Page 84 - Christie's Important Chinese Works of Art, May 31 to June 1, 2023 Hong Kong

VIVACIOUS SPIRIT AND SPLENDID HUES:

THE CONNOISSEURSHIP OF YELLOW JADE CARVINGS

In ancient China, colours of jade were not systematically classified nor The author considered yellow to be a premier colour for jades and
scholarly graded. It was not until the Ming dynasty that the literati noted its rarity. He categorised yellow jades by distinguishing the
class began to grade the colours of jade. During the Emperor Wanli various colour tones, using the terms ‘steamed chestnut’, ‘burnt yellow’
period (1573-1620), renowned connoisseur and appraiser Gao Lian and ‘sweet green’. Reflecting the faithful representation of ‘vivacious
regarded Ganhuang (‘sweet yellow’) as the supreme colour of jade that spirit’ possessed by yellow jade carved animals, Gao also prized the
even the highly prestigious Yangzhi (‘mutton fat’) was outshined. In his ‘splendid hues’ in the colour of the jade, the warmth and charm of
famous Zunsheng Bajian (Eight Discourses on the Nurturing of Life), yellow jade carvings. This commentary vividly describes the visual and
Gao noted: tactile sensory experience and the overall feeling that appreciation of
yellow jade brings to the connoisseur.
“Ganhuang (‘sweet yellow’) champions the colours of jade,
surpassing yangzhi (‘mutton fat’). Since the colour yellow The classification and ranking of the colours of jade introduced by
occupies the central supreme position, yellow jades are rare; the literati of the Ming dynasty, continued into the Qing dynasty
there are people who regard the colour white as “off centre”. with an impact on the imperial aesthetics. The archival records of the
Nowadays, somepeople rate white jade as higher than yellow Zaobanchu (The Imperial Workshop) refer to terms suchas ganhuang
jade; this is because yellow jades are rare and some have not (‘sweet yellow’), jiaohuang (‘burnt yellow’) and ganqing (‘sweetgreen’),
seen them to properly understand. Among the tonal variances which were used to describe specific tones of yellow in jades.
in the ‘sweet yellow’ category, one that resembles the colour
of a steamed chestnut is preeminent, while the darker, burnt The present magnificent selection of yellow jade carvings encompasses
yellow colour is considered inferior. an array of ‘splendid hues’ from different periods, featuring not only
exceptional examples admiredby the literati, but also rarely seen and
Ganqing (‘sweet green’) coloured jade, similar to a budding willow, has offered imperial masterworks. The latter contains a ‘vivaciously spirited’
not been seen recently. I have seen a ‘sweet yellow’ jade horse (of four mythical animal Xiezhi carved out of a remarkably large-sized yellow
inches long) that is vivaciously spirited, as well as a ‘sweet green’ ram- jade. During the Qing dynasty, the appearance of such a benevolent
head jade belt-hook, a chilong dragon jade jue (disc), and a plain jade mythical animal was believed to be a sign of the reign of an enlightened
pig, all of which are splendidly hued.” and saintly emperor. The mounts of the divine bodhisattva Manjushri

神氣如生、色嬌可愛：黃玉萃珍之品鑑

中國古代對於不同玉色的評價，原無明顯上下之分。直至明 明代文人對於玉色的排序與鑑賞品評，一直延續至清代宮
代文人對於各色之玉，有著不一樣的優劣排序，萬曆（1573- 廷。從內務府造辦處的檔案中，仍將黃玉分為「甘黃玉」、
1620）年間鑑賞家高濂，更將「甘黃」，視為玉色中超越「羊 「焦黃玉」，以及「甘青玉」等不同色調之名稱，即可見之。
脂」的最高等級，其於《遵生八箋》中提道：
是次黃玉萃珍主題單元，難能可貴的匯聚歷代各式「色嬌可
玉以甘黃為上，羊脂次之，以黃為中色且不易得，以白 愛」之黃玉精品，精彩呈現古代文人清賞品鑑之物，以及皇
為偏色時亦有之故耳。今人賤黃而貴白，以見少也。然 室用器。特別是清代宮廷中象徵聖王在位才得以現身的神獸
甘黃如蒸栗色佳，焦黃為下。甘青色如新柳，近亦無 獬豸，以碩大的黃玉雕製而成，其姿態「神氣如生」。文殊和
之。余見甘黃玉馬（長四寸）神氣如生，甘青羊頭鉤、 普賢菩薩的坐騎獅和象，其神韻也以生動活潑的方式展現。
螭玦、素彘等 物，色嬌可愛。 再到一些體積較小的把件，如代表滿人傳統精神的駿馬，質
樸可愛的老虎、卧牛、雙貓，以至鳥與鴨等鳥禽。更有乾隆朝
高濂認為黃為中央之色，且相對其他玉色而言更為罕見。又將
「古僕文雅」風格之黃玉水盛，其玉質堪稱完美。充滿自然
黃玉分為：如粟子蒸熟後的「蒸栗色」、顏色較深的「焦黃」，
生機的荷葉洗、佛手。隨身佩飾用來彰顯個人品味的鼻煙壺
以及如新柳般的「甘青」色調。並稱黃玉動物抓住其神韻，如
等。是次選件皆兼具卓越之玉質和巧妙之雕工，黃玉製器更
具有靈氣般「 神氣如生」。高濂更指出黃玉之器「色嬌可愛」
是罕見，可說是極具突破性的一時之選。
，顏色柔美，討人喜愛。這般評論生動地描述賞玩黃玉時，帶
給鑑藏者視覺、觸覺等感官體驗，以及整體感受。

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