Page 54 - Sotheby's Qianlong Calligraphy Oct. 3, 2018

fig. 3 fig. 4
Zhongqiu tie (Mid-Autumn Manuscript) from the Sanxitang Zhongqiu tie (Mid-Autumn Manuscript) from the Sanxitang fatie (Calligraphic Models of the Hall of Three Rarities)
fatie (Calligraphic Models of the Hall of Three Rarities)
圖四
圖三 《三希堂法帖》中的《中秋帖》
《三希堂法帖》中的《中秋帖》

Zhu Cai was a famous engraver of calligraphy in the court engraved with Qianlong’s copy of the Boyuan Manuscript.
workshops during the early Qianlong reign. He was summoned The text proper is followed by a dated signature of “imperially
to the court from the Suzhou Manufactory. Between 1738 copied during the 12th month of the year wuchen (1748)”
and 1757, the records of the court workshops frequently in running cursive script and two imperial seals reading
referred to Zhu Cai’s engraving, and some Qing court jades Shufangrun and Qianlong chenhan. Like the jade screen
even include his name. The last leaf of an album of green jade engraved with Timely Clearing after Snowfall, this album
leaves engraved with nine short texts by the Emperor, for reproduces Qianlong’s copy of a work of calligraphy, and its
example, includes a signature reading “respectfully engraved creation did not involve the challenge of reconciling seals
on order by Zhu Cai, a humble servant” (fig. 9). His authorship and calligraphy. Relative to the present jade screen engraved
is corroborated by the corresponding entry in the records of with the Mid-Autumn Manuscript, both works are technically
the court workshops, dated to the 5th intercalary month of the simpler.
16th year of the Qianlong reign (1751). 7
Throughout his life, Qianlong wanted to immortalise painting
During the Qianlong reign, jade engravers were the only jade and calligraphy through jade carving. For him, paper lasted
craftsmen allowed to sign their creations. First there was a thousand years, but jade, as the crystallised essence of
Zhu Cai. Later came Zhu Yongtai, Zhu Shiyun, and others. By heaven and earth, was indestructible. During the early part of
contrast, other jade craftsmen like Yao Zongren, despite their his reign, when raw jade was in limited supply, Qianlong mostly
evident skill and frequent appearance in the court records, did had calligraphic masterpieces reproduced on jade. Aside
not leave their names on their works. This indicates to us the from the works in Sanxitang fatie and Thirteen Lines, these
high regard in which Qianlong held jade engravers. included also Inscription on the Sweet Spring of Jiuchenggong
Above we have discussed jade screens engraved with the Mid- Palace, the Jade Pillow version of the Preface to the Orchid
Autumn Manuscript and Timely Clearing after Snowfall. Given Pavilion Anthology, and the masterpieces in the Chunhuage
Qianlong’s love of both calligraphy and jade, there must exist a Compendium of Calligaphic Models. As the supply of raw
jade screen from his time engraved with the third of the Three jade became ample and stable during the middle and late
Rarities—the Boyuan Manuscript. Unfortunately, I have been parts of Qianlong’s reign, his court began to produce larger
unable to find such a screen in the Palace Museum collection. jades, including jade carvings based on paintings. Among the
But the National Palace Museum in Taipei contains an most famous of these is the Jade Mountain with Great Yu
album, entitled Sanxi wenhan ce, of pale celadon jade leaves Controlling the Waters, which was based on a Song painting of

52 SOTHEBY’S 蘇富比