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Lot Essay
Emperor Qianlong’s Tianhuang ‘Dragon’ Rectangular Seal
Guo Fuxiang
The Forbidden City is not only the residence of emperors and the site of important political events, but also a treasure trove of art and literature. The collection of Chinese calligraphy and painting, as well as ancient books and documents, is particularly impressive and far surpasses any private collection. Some of these works were inherited from previous dynasties, while others were collected from the public, and some were created by imperial artists. There are also works that bear the emperor's own seal, indicating that they were personally inspected and appreciated by the emperor. Throughout various dynasties, emperors often studied and admired these works, and many of them left their seals on the artworks as a sign of their appreciation. Over time, these seals became a distinctive feature of the palace's collection of books and paintings. The Qing dynasty emperors' seals, which can be seen in large numbers in the Forbidden City, are also an important reference for understanding the collection and transmission of books and cultural artifacts in the palace. This tianhuang ‘dragon’ seal, known as Jixia Jianshang zhi xi, “Seal for Leisurely Appreciation” is one of the important collection seals of Emperor Qianlong.
The seal is made of tianhuang stone and the finial is carved with a pair of dragons playing a pearl amidst clouds. It measures 4.4 cm in height and 2.05 cm in width, with the inscription on the seal face carved in relief. This seal is recorded in several historical documents, including the Qianlong Baosou, Jiaqing Baosou, and Daoguang Baosou, which are compedium of imperial seal impressions from the Qing dynasty. The seal's material, size, and calligraphy style all match the descriptions in the Baosou catalogues, which confirms its authenticity as a genuine imperial seal of the Qing dynasty. As an important imperial seal of Emperor Qianlong, it is necessary to fully understand its value by conducting a comprehensive study of the seal's history and cultural significance, particularly in relation to the palace's collection during the Qianlong period. This research should cover the background of the seal's creation, its cultural and artistic achievements, and its relationship with other artifacts from the same period.
Paintings and calligraphy have always been an important category of the Chinese imperial collection, and the Qing Dynasty was one of the most prosperous period for the collection of paintings and calligraphy in Chinese history. Therefore, starting from the Kangxi Emperor, almost every emperor of the Qing dynasty had seals of connoisseurship made to leave their mark on the works that they had appreciated.
The emperor who had the most seals made during the Qing dynasty was Emperor Qianlong, who had a great love for ancient art and spared no effort in collecting it. He amassed an impressive collection encompassing treasures from various dynasties during his reign of over sixty years. Especially in the realm of calligraphy and painting, the collection was unparalleled. Emperor Qianlong not only appreciated the artworks in his private collection but also commissioned comprehensive catalogues of them, which have become valuable resources for later scholars. He also frequently inspected and evaluated the artworks, leaving behind numerous impressions that have become an important part of their provenance. Qianlong’s seals and the way he used them reflect his personality. First, he had a large quantity of seals. According to records, Emperor Qianlong inscribed on long scrolls of calligraphy and paintings, and each scroll would bear multiple small seals, often with identical inscriptions. Some works had as many as over 190 seals, making him the emperor with the most impressions on various artworks.
Secondly, Emperor Qianlong had many large seals that are often used in different combinations. From the surviving seals, it can be seen that the number of large seals far exceeds that of other emperors, especially the hall name seals. These large seals were often impressed on works in the imperial collection. It is worth noting that Emperor Qianlong was one of the longest-reigning emperors in Chinese history. It was rare for an emperor to live to the age of 70 or 80, yet he not only lived beyond 80 years old but also created an era of cultural and military prosperity. Even after ruling for a remarkable sixty years, he abdicated the throne to Emperor Jiaqing, becoming the Emperor Emeritus. All of these achievements became the highlights of Emperor Qianlong's life, something he could be proud of and show off. Therefore, he had numerous seals inscribed to commemorate his seventieth and eightieth birthday, and also when he retired as Emperor Emeritus. His various positions are reflected on paintings and calligraphy, where seals from all three stages appeared in many different combinations. Although the specific placement of each seal on a scroll may vary, the combination of seals representing these three stages is a common feature of Emperor Qianlong's collection seals.
Lastly, Emperor Qianlong emphasised his presence through his seals. He always placed himself in a prominent position when using his seals. When viewing the entire artwork, his seal impression often stood out the most. Looking at the paintings and calligraphy in the imperial collection, it can be observed that Emperor Qianlong had the most collection seals. According to the Qianlong Baosou, Emperor Qianlong started producing a large number of collection seals since the beginning of his reign, with most of them made of soapstone. This seal is one of the earlier seals made during Qianlong’s reign.
Among the Qianlong Emperor's many seals of connoisseurship, this seal was used very frequently, with more than 30 works recorded in the Shiqu Baoji series and Midian Zhulin bearing the impression of this seal, including but not limited to Timely Clearing After Snowfall by Wang Xizhi, Letter to Meng-Te, The Palace Instructor by Su Shi, and Autumn Boating on a Maple River by Sheng Mao. Through an analysis of the seal usage on these works, it can be inferred that the seal was either used as a yajiao seal for imperial calligraphy and inscriptions, either alone or in conjunction with other small seals, or it was affixed as part of Emperor Qianlong's imperial calligraphy inscriptions. Alternatively, it may have been on blank spaces of the work at the Emperor’s discretion with no specific formats. Regardless, it is an undeniable fact that this seal was used quite extensively on the paintings and calligraphy in Emperor Qianlong's collection.
There are also several noteworthy points. First, the material used for the seal is worth mentioning. The material of this seal is identified as dongshi in the catalogue of seals of Emperor Qianlong, Jiaqing, and Daoguang. Dongshi is a term used by the Qing court to refer to high-quality stone materials, including the rare and precious variety of stone known as tianhuang and furong. The stone is said to have been produced in the water fields of Fujian Province and was renowned for its fine texture and translucency. The seal is coloured like a ripe persimmon and has a smooth, delicate texture, and a glossy surface. It is a typical example of Shoushan tianhuang dongshi which is consistent with the records imperial seal catalogue.
Second, the carving technique used for the seal is also noteworthy. The lower half of the seal is in a standard rectangular shape, while the upper half features a carving of two dragons playing with a pearl. The dragons' heads protrude from the clouds, reaching towards the pearl in the center. The dragons' heads and the pearl are carved in high-relief, creating a striking focal point. The remaining three sides are carved in shallow reliefs with clouds and rocks that blend seamlessly with the main design. The use of different engraving techniques creates a sense of depth and dimension, adding to the overall beauty of the seal. The overall design is intricate, layered, and well-proportioned, showcasing exceptional craftsmanship and artistic skill.
Guo Fuxiang
The Forbidden City is not only the residence of emperors and the site of important political events, but also a treasure trove of art and literature. The collection of Chinese calligraphy and painting, as well as ancient books and documents, is particularly impressive and far surpasses any private collection. Some of these works were inherited from previous dynasties, while others were collected from the public, and some were created by imperial artists. There are also works that bear the emperor's own seal, indicating that they were personally inspected and appreciated by the emperor. Throughout various dynasties, emperors often studied and admired these works, and many of them left their seals on the artworks as a sign of their appreciation. Over time, these seals became a distinctive feature of the palace's collection of books and paintings. The Qing dynasty emperors' seals, which can be seen in large numbers in the Forbidden City, are also an important reference for understanding the collection and transmission of books and cultural artifacts in the palace. This tianhuang ‘dragon’ seal, known as Jixia Jianshang zhi xi, “Seal for Leisurely Appreciation” is one of the important collection seals of Emperor Qianlong.
The seal is made of tianhuang stone and the finial is carved with a pair of dragons playing a pearl amidst clouds. It measures 4.4 cm in height and 2.05 cm in width, with the inscription on the seal face carved in relief. This seal is recorded in several historical documents, including the Qianlong Baosou, Jiaqing Baosou, and Daoguang Baosou, which are compedium of imperial seal impressions from the Qing dynasty. The seal's material, size, and calligraphy style all match the descriptions in the Baosou catalogues, which confirms its authenticity as a genuine imperial seal of the Qing dynasty. As an important imperial seal of Emperor Qianlong, it is necessary to fully understand its value by conducting a comprehensive study of the seal's history and cultural significance, particularly in relation to the palace's collection during the Qianlong period. This research should cover the background of the seal's creation, its cultural and artistic achievements, and its relationship with other artifacts from the same period.
Paintings and calligraphy have always been an important category of the Chinese imperial collection, and the Qing Dynasty was one of the most prosperous period for the collection of paintings and calligraphy in Chinese history. Therefore, starting from the Kangxi Emperor, almost every emperor of the Qing dynasty had seals of connoisseurship made to leave their mark on the works that they had appreciated.
The emperor who had the most seals made during the Qing dynasty was Emperor Qianlong, who had a great love for ancient art and spared no effort in collecting it. He amassed an impressive collection encompassing treasures from various dynasties during his reign of over sixty years. Especially in the realm of calligraphy and painting, the collection was unparalleled. Emperor Qianlong not only appreciated the artworks in his private collection but also commissioned comprehensive catalogues of them, which have become valuable resources for later scholars. He also frequently inspected and evaluated the artworks, leaving behind numerous impressions that have become an important part of their provenance. Qianlong’s seals and the way he used them reflect his personality. First, he had a large quantity of seals. According to records, Emperor Qianlong inscribed on long scrolls of calligraphy and paintings, and each scroll would bear multiple small seals, often with identical inscriptions. Some works had as many as over 190 seals, making him the emperor with the most impressions on various artworks.
Secondly, Emperor Qianlong had many large seals that are often used in different combinations. From the surviving seals, it can be seen that the number of large seals far exceeds that of other emperors, especially the hall name seals. These large seals were often impressed on works in the imperial collection. It is worth noting that Emperor Qianlong was one of the longest-reigning emperors in Chinese history. It was rare for an emperor to live to the age of 70 or 80, yet he not only lived beyond 80 years old but also created an era of cultural and military prosperity. Even after ruling for a remarkable sixty years, he abdicated the throne to Emperor Jiaqing, becoming the Emperor Emeritus. All of these achievements became the highlights of Emperor Qianlong's life, something he could be proud of and show off. Therefore, he had numerous seals inscribed to commemorate his seventieth and eightieth birthday, and also when he retired as Emperor Emeritus. His various positions are reflected on paintings and calligraphy, where seals from all three stages appeared in many different combinations. Although the specific placement of each seal on a scroll may vary, the combination of seals representing these three stages is a common feature of Emperor Qianlong's collection seals.
Lastly, Emperor Qianlong emphasised his presence through his seals. He always placed himself in a prominent position when using his seals. When viewing the entire artwork, his seal impression often stood out the most. Looking at the paintings and calligraphy in the imperial collection, it can be observed that Emperor Qianlong had the most collection seals. According to the Qianlong Baosou, Emperor Qianlong started producing a large number of collection seals since the beginning of his reign, with most of them made of soapstone. This seal is one of the earlier seals made during Qianlong’s reign.
Among the Qianlong Emperor's many seals of connoisseurship, this seal was used very frequently, with more than 30 works recorded in the Shiqu Baoji series and Midian Zhulin bearing the impression of this seal, including but not limited to Timely Clearing After Snowfall by Wang Xizhi, Letter to Meng-Te, The Palace Instructor by Su Shi, and Autumn Boating on a Maple River by Sheng Mao. Through an analysis of the seal usage on these works, it can be inferred that the seal was either used as a yajiao seal for imperial calligraphy and inscriptions, either alone or in conjunction with other small seals, or it was affixed as part of Emperor Qianlong's imperial calligraphy inscriptions. Alternatively, it may have been on blank spaces of the work at the Emperor’s discretion with no specific formats. Regardless, it is an undeniable fact that this seal was used quite extensively on the paintings and calligraphy in Emperor Qianlong's collection.
There are also several noteworthy points. First, the material used for the seal is worth mentioning. The material of this seal is identified as dongshi in the catalogue of seals of Emperor Qianlong, Jiaqing, and Daoguang. Dongshi is a term used by the Qing court to refer to high-quality stone materials, including the rare and precious variety of stone known as tianhuang and furong. The stone is said to have been produced in the water fields of Fujian Province and was renowned for its fine texture and translucency. The seal is coloured like a ripe persimmon and has a smooth, delicate texture, and a glossy surface. It is a typical example of Shoushan tianhuang dongshi which is consistent with the records imperial seal catalogue.
Second, the carving technique used for the seal is also noteworthy. The lower half of the seal is in a standard rectangular shape, while the upper half features a carving of two dragons playing with a pearl. The dragons' heads protrude from the clouds, reaching towards the pearl in the center. The dragons' heads and the pearl are carved in high-relief, creating a striking focal point. The remaining three sides are carved in shallow reliefs with clouds and rocks that blend seamlessly with the main design. The use of different engraving techniques creates a sense of depth and dimension, adding to the overall beauty of the seal. The overall design is intricate, layered, and well-proportioned, showcasing exceptional craftsmanship and artistic skill.