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A Discussion on Qianlong’s Soapstone ‘Suianshi’ SealGuo FuxiangImperial seals are relatively few in number compared to other imperial works of art, and are extremely precious. At the time of their production, these seals were considered to be special items and were reflected by the choice of the finest materials used and the employment of highly skilled craftsmen at court who were tasked to undertake the work. This combination of fine material and craftsmanship reflects the high level of artistic endeavour at the time. More importantly, their manufacture was directly influenced by the Emperors, and reflected the Emperors’ thought process, personalities, interests and cultural cultivation. In this sense, they are important historical records. As such, in order to understand an Imperial seal, we have to know the background to its manufacture and purpose. The present Suianshi seal being offered at Christie’s Hong Kong is a case in point. The present seal is made of soapstone. It has an oval section, and is carved following its natural pebble shape to depict a peony growing amongst rocks. It is 7.4 cm. high; the seal face is 2.4 cm. wide and 4.4 cm. deep. The seal script is carved in relief with the characters Suianshi. This seal is recorded in the Qianlong Baosou (Seal Catalogue of Qianlong Period) in the Beijing Palace Museum, and corresponds exactly to the material and size recorded, and the seal chop is identical to the recorded seal impression. There is no doubt that this is a genuine imperial seal of the Qianlong emperor. According to the Qianlong Baosou, this seal was stored in the same box with two accompanying seals: Heshuo Baoqinwang bao (Seal of Precious Imperial Prince) and Xiongzhong changyang shifen chun (The height of spring always prevail in my heart), to be used together. They were made when Qianlong Emperor was still a prince.The owner of this seal, the Qianlong Emperor, was the fourth emperor of the Qing Dynasty. He established the most glorious reign of the Qing period with his effective government of more than 60 years, and was widely known as an enlightened sovereign. He was erudite from a young age, and even after becoming emperor, he did not forsake reading and poetry in the face of ever increasing workload. His learnedness was rare compared to other emperors throughout history, even those of Han-Chinese origin. He had placed great emphasis on the learning of Han culture, and consciously modelled himself after Confucian ideals. His relentless learning and deep understanding of Han-Chinese culture was evident in every aspect of his life, and also reflected in his choice of seals. From the records we know that he commissioned approximately 70 seals before his ascendance to the throne, the earliest being in the second year of Yongzheng period (1724) when he was only 14 year-old. An examination of these seals reveals some unique characteristics of the future heir to the throne, and also foresaw the type of seals he would commission when he became an emperor. These include name/title/sobriquet seals such as: Huangsizi zhang (Seal for the fourth prince), Hongli tushu (Library of Hongli), Baoqinwang bao (Seal of Precious Prince), Heshuobaoqinwang bao (Seal of Precious Imperial Prince), Changchun jushi (Hermit of Everlasting Spring); hall names such as: Leshantang (the Hall of Delighting in Benevelonce), Suianshi (the Chamber of Peace Regardless), Zhilanshi (the Chamber of Fragrant Orchids), Yizhai (the Studio of Self-control). He also advocated poetic verses such as: wanwu jingguan jie zide, sishi jiaxing yuren tong (content in the observation of myriad beings, sharing in the delights of the four seasons), xiongzhong changyang shifen chun, wenzhang youshen jiao youdao (writings should be spirited, friends should be carefully chosen), zhonghua shengchu song qianchi (where all flowers perish, the pine grows tall), dakuai jiawo yi wenzhang (nature is the inspiration for my writings), jushui yue zaishou (scooping up water, the moon is in my hands), danshu shi suyuan (craving for books is an old karma), deju yin xinyi (new verses come from new ideas); weiyan xi xianhao (wise words can analyse the smallest things); and proverbs such as zhengyi mingdao (Understanding righteousness, discerning the way), jujing cuncheng (be respectful and honest), lixiu qizhi, buwei wu xian (act not ahead of natural course). ‘Chamber of Peace Regardless’ was one of the most frequently used for his studies during his time as a prince, and six of which have been recorded. The Christie’s example is one of them. This name also became the most frequently used for his studies after he became emperor, and is intimately linked to his literary activities. The Suianshi was one of the first studio names given by the Qianlong Emperor. He recounts that ‘when I lived in Chonghua Palace at the age of 17, I named my study Suian’. It was in the same year that he married Lady Fuqa Hala of the Bordered Yellow Banner, and moved to the west wing from the Yuqing Palace. It was in 1727, he named his studio Suianshi. The west wing was renamed Chonghua Palace after he became emperor, and the original Suianshi is situated at the back of Shufangzhai, the main study of the Chonghua Palace. All six Suianshi seals were made during his time as a prince living in the Chonghua Palace. This was one of the most leisurely periods of his life, when he was less involved in state affairs, and most of his time were spent practicing archery, reading, painting and calligraphy. The calligraphic works from this period indicated signs of increasing maturity, and naturally, seals were required to commemorate these works. The numerous Suianshi seals are indicative of the importance of this studio where many of his early literary activities took place. In the Qianlong period, most of the studies in various palaces and gardens were named using studio names in the Chonghua Palace, such as Changchun Shuwu (the Study of Everlasting Spring), Yizhai and Suianshi. On Changchun Shuwu he wrote, ‘I was granted to study here, the name Changchun was also awarded to me, therefore all the studies are now named accordingly.’ On Yizhai he wrote, ‘when I used to live in the Chonghua Palace, I cleared the western chamber as my study, and named it Yizhai. After the coronation, wherever there is a quiet place suitable for reading in the gardens or in the summer palaces, I named it Yizhai.’ The same was applied for the Suianshi. The Qianlong emperor appeared to favour this name, and shortly after the coronation named the northern chamber in the eastern building of Yangxindian ‘Suianshi’. Furthermore, many studies around the Imperial residences, such as the Western Garden, the Yuanmingyuan, the Qingyiyuan, and the Summer Palace in Jehol, were named Suianshi. This was often referenced in Qianlong Emperor’s writings, ‘Wherever there is a vacant courtyard in a scenic location, with bright windows and clean desks, I name it (Suianshi) as a reminder’, or ‘when I was in the princely palace, I named my studio Suian. After the coronation, all the studies within the palace or in Imperial gardens and summer palaces are so named. After 60 years the meaning of ‘regardless’ has become ever more evident to me.’ In his own words, Qianlong Emperor’s re-naming of these places served ‘as a reminder of his old intentions’, and not to forget the past. Qianlong’s contentment was evident and he often reminisced his life at Chonghua Palace. As for the meaning of suian, it simply meant ‘be at peace regardless of circumstances’, and exemplified his contented state of mind when Hongli was still a youth. However, after he became emperor, the changing status gave ‘suian’ a new meaning. It also became a wish for the wellbeing for his people to always be at peace and content regardless of their circumstances. As such, the meaning of ‘suian’ had subtly changed in the emperor’s mind. On the one hand, the Suianshi of Chonghua Palace was a place of many happy memories, a place of safe recluse; on the other hand, with increasing affairs in government and the changing of focus from himself to a wider populace, the idealistic contented mind of his youth was no more, and were confirmed to memories. He was forlorn when he wrote, ‘Suian before I was twenty five, was a happy time of reading and gathering; Suian after twenty five, was one of hardship of governance and self-control.’To conclude, the Suianshi was a very important place of literary activities for the Qianlong Emperor as a prince. The calligraphy and paintings he produced here were very important part of his early life, as well as the relatively numerous Suianshi seals made to accompany these works. From extant examples, six Suianshi seals were all made before his coronation. The current seal would have been stored in the same box as Heshuo Baoqingwang bao and Xiongzhong changyang shifen chun, and was the preceding seal of the set. It is evident that this set was likely to have been made after he was appointed the title ‘Precious Imperial Prince’ in 1733 and before 1735. Not many seals made for Hongli before he became emperor survived, and even fewer are in private hands. The current seal is made with fine soapstone, and cleverly carved using the pebble’s purple coloured inclusion with a blooming peony growing against mountain rocks. It is elegant and skilfully carved, and its meticulousness shows a very high standard of manufacture. This seal is a very important example in our understanding of Qianlong Emperor’s early seals. The seal Xiongzhong changyang shifen chun, which originally was stored in the same box as the current seal, was sold in Sotheby’s Hong Kong in 2004, and it provides an interesting comparison to the current seal.
AN IMPERIAL SUI’AN SHI SOAPSTONE SEAL
QIANLONG PERIOD (1736-1795)
Details
AN IMPERIAL SUI’AN SHI SOAPSTONE SEAL
QIANLONG PERIOD (1736-1795)
The oval seal is delicately carved in the round with blossoming hibiscus branches sprawling down from the top of a cliff face. The stone is of an opaque yellowish-white tone with areas of purple and red ‘skins’ that have been skillfully incorporated into the carving to highlight the flowers. The seal face is carved with a three-character inscription in seal script in relief, Sui’an Shi, ‘Chamber of Peace Regardless’.
3 in. (7.6 cm.) high
QIANLONG PERIOD (1736-1795)
The oval seal is delicately carved in the round with blossoming hibiscus branches sprawling down from the top of a cliff face. The stone is of an opaque yellowish-white tone with areas of purple and red ‘skins’ that have been skillfully incorporated into the carving to highlight the flowers. The seal face is carved with a three-character inscription in seal script in relief, Sui’an Shi, ‘Chamber of Peace Regardless’.
3 in. (7.6 cm.) high
Provenance
Collection of Gérard Lévy (1934-2016), Paris
Mr. Lévy was a well-known French dealer in East Asian art and antique photographs. His shop on 17 rue de Beaune is a focal point for collectors visiting the left bank of Paris in search of rare and valuable artefacts. During his 50 years in business, he not only sourced countless treasures for collectors, but also donated many rare pieces to museums.
Mr. Lévy was a well-known French dealer in East Asian art and antique photographs. His shop on 17 rue de Beaune is a focal point for collectors visiting the left bank of Paris in search of rare and valuable artefacts. During his 50 years in business, he not only sourced countless treasures for collectors, but also donated many rare pieces to museums.
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