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Lot Essay
Lavishly embellished panels such as the present example—featuring intricate inlays of scholar’s objects and poetic inscriptions in diverse materials including jade, porcelain, cloisonné enamel, ivory, and other precious materials—are emblematic of the refined aesthetic that permeated the furnishings of the Qing Court. Often composed in whimsical yet elegant groupings, these panels not only display technical virtuosity but also reflect the refined taste of their imperial patrons.
The inscription on the present panel is based on an excerpt of imperial poem by the Qianlong Emperor (r. 1736–1795), renowned for his literary pursuits with Chinese scholarly traditions. Trained rigorously in the classical arts of brushwork and poetry, the emperor composed this poem to commemorate his experience atop the Wave-Watching Pagoda. The passage evokes the expansive view and the serenity of the moment. The calligraphy, deftly carved in lustrous yellow jade, exemplifies extraordinary craftsmanship. Each character is rendered with precision and fluidity, capturing the rhythmic grace of running script. The crisp execution and careful composition suggest that the craftsman was not merely a jade carver but likely a trained calligrapher, capable of translating brushstrokes into stone with remarkable skills. Comparable works include a pair of jade-inlaid panels inscribed in running script and bearing the seals of the Qianlong Emperor, formerly in the collection of Aileen Chiang Pei (1912–2016), sold at Christie’s New York, 22 September 2022, lot 956. Such panels serve not only as decorative furnishings but also as embodiments of Qing court taste, merging the visual opulence of decorative arts with the intellectual rigor of imperial literary culture.
The inscription on the present panel is based on an excerpt of imperial poem by the Qianlong Emperor (r. 1736–1795), renowned for his literary pursuits with Chinese scholarly traditions. Trained rigorously in the classical arts of brushwork and poetry, the emperor composed this poem to commemorate his experience atop the Wave-Watching Pagoda. The passage evokes the expansive view and the serenity of the moment. The calligraphy, deftly carved in lustrous yellow jade, exemplifies extraordinary craftsmanship. Each character is rendered with precision and fluidity, capturing the rhythmic grace of running script. The crisp execution and careful composition suggest that the craftsman was not merely a jade carver but likely a trained calligrapher, capable of translating brushstrokes into stone with remarkable skills. Comparable works include a pair of jade-inlaid panels inscribed in running script and bearing the seals of the Qianlong Emperor, formerly in the collection of Aileen Chiang Pei (1912–2016), sold at Christie’s New York, 22 September 2022, lot 956. Such panels serve not only as decorative furnishings but also as embodiments of Qing court taste, merging the visual opulence of decorative arts with the intellectual rigor of imperial literary culture.