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An important imperial inscribed jade-inlaid zitan 'Twelve Symbol' ruyi sceptre, Yuti mark and period of Qianlong, dated to the xinzhou year (1781) | 清乾隆 御賞紫壇嵌漢玉雕十二章如意 《乾隆辛丑御題》款 「古香」印
香港 北京时间
2023年04月08日 开拍 / 2023年04月06日 截止委托
此拍品禁止/限制出入境
拍品描述 翻译
Lot Details Description Property from an Asian private collection An important imperial inscribed jade-inlaid zitan 'Twelve Symbol' ruyi sceptre, Yuti mark and period of Qianlong, dated to the xinzhou year (1781) 亞洲私人收藏 清乾隆 御賞紫壇嵌漢玉雕十二章如意 《乾隆辛丑御題》款 「古香」印 37.4 cm Condition report Provenance Sotheby's Hong Kong, 27th April 2003, lot 10. Sotheby's Hong Kong, 6th April 2015, lot 3204 and cover. 香港蘇富比2003年4月27日,編號10 香港蘇富比2015年4月6日,編號3204及封面 Literature Sotheby's. Thirty Years in Hong Kong, Hong Kong, 2003, pl. 409. 《香港蘇富比三十週年》,香港,2003年,圖版409 Catalogue note Ruyi?(‘as you wish’) sceptres were presented to the Emperor or other members of the imperial family as auspicious gifts to bring good fortune. The Qianlong Emperor is said to have been particularly fond of them, they are often mentioned in his writings and he even issued an edict "calling for the observance in the years to come of the presentation of ju-i sceptres by the courtiers to the imperial family on the occasion of a birthday or of new year" (Auspicious Ju-I Scepters of China,?Palace Museum, Taipei, 1995, p. 69). The present sceptre, inlaid with three pieces of archaic jade, carved with the twelve auspicious symbols and inscribed with a poem composed by the Emperor, appears to be from the Qianlong Emperor’s personal collection and is probably the one depicted on a hanging scroll by Giuseppe Castiglione (1688-1766),?Hungli Looking at Paintings, now in the Palace Museum, Beijing.?The scroll shows an attendant standing next to the Emperor holding a wooden sceptre with a trigram at the top, surrounded by an inlaid piece of jade. No other sceptre of this type appears to be recorded. The inscription on the back of this sceptre renders Qianlong’s poem?Ti tanzhi guyu ruyi?(Inscribed on a?ruyi?of hardwood with ancient jades) and?can be translated as follows: ??????????New?zitan?holds an ancient jade; ??????In ancient form a new object is made. ?????????With an artful inscription I seek a response, ??????As if following the clouds and winds. ???????????Belles-lettres?are truly to be savoured ??????Their explication to be endlessly pursued. ??????????Such is the only wish I pray fulfilled ??????In the beautiful and auspicious weather. The poem praises the use of?tan?wood (zitan) with archaic jade, a harmonious blend that follows ancient styles.?The Qianlong Emperor is known to have been a great admirer of archaic jades, whose collection surpassed that of any of his predecessors. Yang Boda mentions in ‘Jade: Emperor Ch’ien Lung’s Collection in the Palace Museum, Peking’,?Arts of Asia, March/April 1999, p. 87, that the Qianlong Emperor's ‘unflagging exploration into the ancient texts as well as close observation of the huge imperial collection of archaic jades made him one of the most authoritative jade critics in history’. Among the examples of archaic?bi?from the imperial collection there is another disc decorated with a similar grain pattern of the Warring States period, see?The Complete Collection of Treasures of the Palace Museum: Jadeware (I), Hong Kong, 1995, pl. 125; for an example of a similarly fashioned scabbard chape, see a piece with cloud design of the Warring States period, illustrated ibid., pl. 174. The Taipei Palace Museum?also holds a redwood sceptre inlaid with archaic jades, see?Auspicious Ju-I Scepters of China, Taipei, 1995, p. 107, pl. 34. The trigram shown between two dragons at the head of the sceptre is one of the?bagua?(Eight Trigrams) used in ancient times for divination. Consisting of three unbroken lines, it represents the male principle (yang). The Qianlong Emperor, who was fond of symbols with archaic connotation, often used the combination of this trigram, which is called?qian, with dragons,?long, as a homophone of his reign name. The trigram flanked by two dragons appears very similarly on at least two circular seals used by the Qianlong Emperor, see Victoria Contag and Wang Chi-ch’üan,?Maler- und Sammler-Stempel aus der Ming- und Ch’ing-Zeit, Shanghai, 1940, p. 581, no. 8 and p. 582, no. 18; one such seal can also be seen next to a calligraphy by the Qianlong Emperor, included in the exhibition?The Life of Emperor Qianlong, Macao Museum of Art, Macao, 2002, cat.no. 41. The ‘Twelve Ornaments’ carved on the front and reverse of our sceptre are otherwise found, for example, on robes reserved for the emperor’s own use; they appear also carved on a jade?gui?tablet illustrated in the?Complete Collection of Treasures of the Palace Museum: Jadeware (III), Hong Kong, 1995, pl. 129.? 詩文: 今檀撑古玉,古式製今工;巧註求和應,恍從雲與風。 文言誠可玩,說訓合兼窮;我意祈如者,雨暘時若中。 如意,作為吉慶之禮,獻予帝王或皇室成員,以許佳運。據稱乾隆皇帝對其尤為鐘睞。如意一詞,亦慣見於其文。高宗甚至詔令「元旦及朕與嗣皇帝壽辰節慶,在朝王大臣亦止須備進如意,以迓吉祥而申忱悃」,詳見《吉祥如意文物特展圖錄》,故宮博物院,台北,1995年,頁36-37。 本品通體嵌三古玉,雕十二紋章,並御題詩文,似屬乾隆私藏美器,或見於北京故宮藏清郎世寧繪《弘曆觀畫圖》軸(圖一)。畫中皇帝伴童手握木雕如意,其頭部飾易經之「乾卦」,外嵌玉環,此型如意不見它例。 本品背刻乾隆御製詩《題檀製古玉如意》,美讚「今檀擎古玉,古式製今工」。高宗篤愛古玉,其藏遠勝先前諸帝,楊伯達於〈Jade: Emperor Ch’ien Lung’s Collection in the Palace Museum, Peking〉,《Arts of Asia》,1999年3/4月,頁87中指出,乾隆不倦探究古文,並仔細鑽研其富藏古玉,使其成為史上最具權威之玉器鑑賞家之一。考察御藏古玉璧作,可見一相若戰國時期例,飾有近似谷紋,錄於《故宮博物院藏文物珍品全集.玉器(上)》,香港,1995年,圖版125。類似刀鞘樣例,見一戰國時期雲紋作品,同上註,圖版174。台北故宮博物院亦藏紅木嵌古玉如意,見《吉祥如意文物特展圖錄》,前述出處,頁107,圖版34。 如意頭部二龍之間的三橫裝飾,為八卦之一「乾卦」,此卦主陽,凸顯剛健中正,乾隆帝好以紋樣寓古,常用此「乾」、「龍」搭配,取意年號同音。極近設計至少見於兩件乾隆圓形璽印,見孔達合及王季銓,《明淸畫家印鑑》,上海,1940年,頁581,編號8及頁582,編號18。相類印文亦可見於一乾隆書法旁,錄於《懷抱古今:乾隆皇帝文化生活藝術》,澳門藝術博物館,澳門,2002年,編號41。 器身所雕十二紋章,另用於皇帝袍服,亦見於一玉圭之上,載於《故宮博物院藏文物珍品全集.玉器(下)》,前述出處,圖版129。

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