The present vessel exemplifies the Qianlong period’s creative reinterpretation of antiquity. Modelled after the ding, the ancient ritual tripod of the Shang and Zhou dynasties, it is reimagined in sumptuous cloisonné enamel, richly decorated with gilt-bronze mounts, dragon-form finial and handles, and supported on three elegant cranes that replace the traditional cabriole legs. This refined synthesis of archaic form and imperial opulence reflects the Qianlong Emperor’s discerning connoisseurship and his enduring reverence for the classical past. His advocacy of fugu (“return to the ancient”) inspired court artisans to look to antiquity not merely for replication, but as a wellspring for innovation, melding the moral integrity and simplicity of ancient design with the grandeur and sophistication of the Qing aesthetic.

Auspicious symbolism permeates this piece, in keeping with the broader decorative language of the Qianlong court. The crane (he), emblematic of immortality and longevity, was a favored imperial motif and a frequent companion of Shoulao, the God of Longevity. This imagery had deep roots in the Chinese artistic tradition, tracing back to the Northern Song dynasty, when Emperor Huizong (1082–1135) himself painted the celebrated handscroll Auspicious Cranes. The motif was later revitalized within the Qing court, appearing in works by the Jesuit painter Giuseppe Castiglione (1688–1766), whose refined depictions of cranes embodied both Chinese symbolism and Western naturalism. The inclusion of the lotus, one of the Eight Buddhist Emblems (bajixiang), further enriches the iconography, symbolizing purity and spiritual perfection.

Comparable examples of cloisonné enamel incense burners supported by cranes and adorned with similar dragon-form handles are recorded. A related pair, also dated to the Qianlong period, was sold at Bonhams Hong Kong, 4 December 2008, lot 202. Another pair, featuring upright cloisonné enamel handles, is preserved in the British Museum, London (registration number: 1931,0414.1-2). For a further related example, see H. Brinker and A. Lutz, Chinese Cloisonné: The Pierre Uldry Collection, New York, 1989, pl. 323. A comparable pair, closely related to the British Museum example, was sold at Sotheby’s New York, 18 March 2014, lot 359.