巨大的玉璧，精細的銅雕底座，無不體現出乾隆盛世

的工藝風貌和藝術特色。對於這樣時代特色濃郁、風

格鮮明的作品，我們今天該如何去認識它呢？筆者認

為，只有將其置於乾隆時期玉器發展歷史的整體背景

和社會情境中，才有可能比較準確地理解和詮釋諸如

此件大玉璧這樣作品的價值和意義。其中有以下三點

是值得特別關注的：

第一，乾隆皇帝對古代玉璧的探研及其影響。臺北故

宮博物院鄧淑蘋研究員所著《乾隆皇帝的智與昧：

御製詩中的帝王古玉觀》一書中，有專章論述乾隆皇

帝對古代玉璧的研究及評價。她指出玉璧是乾隆宮廷

收藏最多，又經常被賦詩的古玉器種類。從御製詩可

知，乾隆皇帝採用將古代典籍和宮藏實物相結合的方

法，對宮廷所藏古代玉璧進行了系統的梳理。根據

《周禮·春官·大宗伯》「以玉作六瑞，以等邦

國……子執穀璧，男執蒲璧」的記載，將宮中收藏的

刻有穀紋、蒲紋的

玉璧分別定為周

代子爵、男爵所執

之器，而非漢代之

器；根據《爾雅》

「肉倍好謂之璧，

好倍肉謂之瑗，肉

好若一謂之環」的

記載，對宮藏實物

加以區分，並以此

作為判定玉璧的尺

度標準；根據事物

的發展演變規律，

將光素的玉璧製作

年代推定在穀紋璧

和蒲紋璧之前，猜

測為夏代或夏之

前的虞舜時期。[2] 乾隆皇帝認為素璧「惟存素質合

太始」，合於上古禮制和觀念的核心。根據《周禮·

春官·大宗伯》「以玉作六器，以禮天地四方。以蒼

璧禮天」之記載，在嚴謹禮制器用，編纂《皇朝禮器

圖式》中仍延續「以蒼璧禮天」的傳統，用蒼璧做為

天壇祭天的核心禮器。同時，改變《周禮》以圭璧祀

日月星辰的模糊記載，明確朝日壇用赤璧、夕月壇用

白璧，[3] 這無疑強化了玉璧在國家祭祀禮制中的地

位。此外，根據《周禮·春官·大宗伯》鄭玄注

「穀所以養人，蒲為席所以安人」，以及《國語》

「玉足以庇蔭嘉穀，使無水旱之災，則寶之」[4]

的記載，昇華對玉璧的詮釋，把玉璧看作是庇蔭嘉穀

的祥瑞之器，是祈禱年景豐盈的象徵之物，並在御製

詩中多有闡發。這些在乾隆皇帝宣導的仿古師古的玉

璧製作中都有反映，成為我們考察乾隆時期利用新開

採的和田玉料琢製時作玉璧的重要參照。

玉璧是一種中央有穿孔的扁平狀圓形玉器，為中國古

代重要的玉禮器之一。據有關學者的研究，玉璧是中

國古代數量最多、形式最繁的禮玉，也是使用時間

最長、等級最高、影響最大、功能最廣泛的玉器種

類。[1] 從產生之時起，玉璧便與中國傳統文化觀念

緊密結合，深刻影響著中國人的精神世界。這種影響

穿透歷史的時空，歷經數千年而不衰，直至當代，

不絕如線。如果我們將目光聚焦於中國古代玉器發展

巔峰之一的乾隆時期，會發現乾隆皇帝對玉璧的關注

貫穿其玉器收藏、研究和創作實踐的始終，與遙遠的

歷史相互輝映，成為中國玉器發展史上動人心扉、

回味無窮的瑰麗篇章。就玉器的收藏、製作和使用而

言，乾隆時期出現了一系列新現象，其中最令人印象

深刻的恐怕就是大型玉器的製作。在古代玉璧研究和

認知方面，乾隆皇帝同樣傾注了大量精力，並在此基

礎上進行了一系列創新性的工作，使之成為彰顯盛世

帝王思想的載體和社會理想的象徵。這在香港蘇富比

最近徵集到的乾隆

鑄銅江山一統雙龍

座大玉璧上有充分

體現。如此氣象雄

渾之作，也許只有

乾隆那樣的時代才

可能出現，這也是

筆者看到此件大玉

璧時的直觀感受。

此件大玉璧置於銅

鑄海水江崖雙龍底

座之上。連底座通

高54釐米，寬54釐

米，厚21釐米。玉

璧本體直徑40.5釐

米，孔徑13釐米，

厚5釐米。青玉材質。製作規矩，體量巨大，光素無

紋。與之相配的底座用青銅精鑄，雕飾繁複細膩，精

美絕倫。最下部為傳統的海水江崖造型，海浪澎湃，

浪花翻滾，中間海水托舉起仙山。仙山由浮於海面的

雙龍拱衛，雙龍昂首相向，平視仙山，身體和四肢向

上拱起，祥雲朵朵環繞于龍身四周，成為固定玉璧的

外框。仙山頂部、龍身局部有凹槽，寬度恰好可以放

置玉璧。祥雲、上翹的龍角、彎曲的龍體隨形凸出，

成為固定玉璧的外邊框。每條龍的龍尾和一隻龍爪構

成外框前後的最高點，其通過鎖扣攏合。固定玉璧的

位置恰好與玉璧內孔上緣的最高點對齊，高於玉璧的

中心線，形成微收縮之勢，這樣置於底座之上的大玉

璧就不會滑脫。巧妙的設計，於不經意間充滿著奇思

妙想，令人驚歎不已。設計精絕、雕鑄細膩生動的底

座和光素無紋、色澤幽碧的大玉璧形成強烈對比，給

人以視覺衝擊。細細品味，又會發現二者非常和諧。

關於乾隆鑄銅江山一統雙龍座大玉璧

郭福祥

「兩件大玉璧則配鑄銅底座，用於特

定地點的室外陳設，這可以說是乾

隆時作玉璧使用的特例。為適合室

外之環境，兩件大玉璧都做了加厚

處理，達到5釐米。如此厚度的玉璧

在古代玉璧中同樣是少有的特例。

巨大的體量，特別的厚度，專門用

於室外陳設，這在目前所見清代宮

廷時作玉璧中是僅有的兩例。」

51

碧，細膩，有綹痕，色質接近于和闐碧玉。璧上的

款識明確了這對玉璧是乾隆時期宮廷新製，因此其可

以作為乾隆宮廷大型時作玉璧的標準器。另外還有一

件大玉璧位於紫禁城養心殿大門外（圖2）。該璧嵌

在鑄銅插屏中間，插屏的形式和做法與乾隆時期諸多

的紫檀木嵌玉璧插屏相同，可以看作是乾隆時期新出

現的將玉器和傢俱相結合的嵌玉插屏的特例。此件玉

璧頗為壯觀，直徑至少52釐米，孔徑18釐米，厚5釐

米。這件大玉璧的材質、色澤、紋理與前述帶有

「大清乾隆年製」款的青玉對璧非常相似。將以上故

宮所藏的三件大玉璧與蘇富比徵集的鑄銅江山一統雙

龍座大玉璧進行比較，可以發現這四件玉璧的材質極

為相近，顏色、潤度、肌理有如出自同一塊玉料。

這一方面可以說明陳設於故宮養心殿外的大玉璧和蘇

富比即將拍賣的這件大玉璧都應該是乾隆時期宮廷

製作的。另一方面，這四件大型時作玉璧似乎是同一

個工程下的產物，應該是同時製作的。其中稍小的對

璧刻有「大清乾隆年製」款，延續配做硬木插屏的通

常方式，作為室內陳設使用。而兩件大玉璧則配鑄銅

底座，用於特定地點的室外陳設，這可以說是乾隆時

作玉璧使用的特例。為適合室外之環境，兩件大玉璧

都做了加厚處理，達到5釐米。如此厚度的玉璧在古

代玉璧中同樣是少有的特例。巨大的體量，特別的厚

度，專門用於室外陳設，這在目前所見清代宮廷時作

玉璧中是僅有的兩例。

結合紫禁城養心殿

大玉璧的室外陳設

情況，筆者推測這

件鑄銅江山一統雙

龍座大玉璧極有可

能是安放於某處禮

制建築區域的室外

陳設。建築的室內外陳設與建築之功用密切相關。養

心殿是皇帝生活和辦公的複合空間，因此陳設於該處

的大玉璧採用的是插屏方式，精雕龍紋圖案，莊重之

中不乏生活氣息。而這件雙龍座大玉璧的銅座則是海

水江崖及龍紋，帶有濃重的皇權至上、江山一統之寓

意。但其具體陳設在哪裡，

由於資料缺乏，只能付諸闕如。不過，可以明確的

是，像這種大型的室外陳設玉璧是極為少見的。也許

只有在乾隆時代，彙集天時地利人和之勢運，才能出

現如此氣象恢弘的作品。其與乾隆皇帝在玉器製作方

面慕古、師古並進而邁古的情懷相應，是乾隆宮廷玉

器在傳統之上融入時代特質的具體實例。

[1] 殷志強：《關於中國古代玉璧若干問題的認識》，載于明主

編，《如玉人生——慶祝楊伯達先生八十華誕文集》

頁317-326，科學出版社，2006年。

[2] 鄧淑蘋：《乾隆皇帝的智與昧：御製詩中的帝王古玉觀》

頁81-83，台北故宮博物院，2019年。

[3] [清]允祿等奉敕篡：《皇朝禮器圖式》卷1，清武英殿刻本。

[4] 《國語·楚語下》「王孫圉論楚寶」。

[5] 《清高宗御製詩五集》卷28，「題和闐玉璧」。

[6] 《清高宗御製詩五集》卷45，「詠和闐玉璧」。

[7] 芮謙主編：《你應該知道的131件黃花黎傢俱》頁234-235，

紫禁城出版社，2008年。

第二，乾隆時作玉璧的狀況和特點。乾隆時期是中國

玉器歷史上最後的輝煌階段，這不僅僅是因為宮廷的

古代玉器收藏達到空前規模，更重要的還在於隨著新

疆天山南北回部和準噶爾部的平定，清政府控制了玉

石產地，宮廷玉器製作發展迅猛，也帶動了全國玉器

產業和市場的空前繁榮。同樣，乾隆時期清宮收藏

的玉璧也不都是古代玉璧，還有大量是乾隆皇帝規劃

整個玉器產業過程中的產物，即時作玉璧。通過乾隆

皇帝關於時作玉璧的詩作以及現存的乾隆時作玉璧實

物，我們大致可以瞭解這一時期時作玉璧的狀況。總

體而言，這些時作玉璧是和乾隆皇帝對古代玉璧的探

研密切聯繫在一起的。時作玉璧大致可以分為兩類。

一類是仿古玉璧。通常為白玉或青白玉材質，

形體較小，製作精良，往往仿刻漢以前精美的玉璧紋

飾，常有「乾隆仿古」或「大清乾隆仿古」款，多收

藏在乾隆皇帝用以自己欣賞的百什件中，屬於鑒賞性

宮廷收藏的組成部分。另一類是大型素璧。這類玉璧

是根據古代典籍中關於玉璧規制的記載製作，彰顯對

古代傳統禮制的繼承發展。多採用素璧的形式，可能

意在突出玉璧的本源意義，回歸上古禮制和觀念的核

心要義，具有特殊的象徵意義。這些玉璧都非常符合

《爾雅》「肉倍好謂之璧」的古代玉璧肉與好的比例

關係。如此件鑄銅江山一統雙龍座大玉璧直徑40.5釐

米，中孔直徑13釐米，肉好比例為3比1，與《爾雅》

記錄若合一契。值得注意的是，這些時作素璧的體量

都很大。乾隆皇帝

在相關的御製詩中

也特別提到這一

點，如「嘉茲素璧

將盈尺，來自和闐

可號琛」[5]、

「良質和闐貢，巨

材周尺盈」[6]。

這種大璧的製作不由讓人聯想到乾隆時期大型玉山的

製作，二者有異曲同工之處。合于古式，在某些方面

又超越之，

從而呈現新的氣象，這正是乾隆時期玉器製作的通常

情形。在乾隆皇帝眼中，時作玉器同樣具有重要意

義，通過玉器的設計和製作可以更多地體現其自己的

理念和思想。乾隆時作玉璧尤其是大型素璧的製作，

正是在對古代玉璧的考證和認知基礎上的新創，不但

體現出文化傳統的延續性，也體現出時代性，更體現

出創新性。

第三，乾隆宮廷大型製作玉璧使用的特殊案例。乾隆

時期宮廷收藏的玉璧數量很大，這些玉璧在使用上有

一定差異。一般情況下，時作小型仿古玉璧和流傳下

來的古代玉璧一樣，基本上都進入了宮廷收藏序列，

成為皇帝經常賞鑒的藝術品。而大型時作素璧在收藏

和使用上與小型仿古玉璧有很大的不同。通過下面幾

件留存至今的實物，我們可以獲知大璧使用的一些具

體情形。北京故宮博物院收藏有一對黃花梨木邊座嵌

青玉璧插屏（圖1）[7]，通高61釐米，寬42釐米，

所嵌青玉璧直徑28.2釐米，孔徑9釐米，厚1.6釐米，

玉壁中孔內緣有「大清乾隆年製」款。該璧玉質幽

「這件雙龍座大玉璧的銅座則是海

水江崖及龍紋，帶有濃重的皇權至

上、江山一統之寓意。」

52 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359

Green jade disc with a bronze ‘dragon’ frame, Qing dynasty,

Qianlong period, Palace Museum, Beijing (detail)

清乾隆 青銅龍紋座青玉璧插屏 北京故宮博物院藏（局部）

An imperial massive Khotan-green jade bi disc with

original bronze 'dragon' stand,

Qing dynasty, Qianlong period

3503

the substantial jade of circular form, pierced with

a large central aperture, the stone of graceful dark

green color, modestly adorned with natural veining

in paler green tone flowing across the finely polished

surface, neatly supported on top of the dragons' head

of an exquisitely cast bronze stand consisting of two

ferocious five-clawed dragons amidst clouds and

waves, the body of the dragons writhing upwards on

the two sides specially to hold the massive jade disc,

with the horns and the claws placed as the supports

jade bi disc d. 40.7 cm;

disc aperture d. 13 cm;

overall h. 51.8 cm

PROVENANCE

An English private collection.

Spink & Son Ltd, London, 1950s.

An important European collection.

Collection of a European royal family, acquired as a

gift from the above in the late 1950s, and thence by

descent.

Christie's London, 15th May 2012, lot 88.

LITERATURE

Nicolas Chow, The Literati Aesthetic, Hong Kong,

2018, pls 80-82.

來源：

英國私人收藏

Spink & Son Ltd，倫敦，1950年代

歐洲重要收藏

歐洲王室收藏，1950年代後期由以上贈與，後於家族

傳承

倫敦佳士得2012年5月15日，編號88

出版：

仇國仕，《無盡意》，香港，2018年，圖版80-82

清乾隆 御製鑄銅江山一統雙龍座和闐青玉大玉璧

Estimate Upon Request

56 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359

57

Mark

A fine and rare lavender-glazed pouch-shaped jarlet with reticulated

gilt-bronze cover, Seal mark and period of Yongzheng

3504

exquisitely potted in the form of a bulging leather

pouch rising from a short flat foot, featuring a

mouthrim and neck with ridged folds echoing the

creases, both the front and back of the body imprinted

with stitches of a leather pouch, and the neck

decorated with imprint of a cord and tied with knots

at two sides, lavishly coated with lavender-blue glaze

overall, the footring covered with protective brown

glaze, the base inscribed in underglaze blue with a

four-character seal mark

jarlet h. 9.7 cm;

cover: l. 7.7 cm

PROVENANCE

An Asian private collection.

LITERATURE

Nicolas Chow, The Literati Aesthetic, Hong Kong,

2018, pl. 64.

來源：

亞洲私人收藏

出版：

仇國仕，《無盡意》，香港，2018年，圖版64

清雍正 天藍釉皮囊罐 及 銅鎏金鏨刻纏枝蕃蓮紋鏤空蓋

《雍正年製》款

HK$ 5,000,000-7,000,000

US$ 640,000-895,000

60 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359

61

topic of the draw-string pouch again. The motif of

knotted strings, which is already known from archaic

bronzes, reappeared in Chinese crafts throughout

the centuries in various media; see the exhibition

catalogue Qingdai gongting baozhuang yishu/The

Imperial Packing Art of the Qing Dynasty, Palace

Museum, Beijing, 1999, cat. nos 4, 7 and 8 for Eastern

Zhou bronze vessels, cat. no. 32 for a Ming jade vessel

with gilt-bronze inserts, and cat. nos 69 and 73, for a

Qianlong jade vase and a lacquer box and cover, all

decorated with this motif.

Many porcelains, bronzes and jades are depicted

with openwork gilt-metal inserts with other motifs in

the two Guwantu [Pictures of antiquities] handscrolls

commissioned by the Yongzheng Emperor, one in the

Sir Percival David Collection at the British Museum,

the other in the Victoria & Albert Museum, London;

see China. The Three Emperors 1662-1795, Royal

Academy of Arts, London, 2005, pls 168 and 169. Like

stands and covers, these inserts appear to have been

an obsession of the Emperor. Various pieces with such

fittings are preserved in the Taipei Palace Museum, for

example, a Northern Song Ding ware jarlet and a Ming

celadon bowl, both illustrated in Chen Yuxiu ed., Ping

pen fenghua. Ming Qing huaqi tezhan / The Enchanting

Splendor of Vases and Planters. A Special Exhibition

of Flower Vessels from the Ming and Qing Dynasties,

Taipei, 2014, cat. nos II-41 and II-42. Otherwise, such

original metal fittings are very scarce.

This charming jarlet is characteristic of the novel ideas

developed at the imperial kilns for the art-minded

Yongzheng Emperor (r. 1723-35). Imitating the

shape of an incense pouch, the hard porcelain vessel

insinuates the softness of a silken bag, and the alluring

lavender glaze evokes the glossiness and soft texture of

satin. Such trompe-l’oeil effects became very popular

in porcelain design in the Yongzheng period, when the

quality of fabrics was represented in various forms,

for example, on a celadon vase styled as if wrapped

in cloth and tied with string, sold in these rooms, 3rd

October 2018, lot 3604. The idea of the pouch-shaped

jar was in the Yongzheng period used very similarly

also for another piece with a guan glaze and a porcelain

cover with rabbit-shaped knob, which is preserved in

the Beijing Palace Museum and illustrated in Gugong

zhencang Kangxi Yongzheng Qianlong ciqi tulu / Kangxi

Yongzheng Qianlong Qing porcelain from the Palace

Museum Collection, Beijing, 1989, pl. 79, p. 250.

The present vessel is one of only two examples known

to have survived; the other comparable of an almost

identical design is included in the exhibition Catalogue of

the 7th Annual Exhibition of Porcelain of Ch'ing Dynasty:

K'ang-Hsi, Yung-Cheng and Ch'ien-Lung Periods, Min

Chiu Society, Hong Kong, 1968, cat. no. 111.

The gilt bronze fitting of this piece, which may suggest

former use as a flower vessel, is also exceptional since

its design of elaborately knotted strings takes up the

Anonymous, Pictures of Ancient Playthings (Guwan tu), 1729, Victoria

and Albert Museum (detail)

清雍正《古玩圖》 佚名 英國維多利亞及艾伯特博物館藏 （局部）

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63

罐仿皮囊形制，口沿頸部棱瓣凹凸如囊袋褶皺，腹部

正背兩面模印皮囊線縫，頸部模印穿繩，兩側結索縧

繫環垂掛兩側如鋪首，通施天藍釉，色瑩而厚潤，

矮平圈足，足圈塗護胎醬釉，底部書青花四字「雍正

年製」四字篆書款，配銅鎏金鏨刻纏枝蕃蓮紋鏤空

蓋，與罐內凹口沿嚴合。

此類象生仿物瓷器為雍正時期御窯廠創新作品，既有

皇帝的奇思妙想和高雅品位，也有御窯廠督陶官和陶

工的精湛技藝，缺一不可。此器雖然埏埴成罐，然其

線條柔軟圓潤，頗有皮囊柔軟的質感。雍正一朝頗為

流行此種幾可亂真的仿生瓷器，而包袱瓶、皮囊瓶乃

箇中常見的題材，各種材質樣式皆有製作， 參考香

港蘇富比2018年10月3日售出一件清雍正冬青釉包袱

瓶，便是同類題材單色釉作品，瓶身亦模印綁繩，

拍品編號3604。亦可參考一件清雍正仿官釉皮囊罐，

帶兔鈕蓋，北京故宮博物院藏，見《故宮珍藏康熙雍

正乾隆瓷器圖錄》，北京，1989年，圖版79，

頁250。

此罐尤為珍罕，存世僅見一相類例，展覽並收錄於

《香港敏求精舍第七屆展覽：清代康熙雍正乾隆瓷器

目錄》，敏求精舍，香港，1968年，編號111。

此罐之銅鎏金鏤空蓋隨口沿而作，外緣鏨刻浮雕番蓮

紋，內花呈紐繩狀，與皮囊繩呼應，推測本件皮囊罐

或為花器。紐繩紋淵源可溯商周銅器，後世各類材質

的藝術品多有所見，而在中國各個時期的工藝品中也

常以不同媒介出現，如北京故宮藏三件東周青銅器便

有此類繩紋，見《清代宮廷包裝藝術，北京，1999

年，編號4, 7及8； 又如清宮舊藏一件明代青玉繩紋

合巹盃，見前書，圖版32，以及一件清乾隆青玉雙活

環繩紋尊及剔紅繩紋圓盒，見前書，圖版69及73，

均採用了此圖案。

雍正帝下令繪製的兩幅《古玩圖》中可見諸多瓷器、

青銅器和玉器皆配有不同圖案之金屬內膽或鏤空蓋，

其中一幅為英國大維德基金藏於大英博物館，另一幅

收藏於倫敦維多利亞及艾伯特博物館，見《China. The

Three Emperors 1662 – 1795》，倫敦，2005年，

編號168及169。此類金屬內膽或鏤空蓋帶有鮮明的皇

帝個人品味，存世實物稀少。台北故宮博物院亦藏不少

帶有此類配件之器物，例如一件北宋定窯小罐及清十

八世紀青瓷缽，見陳玉修編，《瓶盆風華：明清花器特

展》，台北，2014年，圖版II – 41及II - 42。

Guan-glazed ouche-shaped jarlet with rabbit-shaped knob, mark and

period of Yongzheng, Palace Musuem, Beijing

清雍正 仿官釉兔鈕蓋包袱瓶 北京故宮博物院藏

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65

A white and russet jade archaistic 'chilong and tiger' paper weight, guibi,

Qing dynasty, Qianlong period

3505

finely carved in the form of a vertical pointed gui tablet

interposed on to a circular bi disc decorated with

rows of raised bumps and a rectangular bi disc carved

with a taotie mask, the opposite side skillfully carved

in high relief with four sinuously animals, the left

side with two clambering chi dragons, the larger one

climbs over the upper left corner with its head bending

backwards confronting the smaller dragon at the

centre, whose right chest bitten by a tiger descending

from the upper right corner, and the right hind leg

attached to the beak of a chi phoenix at the lower end,

the white stone highlighted with russet skin mainly on

the animals’ side

l. 9.1 cm

PROVENANCE

Christie's London, 8th November 2013, lot 1315.

來源：

倫敦佳士得2013年11月8日，編號1315

清乾隆 白玉螭龍夔虎天地乾坤圭璧鎮

HK$ 600,000-800,000

US$ 76,000-102,000

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67

此鎮一面圓雕立體螭龍夔虎三尾，螭鳳一隻，回望盤

旋於玉圭之上，前踞後伏，極具張力，玉圭背面上雕

圓璧，下雕方璧，圓璧浮雕穀紋，方璧浮雕獸面紋，

整器玉質厚潤，雕工精絕。

此為乾隆時期仿古佳作，器追三代，又富時風。

乾隆二十二年征服于闐之後，玉器大量進入中原，

北京宮廷及江南地區得以製作更多繁複精巧的玉器，

然而比起新樣時巧，皇帝本人卻鐘情於三代古風，

乾隆在《詠和闐玉夔首匜》中表達了復古的初心和緣

由：「和田玉來夥，巧製頗紛如。漸欲引之古，庶幾

返以初。」除了玉闐豐富的原料供應，這一時期的仿

古佳作亦得益於三代銅器圖錄的整理和出版，如乾隆

十六年編成之《西清古鑒》，以及諸多宋元以來之古

玉圖錄，如《古玉圖》、《古玉圖譜》等。

圭、璧上古時期便已出現，不同文化皆有製作，圭鉞

皆源自武器，窄為圭、寬為鉞，屬於高級禮器，璧則

更為廣見，有圓有方，中穿一空，榖紋璧則發軔於春

秋，流行於兩漢。周代時圭璧成為祭祀日月星辰之

玉質禮器組合，《周禮．冬官考工記．玉人》記載：

「圭璧五寸，以祀日月星辰。」然而圭璧一體雕琢

之作品何時出現目前尚不清楚，陝西西安大明宮遺址

出土的一件唐代玉圭璧，或為此類組合作品的較早範

例，見François Louis著，《Design by the Book.

Chinese Ritual Objects and the Sanli tu,》 ，

紐約，2017年，第43頁，圖26。此類設計在宋代學

者聶崇義參互考訂多種古代《三禮圖》所纂輯的

《三禮圖集注》中已有記載，見同上，第21頁，

圖9和第44頁，圖27。有清一代製作了各式玉圭璧，

可參見北京故宮博物院藏兩件清代玉圭璧，見《故宮

博物院藏品大系，玉器編》，北京，2011年，卷8，

圖版16和17。

此件圭璧特別之處還在於其一圭兩邸之設計，邸部上

下雕琢一圓一方兩璧，指代天圓地方。另一面之螭龍

夔虎紋樣則取自漢玉，可參考數件漢代玉劍具之紋

樣，見《中國玉器全集，4，秦，漢- 南北朝》，石家

莊，1994年，圖版79 - 82。清宮記載內務府曾製作

類似紋樣之圭璧，如乾隆二十年（公元1755年） 農

曆七月十一日，太監魏喜來説太監胡世傑交青玉螭虎

夔龍圭璧一件（隨紫檀木啇絲座一件），見《清宮

內務府造辦處檔案總匯》，北京，2005年，冊21，

頁212。乾隆皇帝對此類天圓地方設計的圭璧情有獨

鐘，台北故宮博物院藏有一件清乾隆白玉圭璧玉璽，

紋樣設計如出一轍，見《十全乾隆：清高宗的藝術品

味》，台北，2013年，目錄號II-3.1，頁188 - 189。

This finely carved jade guibi (tablet and disc)

stands as an outstanding example of sophisticated

jade craftsmanship, merging archaic elements

with innovative design. The Qianlong Emperor

(r. 1736 – 1795), a distinguished collector and art patron,

commissioned numerous jade works, particularly

following the influx of high-quality jade boulders after

he had conquered the jade-rich Xinjiang region. Archaic

motifs played a prominent role in these carvings,

which often replicated antique jades from the imperial

collection. This plaque is particularly notable for the

innovative design which re-composes motifs borrowed

from antique pieces in a previously unseen manner.

According to the Zhouli (Rites of Zhou), both gui and

bi were ceremonial jades carried by high dignitaries

on ceremonial occasions, identifying their rank.

Pointed sceptres or tablets (gui, the pointed tip here

just visible above the disc) derived from Neolithic

ritual jade blades. Circular jade discs (bi) can also be

traced back to the Neolithic period (c. 3rd millennium

BC), but pieces with this so-called ‘grain’ pattern are

characteristic of the Han dynasty (206 BC – AD 220)

and some centuries prior.

The first appearance of the combined form as guibi is

unclear, but a jade guibi excavated from the remains

of the Tang dynasty (618-907) Daminggong imperial

palace in Xi’an, attributed to the ninth century, is

illustrated in François Louis, Design by the Book.

Chinese Ritual Objects and the Sanli tu, New York, 2017,

p. 43, fig. 26. The shape is also depicted in the Sanli tu

(Illustrations to the ritual classics), a book composed

between 956 and 959 to the order of Emperor Shizong

of the Later Zhou, one of the Five Dynasties (907 –

960), to rectify the designs of paraphernalia used

for state sacrifices according to ancient models, see

ibid., p. 21, fig. 9 and p. 44, fig. 27. Jade guibi carvings

of various forms are known from the Qing dynasty;

compare two guibi in the Palace Museum, Beijing,

illustrated in Gugong Bowuyuan cangpin daxi. Yuqi bian

/ Compendium of Collections in the Palace Museum.

Jade. vol. 8, Beijing, 2011, pls 16 and 17.

Bi discs are believed to symbolise heaven due to their

circular shape and the juxtaposition with the square

plaque here beneath it, which is carved with a taotie

mask in low relief, is evoking the cosmological concept

of tianyuan difang (sky is round, earth is square).

On the reverse side of this jade, several chi dragons

are carved in high relief. Like the taotie motif, they

are drawing clear inspiration from antique jades, see

for example, chi dragons carved on several sword

fittings, illustrated in Zhongguo yuqi quanji. 4. Qin Han

– Nanbeichao [Complete collection of Chinese jades.

4. Qin, Han – Northern and Southern Dynasties],

Shijiazhuang, 1994, pls. 79 – 82.

The Qianlong Emperor appears to have been so

fond of the guibi motif, that he also commissioned a

personal seal in this form; a jade double seal of this

shape, similarly carved with entwined dragons on the

other side, is in the Palace Museum, Taipei, illustrated

in Shiquan qianlong. Qinggaozong de yishu pinwei /

The All Complete Qianlong: The Aesthetic Tastes of the

Qing Emperor Gaozong, Taipei, 2013, cat. no. II-3.1,

pp. 188 – 189 .

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69

Yucui Xuan, Ningshou Palace, Forbidden City, Beijing

北京紫禁城寧壽宮玉粹軒

A pair of hanging screens of the same size as the

present lot is preserved in the Yucuixuan (Gallery of

Jade Purity), part of the architectural complex of the

Qianlong Garden in the Forbidden City (fig. 1). Apart

from minor differences in the image composition and

the poses of birds, all three panels share the same

materials, forms, and crafts. The Qianlong Garden is

located within the Ningshougong (Palace of Tranquil

Longevity) complex, which was first built in the 28th

year of the Kangxi reign (1689) in the northeast corner

of the Inner Court of the Forbidden City. The palace

then experienced a major renovation between the

37th and 41st year (1772-76) of the Qianlong reign.

The reason for the renovation is mentioned in the

Ningshougong Ming (the Epigraph to the Palace of

Tranquil Longevity):

The Dazhengdian (the Hall of Grand Ruling) in

Shengjing (present-day Shenyang), which was

later called the Qingninggong (Palace of Peace and

Tranquillity), was where my ancestors held Godworshipping ceremonies, after which the princes

and ministers would be summoned into the palace

to enjoy the

meat used as

the offering. As

the state was

established

and the capital

relocated to

Yanjing (presentday Beijing),

the rituals were

instead held in the Kunninggong (the Palace of Earthly

Tranquillity) behind the Qianqinggong (the Palace of

Heavenly Purity). However, the rituals remained the

same as in the Qingninggong. In the future, after I

retire and the throne is yielded to the new emperor,

the shrine and the sacred solon pole enshrined in the

Kunninggong shall be moved to the Ningshougong,

where the same worshipping ceremony will continue.

The construction and decoration of the Ningshougong

complex, which was designed to be the Qianlong

Emperor's retirement paradise, can be considered

a Qing dynasty architectural masterpiece. The

furnishings of the three major buildings in the

Qianlong Garden, Fuwangge (the Wish-fulfilling

Pavilion), Juanqinzhai (the Lodge for Retired Life),

and Yucuixuan, are even more lavish and exquisite,

representing the pinnacle of craftsmanship at that

time. Many of the furnishings in the Qianlong Garden,

from furniture to affixed hangings and displays, are

decorated with images of wisteria, such as the scenic

illusion paintings in the Juanqinzhai and the door

headers in the Fuwangge. The present lot, which also

features wisteria as the main subject, is thus mostly

likely also from the Yucuixuan in the Qianlong Garden.

The Yucuixuan is located in the fourth courtyard of the

Qianlong Garden, next to the wall of the Ningshougong

complex to the west and facing the Fuwangge to the

east. It was built in the 37th year of the Qianlong reign

(1772), modelled on the Ninghuitang in the garden

of the Jianfugong . It is three bays wide with a front

porch and features a hip-and-gable round-ridge roof

of yellow tiles bordered by green tiles. The inside of

the Yucuixuan is divided into three parts. The room

in the south is called the Dexianshi (the Chamber

of Leisure), and the one in the north is used as a

Buddhist prayer room. A passageway from within

the Yucuixuan connects it with the Zhuxiangguan

(the Cottage of Bamboo Fragrance) to the north. A

short wall decorated with coloured stone slabs in

the southeast and a veranda to the north connecting

to the Fuwangge enclose the Yucuixuan in a small

courtyard. In the south of Yucuixuan, there is a

garden rock work with steps leading to the top. As

the layout of the Yucuixuan suggests, it is a secluded

and quiet place

hidden away in the

Forbidden City.

The wisteria panels

that used to hang

here, including

the present lot,

may have been

thought of as

window views,

complementing the outdoor landscape. Due to its

twining vines that seem to be without an end and

the abundant flowers, wisteria has also long been

considered an auspicious plant, symbolising longevity

and prosperity.

Jichimu wood was extensively used in the Qing court.

Its grain resembles the textural strokes in Chinese

landscape painting and was thus often used on

furnishings with hundred-treasure inlays to form images

of rocks or trees. Jichimu’s moderate texture also

makes the material easy to work with. The use of this

wood on the present lot as wisteria vines is well suited.

A product of the hundred-treasure inlay technique,

the present lot is inlaid with a variety of materials such

as jichimu, white and green jade, green jasper, crystal,

carnelian, and lapis lazuli. However, the appropriate

use of various materials and refined composition

make it anything but cumbersome. The hundredtreasure inlay technique was first applied to furniture

in the late Ming dynasty, and one of the most wellknown craftsmen was Zhou Zhu (also known as Zhou

Zhu, Zhou Zhi, or Zhou Zhi). Both textual records

A RARE AND IMPRESSIVE IMPERIAL JADE

AND HARDSTONE-INLAID LACQUERED WOOD

'BIRDS AND WISTERIA' PANEL

“The present lot most likely belonged to the

Qianlong Garden, or more specifically, the

Yucuixuan in the Forbidden City, and its

production was overseen by the commissioner

of salt revenue of the Lianghuai region.”

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and material evidence seem to suggest that Zhou

has already become synonymous with this craft. It

is stated in the Lüyuan Conghua (Collection of Chats

whilst Strolling in the Garden) that,

… the Zhou’s craft was only found in Yangzhou. It was

said to have been developed by someone named Zhou,

hence the name. In this craft, different materials such

as gold, silver, precious stones, pearls, coral, jasper,

jadeite, crystals, onyx, tortoiseshell, carcases, lapis

lazuli, turqouis, mother of pearl, ivory, amber, agarwood

resin, etc., are carved into patterns of landscapes,

figures, trees, pavilions, flowers, and birds, which are

then inlaid on sandalwood or huanghuali furniture

and lacquerware. It can be applied to large pieces of

furniture such as screens, tables, chairs, windowpanes,

and bookshelves, as well as smaller items like brush

rests, tea ware, ink stone boxes, and bookcases. This

technique was used in a variety of products with varying

styles, all of which were unprecedented. In the Qianlong

period, the two skilled craftsmen were Wang Guochen

and Lu Ying. Nowadays, Ying’s grandson, Kuisheng, is

also known for it.

Whether Zhou Zhu was really from Yangzhou is still

debated. There is, however, no doubt that the craft

of hundred-treasure inlay bloomed in Yangzhou. In

the tribute list kept by the Workshop of the Imperial

Household Department, there were numerous records

of hundred-treasure inlay furniture being presented

to the Qing court by the commissioner of salt revenue

of the Lianghuai region. Moreover, only the hundredtreasure inlay items from Yangzhou were recorded

as “Zhou’s cast” in the tribute list, indicating the

incomparable fame of Yangzhou in the manufacture:

On the 20th day (of the 11th month in the 35th year of

the Qianlong reign), the commissioner of salt revenue

Li Zhiying sent in tributes, and the inner court rejected

the following items by Imperial Decree: a Zhou’s cast

sandalwood screen with jade inlay with stand… The items

were turned today and retrieved by Li’s servant Ma Bi.

… The commissioner of salt revenue Li Zhiying has

today sent in … a pair of Zhou’s cast sandalwood

fans with jade inlay, and the courier was sent to the

Yuanmingyuan to hand over the items to eunuch

general manager Li Yu for inspection. [There were

also…] a pair of Zhou’s cast sandalwood incense

stands with jade inlay and four pairs of Zhou’s cast

sandalwood stools with jade inlay…

In general, if an item commissioned by the Imperial

Household Department was rejected, the cost of

production would not be reimbursed. It was not rare

for items on the tribute list to be rejected for poor

craftsmanship or not being favoured by the emperor.

However, the reason why the above-mentioned

“Zhou’s cast sandalwood screen with jade inlay” was

rejected is a bit unusual:

The Zhou’s cast sandalwood screen with jade inlay

presented by the commissioner of salt revenue Li

Zhiying on the 20th day was rejected by Imperial

Decree because it was too lavish.

Fig. 1 A wood framed precious stone inlaid yellow lacquer screen, Qing dynasty, Yucui Xuan, Palace Museum, Beijing

圖1 清 雕天然木框嵌玉石花鳥紋掛屏 北京故宮博物院玉粹軒

73

It is rare to see a tribute item rejected because it

is \"too lavish\", but this has also, to some extent,

exemplified the extravagant materials and the opulent

decorations of the hundred-treasure inlay products

from Yangzhou.

Furniture or utensils presented by the commissioner of

salt revenue of the Lianghuai region and recorded in the

tribute list as “Zhou’s cast” include also “a pair of flower

and fruit boxes, a pair of jade ‘lotus’ hanging screens”

that was rejected in the 36th year of the Qianglong

reign, “a pair of hanging screens, and 10 pairs of water

bowls” presented on the 25th day of the 7th month of

the 40th year, “five pairs of sandalwood water bowls

with jade inlay” presented on the 27th day of the 7th

month of the 41st year, and “a pair of hanging screens

of imperial poems in jade characters” presented on the

27th day of the 7th month of the 47th year.

One of the reasons why the hundred-treasure inlay

craft flourished in Yangzhou is that the region has long

been a centre of jade carving as well. The colossal jade

carving “Great Yu controls the water” in the collection

of the Palace Museum was also manufactured in

Yangzhou. As a place where luxurious materials like

jade and other precious stones converged and were

processed, Yangzhou had abundant resources for the

manufacture of hundred-treasure inlay products.

After the introduction of the hundred-treasure inlay

craft, the Lüyuan Conghua also went on with the

following account:

In the 19th year of the Jiaqing reign, a new bamboo

garden was built in the Yuanmingyuan as a chill-out

place for the emperor in summer. In August of that

year, the Imperial Decree arrived and ordered the

commissioner of salt revenue of the Lianghuai region

to supply over 200 sandalwood furnishings with the

motifs of pomegranates for the prosperity of children,

rose periwinkle for eternal spring, and sacred fungus

for longevity. In the 12th month of the 22nd year, as the

Jiexiu Shanfang (House of Welcoming the Beauty of

the Hills) in the Yuanmingyuan was completed, another

Imperial Decree arrived in Yangzhou, ordering the

supply of more than 200 sandalwood windowpanes.

More than a thousand craftsmen were hired for this

project, and the finished windowpanes were as tall as

nine chi and two cun. Three curio shelves and three

openwork screen panes, all one zhang and two chi

high, were also commissioned, all in accordance with

Zhou dynasty standards. The decorative motifs used

included “longevity in eternal spring”, “celebrating the

harvest season with nine autumn flowers”, “blessing

for the noble offspring”, and “orchid for the prosperity

and longevity of children”, all specified by the emperor.

Such records have corroborated the likelihood that

the hundred-treasure inlay and radan furnishings in

the Ningshougong were also supplied by Yangzhou.

In addition, there are also the following records in the

Archives of the Workshop of the Imperial Household

Department:

On the 20th day of the 10th month, 38th year of the

Qianlong reign, the storage managers Side and Wude, as

well as the scribe Fuqing, reported that eunuch Hu Shijie

had presented the design drawings in Jinzhao Yucui (Hall

of Shinning Gold and Green Jade) of the Chonghuagong

(Palace of Double Brilliance) and Jingqige (Pavillion of

Great Happiness) in the Ningshougong, and an Imperial

Decree was delivered: Make a new display shelf for the

throne bed in the Jingqige, based on the dimensions

of the throne bed stand there, in the style of the one in

Jinzhao Yucui. Submit the design drawing for approval

first. End of the decree.

On the 20th day, the storage managers Side and

Wude, as well as the scribe Fuqing, reported that

eunuch Hu Shijie had delivered an Imperial Decree: For

the display shelf on the throne bed in Jingqige, do not

follow the style of the one in Jinzhao Yucui. Instead,

make it a shelf that surrounds the back and two sides

of the throne bed, in the style of a curio shelf. Present

the design drawing for approval first. End of the decree.

On the 8th day of the 12th month, the storage

managers Side and Wude, as well as the scribe Fuqing,

presented a fir model of the shelf to the emperor

through eunuch Hu Shijie, and an Imperial Decree was

delivered on the matter: Send the model to Li Zhiying in

the Lianghuai region to make the shelf. The spandrels

on the four-sided inner frame do not have to be made

of ivory. Li shall also see to the production of the throne

bed and the openwork base panels. End of the decree.

On the 8th day of the 12th month, the storage

managers Side and Wude, as well as the scribe Fuqing,

presented a fir model of the shelf to the emperor

through eunuch Hu Shijie, and an Imperial Decree was

delivered on the matter: Send the model to Li Zhiying in

the Lianghuai region to make the shelf. The spandrels

on the four-sided inner frame do not have to be made

of ivory. Li shall also see to the production of the throne

bed and the openwork base panels. End of the decree.

To conclude, According to the Archives, the Lianghuai

region was mainly supplying the Qing court with

hundred-treasure inlay furnishings between the 30th

and the 50th year of the Qianlong reign, which may

have also been the time when the present lot was

made. The majority of the known hundred-treasure

inlay products are notable for their luxurious materials

used and the intricate composition. The present

lot, on the contrary, features a relatively simple

yet elegant composition, making it a masterpiece

that combines court style and literati art. Although

thousands of hanging screens from the former Qing

court have survived to this day, the present lot has to

be among the most impressive.

74 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359

符望閣、倦勤齋、玉粹軒等處之裝修更是奢靡精緻，

是一時工藝之巔峰。 乾隆花園建築內裝修、陳設、

貼落乃至器具以紫藤花為題者較多，諸如倦勤齋內的

通景畫、符望閣的迎風板等都是紫藤主題。所以完全

有理由相信此屏依然是玉粹軒或者乾隆花園之物。

玉粹軒位於位於寧壽宮花園第四進院落，西倚宮牆，

東與符望閣相望，清乾隆三十七年（1772年）仿建福

宮花園凝暉堂而建，歇山捲棚式，三間，前出廊。

綠琉璃瓦飾簷、脊，其餘鋪黃琉璃瓦。 軒內三室，

南為得閑室，北為佛堂。 室內有通道可北通竹香館。

軒前東南側橫亙一道以彩色石片貼面的短垣，北側則

以遊廊東與符望閣相接，將玉粹軒前隔出自成一體的

小院。 軒南與石山相連，有蹬道可達山頂。 從其佈

局不難看出，這是一處僻靜幽邃之地，雖處深宮，

卻有塵外之想。故可想像，此屏懸掛於玉粹軒或乾隆

花園某處時，藤蘿盤繞的外框儼然是牆壁上一扇隨形

窗戶，

小枝蔓自窗外映入眼簾，其上花葉扶疏，每面有兩隻

精靈般的綬帶鳥穿梭其中，姿態各異，鳥語花香撲面

而來，春光旖旎，令人嚮往。

古人常謂千年古

藤，其藤蔓纏繞衍

生，無窮無盡，

故紫藤有長壽、多

子多孫的寓意，藤

花璀璨，綬帶鳥

穿梭，春意盎然，

生機勃勃，也是

此意。

鸂鶒木在清宮中的應用甚為廣泛，其色赭黃，紋如鳥

羽，璀璨絢爛，質地與山水畫中皴擦的效果接近，

故而在清代宮廷百寶嵌傢俱中，多以鸂鶒木嵌成山

石、樹木，加以軟硬適宜，方便雕刻，可以說鸂鶒木

有極強的塑造能力。 故而此處以染色鷐鶒木類比紫

藤，適得其所。

此例大漆地上鑲嵌鷗鶒木、白玉、碧玉、水晶、紅瑪

瑙、青金石、螺鈿等形成圖畫，顯然亦屬於百寶嵌範

疇，唯其製作清雅，不覺累贅。傢俱上的百寶嵌自明

晚始，較為著名的代表人物是周柱，亦作周翥、

周制、周治等。從文獻記載和實物可知，周柱如同江

千里、陸子岡一樣，已經成為一種工藝的代表，甚至

是工藝的名稱。《履園叢話》載：

周製之法，惟揚州有之，明末有周姓者始創此法，

故名周製。 其法以金、銀、寶石、珍珠、珊瑚，

碧玉、翡翠、水晶、瑪瑙、玳瑁、車渠、青金、

綠松、螺甸、象牙、密蠟、沉香為之，雕成山水、

人物、樹木、樓臺、花卉、翎毛，嵌於檀、梨、漆器

掛屏以鸂鶒木作框，深紅褐色，雕為隨形古藤，略成

長方「凸」字形，邊緣蜷曲起伏，將藤條瘤結、筋脈

等質感顯現無遺，疏密變化，如若張旭、懷素之筆

跡，時潤時燥，時歧時合，時陰時陽，或如山峰聳

峙，或如急流奔湧，怒猊抉石，渴驥奔泉，令人觀之

不足。 其結構，實以四塊大料雕斫後格角攢框而成，

相接處犬牙交互，加以工藝精湛，倘不仔細查看，

渾然一體，宛如自然生長而成，令人稱絕。

屏心披麻掛灰，髹黃漆，其上發長蛇腹斷，漆質細

膩，發色純正，為典型清代宮廷御用器具尤其是掛屏

常用工藝和手法。 四框內側各隨意生出一個枝幹，

向中間生長，樹幹纖細盤繞，蜷曲若龍爪，依然嵌鸂

鶒木而成。 紫藤葉以碧玉鑲嵌，浮雕為起伏的葉片，

陰線勾勒莖脈。紫藤花以水晶嵌成，晶瑩剔透，背面

略襯顏色，水晶本身的絮狀雜質與底色配合，更加形

象地類比藤花的色澤和質感，栩栩如生。 右上和左

下枝幹上，各棲一隻綬帶鳥，上方者作勢欲下，尾巴

翹起，維持平衡，富有動感，下方者悠閒坦然作仰望

狀。綬帶鳥身軀以白玉嵌成，質地純潔，浮雕出物象

后再以線刻出細密

的羽毛，頂羽以青

金石嵌成，嘴和爪

以紅瑪瑙嵌成，

眼為螺鈿，中嵌黑

石，活靈活現，青

金石、瑪瑙髮色明

艷，與純潔的玉質

呼應， 甚為醒目。

深色的邊框，沉重

厚實的黃漆地，

透亮的紫藤花，兩個「玉鳥」宛若點睛之筆，活潑

靈動，一下子就映入觀者的眼中。背髹黑漆，光潔明

亮，設銅暗卡，可以將掛屏了無痕跡的懸掛於牆壁。

與此例如出一轍的一對掛屏今存紫禁城乾隆花園玉粹

軒，除了佈局和鳥的姿態稍有變化外，尺寸、材料、

造型、工藝等如出一轍，顯然是同一批製品（圖1）

。乾隆花園位於寧壽宮。 寧壽宮位於紫禁城內廷外東

路，初建於清康熙二十八年（1689年）。 乾隆三十

七年（1772年），乾隆皇帝開始命人改造寧壽宮，至

乾隆四十一年（1776年）完工。 乾隆皇帝《寧壽宮

銘》補記稱：「盛京大政殿後曰清寧宮，祖宗時祀神

之所，祭畢，召王公大臣進內食祭肉。 國初定鼎燕

京，則於乾清宮後殿坤寧宮行祀神禮，一如清寧宮之

制，至今仍循舊章。 余將來歸政時，自當移坤寧宮所

奉之神位、神竿於寧壽宮，仍依現在祀神之禮。 「說

明了寧壽宮改造的原因。

作為乾隆皇帝準備歸政后居住所用，寧壽宮製作極盡

能事，可謂清代建築等工藝之集大成者，尤其是北部

鸂鶒木仿天然木框黃漆百寶嵌紫藤綬帶鳥圖掛屏

「與此例如出一轍的一對掛屏今存紫

禁城乾隆花園玉粹軒，除了佈局和

鳥的姿態稍有變化外，尺寸、材

料、造型、工藝等如出一轍，顯然

是同一批製品。」

77

《履園叢話》在介紹百寶嵌后，隨之又載：

嘉慶十九年，圓明園新構竹園一所，上夏日納涼處。

其年八月，有旨命兩淮鹽政承辦紫檀裝修大小二百余

件，其花樣曰榴開百子，曰萬代長春，曰芝仙祝壽。

二十二年十二月，圓明園接秀山房落成，又有旨命兩

淮鹽政承辦紫檀窗櫺二百余扇，鳩工一千餘人，其窗

皆高九尺二寸，又多寶架三座，高一丈二尺，地罩

三座，高一丈二尺，俱用周製，其花樣又有曰萬壽長

春，曰九秋同慶，曰福增貴子，曰壽獻蘭孫，諸名色

皆上所親頒。

圓明園竹園由兩淮鹽政承辦裝修的記載，也佐證了揚

州地區承辦寧壽宮中的百寶嵌和螺鈿工藝裝修。檔案

中亦有這樣一段記載：

（乾隆三十八年十月）二十日，庫掌四德、五德，

筆帖式福慶來說，太監胡世傑呈重華宮金昭玉翠、寧

壽宮景祺閣地盤紙樣一張，傳旨：著按景祺閣寶座床

尺寸，照金昭玉翠現陳設寶座格子做法一樣，成做寶

座格子一座，先呈樣欽此。

...... 二十日庫掌四

德、五德，筆帖式

福慶來說，太監胡

世傑傳旨：寧壽宮

景祺閣不必照金昭

玉粹寶座格子樣式

成做，著照博古格

多寶格現安格子樣

款成做抄手格子一座，先做樣呈覽，欽此。

於十二月初八日，庫掌四德、五德，筆帖式福慶將按

景祺閣寶座床尺寸照金昭玉粹現設格子款做得杉木格

子樣一座持進，交太監胡世傑呈覽，奉旨：著發往兩

淮交李質穎照樣成做格子一座，格洞圈口牙子不必用

象牙做，其床隨工成做四明，暖板亦交李質穎成做送

來，欽此。

於三十九年九月三十日，庫掌四德、五德將嵌玉一塊

紫檀木匣一件，內盛御書處朱墨，持進交太監胡世傑

呈覽，奉旨：著在兩淮新送到景祺閣格內擺，欽此。

綜上所述，有理由相信此屏原為紫禁城乾隆花園之

物，甚至有可能就是玉粹軒之物，由兩淮鹽政製作

後進奉，從造辦處檔案看，兩淮鹽政承辦或進奉百

寶嵌比較集中於乾隆三十幾年至四十幾年的區間，此

屏大約亦製於此期。以往所見百寶嵌，多偏富貴，鑲

嵌珍貴材料，畫面飽滿，此屏則構圖空靈，意境清雅

活潑，是皇家宮廷藝術與文人風雅結合的最佳代表之

一。清宮遺存的掛屏，恐數以千計，但令人過目難忘

者，當有此屏。

之上。 大而屏風、桌、椅、窗槅、書架，小則筆床、

茶具、硯匣、書籍，五色陸離，難以形容，真古來未

有奇玩也。乾隆中有王國琛、盧映之輩精於此技，今

映之孫葵生亦能之。

周柱是否一定是揚州人，還需研究，但是揚州是百寶

嵌的重要製作地區，是毋庸置疑的。清宮造辦處貢單

中也可屢見兩淮鹽政進奉百寶嵌傢俱的記載，在貢單

中百寶嵌被記作「周鑄」。 所有地區貢單中唯有兩淮

鹽政所進家具有這種稱呼，亦可證周柱（或周鑄）

百寶嵌在揚州的盛名。

（乾隆三十五年十一月）二十日淮鹽李質穎進貢，

內奉旨駁出：紫檀嵌玉周鑄三屏風成座...... 本日交伊

差來家人馬陛領去迄。

本日奉旨兩淮鹽政李質穎所進...... 紫檀嵌玉周鑄福

壽長春鸞翔正扇成對，著伊差來之人送往圓明園交與

總管太監李裕查收。紫檀嵌玉周鑄福壽長春天香几成

對，紫檀嵌玉周鑄福壽長春繡墩四對......

駁出即拒絕接收之

意，如果是內務府

安排的活計，

意味著不予報銷。

在貢單中駁出是常

見的現象，一般原

因是太過粗糙或皇

帝不喜歡，但是上

述「紫檀嵌玉周鑄

三屏風」 駁出的理由甚為有趣：

（乾隆三十五年十一月）二十日兩淮鹽政李質穎所進

紫檀嵌玉周鑄三屏風一座，因其過於華麗，奉旨駁

出。

因其華麗而駁出，這種現象非常少見。 側面也反應

了揚州百寶嵌的特徵：富麗堂皇，用材奢侈，色澤鮮

豔。

在兩淮鹽政的貢單中有關「周鑄」的傢俱或器具記載

還有乾隆三十六年駁出器具有「周鑄花果捧盒一對、

玉周鑄荷花掛屏一對」，乾隆四十年七月二十五日進

「周鑄掛屏成對、周鑄手盂十對」，乾隆四十一年七

月二十日進「紫檀嵌玉周鑄手盂五對」， 乾隆四十七

年七月二十七日進「御製（繡球石榴）詩玉字周鑄掛

屏成對」等。

揚州製作百寶嵌器具，除了歷史傳統外，還有一個客

觀原因是揚州一直從事大型的玉器加工工作，比如故

宮所藏的大禹治水大玉山，就是揚州製作。作為重要

的玉石等名貴材質加工地區，更方便獲得豐富的玉料

等百寶嵌原材。

「造辦處檔案看，兩淮鹽政承辦或進

奉百寶嵌比較集中於乾隆三十幾年

至四十幾年的區間，此屏大約亦製

於此期。」

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A rare and impressive imperial jade and hardstone-inlaid lacquered

wood 'birds and wisteria' panel,

Qing dynasty, Qianlong period

3506

of rectangular form enclosed by a dark reddish-brown

jishimu frame imitating the natural woody vines,

the panel vividly depicts two paradise flycatchers

compose of finely-carved white jade as the body, lapis

lazuli as the crests, red carnelian as the beaks and

claws, and mother of pearl inlaid with black stones

as the eyes, one bird to the upper right poised to

descend with its tail cocked and faces to the other

one to the lower left, both perching on the wisteria

branches extending organically form the frame, the

wisteria leaves and flowers intricately inlaid with

green jasper and crystal, all reserved against a finely

lacquered yellow ground, the back of the panel

lacquered in black, a brass loop attached to the top

76 by 126 cm

PROVENANCE

Bonhams San Francisco, 20th December 2011,

lot 8258.

EXHIBITED

Lin Fangyin, ed., Royal Mountains and Gardens

of Beijing Western Suburbs: A Cultural Tour -

Yuanmingyuan, Beijing, 2014, cat. no. IV-3.

來源：

三藩市邦瀚斯2011年12月20日，編號8258

展覽：

林芳吟編，《三山五園文化巡展·圓明園卷》，

北京，2014年，編號IV-3

清乾隆 鸂鶒木仿天然木框黃漆百寶嵌紫藤綬帶鳥圖掛屏

HK$ 5,000,000-8,000,000

US$ 640,000-1,020,000

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A finely cast gilt-bronze 'dragon' folding book stand, Qing dynasty,

Qianlong period Yu Minzhong mark

3507

well carved in low-relief to the exterior of the bottom

frame with two five-clawed dragons in pursuit of a

flaming pearl among the clouds, the other frame

finely incised to the exterior with stems of lotus

scrolls, the two narrow ends of the frame cast in low

relief with a double-coin flanked by lotus scrolls, the

reverse inscribed with a couplet from an imperial

poem of Emperor Qianlong reading xiang yu mingyue

qingfeng ji, zhi zai gaoshan liushui jian, with a seal of Yu

Minzhong

w. 50 cm

PROVENANCE

A French private collection.

Sotheby's Paris, 22nd June 2017, lot 140.

LITERATURE

Nicolas Chow, The Literati Aesthetic, Hong Kong,

2018, pl. 49.

來源：

法國私人收藏

巴黎蘇富比2017年6月22日，編號140

出版：

仇國仕，《無盡意》，香港，2018年，圖版49

清乾隆 鎏金銅雙龍戲珠紋摺疊式帖架

「臣于敏中」印

HK$ 1,500,000-2,500,000

US$ 192,000-319,000

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This finely decorated and inscribed book stand is

a rare item from the literati circles that flourished

under the Qianlong Emperor (r. 1736-95). Stands of

this form were used to put up lightweight documents

such as calligraphy models or sheet music. A portable

device such as this would have been valuable for the

Emperor during his imperial tours, since for storage or

transport, its hinged elements could be collapsed into

a compact block.

The appreciation and practice of calligraphy held great

significance for Chinese scholars. In the pursuit of

refining their skills, scholars endeavoured to emulate

the style of the celebrated masters, so that the book

stand emerged as a vital stationery tool.

The inscription reads:

Like the bright moon in a clear breeze,

It exists solely between tall mountains and flowing

streams.

and is followed by the signature Yu Minzhong in form

of a seal.

相於明月清風際，只在高山流水間

臣于敏中

The inscription is taken from an imperial poem that

the Qianlong Emperor had inscribed on the painting

Ting qin tu (Listening to the qin) by Ming artist Wang

Mengduan (Wang Fu, 1362 – 1416), and is recorded in

Yuzhishi chuji (Anthology of imperial Qianlong poems),

juan 39.1

Yu Minzhong (1714 - 1779), was a high

official and compiler of the Hanlin Academy, who had

achieved the distinction of being the most successful

candidate in the national civil examination. As an

official he was held in great esteem by the Emperor,

took part in several pivotal imperial publications, such

as Guochao guanshi (History of the Imperial Palace),

and was entrusted with the task of transcribing

imperial poems delivered orally by the Emperor. The

signature, with the prefix chen (your subject) before

the name, suggests that Yu would have presented the

stand as a gift to the Emperor.

As a renowned connoisseur and an accomplished

calligrapher himself, the Qianlong Emperor is

celebrated for assembling an exceptional art

collection, which included such prominent calligraphic

works as the Kuaiyu shiqing tie (Timely clearing after

snowfall) by Wang Xizhi (303 – 361), Zhongqui tie

(Mid-autumn manuscript) by Wang Xianzhi (344

– 386), and Boyuan tie (Boyuan manuscript) by

Wang Xun (349 – 400), known as the sanxi (three

rarities). In the preface to Sanxitang fatie (Rubbings

from the Hall of Three Rarities) the Emperor remarks

that admiring the calligraphic work of the esteemed

masters was not merely entertainment, but also a way

to experience profound insights.

No other gilt-bronze folding book stand appears to

have been published. Compare a cloisonné example,

attributed to the late Qing period, illustrated in Gugong

jingdian, wenfang qinggong / Classics of the Forbidden

City, Scholar’s Paraphernalia, Beijing, 2009, pl. 188,

p. 187. Compare also two wooded stands, one in the

Minneapolis Institute of Arts, illustrated in Robert D.

Jacobsen and Nicholas Grindley, Classical Chinese

Furniture, Minneapolis, 1999, pl. 86; the other in Grace

Wu Bruce, Chan Chair and Qin Bench: The Dr. S Y Yip

Collection of Classic Chinese Furniture II, Hong Kong,

1998, p. 144, cat. no. 43.

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題識:

相於明月清風際

只在高山流水間

「臣于敏中」印

銅胎鎏金，展開成長方形框，中有合頁支撐調節角

度，折疊合為一尺，鏨刻雙龍戲珠及陰紋連枝花草

紋，背面鏨刻雙鉤陰線楷書詩句：「相于明月清風

際，只在高山流水間」，鈐印「臣于敏中」，通體

鎏金。

此件帖架做工精細，極具巧思，為乾隆時期宮廷作

品，或為皇帝出巡時隨身攜帶之文具。既可觀帖，

又可臨帖。此類文具精巧而便於收納，存世稀少，

目前並無發現其他銅鎏金之同類作品。北京故宮藏有

一件清晚期掐絲琺瑯折疊帖架，應當傳襲自乾隆時期

作品，可參考之，見《故宮經典：文房清供》，

北京，2009年，圖版188，頁187。另可比較兩件十

八世紀黃花梨折疊帖架，一藏於明尼阿波利斯藝術博

物館，見Robert D. Jacobsen及Nicholas Grindley

著，《古典中國家具》，明尼阿波利斯，1999年，

圖版86；另一例著錄於伍嘉恩著《攻玉山房藏明式黃

花梨家具II》，香港，1998年，頁144，編號43。

帖架所刻詩文同見於西苑瀛臺迎薰亭二聯，為乾隆御

筆，著錄於于敏中編，《欽定日下舊聞考》，

北京，1788年，卷22，頁1。該詩出自乾隆御製詩

《題王孟端齋宿聽琴圖》，作於乾隆十二年（1747

年），原句為「相於明月清風際，只在高山流水邊」

，見《御製詩初集》，武英殿本，1749年，巻39，

頁10 。帖架與迎薰亭二聯最後皆作「間」字，應為

乾隆十二年後所改。

于敏中（1714—1780），江蘇金壇人，字叔子，

號耐圃。乾隆狀元。乾隆御製詩文多有于敏中代筆或

改訂。乾隆三十八年授文華殿大學士，充上書房總師

傅。曾與朱筠力主搜輯《永樂大典》中古書，為四庫

全書館正總裁。後病卒，乾隆帝作詩悼念，入祀賢良

祠，為有清一代漢臣所得最高褒獎。

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trigram qian flanked by a pair of stylised dragons on

the wood boss is an emblem of the Qianlong Emperor,

which can be seen in his imperial seals. The back panel

of the screen can be moved up and down for inserting

the jade bi. The circular aperture on the back is carved

in gold with inscriptions written by the emperor, ending

with the imperial inscription in the early tenth month

of the bingwu year (Bingwu xiaochun shanghuan yuti),

which means the early tenth month of the thirty-first

year of the Qianlong reign (1766). Beneath the imperial

inscription, it is engraved with the emperor's small

seals of cloud cluster (Cong Yun). A character jia (甲,

which means grade A) is carved in gold in the bottom

center of the base of the table screen. The table

screen is created in a standard manner with exquisite

carvings. The jade bi and the zitan mounting are joined

into an integrated whole and complement each other,

representing a very high level of artistic achievement

and a strong flavour of imperial life.

To better understand this jade bi-inserted table screen,

the relevant issues are sorted out as follows: Firstly, the

innovative integration of jade and furnishings during

the Qianlong period

led to the creation

of jade-inserted

table screens. This

new form became

a staple in imperial

jade collections.

The progression

of this evolution is

explicit, offering

insights into the

understanding of

such objects. In

the third month of

the tenth year of the Qianlong reign, \"on the fourth day,

the treasurer Bai Shixiu reported, the eunuch Hu Shijie

handed in a rectangular Han jade tablet with the motif

of dragons. By Imperial Order: make a table screen for

the jade bi. On the second day of the twelfth month,

the seventh grade official Samuha handed in a dragonpatterned rectangular Han jade tablet inserted in a zitan

table screen. It was presented to the emperor by the

eunuch Hu Shijie.\"[1] This is the earliest documentation

the author has come across on the production of the

jade-inserted zitan table screen in Records of the Qing

Imperial Workshops (Qinggong zaobanchu huoji dang).

Thereafter, this jade-inserted table screen served as a

model for producing similar objects, such as the bottlestyled zitan mounting made for the combination of

white marble bi with rectangular spirals and Han jade

elephant in the eleventh year of the Qianlong reign. The

zitan mounting produced to match the core of a table

screen was made from unclear materials in the twentythird year of the Qianlong reign; both are produced

in accordance with the style and manufacturing

The Qianlong period of the Qing dynasty rivals any

other heyday of art collection in history in terms of art

collection and appreciation. The Qianlong Emperor

himself is undoubtedly one of the greatest imperial

collectors in Chinese history. His collections are much

more diverse and comprehensive in many respects and

continue to exert a significant impact on the present

time. The pursuit and creation of jade artefacts is one

of the most important parts of art appreciation and

collection in the imperial court of the Qianlong period.

It is no exaggeration to say that most of the surviving

collection of jades in the Qing court collection were

collected, produced, and incorporated into the court

collection in the Qianlong period. When looking back at

the history of imperial jade pieces during the Qianlong

era, we can see a trend that a great number of jade

pieces were combined with court furniture and interior

decoration, which were kept and used as decoration

in various halls of the palace, thus greatly extending

the uses of jade ware in the court. Among them, the

jade-inserted table screen developed into a category of

interior furnishings, demonstrating a new phenomenon

in the collection,

production, and

usage of imperial

jade pieces in the

Qianlong period.

The present lot

- a piece of Zitan

Mounted \"Dragon

and Phoenix\" Jade

bi inscribed by the

Qianlong Emperor

- is a masterpiece

perfectly explaining

this phenomenon.

The present table screen is made of zitan or rosewood,

which is 26.5 cm high, 18.5 cm wide and 12 cm thick,

and the inserted jade bi disc is 13.5 cm in diameter.

The four corner spandrels (chajiao) of the screen are

elegantly carved with clouds and dragons, the tall

spandrels (zhanya) detailed with squatting dragons,

the slanted apron (pishui ya) and the base supports

(didun) embossed with one-legged dragons (kui), and

the panels (huantaoban) carved with auspicious cloud

patterns. A piece of jade bi is placed in the centre of the

screen where a large circular aperture is pierced. The

jade bi is white, warm, and pure, with intricate carvings

on both sides. The front is carved in reliefs with coiled

dragons (chilong) and cloud patterns, while the back is

covered with dual-phoenix sculpted reliefs. The coiled

dragon, looming amid the intricately patterned clouds,

has a triangular head, an S-shape body, and robustlooking limbs. The phoenix is decorated with a curled

tail which is forked like creeping weed. In the centre of

the jade bi sits a circular zitan wood boss, which can be

mortised and fixed to the back panel of the screen. The

THE ZITAN MOUNTED \"DRAGON AND PHOENIX\"

JADE BI INSCRIBED BY EMPEROR QIANLONG

GUO FUXIANG

“On the first day of the seventh month,

Cuichang Side and Bitieshi Wude presented

a piece of white jade gong bi with the 'dragon

and phoenix' motif, along with its table

screen model, to the eunuch Hu Shijie for the

emperor's approval. By Imperial Order: make it

according to the model.”

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people's perception of the size of the jade bi can be

indicated from the word gong bi (large jade). It implies

that the present jade bi is somewhat larger in size

than others and it has a \"soft\" quality, which is also

consistent with the 13.5 cm diameter of this jade bi in

Sotheby's catalogue. In addition, the finish date of the

\"dragon and phoenix\" patterned jade bi mounted in

a table screen recorded in the archives is consistent

with the date of the Qianlong Emperor's inscription on

the back panel of this \"dragon and phoenix\" patterned

jade bi mounted in a zitan table screen collected by

Sotheby's. The former was presented to the Qianlong

Emperor on the third day of the tenth month of the

thirty-first year of the Qianlong reign. The latter was

inscribed by the emperor in the early tenth month of the

bingwu year (Bingwu xiaochun shanghuan) - the early

tenth month of the thirty-first year of the Qianlong reign

(1766). In summary, it is reasonable to believe that the

jade-inserted table screen recorded in the archives is

the \"dragon and phoenix\" patterned jade bi mounted in

a table screen to be offered by Sotheby's.

Meanwhile, the text of Qianlong's inscription and the

actual decoration of the inserted jade bi are highly

consistent, indicating the emperor's cognition of the

present jade bi. On the back panel of the \"dragon and

phoenix\" patterned jade bi mounted in a table screen

collected by Sotheby's, there is an imperial inscription

by the Qianlong Emperor: \"The dragon flies to the sky;

the clouds breathe out. The phoenix soars into the air,

bringing great fortunate. Nourish everything with rain

and the gentle wind. Bless a bountiful grain harvest

as an auspicious artefact.\" The first four lines of the

inscription describe the \"dragon and phoenix\" motif of

the present jade bi. The first two lines (龍興致雲，觸

石膚寸) describe how the dragons rise in the air and

breathe out clouds, and then the clouds form a sea of

clouds, corresponding to the corned dragon (chilong)

and cloud motif on the front of the jade bi. In the

second two lines (亦有九苞，負厚以運), the term \"九

苞\" refers to the phoenix, a magic bird carrying fortune,

corresponding to the dual-phoenix motif on the back

of the jade bi. The fifth and sixth lines (潤以甘澍，培

以和風) show the roles of the dragon and phoenix in

the thematic motifs. The dragon flies to provide cloud

and rain, nurturing the earth with timely rainfall, while

the phoenix soars and creates winds, brushing the

land like spring breezes. The moral is good weather

for the crops. The last two lines (蔭穀表瑞，視此握中)

reveals the Qianlong Emperor's cognition of jade bi. It

was seen as an auspicious artefact for a good harvest,

as well as a symbol of praying for a prosperous year.

This is in line with the emperor's consistent view. Jade

bi is one of the categories that the Qianlong Emperor

paid close attention to in the process of collecting and

appreciating jade pieces. In his lifetime, he composed

as many as 110 poems on the subject of Jade bi.[3]

Through these poems, the Qianlong Emperor managed

to express his commitment to the important idea of

ancient China: \"Jade is capable enough to protect

method of this Han-dynasty jade bi mounted in a zitan

table screen. This period was still under the stage of

sporadic production. From the twenty-sixth year of

the Qianlong reign (1761), the jade-inserted zitan table

screens began to be produced on a large scale. Each

year, there were a considerable number of products,

among which, the zitan table screens inserted with jade

bi were in the majority and seemed most unique. Just

take the thirty-first year of the Qianlong reign, when

the imperial inscribed jade bi mounted in a zitan table

screen was produced, as an example. According to

Records of the Qing Imperial Workshops, there were

thirteen such pieces in total. The orders to produce

these jade-inserted table screens were given by the

Qianlong Emperor himself. The inserted jade bi came

from the Forbidden City, the Old Summer Palace and

other imperial palaces, while most of the materials

used to make the screens were zitan. This involved a

stringent process before production, such as making

the model screen (hepaiyang), submitting for approval,

producing in accordance with the approved sample and

then presenting the artefact to the emperor, and some

of them were even to be handed over to the Maoqin

Hall for engraving poems, which fully demonstrated the

Qianlong Emperor's decisive role in the production of

such inserted jade bi.

Secondly, in the Archives (Qinggong zaobanchu

huojidang), the production of this screen table is

traceable, and the related records are in line with the

material object. According to the Archives, in the sixth

month of the thirty-first year of the Qianlong reign,

\"on the twenty-first day, Cuichang Side and Bitieshi

Wude (both are the names of the official positions)

reported that the eunuch Hu Shijie handed in: a white

jade gong bi with the “dragon and phoenix” motif, a

wooden mounting and a wooden box. By Imperial

Order: make a table screen. Submit the model first.

On the first day of the seventh month, Cuichang Side

and Bitieshi Wude presented a piece of white jade

gong bi with the 'dragon and phoenix' motif, along

with its table screen model, to the eunuch Hu Shijie

for the emperor's approval. By Imperial Order: make it

according to the model. On the third day of the tenth

month, Bitieshi Wude presented the white jade gong

bi with the “dragon and phoenix” motif matched with a

table screen to the eunuch Hu Shijie for the emperor's

approval.\"[2] The jade bi described in the archives

is essentially consistent with the jade bi mounted in

an imperial inscribed zitan table screen in Sotheby's

catalogue. Firstly, it is made of white jade. The present

jade bi is different from ordinary Han jade, as there are

significant differences in the respect of senses. Such a

direct reference to the material of white jade is rarely

found in the related records of Jade bi. Secondly, it

contains the \"dragon and phoenix\" themed motif. The

clearly documented \"dragon and phoenix\" patterned

jade bi is relatively uncommon in the imperial collection,

and the words \"dragon and phoenix\" in the archives

reveals the significant decorative feature of it. Thirdly,

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lot typical and representative of the jade bi-inserted

table screens made by the Qianlong Emperor's order,

which can be regarded as the finest of its kind.

In addition, there is one more thing that deserves

special attention here. As was customary, the Qianlong

Emperor's imperial inscriptions are normally included

in the collection of his poems and essays, but the

inscription on this jade bi is missing from the Qianlong

Emperor's poetry collections. In reality, this is not an

uncommon practice. The court collection contains

examples of imperial inscriptions that are not included

in the collection of imperial poems and essays, such

as the coined dragon-carved grey jade bi mounted on

the table screen with zitan base collected in the Palace

Museum in Beijing. On the back panel of the screen,

there is the imperial inscription which can be translated

as follows: \"The uncut jade from Hetian seems warm

and brilliant. Carve it into a fine jade disc so that I can

appreciate. Three coined dragons fly in the sky and

breathe out. Bring clouds and rains with a sincere heart.

Bless the harvest of grain and prosperity of the land.\"

It is also absent from the collection of the emperor's

poems and essays. Even the very important imperial

inscriptions, such as those written by the Qianlong

Emperor for liugui (six auspicious jades) and engraved

on the four sides of a zitan box called \"Zhaohua Biaode\"

used for holding two groups of the above-mentioned

jade gui (each group contains six pieces), produced in

the fourteenth year of Qianlong's reign and housed in

the Palace Museum in Beijing and the Palace Museum

in Taipei respectively, are not included in the collection

of his imperial poems and essays.[7] Knowing it help us

make a basic judgement and understanding of this jade

bi-inserted table screen.

[1] 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), (the \"Archives\") vol. 14, p. 128,

the tenth month of the tenth year of the Qianlong reign, \"Cantonese Furniture

Workshop (Guangmuzuo)\", People's Publishing House, 2005.

[2] 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. 30, p. 198, the sixth

month, the thirty-first year of the Qianlong reign \"Mounters Workshop

(Xiabiaozuo)\", People's Publishing House, 2005.

[3] Teng Shuping, The Qianlong Emperor's Wisdom and Ignorance: The Emperor's

View on Archaic Jade in His Poems, p. 81, the Palace Museum in Taipei, 2019.

[4] Discourses of the States: Discourses of Chu II (Gu Yu: Chu Yu Xia): Wang Sunyu

Discussing Treasures of Chu State.

[5] The Second Collection of Poems by Emperor Gaozong of the Qing Dynasty, vol.

86, Prayer for Rain at the Altar of Land and Grain.

[6] The First Historical Archives of China, Art Museum of the Chinese University of

Hong Kong: Zaobanchu Archives of the Qing Imperial Household Department,

vol. 30, p. 177, the fourth month of the thirty-first year of the Qianlong period

\"Mounters Workshop (Xiabiaozuo)\", People's Publishing House, 2005.

[7] Teng Shuping, The Qianlong Emperor's Wisdom and Ignorance: The Emperor's

View on Archaic Jade in His Poems, p. 129, the Palace Museum in Taipei, 2019.

grain from being damaged by drought and flood [4],

so it is precious. \"From the twenty-fourth year of the

Qianlong reign, when the emperor prayed at the Altar

of Land and Grain for rain, it was customary for him to

\"specially order related departments to use jade for the

pray\".[5] The significance of the present white jade bi

with dragon and phoenix motif was enhanced by the

emperor's inscription. Thus, the Qianglong Emperor's

inscription highly correspond to the inserted jade bi' s

dragon and phoenix pattern. Therefore, it is reasonable

to conclude that the inscription of the Qianlong

Emperor on the back panel of this table screen was

created especially for the present white jade bi with

\"dragon and phoenix\" pattered. It also suggests that

all components of the present jade bi-inserted table

screen remain unchanged in the original state.

Finally, it is the typicality demonstrated in this jade

bi-inserted table screen. The jade-inserted table

screen, particularly the jade bi-inserted table screen,

is a composite handicraft formed and well-developed

during the Qianlong period. During the course of

production, certain elements that the Qianlong

Emperor was keen on had gradually developed,

including the emperor's poems or inscriptions

engraved on the jade bi and table screens as well as the

central wood boss carved with the trigram qian. There

are a few additional details to which equal attention

should be paid. For example, on the twenty-fourth

day of the fourth month of the thirty-first year of the

Qianlong reign, the back panel of a Han jade bi-inserted

zitan table screen displayed in the Cuiyun Pavilion

cracked and was sent to the Imperial Workshops for

repair. In order to ensure the quality of the finished

product, the Qianlong Emperor issued a special decree:

\"The cracked backboard should be reinforced with a

belt, and all subsequent similar works should also be

processed in this way.\"[6] After that, the decree of

the Qianlong Emperor was carefully followed in the

succeeding handicraft work. As we have seen, the back

panel of this \"dragon and phoenix\" patterned white

jade gong bi-inserted zitan table screen, which was

made one month after the Qianlong Emperor's imperial

decree was issued, is connected by such a belt. For the

jade works which were part of the imperial collection,

the Qianlong Emperor often authenticated and graded

them personally, and \"all articles made of copper or

jade were given a grade such as jia and yi\". Now among

the survived jade artefacts in the imperial collection,

most of them are inscribed with the serial numbers of

jia, yi, bing (grade A, B or C), which is a proof of such

authentication processes. At the bottom of the base of

this \"dragon and phoenix\" patterned white jade gong

bi-inserted zitan table screen, there is an engraved

character of jia (甲), attesting to the existence of this

type of authentication. All the aforesaid aspects are

perfectly reflected in this table screen, making this

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