each of archaic ding form, the rounded sides decorated in bright enamels with archaic geometric dragon motifs above leaf-shaped panels of scrollwork all on a pale blue ground, on cylindrical legs capped with gilt bronze taotie, the domed cover, with ruyi-shaped panels of stylised foliage on a pierced gilt bronze foliate ground, with a band of lappets below a lingzhi finial

Sotheby's London, 29th October 1982, lot 24.

One censer is in overall good condition, the other with a re-attached leg below the gilt bronze taotie. Both covers are in general good condition, with very minor enamel flakes. There are light rubbing of enamels and gilding, minor scratches, and characteristic pitting, there are also minor enamel infill in some areas.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present pair of censers represents the high level of artistic and technical achievement of enamel craftsmanship during the Qianlong period (r. 1736-1795). In response to the emperor’s eclectic taste, the art of cloisonné enamelling saw a great resurgence in techniques and decoration. Glamorous and visually striking, these censers were either produced in the Cloisonné Enamel Workshop within the Zaobanchu(Palace Workshops) located in the Forbidden City, or were tributary items made for the emperor in Guangzhou.  The Qianlong emperor was a keen collector of objects that were modelled after relics from antiquity. These censers, with their cauldron-like shape standing on three powerful legs, takes their form from archaic ritual bronze ding vessels of the Shang (16^th century-c.1050 BC) and Zhou (c.1050-221 BC) periods. Although the overall outline of these vessels follows the archaic models, the Qing craftsmen exercised their imagination and made liberal changes to the decoration of its prototype. For example, the geometric design vividly adorning the main band on the body derives from archaistic taotie and dragon designs, while the intricately cast knob, modelled as the auspicious fungus, lingzhi, further heightens the vitality and auspiciousness of the overall design. Thus, the Qing craftsmen have successfully created contemporary marvels that are at once familiar and innovative.

Cloisonné censers of comparable shape include one enamelled with an abstract cicada design, in the Palace Museum, Beijing, published in Compendium of Collections in the Palace Museum: Enamels Cloisonné in the Qing Dynasty. Vol(II), Beijing, 2011, pl. 176; and a large Qianlong mark and period censer decorated with a geometric pattern on the body, sold in our Hong Kong rooms, 8^th October 2006, lot 1077. Compare also a cloisonné censer with a lingzhi knob surmounting the cover, in the Palace Museum, Beijing, illustrated in Compendium of Collections in the Palace Museum: Enamels Cloisonné in the Qing Dynasty.Vol (III), Beijing, 2011, pl. 212.