| Transcript |
- NOTES
1 Na Chih-Iiang, op. cit., p. 105.
Zhang Guangwen, Plastic Arts of the Qi ng Palace Jades During the Reigns of Qian Iona and Jiaqing,� Wenwu, No. 11, 1984, p. 92.
Yang Boda, Palace Jades of the Qing Dynasty, Gugong Bowuyuan Yuankan No 1 1982, p. 50.
4 One of the few dateable examples of jade carving from this reign is a jade book dated to 1648 in the Chester Beatty Library in Dublin. See William Watson, Chinese Jade Books in the Chester Beatty Library, Dublin, 1963, p. 12.
5 Kangxi greatly valued jade as shown by his remark that an effective remedy for robbery would be to discard jade and destroy pearls �so that petty thieves would disappear, there being no valuables left to steal.� Joan Hartman, Chinese Jade of Five Centuries Ver�mont and Tokyo, 1969, p. 73.
6 S. W. Bushell, Chinese Art, London, 1909-10, p. 108.
7 Yang Boda, loc. cit.
8 Gump, op. cit., p. 112.
9 Yang Boda, loc. cit.
Ibid. Among these are Dou Zhitong, Zou Xuewen, Chen Tingxiu, Huang Guozhu, Yang Yu Xu Guozheng, Yao Zongren, Han Shilang, Shi Renxin, Chen Yijia, Wang Bin, Bao You- xin, Gu Jinguang, Zhou Yunzhang, Zhang Jiaxian, Zhu Cai, Ni Bingnan and Jin Zhenhuan The first four on the list were not only excellent craftsmen but were also experienced connoisseurs, who could authenticate jade objects. All these talented jade craftsmen were called upon to teach students the highly technical craft of jade carving and to elevate their technical skills.
11 Yang Boda, op. cit., p. 51.
12 Ibid. Even though there was not a great deal of activity in the jade carving field during the early years of Qianlong�s reign, there are a number of archival references to the fluctua�ting fortunes of the imperial jade workshops. For example, on January 31,1742, Qian- long ordered the Bureau of Works at the palace to bring jade from the storage and put pieces of various colours on display. The official in charge of the storage, Bai Shixiu, presented 10 large pieces of different coloured jade and 60 small pieces. The emperor seemed to be only interested in one piece of white jade and the rest was returned to stor�age. From this event, it appears that the jade in the palace was rather limited. But a few years later, on April 7, 1747, there is a memorial from Qianlong which seems to indicate there was a slight increase in the jade supply. The memorial was to the High Inspector, Hu Shi, instructing him to hire extra jade carvers outside the palace because there were not enough jade workers on hand to get the work done.
13 Ibid. For example, the archives record that on March 17, 1741, Qianlong�s High Inspec�tor, Zhang Ming, sent a piece of jade to Yao Zongren to have a design made for it. After 16 days, Yao submitted a design of a goblet in the shape of a wild duck. Whereupon, Qianlong ordered that the design and the piece of jade be sent to an official named Tu La at the Suzhou Imperial Silkworks to be carved. On January 24, 1748, Tu La sent the completed jade wine goblet to the palace for inspection. This duck-shaped goblet took six years and nine months to complete from the time of designing until its final carved form. It is recorded that in 1750 Yao Zongren sent three more designs for jade carvings to the Suzhou Imperial Silkworks.
On another occasion on February 21, 1743, instead of sending designs to Suzhou, two volumes of the Kaogu Tu were handed over to the superintendents of the Silkworks, An Ning and Tu La, to choose six illustrations from the book, which would serve as models for jade carvings.
4 For detailed biography of Zhao Hui see A. W. Hummel, Eminent Chinese of the Ch�ing period, Taipei, 1970, pp. 72-lb.
5 Hansford, �Jade and Jade Carving in the Ch�ing Dynasty,� Transactions of the Oriental Ceramic Society, Vol. XXXV, p. 31.
6 Ibid., p. 32.
7 Ibid., p. 33.
8 Yang Boda, op. cit., p. 52.
42
|
|---|
