A VERY RARE TURQUOISE-INLAID GILT-COPPER TRIPOD INCENSE BURNER, DING
Qianlong seven-character mark and of the period With deep rounded sides supported on three columnar legs rising to a galleried rim flanked by a pair of upright loop handles, the body finely cast with cloud scrolls enclosed between a band of banana leaves around the base and a key-fret border accenting the neck, the reign mark Da Qing Qianlong nian jing zao cast in relief within a rectangular cartouche at the centre of the rim, the exterior of the body and both sides of the handles lavishly embellished with turquoise inlay. 19cm (7 1/2 in) high.
清乾隆 銅鎏金嵌綠松石鼎式爐 「大清乾隆年敬造」楷書款
Provenance: a French private collection, and thence by descent
來源： 法國私人收藏，並由後人保存迄今
During the Qing dynasty, Tibetan Buddhism was greatly favoured by the Manchu Court. In addition to constructing temples across the empire, the Court established Buddhist halls throughout the palace, where ritual implements and offering vessels were displayed before sacred images. To demonstrate the highest reverence, no expense was spared in the production of these objects, particularly those intended for use by the emperor and the Imperial Court. The present lot exemplifies this opulence and superb craftsmanship, characteristic of such Courtly ritual objects.
Unlike standard reign marks, the present lot bears a slightly different inscription, underscoring its special status. The mark, reading Daqing Qianlong nian jingzao (大清乾隆年敬造), translates as 'Respectfully made in the Qianlong reign of the Great Qing.' Notably, it features the term 'respectfully made' (敬造) instead of the more common 'made' (制) or zhi, a distinction that signifies its elevated importance. This inscription was reserved exclusively for the most significant ritual objects commissioned by the Qing Court, highlighting the exceptional status and reverence accorded to this piece.
The creation of the present lot involved complex techniques and the use of luxurious materials. The copper body was first cast and then gilded using the mercury-gilding process, in which gold was dissolved in mercury and applied to the surface. Upon heating, the mercury evaporated, leaving behind a rich, lustrous gold layer that accentuated the intricate raised decoration. Enhancing its significance further, the censer is inlaid with turquoise; a stone regarded by the Tibetan people as sacred. Believed to dispel evil and ward off malevolent forces, turquoise symbolised auspiciousness and prosperity. It played an important role in Tibetan Buddhism and was commonly used to embellish figures and ritual objects. See for example, a turquoise-inlaid gold vase used in Tibetan ritual practice, Qing dynasty, in the Qing Court Collection, illustrated in Gugong zhenbao, Beijing, 2006, pp.92-93.
Incense burners such as the present example were originally part of the 'Five-Altar Offerings' (wugong 五供), a set of ritual vessels comprising an incense burner, two vases, and a pair of candlesticks. This was the most common group of furnishings displayed on altars or offering tables and was not exclusive to any particular religion. While they could be presented as a full set, incense burners were frequently used individually and sometimes displayed alone. For comparison, refer to a five-piece cloisonné enamel garniture, Qianlong marks and of the period, in the Palace Museum, illustrated in Compendium of Collections in the Palace Museum: Enamels, vol.3, Beijing, 2011, no.6.
A very similar incense burner, similarly decorated with turquoise inlays, Qianlong seven character mark and of the period, is in the Palace Museum, Taipei, illustrated in A Special Exhibition of Buddhist Gilt Votive Objects (金銅佛教供具特展), Taipei, 1995, no.20.
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