its shape is extremely unique, its size is huge, its gold color is bright, and it is well preserved, making it especially precious.
Of course, there were also many incense burners during the Kangxi period, such as the copper-bodied filigree enamel incense burner with entangled branches and angustifolia pattern.
The body of this furnace has a neck and broad shoulders, a rounded abdomen, and a pair of left and right abdomens that curve upward toward the crown and ears, and are connected to the mouth rim by a small cylinder.
The knob of the stove is gilded with Panlong gilt, and the cover is made of filigree enamel. The cover is hollowed out so that wisps of smoke can drift out when the incense is burned.
The furnace body has a plate mouth and a neck, and the whole body is covered with blue enamel glaze. The mouth and neck are decorated with gilt lotus branches, and the furnace body is also fully decorated with lotus branches.
The entire device is made with exquisite filigree enamel craftsmanship. It is colorful and luxuriously decorated, making it a perfect example for the palace.
After finishing these two pieces, Chen Wenzhe struck while the iron was hot and made another three-legged small incense burner with cloisonné and enamel wrapped with anustralia branches on a copper body from the Qianlong period.
This one is too small, only 10 centimeters in diameter.
It has a girdle neck and a swollen abdomen, with three breasts and feet below, and towering ears on the top of its mouth. It is quite spiritual.
The exterior of the vessel is made of copper wire to outline a lace band, with blue enamel glaze as the ground.
The theme is also decorated with entangled lotus patterns, and is filled with red, yellow, blue, and green colors. The colors are brilliant and rich.
The ears, lips, and three legs are decorated with gold, and the golden light shines, showing a rich and elegant look.
The whole vessel is richly decorated and the layout is complex but not chaotic.
Placed on a few eucalyptus trees, it gives people a sense of grace and luxury.
These are several pieces of smokers. It can be said that each has its own characteristics. However, Chen Wenzhe will not make too many of them here.
He thought for a while and made many more copper-embedded utensils. This time it was not an incense burner, but pots, bottles and other utensils.
For example, a copper-embedded cloisonné enamel pot with passion flower pattern and dragon ears. It is 435 centimeters high and can be considered a large vessel.
This piece once appeared in the "Important Chinese Craftsmanship" auction at Christie's in New York on March 29, 2006.
This Chilong ear pot is large in size, beautiful in shape, bright and smooth in glaze, solemn and elegant in body, and sophisticated in technique;
The gilt dragon ears facing each other on the shoulders are majestic, simple and steady;
The whole body is made of light blue enamel glaze, and the whole body is decorated with passion flower patterns, filled with red, yellow, purple, green and other enamel glazes. The combination is exquisite and the flowers are like brocade;
The layout is rich in layers, smart and exciting, showing the superb production technology of the mid-Qing Dynasty. It is a rare enamelware treasure.
For works of this level, there are more daily necessities.
In addition to daily necessities, there are also viewing devices, and the most common viewing device is bottles.
If it is relatively rare, it is a coat rack or something.
All Chen Wenzhe knew was a hat stand with a bronze cloisonné and enamel Kui dragon pattern from the Qianlong period of the Qing Dynasty.
The height of this thing is only 26 centimeters, which is still relatively small.
What's more, this is a rare fake hat stand. This hat stand is made of three legs made of cloisonné enamel, with three curved legs. The stands are decorated with Kui dragon patterns.
The theme is filled with blue and the dragon's horns are filled with white. It is magnificent and particularly rare.
As for the bottles, Chen Wenzhe’s first thought was not from the Qing Dynasty, but from the Ming Dynasty.
For example, in the early Ming Dynasty, there was a copper-bodied cloisonné enamel vase with lotus branches and eight auspicious patterns on the Tibetan grass vase. This kind of vase was common in the Qing dynasty, but rare in the Ming dynasty.
Tibetan grass bottle is also called nectar bottle, the bottle style is -.
It was made by the Qing court for monks in snowy areas and was used as a special vessel for inserting grass for Buddha, so it is called the Tibetan Grass Vase.
It had been fired during the Yongzheng period. During the Qianlong period, the products had round lips, straight necks with convex string patterns, plump shoulders, gradually tapered lower abdomen, shins, and feet turned out.
This type of bottle has no inscription and is generally recognized as a product made by Qianlong.
Obviously, this kind of bottle is rare in the Ming Dynasty, especially the Tibetan grass bottle from the early Ming Dynasty, which is even rarer.
This Tibetan herb vase is 256 centimeters high and is estimated to be between two and three million.
The price is not expensive, mainly because the process is not too complicated.
This vase has a round mouth, a thin and short neck, plump shoulders, a closed belly, and shallow round feet, showing the common Tibetan grass vase shape in Tibetan culture.
The rim of the mouth and the middle of the neck are inlaid with gilt rims, adding visual three-dimensionality through changes in height and thickness.
The entire surface of the vessel is covered with blue enamel glaze, and various auspicious patterns are outlined with red, white, yellow, purple, green and other colored glazes.
The mouth is decorated with floral scrolls, the neck is decorated with eight auspicious treasures, the shoulders are covered with bent lotus petals, and the foot rim is surrounded by upward lotus petals.
On the most conspicuous abdomen, there are plump and twining passionflower branches neatly arranged, showing their luxuriance and splendor.
This cloisonné enamel plate-mouth vase should be a Tibetan Buddhist offering vessel.
It has a unique shape, bright glaze color, and smooth filigree lines.
In particular, the intricate patterns and gilt copper dragon-shaped decorations are dazzling and dazzling.
All the above can be regarded as the finishing touch, because after all, they show the superb skills and brilliant achievements of the palace enamel work at that time.
This one is very rare because it came from the Yongle period of the Ming Dynasty.
The reason why it is considered to be the early Ming Dynasty is because in the early Ming Dynasty, that is, during the Yongle period, blue and white Tibetan grass vases were tried to be fired.
By the Qing Dynasty, only the official kilns of Yongzheng and Qianlong had fired red and doucai varieties.
What is unexpected is that the small Tibetan grass bottle is also a historical witness of the integration of Chinese and Tibetan cultures.
Because the Jingzhen Imperial Kiln Factory mass-produced Tibetan Buddhist utensils at that time was not a whim of Emperor Qianlong, but had a very profound mystery.
After the Qing Dynasty took control of the Central Plains, it always attached great importance to and supported Tibetan Buddhism, and took this as an important measure to preserve "the eternal foundation of the Qing Dynasty."
Emperor Qianlong was extremely interested in Tibetan Buddhism, which undoubtedly had far-reaching political reasons.
According to documentary records, Qianlong was very pious and had a deep understanding of Tibetan Buddhism.
He meditated every day and even had the Third Zhangjia teach him Sanskrit and Tibetan.
Just from this point, we can see that an emperor who has done something good and left a name in history is definitely not simple.
In order to win over people back then, Emperor Qianlong worked hard.
For example, in 1745, Qianlong ordered that the Lama Temple, the place where he was born, be changed into a Lamasery.
The following year, Puning Temple was built in Chengde, imitating the Samye Temple. Later, the Putuo Zongcheng Temple was built in Chengde, imitating the Potala Palace.
In 1780, the fifth group came from afar to perform rituals to celebrate Qianlong's 70th birthday.
Qianlong ordered people to build the Xumi Fushou Temple in Chengde, imitating the Tashilhunpo Temple, for his residence.
After that, Qianlong built the Yuhua Pavilion in the Forbidden City, imitating the Mandala Hall of Tuolin Temple, which has a rich Tibetan Buddhist architectural style.
It is because of all these reasons that although the Tibetan grass vase has no official title, it is still considered a famous Tang kiln work.