首先，乾隆時期將玉器和家具相結合的新方式，催生

了嵌玉插屏的出現(xiàn)，並使其成為宮廷玉器收藏和陳設

的新形態(tài)。其發(fā)展演變的歷史清晰明了，為我們認知

此類器物提供了依據(jù)。乾隆十年十月「初四日，司庫

白世秀來說，太監(jiān)胡世傑交漢玉神龍長方佩一件，

傳旨：著配做插屏架，欽此。於十二月初二日七品

首領薩木哈將漢玉神龍長方佩一件，配得紫檀木插

屏架，持進交太監(jiān)胡世傑呈進訖?！?1 這是筆者所見

清宮造辦處活計檔中最早關於製作嵌玉紫檀插屏的記

錄。此後，這件嵌玉插屏成為同類器物製作的範本，

如乾隆十一年為漢白玉迴紋璧和漢玉象組合配製紫檀

木瓶式架、乾隆二十三年為一件不明材質的插屏心配

製紫檀木插屏，都是依據(jù)此件「紫檀木嵌漢玉插屏」

的樣式、做法製作完成的。這一時期還屬於零星製作

階段。從乾隆二十六年（1761）開始，紫檀木嵌玉

插屏製作出現(xiàn)規(guī)模

化,每年都有相當

數(shù)量的製作，其中

又以嵌玉璧的紫檀

插屏最多，最具特

色。僅以此件乾隆

御題嵌龍鳳玉璧紫

檀插屏製作的乾隆

三十一年為例，活

計檔中就有正月

三十日「漢玉璧一

件，……著配做

插屏一件」 ；二

月初一日「漢青玉

漢紋璧一件，……

將玉璧配做插屏一

件」、「漢玉乳釘

璧一件，隨烏木

架，……改做插屏

一件」；二月初

四日「漢玉乳釘

璧一件，……著配做插屏」；三月初一日「漢青玉璧

一件，……將玉璧配插屏」；三月十五日「漢玉漢紋

璧一件，……將玉璧做紫檀木插屏一件」；五月十五

日「漢玉乳釘漢紋璧一件、漢玉乳釘璧一件，傳旨：

著配做插屏二件」；六月二十七日「白玉龍鳳拱璧一

件，……著配插屏」；十月初三日「大青玉璧一件，

配得花梨木插屏一件」；十月初七日「漢玉乳釘圓璧

一件，……將玉璧配做法好些插屏一件」；十月二十

三日「漢玉乳釘璧一件，……將玉璧配做插屏」；

十二月二十一日「漢漢玉漢紋璧一件，……著配做插

屏」等等，多達13件。這些嵌玉插屏製作的指令都出

自乾隆皇帝本人，所嵌玉璧來自於紫禁城、圓明園等

不同地方，插屏所用材質絕大部分為紫檀木，經過配

就藝術品收藏和鑑賞而言，清代乾隆時期可以與歷史

上任何一個收藏的鼎盛時代相媲美，乾隆皇帝也可以

與歷史上任何一位帝王收藏家相媲美，且在諸多方面

表現(xiàn)更豐富、更全面，直至今天仍然具有很大的影

響。對玉器的搜求和製作是構成乾隆時期宮廷藝術鑑

藏活動最為重要的方面之一。可以毫不誇張地說，

清宮遺存的玉器絕大多數(shù)是在乾隆時期收集、製作，

並納入宮廷珍藏的。談到乾隆時期的宮廷玉器史，

我們注意到這樣一個趨勢，即乾隆時期玉器大量與宮

廷家具、室內裝修相結合，收存、陳設於各個宮殿之

中，極大拓展了宮廷內玉器的使用範圍。其中嵌玉插

屏發(fā)展成為一個室內陳設品類，顯示出乾隆時期宮廷

玉器收藏、製作和使用的新現(xiàn)象。此次香港蘇富比公

司準備拍賣的這件「乾隆御題嵌龍鳳玉璧紫檀插屏」

就是一件能夠很好詮釋這一現(xiàn)象的典型作品。

此件插屏紫檀木

製，通高26.5厘

米，寬18.5厘米，

厚12厘米，所嵌玉

璧直徑13.5厘米。

座屏四周浮雕雲龍

紋岔角，蹲龍站

牙，披水牙及底墩

浮雕夔紋，縧環(huán)板

浮雕如意云頭紋。

屏心正面開圓光，

內嵌玉璧一件。玉

璧材質潔白、純淨

溫潤，雙面均雕琢

精細紋飾。正面滿

浮雕螭龍雲紋，背

面浮雕雙鳳紋。螭

龍頭部成三角形，

身體呈S形，四肢

健碩，於雲朵之間

若隱若現(xiàn)，雲紋細密有致。瑞鳳紋飾尾部捲曲，分叉

呈蔓草狀。玉璧中心安圓形紫檀木臍，木臍可以和插

屏背板連接固定，木臍上頂做雙龍紋乾卦符號，為乾

隆帝圖像徽記，見於其御用璽印中。插屏背板可以上

下抽插，其背面圓光內刻乾隆帝御制銘文一則，文字

填金。後署「丙戌小春上澣御題」款，丙戌曉春上澣

即乾隆三十一年（1766）十月上旬。御題款下刻「叢

雲」 御用小璽印文。插屏座底部中央刻一「甲」字並

填金。整個插屏設計規(guī)範，雕刻精細，玉璧和紫檀屏

架渾然一體，相得益彰，工藝水平很高，具有濃郁的

宮廷氣息。

為更好地理解此件作品，這裡將與此件嵌玉璧插屏有

關之問題梳理如下：

關於乾隆御題嵌龍鳳玉璧紫檀插屏

郭福祥

「在清宮造辦處活計檔中，此件插屏

的製作情況是有跡可循的，並與實

物形成了對應關係。根據(jù)清宮造辦

處活計檔的記載，乾隆三十一年六

月『太監(jiān)胡世傑交：白玉龍鳳拱璧

一件，木架木匣，傳旨：著配插

屏，先呈樣，欽此。於七月初一日

催長四德、筆帖式五德將白玉龍鳳

拱璧一件，配得插屏樣，持進交太

監(jiān)胡世傑呈覽，奉旨：照樣準做，

欽此。』」

99

文是專門為這件白玉龍鳳紋玉璧撰寫的，這也進一步

說明此件嵌玉璧插屏所有部分都保持著配置的原始狀

態(tài)，沒有改變過。

最後，是此件嵌玉璧插屏所展示的典型性。嵌玉插屏

尤其是嵌玉璧插屏作為乾隆時期形成並發(fā)展成熟的一

個複合工藝品種，在製作過程中逐漸形成了乾隆帝通

常特別關注的某些元素，包括在玉璧及插屏上刻御製

詩或御製題銘、刻有乾卦圖案的圓形木臍等。此外，

還有一些細節(jié)同樣值得關注。如乾隆三十一年四月二

十四日，一件陳設於翠雲館的嵌漢玉璧紫檀木插屏的

背板開裂，被送到造辦處修理。為保證成品的質量，

乾隆皇帝為此特別傳旨：「將裂壞背板安穿帶，嗣後

凡有頒做活計，俱安穿帶?！?6 乾隆皇帝的旨意在後

來的活計製作中得到了貫徹。我們可以看到，在乾隆

御旨發(fā)出一個月後製作的此件嵌白玉龍鳳拱璧紫檀木

插屏的背板部分就是使用穿帶連接的方式。又如對於

內府收藏的玉器作品，乾隆皇帝往往親自進行鑑別、

定級，「內府銅玉諸器，率以甲乙別等第」?，F(xiàn)在留

存下來的清宮藏玉中許多都刻有甲、乙、丙的編號，

就是其鑑別活動的明證。在此件嵌白玉龍鳳拱璧紫檀

木插屏的座底部，也刻有一「甲」字，證實這種鑑

別行為確實存在。以上各個方面，在這件插屏中都有

完美的體現(xiàn)。這使本件拍品在乾隆帝御制的嵌玉璧插

屏中具有相當?shù)牡湫托院痛硇裕芍^同類作品中的

精品。

此外，還有一點有必要特別說明。按照通常的慣例，

乾隆御製題銘基本都會收入御製詩文集，但此件玉璧

的題銘卻在乾隆御製詩文集中缺失。實際上，這種情

況並非孤例，在宮廷收藏的同類作品中，也有御製題

銘沒有收進御製詩文集的例子。如北京故宮博物院所

藏的青玉帶紫檀邊座雕螭璧插屏，在插屏背板上有

「和田之璞，溫潤晶瑩。琢以為璧，肉好是程。三螭

蜿蜒，噓如芝英。蒸雲致雨，時若應誠。用庇嘉穀，

萬寶告成」的御題銘文，同樣沒有收入御製詩文集。

甚至是極為重要的題銘，如北京故宮和臺北故宮分別

收藏的乾隆十四年製作的兩組各六件玉圭，其命名為

「昭華表德」的紫檀木盒四面，刻有乾隆皇帝特別為

此六圭撰寫的御識題記，也同樣沒有收入其御製詩文

集中。7 明晰此點，有助於我們對此件嵌玉璧插屏的

基本判斷和認識。

1 中國第一歷史檔案館、香港中文大學文物館合編：《清宮內務府

造辦處檔案總匯》第14冊頁128，乾隆十年十月「廣木作」，

人民出版社，2005年。

2 中國第一歷史檔案館、香港中文大學文物館合編：《清宮內務府

造辦處檔案總匯》第30冊頁198，乾隆三十一年六月「匣裱作」

，人民出版社，2005年。

3 鄧淑蘋：《乾隆皇帝的智與昧：御製詩中的帝王古玉觀》頁81，

臺北故宮博物院，2019年。

4 《國語·楚語下》「王孫圉論楚寶」。

5 《清高宗御製詩二集》卷86，「社稷壇禱雨」。

6 中國第一歷史檔案館、香港中文大學文物館合編：《清宮內務府

造辦處檔案總匯》第30冊頁177，乾隆三十一年四月「匣裱作」

，人民出版社，2005年。

7 鄧淑蘋：《乾隆皇帝的智與昧：御製詩中的帝王古玉觀》頁129

，臺北故宮博物院，2019年。

做合牌樣、呈覽、照樣準做、呈進等程序，有的還要

交懋勤殿刻詩，充分顯示出乾隆皇帝在此類嵌玉璧插

屏製作過程中的決定性作用。

其次，在清宮造辦處活計檔中，此件插屏的製作情況

是有跡可循的，並與實物形成了對應關係。根據(jù)清宮

造辦處活計檔的記載，乾隆三十一年六月「二十七

日，催長四德、筆帖式五德來說，太監(jiān)胡世傑交：

白玉龍鳳拱璧一件，木架木匣，傳旨：著配插屏，

先呈樣，欽此。於七月初一日催長四德、筆帖式五德

將白玉龍鳳拱璧一件，配得插屏樣，持進交太監(jiān)胡世

傑呈覽，奉旨：照樣準做，欽此。於十月初三日筆帖

式五德將白玉龍鳳拱璧一件，配得插屏，持進交太

監(jiān)胡世傑呈進訖。」2 檔案中對玉璧的描述，基本上

可以和蘇富比徵集到的這件乾隆御題嵌玉璧紫檀插屏

中所嵌的玉璧相對應。一是其白玉材質。這件玉璧和

通常的漢玉不一樣，在感官上應該是有顯著區(qū)別的。

這種直接點出白玉玉料的情況，在玉璧記錄中是不多

的。二是其龍鳳主題紋飾。明確的龍鳳紋玉璧在清宮

玉璧收藏中比較少見，檔案中「龍鳳」二字交代出該

玉璧的顯著紋飾特點。三是「拱璧」二字可以看出當

時人對玉璧體量的定位。說明該玉璧相較於通常的玉

璧，體量比較大，且材質潤澤，頗顯珍貴，這也與蘇

富比此件玉璧13.5厘米的直徑相呼應。另外，檔案中

所記嵌龍鳳玉璧插屏的完成時間也與蘇富比徵集到的

這件嵌龍鳳玉璧紫檀插屏背板上乾隆御銘的題寫時間

一致。前者於乾隆三十一年十月初三日進呈乾隆，

後者乾隆御題題寫時間為「丙戌小春上澣」，即乾隆

三十一年十月上旬。綜上，使我們有理由相信檔案所

記載的嵌玉璧插屏，應該就是此次蘇富比徵集到的這

件嵌龍鳳玉璧插屏。

再次，乾隆御銘內容與所嵌玉璧實物紋飾之間高度契

合，反映出乾隆皇帝對此件玉璧的認識。在蘇富比徵

集到的這件嵌龍鳳玉璧紫檀插屏的背板上，有乾隆皇

帝的御題銘文：「龍興致雲，觸石膚寸。亦有九苞，

負厚以運。潤以甘澍，培以和風。蔭穀表瑞，視此握

中?！广懳牡那八木潼c明了玉璧的龍鳳主題紋飾，

「龍興致雲，觸石膚寸」句意為龍騰於空，噓氣成

雲，雲氣聚合，彙為雲海，對應的正是玉璧正面的螭

龍雲紋。 「亦有九苞，負厚以運」句中「九苞」即

是鳳鳥的代稱，鳳鳥承載著運勢，對應的正是玉璧背

面的雙鳳紋。 「潤以甘澍，培以和風」句則講的是主

題紋飾中龍和鳳的作用，龍興雲致雨，如甘霖般滋潤

大地，鳳翱翔生風，如春風般輕拂大地，寓意風調雨

順。 「蔭穀表瑞，視此握中」句則表明乾隆皇帝對玉

璧的認知，被看作是庇蔭嘉穀的祥瑞之器，是祈禱年

景豐盈的象徵之物。這一點與乾隆皇帝一貫看法是一

致的。玉璧是乾隆帝在玉器收藏和鑑賞過程中十分關

注的一個種類，一生所寫的有關玉璧的詩作多達110

首。3 透過這些詩作，乾隆皇帝表達出承續(xù)中國古代

「玉足以庇蔭嘉穀，使無水旱之災，則寶之」 4 的重

要思想。從乾隆二十四年開始，每到社稷壇祈雨，

都要「特敕所司，仍用玉將事」，5 並成為定例。

通過乾隆的題銘，此件白玉龍鳳玉璧的意義得以昇

華?？梢娗』实鄣挠}銘文與所嵌龍鳳玉璧的紋飾

之間契合度很高，可以判定此件插屏背板上的乾隆銘

100 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359

An exceptional imperial gilt-inscribed zitan-mounted white jade

'chilong and phoenix' disc, bi,

Qing dynasty, Qianlong period, the stand dated to the bingxu year

of the Qianlong period (corresponding to 1766)

3508

the thin jade bi disc intricately embellished on one

side with eight chi dragons twisting amidst the swirling

clouds, the other side neatly decorated in low relief

with two phoenixes, the outer and central edges

bordered by small flanges decorated with braided

pattern, the translucent white stone of an even colour,

mounted with an exquisitely carved zitan table screen,

and secured by zitan plug carved with a trigram qian

flanked by two stylised kui dragons (long), the frame

enclosed by borders of archaistic dragon pattern, the

reverse with a circular medallion gilt-inscribed with an

imperial poem signed bingwu xiaochun shanghan yuti

('imperially inscribed in the first third of the tenth lunar

month of the bingxu year', corresponding to 1766),

followed by a seal reading yeyun

jade bi d. 13.7 cm;

overall h. 26.4 cm

PROVENANCE

A French private collection, formed circa 1860s, and

thence by descent.

Ivoire Chartres, 28th October 2012, lot 88.

LITERATURE

Nicolas Chow, The Literati Aesthetic, Hong Kong,

2018, pls 5-6.

來源：

法國私人收藏，約1860年代入藏，後於家族傳承

Ivoire Chartres 2012年10月28日，編號88

出版：

仇國仕，《無盡意》，香港，2018年，圖版5-6

詩文：

龍興致雲，觸石膚寸。

亦有九苞，負厚以運。

潤以甘澍，培以和風。

蔭穀表瑞，視此握中。

丙戌小春上澣御題

「叢雲」印

插屏底部刻一「甲」字

清乾隆 御製紫檀雕龍興致雲嵌龍鳳紋玉璧插屏

《丙戌小春上澣御題》款、「叢雲」印

HK$ 12,000,000-15,000,000

US$ 1,530,000-1,920,000

Mark

102 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359

103

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]:

DISCOVERIES OF THE TWO ALBUM LEAVES

FROM THE SERIES THIRTY-SIX VIEWS OF THE

IMPERIAL SUMMER PALACE AT JEHOL

“By comparing the painting style and brushwork, 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.”

106 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359

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

“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

Shuifang Yanxiu, Imperial Poem of Summer Palace, Woodblock Print, Palace

Museum Beijing

木刻本《御製避暑山莊詩》之水芳巖秀 北京故宮博物院藏

Yuanjin Quansheng, Imperial Poem of Summer Palace, Woodblock Print, Palace

Museum Beijing

木刻本《御製避暑山莊詩》之遠近泉聲 北京故宮博物院藏

107

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 firstgrade officer and

treasurer (siku)

of The Imperial

Household

Department, and

engraved by Zhu

Gui and Mei Yufeng,

both secondgrade 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]

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.

“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.”

108 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359

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

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

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.

Zhang Ruoai, Shuifang Yanxiu of Qianlong’s Poem and Summer Palace, Palace Museum, Taipei

張若靄《避暑山莊並乾隆題詩》冊之水芳巖秀 臺北故宮博物院藏

109

(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 mirrorimage relation. Due to the limited historical data, it

remains challenging to establish a definite causal

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 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

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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

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.

Fangzhu Linliu, Thirty-Six Scenes of Summer Palace, The Johns Hopkins University

Library

《避暑山莊三十六景》之芳渚臨流 霍普金斯大學圖書館藏

111

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

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, fiveroom 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.

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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).

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,

113

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(xiàn)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(xù)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(xiàn)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(xiàn)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

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(shù)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(qū)別於其他離宮的重要特徵。 這裡也因此成

為了塑造中國統(tǒng)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(tǒng)計，那麼清朝皇

帝至熱河地方的次數(shù)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(fā)，秋九月回

鑾，在避暑山莊度過最為暑熱的時節(jié)。 所以，在炎炎

盛夏，來「風清夏爽，宜人調養(yǎng)」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(tài)林姿，鶴鹿之遊，鳶魚之樂，

加之巖齋溪閣，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(qū)、湖區(qū)、山

區(qū)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(lián)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(xù)出現(xiàn)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(xù)了避暑山莊的傳統(tǒng)，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(chuàng)作和刊布，與本次新發(fā)現(xiàn)

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(jù)康熙五十一年七月二十二日武英殿總監(jiān)造和素奏稱

[1]：

已是洞天傳玉簡，得教福地續(xù)瑯書

記《避暑山莊三十六景圖》散頁二種的發(fā)現(xiàn)「此二頁與保存在臺北故宮博物院的

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(xiàn)的，二者

相似程度十分明顯?！?/p>

114 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359

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(chuàng)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(xiàn)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(chuàng)作的，再根據(jù)馬國

賢的回憶，又可以明確銅版畫的創(chuàng)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。

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(jù)聞此種紙發(fā)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(yǎng)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(yǎng)心殿收藏

之西洋紙取來，發(fā)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(xù)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(jù)「水流雲在」一圖的左下題記

「內務府司庫加一級臣沈喻恭畫，鴻臚寺序班加二級

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(fā)現(xiàn)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

Quanyuan Shibi, Thirty-Six Scenes of Summer Palace, The Johns Hopkins University

Library

《避暑山莊三十六景》之泉源石壁 霍普金斯大學圖書館藏

115

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(fā)現(xiàn)將這個問題向前

推進了一步。

美國霍普金斯大學圖書館現(xiàn)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(tài)、

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

水芳巖秀、松鶴清樾、四面雲山、風泉清聽、天宇鹹

暢、雙湖夾鏡、鶯囀喬木、遠近泉聲八頁。 巧合的

是，本次發(fā)現(xiàn)的二散頁水芳巖秀、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(fā)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」。

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(xiàn)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、張若靄

《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臺北故宮博物院

中。

本次發(fā)現(xiàn)的《避暑山莊三十六景圖》散頁二種，一為

水芳巖秀，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(jié)略顯樸

拙，但是仍然能夠準確表現(xiàn)建築環(huán)境，空間落位與實

際情況相符。 通過觀察，此二頁與保存在臺北故宮博

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(xiàn)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(jù)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

Zhang Ruoai, Yuanjin Quansheng of Qianlong’s Poem and Summer Palace, Palace Museum, Taipei

張若靄《避暑山莊並乾隆題詩》冊之遠近泉聲 臺北故宮博物院藏

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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 水芳巖秀

水芳巖秀一頁，描繪的是避暑山莊湖區(qū)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(tài)，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

巖秀、無暑清涼、

延薰山館、西嶺晨

霞、雲帆月舫都在

本頁畫面表現(xiàn)的區(qū)

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(xiàn)的主題而已。

「水芳巖秀」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：

由此，本次發(fā)現(xiàn)的二散頁我們可以確認其創(chuàng)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(chuàng)作的時間上限。

一個明顯的證據(jù)

是，如果其創(chuàng)作時

代為乾隆三十年左

右，那麼緣何乾隆

初年對水芳巖秀和

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(xiàn)，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(xiàn)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

Xiangyuan Yiqing, Thirty-Six Scenes of Summer Palace, The Johns Hopkins University

Library

《避暑山莊三十六景》之香遠益清 霍普金斯大學圖書館藏

「通過繪畫風格和筆觸的對比不難判

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(fā)生了變化?！?/p>

117

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(lián)：「四圍山色連

雲漢，一徑林邊去暑風?！惯[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(lián)：「四面浮青開日景，一泓澄碧見天心?！?有

意思的是，聚香齋楹聯(lián)強調的是雲山和林木，聽瀑楹

聯(lián)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(huán)境風物通過內簷楹聯(lián)得到了充分點

題。 再看畫面，左側（西）山崖上據(jù)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(fā)

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(zhèn)

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(xiàn)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(huán)境使然。 由於建築地處

西偏，過午不久，驕陽就被樹林和巖體遮擋，御制詩

水清則芳，山靜則秀。 此地泉甘水清，故擇其所宜，?宇數(shù)十間。 於焉誦讀，幾暇靜養(yǎng)，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(yǎng)壽。

擇地立偃房，根基度長久。

節(jié)宣在茲求，勤儉勿落後。

朝窗千巖里，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(yǎng)，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(yǎng)，就能滌煩和悅性嗎？

皇帝在此聯(lián)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(jié)飲食。 」看來，水芳巖

秀還是皇帝踐行「頤卦」的地方，做到「明口實」，

才能「自養(yǎng)壽」。

幾十年後，乾隆皇

帝和乃祖水芳巖秀

詩道：

巖秀處艮靈，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(fā)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?？?/p>

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(yè)。 祖孫二人的兩首水芳巖秀詩，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(xiàn)了避暑山莊平原區(qū)與山區(qū)過度處

「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(xiàn)在海外

的第二套避暑山莊組圖。」

118 FOR COMPLETE CATALOGUING 詳盡圖錄內容請瀏覽 SOTHEBYS.COM/HK1359

[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(jiān)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(jiān)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?！垢鶕?jù)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(jiān)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(tài)、澄泉繞石、水流雲在、芳渚臨流、香遠益清

與二散頁水芳巖秀、遠近泉聲中的「泉」「水」「芳」「遠」

四字筆劃具有高度一致性。

云：「地近西山得陰早，秋來婪熱藉招涼?！?/p>

招涼之名，因環(huán)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(xù)瑯書」之句。 其意在解釋自己續(xù)

題避暑山莊三十六景的行為乃因循康熙皇帝的傳統(tǒng)，

是承前啟後、徵引有自的。 那麼本次水芳巖秀、

遠近泉聲二散頁的發(fā)現(xiàn)，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，水芳巖秀、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(fā)現(xiàn)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(xiàn)合璧展覽，

此等姻緣，必將帶來極大的震撼吧。

Jingshui Yuncen, Thirty-Six Scenes of Summer Palace, The Johns Hopkins University

Library

《避暑山莊三十六景》之鏡水雲岑 霍普金斯大學圖書館藏

119

Two rare imperial album leaves from the series Thirty-six Views

of the Imperial Summer Palace at Jehol,

Qing dynasty, Kangxi period

3509

each of rectangular form, skillfully painted in ink and

coloured minerals with landscape of the imperial

summer palace at Chengde, one inscribed with

four characters reading shui fang yan xiu, the other

painting inscribed with yuan jin quan sheng, both

album leaves framed later in European wood frames,

with annotations in French below the paintings, the

one below the shui Fang yan xiu painting reads Vue

de Choug-fang-yan-sieou dans le Parc de Géhol que

les missionnaires fran?ais appellent le fontainebleau

de Tartarie (View of Choug-fang-yan-sieou in the

Parc de Géhol, which French missionaries call the

Fontainebleau of Tartary), and the other one reads

Vue de la source yuan-kin, c'est-à-dire éloigné et

proche, située dans le parc de Géhol, en Tartarie

(View of the source of yuan-kin, the far and near,

located in the park of Gehol, in Tartary)

painting 32.3 by 29 cm;

frame 43.5 by 40.4 cm

PROVENANCE

An important French private collection, formed

circa 1860s, and thence by descent.

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

來源：

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

清康熙 御製避暑山莊三十六景圖「水芳巖秀」及「遠近泉聲」

HK$ 2,000,000-3,000,000

US$ 255,000-383,000

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121

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HEAVEN AND EARTH THE COLLECTION OF AN AESTHETE HONG KONG 9 OCTOBER 2023 HK1359