A highly important imperial gilt-inscribed 'Xueshitang ji' white jade book, Qing dynasty, Qianlong period, commissioned by the Emperor in the 38th year of Qianlong (1773) and presented to him in the 39th year (1774) | 清乾隆 白玉陰刻填金二龍爭珠圖〈學詩堂記〉御筆詩冊 白玉冊十頁 款識：《庚寅仲冬月上澣御筆》 鈐印：《學鏡千古》、《乾隆宸翰》、《幾暇臨池》、《遊六藝圃》

Sotheby’s Hong Kong, 2nd May 2005, lot 523 and cover.

香港蘇富比2005年5月2日，編號523及封面

The Qianlong Emperor's Imperially Inscribed 'Xue shi tang ji' Jade Book

Guo Fuxiang

This jade book, imperially inscribed with the entire text of the ‘Xue shi tang ji’ in the calligraphy of the Qianlong Emperor himself, is extremely important as it offers researchers valuable insight into the manufacture of jade wares during that period and the storage of cultural treasures throughout Chinese history. Thus, it is worthy to expound on the jade book’s content.       

Although the original box of this jade book has been lost over time, the book itself has been entirely preserved with all of its ten pages. The ten leaves are made from a smooth jade of celadon-white colour, and one can see from the consistency of the stone and its lustrous tone, that all ten were obviously cut from one single piece of Khotan jade. The front and back covers have been shallowly carved and gilded with the classic motif depicting confronted dragons in pursuit of a ‘flaming pearl.’ All the other pages have been carved with the ‘Xue shi tang ji’ in the calligraphy of the Qianlong Emperor, totalling 428 words, including the date of the inscription. Two small seals follow the end of the text, Qianlong chen han (Imperially written by the Qianlong Emperor) and ji xia lin chi (Spending leisure time by a pond), while two larger seals, xue jing qian gu (Studying the mirror of history) and you liu yi pu (Strolling through the Garden of the Six Arts), are respectively carved in the remaining spaces on the first and last leaves of text. Looking closely at the style of the characters and the inclusion of the Emperor’s personal seals, it is clear that this inscription was copied directly from Qianlong’s own composition and carved onto these jade plaques. Based on studies done on Qianlong period calligraphy, one knows that there were three different types of calligraphers; the Qianlong Emperor himself, the Princes, and the high-ranking officials, denoted by the characters yubi (Imperially written), shengzhi (Imperially written by the Princes), and yuzhi (Imperially ordered by the Emperor) respectively, each writing in the calligraphic style specific to their rank. This ’Xue shi tang ji’ jade book belongs to the highest rank of calligraphy, yubi, written by the Qianlong Emperor himself in his own handwriting, and later transcribed into jade.

Located in a back hall of the Jing Yang Gong (Hall of Sunlight) in one of the six palaces on the eastern side of the Forbidden City (fig. 3), the Xue Shi Tang (Hall for the Study of the Odes) was highly important to the Qing court, serving as a repository for calligraphies, paintings, land charts and census records. The derivation of the hall’s name is also closely related to a specific valuable collection of calligraphies and paintings stored within. The word ‘odes’ (shi) in the hall’s name (Xue Shi Tang) refers to the Chinese Confucian classic, the Book of Odes (Shi jing), comprised of four shu and five jing. At the beginning of the Southern Song period, the Gaozong Emperor ordered court painter Ma Hezhi to illustrate the entire Book of Odes, and to base this fully illustrated version, now known as the Mao shi quan tu, on the Han dynasty text transmitted by Maogong. Additional essays and classical texts written by the Gaozong Emperor himself were also included with the Mao shi quan tu, making this Song compilation one of the most renowned achievements in the history of Chinese art. Over time, much of the material was scattered and lost, and by the Qianlong period, there were only seventeen volumes remaining in the Inner Palace. After close inspection, the Qianlong Emperor deemed five volumes false and authenticated twenty others as part of Ma Hezhi’s original series. The Emperor then personally inscribed a colophon at the back of each volume and placed it all together in the back hall of the Jing Yang Gong, whereupon he ordered a sign to be hung above, with the characters "Xue Shi Tang" visible to all who entered it. This event, recording the history of the Xue Shi Tang occurred in the thirty-seventh year of Qianlong (1770) and is notably the most important cultural venture of that year. It even became the subject of a poem, collaboratively composed by the Emperor and his highest officials, chanted during the annual spring tea gathering at the Zhong Hua Gong (Hall of Double Glory) tearoom the following year. In this poem, Qianlong recites, "[Situated] by the Eastern wall, the book repository in the Jing Yang [Hall] in the newly renovated back hall is called the Xue Shi Tang, I would like the imperial concubines to perform the ancient Zhou rites and music in the courtyard." From this record, one gets a glimpse into the actual celebratory atmosphere at the time of the Xue Shi Tang’s naming and the reassembling of its precious contents.

Though there is no historical record of the exact date of the Xue shi tang ji’s composition, however, the date carved on this jade book, geng yin zhong dong yue shang han yu bi, confirms the inscription was first written in the thirty-fifth year of the Qianlong period (1770), the same year as the events described above. The Emperor’s high regard for the Xue Shi Tang as a place of utmost importance is directly related to His Majesty’s esteem for the Book of Odes (Shi jing). The Emperor saw this Confucian classic as instrumental and integral to ruling harmoniously, as it instilled in all its readers a strong sense of ruler-subject, father-son relationships. Thus, "one must understand the Book of Odes, in order to implement the way of the ancient Zhou kings. Therefore, all rulers under Heaven must study the Odes." From the Emperor’s perspective, the moral rhetoric espoused in the Odes was crucial as it facilitated the ruling of the state by advocating obedient subjects and public peace. For this reason, the Qianlong Emperor not only ordered the hanging of the commemorative "Xue Shi Tang¡" plaque over the book repository, but also instructed that the Mao shi quan tu be placed inside, and, furthermore, composed the Xue shi tang ji to expound upon his views. Reflecting how strongly the Emperor believed in his cultural mission, the entire text was imperially commissioned to be transcribed into jade, a hard-stone material that would communicate the importance of studying the Book of Odes throughout the endless ages. The Qianlong Emperor also criticised the rulers of the Southern Song, namely Emperor Gaozong and Emperor Xiaozong, for their inability to recover and unify the Song dynasty, instead focusing on superficial tasks, like illustrating their own essays and commentaries. By simply using brush and ink to fulfil their personal desires, the Emperors of the Southern Song essentially neglected the great purpose of the Book of Odes ¡V that a good ruler must truly understand what is written within. The Qianlong Emperor, eager to differentiate himself from the inept Song leadership, highlighted his own intrinsic value for the Book of Odes and transcendent understanding of its contents. Reading the Xue shi tang ji, one definitely gets a sense of the Emperor’s self-aggrandizement.

A comprehensive survey of the ‘Xue shi tang ji’ jade book reveals its exquisite carving. The dragons carved on the front and back covers are clear and lively and assert their presence across the entirety of the page, while the strokes of the carving are smooth, fine and well-balanced, the overall style characteristic of the Qianlong period. The characters are similarly carved and are extremely tidy, as if they were written directly onto the jade plaque with a pen. To capture the intricacies of the Qianlong Emperor’s cursive script, the characters first had to be outlined, then following the direction of the brush strokes in the Emperor’s calligraphy, the carver would carefully hollow out each word and polish the surface. Subsequently, every pattern and character is inlaid with brilliant gilding. Whether it is in the carving or execution of other skilled techniques, this piece displays the gracefulness and sumptuousness of the craftsmanship typical of the Qianlong period. The fluid and natural quality of Qianlong’s handwriting, elegant and precise as it floats upon the surface of each jade leaf, embodies the bold, yet charming features of the imperial calligraphic style during the height of Qianlong’s reign. It is extremely rare to find a jade book of such exquisite quality and importance, since the only two comparable examples, also of similar material and superb craftsmanship, can only be found in the Beijing Palace Museum collection, namely the ‘Wen yuan ge ji’ jade book (fig. 1) and the ‘San xi tang ji’ jade book (fig. 2).         

Fortunately, the specific order regarding the manufacture of this ‘Xue shi tang ji’ jade book can be found in the archives from the collection of the First National Historical Archives of China (Zhong guo di yi li shi dang an guan). The entry in the Records of the Imperial Household Department (Nei wu fu zao ban chu huo ji dang) reads as follows: 

In the thirty-eighth year of the Qianlong Emperor, "in the fourth month, on the twenty-third day, we received from the Director Li Wenzhao a sealed notice, its contents began: In the fourth month, on the twenty-sixth day the Eunuch Hu Shijie transmitted the imperial decree, ‘The Emperor ordered that precious white jade kept in the Ru Yi Guan be carved with the characters ‘Xue Shi Tang’ and subsequently made into a white jade book comprised of ten plaques; another, be carved with the characters ‘Yi Zhai’ and be made into a white jade book comprised of ten plaques; another be carved with the characters ‘Chun Ou Zhai’ and be made into a white jade book comprised of six plaques, to be submitted to Eunuch Hu Shijie for His Majesty’s approval. By Imperial decree: The Emperor ordered all three jade books be sent to the Suzhou Superintendent of the Silk Factory, to the Shu wen (Expand Inscription) Department, the leaf of each book to be carved with their three corresponding original texts, and after each [character] had been meticulously outlined, to proceed with the deeper carving of the inscription. Follow this...On the first day, of the second month of the thirty-ninth year of Qianlong, the Superintendents of the Treasury, Wu De and Si De, presented the finished ‘Xue Shi Tang’ jade book, comprised of ten plaques, through the Eunuch Hu Shijie to His Majesty. In the same year, each of the three books was fitted with a zitan box, with a gilded cover, and these were submitted to Eunuch Hu Shijie for His Majesty’s approval. By Imperial decree: These boxes were submitted to the Mao Qin Dian (Hall of Great Diligence) and carved with their respective titles.

Based on this account, one knows that the ‘Xue shi tang ji’ jade book was completed in the thirty-ninth year of Qianlong (1774), and was initially produced from jade boulders in the Beijing Palace Jade Workshops. It was only partially completed and subsequently, sent to the jade workshops at the Suzhou Silk Factory, a professionally skilled operation responsible for producing works of art for the Inner Court, to be carved with the full inscription. The entire production process lasted a little over one year, including the simultaneous manufacture of two other works, the ‘Yi zhai ji’ and the ‘Chun ou zhai ji’ jade books, as noted above. One also knows that a zitan wood box once accompanied the ‘Xue shi tang ji’ jade book. 

The Qianlong Emperor was a highly cultured man and sought to distinguish himself through his artistic sensibility. As for jadewares, after the Qing government’s successful pacification of the Muslim rebellions, the Qing court gained access to the jade-rich territory of Khotan (in present-day Xinjiang). With a steady influx of high-quality jade into the Palace Workshops, the Emperor satiated his fascination with jade by encouraging innovation in jade carving. Under these new conditions, the jade carvers derived new skills, no longer limiting the production of jade works to objects for ritual use or official bestowals. During this period, the Qianlong Emperor took the liberty of ordering many of his imperial poems to be carved onto jade books, as a means of presenting himself and his ideologies to all future generations. This development was only possible during the Qianlong period. Today, most of the jade books that remain can be found in the Beijing Palace Museum, and only very few have made it into private hands, but from the wide breadth of subject matters addressed in the various jade books, their packaging and fine execution, one can glean valuable information about the history of the Qianlong period and all its artistic achievements. This ‘Xue shi tang ji’ jade book is both exemplary and important because of the wealth of knowledge it provides, offering insight into the Qianlong Emperor’s calligraphy and its replication in jade carving, the manufacture of jade works in the Palace Workshops, the circumstances surrounding the naming of the Xue Shi Tang and its precious contents, and the Emperor’s own views in general.  

The 'Xue Shi Tang Ji'

Confucius said. "Why is it that my disciples do not study the Book of Odes?" (1) As Boyu was passing through the courtyard, Confucius said, "Without having studied the Book of Odes, you could not converse! (2). Studying the Odes is highly esteemed! How is it that those who have studied the Odes can join four characters, and pair seven others to make harmonious rhymes, while selecting elegant phrases to complete the dao of the poem! In order for one to feel thoroughly self-satisfied, the Odes must enhance inspiration, sharpen observation, finesse social skills, facilitate the expression of grievances, honour one's father, and serve one's princely ruler's utmost greatness." (3)

Subsequently, if one internalizes everything that one learns, then the heart and spirit are harmonized. If one releases everything and puts it into practice, then one is well-versed in the principles of action. Thus, one can turn literature into influential action. If one does not study the opening words of the Odes, lin zhi,(4) then one will not be able to implement the laws of the Zhou officials. (5) This is the reason why all rulers in particular, must study the Odes. The Song Emperor Gaozong (6) ordered Ma Hezhi to illustrate the Book of Odes.

He also took the Emperor's essays and commentary to compile with it. The essays of Xiaozong (7) were also included in these documents. How is it that Hezhi started work in establishing skilful arguments, and completed his work with notable results in the Way of Heaven! He took a mound of books and completed their restoration. Most of the distant, scattered and lost material was retrieved and has been in the inner palace for many years since. As for the material that has already been noted in the Shi Qu Bao Ji (8), all nine volumes were completed and afterwards, eight volumes were obtained and added, and these new volumes verified the authenticity of the old volumes. Subsequently, the text of five volumes was meticulously examined to reach an understanding of all that was stored or lost. If the genuine texts were already known to be free of errors, then they served as a guide to identify and edit the errors in the false texts. After the material was deemed genuine, it was collected and placed in one hamper and stored separately in The Hall of Sunlight (Jin Yang Gong) in the back hall. Thus, this hall is called the Hall for the Study of the Odes (Xue Shi Tang). Later, some used the newly obtained material to verify the genuineness of the old material. Afterwards, they returned it to the hamper in that place. The purpose of each volume is to emphasize the importance of understanding the Book of Odes and to send word to the endless ages Volumes one and two take elegant odes and order them sequentially. Thus, for those unfamiliar with the original compilation of the essays and notes, their order has already been recorded in the Shi Qu Bao Ji. Today, as the five false volumes have already been edited out, the material noted in the Shi Qu Bao Ji is consistent with the genuine original.

Furthermore, the purpose of each volume is to acquaint the people with language and writing; after this is achieved, the two dynasties (9) will be exalted for their filial piety. However, with precarious peace (10) and the Yangtze River as an obstacle, the ambition of re-establishing the Song was never realized. It is shameful since they" had numerous great and dignified aims! They neglected all these, just to illustrate their essays and commentaries in the compilation of the Mao shiquan tu. Perhaps it was also the case of one man simply using brush and ink to fulfil his personal desires. Can one really say that they (12) studied and understood the Book of Odes? The ode says, "Tall mountains, I stop and look up. The scenery travels as I walk and stop to view it." Alas! I cannot bow complaisantly in the Qing Imperial Ancestral Hall.

Notes

1. Text quoted from Confucius' Analects, Chapter 17, Verse 9

2. Text quoted from Confucius Analects, Chapter 16, Verse 3

3. Modified from the original text in Confucius Analects, Chapter 17, Verse 9 

4. The titles from two sections in the Book of Odes, here, used generally to denote the Book of Odes.

5. The officials of the Western Zhou were revered as successful leaders of the Zhou dynasty (1027-771 B.C.E). the period which marked the beginning of recorded history in China, and more importantly, the age of Confucius. It was also during the Zhou dynasty, that the Book of Odes was written, allegedly by Confucius himself. Later generations would seek to reclaim and preserve the idealized peace of the Western Zhou period through moral cultivation following the way of Confucius and his contemporaries.

6. Emperor of the Southern Song, reigned (1127-1162)

7. Emperor of the Southern Song, reigned (1162-1189)

8. The Shi Qu Bao Ji Imperial Collection Index documenting in three volumes the paintings and calligraphy in the Qing Palace collections. It was commissioned by Qianlong in 1744 and completed in 1745. It also includes inscriptions on more than 220 imperial seals and tens of thousands of inscriptions on works of art.

9. The Song and the Qing dynasties

10. As when a ruler is acknowledged only by a section of a nation, like the Northern and Southern Song

11. The Southern Song rulers Again, referring to the Southern Song rulers

12. Again, referring to the Southern Song rulers             

關於乾隆御筆《學詩堂記》玉冊

郭福祥 

最近香港蘇富比拍賣公司徵集到一份乾隆御筆《學詩堂記》玉冊，對研究乾隆朝玉器製作及文物收藏的歷史具有重要價值，故將與此玉冊相關之各個方面的內容略書於後。

此份玉冊外包裝盒已佚失，但玉冊本身卻絲毫未損，計十片。青白玉質地，溫潤光潔，從每一片材質顏色看，此份玉冊顯然是用一塊和闐玉剖解而成。每片正背兩面均陰刻文字或龍紋。其中首片正面和末片背面均淺陰刻填金升降龍、火焰寶珠及雲紋，形成「雙龍戲珠」圖案。首片背面、末片正面及中間各片鐫乾隆御筆親書的御制文《學詩堂記》全文和書年落款，共428字。正文後鐫「乾隆宸翰」「幾暇臨池」二小璽，首片和末片空白處分別又鐫「學鏡千古」璽和「遊六藝圃」璽。很明顯，其文字和寶璽是完全按照乾隆御書的原件翻刻到玉冊頁上面去的。按乾隆時期的詩文冊依照書寫者的不同可分為「御筆」、「聖製」、「御製」等幾類，御筆類的文字都是由乾隆皇帝自己親自書寫，聖製類的文字由皇子書寫，御製類的文字則由大臣書寫。其中御筆類的玉冊是所有詩文玉冊中規格最高的一種，而此份《學詩堂記》玉冊就屬於此類。

「學詩堂」位於紫禁城東六宮之一的景陽宮的後殿，是清代宮中一處十分重要的收貯書畫圖籍的地方，「學詩堂」的得名便與殿內所收藏的書畫名跡有密切的關係。「學詩堂」裡的「詩」是指中國儒家經典「四書五經」中的《詩經》。南宋初，宋高宗命宮廷畫家馬和之以漢代毛公所傳的《詩經》為依據繪《毛詩全圖》，並親自書寫經文與之相配，成為中國書畫史上的著名作品。但隨著時間的流逝，作品散失很多，到乾隆時，內府共收藏有十七卷。經過乾隆皇帝的審定，認為其中的五卷為贗品，其餘十二卷為馬和之的真跡，乾隆帝在每一卷的後面都書寫了跋語，合在一起，收藏于宮內景陽宮後殿，還題寫了「學詩堂」的匾額懸於殿內，這就是「學詩堂」的來歷。這件事發生在乾隆三十五年（1770年），是乾隆帝在這一年中的一次十分重要的藝文活動，故在第二年春正重華宮茶宴時，君臣聯句即以「新題學詩堂」為歌詠對象。乾隆皇帝的詩句：「東壁圖書貯景陽，新顏後殿學詩堂。緣收趙宋君臣跡，企想姬周禮樂場。」正是當時情況的實錄。

關於「學詩堂記」的創作時間，史無記載，但通過此玉冊後面的「庚寅仲冬月上瀚御筆」的落款使我們知道應是在乾隆三十五年（1770年），正是乾隆審定《毛詩全圖》和題寫「學詩堂」匾額的時候。乾隆皇帝為什麼會對學詩堂如此重視？這與其對《詩經》的認識有關。乾隆認為《詩經》中的作品于和平之中卻蘊藏著事父事君的大道理，故「不讀關雎麟趾，不能行周官法度，是則有天下者，尤不可不學詩也。」在乾隆看來，《詩經》中所蘊涵的道義對皇帝治國安邦而言是非常重要的，正因為如此，乾隆帝在題寫「學詩堂」匾額，將《毛詩全圖》收藏於其中的同時，還特別寫了這篇《學詩堂記》，闡述自己的看法，並將全文書寫一過製成玉冊，以流傳後世。乾隆還認為，作為宋朝皇帝的宋高宗和宋孝宗偏安江南，不圖複國，只是繪圖書經以翰墨娛情，有違《詩經》宏旨，與自己對《詩經》的重視和理解根本無法同日而語，作此文也有他自詡自誇的意思。

綜觀此份《學詩堂記》玉冊，鐫刻極為精到。首頁和末頁的龍紋形象生動，動感十足，在整個玉片中所占比例較大，陰刻線條流暢，細密勻稱，為典型的乾隆時期的風格；冊中文字亦淺陰刻而成，先雙鉤出每個字的輪廓，再依筆順細細淺磨細琢，故而表現乾隆行書筆意十分到位，猶如用筆直接寫在玉片上，各個珠圓玉潤。所有圖案和文字均陰刻後填金，給人以金碧輝煌之感。無論是雕工還是具體作法都顯示出乾隆時期雍容華貴的風格，具有相當高的工藝水準。尤其是玉冊上的乾隆書法流暢自然，清秀飄逸，剛媚兼具，體現出乾隆皇帝盛年書法的真實面貌。其材質、做法、玉工、紋飾都與北京故宮博物院所藏乾隆御筆《文淵閣記冊》、《三希堂記冊》一模一樣，實為難得。

幸運的是，關於製作此份御筆《學詩堂記》玉冊的檔案完整地保存了下來，為此份玉冊的真實性提供了無可辯駁的依據。據中國第一歷史檔案館所藏《內務府造辦處活計檔》記載：乾隆三十八年「四月二十三日，接得郎中李文照押帖，內開：四月十六日太監胡世傑傳旨，如意館收存未刻字『學詩堂』白玉寶一方，隨白玉冊頁一份計十片；『抑齋』白玉寶一方，隨白玉冊頁一份計十片；『春耦齋』白玉寶一方，隨白玉冊頁一份計六片，呈胡世傑呈覽。奉旨：俱交蘇州織造舒文處刻做，隨寶上本文三張，冊頁上雙鉤細條三份，其寶上陽文加深刻做，欽此。……於三十九年二月初一日，掌庫四德、五德將做得『學詩堂』白玉寶一方，隨白玉冊十片，持進交太監胡世傑呈進訖。於三十九年將玉寶三方、玉冊三份各配得紫檀木拉道填金罩蓋匣，持進交太監胡世傑呈覽 。奉旨：交懋勤殿刻簽字。」可知此《學詩堂記》玉冊製作完成於乾隆三十九年（1774年），先是由服務於造辦處的玉工在北京破料製成半成品，然後發交給專門為內廷製作物品的蘇州織造的玉工琢刻文字，歷時一年有餘，與其同時製作的還有《抑齋記》玉冊和《春耦齋記》玉冊。從檔案中還知道玉冊原配有紫檀木盒。

在論述乾隆朝文物製作的文章中，我曾多次談到乾隆是一位具有較高文化素養的皇帝，在藝術方面亦好標新立異，彰顯自我。在玉器製作方面，自乾隆中葉平定回部以後，清廷控制了新疆玉石產地，和闐良玉源源不斷進入宮廷，為滿足乾隆對玉器的追求和創新提供了條件。在這種情況下，過去只限于祭祀、封贈等禮儀活動中使用的玉冊也衍生出新的功能。乾隆在位期間，曾經將自己相當多的御制詩文刻成玉冊，以自我標榜，流傳後世，這是乾隆朝獨有的現象。這些玉冊現大部分收藏在北京故宮博物院，流散於民間的並不多，其內容涉及之廣泛，裝潢、製作之精良，成為研究乾隆時期歷史和藝術的重要資料。而此次蘇富比拍賣公司拍賣的《學詩堂記》玉冊再一次說明了這個問題，具有相當的典型性，對研究乾隆御筆書法及其複製摹刻、內廷玉器製作、學詩堂的命名沿革及其收藏、乾隆帝的思想等都具有重要的價值。