.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Lot Essay
Ancient China believed that when an enlightened ruler reigned with benevolent policies, auspicious omens, such as unusual meteorological phenomena and exotic animals, would appear as demonstrations of heavenly endorsements. Successive emperors would order records of these omens be made in writing or by way of paintings; they would also ask for auspicious objects to be made from various precious materials to commemorate such events. Similarly, local officials regularly commissioned auspicious objects as commemorations and tributes.
This exceptionally large, brilliantly carved yellow jade xiezhi, accentuated by a lustrous texture, can be dated to the Qianlong period. The imperial carver impeccably captures the ‘vivacious spirit’ of the subject, xiezhi, a highly auspicious and benevolent mythical animal, as if it has descended from the heavens to grace the imperial Qing courts at its glorious height.
Jade objects of the Qing imperial workshops were mostly made of celadon, white, and spinach-green jades; the use of yellow jade was not common and the limited supplies of yellow jade stones were mostly used to make small personal ornaments. With a length measuring 18.1 cm, this yellow jade xiezhi is exceptionally large; the colour of the stone is top grade steamed chestnut-like with a warm glow and clarity. The quality of the stone, which is free of cracks and fissures, is akin to perfect. Briskly carved in a reclining, rear- facing form, the xiezhi has its ears suspending backwards, a horn growing overhead, its eyebrows curling upwards, conveying a gleaming expression. The eyes of the animal are shown glancing afar, the shape of its nose is carved to resemble a ruyi, its mouth is shown subtly projecting a grin, with a beard growing from its jaw. Depicted in a naturalistic manner with meticulous attention to anatomical details, such as the raised ribs and spine, prone forelegs and slightly bent hind legs with sharp claws on all four limbs, the animal is portrayed as if ready to pounce. In contrast, the tufty tail of the animal is evenly parted and gently curls around its rear, suggesting it is in a relaxed and leisurely state. With every aspect exceptionally carved, including the finely incised hair on its head, beard and tail, this yellow jade xiezhi is an exceptionally rare treasure of the imperial court of Emperor Qianlong.
A careful comparison would indicate that this yellow jade xiezhi display piece is most likely modelled on the image of a xiezhi depicted in Qing court commissioned Shoupu (Album of the Beasts). It is then carved according to the natural shape of the jade stone.
In the fifteenth year of the reign of Emperor Qianlong (1750), court painter Yu Sheng and others commenced the preparation of a large scale compilation of animal illustrations, which was completed in the twenty-sixth year of the of the reign of Emperor Qianlong (1761). 180 drawings and descriptions were made and mounted in six volumes. Scholars have separated these illustrated animals into three main categories: (1) traditional benevolent mythical animals such as qilin and zaoyu; (2) animals that exist in the real world such as rats, buffaloes and monkeys; and (3) imaginary and farfetched creatures such as the nine-headed, nine-tailed longzhi. Shoupu was produced in an album format, with animal illustrations shown on the right side, and the names and descriptions of appearances and special features of the corresponding animals written in Manchu and Chinese on the left side. Comparing with the xiezhi depicted in Shoupu, the single horn, the limbs, the evenly parted tail which curls around its rear, and the rear- facing posture shown are all similar to the present yellow jade xiezhi example. Shoupu describes the appearance of xiezhi as ‘reminiscent of a mountain goat with one horn, also named shenyang(sacred goat) or jiesheng’; it also describes its characteristics as ‘faithful and straightforward, keeping the peace when people fight and argue, and that it is also known as renfashou (animal of justice), and enforcers of the law wear headgear in the shape its horn.’ Accordingly, xiezhi can distinguish right from wrong, identify good from evil, and is a symbol of justice and righteousness. Legend has it that in the reign of Emperor Yao in prehistorical China, Gao Yao, Minister for Law, made use of a xiezhi which would use its horn to touch the guilty but would leave the innocent untouched, to assist in his judgement. In the Ming and Qing dynasties, judicial officers wore headgear in the shape the horn of the still revered xiezhi (xiezhiguan) or wore surcoats depicting the xiezhi.
According to the archival record of the Qing court such as Huojidang (Archives of the Imperial Household), on the twentieth day of the fifth month in the twenty-first reign year of the Emperor Qianlong (1756) ‘... a Han dynasty sweet yellow jade beast of joy... ordered to be placed in the Baishijian (‘hundred-item’ curio box)’; on the sixteenth day of the seventh month of the twenty-fifth year (1760), Li Yuanliang, senior official of Ministry of War presented a list containing ‘a yellow jade mythical beast (to be placed in Yangxindian ‘Hall of Spiritual Cultivation’); on the seventh day of the Eleventh Month of the twenty-sixth year (1761), Yinglian, head of Ministry of Interior Affairs presented a list containing ‘a yellow jade reclining lion’ (to be placed in the outer hall of Yangxindian ‘Hall of Spiritual Cultivation’). These records reveal that yellow jade animals were to be kept in the treasured ‘hundred-item’ curio box, or placed in Yangxindian where the emperor performed administrative duties, studied, and resided, indicating the importance of these fine jade carvings that reflect the imperial taste.
Although the proper names of the yellow jade animals were not specified in the entries in Huojidang just mentioned, an entry was noted in Huojidang for a white jade animal, ‘a pair of white jade luduan’, on the fourth month of the eighth year of the reign of Emperor Qianlong (1743). The entry described that luduan ‘has an ox horn over its nose.’ A jade animal fitting this description is in the collection of the Taipei Palace Museum. The mythical animal luduan is also featured in Shoupu, which quotes from Furui Zhi (Treatise on Auspicious Signs) of anthology Songshu (Book of Song) to describe its role and characteristics, ‘Luduan…… the wise king knows everything from afar from his throne, by reports delivered to him (ensured by the mythical animal)’. Based on this example, it is highly probable that the Qianlong court commissioned jade animals to be based on specific benevolent animals, including those made in yellow jades.
Examples of imperial yellow jade mythical animals from the Qing court include a suanni published in Compendium of the Cultural Relics in the Collection of the Summer Palace: Jade. Its rear-facing reclining posture is very similar to the present yellow jade xiezhi, but the head of a suanni is hornless. Referencing the Shoupu, it is clear that the published animal is indeed the rare and large animal suanni, a lion. In Shoupu, the featured suanni mainly highlights the interaction between an adult and a cub, whereas the published example of the suanni in the ‘Compendium’ is a single adult with highly comparable features to the Shoupu depiction. Another example of a yellow jade animal, also in a reclining pose, is in the collection of the Beijing Palace Museum. See, also a yellow and russet jade carving of a mythical beast dated to the Qianlong period from the Junkunc collection, Sotheby’s New York, 2020, Lot 277. The Junkunc hornless animal with elaborated claws looks almost identical to the baize illustrated in Shoupu. It is noteworthy that the Summer Palace and Junkunc examples are both 15 cm long, while the Beijing Palace Museum example is 9 cm long. As the most illustrious example of yellow jade animals of the court of Emperor Qianlong, the present yellow jade xiezhi has a monumental length of 18.1 cm!
In summary, Qing court yellow jade carvings depicting larger mythical animals include xiezhi, suanni and baize, and they are all illustrated in the first volume of Shoupu. Notwithstanding the scarcity of yellow jades, Emperor Qianlong commissioned the production of these benevolent mythical animals which were supposed to appear as auspicious omens only when an enlightened ruler reigned with benevolent policies; his intention was likely to have been to showcase a collection of these rare yellow jade auspicious mythical animals as a reflection of and to celebrate a prosperous state of the Qing empire under his rule as a virtuous king. The present yellow jade xiezhi, vivaciously carved and finely polished, masterfully portrays the vitality of the revered animal and symbolically highlights the glorious times of the Qianlong empire.
This exceptionally large, brilliantly carved yellow jade xiezhi, accentuated by a lustrous texture, can be dated to the Qianlong period. The imperial carver impeccably captures the ‘vivacious spirit’ of the subject, xiezhi, a highly auspicious and benevolent mythical animal, as if it has descended from the heavens to grace the imperial Qing courts at its glorious height.
Jade objects of the Qing imperial workshops were mostly made of celadon, white, and spinach-green jades; the use of yellow jade was not common and the limited supplies of yellow jade stones were mostly used to make small personal ornaments. With a length measuring 18.1 cm, this yellow jade xiezhi is exceptionally large; the colour of the stone is top grade steamed chestnut-like with a warm glow and clarity. The quality of the stone, which is free of cracks and fissures, is akin to perfect. Briskly carved in a reclining, rear- facing form, the xiezhi has its ears suspending backwards, a horn growing overhead, its eyebrows curling upwards, conveying a gleaming expression. The eyes of the animal are shown glancing afar, the shape of its nose is carved to resemble a ruyi, its mouth is shown subtly projecting a grin, with a beard growing from its jaw. Depicted in a naturalistic manner with meticulous attention to anatomical details, such as the raised ribs and spine, prone forelegs and slightly bent hind legs with sharp claws on all four limbs, the animal is portrayed as if ready to pounce. In contrast, the tufty tail of the animal is evenly parted and gently curls around its rear, suggesting it is in a relaxed and leisurely state. With every aspect exceptionally carved, including the finely incised hair on its head, beard and tail, this yellow jade xiezhi is an exceptionally rare treasure of the imperial court of Emperor Qianlong.
A careful comparison would indicate that this yellow jade xiezhi display piece is most likely modelled on the image of a xiezhi depicted in Qing court commissioned Shoupu (Album of the Beasts). It is then carved according to the natural shape of the jade stone.
In the fifteenth year of the reign of Emperor Qianlong (1750), court painter Yu Sheng and others commenced the preparation of a large scale compilation of animal illustrations, which was completed in the twenty-sixth year of the of the reign of Emperor Qianlong (1761). 180 drawings and descriptions were made and mounted in six volumes. Scholars have separated these illustrated animals into three main categories: (1) traditional benevolent mythical animals such as qilin and zaoyu; (2) animals that exist in the real world such as rats, buffaloes and monkeys; and (3) imaginary and farfetched creatures such as the nine-headed, nine-tailed longzhi. Shoupu was produced in an album format, with animal illustrations shown on the right side, and the names and descriptions of appearances and special features of the corresponding animals written in Manchu and Chinese on the left side. Comparing with the xiezhi depicted in Shoupu, the single horn, the limbs, the evenly parted tail which curls around its rear, and the rear- facing posture shown are all similar to the present yellow jade xiezhi example. Shoupu describes the appearance of xiezhi as ‘reminiscent of a mountain goat with one horn, also named shenyang(sacred goat) or jiesheng’; it also describes its characteristics as ‘faithful and straightforward, keeping the peace when people fight and argue, and that it is also known as renfashou (animal of justice), and enforcers of the law wear headgear in the shape its horn.’ Accordingly, xiezhi can distinguish right from wrong, identify good from evil, and is a symbol of justice and righteousness. Legend has it that in the reign of Emperor Yao in prehistorical China, Gao Yao, Minister for Law, made use of a xiezhi which would use its horn to touch the guilty but would leave the innocent untouched, to assist in his judgement. In the Ming and Qing dynasties, judicial officers wore headgear in the shape the horn of the still revered xiezhi (xiezhiguan) or wore surcoats depicting the xiezhi.
According to the archival record of the Qing court such as Huojidang (Archives of the Imperial Household), on the twentieth day of the fifth month in the twenty-first reign year of the Emperor Qianlong (1756) ‘... a Han dynasty sweet yellow jade beast of joy... ordered to be placed in the Baishijian (‘hundred-item’ curio box)’; on the sixteenth day of the seventh month of the twenty-fifth year (1760), Li Yuanliang, senior official of Ministry of War presented a list containing ‘a yellow jade mythical beast (to be placed in Yangxindian ‘Hall of Spiritual Cultivation’); on the seventh day of the Eleventh Month of the twenty-sixth year (1761), Yinglian, head of Ministry of Interior Affairs presented a list containing ‘a yellow jade reclining lion’ (to be placed in the outer hall of Yangxindian ‘Hall of Spiritual Cultivation’). These records reveal that yellow jade animals were to be kept in the treasured ‘hundred-item’ curio box, or placed in Yangxindian where the emperor performed administrative duties, studied, and resided, indicating the importance of these fine jade carvings that reflect the imperial taste.
Although the proper names of the yellow jade animals were not specified in the entries in Huojidang just mentioned, an entry was noted in Huojidang for a white jade animal, ‘a pair of white jade luduan’, on the fourth month of the eighth year of the reign of Emperor Qianlong (1743). The entry described that luduan ‘has an ox horn over its nose.’ A jade animal fitting this description is in the collection of the Taipei Palace Museum. The mythical animal luduan is also featured in Shoupu, which quotes from Furui Zhi (Treatise on Auspicious Signs) of anthology Songshu (Book of Song) to describe its role and characteristics, ‘Luduan…… the wise king knows everything from afar from his throne, by reports delivered to him (ensured by the mythical animal)’. Based on this example, it is highly probable that the Qianlong court commissioned jade animals to be based on specific benevolent animals, including those made in yellow jades.
Examples of imperial yellow jade mythical animals from the Qing court include a suanni published in Compendium of the Cultural Relics in the Collection of the Summer Palace: Jade. Its rear-facing reclining posture is very similar to the present yellow jade xiezhi, but the head of a suanni is hornless. Referencing the Shoupu, it is clear that the published animal is indeed the rare and large animal suanni, a lion. In Shoupu, the featured suanni mainly highlights the interaction between an adult and a cub, whereas the published example of the suanni in the ‘Compendium’ is a single adult with highly comparable features to the Shoupu depiction. Another example of a yellow jade animal, also in a reclining pose, is in the collection of the Beijing Palace Museum. See, also a yellow and russet jade carving of a mythical beast dated to the Qianlong period from the Junkunc collection, Sotheby’s New York, 2020, Lot 277. The Junkunc hornless animal with elaborated claws looks almost identical to the baize illustrated in Shoupu. It is noteworthy that the Summer Palace and Junkunc examples are both 15 cm long, while the Beijing Palace Museum example is 9 cm long. As the most illustrious example of yellow jade animals of the court of Emperor Qianlong, the present yellow jade xiezhi has a monumental length of 18.1 cm!
In summary, Qing court yellow jade carvings depicting larger mythical animals include xiezhi, suanni and baize, and they are all illustrated in the first volume of Shoupu. Notwithstanding the scarcity of yellow jades, Emperor Qianlong commissioned the production of these benevolent mythical animals which were supposed to appear as auspicious omens only when an enlightened ruler reigned with benevolent policies; his intention was likely to have been to showcase a collection of these rare yellow jade auspicious mythical animals as a reflection of and to celebrate a prosperous state of the Qing empire under his rule as a virtuous king. The present yellow jade xiezhi, vivaciously carved and finely polished, masterfully portrays the vitality of the revered animal and symbolically highlights the glorious times of the Qianlong empire.