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Lot Essay
The front of the present ruyi is densely decorated with a “hundred shou” design, composed of numerous stylised renderings of the character shou (longevity) arranged across the surface. Such compositions rank among the most enduring auspicious motifs in Qing decorative arts, expressing wishes for long life, prosperity, and happiness. Their appearance on the present ruyi is especially appropriate, reinforcing its function as a ceremonial object intended to convey blessings and longevity. The term ruyi, literally meaning “as you wish,” refers to a sceptre traditionally presented as a token of good fortune and auspicious wishes. Closely associated with Buddhist symbolism and later adopted into Daoist and secular traditions, the ruyi evolved into an emblem of prosperity and success. Its characteristic form derives from the lingzhi fungus, long regarded as a symbol of longevity and immortality.
The reverse is inlaid with an inscription composed by the Qing scholar and celebrated prose stylist Wu Zi (1755–1821). Written in a style inspired by the poetic language of the Chu Ci, the text praises the exceptional hardness and enduring qualities of iron, drawing parallels with the virtues of the cultivated gentleman, namely steadfastness, integrity, and wisdom. The inscription further records the presentation of the ruyi to a gentleman’s hall as an auspicious object intended to convey wishes for longevity. The inscription as a whole was clearly composed as a birthday encomium and reflects the refined literati practice of presenting ruyi as longevity gifts during the Qing dynasty.
Wu Zi (1755–1821) was a native of Quanjiao, Anhui province. He obtained the jinshi degree in 1799 during the Jiaqing period and later served as Reader at the Hanlin Academy, while also participating in the compilation of official histories, often signing himself Jiushi shi (“Former Historian”). Renowned for his mastery of parallel prose, as well as poetry and calligraphy, he authored the Collected Works of Academician Wu. The elegant literary style and scholarly refinement evident in the present inscription exemplify the close relationship between literati culture and the longstanding tradition of birthday celebrations and auspicious symbolism in Qing society.
A related, larger iron ruyi with silver damascened decoration and a six character Qianlong seal mark, also of the period, is illustrated in Sydney L. Moss, The Second Bronze Age: Later Chinese Metalwork, London, 1991, cat. no. 38, demonstrating the appreciation of iron ruyi as highly refined scholarly objects during the Qing dynasty.
The reverse is inlaid with an inscription composed by the Qing scholar and celebrated prose stylist Wu Zi (1755–1821). Written in a style inspired by the poetic language of the Chu Ci, the text praises the exceptional hardness and enduring qualities of iron, drawing parallels with the virtues of the cultivated gentleman, namely steadfastness, integrity, and wisdom. The inscription further records the presentation of the ruyi to a gentleman’s hall as an auspicious object intended to convey wishes for longevity. The inscription as a whole was clearly composed as a birthday encomium and reflects the refined literati practice of presenting ruyi as longevity gifts during the Qing dynasty.
Wu Zi (1755–1821) was a native of Quanjiao, Anhui province. He obtained the jinshi degree in 1799 during the Jiaqing period and later served as Reader at the Hanlin Academy, while also participating in the compilation of official histories, often signing himself Jiushi shi (“Former Historian”). Renowned for his mastery of parallel prose, as well as poetry and calligraphy, he authored the Collected Works of Academician Wu. The elegant literary style and scholarly refinement evident in the present inscription exemplify the close relationship between literati culture and the longstanding tradition of birthday celebrations and auspicious symbolism in Qing society.
A related, larger iron ruyi with silver damascened decoration and a six character Qianlong seal mark, also of the period, is illustrated in Sydney L. Moss, The Second Bronze Age: Later Chinese Metalwork, London, 1991, cat. no. 38, demonstrating the appreciation of iron ruyi as highly refined scholarly objects during the Qing dynasty.