Page 60 - 2020 Nov 30 Christie's Hong Kong Important Chiense Works of Art

the moss picked out in red gold.’ The instructions were very ᝳ㇛⻦ࢷ⁒㱦কទ৅ظໄԻԳ㪏ᛞឆ⎏ࣥㅧǯᏒ㋵ಳ
detailed and particular. ߴ࣊ᛓಳᄓ⊬⎊卿ಳߴಃប࣊ᛓಳᄓ卿⊬⎊㛑ߎսប

It is recorded that on the 4th day, 12th month of Qianlong ⒬ಃⰰ卿ಃ㞖࣊ս᯵㞖ಃⰰǯ㯸ַ⎏ڔᯧஙԳ㪏ᛞឆ
45th year, ten carved-ink paintings of sal tree with gold infill അٖ㯪ឬ⎏ಳߴה৅ԋமᝳײ⊇卿ൈ㙞ࣸӮד⢑⊺Ǯ
were framed:
⛌ૃ༳໸⎏म▼഍ᬓ৿ࢽ✙ǯ
“Frame four of the sal tree paintings in brocade border,
fitted with the four pairs of jade scroll weights that were
Գ㪏୨ࢦՆჺࢦӬᝲߝՆᚚӴ᚜㍯༈ᅡ⊺Ⴧᤨഌ⛌Ǹᾅ
handed in, and fix with beaded hanging rings; at an
opportune hour, offer them in the Buddhist storage box ⊺ዪ⎭ᯧǹஙಳߴ඼⧲᧦எӳಃ㞖⥾⊺ ზ卿Ǹ⎊⶟
of Fori Pagoda, Huiyao Pagoda, Yihe Studio and Yunzhen ⊇㿩㞖ಃ⊺卿⊬ಳⰰ⶟ᢟ卿ಳ⶟⊇⡚㞖ಃ⊺卿⊬⎊⶟
Studio. The other six are to be framed with normal gold
ᢟ卿᧦㕇⊇⡚㞖ಃᶕ卿ྒྷ⒢⊇㿩㞖⎭᠎卿ⱼ⊇⡚㞖㿽ǹǯ
borders, and fitted with zitan scroll weights.”
ज㋵⡿⤤ݣᇤǯ
Thereafter, four of the paintings were fitted with yellow silk
covers and reviewed by the Emperor. The four were then Գ㪏୨ࢦՆჺࢦՀᝲߝ୨ᚚᨯᡪԋᓽߪ卿Ӭ᪖ㅛㅧࢦ
offered to the palace in Jehol, the Xumifushou Temple, the ზಳߴಃ㞖඼⧲᧦எ卿Ǹཆ඼⧲᧦୨ᆌᄴᰑ㢶㚒卿⊇
Xiangshan and the Wanshoushan temples. The six were
offered to Longxing Temporary Palace, Longxing Main Ւ߅ℱ㕻㯔୨ཌ㜩໫卿Ք㜩㑢ⅸ஄卿ᇑᛞஙדᚚ᧊Ǯ
Temple, Wutaishan Pusading, Shuxiang Temple, Temporary ጮᝓ᧊Ǯ㯎ক㕜Ǯ⼘⏻䁗ד❝ݤपᘘ؊Ӭ㕻卿ݯ㱛ݪ
Palace and Tailu Temporary Palace. The production of ᆌ⊇ཊ჎‷㞖ᄴ㚒卿㜩⡻᨞ណ㕻㯔ǯǹ㪪ᇌ卿ཆಳߴ
carved-ink sala tree paintings was the largest recorded, and
they were mainly offered to important temples in the Palace ಃ㞖඼⧲᧦୨㕻㜩ᇑ㿩֎⢵ד⟄१㈇卿ഠ᚜ՒῂᯇӬ
and places that Panchen have visited, such as Wutaishan and 㕻Ǯ㮷ᆚ◙೰ԠᅏӬ㕻Ǯ㲞ྒྷǮⶃ೰ྒྷपӬ㕻ǯ㪏⯞
Temporary Palace. ཀリ༈Ӭ㕻Ǯ㪏⯞ཀഌᅏӬ㕻ǮՆ⯓ྒྷ⎏ⵐ⻉㮱Ӭ㕻Ǯ
After the parinirvana of Panchen, the Qianlong emperor ᫢⏟ཀӬ㕻Ǯリ༈Ӭ㕻Ǯझ㾿リ༈Ӭ㕻ǯ㘺ᛓ㇧᧘ᝬ
decreed to have a cenotaph erected at the Xihuang Temple, ഌ⎏Ӭ᪖ಳߴಃ㞖඼⧲᧦எㅳה卿؊ഠ⎏஠㿽Ԗ㇝ࡺ
and named it Qingjing Huacheng Pagoda (Pagoda of the ᑐ༈ݤԖ㇝דలǮↄ◲ᝪ⣌ࣸ㙞⎏ᐂᇪपٖ஠㿽սࣿ
Phantom City of Purity). The sala tree painting and the
ode was carved as a stone stele and erected to the west of Ն⯓ྒྷǮリ༈✙⡕ሗలԋǯ
the Pagoda. The ink rubbing of this stele was published by
Franke and Laufe. ↄ◲஋༓ᇌӶԜ卿Գ㪏ႽӴ᚜ங㿩ཀἃݪӽↄ◲ᅤ・
ވ౷卿࣊→ங⎏᳖᲼ࢇఉ౲ǯ඼⧲᧦எࣿ㐫㈲ࡘ⒢؊
In the 46th year of Qianlong, the Emperor hanged a new
carved-ink sal tree painting with gold infill in the Zifu ഠՂ㿩ཀ᳖᲼ࢇఉ౲⎏㇛┐՘ԋ卿ظໄ㗻իǯᇪஇ՞
Fanxiang Hall located in the Summer Palace. This Palace 'SBOLF ক -BVGF ᝪ⎉ヿ㙞᫉┐⎏ಳᑃទǯ
was where 6th Panchen once recited sutra and was one of
his memorial hall. Գ㪏୨ࢦݪჺࣽங㚈᜜ྒྷⴃ⎏⡻᱙ᢹ㲞ༀᬆݤែ㧿ᙲ
From the records, there are no more than 11 copies of the ᓔಳߴಃ㞖඼⧲᧦ᓔ㕻Ӭ㕻ǯ㘺ㅞᛓݪӽↄ◲ᝪ⣌ሗ
carved-ink sal tree paintings with gold infill, and the current 㙞⣌⎏஠ᙹ卿ᛓݪӽↄ◲⎏⡕ሗలԠӬǯ
painting belongs to this group, and was once offered in one
of the imperial Buddhist halls mentioned above. ᡜᗌᨯᡪ⎏㉃㖊卿Գ㪏୨ࢦՆჺԠᇌ卿⥙ݬㅳה⎏ಳ
To summarise, these are the important points about the ߴಃ㞖඼⧲᧦எӶ㙞 ზǯទ৅ᇷ߅⯇ݯԋ卿Ԇ؊ഠ
current painting: 1. This sal tree painting was produced by ᙻӳ㘚⎑།דలԠԋǯ
court painters following the original painted by the Emperor
himself, and was made between the 45th and 46th year of ⥙⢙ទ৅඼⧲᧦எ⎏Ԗ㇝⁞㿽ൈӴ厍 ᫉ზ඼⧲᧦எ
the Qianlong reign (1780-1781); 2. The current painting is
in very good condition; 3. The current painting retains the ᛓஙԳ㪏ᇙ✖඼⧲᧦எ⎏ఫ╲ӳ卿⊐᳖༈⊺Ⴧ⥾⊺⎏
original Imperial frames and borders; 4. It is a record of an ༈ᅡה৅卿ഌ⯎໭ᎰᙻԳ㪏୨ࢦՆჺ⯍୨ࢦݪჺ㧿厎
important historical journey of the 6th Panchen Lama to ⊺㬷৅⏟⏟⋁໭ᙃ厎 ظໄԻⅧ㏟⎏᳖༈ࣥה⯝ࣥㅧ厎
Beijing, and is full of Buddhist symbolism as well as rich ᛓݪӽↄ◲㙊՗ង㈁㘺Ӭ㞒ഌ᫓टԿ։⎏㇦㌴ԠӬ卿
in historical significance; 5. There are only five published
examples, the current painting being one of them. ⥾⊺݋ᶕԻדᘰ㎜ᇨԖ⨒⯝᫓टᓈᘢࢦߎ㎒༛厎 ⏖
߿⎉ヿ㙞⎏⥙ݬगᝳՆზ卿㘺ᛓݯԋԠӬǯ

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