Qianlong Emperor's ancient-inpsired cloisonné vase to lead Nagel's Asian Art Auction in December

After the pandemic subsided, the auction world has not only recovered but is experiencing a vibrant resurgence, with the art market thriving more than ever. With the conclusion of the Hong Kong autumn auctions this week, attention now turns to the European art scene.

Nagel, the leading auction house in Germany, is gearing up for its upcoming Asian Art sale, set to feature a diverse range of items spanning Ming and Qing dynasty imperial treasures, Himalayan art, religious sculptures, Ming-style furniture, lacquerware, ceramics, and even an ancient map. The auction is scheduled to take place with great pomp on 9 December.

One of the most anticipated highlights is an imperial cloisonné vase from the Qianlong Emperor. A Chinese cloisonné enamel version of an archaic ritual wine vessel lei, it features the motif of taotie masks, reflecting the refined taste for antiquity cherished by the Qing emperors. 


Lot 347 | A rare and important imperial cloisonné vase and cover 'lei'
China, Qianlong/Jiaqing period
Height: 45 cm
Provenance:

  • Private collection in Dresden, acquired before 1990 according to the owner. Old collection numbering on the base

Estimate: €60,000 - 100,000


The reign of Qianlong marked the height of the Qing Dynasty's power, influence, and prosperity. Beyond his military and political prowess, the Emperor was equally celebrated for his profound passion for the arts, particularly ancient bronzes, which captivated his fervent interest in collecting.

Starting from the 14th year of his rule, Qianlong tasked imperial scholars with measuring, illustrating, and documenting the extensive array of bronze vessels in his collection. This protracted research endeavor, spanning sixty years, culminating in the most comprehensive official catalogues of the imperial bronze collection. 

Collectively known as "Qianlong's Four Catalogues," these illustrated publications were not only invaluable visual documentation of over 4,000 bronze antiquities in the pre-digital era but also served as a wellspring of inspiration for the masterful court artisans. Under the instructions of the Qianlong Emperor, the imperial workshop followed the catalogues and produced different works of art imitating archaistic forms. 


Lei wine vessel with animal-mask pattern | Late Shang to early Western Zhou (circa 12-10th century BCE) | Collection of Taipei Palace Museum


Lei wine vessel with goat-head high reliefs and knob pattern | Late Shang (circa 13-11th century BCE) | Collection of Taipei Palace Museum


Among the various artifacts recorded, lei vessels, which serves as the inspiration for the present piece, were massive containers for wine produced during the late Shang to Middle Eastern Zhou periods (13th-7th century BCE). 

As depicted in the two images above, lei vessels can be broadly classified into two types based on their shapes. The present cloisonné-lei vessel, featuring broad shoulders and a baluster-shaped body, closely resembles the second type exemplified by the renowned late Shang vessel with goat-head high reliefs and knob patterns.

In place of goat heads, the central part of the vessel's body is decorated with taotie masks, a common motif seen on Shang and Zhou bronzes. Legend has it that taotie is a voracious eater who never gets satisfied. It is therefore often cast with a pair of raised eyes but lacking a jaw area, serving as a cautionary symbol against excess and extravagance for nobles of that era. 

In homage to antiquity, the taotie masks on this cloisonné vessel are rendered by a pair of kui dragons, a design favored by Shang craftsmen. Also translated on the lot are the nipple patterns and the hook-shaped flanges that enhance its imposing presence. 


Close-up of the present lot


Close-up of the present lot


Old collection numbering on the base


More commonly known as "Jingtai blue", Chinese cloisonné is revered for its magnificent gilding, brilliant blue hues, and intricate patterns. While it was introduced to China from West Asia as early as the Yuan Dynasty, it reached its peak refinement during the Jingtai reign of the Ming Dynasty, hence its moniker. 

Essentially, it is the technique of creating designs on metal vessels using colored paste placed within enclosures made of copper or bronze wires, which have been bent or hammered into the desired pattern. This intricate process would be repeated multiple times until the gaps left by shrinkage during firing were filled. 

Fascinated by their glamourous splendor, the Qianlong Emperor endeavored to revive on a grand scale the Jingtai cloisonné wares and commissioned court craftsmen to produce new cloisonnés according to his personal tastes. With a copper base, cloisonnés wares made a fitting ground for reimagining the ancient bronzes, which were originally colored gold, their brown-green hue developing due to long-term oxidation. These innovative cloisonnés, serving as court furnishings and ritual objects, created a new fashion in the art of living in the Qianlong court. 


A massive imperial cloisonné enamel 'taotie' vase and cover, lei | Qing dynasty, Qianlong period (1736-1795) | Sold: €343,500, Christie's Paris, 2018


Across public collections, there is a cloisonné-lei vessel of the same size and almost the exact design as the present example, now housed in the Lei des Musée des Arts décoratifs in Paris. It was donated in 1923 by Mrs Alexandrine Louise Grandjean, who passed away in 1911. 

On the market, a similar example (pictured above) was sold at Christie's Paris in 2018 for €343,500, against an estimate of €150,000. 

Chinese works of art became very popular in Europe in the 1860s. Cloisonné enameled vessels, in particular, were a major source of inspiration for European decorative art. It is therefore speculated by specialists that the present lot, along with the two similar examples, were probably brought to Europe at the beginning of the 20th century. 



Lot 94 | A very rare and important silk document by the 5th Panchen Lama
Tibet, dated 1721
60.5 x 140 cm
Provenance:

  • Important German private collection of Tibetan art, assembled in the 1980s

Estimate: €60,000 - 100,000


Since the Yuan Dynasty, the close relationship between Chinese emperors and Tibetan Buddhism has played a pivotal role in shaping court art, religious practices, and political diplomacy. This official letter, issued in 1721 by the Fifth Panchen Lama, stands as a testament to the frequent political interactions between imperial China and Tibetan Buddhism of the time. 

The early Qing emperors, like their predecessors, were devout followers of Buddhism. To expand and strengthen the Qing Empire's authority over inner Asia, they strategically patronized and promoted the Gelug sect (Yellow Hat sect) of Tibetan Buddhism as a unifying faith among the Manchus, Mongols, and Tibetans, enabling it to wield political influence in the remote territories.

In addition, the Qing court established a comprehensive official endorsement system for reincarnated lamas by conferring titles on religious leaders and accepting their tributes. One important figure to have received the honor was the Fifth Panchen Lama – the highest-ranking lama after the Dalai Lama in the Gelug School. During the Kangxi period, he was bestowed with the title Panchen Erdeni, a gold seal, and a gold album to assist in the administration of Tibetan affairs. It was after this that "Erdeni" officially became a title used by successive Panchen Lamas.

In the Yongzheng period,  the Fifth Panchen Lama was further recognized for his efforts in resolving border issues and was given full control over central Tibet. Meanwhile, he sent revered monks to the capital to disseminate his teachings, attracting a substantial following of nearly thirty thousand disciples. 


The document is handwritten in the Tibetan cursive script 


Seal of the Panchen Erdini carrying his authority


A letter of confirmation of privileges, the present document is handwritten on a piece of yellow silk, reflecting the significance and influence held by its recipients. Mounted on a scroll, the fabric consists of thirteen lines in the center, elegantly written in the Tibetan cursive script known as Drutsa. 

The official letter is authenticated by means of two red seal imprints: the first, smaller imprint that appears at the conclusion of the title, and a larger seal affixed at the end of the document. This large one is a golden seal of validation, featuring a trilingual inscription in Chinese, Manchu, and Tibetan, stating, "Seal of the Panchen Erdini carrying his authority." 

The primary purpose of the document was to recognize the rights of two individuals from Qalqa Mongolia: the gong Tséwang Norbu and his son, the monk Yeshé Delek. Information on Tséwang Norbu is scarce but it is known that he played a significant role in Sino-Mongol-Tibetan relations in the 18th century. 

After a successful military campaign, in 1720, the Qalqa prince became part of Lhasa's newly set-up provisional government. The following year, he assumed command of military operations upon receiving the official seal of the general from the Chinese emperor, positioning him as the head of the Qing garrison stationed in Lhasa. That same year, the Fifth Panchen Lama issued the present confirmation letter of privileges. 


The silk document features portraits of Gelukpa masters in the upper register


The lower part of the document shows a powerful representation of Palden Lhamo


Despite an official document, the present lot features exquisite painted decorations, making it a work of art in its own right. 

Depicted in the upper register are three portraits of Gelug masters. In the center stands the Fifth Panchen Lama. On the left of him is Tsongkhapa, the founding figure of the Gelug sect; on the right, the Dalai Lama is portrayed in his Vajradhara form. In Tibetan Buddhism, the Dalai Lama and Panchen Lama are closely connected, and each participates in the process of recognizing the other's reincarnations. 

The lower part of the document showcases a powerful representation of Palden Lhamo, the chief protectress of Tibet. Adorned with fierce eyes, a crown of skulls, and fiery red hair, she rides sideways on a yellow mule amidst a roiling sea of blood. Presented in a wrathful form, Palden Lhamo embodies her role as a protective deity, subduing malevolent forces and safeguarding practitioners. 

Notably, the trappings of the mule hang three of Palden Lhamo's instruments: starting from the top, a stack of red tablets, a skin bag of maladies, and a white dice for divination, all serve as weapons against enemies of the Dharma. 



Lot 23 | An excellent fire-gilt bronze of Guhyasamaja with stone inlays
Tibet, 15th century
Height: 15.2 cm
Provenance:

  • Southern German private collection, acquired at Christie's London, 22 November 1978, lot 72 and since then in private ownership

Estimate: €30,000 - 50,000


Delving into the realm of Tibetan Buddhism, Akshobhyavajra Guhyasamaja is a subject central to its promise of a swift and complete enlightenment. Two sublime beings – male and female – are shown in ecstatic sexual embrace, signifying the transcendental state of Buddhahood that one achieves through the completion of tantric instruction. 

Revered as the "King of Tantras" in Tibet, the Guhyasamaja Tantra, of which this sculpture represents its personified form, is among the oldest and most foundational texts of Vajrayana, or Tantric Buddhism. 

Likely originating in India between 750 and 850 CE before its translation into Chinese and Tibetan in the 11th century, it is recognized as the first tantra to be revealed from a divine source, forming part of the Anuttarayoga Tantras, the Unsurpassed Yoga or Highest Yoga Tantra. Guhyasamaja, translating in Sanskrit to "Secret Assembly," is understood to mean "an assembly of hidden factors that bring us to enlightenment."


Close-up of the present lot


Close-up of an 18th-century thangka painting of Guhyasamaja | Collection of Beijing Palace Museum


In all the related practices, the creation of celestial mandalas or "assembly" includes a central meditational deity (yidam) and its surrounding retinue deities. In the form of Akshobhyavajra and his consort Sparshavajra combined, the yidam Guhyasamaja represents the hidden essence of Akshobhya Buddha, the central Presiding Buddha of the Five Directions oriented within the inner sanctum of the mandala. 

The other four Presiding Buddhas are represented by their signature implements within the present sculpture's radiating hands: Vairocana's wheel, Amitabha's lotus, Ratnasambhava's gem, and Amoghasiddhi's sword. His other two hands, crossed in front of his chest, hold a vajra (thunderbolt) and a ghanta (bell with a vajra handle), embodying the unification of method and wisdom. 

Typically depicted with three faces and six arms, Guhyasamaja's blue, white, and red faces, as pictured in the thangka painting above, symbolize universal compassion, purity, and blessings. His sexual embrace with the consort, known as yab-yum, symbolizes the enlightened integration of wisdom and compassion through the metaphor of "mother-father" deities. 


Close-up of the present lot


The sculpture's modeling of lithe limbs, tall, pointed crown, lobed arm bands, plump lotus petals, and punctuated turquoise insets arising out of lotus buds all follow in the sculptural conventions of Central Tibet during the 15th century, a period of cultural splendor referred to as the Tibetan Renaissance. 

The frequently referenced Shigatse atelier of the artist Sonam Gyaltsen, for which defining features include incised decorations, inset turquoise, and softened hairlines play writ large into details of this bronze. 

Regarding contemporary Tibetan representations of Guhyasamaja from the same period, the example found in the Rubin Museum of Art (as shown in the image below) is likely the most familiar to many.


A gilt-copper alloy figure of Guhyasamaja with consort | 15th century | Collection of Rubin Museum of Himalayan Art



Lot 146 | An important gilt-bronze figure of Avalokiteshvara
China, 12th century
Height: 26 cm
Provenance:

  • European private collection, assembled according to the present owner from the collection of Adrianus Cornelis Maria Verhelst (b. 26th February 1955), the Netherlands

Estimate: €30,000 - 50,000


Following the persecutions during the late Tang Dynasty and Five Dynasties, along with the upheaval of dynastic changes and warfare, Chinese Buddhism experienced a significant decline: scriptures were lost, temples lay in ruins, and monks faced persecution. By the time of the Song Dynasty, however, this venerable religion began to recover, marking the start of a centuries-long revival.

The present figure of Avalokiteshvara, seated in Lalitasana, also known as "the royal position", cradles a bowl in the left hand and a willow branch in the right. Adorned with jewelry, the celestial robe forms a belt draped over the shoulders and caped around the arms, while his long skirt flows gracefully to the left ankle, revealing intricately layered folds cascading in front of the seat.

Dating back to the 12th century, this gilt-bronze sculpture was crafted during a period when the Southern Song Dynasty, the Liao Dynasty, the Jin Dynasty, and the Dali Kingdom coexisted. Pinpointing the exact origins of such sculptures from this era poses a challenging task.

Close-up of the present lot


Close-up of the present lot

Among the treasures housed at the Taipei Palace Museum is a gilt bronze seated Bodhisattva in Lalitasana posture (refer to the image below) donning a celestial robe and jewelry akin to this piece, almost matching in size. While the Museum officially designates it as the Song Dynasty, the accompanying text suggests a possible link to the Dali Kingdom.

Upon closer scrutiny, however, the facial features and muscular structure of the present statue diverge from the Dali style, exhibiting a sturdier appearance that aligns more closely with the aesthetics of the Liao Dynasty.

The rulers of the Liao Dynasty held Buddhism in high esteem, fostering a rich Buddhist culture that nurtured activities such as sutra carving, temple construction, and statue making. The nomadic lifestyle of the Khitan people and their rugged steppe culture also left an imprint on their artistic style, particularly evident in their approach to statue crafting.

Similar to the present lot, gilt-bronze figures of the Liao dynasty feature a round face with plump cheeks and thick upper and lower eyelids. The body has a strong solid build, relatively narrow shoulders, a slightly forward thrusting waist, and a proportionately larger head.


Gilt bronze seated Bodhisattva in lalitasana posture | Collection of Taipei Palace Museum



Lot 150 | A large and fine gilt-lacquered bronze figure of Tianguan, the heaven official 
China, Ming dynasty
Height: 72 cm
Provenance:

  • Old and important North German private collection, assembled before 1920, by descent to a family member

Estimate: €20,000 - 30,000


A rather uncommon find in the market, this Taoist-themed figure depicts Tianguan, the Taoist god Heavenly Official. Along with the Earthly and Water Officials, they hold esteemed positions as Three Great Emperor-Officials, administering all phenomena in the three spheres. 

Responsible for bestowing happiness, the Heavenly Official ranks the highest among the three. His birthday falls on the fifteenth day of the first lunar month, a date celebrated as the Lantern Festival. With Taoism flourishing during the Ming Dynasty, this festival became one of immense significance. 

Historical accounts from the Ming Dynasty describe the grandeur of the Lantern Festival, where the palace was granted a ten-day holiday. A large area in the center of the imperial capital was notably set aside for displaying lanterns.


Close-up of the present lot


Close-up of the present lot


Standing at an imposing height of 72 cm, this Ming Dynasty gilt-lacquered bronze figure of Heavenly Official is meticulously designed. Adorned with a crown embellished with auspicious clouds supporting a round "sun" and "moon" disc, the official features five long beards framing his chin, with hands positioned at the chest, likely originally holding a ceremonial tablet used by ancient emperors.

His long robe is intricately decorated with symbols, each carrying its own significance. Notably, two symbols at the knees belong to The Twelve Ancient Symbols of Imperial Authority exclusively for use on the emperor's ceremonial robes, underscoring the elevated status of the HeavenlyOfficial in Taoism.

Characteristic of the Ming Dynasty's design style, the present figure portrays a countenance that is full and rounded, with meticulously arranged garment patterns and bold, flowing lines. He sits upright with a solemn expression, his lower body notably broader than his upper body, conveying a sense of power and solemnity.



Lot 192 | Huang Qianren (1697-1771) | "The Blue Map" of Qing dynasty China
China, early 19th century
132 x 234 cm
Provenance:

  • From a South German private collection, acquired at a gallery/workshop for Japanese art in Sausalito, San Francisco, USA, in 1980

Note: The sixth panel of the original map missing, an eighth panel with a painted portrait of a dignitariy (signed Wen Ju) subsituted as the first (far right) panel
Estimate: €30,000 - 50,000


Another rare sight at auction, this magnificent and monumental map is a celebration of the vastness of the Qing Empire and a justification of the Manchu’s righteous rule over their ever-expanding territories. It is a revised and enlarged edition of a map created by the cartographer Huang Qianren, presented to the Qianlong Emperor in 1767, which illustrates the Qing realms at their greatest extent during his reign. 

To awe the viewers with its impressive physical dimension, the map displays the grand nature of the mountains and rivers, offering a detailed portrayal of the Chinese world: the seas surrounding China no longer contain mythological areas and European states. Lands such as the Korean peninsula, the Japanese archipelago, Taiwan, and other coastal islands are reasonably rendered, and proudly added are the newly conquered frontier regions of Tibet and Mongolia. 

Also paying great attention to the diversity of the Qing, it identifies provinces, prefectures, districts, and other administrative divisions by enclosing their names in squares and other shapes whose meanings are interpreted in the introductory inscription.


Close-up of the present lot


Close-up of the present lot


To underline the proud achievement of the Qing dynasty, the Jiaqing and Daoguang Emperors, successors of Qianlong, continued to update and reprint Huang Qianren’s map. 

The National Library of China holds three copies of the related maps: a 1767 first printing, a later revised edition from the Qianlong period, and a further updated copy during the Jiaqing period. Two other examples can also be found in the Library of Congress, Washington DC. 

A similar example of this map is sold at Sotheby's London in 2022. Also mounted on a later Japanese folding screen, that woodblock map from the same period changed hands for £176,000 over an estimated price of £120,000.



Lot 193 | A pair of excellent cinnabar lacquer panels depicting the feast of peaches and the birthday party of Xi Wangmu, Queen Mother of the West
China, Qianlong period
99 x 61 cm
Provenance:

  • From the collection of Emil Schuppang (1891-1945), Döbeln, acquired between 1920 and 1925 in the Leipzig art trade, by descent to a family member, documented on a black and white photo from the 1950/60s

Estimate: €20,000 - 30,000


The art of lacquerware production is a testament to intricate craftsmanship, demanding meticulous skill and dedication. Craftsmen embark on a meticulous process starting with the application of numerous layers of red lacquer on a base, stopping at a specific thickness ranging from eighty to two hundred layers. Each layer requires significant drying time, up to two days, before the next can be applied. While the red lacquer is still in a semi-dry state, artisans sketch designs and carve intricate patterns into the surface.

Experts estimate that for every 1 millimeter of lacquer layer, craftsmen must apply lacquer approximately 30 times to achieve the desired effect. This underscores the intricate and time-consuming nature of lacquerware production, which often takes months or even years to complete a single piece.


Close-up of the present lot


Close-up of the present lot


Measuring 99 x 61 cm, this pair of lacquer hanging screens from the Qianlong period depicts the Feast of Peaches, an extravaganza banquet celebrated on earth in honor of the birthday of Xi Wangmu, Queen Mother of the West. 

At the center of the composition sits the Queen Mother of the West in a grand palace with a young immortal offering her a peach of longevity. Around her, various immortals such as the Eight Immortals ascend on clouds to join the celebration, while others welcome guests under pine trees and pavilions, creating a vibrant and festive atmosphere.

Detail is paramount in lacquerware artistry, and this piece exemplifies the craftsman's mastery of intricate details. The use of three distinct brocade patterns to represent the sky, water, and ground adds depth and texture to the artwork.

The sky brocade, with its twisting lines resembling narrow loops, evokes the image of wispy clouds drifting across the sky. The water brocade, characterized by flowing curves akin to undulating waves, brings a sense of movement and fluidity to the scene. Lastly, the ground brocade features intricate floral patterns interspersed with the 卍 motif, symbolizing longevity, showcasing the artisan's creativity in merging cultural symbols with artistic expression.


Close-up of the present lot


Close-up of the present lot



Lot 166 | A rare pair of blue and white 'yen yen' porcelain vases
China, underglaze-blue 'lingzhi' marks, Kangxi period
Height: 53, 52.7 cm
Provenance:

  • From a South German private collection, acquired prior to 2000

Note: Probably part of a five-piece garniture set
Estimate: €12,000 - 18,000


With a baluster body surmounted by a tall-waisted neck with trumpet mouth, this form of vessel is known as the “phoenix-tail vessel”.

This vessel design has evolved over millennia of Chinese civilization. Initially emerging in the Neolithic Age as a clay vessel, the gu transitioned into a bronze vessel during the Shang Dynasty, primarily used for ceremonial wine during ancient rituals. 

The hua gu, which inspired the present porcelain phoenix-tail vessel, is a decorative adaptation of the bronze gu crafted from materials like porcelain or jade. It gained popularity during the Ming and Qing Dynasties, particularly for flower arrangements.

In traditional Chinese ritual ceremonies, one customary practice involves presenting offerings such as incense, flowers, lamps, water, and fruits, alongside items like an incense burner, a pair of candlesticks, and a pair of hua gu, collectively referred to as the wugong, "Five Offerings vessels." As the porcelain version of a hua gu, the present pair of vases might have been utilized as part of the Five Offerings.
 


Close-up of the present lot


The present vessel's composition is notably distinctive, segmented into numerous small sections resembling lotus petals. Each section is embellished with decorations of landscapes, pavilions, flowers, or unique rock formations, adding a captivating and detailed touch to the vessel's design.

In 2020, Christie’s New York hosted an auction titled "Chinese Export Porcelain from The Tibor Collection (Part 2)," featuring a set of Kangxi blue and white five-piece garniture. While those vessels’ bodies predominantly feature floral and scroll motifs, the lotus petal-like patterns bear a remarkable resemblance to the present lot.


A large Chinese export blue and white porcelain five-piece garniture | Qing dynasty, Kangxi period | Christie's New York, 2020



Lot 171 | A fine blue and white imperial 'phoenix' mallet vase
China, underglaze blue Kangxi six-character mark and period
Height: 18.2 cm
Provenance:

  • Collection of Dr. Ulrich Lindemann (1920-2018), his 1st collection piece, gifted by his aunt Hilde Lindemann, who purchased the vase for him 1969 from China Bohlken, Heinrich Peters in Berlin

Published and exhibited:

  • Suebsman/Antonin 'Porcelain Treasures of the Kangxi Period', Hetjens-Museum Duesseldorf 2015, p. 106, no. 56 Exhibited 'The Dancing Dragon/ China Contemporary' Hetjens Museum, Duesseldorf, 19.7.2015 - 17.1.2016, no. 56

Estimate: €10,000 - 15,000


During the Kangxi period, the porcelain industry in China flourished, entering a golden age marked by unparalleled brilliance that mirrored the prosperity of the era. The official kilns of this period were renowned for their robust and magnificent design styles.

The vessels from this period displayed a diverse range of shapes, encompassing everyday items like plates, bowls, and vases, as well as a wide range of ceremonial and decorative vessels such as zun, incense burners, and scholar's objects.

Among these, the zun category alone introduced several newly designed varieties, including the above phoenix-tail vessel and this mallet-shaped vase.


The recessed base with a six-character reign mark in three columns in underglaze blue


The kui phoenix pattern on the other side


Reflecting its namesake resemblance to a mallet, this vase features a high-domed body rising to a tall cylindrical neck.

Elaborate blue and white decorations adorn the vessel, depicting on both sides a highly stylized kui phoenix, king of all birds, a motif known from bronze vessels from as early as the Warring States period (ca. 475-221 BC). Seamlessly blending with modern minimalist aesthetics, its head on the neck of the vase dissolves into abstract blue scrolls draping over the shoulders against plain white ground.

A similar example was previously in the world-renowned Meiyintang Collection. In 2013, it fetched HK$3.22 million with fees at Sotheby’s Hong Kong.



Lot Y258 | A fine and rare square 'eight immortals' huanghuali table, 'baxianzhuo'
China, Ming/early Qing dynasty
87 x 94 x 94 cm
Provenance:

  • Collection of Consul Max Müller (1867-1960) acquired in China around 1905-1908, by descent to his daughter Irmgard Müller Doertenbach (1909-2011)

Estimate: €20,000 - 30,000


Currently one of the most sought-after categories of Chinese works of art, Ming-style furniture is known for combining advanced engineering with a minimalistic aesthetic, which embodies the ancient Chinese's scholarly taste and fits into any modern interior space. With simple lines and curves that favor elegance over extravagance, the furniture is held together with an ingenious, hidden joinery system that employs a seamless miter, mortise, and tenon construction.

The use of the precious, now-extinct huanghuali on furniture became available during the mid-Ming dynasty, when China opened its borders and lifted bans on foreign trade. As a variety of luxury and exotic goods became accessible in China, literati and scholars found themselves drawn to this timber, a natural wonder with intrinsic decorative patterns. 

A member of the rosewood family, huanghuali has a translucent shimmering surface with a richly grained surface that delights the eye, its rich hues varying from reddish-brown to honey tones. It is also very durable, and impermeable to water and insects, making it an ideal material to withstand the physical demands of the tenon-mortice construction of Chinese furniture. 


The table is supported on four square corner legs ending in hoof feet


The tabletop


The late Wang Shixian, one of the foremost authorities on Ming furniture, established that there are three sizes of square tables, fangzhuo, small, medium, and large, with the present table falling into the last category.

According to Wang, this largest type of square table is rather poetically referred to as baxianzhuo or Eight Immortals Table, because it could accommodate eight people. Typically situated in the central hall, known as the ancient living room, it is considered a crucial element in any home, often placed against walls and under windows or out from the mid-section of a long table. 

A huanghuali square table of similar proportions and comparable style was sold at China Guardian Hong Kong for HK$1.18 million in 2019. 


Huanghuali waisted square table | Late Ming/early Qing period | Sold: HK$1,180,000, China Guardian Hong Kong, 2019



Lot Y364 | A pair of 'huanghuali' compound cabinets
China, late Qing dynasty or later
179.5 x 122 x 52 cm
Provenance:

  • From a German private collection, acquired prior to 2007

Estimate: €25,000 - 35,000


Just as with fashion, artistic tastes often change over time. During the Qing Dynasty, furniture began to shift away from simple aesthetics towards a greater emphasis on decoration, often integrating with other crafts, as exemplified by this piece.

Coated with black lacquer on the surface, this pair of compound cabinets is embellished with intricate inlays of jade stones and precious materials, forming motifs of a bogutu (painting of assorted antiquities) that captivate the viewer's gaze. On the sides, it is complemented by painted landscape patterns. 


Close-up of the present lot


Close-up of the present lot


During the Northern Song Dynasty, Emperor Huizong, renowned for his erudition and artistic pursuits, commissioned the compilation of the "Xuanhe Bogutu," a comprehensive record detailing the antique objects housed in the Xuanhe Hall. This monumental work not only served as a repository of historical treasures but also influenced the depiction of ancient objects in art and decorative crafts.

The term "Bogutu," derived from this historical context, refers to paintings specifically portraying ancient artifacts like ceramics, jade, and bronze. Artists and craftsmen often enriched these depictions with floral motifs, fruits, and other ornamental details to enhance their visual allure. As a precursor to photography, bogutu played a vital role in documenting cultural heritage and aesthetic traditions.

Here, the designs feature a diverse array of objects such as antique vases, bonsai trees, brushpots, alongside auspicious symbols like the ruyi scepter, gourd, lingzhi fungus, immortal crane, and lotus root. 


Auction Details:

Auction House: NAGEL Auktionen Stuttgart 
Sale: 830 | Fine Asian Art
Preview: 6-8 December 2024 | 10am - 5pm
Address: Neckarstraße 189 - 191 D - 70190 Stuttgart
Auction:

  • 9 December 2024 | 9:30 am (Lot 1 -135: Tibet | Nepal | Himalaya; Lot 136-470: China | Works of Art | Porcelain)
  • 9 December 2024 | 2:00 pm (Lot 471-734: Six Continents)

Online catalogue:
https://www.auction.de/auktion-830
https://www.auction.de/auktion-830a

Enquiry: Ms. Chan | +852 69191741 / +86 17817491463 | china@auction.dea