Page 209 - Christie's Important Chinese Works of Art, May 31 to June 1, 2023 Hong Kong

Should one view Jiaqing’s deliberate replication of Qianlong’s imperial visits to Xu Ming Jing, penning over a dozen poems. These poems
seal production as a reflection of the continuity and legacy between offer valuable insights into Jiaqing’s motivation behind naming the
the two monarchs, then the interpretation of the inscriptions should palace and illuminate his reflections and contemplations on the site.
illuminate Jiaqing’s distinct thoughts and consciousness. As previously Emperor Jiaqing cast himself as a preserver of the previous generation’s
mentioned, the Xu Ming Jing seal constitutes part of a three-seal set achievements and articulated this very notion in his Qichunyuan Ji
produced by Emperor Jiaqing. The inscriptions on the three seals (Qichunyuan Visit) upon the completion of Qichunyuan, stating: “He
share a close interrelation, with the yajiao seals offering the owner’s who governs people moderates the extremes, calms and harmonises the
appraisal and elucidation of the palace name. To gain a comprehensive lands, nurtures his mind and devises his rule, with no secular desires as
understanding of any one of the seals within a three-seal set, it his root. He shuns the wicked ways of worldly sights, sounds, riches,
is essential to examine them collectively for a more nuanced and and gain, and has no fantasies of greatness or delight in success. He
holistic comprehension of their significance. By the same token, to despises the absurdity of seeking immortality and rejects the blind
delve into and grasp the significance of this Xu Ming Jing seal, it is talk of longevity. He only thinks of maintaining what is established,
imperative to scrutinise it alongside the other two seals—Lechuxu and diligently and industriously, not daring to be idle. He endeavors to be
Gongshengmin—and contextualize them within the historical milieu of reverent and diligent in order to reach a fair level of welfare.” Thus, the
Emperor Jiaqing’s reign. construction of Qichunyuan was not merely an indulgence in aesthetic
pleasures but also a practical endeavor aimed at aiding the people. As
Given that the Xu Ming Jing seal is part of a palace seal set, it would be Jiaqing himself stated, “I repaired and built this garden solely based on
remiss not to explore the relationship between the owner of the seal, its location, with fair compensation for materials and labor provided,
Emperor Jiaqing, and the palace itself. At the height of the summer as the poor could rely on this work for sustenance. All expenses were
of 1805, during the tenth year of Jiaqing’s reign, the then freshly covered by the internal treasury without drawing from external
erected Qichunyuan adjacent to Yuanmingyuan was beginning to take resources. Truly, it was a case of killing two birds with one stone.”
shape. After surveying the entirety of the garden, Jiaqing composed a Emperor Jiaqing carefully considered his choices when bestowing
poem entitled Qichunyuan Sanshijing (Thirty Scenes of Qichunyuan), names upon the palaces within Qichunyuan. Regarding Xu Ming Jing,
emulating the Yuanmingyuan sishijing (Forty Scenes of Yuanmingyuan) Jiaqing provided extensive and profound elucidation through various
by the Qianlong Emperor. Among them, the twenty-third poem imperial poems, affording us a more comprehensive understanding of
was Xu Ming Jing, marking the first time the Xu Ming Jing Palace the true significance behind the name.
was documented. In the following decade, Jiaqing made numerous

慶朝向前滾動，這種慣性在嘉慶的寶璽中也有不折不扣的表 出嘉慶帝與乾隆帝之間的延續和繼承關係的話，那麼，對此
現，一個例子是組璽的刻製。乾隆時製作了相當數量的由一 方寶璽內容的解讀似乎更能折射出身處由盛轉衰過程之中
方引首章和兩方壓角章組成的三方一組的組璽，這種組璽又 的嘉慶帝自己的思想和意識。前面已經講過，「虛明境」璽是
可分為兩種情況：一是引首為宮殿璽，兩方壓角為詩文警句 嘉慶帝諸多三方一組宮殿組璽中的一方，而這種宮殿組璽中
璽，用以說明殿名璽中殿名的含義及來歷，可以稱之為宮殿 的三方印文在內容上又關聯甚密，兩方壓角章表明了印主對
組璽；一是引首和壓角都是成語璽，在內容上可以相互注解， 宮殿名稱的理解和詮釋。因此，筆者認為，對於這樣的組璽，
可以稱之為成語組璽。嘉慶帝亦步乾隆之後塵，刻製了不下 要理解組璽中的任何一方，都必須將三方組璽放在一起進行
七十組這樣的組璽。而此方「虛明境」所在的組璽就屬於前 解讀。同樣，要很好地理解此方「虛明境」璽，就要將它和與
一種情況。嘉慶帝這種製作組璽的行為與乾隆如出一轍，使 它同組的另外兩璽「樂出虛」璽和「公生明」璽放在一起，並
我們明顯地感覺到嘉慶帝在具體行為上對乾隆的刻意模仿。 將其與印主嘉慶皇帝的歷史境遇結合起來加以考察。
這恐怕是由上述嘉慶皇帝當時所處的社會的、家庭的特殊環
既然該「虛明境」璽所在的組璽是宮殿組璽，就不能不考察
境決定的。
印主嘉慶皇帝與該宮殿的關係。西元1805年，也就是嘉慶
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 十年的盛夏，經過幾年的建設，毗鄰圓明園的新園區綺春園

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