HEAVENANDEARTHTHECOLLECTIONOFANAESTHETEHONGKONG9OCTOBER2023HK1359
HEAVENANDEARTHTHECOLLECTIONOFANAESTHETEHONGKONG9OCTOBER2023HK1359
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香港拍賣
2023年10月9日
拍賣編號 HK1359
11:30 AM
香港會議展覽中心 ( 新翼 ) ,
展覽廳1
香港灣仔博覽道一號
AUCTION IN HONG KONG
9 OCTOBER 2023
SALE HK1359
11:30 AM
Hall 1
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(New Wing)
1 Expo Drive Wanchai Hong Kong
HONG KONG EXHIBITION
MON 2 OCT - SUN 8 OCT
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TRAVELLING EXHIBITION
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台北
華南銀行國際會議中心
天 地 乾 坤
鑒藏第一章
HEAVEN AND EARTH
THE COLLECTION OF AN AESTHETE
ENQUIRIES
SALE NUMBER
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AUCTION AND EXHIBITION
INFORMATION
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SPECIALISTS
Nicolas Chow
Chairman, Asia
Chairman and Worldwide Head of Asian Art
+852 2822 8128
nicolas.chow@sothebys.com
Carrie Li
Deputy Chairman of
Chinese Works of Art, Asia
+852 2822 8155
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Xibo Wang
Head of Department
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xibo.wang@sothebys.com
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Specialist
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Xiaoye Yang
Cataloguer
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BEIJING
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SHANGHAI
Norbu Peng
Specialist
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TAIPEI
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TOKYO
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INTERNATIONAL RESEARCH
Regina Krahl‡
Haoyang Zhao
PRE-SALE CLIENT EXPERIENCE
Vivienne Tsing
+852 2822 8126
vivienne.tsing@sothebys.com
Gwyneth Ng
+852 2822 5549
gwyneth.ng@sothebys.com
‡ Consultant
HK1359 “HEAVEN“
CONTENTS
1
IMPORTANT NOTICE
3
AUCTION & EXHIBITION INFORMATION
4
SPECIALISTS AND ENQUIRIES
12
HEAVEN AND EARTH -
THE COLLECTION OF AN AESTHETE
LOTS 3501-3508
122
HOW TO BID
Heaven and earth, and more specifically the
principals of cosmology as they relate to Imperial
power, are at the heart of this very sophisticated
collection of Imperial works of art. For the
Qianlong Emperor, asserting the legitimacy of the
dynasty established by his Manchu ancestors,
and of his rule in particular, was a matter of
utmost importance. This pursuit was evident in
his strict adherence to court rites, in his many
poems devoted to emperorship and in the myriad
objects the emperor commissioned to affirm his
role as a mediator between heaven and earth.
The Qianlong Emperor was an avid collector of
archaic jades, as they were believed to embody
the virtue of the ancients, and particularly discs
known as bi, as they symbolized Heaven. He
devoted time to their study, when inspired wrote
poems extolling their virtues and sometimes
had them mounted in precious zitan wood
frames so that they could adorn his halls and
studies. The medieval jade bi carved with
dragons and phoenixes and mounted on a superb
zitan stand in this collection ranks among the
finest such examples to survive. Not only did
the Emperor collect jade discs from the past,
he also occasionally had bi discs carved. The
FOREWORD
Nicolas Chow
Chairman, Asia
Chairman and Worldwide Head of Asian Art
spectacular massive jade bi in this collection and
its magnificently cast bronze stand would have
once stood outside an important hall within the
Forbidden City, carefully positioned on its central
axis. The only other jade disc of this size, cut and
polished from the very same stone and mounted
on a bronze stand in the same style, still stands
today facing the all important Yangxindian (the
Hall of Mental Cultivation) where the Emperor
spent much of his time at the court. The
importance of this massive ceremonial jade bi
cannot be overstated.
The other rare treasures in the collection – an
archaistic ritual jade gui tablet carved out of the
purest white jade, a superbly crafted bronze
bookstand that may have once held a Confucian
classic in an Imperial study in the Yangxindian, a
baroque meditation chair made out of wild organic
rootwood among others – all attest to the Qing
emperors’ quest for political legitimacy, patronage
of the arts and self-cultivation. This selection of
works of art also comes as a testament to the
exceptional eye of an aesthete whose lifelong
mission it has been to chase the rarest and most
remarkable Imperial works of art.
“Heaven and earth, and more specifically the
principals of cosmology as they relate to
Imperial power, are at the heart of this very
sophisticated collection of Imperial works
of art.”
序
天地乾坤、宇宙綱常,乃皇權所繫。此一系列皇家御
製珍藏亦以之為圭臬,苦心集腋而成。乾隆皇帝身為
天子,確立滿族天命,江山正統、皇權天授, 屬國本
要務。如此渴求,明見於高宗終身嚴守朝禮,亦反映
在許多御製詩文,以及皇帝親授製作之器物,用以強
調闡揚天子一統天地之地位。
乾隆皇帝廣蒐高古玉器,深信古玉載德,尤其玉璧,
象徵天。不僅專研古玉壁,並撰詩文讚頌,時而詔命
特製紫檀木座,陳設於宮殿、書齋。本收藏中御製
紫檀嵌龍鳳纹玉璧插屏,可謂存世作例中佼佼者。乾
隆皇帝珍藏古玉壁,偶亦特令琢製新玉壁。本藏之御
製和闐青玉大玉璧與鑄銅雙龍座,精湛恢弘,氣勢懾
人,原應立於紫禁城重要宮殿首,精準位於中軸線
上。唯一尺寸、刀工、打磨均相同,且琢自同一塊碩
大玉料之大玉壁,鑄銅座亦與本品風格一致,今仍立
於養心殿,此乃乾隆皇帝最主要的理政起居之處。本
品之歷史意義與重要性,不言而喻。
收藏中眾多珍寶,如一件仿古白玉圭壁,玉質淨潔瑩
亮; 鎏金銅雙龍戲珠紋摺疊式帖架,細緻精美,或曾
於養心殿書齋中,伴君覽卷讀書;匯芳書院舊藏天然
藤木禪椅,取野藤木根巧製,靈動奇絕;皆彰顯清代
帝王對於政權正統、藝文發展及心靈修養之追求。羅
列至珍,足證藏主眼力雄銳,畢生心血,惟最珍稀重
要之御製工藝品,方能入藏。
仇國仕
蘇富比亞洲區主席 | 亞洲藝術部主席兼環球主管
「天地乾坤、宇宙綱常,乃皇權所繫。此一系列
皇家御製珍藏亦以之為圭臬,苦心集腋而成。」
of the scenic spots of Qixia Mountain. After that, the
emperor would make imperial inscriptions to add new
scenic spots every time he came here. According to
incomplete statistics, there are over 30 places with the
Qianlong Emperor's imperial inscriptions here, which
is extremely rare in other Jiangnan scenes throughout
his southern tours.
The first visit to the
Qixia Mountain left
the emperor with
the impression
that \"I was stunned
by the view on my
first visit\", and
he immediately
ordered Qian
Weicheng to
paint the scenes
and bring them
back to Beijing.
Without letting the
emperor down,
Qian presented
the final painting
to the emperor for
inspection on the
sixth day of the fifth month. The emperor immediately
ordered the Imperial Workshop to \"paste the mounting
paper with a two-cm-wide blue silky edging\". It might
be made into a picture on the wall, which was posted in
the imperial palaces or imperial gardens for constant
viewing. Only after three years, namely in the twentyfifth year of Qianlong’s reign, Qian Weicheng created a
large painting named Panorama of Qixia Mountain, on
which the Qianlong Emperor inscribed a poem:
The picture describing the Sheshan Mountain seems
to have a life, as if the mountain suddenly appears in
front of me.
The undulating mountains are like layers of waves,
with springs trickling under the grace peaks.
The remains of the ancient hermit enrich the cultural
heritages, and the scenery here reflects the great
painter's style.
The future and the past are fleeting; you are only in it
by chance.2
The emperor made a note below the sentence of
\"future\": \"I will have a southern tour again next year.\"
He looked forward to climbing Qixia Mountain again
the year after while he watched the painting, with
burning desire beyond words. However, the third
southern tour conceived by the emperor embarked
two years later rather than a year later. The painting
was mounted on a hanging scroll in the thirty-third
year of Qianlong’s reign, which is the Panorama of
Qixia Mountain scroll collected by the Palace Museum
in Taipei. There is another handing scroll of Qian
Qixia Mountain, a famous mountain in the northeast
of Nanjing, was once the abode of Ming Sengshao, a
hermit in the six dynasties who built the Qixia Temple
here. On the sixth day of the third month in the twentysecond year of Qianlong’s reign, the emperor made his
first visit to Qixia Mountain with his mother. He stayed
in the temporary
imperial palace
for two days.
When he began to
return to Beijing
four days later,
he stayed here
for another day.
During the three
days he stayed
here, the emperor
composed 19
poems, which
fully showed
his adoration of
the waters and
mountains here. In
his first poem on
Qixia Mountain, he
praised:
As the most beautiful mountain in Nanjing, it stunned
me unprecedentedly on my first visit.
The clouds cover the Purple Peak Pavilion, while the
springtime water trickles out of the White Deer Spring.
The stone tablet of Buddhism was carved in the Sui
dynasty, and the hermit of the Southern Qi Dynasty
changed his residence to a temple for the sake of
Buddha's fate.
The peak name Black Gauze Cap (shamao)
symbolizes officialdom, which the hermit may not like.1
Only a few of the famous scenic spots of the Qixia
Mountain, such as the Purple Peak Pavilion (zifengge),
the White Deer Spring (bailuquan), the Sui (Tang)
Stela, and the Qixia Temple are mentioned in the
poem. When the emperor first visited the Qixia
Mountain, he left his imperial inscriptions to mark 15
scenic spots. They include Best scenery (Zuisheng),
Purple Peak (zifeng), Merits and Virtues Pavilion
(gongdege), Pine Forest Spring (wasongquan),
Green Mountain House (shoucui shanfang), Spring
Stone from Nice Building (quanshi zijialou), the Great
Void Pavilion (taixuting), Rolling Hills of Nanjing
(baixi juan'e), Spring Rain Mountain House (chunyu
shanfang), Soaring Clouds (lingyunyi), Monks' Fine
Cottage (shiliang jingshe), Bamboo-Hat-Shaped
Pavilion (liting), Huashan Mountain, Chang Taoist
Temple, and Taigu Hall. So many imperial inscriptions
are beyond the realm of general sightseeing. It is a
summary of the landscape of Qixia Mountain. In other
words, the Qianlong Emperor became the creator
EMPEROR QIANLONG'S SOUTHERN TOURS AND
AN IMPERIAL INSCRIBED WHITE JADE \"QIXIA
MOUNTAIN\" TABLE SCREEN
“The rendering of the Purple Peak Pavilion and
the nearby Qixia Temple, Wuliang Hall, and
Stupa in the present screen is enlarged and
clearer than the example from the Palace
Museum; the scene of Nine Pines, on the other
hand, which is rudimentarily represented in
the present lot is depicted more specifically
in the Palace Museum example. One creates
a distant view while the other shows a close
view, demonstrating the close association of
the present screen to the one from the Imperial
Qing court collection.”
characters.
It used to be called Qixia Temple, Sheshan Mountain,
but now the mountain is directly called the Qixia
Mountain.
The place is rich in different kinds of herbs to heal the
wounded and rescue the dying, and there are also
many clear springs that bring peace and comfort to
people.
I'm not here fora break and relaxation, but to
understand people's conditions and the difficulties of
the country.
The palace where I am staying is simple, but I'm
still at ease when I compose poems in the beautiful
landscape.3
The two poems are the first poem on the Qixia
Mountain composed respectively during first and
second southern tours. The two poems were engraved
in one place, indicating that the processing time
of the jade was between the twenty-seventh year
and the thirty-fourth year of Qianlong’s reign when
the emperor returned to Beijing from his fourth
southern tour. Comparing the picture of it with that
of the wood-cut Qixia Temple, which is one part of
the Southern Tour Grand Ceremony, one may find
that the mountains, trees, and buildings correspond
with each other without any difference, especially the
layout of the three peaks is beyond doubt that the two
paintings are closely linked. Again, when observing
the jade table screen, one can see the famous scenic
spots of Qixia Mountain one by one. One can refer to
the coloured points in the attached pictures to identify
the specific corresponding relationship. Among Ten
Qixia Scenic Spots formed after that time, we can
identify at least eight from the two pictures, including
the Lingfeng Pond (lingfengchi), Purple Peak Pavilion,
Pine Forest House, Secluded Residence Nunnery
Weicheng's Panorama of Qixia Mountain collected by
the Palace Museum in Beijing, which is, together with
the scroll Panorama of Qixia Mountain collected by the
Palace Museum in Taipei, recorded in the Collected
Treasures of the Stony Moat (shiqu baoji). Meanwhile,
an album of twelve leaves named Qixia Mountain
Painting created by Qian Weicheng is also recorded in
Collected Treasures of the Stony Moat. So far, along
with the Qixia Mountain Painting presented by Qian
Weicheng on the sixth day of the fifth month in the
twenty-second year of Qianlong’s reign mentioned
above, Qian Weicheng painted four pictures for the
same place in total, showing the emperor's special
love for this place. The above paintings are very crucial
to the creation of the present Imperial Inscribed White
Jade \"Qixia Mountain\" Table Screen, because their
picture features had a direct impact on the Picture
of Qixia Temple, a wood-cut works as one part of the
Southern Tour Grand Ceremony compiled in the thirtyfifth year of Qianlong’s reign. And the corresponding
relationship between the latter and the present
White Jade Table Screen is definite, except for the
different materials of woodcut and jade in representing
the same image. Readers can make one-by-one
comparison by examining the accompanying images
of this article.
This Imperial Inscribed White Jade \"Qixia Mountain\"
Table Screen is 24.5 cm long, 18.3 cm tall, and 3 cm
thick, with Qixia Mountain picture engraved on the
front, and two poems with the same name. They were
composed in the twenty-second and twenty-seventh
years of Qianlong’s reign respectively, gilded on the
back. The poem composed in the twenty-second year
has been quoted before. Here is the poem written in
the twenty-seventh year of Qianlong’s reign:
The Qixia Mountain was named after the Qixia
Temple, possibly to avoid the taboo of certain Chinese
Fig.1 Qian Weicheng, Complete Picture of Qixia, Palace Museum, Taipei
圖1 錢維城《棲霞全圖》軸 台北故宮博物院藏
In recent years, an increasing number of people start
to pay attention to the Qianlong Emperor's southern
tours with the popularity in culture and museums in
the whole society. The story of the emperor's tour
more than 200 years ago is not only a topic, but
also a phenomenon, being relentlessly developed
and exploited by various works, special exhibitions,
tourism development and even cultural and creative
products. From the economic phenomena, we find
that the essence of his southern tours should be reevaluated and re-examined.
When we start from the Forbidden City alongside
the Grand Canal today, we'll find that almost every
tourist attraction in Beijing, Hebei, Shandong, Jiangsu
and Zhejiang provinces is related to the Qianlong
Emperor's southern tours. No matter whether it’s
natural mountains and waters, or cultural landscapes,
the emperor left his inscriptions at nearly every
attraction of the above lands during his southern
tours. Facing those time-honoured attractions, the
emperor often ordered the imperial painters to \"create
paintings of the attractions accurately\" and imitate
them in Beijing's imperial gardens, just as Wang
Kaiyun described in his poems on Qing Palace, \"The
emperor enjoyed the good scenery of Jiangnan (the
south area of the Yangtze River), and 'shifted' them
to the imperial garden in a scaled-down manner.\"
They did not only imitate the similar appearance of
the landscape of Jiangnan, but also directly used the
same materials, crafts, and even craftsmen. Today,
we can still peek into the gorgeous Jiangnan dream
of the Qianlong Emperor from the jaw-dropping
southern-style decoration of the First District of the
Palace of Tranquil Longevity (Ningshougong) in the
Forbidden City.
Interestingly, the Qianlong Emperor once exaggerated
in his later years that he had only two achievements
in his life, \"One is the western military action and
the other is the southern tour.\" The western military
action refers to the suppression of the rebellion across
the south and the north of Mount Tianshan, while
the southern tour is the synonym for his six tours to
Jiangsu, Zhejiang and the surrounding provinces. The
two seemingly unrelated events were closely linked
by one thing. That is what the Qianlong Emperor was
obsessed with throughout his life - jade. His obsession
with jade was reflected in the fact that each of his
dozen sons were given the name of fine jade. In the
seventh month of the twenty-fourth year of Qianlong’s
reign, the rebellions of Elder and Younger Xojam
clans were wiped out. With the ending of the war at
the south of Mount Tianshan, the road accessing the
jade in southern Xinjiang was completely opened.
This greatly enriched the jade material sources to the
Imperial Workshop of the Qing Palace. Along with the
southern tours of the emperor, the jade materials from
the northwest were engraved with rich decorative
patterns like souvenirs. A considerable number of
them were processed in Jiangnan area and imprinted
with deep \"southern tour\" memories. The present
imperial inscribed white jade\" Qixia Mountain\" table
screen is one of them.
This Imperial Inscribed White Jade \"Qixia Mountain\"
Table Screen is an elaborate work among the jade
(youju'an), Layering Wave Cliff (dielangya), Pearl
Spring (zhenzhuquan), Rainbow Mirror (caihong
mingjing), and Deyun Nunnery (deyun'an). The Palace
Museum in Beijing also holds a large grey Jade boulder
with Panorama of Qixia Mountain, representing the
Qixia Mountain in a more stereoscopic way to highlight
the morphologic effect, forming the visual differences
of the three dimensions and one dimension between
the present work and the present White Jade Table
Screen. The two palace furnishings sharing the
same theme create a different viewing experience.
Coincidentally, in the forty-first year of Qianlong’s
reign, the Salt Administrator of Huaibei-Huainan Area
Yiling Ar contributed \"one jade boulder with Imperial
Poems on Qixia Mountain\" to the court. Moreover, the
contribution by the Salt Administrator also indicates
that such works might be created by Jiangnan
craftsmen who were familiar with local scenery, which
provides useful clues for us to explore the sources and
the craftsmen of the Imperial Inscribed White Jade
\"Qixia Mountain\" Table Screen. It is sure that the two
imperial poems on the back of the Imperial Inscribed
White Jade \"Qixia Mountain\" Table Screen should
be engraved by the special gravers working for the
Imperial Calligraphy Workshop as the calligraphy style
of the poems is completely consistent with that of the
emperor, achieving unity in form and spirit.
In the sixteenth year of Qianlong’s reign, the Qianlong
Emperor toured Jiangsu Province and Zhejiang
Province with his mother, which kicked off his six
southern tours spanning 34 years. The Qianlong
Emperor emphasized repeatedly that the main
motivation of the southern trips was \"river engineering
rather than anything else\". So understanding local
customs and social conditions, and visiting famous
landscapes were trifles to him compared with the
significant purpose of river engineering. Undeniably,
the Qianlong Emperor made plans on river engineering
(for the Yellow River) and coastal defence (for the
Qiantang River) before and during each southern
tour. He and his ministers in charge jointly created
the magnificent feat of river control, such as river
dikes and scale-shaped seawall construction, keeping
Jiangsu, Zhejiang and surrounding provinces away
from the river and sea inundation for long indeed.
He wrote many poems describing him and his
ministers in charge of river control to command and
dispatch the personnel on site. These poems were
engraved on multiple monuments in Huai'an and
Haining areas, surviving up to now. Apart from river
engineering, calling in local officers, holding additional
imperial examination, relieving tax burdens, and
performing military exercises and reviews were also
important agenda during his southern tours. These
can be regarded as the government affairs, with an
embodiment of \"trip for official businesses\" during the
imperial tours. Although the Qianlong Emperor used
\"supervising everything myself without selfish desires;
supervising my ministers and their servants regarding
obeying laws; supervising the local officials regarding
fulfilling official duties; observing the common people
of each province about how they meet me\" as excuses
to prevent people from criticizing his southern tours
as sightseeing trips, future generations should take his
extravagance and ostentation as a warning.
Fig.2 The woodblock print Picture of Qixia Mountain corresponds to the
marked color positions on the present Lot
圖2 木刻本《棲霞山圖》與白玉御題游棲霞山屏的標色點位對應
screens in the era of Qianlong Emperor. The Palace
Museum in Beijing has preserved multiple similar
jade screens, most of which are in the form of table
screens, including the Gray Jade Table Screen with the
pattern of \"Lao Zi Entering the Gate\", the FishermanWoodcutter-Landscape patterned Gray Jade Table
Screen, the Fisherman-Woodcutter-Farmer-Scholar
patterned Jasper Table Screen, the White Jade Table
Screen with the pattern of \"Su Dongpo Visiting Red
Cliff\", the Gray Jade Table Screen, etc. This indicates
that the jade screens describing scenery formed
a typified production tradition for the Qing Palace
furnishings in Qianlong’, reign, and the present
Imperial Inscribed White Jade \"Qixia Mountain\" Table
Screen should also be a table screen with a wooden
seat to be displayed in the palace. It is worth noting
that the above-mentioned Gray Jade Table Screen
collected in the Palace Museum in Beijing (cultural
relic number: Gu-00103186) should have a very close
relationship with this Imperial Inscribed White Jade
\"Qixia Mountain\" Table Screen. Both the front and
back sides of the grey jade table screen are carved
with patterns. However, the Palace Museum only
names it in a simple way as it may not understand
the meaning of the images. It is not difficult to find,
by scrutinizing the pictures and the imperial poems
on it, that views in the front and on the back of this
table screen show two scenes of Qixia MountainPurple Peak Pavilion and Nine Pines, which, of course,
also appear in this Imperial Inscribed White Jade
\"Qixia Mountain\" Table Screen. By comparison,
the corresponding relationship between them can
be completely established: The rendering of the
Purple Peak Pavilion and the nearby Qixia Temple,
Wuliang Hall, and Stupa in the present screen is
enlarged and clearer than the example from the
Palace Museum; the scene of Nine Pines, on the
other hand, which is rudimentarily represented in
the present lot is depicted more specifically in the
Palace Museum example. One creates a distant view
while the other shows a close view, demonstrating
the close association of the present screen to the
one from the Imperial Qing court collection. The
association between the two works in the Qing court
is beyond doubt. Speculating based on common
sense, the emperor was fond of no fewer than ten
scenic spots in Qixia Mountain. So, there should be
multiple table screens showing the sub-views to be
produced, forming the corresponding relationship of
the sub-views and the panorama between them and
the Imperial Inscribed White Jade \"Qixia Mountain\"
Table Screen. As for the survival of other sub-view
table screens, it needs to be further explored and
sorted out. Thus, from paintings to woodcuts, from
jade boulders to jade table screens, from panorama to
sub-views, relentlessly paintings and engravings of the
Qixia Mountain echoed the Qianlong Emperor's praise
for \"the most beautiful mountain in Nanjing\".
It is conceivable that after the Qianlong Emperor's
last southern tour at the end of the forty-first year
of his reign, the emperor regretted that he would
never see the scenic spots in the south in the rest of
his life, which can be seen from his remarks that \"six
southern tours have come to an end, and I can only
visit Jiangnan in my dreams in future.\"4 Nevertheless,
he might be able to get uninterrupted psychological
compensation and spiritual sublimation through
these paintings, jade carvings, and table screens that
transcend time and space. 1 (Qing) Hongli: Visit Qixia Mountain, Vol. 71 of The Second Collection of Imperial
Poems.
2 Compiled by the First Historical Archives of China, Art Museum of the Chinese
University of Hong Kong: Zaobanchu Archives of the Qing Imperial Household
Department (qinggong neiwufu zaobanchu danganzonghui), vol. 32, p. 494,
the thirty-forth year of the Qianlong reign, list of manufacturing tasks, the
Imperial Workshop's manufacturing task record: \"On the nineteenth day,
received Assistant Minister Li Wenzhao's affix, including one panorama
landscape painting of Qixia Mountain by Qian Weicheng presented by Dong
Wujing on the second day of the third month... By Imperial Order: ...imperial
inscribed on Qian Weicheng's landscape painting...mount on a hanging
scroll...\"
3 (Qing) Hongli: Visit Qixia Mountain, Vol. 23 of The Third Collection of Imperial
Poems.
4 (Qing) Hongli: No. 6 of Six Poems with Three-repeated Previous Rhyme, Vol. 5
of The Fifth Collection of Imperial Poems.
17
第一金陵明秀山,所欣初遇足空前
—乾隆南巡與白玉御題游棲霞山屏
乾隆十六年,乾隆帝奉母巡幸江浙,拉開了歷時34
年共六次的南巡序幕。 南巡之舉,在乾隆帝自己說
來,就是「南巡之事,莫大於河工」1—治河,成為
了他一再強調的南巡主因。 至於治河以外的省方問
俗、優遊林泉,則一概被其視為細枝末節,無關出巡
宏旨。 不可否認的是,乾隆皇帝的歷次南巡,於河
工(黃河)、海防(錢塘江)多有擘畫,他與督臣共
同創造的定清口水志、築魚鱗石塘的治河壯舉,也確
實保障了江浙幾省長久的河清海晏。其與河臣親臨現
場指揮調度的詩章鐫刻在淮安、海寧兩地的多座豐碑
上屹立至今。除治河外,諸如引見地方官員、開恩科
取士、蠲除錢糧、演兵閱武等,同樣也是南巡途中
的重要內容。 這
些均可視為政務活
動,是帝王出巡之
「行在辦公」的體
現。 南巡途中「
視予躬之如何無欲
也,視扈蹕諸臣以
至僕役之如何守法
也,視地方大小吏
之如何奉公也,視
各省民人之如何瞻
覲親近也」2
成為
了乾隆皇帝封堵後
世視其南巡為遊山
玩水之悠悠眾口的
口實,理由雖然冠
冕堂皇,其鋪張靡
費之巨,實為後世炯誡。
近年來,隨著席捲全社會的文化熱、博物館熱,越來
越多的人開始關注乾隆南巡。 兩百多年前皇帝出巡
的故事,已經不止是一個話題,更是一種現象,被眾
家著作、專題展覽、旅遊開發甚至是文創產品一再琢
磨利用。 撕開經濟的外衣,我們發現其南巡本真的
東西應當得到再評價與再認識。
今天,我們從紫禁城出發,沿大運河一路向南,歷數
北京、河北、山東、江蘇、浙江五地風景名勝,可以
說少有與乾隆南巡無關的。 燕南趙北、孔林岱岳、
黃淮河網、越水吳山,南巡途中的地方名物幾乎都被
皇帝摩挲品題。 面對那些久名於世的風景名勝,皇
帝動輒命畫手「致佳圖以歸」3
,然後在皇家園林中
大加仿建,一如王闿運清宮詞所述:「誰道江南風景
佳,移天縮地在君懷。」對江南美景的模仿,不僅追
求環境的神似,更是從材料到工藝甚至是工匠的直接
照搬。 我們今天仍然可以在紫禁城寧壽宮一區令人
咋舌的南式裝修中一覽乾隆皇帝華麗的江南夢。
有意思的是,乾隆皇帝晚年曾經誇張地說他的一生只
做了兩件事,「一曰西師,一曰南巡」。 西師,即
對天山南北的用兵; 南巡,則指六次巡幸江浙。 這
兩件事看似無關,卻因為一件物品而被緊密地聯繫
在一起。 那就是乾隆皇帝終其一生都在如癡如醉地
迷戀的東西——玉。 說他如癡如醉,他的十余位兒
子每一個都被他冠以美玉的名字。 乾隆二十四年七
月,大小和卓木叛亂被剿滅,天山南路戰事底定,南
疆玉路至此徹底打通。 這極大地充實了清宮造辦處
的玉料來源。 隨著皇帝的四出巡幸,來自西北的玉
料像紀念品一樣,被鐫刻上豐富的裝飾圖案,其中相
當一部分要發往吳地雕琢加工,同時也就被烙上了深
深的南巡記憶,我們今天看到的這塊白玉御題游棲霞
山屏便是其中之一。
棲霞,南京東
北一座著名山
峰,曾是六朝
隱士明僧紹的
幽居處,他開
創的棲霞寺就
築於山中。 乾
隆二十二年三
月十六日,皇
帝奉母初臨棲
霞,於行宮駐
蹕二日,四天
后起鑾回京
時,再至棲霞
駐蹕一日。 皇
帝於此盤桓三
日,賦詩19首,足見對這裡水態山光的愛慕。 他在
第一首棲霞詩中如是讚道:
第一金陵明秀山,所欣初遇足空前。
畫屏雲罨紫峰閣,乳竇春淙白鹿泉。
梵業鐫碑尚隋代,浹因舍宅自齊賢。
更誰鑿壁名紗帽,只恐平原意未然。4
詩中提到了棲霞山著名景物如紫峰閣、白鹿泉、隋
(唐)碑、棲霞寺等,其實遠不及此。 皇帝初遊棲
霞,即對其中15處「點位」親灑宸翰,予以標明。
計有最勝、紫峰、功德閣、萬松泉、受翠山房、泉石
自佳樓、太虛亭、白下卷阿、春雨山房、凌雲意、石
梁精舍、笠亭、話山、暢觀、太古堂。 如此繁密的
點題,已經超出了一般遊覽的境界,這是對棲霞山山
水環境的概括和總結。 換句話說,乾隆皇帝在此時
成為了創構棲霞山景觀的造景人。 此後再巡江浙,
每至這裡必有新的「點位」得到皇帝點題。 不完全
統計,當有三十余處之多,這在南巡所至的江南景物
中是極其少見的。 對棲霞的初次邂逅,即給皇帝留
下了「所欣初遇足空前」的印象,他隨即命錢維城作
「通過對比,二者可以完全建立畫面的
對應關係:白玉御題游棲霞山屏中紫
峰閣及其附近的棲霞寺、無量殿、
舍利塔被青玉插屏的畫面放大得更清
晰、更直觀; 白玉御題游棲霞山屏中
被約略表現的九株松則被青玉插屏
予以一一示現。 二者一遠觀,一近
看,妙趣橫生。」
19
料上的不同表現而已,讀者可在本文的配圖中一一
檢索對比。
此件白玉御題游棲霞山屏長24.5cm,高18.3cm,厚
3cm,正面鐫棲霞山圖景,背面描金陰刻乾隆皇帝丁
丑(二十二年)、壬午(二十七年)兩首同名詩作。
丁丑詩前已引述,壬午詩為:
棲霞名寺遂名山,點竄寧因字句間。
本名攝山棲霞寺,名也今雲棲霞山。
藥草攝生何不可,乳泉滌慮恰宜閒。
偶來尋勝非耽靜,敢懈觀民正憶艱。
朴斲行宮居信宿,對時摛藻我猶閒。8
兩首詩分別為第一、第二次南巡棲霞山眾多詩篇中的
首詩。 二詩鐫刻一處,表明其製作的時間上限為乾
隆二十七年,下限當在乾隆三十年第四次南巡迴鑾之
際。 以其畫面與《南巡盛典》木刻本《棲霞寺圖》
對勘,我們會發現山勢、樹石、建築均可以一一對
應,尤其是三峰鼎峙的畫面佈局,兩者間毫無二致,
說二圖互為因循是無可置疑的。 再觀察玉屏,棲霞
山的著名風物被一一表現出來,具體對應關係讀者
可參見附圖中的標色點位。 在此後形成的「棲霞十
景」中,我們從兩種畫面里至少可以辨認出八處,計
有玲峰池、紫峰閣、萬松山房、幽居庵、疊浪崖、珍
珠泉、彩虹明鏡、德雲庵。 故宮博物院另存有青玉
棲霞全圖山子一座,因為山子的天然特徵使然,其表
現的棲霞山景致更加立體化,隨形效果更加明顯,與
圖,擬將倩影帶回北京。 錢氏不辱皇命,僅在五月
初六即將完稿上呈御覽5。 皇帝立刻命造辦處將此圖
「托紙鑲六分寬藍綾邊」處理,想必是做成了貼落,
被張貼在皇宮或御園的某座宮殿中以備時時觀覽。
僅三年後,乾隆二十五年錢氏再作《棲霞全圖》大
畫,乾隆皇帝於圖上題詩:
走筆無端寫攝山,攝山忽到眼根前。
不殊疊浪高拖嶺,宛識玲峰下有泉。
高士隱蹤昔肥遯,大家畫法此齊賢。
未來過去胥權置,且爾相於玩偶然。6
在「未來」一句下面,皇帝作注曰:「將以明年復舉
南巡之典。」觀畫的同時,憧憬著來年能夠再登棲
霞,期待之情溢於言表。 不過,第三次南巡並不如
皇帝構想的那樣在「來年」重舉,而是拖到了「後
年」。 這幅畫在乾隆三十四年被裝裱成掛軸7
,此即
台北故宮博物院藏《棲霞全圖》軸。 北京故宮博物
院另存有錢維城《棲霞山全圖》手卷一卷,與台北故
宮《棲霞全圖》軸均著錄於《石渠寶笈》。 另,《
石渠寶笈》中尚有錢維城《棲霞山圖》冊頁一套十二
幅。 至此,加上前文所述二十二年五月初六錢維城
呈覽的《棲霞山圖》,同一畫手對同一地點描繪了四
個版本的圖像,這不能不說是皇帝對此處的情有獨
鍾。 以上畫作對本文的主角——白玉御題游棲霞山
屏的創作極為重要,因為它們的畫面特徵直接影響
了乾隆三十五年纂成之《南巡盛典》木刻本《棲霞
寺圖》,而後者與白玉御題游棲霞山屏的對應關係
是一目了然的,只是同一畫面在木刻和玉料兩種材
Fig. 3 Pale green jade ‘Qixia Shan’ boulder, Qianlong period, Palace Museum, Beijing
圖3 清乾隆 青玉棲霞全圖山子 北京故宮博物院藏
20 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359
白玉御題遊棲霞山屏形成了一立體一平面的視覺差
異,同是宮廷陳設,帶來了不同的觀賞體驗。 無獨
有偶,乾隆四十一年,兩淮鹽政伊齡阿向宮廷進貢
「御製棲霞詩玉山一件」9
。 由此可知,棲霞主題玉
山子在清宮中並不鮮見,而且經兩淮鹽政入貢本身,
也說明了此類作品應當都是熟悉本地風物的吳工所
為,這為我們探究白玉御題游棲霞山屏的來源和工匠
提供了一個可資借鑒的方向。 當然,白玉御題游棲
霞山屏背後的兩首御製詩完全復寫皇帝筆法,形神兼
備,當為清宮御書處的專門刻手所為。
白玉御題游棲霞山屏是乾隆時代玉屏類陳設中的精
品。 北京故宮博物院保存有與之相類的玉屏多面,
且多以插屏形式出現。 如青玉雕老子進關圖插屏、
青玉山水漁樵圖意插屏、碧玉御題漁樵耕讀圖插屏、
白玉蘇子游赤壁圖插屏、青玉插屏等等。 這說明,
乾隆朝此類寫景玉屏在宮廷陳設中已經形成了類型化
的製作傳統,白玉御題游棲霞山屏當年也應為一件配
有木製屏座的插屏而陳設在宮殿之中。 值得注意的
是,前引故宮插屏裡被定名為「青玉插屏」的一件(
文物號故00103186),與白玉御題游棲霞山屏應有
十分密切的關係。 此件青玉插屏前後兩面均雕有圖
案,故宮方面似乎並未明瞭其圖像含義而對其定名流
於簡單。 細察畫面並所附御製詩不難發現,此插屏
的前後景致竟然表現的是棲霞山的兩處景觀——紫峰
閣與九株松,此二景當然也出現在白玉御題游棲霞
山屏中。 通過對比,二者可以完全建立畫面的對應
關係:白玉御題游棲霞山屏中紫峰閣及其附近的棲霞
寺、無量殿、舍利塔比青玉插屏的畫面放大得更清
晰、更直觀; 白玉御題游棲霞山屏中被約略表現的
九株松則被青玉插屏予以一一示現。 二者一遠觀,
一近看,妙趣橫生。 兩件作品當年在宮廷中的聯繫
毋庸置疑。 照常理推測,皇帝中意之棲霞名勝不下
十景之多,此類分景插屏亦應製作多面,與白玉御題
游棲霞山屏之間形成分景圖與全景圖的對應關係,
至於其他分景圖插屏是否存世,有待進一步挖掘整
理。 所以,從繪畫到木板,從玉山子到玉插屏,從
全景圖到分景圖,如此一而再、再而三地寫畫並鐫刻
棲霞圖景10,誠應了乾隆皇帝對這裡「第一金陵明秀
山」的讚美。
可以想見,當乾隆四十九年末次南巡迴鑾之後,南國
勝景今生不再相見,乾隆皇帝發出的「六度南巡止,
他年夢寐遊」11的喟嘆,應該可以通過這些超越時空
的畫作、山子和插屏而得到不間斷的心裡補償和精
神昇華吧。
1 (清)弘曆:《御製詩二集》卷十四《南巡記》。
2 (清)弘歷:《御製詩二集》卷十四《南巡記》。
3 (清)弘歷:《御製文二集》卷十《安瀾園記》。
4 (清)弘歷:《御製詩二集》卷七十一《遊棲霞山》。
5 中國第一歷史檔案館、香港中文大學文物館編:《清宮內務府造辦處檔案總彙》
第23冊,第11頁,乾隆二十二年各作成做活計清檔,造辦處活計庫:「五月初六
日,太監董五經來說:『首領桂元交宣紙錢維城棲霞山圖畫一張。 '傳旨:著托紙
鑲六分寬藍綾邊,欽此。」
6 (清)弘歷:《御製詩三集》卷二《題錢維城棲霞山圖疊舊作遊棲霞山韻》。
7 中國第一歷史檔案館、香港中文大學文物館編:《清宮內務府造辦處檔案總彙》
第32冊,第494頁,乾隆三十四年各作成做活計清檔,造辦處活計庫:「十九日接
得郎中李文照押貼一件,內開三月初二日董五經交...... 錢維城棲霞全圖山水畫一
張...... 傳旨...... 御題錢維城山水畫一張...... 裝裱掛軸...... 欽此。」
8 (清)弘歷:《御製詩三集》卷二十三《遊棲霞山》。
9 中國第一歷史檔案館、香港中文大學文物館編:《清宮內務府造辦處檔案總匯》
第40冊,第102頁,乾隆四十一年宮中檔簿:「三月初九日,兩淮鹽政伊齡阿進御
製棲霞詩玉山一件...... 奉旨著伊差人送京交英廉。」
10 棲霞主題文物,北京故宮博物院還有方琮畫山水王際華書游攝山棲霞寺詩成
扇、御製過棲霞嶺詩墨等等多種,本文不一一例舉。
11 (清)弘歷:《御製詩五集》卷五《駐蹕安瀾園三疊前韻六首》之六。
Fig. 4.1 & 4.2 Front and back of pale green jade table screen, QiVlong period, Palace Museum, Beijing
圖 4.1及4.2 清 青玉插屏正反面 北京故宮博物院藏
21
An important imperial gilt-inscribed pale celadon and russet jade
'Qixia Mountain' table screen,
Qing dynasty, Qianlong period
3501
of rectangular shape, one side meticulously carved in
relief with a mountain landscape, intricately rendered
with pavilions and temples nestled amidst the trees,
the sky gilt-incised with clouds, the reverse inscribed
with two imperial poems praising Mount Qixia in
Nanjing, signed yuti (imperially inscribed), with a
circular seal mark and squared seal mark reading
Qian and Long
l. 24.2 cm
PROVENANCE
A European private collection.
Christie's London, 10th May 2016, lot 40.
來源:
歐洲私人收藏
倫敦佳士得2016年5月10日,編號40
御製詩:
第一金陵明秀山 所欣初遇足空前
畫屏雲罨紫峰閣 乳竇春淙白鹿泉
梵業鐫碑尚隋代 淨因舍宅自齊賢
更誰鑿壁名紗帽 只恐平原意未然
棲霞名寺遂名山 點竄寧因字句間
藥草攝生何不可 乳泉滌慮恰宜閒
偶來尋勝非耽靜 敢懈觀民正憶艱
樸斲行宮居信宿 對時摛藻我猶閑
御題
「乾」圓印、「隆」方印
清乾隆 御製青白玉描金 「棲霞秋色」圖座屏
HK$ 1,500,000-1,800,000
US$ 192,000-230,000
24 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359
that Wu Erfu from Yixing had \"a natural couch made
from ancient tree roots, surprisingly glossy and clear.
It's really a treasure of a mountain retreat.\" Wang
even lamented, \"It's a pity I can't draw paintings for it!\"
These records clearly demonstrate the widespread
use of root wood furniture among the literary circles of
Jiangnan.
In the Ming dynasty, there was an exceptional example
of root wood craftsmanship, known as the legendary
root wood \"Liuyun\" raft-shaped couch (liuyuncha),
now housed in the Palace Museum in Beijing. Made
from natural tree roots, it is monumental, measuring
approximately 320 cm in length, 257 cm in width, and
86.5 cm in height. It bears two seal script characters,
\"Liuyun\" inscribed by the Ming calligrapher Zhao
Yiguang. Notably, it also includes annotations by
Dong Qichang, Chen Jiru, Ruan Yuan, the Owner
of Ban Garden, and Wangyan Hengyong. It is said
that the renowned No. One scholar Kang Hai in the
Ming dynasty once resided in Yangzhou and built the
Kangshan Cottage (Kangshan Caotang). The \"Liuyun\"
raft-shaped couch
was originally part
of the furnishings
in the cottage. In
the Qing Dynasty,
Jiang Heting
purchased it at a
high price. When
the Qianlong
Emperor traveled
to Jiangnan, he
saw this furniture
by the Slender
West Lake in
Yangzhou and composed a poem titled Enjoying the
Garden, which remarked, \"Accidentally encounter
added pleasure, in a realm of water and bamboo.
I can take it to Pengze Lake, and it is celebrated in
Yangzhou from now on. It looks like rugged rocks,
as the corridor winding. Leaning on the wood couch
Liuyun, I joyfully meet the calligrapher Yiguang.\" The
emperor explained in the notes, \"The wood couch in
the pavilion is of primitive simplicity, carved with two
characters 'Liuyun' written by Zhao Yiguang, along
with annotations attributed to Dong Qichang and
Chen Jiru. Although the annotations are considered
to be spurious, it is still quite peasant and enjoyable.\"
These words indicate the emperor's great affection
for it. Subsequently, Wanyan Linqing and Ruan
Yuan traveled here and discovered an ancient tree
root hidden in the dust, revealing faint inscriptions.
After \"brushing it with water, it was confirmed to be
the original Liuyun couch\". Ruan Yuan purchased
and restored it, then presented it as a gift to
Root wood is a general term of wood materials,
including various naturally curved or shaped roots
(or branches). Some can be used independently for
making instruments, others can be cut, chiselled,
connected, or spliced to make artefacts. The best
work should be a harmonious whole without any
traces of artificial modification, as if it naturally grew
like this. Common materials include cypress, elm,
Lagerstroemia and other roots. This chair is very
special as it is made of rattan, reflecting a sense of wild
and natural grace.
The Ming Dynasty, especially the Jiaqing and
Wanli periods, marked the peak of China's highseating furniture system, which boasts scientific
and ergonomic structures and designs, exquisite
craftsmanship, as well as artistic and practical
elements. Root wood, as an extraordinary material
transcending conventional furniture, was highly
favoured by literati. When Gao Lian recorded the
leaning table, he mentioned a friend named Wu Popiao
who had a unique table: \"It has a tree-like wrinkled
skin, delicate and
twisted surface,
a strange threelegged shape, and
a smooth, glossy
texture as if it
were yellow jade.
He often brought
it along with him
during his travels,
regarding it as a
precious treasure\".
Wu Popiao, also
known as Wu
Ruren, with courtesy name Shaojun, sobriquet Popiao
Daoren, Lanheshang, Xuantie, Yuantie Daoren, and
Chi Songshan Daoshi, was a native of Jinhua, Zhejiang
province, was active in the Jiaqing and Wanli period.
He had close ties with the literati of Jiangnan such as
Gao Lian, Li Rihua, Dong Qichang, Chen Jiru, Wang
Luoyu, and Shen Mingchen. He was skillful and adept
at making burl wood instruments, \"leaning on curved
wooden tables and appreciating tree root stoves\". In
Shen Mingchen's poem Two Quatrains to Wu Shaojun
Living in the Floating Dream Hall, it says, \"The root
wood table is perfect for leaning and singing, eclipsing
the red jade dragons ridden by immortals.\" He
explained in the notes that Wu Ruren \"often brings a
copper pan, a root wood table, and a rattan cane with
him\", illustrating his deep passion for tree root and burl
wood artifacts. Additionally, Wen Zhenheng's Treatise
on Superfluous Things mentioned natural tables
\"made from ancient tree roots\". And the calligraphy
and painting collector Wang Keyu's Coral Net recorded
AN EXTREMELY RARE RATTAN-AND-ROOT-WOOD
MEDITATION CHAIR OF THE QING DYNASTY
“The Imperial Workshop made numerous
records about the production, repair,
presentation, arrangement, and storage of
root wood furniture. Examples include thrones,
arhat beds, painting tables, zither stands,
round tables, armchairs, etc., forming complete
sets that predominantly date back to the
Yongzheng and Qianlong eras.”
28 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359
The historical documentation from the Canton
Furniture Workshop (Guangmuzuo) in the fifth month
of the sixteenth year of Qianlong's reign provides
evidence of the production of root wood furniture by
the esteemed Imperial Workshop. The records contain
not only modifications or reconstructions of tree-root
elm throne bed, root wood thrones, root wood arhat
thrones, natural round incense stands, and Yunqiu
root wood rectangular tables, but also the production
of root wood embroidered stools and chairs. The
production involves alterations such as removing
armrests or backrests, adding embellishments or
footrests, adjusting heights, or reusing old materials.
Even tree-root pencil holders were used to create
root wood furniture. In cases of insufficient materials,
requests were made to Li Shengwu, who was then
the Governor of Gansu. This underscores the value
placed on root wood. It took a year to make these
root wood furniture, showing the emperor's profound
interest in their creation. For instance, in the twentyseventh year of Qianlong’s reign, the tree-root throne
in Nanchang Hall of the Jiexiu Mountain Villa was taken
on for renovation. The Qianlong Emperor specifically
Linqing. Linqing detailed this story in his Records of
Serendipitous Encounters, accompanied by woodcut
illustrations. Two records in this book, Brushing the
Raft at Kangshan and A Portrait of Huanwen have
pictures of the Liuyun couch. The book once had
colored paintings on paper, which are now housed in
the National Museum of China. Exquisitely painted, the
picture of A Portrait of Huanwen is a vivid portrayal of
Liuyun couch.
Root wood furniture was favored by literati and also
loved by emperors of the Qing dynasty. The Qianlong
Emperor composed poems for Liuyun rafted-shaped
couch. The Imperial Workshop made numerous
records about the production, repair, presentation,
arrangement, and storage of root wood furniture.
Examples include thrones, arhat beds, painting tables,
zither stands, round tables, armchairs, etc., forming
complete sets that predominantly date back to the
Yongzheng and Qianlong eras. Furthermore, root
wood furniture frequently appeared in court paintings,
as evidenced by the root wood incense stand and
root wood couch depicted in the painting Portraits of
Emperor Yinzhen's Consorts.
Fig. 1-1 & 1-2 A qiangjin cinnabar lacquer cabinet and its sticker, Early Qing dynasty, Palace Museum, Beijing
圖1-1及1-2 清早期紅漆彩繪戗金纏枝蓮螭龍紋架格一對之一及黃簽 北京故宮博物院藏
29
in Fragrant Hills, Qingke Pavilion and Garden of
Harmonious Interests (xieyuyuan) in the Summer
Palace, Lianhua Room in the North Sea (Beihai),
Siyong Study of the Old Summer Palace, Jiexiu
Mountain Villa, Zhaokuang Pavilion in the Auspicious
Elegance Hall (Yulinglongguan), Siyi Study in Anlan
Garden, Fuwang Pavilion of the Palace of Tranquil
Longevity (Shouninggong), and the Mountain Resort
in Chengde.
This meditation chair is 82 cm wide, 73 cm deep and
80 cm high, with the shape similar to a chair with
half-height backrest (zhebeiyang) or a horseshoeback armchair (quanyi). Its main body is composed
of four rattans, with an extremely curving and twisting
structure: one strip of rattan forms the upper half
of the top rail (danao), armrests and front legs; one
forms the lower half of the top rail and hind legs; one
is ringing around the chair face; and one connects the
chair seat and the four legs; and the rest serves as a
stretcher to hold the chair seat, which is a must for
the structure of the chair. Then the meditation chair
takes its shape. It seems complex, but is actually
simple. When you
appreciate the
work, you find
that it would never
appear without
wise thoughts,
skillful hands and
a good taste. The
rattan components
connected in
parallel are
reinforced with dowels; those intersected are
connected with the mortise-and-tenon joints, as if
they are integrated as a whole. If you do not watch
it carefully, you might think it is made from only one
curved strip of rattan. The rattan has gone through
many years with shiny and smooth surface, reflecting
the patina of age. The cracks and twisted branches
are like calligraphy written by a half-dry brush; and the
lively and sinuous shape are reminiscent of the wild
cursive script of Zhang Xu and Huaisu (calligraphers in
the Tang dynasty).
In addition to rattan, cypress root wood are used for
making several components, such as front spandrels (jiaoya), arm support stick (liangbanggun), backrest
and four-foot pads. They are made of cypress roots
with smooth and jade-like patina. The component of
the backrest is protruding like towering cliffs of porous
Taihu stone, with grotesque and uneven rocks and
holes like moon flying in the sky. Its upper and lower
parts are also cleverly connected with the main body
of the meditation chair through dowels and mortiseand-tenon joints. In general, for backrests of a root
named the skilled craftsman from Ruyi Hall, Huang
Zhao and two Guangdong craftsmen to handle the
modifications. In the twenty-ninth year of the Qianlong
reign, Huang Zhaotong was tasked with making a
series of three connected niches from tree-root. In the
forty-seventh year of Qianlong’s reign, a directive was
given to Huang Zhao and Qiu Zhongxin from the Ruyi
Hall to transform a tree-root arhat bed and placed it in
Rehe after completion. Huang Zhao was a craftsman
from the Ruyi Hall sent by the Guangdong Customs
Supervisor Shuo Se in the fourteenth year of the
Qianlong's reign. Based on the records of his frequent
involvement in the creation of tree-root thrones, he
must be a master in this craft. Besides the Imperial
Workshop, Suzhou also took on the production of
root wood furniture. For instance, in the sixteenth
year of the Qianlong’s reign, the chief of Suzhou
Weaving Department Anning presented four tree-root
thrones. In the seventeenth year of Qianlong’s reign,
he delivered eighteen chairs. Apart from production,
maintenance was also required for root wood
furniture. In the eighteenth year of Qianlong’s reign, for
example, the exposed parts of the tree-root high table
in the Qianchixue
Hall were ordered
to repair with treeroot materials to
achieve a natural
look. The surfaces
of root wood
furniture were
predominantly
constructed with
materials like Yunqiu wood and nanmu. For example,
in the seventeenth year of Qianlong’s reign, the nanmu
surface of the tree-root high table in the Qianchixue
Hall was replaced with Yunqiu wood, reducing its
length by six inches and width by three inches.
Moreover, in the twenty-seventh year of Qianlong’s
reign, there is a record of a tree-root throne from the
Siyong Study being stained with the color of zitan
wood. Within the category of zitan furniture, there
were also carvings imitating the appearance of treeroots. In the nineteenth year of Qianlong , Governor He
Nian presented a zitan tree-root throne, zitan tree-root
writing desk, and zitan tree-root chairs inlaid with ivory
floral design. They were all furnishings simulating the
effect of root wood with precious materials, further
revealing the emperor's strong preference for such
designs. The records also suggest that palace treeroot beds were often paired with snowflake brocade
mattresses.
Root wood furniture was prominently displayed in
imperial gardens, such as the Shuqing Hall in Yingtai,
Fangsheng Pavilion, Qianchixue Hall, Biyun Temple
“The Imperial Workshop's production of root
wood furniture is best exemplified by the
records of the Canton Furniture Workshop
(Guangmuzuo) in the sixteenth year (the fifth
month) of Qianlong’s reign.”
30 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359
dynasty, its origin is more likely to be influenced by
the French \"Boulle Marquetry\". Boulle Marquetry is
a technique mastered by Pierre Gole, a French court
furniture artisan during Louis XIV, and influenced by
Dutch joinery. From the 17th century to the beginning
of the 18th century, both the Kangxi Emperor and
Louis XIV were great monarchs in the East and West
respectively. The two countries had frequent cultural,
artistic and other exchanges, and sent each other gifts.
Therefore, the court arts of both sides were affected
mutually. Distinctive Western styles can be found in
the shape, pattern and even technique of the Qing
court furniture, which can be proved by records of the
Qing Imperial Workshops on imitation and learning
from Western instruments and patterns. Likewise, the
three-curved-leg style in France in Louis XIV's reign is
obviously influenced by Chinese furniture.
The reverse of the seating board is made of cypress
wood, supported with two penetrating transverse
braces (chuandai) of oval cross section. There is a
yellow label on the baseplate, which reads \"Huifang
Academy\" (huifang shuyuan) in regular script. Huifang
Academy is included in the 40 views of the Old
Summer Palace (Yuanmingyuan). The font is neat
and beautiful, obviously written by a calligrapher who
often engaged in recording and transcription. Among
the survived Qing court furniture, it's very rare to see
wood meditation chair and throne, the priority is given
to imagery rather than comfort of use. This chair is
not suitable for leaning on, so when one sits on it, he
or she has to sit upright. Is it made intentionally for
the purpose of reminding meditators of behaving with
integrity and steadfast faith when being caught in a
dilemma?
The seat board is crafted meticulously. Unlike the wild
and stark main body of rattan, it combines elegance
and wilderness, tenseness and relaxation, just like
the way of regular script. It adopts the practice of
assembling a mortised-and-tenoned frame with
floating panel (zankuang) and rounded corner designs
on the interior or exterior of edges; especially the large
internal fillet, echoing the overall round shape. Made
from cypress root wood, it is fine and smooth as skin.
The seating board is decorated with bubujin-andswastika-patterned patchwork veneer (bainaxiang).
It is also made of cypress wood, probably select
cypress burls, as the texture is fine and irregular. The
decoration of diaper-patterned patchwork veneer
is a craft popular in the court of the Qing dynasty,
especially during the Qianlong’s reign. Although
the technique of piecing and inlaying materials into
various patterns could be found in ancient China and
it is similar to the craft of one-hundred- preciousmaterial inlay (baibaoqian) popular in the Ming
Fig. 2 Anonymous, Elegant Gathering of Song Literati, Song dynasty, Palace Museum, Taipei (detail)
圖2 宋佚名《宋人雅集圖》局部 台北故宮博物院藏 31
Tang Yin of the Ming dynasty (housed in Sichuan
Museum), and Eighteen Scholars of the Ming dynasty
(housed in the Palace Museum in Taipei). In general,
three-side-open chairs were commonly seen in
the Song and Yuan dynasties, then backrests were
added in the Ming dynasty. However, the practice
of aligning three sides of the armrests and backrest
hadn’t changed. Most of them were used by sages
and hermits. Unluckily, such chairs are very rare and
only one or two ones have been handed down to the
present time. This meditation chair can be regarded
as a variant of the chair with half-height backrest, from
which we can see the maker's manufacturing idea
of learning from the ancients. From the image data,
chairs with half-height backrests were widely used
during the Song and Yuan dynasties, and in the Ming
dynasty. In the Qing Dynasty, they mainly appeared in
paintings depicting hermits, literati or monks, but were
rarely seen in the secular world.
Root wood
instruments are
different from
semi-processed
natural objects
during the
Neolithic period.
They are conscious
choices by humans
towards natural
forms after getting
away from the
stage of simple
utilization of
natural objects
and being able to
make tools with exquisite craftsmanship. In their early
stage, they might serve as tools to communicate with
gods and nature, with a mysterious color and religious
nature. Such furnishings can be seen in the system of
low-seating furniture. With them, people could sit on
the ground. The painted lacquer leaning table (pingji)
(Fig. 4) unearthed from the Warring States Tomb
No. 2 at Jiuliandun in Zaoyang, Hubei province was
made from a randomly shaped branch. It has three
branches as legs, and other two as beast heads, one
long and one short, like a small beast walking with its
head raised. Its unusual decoration is imbued with a
strong mysterious color, causing people to imagine
whether the strange beast is about to transform into
a branch, or the branch is transforming into a strange
beast. The method of making leaning tables with root
wood lasted for more than 2,000 years almost without
interruption, including Bai Juyi's \"leaning table made of
twisted trees\". Such tables were still used in the Ming
yellow label affixed for location. But there are also a
few cases, such as a pair of gilt-incised (qiangjin) red
lacquer \"lotus and hornless dragon\" painted shelving
units (The Complete Collection of Ming and Qing
Furniture in the Palace Museum · 14 · Shelving Cabinet
Coffer Chest) (No. 12, P. 98-113), with a yellow label of
\"shelving unit in the south of the second west room of
Joyful Longevity Hall (Leshoutang)…\" on the back of
the door (Fig. 1-1, Fig. 1-2), and a pair of black lacquer
\"flower\" painted treasure chests inlaid with motherof-pearl (duobaoge) (The Complete Collection of Ming
and Qing Furniture in the Palace Museum · 14 · Shelving
Cabinet Coffer Chest) (No. 33) with a yellow label of
\"Fragrant Garden Residence (Fangyuanju)\", located
in the Mountain Resort in Chengde. The yellow label
can be seen on some low tables (Kangzhuo) and other
small furniture. It is easy to speculate that when indoor
furniture was moved for decoration needs, a yellow
label was affixed to mark the original location for
subsequent restoration or handling.
The shape of this
chair is similar to
the chair with halfheight backrest
or the horseshoeback armchair. The
so-called \"chair
with half-height
backrest\" was seen
in Zixia Records
- Holding Couch (chengchuang) by
Li Kuangyi in the
late Tang Dynasty.
Images of the chair
with half-height backrest can be seen in paintings and
prints of the Song, Yuan and Ming dynasties, such as
Elegant Gathering of Song Literati by an anonymous
artist of the Song dynasty (Fig. 2, housed in the Palace
Museum in Taipei), Reading in the Mountain Pavilion
by Liu Songnian of the Song dynasty (housed in the
Palace Museum in Beijing), Four Whiteheads of Mount
Shang and Nine Respected Elders in Huichang by an
anonymous artist of the Song dynasty, Arhats by an
anonymous artist of the Song dynasty (housed in the
Palace Museum in Taipei), Illustration of \"Illustrated
Manual of Anup\" by Wang Weiyi of the Song dynasty,
(block-printed edition of Chen's family, the year
of dading bingwu, the Jin Dynasty )(1186), Elegant
Gathering in the Apricot Garden by Xie Huan in the
Zhengtong reign of the Ming dynasty, Appreciating
Antiquities in the Bamboo Garden (Fig. 3, housed in
the Palace Museum in Beijing) by Qiu Ying of the Ming
dynasty, Enjoying the Evening Cool at Xu Pavilion by
“There is a yellow label on the baseplate, which
reads \"Huifang Academy\" (huifang shuyuan)
in regular script. Huifang Academy is included
in the 40 views of the Old Summer Palace
(Yuanmingyuan). The font is neat and beautiful,
obviously written by a calligrapher who often
engaged in recording and transcription. Among
the survived Qing court furniture, it's very rare
to see yellow label affixed for location.”
32 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359
and table structures derived from beam frameworks.
In Buddhist and Taoist paintings, especially in those
depicting Arhats, root wood furniture appeared more
frequently. In Yan Liben's scroll painting Xiao Yi Wisely
Getting the Calligraphy of Preface to the Orchid Pavilion
from the Tang Dynasty (fig. 5) which passed down
to today, the Zen master Biancai seated on a large
meditation chair made of natural tree roots. From
the imitation copies from the Song, Yuan, Ming, and
Qing dynasties I have seen, it can be seen that the
root wood meditation chair is faithfully painted. This
demonstrates the authenticity of its origin, suggesting
that by the Tang Dynasty, this type of large-scale
root wood furniture had already been in use. Even in
paintings and prints from the Ming and Qing dynasties,
Zen monks almost always seated on large meditation
chairs made from root wood. It has almost become
a \"standard\" depiction of Zen monks in this type
of artwork, indicating its wide dissemination and
significant influence. The meditation chair described
herein is just one aspect of this broader context.
[1] (Tang) Li Kuangwen: \"Zixia Records\", Vol. B Chairs, P. 207-208, Romance of
Su: Three Miscellaneous, Series of Historical Materials Notes of the Tang and
Song Dynasties, Zhonghua Book Company, 2012.
and Qing dynasties. As the Eight Treatises on Following
the Principles of Life recorded, \"The leaning table is
made of twisted wood like half of a circular belt. It is
peculiar to find the one with three branches as legs.\"
Since the Han, Wei, and Jin dynasties, influenced by
the spirits of Buddhism, Confucianism and Taoism,
as well as self-cultivation through the appreciation of
the nature, literati and scholars participated in politics
and cared about the society while longing to immerse
themselves in the beauty of mountains and rivers.
It's the contradiction or transformation between the
visible and the hidden in terms of self-discipline. When
it turns to objects, it's the difference between the
standardized and orderly ritual vessels and the wild
and unconventional vessels. Instruments made of root
wood embodied the essence of forests and springs,
with an aesthetic emphasis placed on the appreciation
of natural forms. As a result, whether in imperial court
or secluded mountain villas, such instruments were in
use, representing a pursuit of purity and the yearning
for an ideal lifestyle.
From the Sui and Tang dynasties onwards, the lowseating furniture system of sitting with feet down
on the ground gradually formed. Representative
examples include stools derived from the rope couch
Fig. 3 Qiu Qing, Appreciating Antiquities in the Bamboo Garden, Ming
dynasty, Palace Museum, Beijing (detail)
圖3 明 仇英《竹林品古圖》局部 北京故宮博物院藏
33
瑩潤如玉。 其靠背處突兀一塊,岩巒四出,窪隆起
伏,遍佈褶皺嵌空,又有陂陀拽腳、山崖掛月,頗似
一塊雄偉的太湖石立峰。 上下方亦巧妙地通過銷釘、
插接等榫卯方式與禪椅主體相連。 一般天然木所製禪
椅、寶座等靠背,多以意向為先,有時會忽視使用時
的舒適性,此椅甚至是不便倚靠,坐於其上,不得不
正襟危坐,莫不是故意為此? 提醒參禪打坐者,
若處深山懸崖、進退維谷之景,只有守身立正、心如
止水,才得方便。
座面做法細緻工整,一絲不苟,與藤質主體野逸風格
不同,宛若楷書,文野相合,張弛之道。 採用攢框
做法,內外圓角,尤其是內圓角甚大,與整體圓轉造
型有呼應之處。 柏木質,細膩光潔如肌膚。 其內落
膛,百納鑲步步錦套卍字紋為座面,亦為柏木,紋路
細膩扭結,應是特意選用柏木瘿瘤部分製成。 百納
鑲錦地紋裝飾手法是清代宮廷尤其是乾隆時期慣用的
一種工藝,這種拼嵌材料以成圖案的手法,雖然在中
國古代亦可找到蹤跡,明代時興起的百寶嵌工藝亦與
之有相近處,但其源流,更有可能受法國「布爾式鑲
嵌」(Boulle Marquetry)鑲嵌工藝影響。 布爾式
鑲嵌是法國路易
十四時宮廷傢俱師
Pierre Gole所擅,
源頭應是受荷蘭細
木工的影響。 17
世紀至18世紀初,
康熙皇帝與路易十
四各為東西方的偉
大君主,兩國在文
化、藝術等方面交
流頗多,並曾互贈
禮物,雙方的宮廷
藝術受到對方的一定影響,清代宮廷傢俱的造型、圖
案乃至工藝,有一些確實可以找到明顯的西洋風格,
清宮造辦處有關仿製和借鑒西洋器具、紋飾的記載亦
可佐證,而法國諸如路易十四時期的三彎腿造型等,
又顯然有中國傢俱的影子。
座屜底以柏木為托板,附兩根橢圓截面的穿帶。 底板
上貼有黃簽,楷書「匯芳書院」四字,圓明園四十景
有匯芳書院。 字體秀麗工整,顯然是經常從事記錄、
謄抄的擅書者筆跡。 清宮遺存傢俱中,貼黃簽標識
方位的做法非常罕見,但也見有數例,如紅漆彩繪戧
金纏枝蓮螭龍紋架格一對(《故宮博物院藏明清傢俱
全集·14·格櫃櫥箱》件12,第98-113頁),櫃門
後貼有「樂壽堂西次間南邊櫃子......」 黃簽(圖1-1
、1-2),黑漆螺鈿彩繪花卉紋多寶格一對(《故宮
博物院藏明清傢俱全集·14·格櫃櫥箱》件33),
貼「芳園居」黃簽,芳園居位為承德避暑山莊。 其他
一些炕桌等小型傢俱上亦見有貼黃簽者。 不難推測,
其原因當是因為裝修等需求,挪移室內傢俱,貼黃簽
標識原有位置,以滿足復原或管理之需。
禪椅以天台藤為之,或得古樹根,如虯龍詰曲臃腫,
槎枒四出,可掛瓢笠及數珠、瓶、缽等器,更須瑩滑
如玉,不露斧斤為佳。
——明 文震亨《長物志》卷六「几榻」
香林古寺有籐椅,天然結構何玲瓏。
蹲踞伏地穩如象,天矯行天蟠若龍。
兩旁槎枒中廓落,十圍腰腹應能容。
聞是前明禁中物,舍歸梵剎垂無窮。
臣民睥睨不敢坐,玉皇捧處雲生紅。
護持頗得法王力,厚載門側僧撞鐘。
兵火之厄竟能避,禪床四大空非空。
金剛有身同不壞,我來欲設香花供。
——清陳作霖《香
林寺大籐椅歌》
天然木,是一種泛
稱,不拘樹種,以
自然屈曲變化、形
狀萬物的樹根(或
樹杈)為材,或獨
立成器,或通過鋸
解、雕鑿后拼接成
器,以不露斧斤為
上,渾然一體,宛
若自然生成。 常
見的材質有柏木或榆木根瘤、紫薇木等,此例甚為特
殊,為藤製,野逸之氣更加濃厚。
禪椅寬82釐米、深73釐米、高80釐米,造型介於折
背樣和圈椅之間,主體由四根藤組成,極盡迴環盤
繞之能事:其搭腦上半、扶手、前腿為一根,搭腦下
半、後腿為一根,椅面邊緣一週一根,下盤連接座面
與四足者一根,餘則前方另設一藤為棖,托住座面,
為結構之必須,基本上整個禪椅已經成形。 看似複
雜,實則簡單,然後細細品味,非有哲思、巧手,
非有高潔品味,不能為此。 藤質構件之間,相並處以
銷釘加固,交錯處以插接的榫卯相連,貴其製作宛如
一體,倘若不仔細觀看,還以為是一根藤屈曲生長而
成。 其所用藤,不知有多少歲月,包漿瑩潤,皮殼油
亮如漆,兼有皴裂,配合絞轉的枝幹,如同書法的飛
白,而其顛倒迴環、欲去還留之形態,與張旭、懷素
筆下奇詭的草書,頗有相通之處。
藤製之外,另有幾個構件由柏木天然木製成,為前方
角牙、聯幫棍、靠背及四足墊。 選取柏木根瘤,包漿
一例有趣的清代藤製天然木禪椅「座屜底板上貼有黃簽,楷書「匯芳
書院」四字,圓明園四十景有匯芳
書院。 字體秀麗工整,顯然是經
常從事記錄、謄抄的擅書者筆跡。
清宮遺存傢俱中,貼黃簽標識方位
的做法非常罕見。」
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做法未曾改變,其出現的場所,則多是先賢、高士所
用,惜這種造型的椅具,傳世甚為罕見,所見僅一二
例而已,此禪椅不妨視之為折背樣的一種變體,
亦可見製者慕古而化的成器思想。 從圖像資料看,
折背樣椅在宋至元時使用較廣,明代延續,清代所見
者零星,多出現在表現高士、文人、僧侶等主題的繪
畫中,並非世俗所習見。
天然木器具與新石器時期半加工的自然物不同,是人
類在擺脫簡單利用自然物階段,可以精細加工器具
后,對自然形態有意識的選擇。 早期或偏向於溝通神
靈、自然的道具,具有神秘色彩,有一定的宗教性。
傢俱實例而言,在席地而坐的低型傢俱體系中已有所
見。 湖北棗陽九連墩2號戰國墓出土一件彩繪漆憑几
(圖4),便是以一段隨形枝杈製成,以三枝為足,
歧出一長一短獸頭,宛若一個昂頭行走的小獸。 其怪
異的裝飾附著了濃厚的神秘色彩,不知是異獸要幻化
為樹枝,還是樹枝正在幻化為異獸。 這種天然木為憑
几的做法,綿延兩千余年,幾未中斷,包括白居易的
「蟠木几」,明清時尚有使用,《遵生八笺》:
「隱几,以怪樹天生屈曲。 若環帶之半者,為之。
有橫生三丫作足為奇。 」
此椅的造型,介於折背樣椅和圈椅之間。 所謂折背樣
椅,見於晚唐李匡乂《資暇集》「承床」:
近者繩床,皆短其倚衡,曰『折背樣』。 言高不過
背之半,倚必將仰,脊不遑縱。 亦由中貴人創意也。
蓋防至尊賜坐,雖居私第,不敢傲逸其體,常習恭
敬之儀。 士人家不窮其意,往往取樣而製,不亦乖
乎。[1]
明代的折背樣又有高士椅之稱,《留青日札》載:
「今之高士椅,即古之繩床,所謂折背樣者是也。 」
折背樣椅的形象在宋元明時期繪畫、版畫中可以見
到,如宋佚名《宋人雅集圖》(圖2 台北故宮博物院
藏)、宋劉松年《山館讀書圖》 (故宮博物院藏)、
宋佚名《商山四皓會昌九老圖》、宋佚名《羅漢圖》
(台北故宮博物院藏)、宋王惟一《新刊補注銅人腧
穴針灸圖經》插圖(金大定丙午(1186年)陳氏刻
本)、明正統謝環《杏園雅集圖》、明仇英《竹林品
古圖》(圖3 故宮博物院藏)、明唐寅《虛閣圖晚涼
圖》(四川博物院藏)、明佚名《十八學士圖》
(台北故宮博物院藏)等,大體來說, 宋元多三面
敞空,明代則多增設靠背,但扶手、靠背三面平齊的
Fig. 4 Black and cinnabar lacquer ‘chilong’ armrest, Eastern Zhou dynasty, Warring States period, excavated from Hubei Province, China
圖4 戰國彩繪漆憑几湖北棗陽九連墩2號墓出土
35
成了此類圖畫中禪僧的「標配」,可見傳播之廣,
影響自然也大。 而本文所述禪椅,自是其餘緒。
明代尤其是明代嘉萬時期,是中國高型傢俱體系的高
峰,結構、造型科學合理,工藝精湛,兼備藝術性與
實用型,天然木這種跳出常規傢俱範疇的「逸品」,
甚受文人青睞,高濂記隱幾時,還提到友人吳破瓢有
一几,「樹形皺皮,花細屈曲,奇怪三足,天然摩弄
瑩滑,疑若黃玉。 此老攜以遨遊,珍稀若寶」。
吳破瓢即吳孺人,字少君,號破瓢道人、懶和尚、
玄鐵、元鐵道人、赤松山道士,浙江金華人,嘉、
萬時人,與高濂、李日華、董其昌、陳繼儒、汪砢
玉、沈明臣等江南文士過往甚密,手巧,擅以瘿木為
器,「擁曲木几,摩樹根爐」。 沈明臣作《吳少君寓
浮夢館寄以絕句二首》有「天然木几堪憑嘯,勝跨仙
人赤玉虯」句,並注吳孺人「每以銅鐺、天然几、
萬歲藤杖自隨」,儼然一個對樹根瘿瘤器具嗜好入骨
的方外形象。 此外,文震亨《長物志》還記天然几有
「以古樹根承之」者,汪砢玉《珊瑚網》記義興吳二
漢魏晉以來,經歷釋儒道精神的浸潤,加以山水對人
們性靈的陶冶,文人士大夫一邊躋身朝堂,心懷天下;
另一邊又嚮往縱情山水、徜徉其間的悠悠之情,從治
身來講是顯與隱的矛盾或轉化,映射於器物,則是整
齊劃一、井然有序的鼎彝之器與放任天性、隨性而為
的野逸之器的區別。 以天然木製作的器具,存林泉之
致,對自然形態的欣賞成為其審美內涵,故自此,
無論廟堂之中,還是山林別苑,均有所用,亦是標榜
清高,東籬之想的寄託。
隋唐以降,垂足而坐的低型傢俱體系漸而確立,其中
以自繩床發展而來的椅具和自梁架結構發來的桌形結
構最為代表。 在佛道畫尤其是羅漢畫中,開始較多出
現天然木傢俱。 今傳唐閻立本《蕭翼賺蘭亭序》圖卷
中(圖5),辯才禪師便坐在一個天然樹根製成大禪
椅上,所見此畫宋、元、明、清數個摹本,皆忠實繪
製天然木大禪椅,可見所來有自,至遲在唐代這種天
然木大型傢俱已得應用。 甚至明清時期繪畫和版畫中
的禪僧形象,無不以端坐天然木大禪椅為多見,近乎
Fig. 5 Attributed to Yan Liben, Xiao Yi Wisely Getting the Calligraphy of Preface to the Orchid Pavilion
from the Tang Dynasty, Tang dynasty, Palace Museum, Taipei (detail)
圖5 (傳)唐閻立本《蕭翼賺蘭亭序》局部 台北故宮博物院
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「二十六日員外郎白世秀催總德魁來說,太監胡世傑
交廣榔木寶座床一座(隨紫檀足踏黃雨缎坐褥一件,
紅猩猩毡夾墊一件,毡一塊),天然寶座一座,羅漢
寶座一座,英雄香几一件,天然元香几二件,長方小
桌一張,黑漆石面元繡墩二件,傳旨:將寶座床上扶
手靠背去了,眼補平,天然寶座上二層痰盂托亦不
要,天然元香几二件照樣添面子改繡墩四件, 其餘羅
漢寶座等俱各收拾好呈進,欽此。
於六月初十日員外郎白世秀催總德魁來說太監胡世傑
交樹根筆筒一件(隨木座)傳旨:做繡墩用,欽此。
於九月十二日員外郎白世秀達子將樹根廣榔木寶座一
座,天然樹根寶座一座,樹根羅漢寶座一座,沉香英
雄香几一件,雲秋木面樹根長方小桌一張,天然元香
几一件(改得四件坯)俱持進交太監胡世傑呈□雲秋
木長方高桌一張,奉旨:天然□几照樹根桌子樣做小
繡墩四件,本來面子如用得即用,如用不得照桌子面
用雲秋木做,雲秋木高桌亦照樹根長方桌改做高桌一
張, 將廣榔寶座改做杌□四件,其餘寶座、香几俱粘
補齊全,再寶座、杌子、繡墩著各配做青缎、坐褥、
墊子、葛布套,
欽此。
於九月二十日員外
郎白世秀、達子將
天然元香几二件改
做繡墩四件,並收
拾好樹根寶座三
座,持進交太監胡
世傑呈覽,奉旨:
俱各著落堂□其繡
墩上添補楠木面板,欽此。
於九月十二日員外郎白世秀來說,太監胡世傑傳旨:
將交岀廣榔木寶座不必改做杌子,著做竹爐山房床掛
□一塊,欽此。
於九月二十二日員外郎白世秀將改做得天然樹根繡
墩,面上落堂添楠木板,持進交太監胡世傑,呈覽,
奉旨:圈口要改隨形,褥子亦隨形配做,再照樣做繡
墩四件,欽此。
於十月初五日員外郎白世秀將做得□樹根繡墩□持
進,交太監胡世傑呈覽,奉旨:□另做雪花錦墊,
其樹根寶座等亦俱做雪花錦褥□
於十七年正月二十八日員外郎白世秀將做得樹根高桌
一張,樹根繡墩四件(隨雪花錦墊)持進交太監胡世
傑呈覽,奉旨:將樹根高桌繡墩並收拾寶座俱在瀛䑓
清院安,將□繡墩高桌剩下的樹根再做繡墩四件,
如不足用在內尋找成做,欽此。
甫舟中「有古樹根天然榻,奇怪瑩潔,真山房珍異」
,以至於這位書畫收藏家感歎: 「惜不隨畫作媵,
殊怏怏也。 」這些均可見天然木傢俱在江南文人群體
中的廣泛應用。
在明人顧起元《客座贅語》中記錄了其人嚴賓,就是
使用天然藤傢俱的高士:
嚴賓,字子寅,號鶴丘,正嘉中為府學博士弟子,
以羣閧點齋台史,褫革之,字法米帖,粗能詩,
及畫蘭竹,所畜古法書名畫頗多,有藤床藤椅,皆藤
所成,不加寸木,又有棗根香几,天然為之,不煩鑿
削,最稱奇品。 精於煑茶,茶具皆佳妙,文人墨客多
與之遊,徃來東橋、衡山諸公之門......
明代天然木實例,以天然木流雲槎最為傳奇,今存故
宮博物院,以天然樹根製成,碩大無朋,長約320釐
米,寬約257釐米,通高約86.5釐米,上有明代書法
家趙宧光「流雲」二個篆字,又有董其昌、陳繼儒、
阮元、半園主人、完顏衡永題跋。 傳明代狀元康海
曾寓居揚州,建康山草堂,流雲槎即草堂中物,清代
時江鶴亭以千金購
之,乾隆下江南,
曾在揚州瘦西見到
此物,並賦詩《趣
園》:「偶涉亦成
趣,居然水竹鄉。
因之道彭澤,從此
擅維揚,目屬高低
石,步延曲折廊。
流雲憑木榻。 喜早
晤宧光。 」並注
「亭中木榻甚古樸,刻趙宧光題流雲二字及董其昌、
陳繼儒題語,雖屬偽作,頗愜幽賞」。 喜愛之情可見
一斑。 其後完顏麟慶與阮元遊歷故地,於塵土中發現
古樹根,隱有字跡,「拂而滌之以水,果流雲也」,
阮元購回修整,贈予麟慶,麟慶《鴻雪因緣記》詳記
其事,並附有圖畫,其中《康山拂槎》《煥文寫像》
兩記的版畫中,皆有所繪,此書版畫原有紙本彩繪冊
頁,今藏國家博物館,《 煥文寫像》一圖繪製精細,
是流雲槎傳神彩色寫照。
天然木器具既得文人青睞,也更受清代帝王喜愛,
如前所述,乾隆曾為流雲槎賦詩,而清宮造辦處關於
天然木傢俱製作、修理、進奉、陳設、貯存檔案頗
多。 實例存寶座、羅漢床、畫桌、琴几、圓几、
扶手椅等,成堂成套,多為雍正、乾隆時物。 此外,
宮廷繪畫中,天然木傢俱也頻有所見,如《胤禛妃行
樂圖》中所見天然木香几、天然木榻。
造辦處製作天然木傢俱,可舉乾隆十六年廣木作
(五月)記載最為典型:
「天然木器具既得文人青睞,也更受
清代帝王喜愛,如前所述,乾隆曾
為流雲槎賦詩,而清宮造辦處關於
天然木傢俱製作、修理、進奉、陳
設、貯存檔案頗多。」
37
牙匠黃兆同兩名廣木匠前往改造。 乾隆二十九年傳
旨著黃兆承做樹根連三龕。 乾隆四十七年又欽命如意
館黃兆、仇忠信改做一件樹根羅漢床,得時安防在熱
河。 黃兆是如意館牙匠,乾隆十四年由粵海關監督碩
色送來,從頻頻參與樹根寶座的記錄看,亦是善於此
道的名手了。 造辦處之外,蘇州也承擔天然木傢俱的
製作,如蘇州織造安寧於乾隆十六年送到樹根寶座四
座,乾隆十七年送到椅子十八張。 除了製作,天然木
傢俱亦需日常的維護,如乾隆十八年千尺雪樹根桌子
有露木頭的地方,則令人用樹根補輟,以求自然。
天然木傢俱的面,則多用雲楸木、楠木等製,
如乾隆十七年將千
尺雪所陳樹根高桌
楠木面換雲楸木,
長去六寸,寬去三
寸。 此外乾隆二十
七年還有將思永齋
樹根寶座打紫檀木
色的記載。 紫檀
製傢俱中,亦有雕
作樹根式的,乾隆
十九年巡撫鶴年進
紫檀樹根寶座、紫
檀樹根御案紫檀鑲
牙絲花卉圍紫檀樹
根椅,均是以珍貴
材料類比天然木效
果,亦側面可見帝王對之青睞程度。 檔案所記,
宮廷天然木床座則多配以雪花錦褥子。
天然木傢俱在宮廷的陳設地,以別苑為多,如瀛台的
淑清院、方勝樓、千尺雪,香山碧雲寺,頤和園清可
軒、諧趣園,北海的蓮華室,圓明園的思永齋、接秀
山房、玉玲瓏館昭曠亭、安瀾園四宜書屋,內廷的寧
壽宮符望閣,以及承德避暑山莊等。
[1] (唐)李匡文:《資暇集》卷下《承床》,頁207、208,
《蘇氏演義:外三種》,輯入《唐宋史料筆記叢刊》,中華書
局,2012年。
於十七年二月初五日四等侍衛永□進樹根香几一件
(隨樹根四塊),持進交太監胡世傑呈覽,奉旨:
造辦處改做繡墩四件,其剩下的樹根成做寶座一座,
嗣後有用樹根之活計,著行文向李繩武要用,欽此。
於十七年二月十二日員外郎白世秀將□樹根寶座二件
(隨雪花錦墊、葛布套)
歪形樹根寶座一件,並圖拉呈進樹根寶座三□(隨繡
黃缎、褥子)持進交太監胡世傑呈覽,奉旨:將歪形
寶座改做繡墩,其先交岀改做繡墩剩下之樹根桌□拉
呈進寶座上子上配做□錦套書清院用,換下寶座俱各
收著,俟有地方再
用,欽此(於十七
年二月十三日栢唐
阿□鑒將□根寶座
一座,隨墊繡墩
四件,高桌一張
送往瀛䑓書清院安
訖)。
於十七年三月二十
日員外郎白世秀將
□清院撤出樹根寶
座、高桌、繡墩並
造辦處現做繡墩、
寶座,圖拉呈進寶
座,俱持進交太監
胡世傑呈覽,奉旨:歪形寶座不必改繡墩,改做椅子
一張,腿子放高□玲瓏後背,欽此。」
此條檔案,既有樹根廣榔木寶座床、天然木寶座、
天然木羅漢寶座、天然圓香几、雲楸木天然木長方桌
的修改或改做,又有天然木繡墩、天然木椅子的製
作,或去扶手、靠背,或添面子,或落膛,或增高,
材料還有舊料改製者,甚至樹根筆筒都被拿來製作天
然木傢俱,不足的材料則向時任甘肅提督的李勝武討
要,可見對天然木的珍視。 製作前後跨時一年,
帝王於天然木傢俱製作的關心顯而易見。 再如乾隆二
十七年,接秀山房南昌廳樹根寶座,皇帝點名如意館
「天然木傢俱在宮廷的陳設地,以別
苑為多,如瀛台的淑清院、方勝
樓、千尺雪,香山碧雲寺,頤和園
清可軒、諧趣園,北海的蓮華室,
圓明園的思永齋、接秀山房、玉玲
瓏館昭曠亭、安瀾園四宜書屋,內
廷的寧壽宮符望閣,以及承德避暑
山莊等。」
38 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359
匯芳書院簽條
An extremely rare imperial rootwood meditation chair,
Qing dynasty, Yongzheng - Qianlong period
3502
naturalistically formed and constructed, the organic
root oriented to form the legs, the elongated S-shaped
arms and the top rail, the vigorously gnarled roots
naturalistically formed as an irregularly shaped back
splat, tenoned into the top rail and back member of
the seat frame, the armrest supported by S-shaped
gnarled roots and branches, the seat constructed by
using the baina technique, with cypress wood cut in
the shape of the Buddhist swastika symbol, all set
within an irregular square frame, the wood of a warm
honey-brown colour
82 by 73 by h. 80 cm
PROVENANCE
A European private collection.
來源:
歐洲私人收藏
清雍正至乾隆 御用藤製天然木禪椅
HK$ 1,500,000-2,500,000
US$ 192,000-319,000
Mark
40 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359
41
and admiration upon encountering this splendid jade
masterpiece.
This sizeable jade bi rests gracefully atop a base
intricately cast in bronze, depicting twin dragons
against the backdrop of sea waves. It has a height
of 54 cm, a width of 54 cm and a thickness of 21 cm
with the pedestal. The jade bi itself boasts a diameter
of 40.5 cm, a central aperture measuring 13 cm,
and a thickness of 5 cm. Crafted from green jade, its
surface remains impeccably smooth, devoid of any
imperfections. The bronze base, thoughtfully designed
to match with the jade bi, showcases elaborate
carvings that capture intricate details. Starting from
the bottom, the base presents a traditional seascape,
with waves crashing and frothing. Nestled within this
maritime scene, a celestial mountain is cradled by
the waters, protected by a pair of airborne dragons.
These dragons, lifting their heads and gazing towards
the horizon, form a protective arch over the mountain.
Graceful clouds
encircle their
forms, framing the
jade bi with an air
of grandeur. The
top of the celestial
mountain and
various parts of the
dragons' bodies
bear precisely
carved grooves
that snugly
accommodate
the jade bi.
Delicate elements
like auspicious
clouds, curved
dragon horns,
and sinuously
shaped dragon bodies emerge as captivating features,
forming an ornate external frame that seamlessly
integrates with the base. The combination of each
dragon's tail and a single claw, secured together
with a subtle clasp, forms the highest points at the
front and back of the frame. The jade bi is perfectly
aligned with the highest point of the inner rim of its
aperture. Slightly elevated from the central axis of
the bi, this position ensures a snug fit, preventing any
risk of slipping. This delicate design is a testament to
the craftsmen's ingenuity and creative prowess. The
intricate bronze base, adorned with lifelike details,
is in stark contrast to the smooth, deep green of the
jade bi, resulting in a visually arresting item. A more
nuanced examination reveals a seamless fusion of
Jade bi, known as a flat, circular jade ornament with
a central perforation, holds a prominent place among
the ancient Chinese ceremonial jade. Research by
esteemed scholars reveals that jade bi represents
one of the most abundant and artistically diverse
forms of ceremonial jade in ancient China. It boasts
the distinction of being in use for the longest duration,
carrying the highest hierarchical significance, yielding
the most significant influence, and serving the
broadest range of functions among all categories of
jade articles.[1] From its inception, jade bi has been
intricately interwoven with traditional Chinese cultural
paradigms, profoundly shaping the spiritual realm
of the Chinese populace. This influence surpasses
time and space, persevering for several millennia
without waning until today. Directing our attention
to the Qianlong period, a zenith in the evolution
of ancient Chinese jade artifacts, we uncover the
Qianlong Emperor's unwavering fascination with
jade bi, which is
evident throughout
his collection,
scholarly
endeavors,
and innovative
creations.
This enduring
captivation
harmoniously
echoes with the
distant historical
past, culminating
in a captivating
chapter within
the annals of
Chinese jade
artifact history.
Within the realms
of jade artifact collection, production, and utilization,
the Qianlong period heralded a series of novel
phenomena. Foremost among these was the crafting
of grand-scale jade items. The Qianlong Emperor's
dedication to comprehending and appreciating
ancient jade bi is equally palpable; he invested
considerable energies in innovative initiatives,
transforming them into vessels embodying the grand
ideologies of a flourishing epoch and symbols of
societal aspirations. This sentiment manifests itself in
Sotheby's Hong Kong's recently collected Bronze-cast
\"Dual Dragon\" Base Jade Bi from the Qianlong period.
The sheer magnificence of this creation is perhaps a
phenomenon reserved solely for an era akin to that
of the Qianlong Emperor, evoking immediate awe
THE BRONZE-CAST \"DUAL DRAGON\" BASE JADE
BI FROM THE QIANLONG PERIOD
GUO FUXIANG
“In contrast, the two larger jade bi were paired
with bronze bases and intended for specific
outdoor settings. This stands out as a unique
practice of jade bi usage during the Qianlong
period. To withstand outdoor conditions, both
were given extra thickness, measuring 5 cm.
Such substantial proportions, coupled with
their distinctive thickness, and their designated
use in outdoor settings, was a rare sight among
the contemporary imperial jade bi of the Qing
dynasty, with only two known instances.”
44 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359
most cherished among the treasures amassed by
the Qianlong Court and was a recurring subject of
poetic works. Through his poems, it becomes evident
that the Qianlong Emperor employed a method that
harmonized classical literature with tangible artifacts
from the palace's collection, resulting in a systematic
analysis of the ancient jade bi within the court's
possession. Based on the record from The Rites of
Zhou, Chun Guan, Da Zong Bo (Zhouli chunguan
dazongbo), which states, \"Use jade as the six
auspicious emblems and use different types of jade
for different states... The viscount holds jade bi with
grain patterns (gu bi) while the baron holds jade bi
with reed patterns (pu bi).\" Jade bi with grain and reed
patterns in the palace's collection were respectively
identified as artifacts used by the viscount and baron
states of the Zhou dynasty, rather than those from
the Han dynasty. According to the records in Er Ya,
”When the width of jade is several times that of the
median aperture, it is termed bi. When the median
the two components. The sheer magnificence of
the jade bi and the painstaking craftsmanship of the
bronze base encapsulate the distinctive artistic style
of the flourishing Qianlong period. How do we get to
understand such culturally rich and stylistically unique
works in today's context? From my perspective, this
requires placing them within the broader tapestry
of jade development history and the societal ethos
during the Qianlong period, enabling a more precise
interpretation of the value and significance of
masterpieces like this grand jade bi. There are three
aspects that warrant special attention:
Firstly, the Qianlong Emperor's exploration of ancient
jade bi and its influence. In the book The Qianlong
Emperor's Wisdom and Ignorance: The Emperor's
Views on Archaic Jade in His Poems, authored by
researcher Deng Shuping at the Palace Museum
in Taipei, there's a whole chapter dedicated to the
Qianlong Emperor's exploration and assessment of
ancient jade bi. Deng Shuping notes that jade bi was
Fig. 1 Green jade disc with a huanghuali frame, mark and period of Qianlong, Palace Museum, Beijing
圖1 清乾隆 黃花梨木邊座嵌青玉璧插屏一對之一 北京故宮博物院藏
45
(Huangchao liqi tushi), which continued the tradition
of using cang bi as the central ritual implement for
offering sacrifices to the heaven. Meanwhile, the
vague description in The Rites of Zhou regarding the
use of jade gui bi for worshipping the sun, moon, and
stars was clarified. It was explicitly stated that the red
bi should be used for the Altar to the Sun, while the
white bi should be used for the Altar to the Moon,[3]
which undoubtedly elevated the status of jade bi in
the national sacrificial ritual system. Moreover, based
on the commentary by Zheng Xuan on The Rites
of Zhou, Chun Guan, Da Zong Bo – \"Grain provides
sustenance for people, while reeds are used as mats
to provide comfort\", and the record in Discourses of
the States (Guo Yu) – \"Jade is capable of providing
shade and shelter for good crops, preventing water
shortages and droughts, making it a treasure\",[4]
the significance of jade bi was elevated. It came to
symbolize an auspicious emblem of shelter and
abundant harvests, embodying aspirations for
aperture's width is several times that of the jade, it is
termed yuan. When the edge's width matches that of
the median aperture, it's called huan.\"The Qianlong
Emperor differentiated their physical objects in the
palace's collection and used this as a benchmark
to identify jade bi. Furthermore, based on the laws
of developmental evolution, the Qianlong Emperor
inferred that the plain jade bi were created before
the grain-patterned and reed-patterned jade bi,
suggesting they might have originated from the Xia
dynasty or even earlier, during the period of Yu and
Shun.[2] The Qianlong Emperor believed that the plain
jade bi embodied the essence of antiquity, aligning
with the core principles of ancient rites and concepts.
According to the record in The Rites of Zhou, Chun
Guan, Da Zong Bo, \"Use jade as for six vessels in
offering sacrifices to the heaven and the earth in four
directions. Use cang bi for the heaven.\" This rigorous
rite protocol was maintained in the compilation of the
Illustrated Ritual Implements of the Imperial Dynasty
Fig. 2 Green jade disc with a bronze ‘dragon’ frame, Qing dynasty, Qianlong period, Palace
Museum, Beijing
圖2 清乾隆 青銅龍紋座青玉璧插屏 北京故宮博物院藏
46 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359
intrinsic significance of jade bi, returning to the core
values and ideas of ancient rituals. These pieces have
unique symbolic meanings. They adhere closely to
the ancient proportion - \"when the width of the jade
is several times that of the median aperture, it is
term bi\" as described in the ancient text Er Ya. An
example is the present large jade bi with a dual dragon
motif cast in bronze, measuring 40.5 cm in diameter
with a central hole diameter of 13 cm, maintaining
a jade-to-hole ratio of 3:1, as documented in Er Ya.
It's worth noting that these contemporaneous plain
jade bi are characterized by their substantial size.
The Qianlong Emperor specifically highlighted this
aspect in his relevant poems, as seen in the line, \"The
splendid jade piece, almost a foot in length, comes
from Hetian and can be called a treasure\"[5], and
\"Exquisite Hetian tribute of superior quality, with size
surpassing a foot.\"[6]. The creation of such sizable
bi inevitably invokes parallels with the crafting of
massive \"jade mountains\" during the Qianlong period,
which demonstrates a harmony with tradition while
simultaneously surpassing it and presenting new
artistic expressions. This is a typical characteristic
of jade craftsmanship during the Qianlong period. In
the eyes of the
Qianlong Emperor,
contemporary
jade artworks also
held significant
meaning. Through
the design and
crafting of these
pieces, he could
further convey
his own ideologies and thoughts. The production of
contemporaneous plain jade bi, especially the large
ones, epitomized a fusion of innovation with the
foundation of research and understanding of ancient
jade bi. This not only reflected the continuity of
cultural traditions but also embraced the spirit of the
times and showcased novel artistic approaches.
Thirdly, some unique cases involving the use of large
jade bi in court during the Qianlong period. In that
period, the imperial court amassed a significant
collection of jade bi, and these pieces were used in
varying ways. Typically, like the small-scale archaistic
jade bi and the archaic ones passed down through
generations, they found their place in the imperial
collection, becoming art pieces that the emperor often
admired. However, the large contemporary jade bi
had a distinct role in terms of collection and utilization.
By examining a few surviving artifacts, we can glean
insights into the specific scenarios of using the large
bi. Among these artifacts, the Palace Museum in
Beijing houses a pair of celadon jade bi mounted on
huanghuali table screens [7], measuring 61 cm tall
prosperous years ahead. This interpretation found
frequent elaboration in the emperor's poems. These
notions were tangibly manifested in the Qianlong
Emperor's drive to revive and emulate ancient artistic
techniques in crafting jade bi, serving as crucial
touchstones during the creation of jade bi from newly
mined Hetian jade during the Qianlong period.
Secondly, the conditions and characteristics of
crafting jade bi during the Qianlong period. The
Qianlong period marked the final glorious phase in
the history of Chinese jade artifacts. This was not
solely due to the unprecedented scale of ancient
jade collections within the imperial court, but more
significantly, it was a result of the Qing government's
control over jade-producing regions following the
pacification of the northern and southern tribes in
the Tian Shan and Junggar areas of Xinjiang. This
control led to rapid development in imperial jade
production, driving an unparalleled prosperity within
the national jade industry and market. Likewise, jade
bi collected within the Qing court during the Qianlong
period did not exclusively consist of ancient artifacts.
Many of them were actually the result of the Qianlong
Emperor's
strategic
development of
the entire jade
craftsmanship
sector, crafted as
contemporary jade
bi. By examining
the Qianlong
Emperor's poems
related to contemporary jade bi and the extant
physical examples of such artifacts, we can gain
a general understanding of the characteristics of
jade bi produced during this period. Overall, these
contemporary jade bi pieces were closely linked to
the Qianlong Emperor's exploration of ancient jade bi.
Contemporary jade bi can generally be categorized
into two types. The first type imitates ancient jade bi.
Typically made from materials like white jade or pale
green jade, these pieces are smaller in size, finely
crafted, and often replicate the intricate patterns
found on exquisite jade bi predating the Han dynasty.
They often bear inscriptions such as \"Imitated by
Qianlong\" or \"Imitated by Emperor Qianlong of the
Great Qing\". These pieces were primarily collected by
the Qianlong Emperor for his personal appreciation
and formed an integral part of the court's collection
for appreciation. The second type is large plain jade
bi. They were created based on records in ancient
texts that described the regulations for crafting jade
bi, showcasing the inheritance and development of
traditional ceremonial practices. Adopting a plain
design, they may have aimed to emphasize the
“The \"dual dragon\" bronze base of the present
jade bi is adorned with depictions of ocean
waves, cliffs and dragon patterns, all carrying a
potent message of imperial authority and the
unification of the realm.”
47
distinctive thickness, and their designated use
in outdoor settings, was a rare sight among the
contemporary imperial jade bi of the Qing dynasty,
with only two known instances.
Considering the outdoor arrangement of the large
jade bi at the Hall of Mental Cultivation in the
Forbidden City, I reckon that this massive Bronze-cast
\"Dual Dragon\" Base Jade Bi was likely placed outdoors
within a ceremonial area of some structures. The way
indoor and outdoor spaces are organized in a building
is closely tied to their intended purposes. The Hall of
Mental Cultivation served as a multifunctional space
where the emperor lived and worked. Hence, the
large jade bi in this spot is inserted in the bronze base,
which is finely carved with dragon motifs, creating a
solemn atmosphere with a touch of vitality. The \"dual
dragon\" bronze base of the present jade bi is adorned
with depictions of ocean waves, cliffs and dragon
patterns, all carrying a potent message of imperial
authority and the unification of the realm. However,
due to a lack of available information, the exact
location where
it was displayed
remains uncertain.
Nevertheless, it is
certain that such
large outdoor jade
artifacts for display
are extremely
uncommon.
Perhaps only
during the
Qianlong
period, under a unique combination of favourable
circumstances, could a piece of such grandeur
and magnificence come into being. This artwork
illustrates the Qianlong Emperor's appreciation for
and dedication to traditional jade craftsmanship as
well as how the Qianlong court blended contemporary
features with traditions.
[1] Yin Zhiqiang: A Glimpse into Various Aspects of Ancient Chinese Jade Bi,
Editor: Yu Ming, A Life Bound to Jade - Compilation of Essays Celebrating the
80th Birthday of Mr. Yang Boda, p. 317-326, Science Press, 2006.
[2] Deng Shuping: The Qianlong Emperor's Wisdom and Ignorance: The
Emperor's Views on Archaic Jade in His Poems, p. 81-83, the Palace
Museum, Taipei, 2019.
[3] [Qing] Yunlu and others by imperial order: Illustrated Ritual Implements of
the Imperial Dynasty, v. 1, Wuyingdian Edition.
[4] Discourses of the States: Discourses of Chu II (Guo Yu Chuyuxia),\"Wang
Sunyu Discusses the Treasures of Chu\".
[5] The Fifth Collection of Poems by Emperor Gaozong of the Qing Dynasty,
v. 28, Inscription on Jade Bi from Hetian.
[6] The Fifth Collection of Poems by Emperor Gaozong of the Qing Dynasty,
v. 45, Ode to Jade Bi from Hetian.
[7] Edited by Rui Qian: 131 Pieces of Huanghuali Furniture You Should Know,
p. 234-235, Forbidden City Press, 2008.
and 42 cm wide (fig. 1). The inserted celadon jade
bi boasts a diameter of 28.2 cm, a hole diameter of
9 cm, and a thickness of 1.6 cm. The inner rim of the
jade bi carries an inscription reading \"Made during the
Qianlong reign of the Great Qing dynasty\". The jade
bi itself exudes a serene emerald hue, with intricate
patterns and a texture reminiscent of the renowned
Hetian jade. The inscription on it unequivocally marks
it as a contemporary creation from the Qianlong
period's imperial court, thus solidifying its status
as the quintessential representation of the large
jade bi crafted during that time. In addition, another
substantial jade bi sits outside the main gate of
the Hall of Mental Cultivation (Yangxindian) within
the Forbidden City (fig. 2). This jade bi is expertly
incorporated into a bronze screen, mirroring the style
seen in numerous jade bi-inserted zitan table screens
from the Qianlong period. It serves as a distinctive
example of the fusion between jade artifacts and
furniture during Qianlong’s reign. The jade bi itself
boasts a diameter of 52 cm, a central aperture of
18 cm, and a
thickness of 5 cm.
The material,
color and texture
of this large jade
bi bear a striking
resemblance to the
aforementioned
celadon jade
bi featuring
the inscription
\"Made during the
Qianlong reign of the Great Qing dynasty\". When we
compare these three pieces from the Palace Museum
with the Bronze-cast \"Dual Dragon\" Base Jade Bi in
Sotheby's collection, we observe a striking similarity
in their materials, color and texture, which hints at
a shared source of jade material. This observation
suggests that the large jade bi displayed outside the
Hall of Mental Cultivation in the Forbidden City and the
one set for auction by Sotheby's likely both originate
from the Qianlong imperial court. Meanwhile, these
four large contemporary jade bi appear to be parts
of the same project, possibly created concurrently.
The slightly smaller pair feature the inscription \"Made
during the Qianlong reign of the Great Qing dynasty\"
and were designed to complement hardwood table
screens, ideal for indoor display. In contrast, the two
larger jade bi were paired with bronze bases and
intended for specific outdoor settings. This stands
out as a unique practice of jade bi usage during the
Qianlong period. To withstand outdoor conditions,
both were given extra thickness, measuring 5 cm.
Such substantial proportions, coupled with their
“It is certain that such large outdoor jade
artifacts for display are extremely uncommon.
Perhaps only during the Qianlong period,
under a unique combination of favourable
circumstances, could a piece of such grandeur
and magnificence come into being.”
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