Page 296 - Christie's, Important Chinese Works of Art, Hong Kong Dec 3 2021

Qianlong’s footsteps and made no fewer than seventy of such seal 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；
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sets. The present si shi zhi shi seal belongs to the first category. 一是引首章和壓腳章都是成語璽，在內容上可以相互注解，
可以稱之為成語組璽。嘉慶帝亦步乾隆之後塵，刻制了不下
If Emperor Jiaqing’s deliberate emulation of Qianlong’s production 七十組這樣的組璽。 而此方“四時之始”所在的組璽就屬於
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of imperial seals reflects the continuation and inheritance from one 前一種情況。
emperor to the other, then the interpretation of the inscriptions
should project Jiaqing’s own thoughts and consciousness. As already 如果說上述在寶璽製作方面嘉慶帝對乾隆的刻意模仿反映出
mentioned, the si shi zhi shi seal is one of the many three-set seals 嘉慶帝與乾隆帝之間的延續和繼承關係的話，那麼，對此方
made by Emperor Jiaqing. The inscriptions on the three seals 寶璽內容的解讀則似乎更能折射出嘉慶帝自己的思想和意
are closely connected as the two yajiao seals suggest the owner’s 識。前面已經講過，“四時之始”璽是嘉慶帝諸多三方一組
appreciation and interpretation of the palace name. The author 宮殿組璽中的一方，而這種宮殿組璽中的三方印文在內容上
would argue that to fully understand any one of the seals in such 又關聯甚密，兩方壓腳章表明了印主對宮殿名稱的理解和詮
three-seal set, we must put them together to glean insights. Thus, 釋。因此，筆者認為，對於這樣的組璽，要理解組璽中的任
to explore and understand this si shi zhi shi seal, we must put it 何一方，都必須將三方組璽放在一起進行解讀。同樣，要很
together with the other two seals—fu chun lou and wan wu yi jia 好地理解此方“四時之始”璽，就要將它和與它同組的另外
seals—and consider the historical circumstances of Emperor Jiaqing. 兩璽“富春樓”璽和“萬物以嘉”璽放在一起，並與其所有
Since the si shi zhi shi seal is part of the set specially associated with 者嘉慶帝的歷史境遇結合起來進行考察。既然該“四時之始”
the Fuchun Hall, it is necessary to examine Emperor Jiaqing’s 璽所在的組璽是專門為富春樓製作的，這就不能不考察印主
relationship with the Fuchun Hall.
嘉慶皇帝與富春樓的關係。
Fuchun Hall is a small two-story building located behind the Baohe 按富春樓位於勤政親賢景區內的保合太和殿后面，是一座二
Taihe Hall in the Qinzheng Qinxian View. This building existed
from the Qianlong period, and according to Emperor Qianlong 層小樓。這座樓式建築並不是嘉慶時期的新建築，而是乾隆
himself, was built in the third year of Qianlong (1738), though it 時期就已經存在了。按照乾隆皇帝自己的說法，這座建築始
was not named until six years later in the ninth year of Qianlong 建於乾隆三年（1738），當時似乎並沒有為它命名，直到六
(1744) when Emperor Qianlong inscribed a plaque for it and 年以後也就是乾隆九年（1744），乾隆皇帝才為其題寫匾額，
officially named it fuchunlou (Fuchun Hall). During Qianlong’s 正式命名為“富春樓”。在整個乾隆時期，乾隆皇帝僅有三
reign, there were only three poems dedicated to Fuchun Hall. 首專門詠富春樓的詩作。儘管不多，但也可以為我們瞭解乾
Although few in number, they do provide some clues to Emperor 隆皇帝關於富春樓的想法提供一些線索。“雖然紅紫遲酣發，
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Qianlong’s views on this building. With lines like “qixuhua mujing, 要識機關在始萌” 、“豈詡花木景，惟先民物憂” 、“物阜
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weixian minwuyou” (Not to boast of the flowers and trees, but to 民安方謂可，衣豐食足倍懷牽” ，之所以命名為“富春”，
worry about the people first)” or “wufuminan fangweike, yifengshizu 就是為了祈望國家物阜民安，百姓衣豐食足，鞭策自己謹守
beihuaiqian” (Wishing things are abundant and the people are safe, 初心，履行天命。到了嘉慶時期，對富春樓的關注明顯多了
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with plenty of food and clothes), we can deduce the name fuchun 起來。“樓額富春景清曠，每來憑眺必成吟” ，可知嘉慶皇
(abundant spring) was intended to pray for the country’s prosperity 帝是經常到這裡來的。只是他到這裡來的景況和他的父親乾
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and people’s peace, for the people to be well-clothed and well-fed, 隆則大有不同，“看花心興已成灰，暇日憑欄散悶來” 。而
while motivating the emperor himself to stay true to his aspirations 悶從何來？很快就有了答案，“誰倩和風舒蒂萼，未逢新雨
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and fulfil the mandate of the heaven. In the Jiaqing period, there 潤根荄”，原來是正為春天少雨而著急，詩中不斷表達出他
were evidently more references to Fuchun Hall. From “louefuchun “惟望四郊甘澤遍”、“尚盼神功繼作霖”的願望。這是嘉
jingqingkuang, meilaiping tiaobichengyin” (The view from the top of 慶二年（1797）春天嘉慶皇帝創作富春樓詩作的真實情形，
Fuchun is so clear and open that it inspires me to write a poem 望雨成了其富春樓詩作的核心和焦點。通觀嘉慶帝有關富春
every time I overlook the scenery), it was known that Emperor 樓的詩作，可知嘉慶皇帝寫作富春樓詩的時間都是在春天，
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Jiaqing visited here often, but his visits were rather different from 而且在寫富春樓詩的前後，都是“望雨自責”、“望雨即事”
those of his father Qianlong. One of his imperial poems reads: 或“喜雨”。這難道是偶然的巧合嗎？如果我們將視線再次
“kanhua xinxing yichenghui, xiari pinglan sanmenlai” (My mood to 轉回到富春樓組璽全部三方印章的印文，就會發現嘉慶皇帝
enjoy the flowers has faded; here I am leaning against the railing 到富春樓的關注點與該組璽印所要表達的內容之間的確存在
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to relieve myself of worries). Where did his worries come from? 著高度的契合。
The answer is soon clear. The poem continues: “sheiqianhe fengshudie,
weifengxin yurungengai” (What is it that caresses the flowers in the 按“四時之始”典出中國古代醫學的經典之作《黃帝內經》
gentle breeze; but the roots have not been moistened by new rain). It “四氣調神大論”篇：“故陰陽四時者，萬物之終始也，死
would seem that he was worried about the lack of rain in the spring, 生之本也。逆之則災害生，從之則苛疾不起，是謂得道。”

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