Grand et rare écran de Table Impérial en jade vert épinard chine, dynastie qing, époque qianlong (1735-1796)

de forme rectangulaire, une face portant une longue inscription à 19 colonnes en lishu en caractères incisés et dorés, l'autre face à décor de chauves-souris en vol parmi des nuages stylisés finement incisés et dorés, signé Dong Gao, deux sceaux Chen et Gao

The screen is in overall good condition. The stone has several small natural unpolished areas which have been included in the design. The gilding shows some wear particularly to the side with the bats and clouds. The screen is 2cm thick.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The poem on this plaque was composed by the Qianlong emperor and is titled Moyun shiji (Record of the Ink Clouds Room), recorded in Yuzhi wenji (Imperial Literary Works Collection), Sanji (Third Collection), compiled in the Siku quanshu (Complete Library of the Four Treasuries), 8.4a-5b. It may be translated as follows:

'Bi Yuan presented a stick of ancient ink, all of a foot in length, two inches wide, and two-tenths of an inch thick. On its box are inscribed the words "Master Chao" who records that it was made by Li Tinggui of the Southern Tang, and was preserved by the monk Fayi. Now it indeed is a "thing" and "to amuse oneself with things destroys the will," an expression that may say it all. However, there are exceptions. It may be so that ancient "things" are more plain than those of recent times, and those of recent times more elaborate than those of antiquity. And people esteem the plain and reject the elaborate. But what has any of this to do with being trapped in that error that has one lose virtue, especially when it concerns implements of the scholar's studio! Following past tradition and providing light for the future, purified in the rich fragrance of the six arts, I can see that this treasure is quite different from other playthings. As for addressing its value as ink, as form, as textured surface, and for its inscription, Master Chao accounts for all these in detail, but, though not superfluous, Chao neglects to discuss alone how its shape is carved into clouds. Just as clouds can bring rain, so ink begets blossoms from the brush, which emerge as words. So what difference exists between these and the blessings provided by the rich rains of spring that cloak the myriad things!  The Yangxing Dian that I had built at the Ningshou Gong is a place for me to retire to after becoming fatigued by duties, so the meaning of its name is already apparent for the last decade. However, its cooling and warming chambers are all exactly in the style of the Yangxin Dian. One of the warming rooms at the west side of the Yangxin Dian, earlier named the Sanxi Tang, could not be moved to the Yangxing Dian nor could its name be used there. It was just then that I acquired this ancient stick of ink, and so could use "Ink Clouds" for the name for this room. The "Three Rarities" comply with the maxim, "internally a sage, externally a ruler," as ren [benevolence] exactly tallies with "nourish the mind,"  whereas "Ink Clouds" signifies excursion into art in which the greatest talent achieves the most splendid expression. As such, I have recorded the facts as above, as well as having a picture made for it. I ordered my ministers to express their own thoughts about it in resonance with my composition, but not restricting them to either literary form or prosody, so this too resulted in a set of fine literary works for the Xiqing library. Reverently inscribed by Your minister, Dong Gao'

The inscription is followed by two seals of Dong Gao, Chen and Gao. Dong Gao (1740-1818) was a high court official whose calligraphy was greatly admired by the Qianlong emperor.

Several important people and structures are mentioned in this inscription. Bi Yuan (1730-1797) was a high provincial and court official, as well as a prominent historian. "Master Chao" refers to Chao Chongzhi (fl. ca.1126), a late Northern Song poet fluent in both classical verse (shi) and lyrics (ci) forms. The monk Fayi was a contemporary associate of Chao Chongzhi. Li Tinggui (d. 967) was a famous ink maker, whose ink sticks were considered works of art. The Yangxing Dian (Hall of Temper Cultivation), situated at the middle rear of the Ningshou Gong (Palace of Peaceful Longevity), was constructed in 1772 in imitation of the (Yangxin Dian Hall of Mental Cultivation). The Sanxi Tang (Hall of Three Rarities) is named for the three great works of calligraphy that were displayed on its walls Kuaixue shiqing tie (Clearing after Brief Snow) by Wang Xizhi (303-361), Chongqiu tie (Mid-Autumn) by Wang Xianzhi (344-386), and Boyuan tie (Letter to Boyuan) by Wang Xun (350-401). Xiqing (Clear West) is the name of the library situated in the south part of the Forbidden City where the great imperial collection of ancient bronze vessels was kept. 

See an inkcake attributed to Li Tinggui, wrapped in a white brocade bag inscribed with two remarks written by the Qianlong emperor in the 56^th year of his reign (1791), including the Moyun shiji, the calligraphy also by Dong Gao, in the National Palace Museum, coll. no. 001585N000000000. A jade book inscribed with the Moyun shiji, but the calligraphy by another official, Hu Jitang, is also in the National Palace Museum, coll. no. 006647N000000000.