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Lot Essay
The impression of the current seal, Liang Tiangong, is included in the Qingdai dihou xiyin jicheng, vol. 2, Beijing, 2005, p.76, Qingdai dihou xiyin pu [Compendium of Seals of Qing Emperors and Empresses], Qianlong juan, vol. 1, Beijing, 2013, p. 32 (fig. 1), Qingdai dihou xiyin pu, Jiaqing juan, vol. 1, Beijing, 2013, p. 69 and Qingdai dihou xiyin pu, Daoguang juan, Beijing, 2013, p. 55.
The Qianlong Emperor’s Tianhuang ‘Liang Tiangong’ Seal
Guo Fuxiang
The emperor’s leisure seals exhibit distinct styles reflective of their era and personal characteristics, which are closely linked to the emperor’s thoughts and personality, thus becoming significant carriers of imperial culture. It can be said that among the diverse leisure seals, emperors found a space to express their thoughts freely and creatively. The leisure seals of the Qing emperors have largely been preserved to this day, showcasing a full picture of the great variety of these seals. These seals outline various aspects of the Qing emperors’ personalities, interests, and cultural cultivation, serving as valuable resources for research of the Qing imperial court. An example is the Liang Tiangong seal of Emperor Qianlong, to be offered by Christie’s Hong Kong, which reflects the emperor’s ideology.
This seal is carved from tianhuang stone with a horse-form finial. The seal measures 3.4 cm. long, 2.2 cm. wide, 4.5 cm. high, with a three-character inscription carved in relief, Liang Tiangong. The Qing court has clear catalogues documenting the existence of their imperial seals. The material, size, and inscription of the present seal correspond exactly to those recorded in the catalogues, Qianlong Baosou, Jiaqing Baosou, and Daoguang Baosou.
One of the important characteristics of the Qianlong Emperor’s seals is the diverse selection of inscriptions, with a significant source being the rich ancient Chinese texts. The Qianlong Emperor placed great emphasis on learning Han culture, consciously using Confucian thought to shape himself, and he was known for his extensive reading and tireless pursuit of knowledge. His profound cultural cultivation is reflected in various aspects of his life, including his leisure seals, many of which feature inscriptions that are directly or indirectly derived from classical texts.
Inscriptions related to governance and moral cultivation were primarily chosen from Confucian classics such as the Analects, Book of Songs, Book of Documents, Book of Changes, and Book of Rites; while some auspicious and motivational inscriptions were either creatively composed or selected from ancient anecdotes. Regarding the inscriptions on imperial seals, the Qianlong Emperor provided insightful commentary. He once said, “The inscriptions on the seals of the son of Heaven need to be carefully selected in order to provide admonishment; those that are poetic in nature do not carry the same weight and are more like playthings.” He believed that an emperor’s seal should fully reflect his character and will, serving as a reminder and motivation for himself.
He also provided seal examples to support his insights: such as Emperor Kanxi’s ‘Jiezhizaide’ (to abstain in order to gain), Emperor Yongzheng’s ‘Zhaoqianxiti’ (be diligent in the morning and vigilant at night), and his own ‘Yourizizi’ (be persistently conscientious), all of these seal inscriptions convey a sense of caution and mindfulness. Following these principles, the choice of the inscription Liang Tian Gong clearly reflects the Qianlong Emperor’s standard for selecting inscriptions for imperial seals.
According to Liang Tiangong, which originates from the 「Zi! Ru ershi you er ren, qinzai! Wei shi liang tiangong.」 In translation and modern terms, this means, “You twenty-two people must be diligent and respectful! You are to uphold the will of Heaven and assist in achieving great accomplishments.” Based on the records in the “Shiji” (Records of the Grand Historian), Emperor Yao, upon growing old, passed his throne to Shun. Shun implemented significant reforms in the governance system, clearly delineating central administrative responsibilities and appointing ten officials, including Da Yu, to specific roles. Additionally, he assigned twelve provincial governors to promote imperial virtue and represent the emperor in governing various regions. These twenty-two individuals constituted a comprehensive central and local management system during Shun’s reign. Liang Tiangong reflects Shun’s expectations of these officials’ responsibilities at the time of their appointment. Here, Liang means to assist, while Tiangong refers to the work of Heaven. This implies that under Heaven’s protection, both ruler and subjects must cooperate and respect their duties to assist the emperor in establishing great achievements. The reason Emperor Qianlong chose Liang Tiangong for his seal is likely due to his deep understanding of this reference.
Qianlong was known for his relentless pursuit of knowledge and his ability to integrate ancient texts into his own insights. The phrase aligns with his aspirations for social governance. Using this phrase as an inscription not only reflects his expectations for the officials, he appointed but also serves as a self-motivation and reminder, emphasising the importance of appointing capable individuals. As recorded in ancient texts: “A ruler must truly understand that all matters concerning ministers are ancestral matters; all accomplishments are divine achievements. Thus, one should never act out of personal bias in appointments or use unworthy individuals for important tasks. Consequently, with capable individuals in office, governance can flourish, leading to peace among the people.” Only through mutual assistance between ruler and subjects can one receive divine protection, ensuring national stability and achieving great accomplishments. This sentiment is echoed in Qianlong’s own poetry. For instance, in 「Ye da yu miao gong yi huang zu yuan yun」(Visiting the Temple of Da Yu), he wrote: “Deeply consider your role as governor for the people; may you diligently illuminate the work of Heaven.” In another poem from 「Chun zhong jing yan」 (Spring’s Midpoint), he stated: “Do not deceive yourself; be cautious; encourage mutual respect and illuminate the work of Heaven.” Both mention Liang Tiangong, discussing the way of governance and the relationship between ruler and subjects. It is thus natural that Qianlong would select this phrase from ancient Chinese cultural texts to reflect his own philosophical outlook when inscribing it on his seal.
This seal is one of the many small seals produced during the early reign of Emperor Qianlong. These small seals come in various forms and are made from different materials, but most are made of steatite stone. With a few exceptions, these small seals are frequently used in a variety of occasions. By analysing the condition of this seal, we can ascertain that it was frequently used.
This seal can be seen used at the beginning of calligraphic works and inscriptions. For example, in the ‘Huangli Xingshu Zhang Yungu Dabaozhen Juan’ housed in the Palace Museum in Beijing, this seal appears at the start of a piece written by Qianlong, alongside two other seals that form a cohesive group. Here, the Liang Tiangong seal serves as a frontispiece seal for imperial calligraphy. It is also seen used as a corner seal, in Ding Guanpeng’s celestial map that was commissioned by Emperor Qianlong in 1767, each page corresponded to a star and had handwritten descriptions by the emperor, each stamped with different small seals, one being the Liang Tiangong seal that was placed in the lower left corner of the description for the Wind Star. This seal also appears in other examples like the Qing catalogues of various hand-painted porcelain and bronze items stored in the National Palace Museum, Taipei. Although these records do not include any imperial inscriptions from Qianlong, each page bears different small seals, including the Liang Tiangong seal, indicating imperial ownership. In these contexts, the placement of seals is flexible and can vary according to available space on the items, reflecting no strict formatting rules.
The material of this Liang Tiangong seal is Shoushan Tianhuang stone, characterised by its warm and translucent texture. The seal body is finely carved and symmetrical. The finial of the seal is carved in the round as a recumbent horse, depicted in a lying position with its four legs curled and its head turned to the right. The overall carving is extremely exquisite, showcasing a plump physique, strong bone structure, and delicate mane. The inscription is uniform, with meticulous strokes. Both the seal finial and the inscription demonstrate a high level of craftsmanship from the carver.
The Qianlong Emperor’s Tianhuang ‘Liang Tiangong’ Seal
Guo Fuxiang
The emperor’s leisure seals exhibit distinct styles reflective of their era and personal characteristics, which are closely linked to the emperor’s thoughts and personality, thus becoming significant carriers of imperial culture. It can be said that among the diverse leisure seals, emperors found a space to express their thoughts freely and creatively. The leisure seals of the Qing emperors have largely been preserved to this day, showcasing a full picture of the great variety of these seals. These seals outline various aspects of the Qing emperors’ personalities, interests, and cultural cultivation, serving as valuable resources for research of the Qing imperial court. An example is the Liang Tiangong seal of Emperor Qianlong, to be offered by Christie’s Hong Kong, which reflects the emperor’s ideology.
This seal is carved from tianhuang stone with a horse-form finial. The seal measures 3.4 cm. long, 2.2 cm. wide, 4.5 cm. high, with a three-character inscription carved in relief, Liang Tiangong. The Qing court has clear catalogues documenting the existence of their imperial seals. The material, size, and inscription of the present seal correspond exactly to those recorded in the catalogues, Qianlong Baosou, Jiaqing Baosou, and Daoguang Baosou.
One of the important characteristics of the Qianlong Emperor’s seals is the diverse selection of inscriptions, with a significant source being the rich ancient Chinese texts. The Qianlong Emperor placed great emphasis on learning Han culture, consciously using Confucian thought to shape himself, and he was known for his extensive reading and tireless pursuit of knowledge. His profound cultural cultivation is reflected in various aspects of his life, including his leisure seals, many of which feature inscriptions that are directly or indirectly derived from classical texts.
Inscriptions related to governance and moral cultivation were primarily chosen from Confucian classics such as the Analects, Book of Songs, Book of Documents, Book of Changes, and Book of Rites; while some auspicious and motivational inscriptions were either creatively composed or selected from ancient anecdotes. Regarding the inscriptions on imperial seals, the Qianlong Emperor provided insightful commentary. He once said, “The inscriptions on the seals of the son of Heaven need to be carefully selected in order to provide admonishment; those that are poetic in nature do not carry the same weight and are more like playthings.” He believed that an emperor’s seal should fully reflect his character and will, serving as a reminder and motivation for himself.
He also provided seal examples to support his insights: such as Emperor Kanxi’s ‘Jiezhizaide’ (to abstain in order to gain), Emperor Yongzheng’s ‘Zhaoqianxiti’ (be diligent in the morning and vigilant at night), and his own ‘Yourizizi’ (be persistently conscientious), all of these seal inscriptions convey a sense of caution and mindfulness. Following these principles, the choice of the inscription Liang Tian Gong clearly reflects the Qianlong Emperor’s standard for selecting inscriptions for imperial seals.
According to Liang Tiangong, which originates from the 「Zi! Ru ershi you er ren, qinzai! Wei shi liang tiangong.」 In translation and modern terms, this means, “You twenty-two people must be diligent and respectful! You are to uphold the will of Heaven and assist in achieving great accomplishments.” Based on the records in the “Shiji” (Records of the Grand Historian), Emperor Yao, upon growing old, passed his throne to Shun. Shun implemented significant reforms in the governance system, clearly delineating central administrative responsibilities and appointing ten officials, including Da Yu, to specific roles. Additionally, he assigned twelve provincial governors to promote imperial virtue and represent the emperor in governing various regions. These twenty-two individuals constituted a comprehensive central and local management system during Shun’s reign. Liang Tiangong reflects Shun’s expectations of these officials’ responsibilities at the time of their appointment. Here, Liang means to assist, while Tiangong refers to the work of Heaven. This implies that under Heaven’s protection, both ruler and subjects must cooperate and respect their duties to assist the emperor in establishing great achievements. The reason Emperor Qianlong chose Liang Tiangong for his seal is likely due to his deep understanding of this reference.
Qianlong was known for his relentless pursuit of knowledge and his ability to integrate ancient texts into his own insights. The phrase aligns with his aspirations for social governance. Using this phrase as an inscription not only reflects his expectations for the officials, he appointed but also serves as a self-motivation and reminder, emphasising the importance of appointing capable individuals. As recorded in ancient texts: “A ruler must truly understand that all matters concerning ministers are ancestral matters; all accomplishments are divine achievements. Thus, one should never act out of personal bias in appointments or use unworthy individuals for important tasks. Consequently, with capable individuals in office, governance can flourish, leading to peace among the people.” Only through mutual assistance between ruler and subjects can one receive divine protection, ensuring national stability and achieving great accomplishments. This sentiment is echoed in Qianlong’s own poetry. For instance, in 「Ye da yu miao gong yi huang zu yuan yun」(Visiting the Temple of Da Yu), he wrote: “Deeply consider your role as governor for the people; may you diligently illuminate the work of Heaven.” In another poem from 「Chun zhong jing yan」 (Spring’s Midpoint), he stated: “Do not deceive yourself; be cautious; encourage mutual respect and illuminate the work of Heaven.” Both mention Liang Tiangong, discussing the way of governance and the relationship between ruler and subjects. It is thus natural that Qianlong would select this phrase from ancient Chinese cultural texts to reflect his own philosophical outlook when inscribing it on his seal.
This seal is one of the many small seals produced during the early reign of Emperor Qianlong. These small seals come in various forms and are made from different materials, but most are made of steatite stone. With a few exceptions, these small seals are frequently used in a variety of occasions. By analysing the condition of this seal, we can ascertain that it was frequently used.
This seal can be seen used at the beginning of calligraphic works and inscriptions. For example, in the ‘Huangli Xingshu Zhang Yungu Dabaozhen Juan’ housed in the Palace Museum in Beijing, this seal appears at the start of a piece written by Qianlong, alongside two other seals that form a cohesive group. Here, the Liang Tiangong seal serves as a frontispiece seal for imperial calligraphy. It is also seen used as a corner seal, in Ding Guanpeng’s celestial map that was commissioned by Emperor Qianlong in 1767, each page corresponded to a star and had handwritten descriptions by the emperor, each stamped with different small seals, one being the Liang Tiangong seal that was placed in the lower left corner of the description for the Wind Star. This seal also appears in other examples like the Qing catalogues of various hand-painted porcelain and bronze items stored in the National Palace Museum, Taipei. Although these records do not include any imperial inscriptions from Qianlong, each page bears different small seals, including the Liang Tiangong seal, indicating imperial ownership. In these contexts, the placement of seals is flexible and can vary according to available space on the items, reflecting no strict formatting rules.
The material of this Liang Tiangong seal is Shoushan Tianhuang stone, characterised by its warm and translucent texture. The seal body is finely carved and symmetrical. The finial of the seal is carved in the round as a recumbent horse, depicted in a lying position with its four legs curled and its head turned to the right. The overall carving is extremely exquisite, showcasing a plump physique, strong bone structure, and delicate mane. The inscription is uniform, with meticulous strokes. Both the seal finial and the inscription demonstrate a high level of craftsmanship from the carver.