A rare and large imperial green Khotan jade musical chime Qianlong mark and period, dated 1764

of asymmetrical chevron form with a squared end angled to the longer tapered side, pierced with a suspension hole at the top, the upper edges incised and gilt with the characters reading Qianlong ershijiunian zhi (Made in the 29th year of Qianlong, corresponding to 1764) and beinanlu (second lowest of the sixteen tones), the stone of an even olive-green tone with occasional natural fissures and paler texturing, flecked with traces of bronze-coloured skin, wood stand

The chime is in good condition with the exception of 2mm., wide nick to the bottom edge and probable loss to the gilded decoration on the front and back face.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Known in China as qing, musical stones of this type were made in sets of sixteen, comprised of twelve tones and four half tones. A full set of dark green jade stones, also inscribed and dated to the 29^th year of Qianlong (corresponding to 1764) and embellished with gilt-painted dragons amongst clouds, suspended from a wooden frame, from the Palace Museum, Beijing, was included in the exhibition China. The Three Emperors 1662-1795, Royal Academy of Arts, London, 2005, cat. no. 32, where it is noted that during the Qing period jade sonorous stones such as the present chime ‘were reserved for the Grand Sacrifices performed at the Altar to Heaven and the Altar of Land and Grain, whereas the other sonorous stones used in other state rites were made of limestone’ (p. 396).

 

The thickness of the musical stones varied according to their tone and the three-character inscription, beilanlu, indicates that this piece is the second lowest tone of the sixteen. The traces of gilt suggest that the present stone was also originally gilt-painted with dragons amongst clouds. Spinach-green jade stones of this type, likewise inscribed and dated to 1764, include one sold in our Hong Kong rooms, 8^th/9^th November 1982, lot 364, inscribed with the tone linzhong; one of huangzhong tone was sold in these rooms, 16^th June 1999, lot 761; another of nanlu tone was included in the exhibition Chinese Jades through the Centuries, China Institute in America, New York, 1968, cat. no. 66; and a fourth example inscribed guxi was sold at Bonhams 11^th November 2010, lot 219. A further chime was also included in the Oriental Ceramic Society exhibition Chinese Jades, London, 1948, cat. no. 235, although the tone is not catalogued. Compare also two chimes dated to the 26^th year of Qianlong (1761) included in the exhibition The Chinese Collection. Selected Works from the Norton Museum of Art, Norton Museum of Art, Florida, 2003, cat. nos 91 and 92.

 

Musical stones of this type derive from archaic prototypes that were produced as early as the Shang dynasty; a set of eight limestone chimes excavated in 1979 from a Warring States burial site at Dafuguan village in Shandong province, was included in the exhibition Confucius. His Life and Legacy in Art, China Institute Gallery, New York, 2010, cat. no. 18.