A PAIR OF CELADON JADE TABLE SCREENS, QING DYNASTY, QIANLONG PERIOD

Collection of Stephen Junkunc, III (d. 1978).

來源

史蒂芬•瓊肯三世（1978年逝）收藏

In its aesthetic and technique, the present pair of screens exemplify the imperial style of the 18th century, whereby the Qianlong Emperor advocated that jade mountains and carved panels should carry the spirit of paintings by famous past masters. It is recorded that several classical paintings from the Emperor’s own collection were ordered to be reproduced in jade, such as the celebrated painting Travellers in the Mountains, by the eminent Five Dynasties painter Guan Tong (907-960).

The shaped upper edge of the present screen is a feature that appears on several jade screens of the 18th and 19th centuries. These screens are almost always carved of pale jade and bear images of landscapes on their surfaces. Compare, for example, a white jade table screen carved with a related immortality theme with cranes, lingzhi, and pines, sold at Christie's Paris, 13th June 2013, lot 164. Additional examples include one depicting a pair of horses by a river at the foot of a mountain, in the National Palace Museum, Taipei, included in the museum’s exhibition The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, 1997, cat. no. 70; and two sold in these rooms, one carved with boys bathing an elephant in a river, 17th-18th March 2015, lot 359, and the other with a landscape scene, from the collections of Mr and Mrs Samuel M. Nickerson and the Art Institute of Chicago, sold in these rooms 20th March 2019, lot 568.

See also a pair of lapis lazuli screens carved with a related scene of a crane and deer in a landscape, the reverse of each inscribed with an imperial poem taken from Qing Gaozong yuzhi shiwen quanji [Anthology of imperial Qianlong poems and prose], Yuzhi shi si ji [Imperial poems, vol. 4], juan 14, from the collection of Jules Speelman and offered in our Hong Kong rooms, 3rd October 2018, lot 3409. The poems echo the subject matter portrayed on the opposite sides and convey wishful blessings of longevity.

觀本品構圖及製工，當為十八世紀宮廷風格之典例。乾隆帝主張插屏及山子等玉雕須帶歷代名家畫意。據載，高宗曾命工匠照其御藏古畫雕玉，其中包括五代山水大家關仝所作《關山行旅圖》等。

本對屏上方作圓角，可比較數件十八及十九世紀相類作例，幾乎均雕山水紋飾。比較一白玉例，雕仙鶴、靈芝及壽松圖，售於巴黎佳士得2013年6月13日，編號164。台北故宮博物院收藏一例，雕雙駿圖，曾展於《宮廷之雅：清代仿古及画意玉器特展》，台北，1997年，編號70；兩例售於紐約蘇富比，其一為青白玉雕太平喜像圖座屏，售於2015年3月17至18日，編號359，其二為白玉雕松山雲瀑圖插屏，Samuel M. 及 Matilda Nickerson 伉儷收藏，1900年贈予芝加哥藝術博物館，售於紐約蘇富比2019年3月20日，編號568。

另可比較清乾隆青金石御製詩六合同春圖插屏一對，所刻詩句出自《清高宗御製詩文全集•御製詩四集》，卷十四，為史博曼雅藏，上拍於香港蘇富比2018年10月3日，編號3409，詩句以鹿、鶴為題，祝願多福長壽。