Outstanding, Rare carved peach shape gilt bronze and semi-precious stones inlaid tripod lidded censer. Finest gilt bronze censer carved in peach fruit shape, thick potted, an ovoid body, slight tall shaped body, banded on the neck, to wide flaring a circular opening mouth, raised supported on three cabriolet legs emerging from figure youth lift the censer with his back posture. Having open work carving gilt bronze dome lid, adorned with colorful semi-precious stones inlaid of rococo carved interspersed with scrolling twigs foliage and floral flowers toward circumference finial carved youth seated relax with two leg bent and folding hands. Emerging two ears handles carved youth in seated with his knees and the right hand held the upper round mouth rim and his left hand was raised above his head bring a big lotus seed. The handles are appended on either side of the neck, from shoulder upward into a vast neck eventually meeting the domed lid, to create a precise beauty. The main body carved in peach shape form, adorned with colorful semi-precious stones inlaid of rococo carved interspersed with scrolling twigs big foliage, big floral flowers, and big lustrous ribbon fold on the center, among colorful semi-precious stones inlaid. Peach; One of the most popular Feng Shui fruit symbols, peach is the symbol of immortality. The peach is also known in Feng Shui as the fruit of heaven because of its prominence in many ancient Chinese legends about the Immortal Gods. Peach came to be associated with wealth, health, abundance and longevity. The peach is also known as a Feng Shui symbol of love and marriage. In China, "love luck" is often referred to as "peach blossoms luck. The gilt bronze conformed all required specimen to be high valued Chinese gilt bronze wares, with finest material, the color, the glaze, the carving, and the shape. Without overlap the outlines of the design, well carved, clear, subtle, and distinct. The bronze is bright and lustrous as the light is easily reflected from the well-polished surfaces. The plaques split in the middle section, and fitted perfectly upon each other. There is a light grey patina noted in several creases. The Amazing condition with finest gilt bronze giving this piece an unforgettable appearance.Measurements: Height: 12 3/4" Width: 8 1/8" Lot Notes:The history of censers in Chinese culture probably began in the late Eastern Zhou Dynasty (770–256 BCE). The Chinese words meaning "censer" are compounds of lu ("brazier; stove; furnace"), which originated as a type of Chinese bronze. Xianglu (with "incense") "incense burner; censer" is the most common term. Xunlu (with "smoke; fumigate; cure (food) with smoke", with "fragrance; an aromatic grass") means "small censer. Shoulu (with "hand") means "hand-held censer; handwarmer". The boshanlu ("universal mountain censer" or boshan Xianglu) or hill censer, which became popular during the era of Emperor Wu of Han (r. 141–87 BCE), displayed a microcosmic sacred mountain (esp. Mount Kunlun or Mount Penglai). These elaborate censers were designed with apertures that made rising incense smoke appear like clouds or mist swirling around a mountain peak The Han Dynasty scholar Liu Xiang wrote a (c. 40 BCE) boshanlu inscription. I value this perfect utensil, lofty and steep as a mountain! Its top is like Hua Shan in yet its foot is a bronze plate. It contains rare perfumes, red flames and green smoke; densely ornamented are its sides, and its summit joins azure heaven. A myriad animals are depicted on it. Ah, from it sides I can see ever further than Li Lou, Archeologists excavated many (c. second century BCE) boshanlu at Mawangdui, and some contained the remains of ashes. Analysis revealed aromatic plants such as maoxiang ("Imperata cylindrical, thatch grass"), gaoliangjiang ("Galangal"), xinyi ("Magnolia Lili flora, Mulan magnolia), and gaoben ("Ligusticum sinense, Chinese lovage"). Scholars presume burning these grasses "may have facilitated communication with spirits" during funeral ceremonies.Thus all in all there is much reason for thinking that the ancient Taoists experimented systematically with hallucinogenic smokes, using techniques which arose directly out of liturgical observance. … At all events the incense-burner remained the centre of changes and transformations associated with worship, sacrifice, ascending perfume of sweet savour, fire, combustion, disintegration, transformation, vision, communication with spiritual beings, and assurances of immortality. Wai tan and nei tan met around the incense-burner. Might one not indeed think of it as their point of origin? These Waidan ("outer alchemy") and neidan ("inner alchemy") are the primary divisions of Chinese alchemy.