Page 278 - Christie's Hong Kong November 29, 2022 Fine Chinese Works of Art

fig. 3 Collection of the National Palace Museum, Taipei fig. 4 Collection of the National Palace Museum, Taipei
圖三 國立故宮博物院藏品 圖四 國立故宮博物院藏品

and painting masterpieces collected by the court were remounted, dynasty ge-type bowl from the ceramic album Jingtao yungu (fig. 4).
either between silk borders or between the work proper and a silk This chuilu seal impression is also present on an imperial folding fan,
border, this present chuilu seal, along with other small imperial seals, now at the National Palace Museum, Taipei, that depicts an ancient
can also be seen along the seams; see Bajuntu (Eight Steeds Painting) by juniper with Emperor Qianlong’s poem. Generally indicative of the
Qing painter Jia Quan in the National Palace Museum, Taipei, where nature of an emperor’s imperial collection, the position of these seal
the chuilu seal is impressed on the seam joining the painting proper impressions on collection albums does not follow any fixed patterns
and the border silk (fig. 3). Another example is the seam-riding seal but depends on the space available.
impression between the frontispiece and the border silk in Emperor
Qianlong’s copy of the jiqingshiwai frontispiece in Tang Yin’s Shimingtu This chuilu seal is also noteworthy for being made from very precious
(Brewing Tea Painting). Straddling various sections of a work, these tianhuang soapstone of unctuous texture. Fine and delicate, with a lucid
seam-riding seal impressions, if misaligned and damaged, clearly and warmth luminescence, this seal is uncarved or unadorned, simply
reveal remounting or other forms of loss of integrity. It is possible revealing the luster of the stone itself. Characterised by the exquisite
that the Qing court used this practice to ensure the completeness and seal carving and the beautifully selected characters and quality, it
permanence of the original mountings of its treasures. reflects the preciousness of the material used, befitting the status of an
imperial seal.
Fourth is for other special use, for instance, in Qianlong Emperor’s
collection albums of various hand-painted ceramics and bronzes To sum up, this present seal, one of Emperor Qianlong’s early imperial
originally stored in curio boxes, now at the National Palace Museum, seals, was widely used on Qianlong’s own imperial calligraphy and
Taipei. Although there are no imperial inscriptions of Emperor paintings as well as on ancient calligraphy and paintings in the Qing
Qianlong on these albums, this present chuilu seal, among other small palace collection. Observing and studying it can undoubtedly enrich
seals, can be found on various pages, such as one depicting a Ming- our understanding of this type of small seals.

而採取的措施。四是其他特殊的鈐用。如臺北故宮博物院所 此方「垂露」璽另一值得關注之處，在於其材質為非常珍貴
藏原存放於多寶格中的各種手繪瓷器、青銅器的小冊頁，可 的田黃凍石。整體質地溫潤，純淨細膩，晶瑩剔透，印體不雕
以視為乾隆皇帝御藏的藏品圖錄。在這些冊頁上，雖然沒有 不飾，更顯出印石本身的光彩，體現出宮廷印璽印材珍貴，篆
乾隆皇帝的御題，但在每一開上都鈐有乾隆帝的各式小璽， 刻精緻，文優而質美的特點。
每開都不一樣，此方「垂露」璽亦在其中。如《精陶韞古》瓷
綜上所述，該璽是乾隆皇帝早期御用小璽之一，在乾隆御筆
器冊頁第六開「明仿哥窯奩」頁上即鈐有此璽（圖四）。另外
書畫和清宮收藏的古書畫上曾廣泛鈐用。對它的考察，可以
如臺北故宮博物院藏乾隆皇帝「御筆古檜並題張照臨米芾
豐富我們認識此類小璽的認識。
孔聖手植檜贊」扇面上御筆古檜圖後面也鈐有此璽。這種情
況一般是表明皇帝御藏的性質，鈐用時可根據畫幅空餘之處
相機鈐蓋，可左可右，可上可下，在位置上沒有固定的格式要
求。

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