The jade material used for these two screens is of a very pale celadon colour, the surface polished to a soft glossy sheen. When light is passed through, the different depths of the designs on both sides of each screen, more subtle on one side and more pronounced on the reverse, are enhanced, the few natural flaws are cleverly incorporated into the design. As Yang Boda notes, the Qianlong emperor favoured jade landscape carvings and postulated that carved panels and boulders should carry the spirit of landcape paintings of past masters, see Yang Boda, 'Jade: Emperor Ch'ien Lung's Collection in the Palace Museum, Peking', in Arts of Asia, March-April 1992, pp. 81-94. Compare a related white jade circular screen from the Qing Court collection, carved on one side with an immortals and attendants in a mountainous landscape, the reverse with a crane and deer, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (II), Shanghai, 2008, pl.61. The stag and doe symbolise the wish for marital bliss, and when combined with the lingzhi, could be interpreted to wish continuity and longevity as the two cranes on the reverse of the second screen. Compare further a magnificent pair of white jade circular screens of similarly large size from the Hartman Collection, sold Christie's Hong Kong, 27th November 2007, lot 1511, and a white jade circular screen similarly carved with figures in a mountainous landscape setting, sold Sotheby's Hong Kong, 29th November 1979, lot 242.