Two rare imperial album leaves from the series Thirty-six Views of the Imperial Summer Palace at Jehol, Qing dynasty, Kangxi period | 清康熙 御製避暑山莊三十六景圖「水芳岩秀」及「遠近泉聲」

An important French private collection, formed circa 1860s, and thence by descent.

Jean-Marc Delvaux, Paris, 12th June 2014, lot 291.

法國重要私人收藏，約1860年代入藏，後於家族傳承

Jean-Marc Delvaux，巴黎，2014年6月12日，編號291

Discoveries of The Two Album Leaves from the series Thirty-Six Views of the Imperial Summer Palace at Jehol 

The Mountain Resort is a palace garden built in Rehe by the Kangxi Emperor for his extended stays in the forty-second year of the Kangxi reign. Emperors of the Qing Dynasty received here leaders of the ethnic minorities who were either on pilgrimage to the imperial court or who had submitted to the emperor, so that the emperor did not have to worry about them entering the capital without getting vaccinated against smallpox. Such a political function is an important feature that distinguished the Mountain Resort from other imperial retreats, thereby becoming a place of historical remembrance for shaping the image of China as a unified multi-ethnic state. Over the course of 159 years, the Kangxi, Qianlong, Jiaqing and Xianfeng emperors visited the Mountain Resort over 90 times. Counting the Kangxi Emperor's hunting activities in the northern regions prior to the estate's construction, the number of trips to Rehe by the Qing emperors reached more than 120 times. In general, they departed from Beijing early in April and May on the lunar calendar, and then returned to Beijing in September, spending the hottest time of the year at the Mountain Resort. So when the summer heats up, a visit to Rehe is like enjoying a refreshing tonic on a cool summer's day, which is an ideal choice for dealing with governmental affairs and for relaxing and resting. The Qianlong Emperor described this imperial garden in his Afterword to the Imperial Poems on the Mountain Resort:

"Majestic mountains, meandering streams, and lush forests create a sanctuary where cranes and deer roam freely, while kites and fish dance playfully. Amidst the mountain huts and streamside pavilions, adorned by fragrant wildflowers and ancient trees, this picturesque landscape bestows profound joy, momentarily getting rid of the disquieting realities of life. Its magnificence rivals, if not surpasses, the grandeur of the royal palaces and gardens from the illustrious eras of the Han and Tang dynasties."

After the establishment of the Mountain Resort, the Kangxi Emperor named various scenes within the main palace area, the lake area and mountain area by a series of four-character names. Thirty-six views of the Mountain Resort were finally formed around the fiftieth year of the Kangxi reign. It is noteworthy that, this way of categorizing scenic spots in a royal garden was the very first at that time. Even the Garden of Everlasting Spring (Changchunyuan) established prior to the Mountain Resort and in which the emperors resided for an extended period can't compare to it. Until 1860 when the Garden of Everlasting Spring was looted and burned down by the Anglo-French allied forces, it didn't form a series of names for the scenes. Definition of the thirty-six views of the Mountain Resort is of great significance in the history of royal gardens of the Qing Dynasty. Since then, a series of landscapes, including the Thirty-six Views of Qianlong in the Mountain Resort, Forty Views of the Old Summer Palace (Yuanmingyuan), Sixteen Views of the Garden of Tranquility and Brightness (Jingmingyuan), Twenty-eight Views of Garden of Tranquility and Pleasure (Jingyiyuan), and Sixteen Views of Jingji Mountain Resort (Jingji Shanzhuang), have emerged successively and continued the tradition of the Mountain Resort. Each one vies for attention, collectively crafting a magnificent tapestry of sights that continues to captivate.

The origin of the Mountain Resort Paintings

After the completion of the staged project of the Mountain Resort, the Kangxi Emperor personally named the thirty-six scenes, composed poems, and commissioned people to draw pictures and engrave printing plates, thus giving birth to the album known as the Kangxi Emperor's Poems on Thirty-Six Views of the Mountain Resort. From this, the Mountain Resort became the first royal garden in the Qing Dynasty to be depicted in a group of pictures and engraved on printing plates. The creation and publication of the paintings of the Mountain Resort is closely linked to the newly uncovered two-page Paintings for Thirty-Six Views of the Mountain Resort, which requires thorough organization.

According to the report on the twenty-second day of the seventh month in the fifty-first year of the Kangxi reign by He Su, the construction supervisor of Wuyingdian[1]:

“We have confirmed that the Kangxi Emperor's Poems on Thirty-Six Views of the Mountain Resort amounts to two volumes and a total of ninety-two pieces, which has already been entrusted to fifty skilled craftsmen for prompt preparation and engraving printing plates. It can be finished in early the eighth month for engraving three sets. Meanwhile, in relation to the postscript poems, considering that your Majesty has already chosen to engrave the selected Tang poems, we respectfully suggest once more that you grant us the permission to co-engrave the postscript poems as well. We present both matters for your kind consideration.”

This shows that the original Kangxi Emperor's Poems on Thirty-Six Views of the Mountain Resort was comprised of two volumes and a total of 92 pieces (pages). It was planned to be engraved on printing plates by 50 craftsmen. Three days later, He Su and others presented the Kangxi Emperor with two sample poems on the Mountain Resort, and won his approval. It seemed that the progression of the endeavor continued smoothly until the seventh of the eighth month, when He Su and Li Guoping jointly submitted a memorial [2]:

“By Imperial Order: draw two pictures for each scene of the thirty-six views of Rehe. Then engrave one picture on copperplate, and hand the other picture over to Baodai (name of an official position) to engrave on a wood plate. So we followed the order. After the two drawings were finished, we submitted them and requested permission for Zhu Gui and Mei Yu Feng to engrave them onto wood plates. By Imperial Order: print by Baodai. Subsequently, we brought them two drawings. Then we presented two more drawings to Zhu Gui and Mei Yu Feng for their assessment. They said that the use of date wood boards is imperative for the engraving process, as well as the hand-drawn original. If the materials and the original drawings are available, one craftsman can carve one plate around twenty days. Regrettably, the date wood boards currently at our disposal are, although barely suitable in size, still in a moist condition. We must wait for them to be completely dry prior to initiating the engraving process, a period which may extend more than ten days. We have learned of a method to expedite the drying of wooden boards while minimizing the risk of cracking. It involves placing pangolin and Chuanjiao (a kind of traditional Chinese medicine) into water, boiling them for two to three days, and then allowing them to air dry in a shaded area. We didn't find the dry date wood boards, so we will boil the located date wood boards and assess them after they are dry. Meanwhile, Zhu Gui and Mei Yu Feng are presently engaged in engraving Huangjing onto the board. The Huangjing characters will be finished engraving on the tenth day of the ninth month, and the paintings at the beginning and end of Huangjing will be completed by the end of the ninth month. Should the dried boards prove suitable or other appropriately dry boards be secured, the undertaking of engraving the Huangjing and the drawings can be entrusted to Zhu Gui and Mei Yu Feng respectively. Considering the potential delay in entrusting only two individuals with the engraving, I asked them to seek skilled engravers. They reported their search efforts thus far, expressing an intention to continue with in the search. We are also conducting independent searches, thus humbly seeking your guidance and directives.”

This memorial bears profound significance as it unveils the initial draft of the Kangxi Emperor's Poems on Thirty-Six Views of the Mountain Resort, presenting dual versions of one scene - one for copperplate engraving and the other for wood plate engraving - according to the emperor's initial design. For wood engraving, Zhu Gui and Mei Yu Feng opted for date wood, a choice that was underscored in the memorial by a detailed description of the wood's origin and its preparation through wet and dry treatments. In the memorial on the twenty-second day of the seventh month, He Su mentioned plans to have 50 artisans engaging in plate engraving, and the project could be completed by early the eighth month. However, the actual progress deviated from his expectations. Zhu and Mei took around twenty days each to finish a single board engraving. However, with only two of them working, it became increasingly apparent that He Su's initial plan of involving 50 artisans had been overly optimistic, as suitable engravers could not be sourced subsequently. Regarding the copperplate, the manuscript described as "engraved on the copperplate" in the record, is likely to be the manuscript presented to the missionary Matteo Ripa (Chinese name Ma Guoxian) for the purpose of engraving copperplate. So when were the two versions of the Kangxi Emperor's Poems on Thirty-Six Views of the Mountain Resort completed? Below is the memorial submitted by He Su and Li Guoping on the eighth day of the seventh month, one year later [3]:

“He Su and Li Guoping humbly reported: the memorial on the eighth day of the sixth month for the printed Kangxi Emperor's Poems on the Mountain Resort was presented on the tenth day of this month. By Imperial Order: the printing of this book was excellent. Pause the printing process after printing one or two copies on Western paper. After the printing on copper is completed, bind them together. If there is extra Western paper, it is advisable to consider producing extra copies. I've heard that this paper is prone to wrinkling, which may hinder proper ink distribution and potentially lead to the fragility of strokes. Addressing this issue diligently is of utmost importance. So we followed the order. We have searched around for Western papers but are unable to find it. However, we have managed to locate a reserve of 25,900 sheets of Western paper at the Hall of Mental Cultivation (Yangxindian). Among them, 18,140 sheets are thin paper suitable for book printing. So we took the collection, eliminated any creases, and entrusted the skillful artisan to print a sample. Regarding the quantity of copies to be printed, please kindly advise after checking the sample.”

According to the memorial, we know that the wood engraving version was printed in the sixth month of this year. An inscription located on the lower left of the artwork named Floating Clouds over Flowing Water (Shuiliu yunzai) states, "painted by Shen Yu, the first-grade officer and treasurer (siku) of The Imperial Household Department, and engraved by Zhu Gui and Mei Yufeng, both second-grade officers and xuban (name of an official position) of The Protocol Department (Honglusi)", indicating that Shen Yu was the painter, while Zhu Gui and Mei Yufeng were the engravers. The copperplate paintings remained unfinished at that time, and there is no indication within the files as to when they will be completed. If we compare copperplate paintings and woodcuts, we can see a big difference between them. There aren't any records left about the role of Shen Yu, the painter of woodcut, in making the copperplate manuscript. But with Matteo Ripa's personal recollections, we might make a good guess:

“His Majesty, upon learning of the progress I had made in my engraving, chose to embark on the printing of a series titled Paintings of Thirty-six Views of Rehe, which was built under his commission. I was honored to accompany a Chinese painter entrusted with the painting task and had the opportunity to explore the entirety of the palace views - a distinct an exclusive privilege that had yet to be extended to any European”.[4]

Regardless of whether Matteo Ripa's mention of "a Chinese painter entrusted with the painting task" refers to Shen Yu, we can know that Matteo Ripa's copperplate prints were produced based on the drafts of the Chinese artist. The stark contrast of light and dark on the paintings printed by the copperplate indicates that Matteo Ripa had made a great deal of revision for adaptability to Chinese artists' original drawings with Western techniques, thus showing the effect presented today. Just like we can't find the original woodcut drafts today, the drafts for the copperplate prints remain unknown. This makes it hard to connect the two versions of the Kangxi Emperor's Poems on the Mountain Resort. However, an official order from the emperor on the seventh day of the eighth month in the fifty-first year of the Kangxi reign states, "Draw two pictures for each scene of the thirty-six views of Rehe. Then engrave one picture on a silk plate, and hand the other picture over to Baodai (name of an official position) to engrave on a wood plate", which suggests that both the copperplate and woodcut versions were made around the same time. Based on Matteo Ripa's words, it's clear that Chinese artists and Matteo Ripa worked together to create the copperplate prints, showing that the copperplate paintings are a result of teamwork between Chinese and foreign artists.

Two Album leaves from the Paintings of Thirty-Six Views of the Mountain Resort

After the first prints were made, different versions of Thirty-Six Views of the Mountain Resort appeared in Qing court, including Wang Yuanqi's Thirty-Six Views of the Mountain Resort, Dai Tianrui's finger-painting Imperial Poems on the Mountain Resort, Wang Jihua's poems on fan of Thirty-Six Views of the Mountain Resort, Li Zongwan's album Poetic Paintings of the Mountain Resort, Zhang Ruoxi's album Emperor Qianlong's Poems on the Mountain Resort and Qian Weicheng's Thirty-Six Views of the Mountain Resort. All of these are official works for the court and most of them are kept in the Palace Museum in Beijing and the National Palace Museum in Taipei.

The two album leaves of the Paintings of Thirty-Six Views of the Mountain Resort discovered this time consists of two album leaves. One is Limpid Water and Charming Rockery (Shuifang yanxiu), the fifth view of the thirty-six views, while the other page is Murmuring of Streams Far and Near (Yuanjin quansheng), the twenty-fifth view among the thirty-six views. They are ink and color on paper, each page measuring 33 cm in height and 29 cm in width, with handwritten illustrations in French at the bottom of the picture, completed with a wooden frame. The paintings have distinct features: the faraway mountains are painted in vibrant green, while the nearby views are outlined with gongbi to show architectural details. Even though the details might not be very refined, they accurately represent the buildings, and their positions match the real locations. When we look closely, these two leaves are very similar to Zhang Ruoxi's album Emperor Qianlong's Poems on the Mountain Resort housed in the National Palace Museum in Taipei. Except for differences in brushstrokes and colours, things like distant mountains, trees, rocks and buildings are almost like mirror images between the two sets of paintings. The similarity is obvious. Again, when we compare these paintings with Matteo Ripa's copperplate paintings, ignoring the differences in brushstrokes and colours, we still see a mirror-image relationship between the three artworks.

So what is the sequence of the three? As mentioned above, the copperplate paintings were finished in the fifty-second year of the Kangxi reign, coinciding with the birth of Zhang Ruoxi. Hence, the chronological order is evident. Zhang Ruoxi started working for the court in the eleventh year of the Yongzheng reign when he got a special position (bianxiu) at Hanlin Academy, and this continued until the eleventh year of the Qianlong reign when he passed away. Then how about the two album leaves? Recent discoveries from the United States offered some clues to this question.

In the Library of Johns Hopkins University, there exists an incomplete set of Thirty-Six Views of the Mountain Resort, including Hall of Refreshing Mist (Yanbo zhishuang), Fairy-Herb Path and Cloud Cause-way (Zhijing yundi), Hall of Coolness(Wushu qingliang), Hall of Coolness-Bringing Breeze (Yanxun shanguan), Pine-Soughing from Ten-Thousand Ravines (Wanhe songfeng), Melodious Resonance of Pines and Cranes (Songhe qingyue), House of Cloudy Mountains (Yunshan shengdi), North Pavillion between Two Peaks (Beizhen shuangfeng), Morning Clouds over West Mountains (Xiling chenxia), Sunset View of Qingchui Peak (Chuifeng luozhao), Snow-Capped South Hills (Nanshan jixue), Pear Flowers under Moonlight (Lihua banyue), Lotus Fragrance over Winding Water (Qushui hexiang), Pastoral Dream over Water (Haopu jianxiang), Warm Water with Ripples (Nuanliu xuanbo), Springs Rippling from Stone Wall (Quanyuan shibi), Lush Maple on Green Islet (Qingfeng lüyu), Pure Fragrance Spreading afar (Xiangyuan yiqing), Golden Flowers under Sun (Jinlian yingri), Cloud Sail and Moon Boat (Yunfan yuefang), Charming Islet over Water (Fangzhu linliu), Cloud Forms and Water Looks (Yunrong shuitai), White Stone beside Limpid Stream (Chengquan raoshi), Lucid Ripples and Superposed Green (Chengbo diecui), Watching Fish on Stones (Shiji guanyu), Mirror-like Water Reflecting Clouds and Hills (Jingshui yuncen), Long Bow Sipping in Silver Water (Changhong yinlian), Mellon Field beside Wood (Futian congyue), Floating Clouds over Flowing Water (Shuiliu yunzai), making a total of twenty-eight pages. There are eight missing pages, including Limpid Water and Charming Rockery (Shuifang yanxiu), Pavilion among Clouds and Mountains (Simian yunshan), Garden of Echoing Breeze and Stream (Fengquan qingting), Grand View in Heaven (Tianyu xianchang), Double Lakes with Mirror in Between (Shuanghu jiajing), Nightingales Twittering in Arbors (Yingzhuan qiaomu), Murmuring of Streams Far and Near (Yuanjin quansheng). Interestingly, two album leaves titled Limpid Water and Charming Rockery (Shuifang yanxiu) and Murmuring of Streams Far and Near (Yuanjin quansheng) discovered this time are among the missing pages. Notably, each of the twenty-eight pages measures 31 cm in height and 29 cm in width, which closely resembles the dimensions of the two album leaves (33 cm x 29 cm). By comparing the painting style and brushwork [5], it becomes evident that the two album leaves and the twenty-eight pages in the library of Johns Hopkins University might be part of the same set of works. However, due to prolonged exposure on the wall, the colour of the two album leaves have changed, appearing less vibrant than that of the pieces in the library of Johns Hopkins University. Of particular significance is the French description accompanying the pages in the library of Johns Hopkins University. This description, penned by a missionary with a quill pen, provides a rough depiction of the landscape of the Mountain Resort and an assessment of China's artificial gardening techniques. The entire text bears a striking resemblance to the linguistic style found in the Lettres édifiantes et curieuses, écrites des missions étrangères. It brims with admiration and praise for Oriental art, presenting itself as a splendid composition originating from the missionaries outside the scope of the Lettres. The inscription at the conclusion reads: "Beijing, July 15, 1765."

Based on the information available, we can confirm that the latest creation time of the two album leaves discovered here is the thirtieth year of the Qianlong reign. In other words, the depicted content of the Thirty-six Views of the Mountain Resort is like that of Matteo Ripa's copperplate paintings in the Imperial Poems on the Mountain Resort, and Zhang Ruoxi's album Emperor Qianlong's Poems on the Mountain Resort. The landscapes, trees, rocks, and structures portrayed in these three works have a mirror-image relation. Due to the limited historical data, it remains challenging to establish a definite causal relationship among these three works, particularly the chronological order of Zhang Ruoxi's version and the two album leaves because we still don't know the earliest creation time of the two album leaves. One prominent evidence worth considering is that if it was created in the thirtieth year of the Qianlong’s reign, then why the alterations made to Limpid Water and Charming Rockery (Shuifan Yanxiu) and Murmuring of Streams Far and Near (Yuanjin Quansheng) during the early years of the Qianlong reign were not reflected in the paintings? Relying solely on the depicted content, we cannot entirely exclude the possibility that the two album leaves date back to Shen Yu's era.

In any case, the presence of the two leaves and their collection of Thirty-six Views of the Mountain Resort in the library of Johns Hopkins University offers an additional set of contemporary models of this royal garden, which holds significant research value. Importantly, this series of Thirty-six Views of the Mountain Resort was transported out of China by missionaries in Beijing. It became the second set of pictures depicting the Mountain Resort which appeared overseas, following Matteo Ripa taking the Imperial Poems on the Mountain Resort copperplate paintings to the West during Yongzheng’s reign. Its voyage to Europe and the United States has offered a fresh interpretive dimension for studying the dissemination of Qing court images in the West and the role of missionaries as intermediaries in the 18th-century exchanges between the East and the West, along with the historical interactions among Eastern and Western palaces. In the next sections, we will closely examine these two album leaves from a microscopic perspective.

III. Limpid Water and Charming Rockery (Shuifang yanxiu)

The page of Limpid Water and Charming Rockery depicts the landscape of the Ruyi Isle in the lake of the Mountain Resort. It's worth noting that the architectural layout in this page depicted the status of Ruyi Isle around the fifty year of Kangxi reign, quite different from the Isle in the Qianlong period when it was undertaken a marked transformation. Among the thirty-six views of the Mountain Resort inscribed by the Kangxi Emperor, scenes depicted in the paintings include Limpid Water and Charming Rockery (Shuifang Yanxiu), Hall of Coolness (Wushu qingliang), Hall of Coolness-Bringing Breeze (Yanxun shanguan), Morning Clouds over West Mountains (Xiling chenxia), and Cloud Sail and Moon Boat (Yunfan yuefang). For example, the entrance hall of the group of buildings in the center of the picture is the Hall of Coolness (Wushu qingliang), while the Hall of Coolness-Bringing Breeze (Yanxun shanguan) is the seven-room hall upon entering the gate. Further back, a two-story, five-room pavilion is identified as Golden Flowers under Sun (Jinlian yingri). Although the depiction omits the buildings of Morning Clouds over West Mountains (Xiling chenxia) and Cloud Sail and Moon Boat (Yunfan yuefang), it fully encompasses the waterfront area west of Ruyi Isle. Essentially, the thirty-six views of the Mountain Resort are different from the later forty views of the Old Summer Palace (Yuanmingyuan). The former often showcases a cluster of architectural complexes, each encompassing numerous scenes with titles bestowed by the emperor. The differences primarily lie in the perspective of observation or the themes.

In the context of poetry, Qianlong's words complement Kangxi's. Kangxi praised the purity of spring water, hailing it as the world's best; Qianlong celebrated the beauty of landscapes, even Mount Niushou of Jinling (Nanjing) didn't compare to it. Kangxi delved into the wisdom of Book of Changes (Zhou Yi) : be cautious with one's words and actions; in contrast, Qianlong drew from the Analects of Confucius (Lunyu), exemplifying the synergy of benevolence and wisdom. Kangxi expounded upon the rationale of frugality within the palace, and Qianlong vividly described the situations of enjoying the scenery. Kangxi favored a light diet, distancing himself from excessive wine; Qianlong followed the instruction, setting an example by avoiding excessive indulgence in alcohol. Kangxi quoted Against Luxurious Ease (Wuyi), aspiring for the world to resonate with the spirit of trigram Dayou (great progress and success). Qianlong emphasized ancestral intentions, tirelessly pursuing the brilliance of his predecessors to make great achievements. The two poems from a grandfather and a grandson, reminiscent of a harmonious duet that transcends time and space, exuding a distinct and captivating essence.

Murmuring of Streams Far and Near (Yuanjin Quansheng)

The page of Murmuring of Streams Far and Near (Yuanjin Quansheng) depicts a garden amidst plains and mountains in the Mountain Resort. The Kangxi Emperor inscribed the plaque Murmuring of Streams Far and Near (Yuanjin Quansheng) for this location before the fiftieth year of the Kangxi’s reign. This serene vista is situated where the Wulie River meets the hills. The complex is enveloped by water on all sides. To the west, rugged cliffs define the landscape, adorned with intermittent stone gaps from which springs cascade, giving birth to waterfalls. Towards the northern side, a spring gush forth. Named Spouting Spring (Baotuquan) by the Kangxi Emperor, he described it as "surging to the ground like boiling water", indicating the abundant water at that time. It is the place that the symphony of waterfalls from the western side and the spring from the north forms the essence of Murmuring of Streams Far and Near (Yuanjin Quansheng).

The Mountain Resort replicates the scenic beauty of various locations. Jinshan captures the essence of Zhenjiang, Pavilion of Mist and Rain (Yanyulou) finds its inspiration in Jiaxing, and Lotus Fragrance over Winding Water (Wushui hexiang) originates from Huiji. They all imitate specific architectural images. As for Murmuring of Streams Far and Near (Yuanjin quansheng), there is no specific architectural counterpart. Through capturing the mood of natural landscape, it gets a special flavor. It's noteworthy that the technique of crafting waterfalls by ingeniously redirecting springs from varying distances is referred to as shuifa (water technique) within the palace context, which is also known as “the magic of water”, that is, the art of using engineering technology to construct waterfalls, fountains, and other decorative landscapes. Dating back to the Ming Dynasty, shuifa existed in the garden of the Forbidden City. As technology advanced, more intricate water lifting systems were employed in waterfalls at various locations like Beautiful Scenery of the West Peak (Xifeng xiuse) in the Old Summer Palace. These enhancements, ranging from Murmuring of Streams Far and Near (Yuanjin quansheng) to the Beautiful Scenery of the West Peak (Xifeng xiuse) and onward to the Western style building in Eternal Spring Garden (Changchunyuan), clearly indicate the development of water techniques in the Qing Palace.

The Qianlong Emperor wrote in the poem Yongtian Residence in the Mountain Resort: "Get jade slips from the place of happiness and continue magic books in the blessed land." It is to explain that his act of adding new verses to the thirty-six views of the Mountain Resort is well-founded to follow the tradition of the Kangxi Emperor, and to connect the past and the future. Looking at the recent discovery of the two album leaves of Limpid Water and Charming Rockery (Shuifang yanxiu) and Murmuring of Streams Far and Near (Yuanjin quansheng) from a historical viewpoint, it's a similar kind of continuation: people today use surviving pictures to confirm historical facts, so as to have a better understanding of the imperial palaces outside the Great Wall that the Kangxi Emperor and Qianlong Emperor looked after for 90 years. There's a chance that one day, the two pages of Limpid Water and Charming Rockery (Shuifang yanxiu) and Murmuring of Streams Far and Near (Yuanjin quansheng), the 28 pages of the Thirty-Six Views of the Mountain Resort from the library of Johns Hopkins University, along with other six pages undiscovered, could come together again. Bringing together these images of the Mountain Resort that have traveled abroad for over two centuries for a united exhibition would surely create a powerful impact.

[1]Compiled by the First Historical Archives of China: Complete Translation of Manchu Memorials and Edicts of the Kangxi Reign, p. 808, The Memorial from He Su, the Construction Supervisor of Wuyindian, and Others on the Completion of the First Printing of the Kangxi Emperor's Poems on Thirty-Six Views of the Mountain Resort in Early Eighth Month, China Social Sciences Press, 1997.

[2]Compiled by the First Historical Archives of China: Complete Translation of Manchu Memorials and Edicts of the Kangxi Reign, p. 813, The Memorial from He Su, the Construction Supervisor of Wuyindian, and Others on Printing the Thirty-Six Views of Rehe, China Social Sciences Press, 1997. It should be noted that the first sentence of the original translation of the Memorial states, "Draw two pictures for each scene of the thirty-six views of Rehe. Then engrave one picture on a silk plate, and hand the other picture over to Baodai (name of an official position) for engraving on a wood plate." Referring to the citation of He Su and Li Guoping's memorial hereinafter, it becomes apparent that "engrave on a silk plate" should be "engrave on a copperplate".

[3]Compiled by the First Historical Archives of China: Complete Translation of Manchu Memorials and Edicts of the Kangxi Reign, p. 889, The Memorial from He Su, the Construction Supervisor of Wuyindian, and Others on Print Quantity of Kangxi Emperor's Poems on the Mountain Resort, China Social Sciences Press, 1997.

[4](Italian) Matteo Ripa, Memoirs of Father Ripa, During Thirteen Years Residence at the Court of Peking in the Service of the Emperor of China, chapter XIII, Shanghai Classics Publishing House, 2004.

[5]The strokes of the four characters "quan", "shui", "fang", "yuan" in the twenty-eight pages of the library of Johns Hopkins University (namely, Springs Drippling from Stone Wall (Jingquan shibi), Mirror- like Water Reflecting Clouds and Hills (Jingshui yuncen), Cloud Forms and Water looks (Yunrong shuitai), White Stone beside Limpid Stream (Chengquan raoshi), Floating Clouds over Flowing Water (Shuiliu yunzai ), Charming Islet over Water (Fangzhu linliu), Pure Fragrance Spreading afar (Xiangyuan yiqing) ) are highly consistent with the same characters in the two album leaves - Limpid Water and Charming Rockery (Shuifan yanxiu) and Murmuring of Streams Far and Near (Yuanjin quansheng).

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已是洞天傳玉簡，得教福地續琅書

記《避暑山莊三十六景圖》散頁二種的發現

避暑山莊是清代康熙皇帝於康熙四十二年在熱河興建的一座供其長期駐蹕的宮殿園林。 清朝皇帝在這裡接見那些或朝覲、或歸附的少數民族首領，免去他們以生身（未出痘）入京的顧慮。 這樣的政治功能是避暑山莊區別於其他離宮的重要特徵。 這裡也因此成為了塑造中國統一的多民族國家形象的歷史紀念地。 歷史上，康熙、乾隆、嘉慶、咸豐四朝皇帝在159年的時間里曾經90餘次駐蹕避暑山莊。 如果將山莊肇建之前康熙皇帝的北狩活動也計入統計，那麼清朝皇帝至熱河地方的次數達到了120餘次之多。 在一般情況下，他們會早至孟、仲夏月從北京出發，秋九月回鑾，在避暑山莊度過最為暑熱的時節。 所以，在炎炎盛夏，來「風清夏爽，宜人調養」的熱河避暑，是一件於政務、休憩兩相得宜的事情。 乾隆皇帝在《御製避暑山莊後序》中如是描述這座皇家園林：

若夫崇山峻嶺，水態林姿，鶴鹿之遊，鳶魚之樂，加之岩齋溪閣，芳草古木，物有天然之趣，人忘塵世之懷，較之漢唐離宮別苑有過之無不及也。

避暑山莊建立后，康熙皇帝將分佈在正宮區、湖區、山區的眾多景觀分別以四字系名的方式予以點題。 大約在康熙五十年前後，形成了避暑山莊三十六景。 值得一提的是，以成組方式歸納皇家園林中的景致，這在當時尚屬首次。 較之避暑山莊更早，且同屬皇帝長期駐蹕的暢春園都不及此。 直至1860年暢春園被英法聯軍劫掠並焚毀時，都沒有形成成組系名的景致。 避暑山莊三十六景的釐定，在清代皇家園林史上具有重要意義。 此後陸續出現的避暑山莊乾隆三十六景、圓明園四十景、靜明園十六景、靜宜園二十八景、靜寄山莊十六景等均延續了避暑山莊的傳統，眾園競下，蔚為大觀。

一 避暑山莊組圖述源

隨著避暑山莊階段性工程的完竣，康熙皇帝對其中的三十六處景觀予以定名、賦詩，並命人繪圖、鐫版而成《避暑山莊三十六景詩》。 由此，避暑山莊成為了清朝第一座被描繪組圖並刻板印刷的皇家園林。 關於此套避暑山莊組圖的創作和刊布，與本次新發現的二頁《避暑山莊三十六景圖》關係密切，需要做一必要梳理。

據康熙五十一年七月二十二日武英殿總監造和素奏稱[1]：

臣等恭謹查得，熱河《避暑山莊三十六景詩》計兩卷，九十二篇，交五十名工匠作速套版鐫刻，以刻樣各三套刷完略算之，八月初可得。 再，跋詩，現既然鐫刻御選唐詩，伊乞請將此跋詩亦由伊等鐫刻。 為此一併恭奏以聞。

由此可知，最初《避暑山莊三十六景詩》有兩卷，共92篇（頁）。 計劃由50名工匠刻板完成。 三天后，和素等人上呈康熙皇帝御筆「避暑山莊詩樣子二篇」刷樣，獲得了皇帝的認可。 似乎刻印工作一切順利，殊不知八月初七和素、李國屏再奏稱[2]：

奉旨：熱河三十六景，每景

各畫詳圖二張，一張於銅板刊刻，另一張交報帶去，於木版刊刻可也。 欽此欽遵。 畫完之二張畫交報帶去，伏乞命朱圭、梅裕鳳以木板刊刻等語具奏。 奉旨：由報帶來刊刻。 欽此等因。 將兩張畫一併帶去。 續又帶去二張，將此示朱圭、梅裕鳳觀之。 伊等稱：刊刻此畫時，棗木板才可用。 再，用手之畫也有。 幹活時，東西、畫亦有。 略算之，一個人二十天左右可以刻一塊。 再，現找得之棗木板雖長寬尺寸勉強夠，但潮濕，乾後方可刊刻。 若乾，需十幾日。 我聞得，穿山甲、川膠放入水中，煮二三日，放陰涼處晾乾，乾得快，亦不易裂。 營造外來我材料處查得，未找到乾棗木板，現將找到之棗木板煮之，干後再看。 再，朱圭、梅裕鳳都在刻黃經板，黃經字九月十日刻完，經頭、經尾畫九月底刻完。 此件若板乾可用，或另尋得乾板，可命朱圭、梅裕鳳，一人刻黃經，一人刻畫。 然僅命二人刊刻，恐需時太久，故命朱圭、梅裕鳳：爾等往尋原先能刻之人。 伊等曰：我等已尋找，沒有找到，欲勤加尋找等語。 奴才等亦分別尋找，為此謹奏，請旨。

這條奏報極為重要，它顯示了《避暑山莊三十六景詩》最初的底本是一景二稿，計劃中一稿用於銅板刊刻，一稿用於木板刊刻，這當是皇帝對《避暑山莊三十六景詩》付刻的最初計劃。 木刻方面，朱圭、梅裕鳳選擇棗木板刻印，其板材來源和使用時的乾濕處理情況在奏摺中已經述明。 以和素七月二十二日奏摺所述，計劃50人刻板，八月初即可完竣。 但實際情況與他的估計大相徑庭。 朱梅二人每人二十天左右可以完成一塊木板刻印，但僅限此二人，原計劃的50人實際上是和素的一廂情願，事後並沒有找到適合的刻手。 至於銅板方面，檔案所述「一張於銅板刊刻」之畫稿，很可能就是後來提供給傳教士馬國賢鐫刻銅版畫的底稿。 兩個版本的《避暑山莊三十六景詩》是何時完竣的，和素、李國屏在一年後的七月初八日如是奏聞[3]：

和素、李國屏謹奏：六月初八日為印刷完竣《御製避暑山莊詩》具奏之折，本月初十日到。 奉旨：刻完之書甚好，甚恭謹。 爾等於西洋紙刷一二部后，放下。 俟用銅刊刻之畫完竣之時，再彙集裝訂。 若西洋紙多，能多印幾部更好。 據聞此種紙發絏之處多，如墊起來，墨到不了，筆畫恐又易斷。 將此妥善為之。 欽此欽遵。 奴才等到處尋西洋紙，然未尋到。 查得，養心殿存有西洋紙二萬五千九百余張，其中有可印書之薄紙一萬八千一百四十張，故將養心殿收藏之西洋紙取來，發絊之處弄平，交與專門善於印刷之領催、工匠，印刷一部後恭謹奏覽。 此書應印幾部之處，奉旨後陸續印刷收藏，為此謹奏請旨。

由奏摺所知，木刻本《御製避暑山莊詩》在本年六月間已經刷印。 我們根據「水流雲在」一圖的左下題記「內務府司庫加一級臣沈喻恭畫，鴻胪寺序班加二級臣朱圭、梅裕鳳仝恭鐫」可知，木刻本《御製避暑山莊詩》的畫手是沈喻，刻工是朱圭、梅裕鳳。 銅版畫此時尚未完竣，至於何時蕆事，檔案並未表明。 以銅版畫對比木刻本，我們很容易發現二者之間存在的巨大差異。 木刻本畫手沈喻在銅版畫底稿中扮演了什麼角色，存世檔案並沒有蛛絲馬跡，不過馬國賢本人的記述似乎可以給出一種合理的推測：

陛下知道我的雕版工藝獲得了一些進展，決定要印刷一批採自他親令建造的熱河行宮的《熱河三十六景圖》。 因此我就和一個受命畫畫的中國畫匠一起過去，從而有機會觀看了全部地方的景致，這是一個從來沒有授予給任何歐洲人的特別的恩惠。 [4]

不論馬國賢所指「一個受命畫畫的中國畫匠」是否為沈喻本人，我們可以確定的是，馬國賢銅版畫的創作一定是在中國畫師先出具底稿的前提下，再經他鐫刻銅板然後付印的。 銅版畫上強烈的明暗對比，說明馬國賢對中國畫師的底稿進行了很大程度的適應性修改，才呈現出我們今天看到的充滿西洋技法的效果。 就像今天無法看到木刻本底稿一樣，銅版畫的底稿同樣下落不明。 這給我們連綴兩個版本《御製避暑山莊詩》的關係帶來了障礙。 不過，康熙五十一年八月初七日皇帝「每景各畫詳圖二張，一張於銅板刊刻，另一張交報帶去，於木版刊刻可也」的旨意至少說明了木刻本和銅版畫的底稿是同時創作的，再根據馬國賢的回憶，又可以明確銅版畫的創作是有中國畫師參與的，這說明銅版畫《御製避暑山莊詩》是中外合作的產物。

二 《避暑山莊三十六景圖》散頁二種

初次刊印后，避暑山莊三十六景以組圖出現在清宮中還有王原祁《避暑山莊三十六景》、戴天瑞《御製避暑山莊詩》指畫、王際華書詩《避暑山莊三十六景圖》成扇、勵宗萬《避暑山莊詩意圖》冊、張若霭《避暑山莊並乾隆題詩》冊、錢維城《避暑山莊三十六景圖》等多個版本存世，它們均屬於宮廷的應制之作， 大多保存在北京故宮博物院和台北故宮博物院中。

本次發現的《避暑山莊三十六景圖》散頁二種，一為水芳岩秀，一為遠近泉聲，分別為避暑山莊三十六景中的第五景和第二十五景。 二頁紙本設色，每頁縱33cm，橫29cm，畫面下方有手寫法文圖說，配有木製畫框。 其畫面風格特徵為：遠山施以青綠山水，用色濃烈; 近景以工筆勾勒建築形象，雖然細節略顯朴拙，但是仍然能夠準確表現建築環境，空間落位與實際情況相符。 通過觀察，此二頁與保存在台北故宮博物院的張若靄《避暑山莊並乾隆題詩》冊在內容表達上極其相似。 除去筆法和用色的差異外，遠山、樹石、建築等要素幾乎是鏡像呈現的，二者相似程度十分明顯。 再以此二圖對勘馬國賢銅版畫，當我們同樣忽略筆法和用色的差異后，我們仍然得到了三者之間的鏡像關係。

那麼三者熟為先後？ 據前文，銅版畫完成於康熙五十二年後，而此時張若靄剛剛出生，先後順序一目了然。 張若靄活動宮廷的時間是雍正十一年以進士身份授翰林院編修，至乾隆十一年卒。 那麼二散頁與其又何分伯仲呢？ 最近，來自美國的發現將這個問題向前推進了一步。

美國霍普金斯大學圖書館現存一套不完整的《避暑山莊三十六景》，分別是煙波致爽、芝徑雲堤、無暑清涼、延薰山館、萬壑松風、雲山勝地、北枕雙峰、西嶺晨霞、錘峰落照、南山積雪、梨花伴月、曲水荷香、濮間想、暖流暄波、泉源石壁、青楓綠嶼、香遠益清、金蓮映日、雲帆月舫、芳渚臨流、雲容水態、澄泉繞石、澄波疊翠、石幾觀魚、鏡水雲岑、長虹飲練、 甫田叢越、水流雲在，共二十八頁。 其中缺水芳岩秀、松鶴清樾、四面雲山、風泉清聽、天宇鹹暢、雙湖夾鏡、鶯啭喬木、遠近泉聲八頁。 巧合的是，本次發現的二散頁水芳岩秀、遠近泉聲，正在該套《避暑山莊三十六景》的缺頁之中。 另外，二十八頁每頁縱31cm、橫29cm，這與二散頁縱33cm、橫29cm的尺寸幾乎相差無幾。 再通過繪畫風格和筆觸的對比[5]不難判斷，二散頁與霍普金斯大學圖書館的二十八頁應為同一套作品，只不過因為長期裝框上牆的緣故，二散頁的顏色已經發生了變化，不及霍普金斯大學圖書館的鮮亮。 特別值得一提的是，霍普金斯大學圖書館出具了一篇當年傳教士以鵝管筆書寫的隨附畫頁的法文說明，內容大致是避暑山莊的景觀描述和對中國人造園手法的評價。 通篇文字與《耶穌會中國書簡集》中的語言風格極其相似，充滿了對東方藝術的讚美與推崇，堪為一篇書簡集之外的傳教士美文。 最後落款為：「北京，1765年7月15日」。

由此，本次發現的二散頁我們可以確認其創作的時間下限當在乾隆三十年。 也就是說，該套《避暑山莊三十六景》一如馬國賢銅版畫《御製避暑山莊詩》和張若靄《避暑山莊並乾隆題詩》冊的畫面內容，三者的山水、樹石和建築是鏡像關係的。 當然，在史料尚未充分挖掘的情況下，判斷三者的因循關係，尤其是張若靄本和二散頁的時代先後是不切實際的，因為我們仍然無法明晰二散頁創作的時間上限。 一個明顯的證據是，如果其創作時代為乾隆三十年左右，那麼緣何乾隆初年對水芳岩秀和遠近泉聲的改建沒有反映在畫面上？ 單就所描繪的內容考量，我們甚至無法排除二散頁來自沈喻時代的可能。

不管怎麼說，二散頁及其與之成套的霍普金斯大學圖書館藏《避暑山莊三十六景》的出現，為這座皇家園林的形象又提供了一套當世範本，具有重要的研究意義。 更為重要的是，這套《避暑山莊三十六景》被由在北京的傳教士帶出中國，成為了繼馬國賢於雍正年間帶赴西方的《御製避暑山莊詩》銅版畫后，已知出現在海外的第二套避暑山莊組圖。 其遠舶歐美的歷史又為研究清宮圖像在西方的傳播並其背後傳教士在18世紀中西交流中的媒介作用以及東西方宮廷的歷史互動開闢了嶄新的解釋空間。 下面，我們站在微觀的角度，對此二散頁進行細緻觀察。

三 水芳岩秀

水芳岩秀一頁，描繪的是避暑山莊湖區如意洲景觀。 需要注意的是，該頁畫面反映的建築佈局，是康熙五十年前後如意洲的狀態，與乾隆時期改造后的如意洲大為不同。 在康熙皇帝題額的避暑山莊三十六景中，水芳岩秀、無暑清涼、延薰山館、西嶺晨霞、雲帆月舫都在本頁畫面表現的區域中。 比如，畫面中間一組建築的三間門殿為無暑清涼，進入後的七間大殿為延薰山館，後面的二層五間樓閣是金蓮映日。 雖然畫面沒有繪出西嶺晨霞和雲帆月舫建築，但是如意洲西側的水岸空間在畫面上還是盡收眼底。 也就是說，避暑山莊三十六景不同於後來的圓明園四十景，往往一組建築群裡包含了皇帝題名的多個景觀，這些景觀的不同之處，僅僅是觀察的角度或者表現的主題而已。

「水芳岩秀」其名的由來和此中意指，康熙皇帝在詩文中做了詳盡的解釋：

水清則芳，山靜則秀。 此地泉甘水清，故擇其所宜，䆳宇數十間。 於焉誦讀，幾暇靜養，可以滌煩，可以悅性。 作此自戒始終之意雲。

水性雜若甜，水芳即體厚。

名泉亦多覽，未若此為首。

頤卦明口實，得正自養壽。

擇地立偃房，根基度長久。

節宣在茲求，勤儉勿落後。

朝窗千岩里，峭壁似天剖。

遠托思雲漢，怡神至星鬥。

精研書家奧，臨池愈澁手。

清淡作飲饌，偏心惡旨酒。

讀老無逸篇，年年祝大有。

水清則芳，山靜則秀，在泉甘水清的如意洲相地作宇，於此誦讀、靜養，可以滌煩、悅性。 這裡所謂的「泉甘水清」，可能真的打動了巡閱天下的皇帝，竟然做出了天下名泉「未若此為首」的高超評價。 不過，僅僅通過誦讀和靜養，就能滌煩和悅性嗎？ 皇帝在此聯想到「頤卦」上艮下震的形象，卦辭曰：「頤，吉貞; 觀頤，自求口實。 」象傳曰：「山下有雷，頤，君子以慎言語，節飲食。 」看來，水芳岩秀還是皇帝踐行「頤卦」的地方，做到「明口實」，才能「自養壽」。 幾十年後，乾隆皇帝和乃祖水芳岩秀詩道：

岩秀處艮靈，水芳擅坤厚。

即此溪壑佳，何必稱牛首。

緬懷智者樂，願效仁者壽。

茲地可會心，亭軒建已久。

澄流繞其前，疏峰羅厥後。

仙壺常秘奧，無乃神人剖。

璇題猶在簷，奎文麗星鬥。

顔柳步後塵，張王謝敏手。

明訓垂日月，所惡在旨酒。

紹庭志雖殷，繼武吾何有。

既然是和詩，那麼乾隆在內容上完全對仗康熙。 康熙說此地泉水好，天下名泉無出其右; 乾隆就說此地山水佳，金陵牛首山也不能作比。 康熙搬來周易，要謹言慎行; 乾隆就引出論語，效仁智之說。 康熙闡發勤儉宮室的道理，乾隆就述明入心於景的情狀。 康熙清淡飲食，疏遠美酒; 乾隆就敬聆庭訓，效法惡酒。 康熙展卷無逸篇，希冀天下都能如「大有卦」那樣元亨大吉; 乾隆就強調繼祖志，

永遠追逐前輩的光芒建立不世功業。 祖孫二人的兩首水芳岩秀詩，彷彿時空穿越般的一唱一和，別有一番味道。

四 遠近泉聲

遠近泉聲一頁，表現了避暑山莊平原區與山區過度處一座園林景觀，至晚在康熙五十年以前，康熙皇帝為這裡題寫了「遠近泉聲」匾額。 此景坐落在武烈水進入山莊后的上水位置。 整組建築四面臨水，西傍山崖，崖間石罅有流泉瀉出，形成飛瀑。 北側曾有泉水湧出，康熙皇帝稱其為「趵突泉」，並說它「湧地觱沸」，可見當年水勢之大。 在這裡，西邊的飛瀑與北邊的湧泉交相合鳴，這就是「遠近泉聲」題名的由來。

觀察畫面，遠近泉聲一景由三組建築組成，正中一組遊廊閉合的建築群，中三間捲棚歇山殿即康熙皇帝題額「遠近泉聲」處。 其右側（東）亦有三間殿宇，乾隆皇帝題額「聚香齋」，內有楹聯：「四圍山色連雲漢，一徑林邊去暑風。」遊廊西北有平橋通一小島，島上建敞亭三間，康熙皇帝題額「聽瀑」，亭中有聯：「四面浮青開日景，一泓澄碧見天心。」 有意思的是，聚香齋楹聯強調的是雲山和林木，聽瀑楹聯則強調了青天和碧水。 雲林天水，四圍佳麗，在遠近泉聲觀察到的環境風物通過內簷楹聯得到了充分點題。 再看畫面，左側（西）山崖上據高建小廳兩座，中有開設「瓶門」的「粉牆」相連。 廳前臨崖憑欄繞砌，此處是飛瀑的上水位，泉水經人工從稍遠的「瀑源」處引流至此，衝下山崖形成「銀河倒瀉」「晶簾映崖」的效果。 康熙年間，這裡廣植白蓮，皇帝形容為「白蓮萬朵」，這在畫面中亦可得到印證。 每當微風斜卷，水花珠璣散空，面對花香泉響，康熙皇帝發出了「直入廬山勝境」的讚歎。

避暑山莊模仿天下勝景，金山複刻鎮江，煙雨樓源於嘉興，曲水荷香典出會稽，這些都是因明確的建築形象而確定的景觀寫仿。 像遠近泉聲這樣並無建築對應僅以意境類比的「移天縮地」別有一番味道。 值得一提的是，遠近泉聲經人工引泉而形成瀑布的做法，在宮中被稱為「水法」。 所謂的「水法」即「水的戲法」，指通過工程技術手段形成瀑布、噴泉等用以觀賞的景觀。 早在明代，紫禁城宮後苑中就有水法存在。 隨著技術的改進，後來出現在圓明園西峰秀色等多處的水法瀑布擁有較遠近泉聲的簡單引水更為複雜的提水「機關」，由遠近泉聲到西峰秀色，再到長春園西洋樓，可以看到一條脈絡清晰的清宮「水法」的演變過程。

乾隆時，遠近泉聲是皇帝時常臨幸的地方，見諸御製詩的行為就有避陽、乘風、信步、觀瀑、賞蓮、題句、換葛衣、搖扇、臨水、點筆、盼雨、懷舊等等。 此時畫面中間遠近泉聲掛匾處的南側遊廊被改為了門殿，題額「招涼榭」。 從乾隆十九年到嘉慶三年，44年間皇帝在招涼榭留下了34首御詩製。 通過詩文，我們知道乾隆皇帝游幸遠近泉聲往往都在過午之後，是因此處的山地環境使然。 由於建築地處西偏，過午不久，驕陽就被樹林和岩體遮擋，御製詩云：「地近西山得陰早，秋來婪熱藉招涼。」招涼之名，因環境而名副其實，這在畫面中也是一目了然的。

乾隆皇帝在避暑山莊《永恬居》詩中曾有「已是洞天傳玉簡，得教福地續琅書」之句。 其意在解釋自己續題避暑山莊三十六景的行為乃因循康熙皇帝的傳統，是承前啟後、徵引有自的。 那麼本次水芳岩秀、遠近泉聲二散頁的發現，站在歷史的高度去看，同樣是一種因循：今人藉助當世圖像，以圖證史，可以更好地理解這座被康熙、乾隆二帝經營了九十年的塞外離宮。不無可能的是，有朝一日，水芳岩秀、遠近泉聲二散頁與霍普金斯大學圖書館的二十八頁《避暑山莊三十六景》並尚未發現的六散頁能夠重新聚首，讓這套遊走海外二百多年的山莊倩影實現合璧展覽，此等姻緣，必將帶來極大的震撼吧。

[1] 中國第一歷史檔案館編：《康熙朝滿文朱批奏折全譯》，第808頁，《武英殿總監造和素等奏熱河避暑山莊三十六景詩八月初印完折》，中國社會科學出版社，1997年版。

[2] 中國第一歷史檔案館編：《康熙朝滿文朱批奏摺全譯》，第813頁，《武英殿總監造和素等奏為刊刻熱河三十六景折》，中國社會科學出版社，1997年版。 需要指出的是，本折第一句原譯為「熱河三十六景，每景各畫詳圖二張，一張於絹板刊刻，另一張交報帶去，於木版刊刻可也。 「根據本文後面所引和素、李國屏檔可知，」一張於絹板刊刻「當為」一張於銅板刊刻「之誤。

[3] 中國第一歷史檔案館編：《康熙朝滿文朱批奏摺全譯》，第889頁，《武英殿總監造和素等奏避暑山莊詩應印幾部折》，中國社會科學出版社，1997年版。

[4] （意）馬國賢：《清廷十三年：馬國賢在華回憶錄》，第十三章，上海古籍出版社，2004年。

[5] 霍普金斯大學圖書館藏二十八頁中泉源石壁、鏡水雲岑、曲水荷香、雲容水態、澄泉繞石、水流雲在、芳渚臨流、香遠益清與二散頁水芳岩秀、遠近泉聲中的「泉」「水」「芳」「遠」四字筆劃具有高度一致性。