The depiction of an array of precious antique objects became a popular motif on Qing-dynasty Imperial works of art, known as bogu tu (Picture of Antiquities), named after Xuanhe Bogu Tu, the catalogue of Song Huizong’s archaic bronze collection compiled in 1123. Inspired by Song Huizong’s spirit of archaism, the collecting of antiques became a fashionable pursuit among the literati, giving rise to the use of bogu tu motifs in subsequent periods. This motif was particularly favoured on hanging panels for literati residences but was rarely applied to cloisonné enamel. The present circular cloisonné enamel plaque, decorated with a range of antique objects in brightly coloured enamels, reflects both the Qing court’s pursuit of archaism and Imperial splendour. Large circular cloisonné enamel panels are rare; they were typically used on screens, large furniture such as Imperial thrones, or as framed hanging panels.
Related examples from the mid-Qing dynasty are illustrated in Compendium of Collections of the Palace Museum: Enamels, vol. 4, Beijing, 2011, pls. 133–148; for panels decorated with ‘antiques’ from the second half of the 18th century, see H. Brinker and A. Lutz, Chinese Cloisonné: The Pierre Uldry Collection, New York, 1989, nos. 307–310. See a rectangular cloisonné enamel plaque depicting the theme of the Hundred Antiques, early 18th century, in the collection of the Metropolitan Museum of Art, New York, Object No. 29.110.95.