22 cm. (8 5/8 in.) diam.

Provenance:Christie's Hong Kong, 28 October 2002, lot 581Finest Blossom in the Orchard; Greatest Peony in the Nation – An Appreciation for A Rare Carved Cinnabar Lacquer ‘Peony’ Circular Box and CoverYongle Six-Character Mark and of the PeriodThe present carved cinnabar lacquer ‘peony’ circular box and cover is a prime example of the true beauty fashioned by the Orchard Workshop during the Yongle period. The top surface of the cover is crisply carved in deep relief through thick red lacquer with three large peony blossoms with loosely open petals, surrounded by buds and leaves with curled edges, the sides of the box and cover with continuous peony scrolls, the interior and base lacquered black, the reign mark incised on the inner left side of the foot ring. Floral motif is a very popular subject matter used during the Yongle period. Floral decorations are always depicted in odd numbers of threes, fives and sevens. The ones in threes are evenly distributed; the ones in fives and sevens are usually interspersed around a centralised larger floral blossom. When arranged this way, the subject matter is focused to great effect. When the dexterous carving is raised prominently on a plain yellow ground, both are naturally incorporated in harmony, as suggested in the publication ‘Records of Lacquering’, 'the knifework is clear, the finishing is smooth and sleek, the result is delicate and exquisite'.The wondrous achievement of the lacquer works during the Yongle period originally derived from China’s long history in using lacquer. As one of the earliest civilisations to embrace the use of lacquer, the history of lacquer art in China dates back to more than 7,000 years ago, evident from the wood-lacquered bowl unearthed from the ancient archaeological site of Hemudu in Yuyao county, Zhejiang province. Since then, the development of lacquer has reached its zenith in two periods of Chinese history: the former was during the Warring States period, Qin and Han dynasties, whereby painted lacquer replaced archaic bronzes as the mainstream choice of material for the production of daily utensils for the wealthy; the latter was Yuan, Ming dynasties and Qing dynasty under the reign of Kangxi, Yongzheng and Qianlong emperors. Over the course of Chinese history, various lacquering techniques and methods have been established and reinvented, exhibiting an endless variety of innovations in Chinese lacquer.When discussing on carved lacquer wares, layers of lacquer are carefully applied onto the selected medium. Each lacquer ware consist of twenty to thirty layers at the least, but could exceed a hundred layers; whereby each layer is required to dry for a fixed period of time before the next layer can be applied. The beautiful relief on lacquer ware can only be achieved once the layers are prepared and diligently worked to precision like jade carvings. Carved lacquer can further be divided into various colours of cinnabar, yellow, green, black and ‘tixi’ style. According to written records, carved lacquer first appeared in the Tang dynasty; however there is an absence in archaeological findings to fully support this claim. The earliest widely available carved lacquer wares in circulation in the present day are from the Song dynasty. The Yongle carved lacquer wares inherited the tradition developed by the predecessors, comprising strict guidelines such as the application of over a hundred layers of lacquer, swift knife work like wielding a pen, all before they are judiciously dried and polished before completion. The result is a life-like carving of immersive experience for the viewer, every detail unveiling the time, effort and discipline involved in achieving the utmost level of excellence in execution.Compare a similar cinnabar lacquer ‘peony’ circular box and cover in the collection of the Shanghai Museum and another in the Qing Court collection, Palace Museum, Beijing. It is interesting to note that the example in the Qing Court collection is incised with ‘made in the Ming dynasty under the Xuande reign’ at the base, which has been unmistakably amended over the original mark of ‘made in the Ming dynasty under the Yongle reign’, which is an well-acknowledged trend during that period. Looking closer at the three examples of carved lacquer ‘peony’ treasures aforementioned above, whilst similar on the surface, but at deeper understanding reveals that there are the slightest of differences between them which makes them stand out individually. What is evident with the present lot in comparison to the other two museum example, is that there are clearly four distinctive depths of carvings, tightly bound but distinguishable, providing the viewer with a sense of richness and fulfillment. The entire surface is furthermore enclosed within a thick border resembling a full moon; the sides on the other hand are divided into two friezes of continuous scrolls of peony blossoms amidst leaves. The inner surface is evenly lacquered in black with signs of age wear and gentle cracks associated with weathering; this is a very common procedure since the Song and Yuan dynasties, apparent by countless such examples in the Palace Museum, Beijing. The present lot is no different from its earlier prototypes and is also mentioned in the Ming dynasty literature ‘Eight Treatises on Following the Principles of Life’, 'the Xuande and Yongle periods are same, the cinnabar is vivid and brilliant, the base is lacquered black'. 'Lacquer wares made of tin or wooden medium from the Orchard Workshop during the Yongle period are lacquered no less than thirty-six layers and the base lacquered plain in black'. Although it appears that black-lacquered base is common up until the Xuande period, but based on material evidence available at present day, there appears to be very few Yongle examples of this type, even in the imperial collections. The base is left undecorated except for the incised six-character ‘made in the Ming dynasty under the Yongle reign’ imperial reign mark in vertical scripts.There are extensive examples of Yongle period lacquer wares produced from the Orchard Workshop in the Qing Court collection, Palace Museum, Beijing, and evidence of undying admiration from the Qianlong emperor. The Qianlong emperor was so in awe of these masterpieces, he instructed by imperial decree to have apocryphal Yongle reign marks carved onto a selected few of his lacquer wares, and also dedicated numerous writings and poems venerating his adornment for Yongle lacquer wares.The Orchid Workshop produces the best cinnabar lacquer wares,especially circular boxes exhibiting carefully carved figures.The closed windows of the pavilion with nobody appreciating the autumn colours,a lone figure with walking stick and carrying a child listening to the howling wind.The inscriptions are tiny but still decipherable,later reproductions are incomparable to the original works.Kept in good condition even after three hundred years,left me pondering endlessly in deep contemplation in the study.The Imperial poem above clearly substantiates the Qianlong emperor’s love and thoughts for Yongle period lacquer wares.References:Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, p.33, pl.14The Complete Collection of Treasures of the Palace Museum, Lacquer Wares of the Yuan and Ming Dynasties, Hong Kong, 2006, pp.46-47, pls.29-30.Treasury of Chinese Fine Arts 42: Arts & Crafts Section Volume 8 Lacquer, Beijing, 1989, p.119, pl.116Carved Lacquer in the Palace Museum, Beijing, 1985, pls.31.36

Price estimate:
HKD: 5,000,000 - 7,000,000
USD: 637,500 - 892,500

Auction Result:
HKD: --