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全球拍卖首页 > Bonhams HK > 中国古董及乐器 > Lot 26
An exceptional Chinese ormolu and paste-set clock Late 18th/early 19th century, Guangzhou Workshops, possibly Imperial Tribute
香港 北京时间
2020年12月01日 开拍 / 2020年11月29日 截止委托
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拍品描述 翻译
An exceptional Chinese ormolu and paste-set clock Late 18th/early 19th century, Guangzhou Workshops, possibly Imperial TributeThe case surmounted by a bud-finial on an shaped caddy set with mounts of flying 'Vermilion Birds' zhuque and ten oval medallions, framed by a pierced balustrade and set to each corner with a flaming urn finial, the main body applied with a pair of urn mounts between pierced scroll corner supports, on a plinth base with bracket feet, the rear set with a cast door frame enclosing a pierced silk-backed sound fret depicting flowers and trellises in silhouette, the 3.75 inch enamel Roman dial with outer minute band and brass hands, framed by a bezel set with red, green and transparent brilliants, the twin fusée movement wound from the rear with knife-edge verge escapement striking on a bell, the backplate decorated by engraved bands to the edge, the case further set with a separate spring-driven movement in the base, wound from the side and activating the rotating stone-set medallion to the front on command via a slider set to the side. 36cm (14 1/8in) high. 注脚 清乾隆 銅鎏金嵌寶石亭式轉花鐘Provenance: A European private collection來源歐洲私人收藏Timepieces provided a bridge between Western and Chinese culture, with the European Jesuits utilising the sophisticated and exotic clocks as a means to gain access to the Imperial court. The first to initiate this was the Jesuit priest Matteo Ricci, who presented two chime clocks to the court of the Wanli emperor in 1601, and the same judicious choice of acceptable gifts was used also during the 18th century, from the Kangxi reign onwards. The passion for European clocks was driven by the Qing court and the Qianlong emperor, but also extended to high-ranking officials and wealthy merchants.Clocks were symbolic of the ability to master the time and the calendar; they solidified the emperor's position as the Son of Heaven, having divine powers and the ability to control the transcendence of time in the universe. They also represented the relationship between time and good governance, as demonstrated in a poem composed by the Kangxi emperor titled 'The Chanting of the Chiming Clock': 'Methods originating from the West, taught to us with a keen heart. Wheels circle on a quarterly basis, hands move according to minutes. Dawn needs not to be announced, the golden clocks report in advance. Working hard on government affairs in the morning, memorials are never completed in a late manner.'The Qianlong emperor inherited from his grandfather his passion for science and clocks. The Imperial court also indulged in luxuries including extravagant mechanical toys and amusements. The emperor not only had many clocks imported from Europe, but specifically ordered by decree that both his Chinese and European clockmakers from the Imperial Workshops should create and replicate these timepieces. These skilled artisans were given priority access to an assortment of expensive raw materials, including gold, jade, lacquer, ivory, gemstones and zitan wood. References to the Imperial Workshops making timepieces are found dating back to 1723, during the Yongzheng period. It is also recorded that there were once as many as 3,431 timepieces on display within the Forbidden City; see Moments of Eternity: Timepieces Collection from the Palace Museum, Macao, 2004, pp.448-449.Sophisticated timepieces initially brought from Europe were subsequently produced and re-interpreted in their decorative motifs, by local workshops in Guangzhou, Yangzhou and Beijing. In addition to the Beijing Imperial Workshops, fine clocks made in Guangzhou were also presented to the emperor as Imperial tribute, demonstrating the outstanding level of craftsmanship achieved by the Chinese clocksmiths, as well as their familiarity with European - and in this case English - clocks of the late 18th century.It is not surprising that the present clock was made after an English prototype, such as the one from the Nezu Museum, Tokyo, which was later sold at Christie's Hong Kong, 27 May 2008, lot 1515. China became Britain's chief export market for its timepieces in the 18th century. Compare with a related clock in the Palace Museum, Beijing, illustrated by Lu Yangzhen, Timepieces Collected by the Qing Emperors in the Palace Museum, Hong Kong, 1995, p.170; see also another example in the Qing Court Collection with similar form and feet but with a lacquered wooden body, illustrated in Moments of Eternity: Timepieces Collection from the Palace Museum, Macao, 2004, p.297, pl.107.See a related large chased and engraved ormolu musical cloc, Henry Borrell, London, made for the Chinese market, circa 1795, which was sold at Bonhams Hong Kong, 26 November 2019, lot 877. Another related ormolu and paste-set striking and musical clock, Qianlong, was sold at Sotheby's Hong Kong, 9 October 2012, lot 3021.此鐘整體造型為亭式建築式樣，通體鍍金。瓶形花蕾作鐘頂，鐘上部亭頂四面飾飛鳥，飛鳥下飾團花，四角及頂端嵌銅鍍金飾件。鐘正面飾鍍金鏤花，正中為白色琺瑯鐘盤，鐘盤四周嵌料石一周。底座嵌萱草紋一周，底座正面有嵌料石轉花一朵。底座側面為上弦器。西洋時鐘的引進是西方傳教士通往中國皇宮貴胄的橋樑。早在明代末期，天主教傳教士利瑪竇就將西方所製兩件自鳴鐘獻予萬曆皇帝，從此打開了西方使者與上至皇宮貴族、下至黎明百姓溝通的話題，為中西文化交流敲開大門。清代以降，西洋時鐘不當成為清廷統治者的喜愛之物，亦受到達官顯貴及商販的追捧。西洋時鐘能夠準確的呈現時曆，這與中國統治者對天文、曆法等相關支持的壟斷和掌握一脈相承。天子對時間及曆法的掌握，蘊含其君權神授的象徵意義，因此受到歷朝歷代統治者的喜愛。康熙對西方科學技術即抱有極大的熱忱，他曾作詩《詠自鳴鐘》一首，曰：「法自西洋始，巧心授受如。輪行隋刻轉，表指按分移。絳幘休催曉，金鐘預報時。清朝勤政務，數問奏章遲。」由此看出，自鳴鐘已成為康熙帝安排生活及工作的必須之物。猶如其祖父，乾隆皇帝歷來熱衷收藏西洋鐘錶及其他奇器，作為其閒逸消遣的高級玩具及奢侈擺設。此期間宮廷除了大量進口歐洲鐘錶之外，亦命宮廷造辦處以及位於揚州、廣州的作坊製作鐘錶。中國工匠挖盡心思，配合黃金、玉、漆、象牙、寶石、紫檀等名貴材料，製作出大量供賞玩的各式時鐘，此轉花鐘正是廣州製作用於進貢宮廷之其中一例。此轉花種裝飾及形制明顯受到英國時鐘影響，類似一例見日本根津美術館舊藏一件嵌寶石鐘，後於香港佳士得售出，2008年5月27日，編號1511。北京故宮博物院清宮舊藏藏有一例可資比較，見陸燕貞，《清宮鐘錶珍藏》，香港，1995年，頁170；而北京故宮清宮舊藏另一件清乾隆木樓嵌銅活三套鐘，雖為木製，但整體形制及四足與本拍品極為相似，見澳門藝術博物館，《日升月恆：故宮珍藏鐘錶文物展》，澳門，2004年，頁297，圖107。香港邦瀚斯曾售出一件英國Henry Borrell生產用於出口中國的十八世紀銅鎏金報時音樂座種，其風格與本拍品類似，2019年11月26日，拍品編號877。另見香港蘇富比曾售出一件清乾隆銅鍍金嵌寶石塔式樂鐘，2012年10月9日，編號3021。

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拍品估价：600,000 - 800,000 港币 起拍价格：600,000 港币  买家佣金：
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