A very fine pale greenish-white jade 'landscape' rectangular table screen Qianlong

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Lot 101
A very fine pale greenish-white jade 'landscape' rectangular table screen
Qianlong

Sold for HK$ 1,000,000 (US$ 127,917) inc. premium
A very fine pale greenish-white jade 'landscape' rectangular table screen
Qianlong
Superbly carved on one side with a landscape scene with distant mountain peaks at the top and rocky islands set on a lake with pavilions amidst pine, willow and wutong trees, finely detailed with sailing fishermen in sampans on gentle waters, the reverse plain, the stone of an even pale greenish-white tone with milky inclusions.
29.2cm high. x 17.2cm wide. (2).

Footnotes

  • 清乾隆 青白玉雕溪岸泛舟圖插屏

    Provenance 來源:
    A European private collection
    歐洲私人收藏

    The mountainous river landscape composition was most probably inspired by or derived from woodblock prints or paintings from the late Ming and early Qing Dynasties. As argued by E.J.Laing in 'Ch'ing Dynasty Pictorial Jades and Painting', Ars Orientalis, Vol.XVI, 1986, pp.59-91, jade workshops followed conventional painting themes in some of their work, thereby creating pictures on jade. Paintings from the court collection or sketches made by court painters, of landscapes and flowers, were often the inspiration and source of decoration for jade carvers and other craftsmen for other media including ceramics.

    The Qianlong Emperor particularly favoured jades with pictorial and figural scenes. Employing the best and most skilled craftsmen to the Beijing Palace workshops, it is unsurprising that a large number of jade landscape table screens are extant in the Qing Imperial collections in the Palace Museum, Beijing and the National Palace Museum, Taipei. Furthermore, during this period, jade carver's employed extremely skilful subtle three-dimensional elements, created by sections carved in various degrees of depth, resulting in 'positive' reliefs versus 'negative' spaces. As table screens were placed on the scholar's desk as miniature worlds that one could contemplate and 'escape' to from the toils of bureaucratic life, such detailed and technical carving provided a more naturalistic and complex scene.

    See the examples in the Palace Museum, Beijing, illustrated by Zheng Xinmiao, ed., Compendium of Collections in the Palace Museum: Jade, Vol.8, Beijing, 2010, pls.149, 151-154, 159, and 161; and in the National Palace Museum, Taipei, by Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, p.51, pls.62, 65, 67-72. Compare also with a slightly larger white jade rectangular table screen, carved similarly with figures in a landscape and dated to the Qianlong period, previously in a European private collection formed by a Russian nobleman and diplomat, sold at Christie's Hong Kong, 30 November 2011, lot 3033.

    青白玉質地,長方形,插屏一面雕繪山水畫一幅,遠山近水,松柳搖曳,湖畔亭台,泛舟湖上,一切文人山水畫的景色均呈現在了一塊玉牌之上。整體佈局合理,雕工精准,極具雅致之意。

    一河兩岸之構圖,屬元代四大家之一倪瓚(1301-1374)之傳統,以一秋水相隔遠山及近岸,把中國古代書畫中流白的技巧發揮至極,帶出簡約閒色之氣。此傳統後成各明、清文人畫家以至宮廷畫家之仿古方向,文人雅士之追求,其影響及致木板印畫。

    此插屏上所雕之溪岸泛舟山水很有可能是受木板印畫或明末清初宮廷山水畫之影響。E. J. Laing曾在其《Ch'ing Dynasty Pictorial Jades and Painting》一文中論述,認為宮廷玉器造辦處的工匠們在雕刻前通常會讓宮廷畫師先設計小樣,這些由宮廷畫師設計的山水或花鳥紋飾即成為玉雕及繪瓷工匠的主要參考來源,見《Ars Orientalis》,卷XVI,頁59-91。

    乾隆帝喜玉,尤好以山水花鳥紋飾而主題的玉雕。乾隆時期,宮廷玉器主要由宮廷造辦處生產,其生產工藝也有前所未有的提高。此時從蘇州及北京選送的玉匠,已經懂得使用雕刻之深淺來表現空間三維感,並以深浮雕或淺浮雕的形式表現出來。

    插屏為宮廷文房清供之一,一般陳設案頭以供觀者沉思及冥想,從而遠離世俗塵囂。北京故宮博物院中亦有類似例子,見《故宮博物院藏文物珍品大系:玉器》,卷八,北京,2010年,圖版149,151-154,159及161。另見台北故宮博物院藏幾件清乾隆玉插屏,亦皆是受宮廷繪畫影響的畫意玉器,見《宮廷之雅:清代仿古及畫意玉器特展圖錄》,台北,1997年,圖版62,65,67-72。另見一件俄羅斯外交官舊藏尺寸更大的清乾隆觀瀑圖玉插屏,後於香港佳士得曾售出,2011年11月30日,編號3033。
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A very fine pale greenish-white jade 'landscape' rectangular table screen Qianlong
A very fine pale greenish-white jade 'landscape' rectangular table screen Qianlong
A very fine pale greenish-white jade 'landscape' rectangular table screen Qianlong
A very fine pale greenish-white jade 'landscape' rectangular table screen Qianlong
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