Page 86 - Christie's Important Chinese Works of Art, May 31 to June 1, 2023 Hong Kong

fig. 1 Collection of the Palace Museum, Beijing
圖一 清乾隆 《獸譜》〈獬豸〉
北京故宮博物院藏品

A SUBLIME YELLOW JADE CARVING OF XIEZHI,

QIANLONG PERIOD

Ancient China believed that when an enlightened ruler reigned suggesting it is in a relaxed and leisurely state. With every aspect
with benevolent policies, auspicious omens, such as unusual exceptionally carved, including the finely incised hair on its head,
meteorological phenomena and exotic animals, would appear as beard and tail, this yellow jade xiezhi is an exceptionally rare
demonstrations of heavenly endorsements. Successive emperors treasure of the imperial court of Emperor Qianlong.
would order records of these omens be made in writing or by way
of paintings; they would also ask for auspicious objects to be made A careful comparison would indicate that this yellow jade xiezhi
from various precious materials to commemorate such events. display piece is most likely modelled on the image of a xiezhi depicted
Similarly, local officials regularly commissioned auspicious objects in Qing court commissioned Shoupu (Album of the Beasts). It is then
as commemorations and tributes. carved according to the natural shape of the jade stone.

This exceptionally large, brilliantly carved yellow jade xiezhi, In the fifteenth year of the reign of Emperor Qianlong (1750), court
accentuated by a lustrous texture, can be dated to the Qianlong painter Yu Sheng and others commenced the preparation of a large
period. The imperial carver impeccably captures the ‘vivacious scale compilation of animal illustrations, which was completed in
spirit’ of the subject, xiezhi, a highly auspicious and benevolent the twenty-sixth year of the of the reign of Emperor Qianlong
mythical animal, as if it has descended from the heavens to grace (1761). 180 drawings and descriptions were made and mounted in six
the imperial Qing courts at its glorious height. volumes. Scholars have separated these illustrated animals into three
main categories: (1) traditional benevolent mythical animals such as
Jade objects of the Qing imperial workshops were mostly made of qilin and zaoyu; (2) animals that exist in the real world such as rats,
celadon, white, and spinach-green jades; the use of yellow jade was buffaloes and monkeys; and (3) imaginary and farfetched creatures
not common and the limited supplies of yellow jade stones were such as the nine-headed, nine-tailed longzhi. Shoupu was produced in
mostly used to make small personal ornaments. With a length an album format, with animal illustrations shown on the right side,
measuring 18.1 cm, this yellow jade xiezhi is exceptionally large; and the names and descriptions of appearances and special features of
the colour of the stone is top grade steamed chestnut-like with a the corresponding animals written in Manchu and Chinese on the left
warm glow and clarity. The quality of the stone, which is free of side. Comparing with the xiezhi depicted in Shoupu, the single horn,
cracks and fissures, is akin to perfect. Briskly carved in a reclining, the limbs, the evenly parted tail which curls around its rear, and the
rear- facing form, the xiezhi has its ears suspending backwards, a rear- facing posture shown are all similar to the present yellow jade
horn growing overhead, its eyebrows curling upwards, conveying xiezhi example (fig. 1). Shoupu describes the appearance of xiezhi as
a gleaming expression. The eyes of the animal are shown glancing ‘reminiscent of a mountain goat with one horn, also named shenyang
afar, the shape of its nose is carved to resemble a ruyi, its mouth is (sacred goat) or jiesheng’; it also describes its characteristics as ‘faithful
shown subtly projecting a grin, with a beard growing from its jaw. and straightforward, keeping the peace when people fight and argue,
Depicted in a naturalistic manner with meticulous attention to and that it is also known as renfashou (animal of justice), and enforcers
anatomical details, such as the raised ribs and spine, prone forelegs of the law wear headgear in the shape its horn.’ Accordingly, xiezhi
and slightly bent hind legs with sharp claws on all four limbs, the can distinguish right from wrong, identify good from evil, and is a
animal is portrayed as if ready to pounce. In contrast, the tufty symbol of justice and righteousness. Legend has it that in the reign
tail of the animal is evenly parted and gently curls around its rear, of Emperor Yao in prehistorical China, Gao Yao, Minister for Law,

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