Page 94 - Nov 28 Chinese Art Hong Kong

The present lot is striking in its outstanding and refined craftsmanship 白玉玉質，光澤細潤。蓋盒方形，子母口，方臥足，蓋面雕十字八卦
utilising the finest white jade stone, combined with the archaistic 紋，以繩紋為界，蓋四角各雕展翅雄鷹一隻，鷹頭微翹出尖，雙翅
auspicious design of the eagle and bear, yingxiong and the Daoist 展開如雲。盒身四角對應各雕一熊，熊頭生雙角，雙目有神，高眉直
Eight Trigrams. It exemplifies the Imperial taste of the Qianlong reign 鼻，其雙足力撐至盒身兩側，深沉肅穆，不怒自威。盒蓋、盒身上下
and is a testament to the technical virtuosity achieved by the jade 呼應，諧「英雄」之音，工藝高超，設計精妙，煞費苦心。
ateliers during the height of the Qing dynasty.
乾隆帝慕古求新，一再強調「事不師古說聞匪」，認為古典器物樸
The Qianlong Emperor proposed to ‘restore ancient ways’, suggesting 素、精純、高雅、有意涵。因其嗜古如痴，特別諭旨梁詩正等人纂修
that jade carvers turn to antiquity for models, which would enable 《西清古鑑》，將清代宮廷所收藏商周至唐代青銅器過千件一一記
them to imbue their designs with simplicity and honesty, and so 錄，並交玉工作為製作新製玉器提時造型及紋飾的藍本，詳閱張麗端
achieve refinement and elegance. The ‘ancient ways’ referred to the 著《宮廷之雅：清代仿古及畫意玉器特展圖錄》，台北，1997年，
intrinsic values of sincerity, simplicity, and happy exuberance; see 頁49。
Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition
of Archaic and Pictorial Jades of the Ch’ing Court, National Palace 「英雄」紋飾取鷹、熊諧音，此設計最早出現在漢代青銅彝器上，如
Museum, Taipei, 1997, p.49. 西漢中山王墓靖王之妻竇綰墓出土的青銅合卺杯即為一例。《西清古
鑑》中亦有英雄合 器的描線圖，見M.Wilson，《Chinese Jades》，
The yingxiong motif takes its inspiration from archaic bronze 倫敦，2004年，頁106，圖107。受乾隆皇帝崇尚慕古之風影響，鷹
‘champion’ vases which first appeared during the Western Han 熊組合的紋飾後來大量出現在宮廷陳設器物上，包括玉器、銅器、掐
dynasty, comprising double tubes conjoined by an eagle, ying, 絲琺瑯器、犀角雕件等等，見英國維多利亞及阿爾伯特博物館藏一件
perching on a bear, xiong; see an outline drawing of a Tang dynasty 清乾隆碧玉英雄合卺杯，著錄於M.Wilson，同上著錄，頁105，圖103
bronze prototype illustrated in the Xiqing Gujian (Catalogue of Xiqing ；另見香港佳士得曾售出一件白玉雕英雄合卺杯，2007年11月27日，
Antiquities), 1751, illustrated by M.Wilson, Chinese Jades, London, 拍品編號1545。
2004, p.106, pl.107. The words ying and xiong form the pun
‘champion’ or ‘hero’, recalled in the phrase yingxiong duli ‘solitary 此盒蓋面雕八卦紋，八卦紋由短線符號組成，代表《周易》中的乾、
hero, alone in glory and nobility’; the representation of the eagle 兌、離、震、巽、坎、艮、坤八種圖形。玉匠八卦紋與十字紋及繩紋
and bear has the additional symbolism by association of conjugal 相結合，並輔以鷹熊紋，足可體現乾隆皇帝慕古而追新的藝術品味。
happiness as ‘champion’ vases are said to have been used since the 同樣帶有八卦紋的玉器，見北京故宮博物院藏明代一例，《故宮經
Ming dynasty as ritual wine vessels during the wedding ceremony. 典：文房清供》，北京，2009年，編號228。

This motif was frequently represented during the Ming and Qing
dynasties in a variety of materials including jade, cloisonné enamel,
bronze, and rhinoceros horn; see for example a spinach-green jade
double-tube vase, Qianlong mark and period, in the Victoria and Albert
Museum, London, illustrated by M.Wilson, ibid., p.105, pl.103; see
also a white jade ‘champion’ vase, Qianlong fanggu mark and period,
which was sold at Christie’s Hong Kong, 27 November 2007, lot 1545.

The cover is carved with a Daoist design of the Eight Trigrams;
these were believed to provide the means of assessing the present
state of the world and a basis for decision-making for the future -
both of great bearing to the emperor; see a white jade waterpot and
cover, Ming dynasty, carved with the Eight Triagrams, in the Palace
Museum, Beijing, illustrated in Classics of the Forbidden City:
Scholar’s Paraphernalia, Beijing, 2009, no.228.

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