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An imperial pale celadon jade 'jing yi gu xiang' seal, Qing dynasty, Qianlong period | 清乾隆 乾隆帝御寶青白玉立獅鈕璽 印文:靜挹古香
香港 北京时间
2023年04月08日 开拍 / 2023年04月06日 截止委托
拍品描述 翻译
Lot Details Description Property of a Gentleman An imperial pale celadon jade 'jing yi gu xiang' seal, Qing dynasty, Qianlong period 士紳收藏 清乾隆 乾隆帝御寶青白玉立獅鈕璽 印文:靜挹古香 the seal face carved in relief with four characters reading jing yi gu xiang ('silent attainment of ancient fragrance') in seal script 2.6 by 3.9 by h. 5.85 cm Condition report Catalogue note On the Qianlong Emperor’s?Jing yi gu xiang?Jade Seal Guo Fuxiang Seals were very important stationery items in the Qing court, intimately related to the everyday lives of emperors and empresses. Impressed on paintings and calligraphy from the Qing court collection, imperial seals trace the provenances of these works, adding another form of pleasure to the viewing experience. Throughout the various buildings of the Forbidden City, imperial seal impressions can be found on various inscriptions, name plaques, and poetic couplets, forming an important part of the interior decoration of palatial architecture. A very important subcategory of emperors’ seals consists of seals of the names of palace buildings. Known as “palace seals,” they were not haphazardly created but were closely associated with the emperors’ activities. Through these palace seals, we may uncover many secrets of the emperors and their palace buildings. The seals thus serve as important material evidence of the activities of the emperors. Among them is the present Jing yi gu xiang seal, originally belonging to the Qianlong Emperor. Carved from celadon jade with a lion-shaped knob, the seal is 5.85 cm high. Its seal face measures 3.9 cm in length and 2.6 cm in width and is carved in relief with the four characters jing yi gu xiang (“silent attainment of ancient fragrance”). In material, size, and text, this seal matches exactly an example recorded in the imperial seal catalogue?Qianlong baosou?and is without a doubt an authentic Qianlong imperial seal. According to?Qianlong baosou, this seal was a?yinshou?(preface) seal that formed part of a three-seal set with a?seal reading?Guxi tianzi?and a third?seal reading?zhi liang yong zhong (“holding the two extremes and adopting the mean”). Since Qianlong began using?Guxi tianzi?seals only at age 70, the seal on offer must have been made after the 45th year of his reign (1780). Its text and inclusion in a set both typify Qianlong’s palace seals and his use of them to express his innermost feelings and thoughts. Qianlong’s reign produced a considerable number of three-seal sets consisting of one?yinshou?and two?yajiao?seals. These sets fall generally into two categories. In the first category, the?yinshou?seal indicates the name of a certain palace and the two?yajiao?seals are carved with certain poetic lines that explicate the origin and meaning of the palace’s name. We may call this category “palace seal sets.” 1?In the second category, the yinshou and the two yajiao seals are all carved with idioms that inflect each other’s meaning. We may call this category “idiom seal sets.” The set in question belongs to the first category, since the phrase?Jing yi gu xiang?is clearly related to the name of a palace. Where was this palace located? According to?Guochao gongshi?[Court history], compiled during the Qianlong reign, in the western chamber of Yuexindian palace on Qiongdao Island, part of the Xiyuan Garden (now part of Beihai Park), the Emperor could survey the entirety of the Xiyuan Garden and enjoy its beautiful scenery.2?The same document records that a plaque reading?Jing yi gu xiang?hung in the west chamber of Yuexindian. Such plaques often hung in the chambers and halls of Qing imperial palaces to christen them and to set them apart. In other words, the?Guochao gongshi?record tells us clearly that a chamber named Jingyi Guxiang was located on the west side of Yuexindian. Also according to?Guochao gongshi, Yuexindian was where the Qianlong Emperor handled state affairs during his outings to the Xiyuan Garden. This fact is crucial for understanding the Jingyi Guxiang chamber and the?Zhi liang yong zhong?seal. Since Yuexindian was a temporary office, the poems that the emperor composed there not only expressed his appreciation for Xiyuan Garden’s scenery but inevitably also bore traces of the important affairs that occupied his mind, including the pacification of the northwest and joyful reports of peace and prosperity from the various provinces. Some of these poems expressed a grand vision of historical vicissitudes and a profound concern for the suffering of ordinary folk.3 The twofold function of Yuexindian as both a place of leisure and a temporary office explains the phrase?zhi liang yong zhong, which relates to Qianlong’s philosophy of rule.?The seal set in question indicates Qianlong’s determination, during his middle and late reign, to rule in accordance with the Doctrine of the Mean. As mentioned above, this Jing yi gu xiang seal postdates 1780. Stylistically, it is consistent with Qianlong imperial seals of this late period. The knob is in the form of a standing lion with a child-like, non-threatening expression. Especially noteworthy is that the seal text is carved in high relief despite the thinness of the strokes. This corresponds exactly to frequent mentions in late-Qianlong period court records of the emperor’s instructions to his seal carvers to “carve [seals] in extra high relief.”? Furthermore, the yinshou seal reading zhi liang yong zheng, part of the same set as the seal on offer, appeared at a Sotheby’s auction in July 2020. Highly similar in material, colour, and in the forms and carving styles of their knobs, the two seals were most likely carved from the same piece of jade. The phrase Jing yi gu xiang is recorded to have been impressed on paintings and calligraphic works brushed by Qianlong himself. Examples recorded in Shiqu baoji xubian include Qianlong’s painting of An Aged Plum Tree and his copies of Yan Zhenqing’s Poems on General Pei, Sketches by Shen Zhou, Dong Qichang’s copy of Model Letters from the Chunhua Pavilion, and Model Letters from Kuaixue Hall. Examples recorded in Shiqu baoji sanbian include Qianlong’s paintings of Ink Plum and Plum in Snow. Some of these works likely bore impressions of this Jing yi gu xiang seal. 1?Guo Fuxiang,?Ming Qing dihou xiyin?[Imperial seals of the Ming and Qing dynasties], Beijing, 2003, p. 169. 2 E Ertai?and?Zhang Tingyu, eds,?Guochao gongshi?[History of the court of the Qing dynasty],?Beijing, 1994, vol. 16. 3?See ibid for a compilation of the Qianlong Emperor’s poems and prose from Yuexindian. 關於乾隆帝青玉「靜挹古香」璽 郭福祥 在清宮,印章是十分重要的文房用品,它和帝后的日常文化生活有著密切的聯繫。展閱御府書畫,鈐於其上的林林總總的各式帝后印章顯示出它們各自流傳的經歷,觀摩之餘,確能給人一種別樣的享受;環視宮中殿宇,鮮活的帝后印章遺跡更是比比皆是,它們與眾多的牌、匾、聯、額一起,構成了宮殿建築室內外裝飾裝修中的重要組成部分。皇帝璽印及其使用遺跡廣泛分佈於各類宮廷文物之中,成為宮廷收藏的重要鑑別依據。在清代皇帝的御用寶璽中,有一類專門以宮殿名稱為印文者,是皇帝璽印十分重要的組成部分,這就是我們通常所說的宮殿璽。皇帝宮殿璽的製作並非隨意為之,而是和皇帝的活動息息相關,通過這些宮殿璽,可以揭示出皇帝和相應宮殿間的諸多辛秘,也是我們考察皇帝活動的重要物證。此方乾隆皇帝的「靜挹古香」璽即是這樣一方御用璽印。 此璽青玉質,立獅鈕,印面長3.9公分,寬2.6公分,通高5.85公分。印文為陽文「靜挹古香」四字。此璽在現藏於北京故宮的《乾隆寶藪》中有明確著錄,經與實物比對,無論是材質、體量,還是篆法佈局都與該書中的記載完全相合,可以確定此璽為乾隆皇帝寶璽的真品。根據《乾隆寶藪》,此璽為三方組璽中的一方,作為引首章使用,而與其相配的另外兩方「古稀天子」璽和「執兩用中」璽則作為壓腳章使用,表明該組璽是乾隆四十五年以後製作的。無論是組璽的組合方式還是組璽的內容都顯示出乾隆皇帝宮殿璽的基本特點,以及乾隆皇帝的內心世界和思想情懷。 乾隆時製作了相當數量的由一方引首章和兩方壓腳章組成的三方一組的組璽,這種組璽又可分為兩種情況:一是引首為宮殿璽,兩方壓腳為詩文警句璽,用以說明殿名璽中殿名的含義及來歷,可以稱之為宮殿組璽;一是引首和壓腳都是成語璽,在內容上可以相互注解,可以稱之為成語組璽。1 從此組璽印的組合方式來看,作為引首章的「靜挹古香」璽顯然具有宮殿璽的性質。那麼,以「靜挹古香」為名的宮殿又在那裡呢? 乾隆年編纂的《國朝宮史》西苑部分記載:「又西,由山麓躡級而上,為悅心殿,臨幸常視事於此。天光雲影,魚躍鳶飛,萬景畢呈,實據西苑全勝。東室聯曰:『員嶠曉煙連碧漢,曲池春雨念蒼生。』又曰:『是處暢觀頗役目,此間閟景足澄心。』西室匾曰:『靜挹古香』,聯曰:『雲端曠奧軒疑畫,樹杪高低圃是懸。』」2 可知在現在北海公園瓊島西麓的悅心殿西間內,在乾隆時期曾懸掛有「靜挹古香」的匾額,按照清代宮殿命名的一般方式,這種懸掛有標誌性匾額的殿堂往往會以所懸掛的匾額加以命名,從而能夠使單一建築內部不同開間的空間得到更為詳盡的劃分。通過此,可以很明確地得知「靜挹古香」殿即是北海瓊島悅心殿的西稍間。 根據《國朝宮史》的記載,悅心殿為臨幸視事之所,也就是乾隆時期乾隆皇帝駕臨西苑時通常的辦公之所,這一點對認識此方「靜挹古香」璽很重要。正因為這裡是暫時的理政之所,因此在「理事餘暇」,擅詩的乾隆皇帝多有詩作呈現。而詩作的內容大都又和當時處理的政事密切關聯。通觀乾隆皇帝在悅心殿所作的詩作,可以看出他在這裡絕不僅僅是觀賞美景,對於他而言重要的時事都被他不自覺地融入詩作之中。既有對平定西北情況的持續關注,也有聞知各地雨暘風順時的喜悅;不但有「千古興亡一覽中」的情懷,更有對民間稼穡艱辛的深深憂慮。3 正因為這裡是臨幸視事之所,因此每當乾隆皇帝於此處理時政時便會不自覺地將自己的為政方針融於其中,而「執兩用中」可以說是最能體現乾隆皇帝一貫提倡的中道政治的思想,將其與臨幸視事之所「靜挹古香」結合成為組璽也就是很自然的事了。此組印章表明乾隆皇帝晚期對中道政治的堅持和用心。 此方「靜挹古香」璽製作於乾隆四十五年以後,顯示出乾隆時期寶璽製作的特點。鈕部的立獅側頭而立,憨態可掬,尤其是印文的刻製,雖然筆劃細小,但字口深峻。在乾隆中後期有關御用璽印製作的檔案中,時常會出現乾隆皇帝指示相關人員將寶璽文字「加深刻做」的記錄,此璽可以說是乾隆寶璽中十分典型的將印文「加深刻做」的標本。 此外,與此方「靜挹古香」璽同為一組的引首「執兩用中」璽曾於2020年7月的香港蘇富比拍賣會上出現過。將兩方璽對比,無論是材質的狀態、顏色,印紐的形態、雕刻技法,都相當一致,應該是利用同一塊玉料製作的。 「靜挹古香」璽在乾隆皇帝的御筆書畫作品中也有鈐用的相關記錄。如《石渠寶笈》續編著錄的《御筆畫古幹梅》軸、《御臨顏真卿裴將軍詩》軸、《御筆仿沈周寫生》卷、《御臨董其昌摹淳化閣帖》、《御臨快雪堂帖》以及《石渠寶笈》三編著錄的《御筆墨梅》軸、《御筆畫雪梅》軸等均鈐有「靜挹古香」璽,其中一些很有可能就是用此璽鈐蓋的。 1 郭福祥,《明清帝后璽印》,北京,2003年,頁169。 2 [清] 鄂爾泰、張廷玉等編纂,《國朝宮史》,北京,1994年,卷16。 3 有關乾隆帝悅心殿詩文的彙編,見上註。

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