27 - Incense burner; China, Qing Dynasty, Qianlong period, 1736–1795.

Incense burner; China, Qing Dynasty, Qianlong period, 1736–1795. Bronze with polychrome cloisonné enamel and gilded bronze inlays. It shows some chips and wear. Measurements: 28 x 20 x 14 cm. Chinese tripod incense burner with a flattened globular body, made of bronze and decorated with polychrome enamel using the cloisonné technique, following the ornamental styles characteristic of the Qing Dynasty, which were particularly developed during the reign of Emperor Qianlong (1736–1795). The piece features a rounded body supported by three curved legs topped with the heads of mythical animals, modeled in relief and embellished with gilded details. The lower ends of the legs are also decorated with polychrome enamels, continuing the vessel’s ornamentation. On either side are two handles shaped like zoomorphic masks, from whose mouths hang large movable rings. The exterior surface is profusely decorated with large polychrome lotus flowers, intertwined stems, stylized leaves, and vegetal scrollwork, set against an intense turquoise-blue background. The floral compositions, delineated by fine metal partitions, combine shades of blue, green, yellow, white, and pink, creating an elaborate chromatic contrast. The shoulder of the vessel features an ornamental band on an intense blue background, decorated with stylized plant motifs. The domed lid combines glazed surfaces with elaborate openwork sections of gilded bronze, decorated with floral motifs and volutes, which allow incense smoke to escape during use. It is topped by a striking openwork spherical knob, adorned with intertwined flowers and stems, set upon a base of lotus petals. The richness of the details, both in the metal inlays and the enamels, lends the piece remarkable ornamental complexity. The composition follows an archaic-inspired style, related to the reinterpretation of ancient Chinese ritual bronze vessels during the Qing Dynasty. The tripod structure, the zoomorphic masks, and the legs shaped like mythical creatures evoke the ceremonial models of ancient China, reinterpreted through a decorative language of great refinement and chromatic richness. The cloisonné technique, also known as celled or partitioned enamel, involves delineating the ornamental motifs using fine metal partitions fixed to the surface of the support. The resulting compartments are filled with colored glass paste which, after successive firings and polishing processes, produce enameled surfaces of great chromatic intensity. This technique reached extraordinary heights in China, especially during the Ming Dynasty and, later, under the imperial patronage of the Qing Dynasty. The reign of Emperor Qianlong marked one of the most splendid periods in the history of Chinese decorative arts. A great collector and connoisseur of his country’s artistic traditions, the emperor promoted the revival of ancient models and the refinement of artisanal techniques, fostering the production of extraordinarily sophisticated works intended for imperial palaces, temples, and ceremonial spaces. Specialized workshops produced incense burners, vases, and other sumptuous objects that combined archaic-inspired forms with complex ornamental designs. Within this decorative repertoire, the lotus plays a particularly significant role. Linked to the Buddhist tradition, it symbolizes spiritual purity and transcendence of the material world. Its presence, along with intertwined plant motifs and depictions of mythical animals, reflects the preference for auspicious symbols characteristic of Chinese decorative arts.