Page 145 - Sothebys Important Chinese Art April 3 2018

Masterfully carved to various depths of relief, this extremely three is also significant. In Daoism, three symbolises the
rare double-sided screen is an outstanding example of the three elements of heaven, earth and human being, and an old
highest level of jade carving of the Qing dynasty. The three Chinese proverb encapsulates the importance of three: “The
figures, pavilion and trees give the impression of being wisdom of three ordinary people exceeds that of the wisest
modelled entirely in the round due to the exceptional degree individual”.
of undercutting, and the different textures of these elements
Similarly carved white jade screens of circular form, the figural
are skilfully executed. Further evidence of the craftsman’s
scene also framed within swirling clouds, include two from the
technical expertise is seen in the delicate details captured,
De An Tang collection, included in the exhibition, A Romance
such as the bending reeds of millet, which would have been
of Jade from the De An Tang Collection, Palace Museum,
difficult to successfully capture due to the unyielding nature of
Beijing, 2004, cat. nos. 25 and 26; and a pair, one from the
the material.
Fogg Art Museum, Harvard University, Cambridge, and the
Screens such as the present piece were seldom created other from the Frederick Knight collection, illustrated in Robert
before the Qianlong period due to the rarity of large flawless Kleiner, Chinese Jades from the Collection of Alan and Simone
pieces of jade, and were fashioned from carefully chosen Hartman, Hong Kong, 1996, pl. 123, sold at Christie’s Hong
highly translucent stones, which would enhance the differing Kong, 27th November 2007, lot 1511. See also a screen sold
depths of the carved pictorial scene. The particular challenge three times in these rooms, 16th November 1989, lot 640, 9th
presented to carvers of jade table screens was to compose two October 2007, lot 1579, and 8th October 2013, lot 3042; and
different designs for each side that would not interfere with but another sold in our London rooms, 28th October 1988, lot 285.
rather enhance the other when light was shone through. Thus
Jade plaques were often paired with vibrantly enamelled
the viewer could easily be transported into the tranquil and
stands, providing an attractive contrast to the monochrome
inviting landscapes such as the present.
jade, of which the present is a particularly sumptuous
The Qianlong Emperor advocated that jade mountains and example. Ornately embellished with elaborate gilt-bronze
carved panels should carry the spirit of paintings by famous scrolls, it clearly reveals the Western rococo influence that
masters of the past. It is recorded that a number of classical was popular in the Qianlong court. As characteristic of
paintings from the Emperor’s own collection was ordered to be contemporary imperial porcelain designs, Western motifs have
reproduced in jade, such as the celebrated painting Travellers been combined with traditional Chinese elements, seen here
in the Mountains, by the eminent Five Dynasties painter Guan through the lotus panel and lotus petals. A green jade plaque,
Tong (907-960). The sense of harmony between the figures mounted on a similarly opulent gilt-bronze stand embellished
and the vast landscape in this panel is a good example of the with cloisonné enamel, from the collection of Sir John Mullens
type of carving the Qianlong Emperor envisioned. and included in the Oriental Ceramic Society exhibition
Chinese Jade throughout the Ages, Victoria and Albert
The three boys carved on this plaque carry further auspicious
Museum, London, 1975, cat. no. 412, was sold in our London
meaning. While boys at play were frequently depicted from the
rooms, 8th June 1982, lot 322.
Ming dynasty to represent the wish for many noble sons, also
referenced in the millet which symbolises fertility, the number

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