Qianlong's Imperial Portrait Album*

Nie Chongzheng

This album is the work of the Emperor and his artists. Contrary to the norm, Qianlong’s postscript of his appreciation and the paintings were completed around the same time. Unfolding in the form of a tent, the front cover is made of wood incised with the four characters Jian gu xi zhen [Ancient treasures reflecting the past] and Qianlong’s imperial seal impressions on the following pages. This album is the work of European and Chinese painters. The third page contains the Emperor’s portrait and the two characters Lang zhao (‘Perfect brilliance’) written in the Emperor’s hand. The portrait painting is extremely fine, giving an acute sense of the Emperor’s feelings. It is painted in the European style and is possibly the work of Italian missionary artist Lang Shining (Giuseppe Castiglione, 1688-1766) who served in the Palace, while all other paintings in the album are the work of Chinese painters. Lang Shining often painted portraits for the Emperor; similar ones can be found in the Yuzhi shi wen ji [Anthology of imperial poems and text].

The following four pages contain seals above small refined paintings. The artists of these paintings are court painters and official artists of varying social status and positions: Dong Bangda (1699-1769), Zou Yigui (1686-1772), Qian Weicheng (1720-1772), who were all important officials during Qianlong’s reign and Ding Guanpeng (fl. 1738-1768), a court painter who worked in the Ruyiguan (court studio) in the Neiwufu (imperial household department).

The last page contains the Emperor’s postscript and scripts written by Jiang Pu, Wang Youdun, Qiu Yuexiu, Jin Deying, Dong Bangda, Wang Jihua, Qian Weicheng and others. The last page contains the seal impression ‘Taishang Huangdi zhi bao’ (Treasure of the Emperor Emeritus).

The signatures are extraordinary and rarely seen on palace paintings of the Qing period. All the painters’ signatures contain only the given name, without the surname, such as “Bangda”, “Yigui”, “Weicheng”, and “Guanpeng”. We may even say that this is the only example found so far. The postscripts on the last page were possibly written during a gathering of the Emperor and his artists. It appears that the rules of rites and the boundary between the Emperor and his subjects were not so strictly observed.

The Qianlong Emperor undoubtedly favoured this small and exquisite album which was made for his enjoyment and was possibly placed on his desk. The seals prove that he enjoyed this album even in his later years.

With the exception of Ding Guanpeng’s painted figures, all other paintings by the three officials portray landscape and flowers. Ding’s subject matter is from the ‘Books and Fans of Wang Xizhi’. Each painter has displayed his talent to his utmost ability and the paintings are extremely refined and exquisite.

There are 32 additional seals impressed above the court paintings, the transcription of each is written beside the seals. All these seals have been collected by the Qianlong Emperor. However the seals are likely to be fake. From this we can see the gaps in the Emperor’s knowledge and connoisseurship of archaic seals. The court painters and officials were probably aware of this but in order to flatter the Emperor they joined him in his praise.

As the album is not dated we can only guess the date of its making through information obtained from the artists involved. It is known that Dong Bangda died in the 34th year of Qianlong’s reign (1769), and Zou Yigui and Qian Weicheng both died in the 37th year of Qianlong’s reign (1772). The death of Ding Guanpeng is not documented, but there are no records of his activity after 1770. Lang Shining died in 1766 and his portrait of the Emperor is possibly the last painting to be added in the album. Hence this album was probably made in the first half of Qianlong’s reign which is also evident from the Emperor’s youthful facial features.

* originally published in Imperial Peking. The Last Days, Sotheby's, Hong Kong, 2007, pp. 48-49.

Emperor Qianlong's Imperial Album and His Appreciation of Imperial Seals*

Guo Fuxiang

The Qing dynasty was one of the most prosperous eras in Chinese history. The Qianlong Emperor was especially fond of ancient art and was a great collector. During the sixty years of his rule, his art collection reached an unprecedented level. His collection was recorded in detail in albums that provide essential information for the study of the Emperor’s collection. Qianlong himself was involved in the inventory work of his collection and spent considerable time putting his seal collection in order. The present album is therefore an important document of seals collected by the Emperor.

The Emperor’s seal collection mainly comprised of ancient bronze and jade seals, and ivory and stone seals of the Ming Dynasty. The Jian gu xi zhen (Ancient Treasures Reflecting the Past) Album is the work of the Emperor and his officials. The album contains thirty-two seal marks from Qianlong’s seal collection. It is in an album format, and the front and back cover is made of ying wood. The front cover is incised with the four-characters Jian gu xi zhen in lishu. The album contains nine double-pages. The first and the second pages are made of a special paper that contain gold specks. The characters ‘Wu Fu Wu Dai Tang gu xi Tianzi bao’ (The Treasure of Tianzi of the Five Happiness and Five Generations Hall) are printed together with the characters ‘Ba zheng laonian zhi bao’ (The Treasure of the Eight Commemorable Battles of the Old Gentleman). The third double page is incised with the two characters ‘Lang Zhao’ (Perfect Brilliance) in the Emperor’s writing. Below it is a portrait of the Qianlong emperor. The following pages contain seal marks and the landscape painting of Dong Bangda, a flower painting by Zou Yigui, a landscape painting by Qian Weicheng, the painting of the story of Wang Xizhi, and the calligraphy of Ding Guanpeng. The eighth page of the album contains a poem by the Qianlong emperor and short essays by eight high-ranking officials, such as Jiang Pu and Wang Youdun. The ninth page contains the six characters ‘Taishang Huangdi zhi bao’ (Treasure of the Emperor Emeritus). The album is a collection of poems, calligraphy, paintings and seal marks. In order to understand the value of this album, it is important to introduce its historical background.

The Qianlong Emperor considered the recording of his seal collection an important part of his activities. His interest in seals started around the 10th year of his reign (equivalent to 1745 A.D.). It was largely due to his love of jade artifacts. In his opinion, ancient jade seals of the Qin and Han Dynasties were especially worthy of his appreciation. In the 14th year of his reign, he had boxes made to contain sixteen jade seals. In addition, he had the rubbings of the seal marks made and ordered his officials to write essays on these seals. The Emperor himself also wrote poems to enhance their value. This is the first album that was made to record the emperor’s seal collection.

Qianlong’s poems and writings give us information on his vast jade collection. From archival records we know that there were fifteen ‘groups’ of jade seals that were appreciated, valued and recorded in albums by the emperor and his officials.

The valuation of Qianlong’s ancient jade seal collection involved the following process: firstly, the length of time devoted to the making of the seal was determined by examining the material, the style of carving and the contents of the inscription found on the seal. The seals were then presented to the emperor for review. After the emperor made his valuation of the seal, his officials usually confirmed his decision. Secondly, under the emperor’s order, the seal marks were preserved in an album together with his poems or essays. The workmanship of these albums is superb and extremely fine. Finally, the albums were stored in boxes and kept in the Palace.

About twenty known officials were involved in the making of these albums. Among the officials were Liang Shizheng, Dong Bangda, Yu Minzhong, Jin Deying, Wang Youdun, Jiang Pujiu Ri Xiu, Zhang Ruodeng, Qian Weicheng, Qian Rucheng, Wang Jihua and others. All these officials were also scholars of literature, history and the arts, and they all excelled in the field of calligraphy and painting. Their main task included the recording of the seals reviewed by the Emperor. They had to find evidence for strengthening the emperor’s decision about the seals. For example, in one of the valuations it is recorded that, ‘By imperial order, the 16 pieces of seals are of lustrous quality, with colorful and vivid design pattern and incised in zhuanshu by the carvers. From their quality it is evident that they are seals of the Qin and Han dynasties. They are undoubtedly made by Yan Liu’.

Then they eulogized the Emperor Qianlong as outstanding and peerless, such as the following: “Our Emperor respects the ancient things, evaluates carefully and researches widely, checks each piece, each article, and gathers all the materials, to confirm that the object is indeed a treasure from the past.” In order to achieve a suitably high level of praise, they would sometimes write in a contrived manner. Comparing the emperor’s poems with the essays by the officials, we can see that even whilst putting the seals into order and evaluating them, the main role was still played by the emperor himself.

The album printed and edited according to the instructions of the Emperor was an extremely important step in the process of putting into order and evaluating the ancient jade seals. The work of many people in this undertaking is evident. Generally speaking, to produce and edit such an album and print copies of the ancient seals, a transcription of the emperor’s calligraphy, or his poems and the essays of his officials and attendants are indispensable. In addition to enhance the sense of appreciation of the albums, a transcription of the emperor’s calligraphy and the imperial paintings, or the calligraphy of officials and attendants and their paintings needed to be added. According to archival records of the Neiwufu, “on the fourth day of the seventh month of the 18th year of Qianlong’s reign, Bai Shixiu sent in essays for the Emperor’s portrait in 5 pages, attached with 10 pieces of Han jade and one sample of an album. The Emperor ordered that the album be sent for mounting to the Mi Hall. From this record, it is clear that the album was made for the 10 pieces of jade that the Qianlong Emperor collected the year before. Another record notes that ‘on the 10th day of the fifth month of the 20th year of Qianlong’s reign, Bai Shixiu reported that the official Hu Shijie sent in 40 pieces of jade seals of different sizes and styles. The Emperor ordered that a five- storied box be made to match the jade seals, with the bottom page be left blank. At first, samples were made for approval. The mounting was changed at Bo Gu Ge. On the 14th day of the fifth month, Bai Shixiu and Su Wen sent in 40 pieces of various sized and styled jade seals, with samples of 6 drawer boxes attached; a box was made for the album. The Emperor ordered that seals be placed in 4 boxes, 10 pieces in each box, the album in one box, all together 5 boxes be sent to Mao Qin Hall. On the 27th day of the fifth month of the same year, the Emperor ordered that a cover be made for the boxes, the album be placed in the top drawer, and that a pattern be drawn for approval. On the 2nd day of the sixth month of the same year, Bai Shixiu again sent in 40 pieces of various styled and sized jade seals, and one album placed in a zitan wood box. The Emperor ordered that an approved dragon incised seals be made accordingly. This record confirms the content of the Qianlong’s poem, “Song of the Han Jade Seals” written in the 20th year of his reign. In order to make these 40 pieces of jade seals, Qianlong was very much concerned with every step in the course of making, which lasted for half a year, having put forward specific requirements, and revised samples many times.

Another record notes that on the 28th day of the ninth month of the 32nd year of Qianlong’s reign, Tai Jian sent in 2 boxes, rectangular in form, made of engraved zitan wood with jade inlay. In each box, 8 jade seals were placed. Each box was two-tiered with drawers. The Emperor ordered that the jade seals be placed in the lower drawer fitted to match the seals and that in the top drawers 2 albums be placed so that the sample could be presented for review. Qian Weicheng, Jiu Rixiu, Wang Jihua were ordered to write one character and draw one painting. Any old characters found on the seal was to be rubbed off. On the 1st day of the tenth month, Shi De and Wu De sent in 2 pieces of rectangular, zitan wood, tailor- made boxes, containing 8 jade seals. The Emperor approved the samples and gave an order to grind the jade seal thinner to get rid of the old characters on the seals.

Among all the albums made, it is rare to find an album that contains such a variety of information on the emperor’s seal collection. From Qianlong’s poem it is possible to date the album to the period between the Spring of the 22nd year of his reign (equivalent to 1755 A.D.) and the 23rd year of his reign. The present album is a historical treasure that reflects the Qianlong emperor’s enjoyment in his collection.

* originally published in Imperial Peking. The Last Days, Sotheby's, Hong Kong, 2007, pp. 52-55.

An Album with a Portrait of the Emperor by Castiglione

Opened with an imperial portrait of the Qianlong Emperor by the greatest Jesuit artist in Chinese history, Giuseppe Castiglione (Lang Shining), followed by court paintings in the hands of his most acclaimed contemporaries, namely Dong Bangda, Zou Yigui, Qian Weicheng and Ding Guanpeng, this important album exemplifies the pinnacle of Qing court production. It summarises the many facets of the scholarly accomplishments of the Qianlong Emperor, an avid connoisseur and prolific poet. Evidently made to order in the 21st year of the Qianlong period (1756), the frontispiece depicts the Emperor at his prime age of 45. He must have revisited and enjoyed this album repeatedly thereafter, for later seals were impressed to the pages to emphasise his ceaseless recognition.

According to the Qing court archives, in the 20th year of the Qianlong period (1755) – a year prior to the documented production of this album with 32 seal impressions – on the 10th day of the 5th month (19th June 1755), an album with an imperial portrait and calligraphy by His Majesty was commissioned to complement a group of 40 seals (fig. 1). Furthermore, five bespoke trays were ordered: four trays for the seals, ten seals each, and one tray for the album. A separate entry dated the 12th day of the 6th month (20th July) in the same year states that Lang Shining was instructed to paint an imperial portrait of the Emperor for a page in the guanwen (‘literature appreciation’) album in push-awning (tuipeng) binding style (fig. 2). The imperial portrait was completed on the 1st day of the 7th month (8th August) and the album for the 40 seals, together with the trays, were submitted on the 5th day of the 11th month (7th December). The chronological order and matching details of the records suggest that Lang Shining painted the imperial portrait in the album made for the set of 40 seals.

For the present album custom-made for a set of 32 seals, there is a matching record in the following year, dated the 11th day in the 8th month of the 21st year (5th September 1756) which states that Leader Gui Yuan, as proposed by Chief Officer Bai Shixiu and Commissioner Jin Hui, presented 32 Han dynasty jade seals. The Emperor ordered five zitan trays to be made in the same style as the former set of 40 seals: four trays for the seals, eight seals each, and one tray for the album. The set was completed on the 27th day in the 12th month (15th February 1757) and was presented to the Emperor at Yangxindian (Hall of Mental Cultivation) together with the seasonal items (fig. 3). The arrangement of the seals and the format of the album – in push-awning style comprising a portrait of the Emperor by Lang Shining and imperial calligraphy as suggested in the previous entries – correspond perfectly to the present album.

The imperial poem at the end of this album, titled On Han dynasty jade seals, was composed in the following lunar year, between the 7th and the 15th day of the first month of the 22nd year (24th February to 4th Mach 1757), according to Qing Gaozong yuzhi shiwen quanji [Anthology of imperial Qianlong poems and texts], Yuzhi shi er ji [imperial poems, vol. 2], juan 66, p. 11 (fig. 4).

The album with the set of 32 seals possibly entered the storage of Ningshougong (Palace of Tranquil Longevity), a lavish complex intended as the Qianlong Emperor’s retirement retreat. An inventory entry from the 32nd year of the Guangxu period (1906) registers ‘(number 143) a carved zitan box and cover containing an album and 32 jade seals.’

Designed for private enjoyment instead of public display, imperial portraits of the Qianlong Emperor of this small size are extremely rare, and this is possibly the only example remaining in private hands. Similar portraits in roundels can be found in the Qing court manuscript version of the anthology of imperial poems and texts preserved in the Palace Museum, Taipei. Compare the portraits of the 39- and 49-year-old Emperor in the first two volumes, included in Story of a Brand Name. The Collection and Packaging Aesthetics of Emperor Qianlong in the Eighteenth Century, Taipei, 2017, cat. no. IV-27 (fig. 5). The author suggests the roundel format, which effectively enhances visual focus, could have been a result of the involvement of Castiglione in the production of the first of these portraits, which served as a standard for subsequent paintings (p. 225).

This album was formerly in the collection of French President Paul Doumer (1857-1932, fig. 6). Doumer began his political career as a Radical-Socialist deputy from the Department of Yonne (Sens) in 1889, before being elected as the Minister of Finance under Leon Bourgeois in 1895. He served as the Governor of Indo-China from 1897 to 1902, where he carried out many important public works. Doumer then returned to France, where he re-entered the Chamber of Deputies. He moved on to the Senate in 1912, where he remained until his election as President in 1931, defeating Aristide Briand. Doumer’s presidency was cut short after being assassinated only a year later.

乾隆肖像圖冊*

聶崇正

作品為冊頁形式，縱九點五厘米、橫十八點五厘米，作推蓬裝，上下各有木版，封面的木版中間豎刻「鑑古席珍」四字；然後是兩開空白頁，但後來鈐上了乾隆皇帝的印章；翻開第一頁，正中鈐「五福五代堂古稀天子寶」印章一方，第二頁正中鈐「八徵耄念之寶」印章一方；第三頁開始是正式的畫幅，上半部為乾隆皇帝親筆書寫「朗照」二字，下半部中間為一園形的畫面，上畫乾隆皇帝的正面肖像，畫的十分細緻，頗具立體感，明顯帶有歐洲繪畫的風格，可以斷定是出自供奉宮廷的義大利傳教士畫家郎世寧的手筆；此後四開均為上半部是若干印章，下半部是一幅幅小巧精製畫幅，這四幅畫的作者分別為：董邦達（1699-1769年）、鄒一桂（1686-1772年）、錢維城（1720-1772年）、丁觀鵬（活躍於1738-1768年），最後一頁上面是乾隆皇帝自己題寫的一段跋語，下面則是蔣溥、汪由敦、裘曰修、金德瑛、董邦達、王際華、錢維城、錢汝城等撰寫的跋文；此後的空白頁上鈐「太上皇帝之寶」印章一方。

通過對此件冊頁的觀察，可以有以下的觀感：

第一，這是一件君臣合作的藝術品。乾隆皇帝書寫的字和畫家們的畫是同時完成的，並非如有的畫作是畫家畫完之後，皇帝讚賞再題上字的。

第二，它又是一件「詞臣畫家」和「宮廷畫家」合作的藝術品。冊頁中幾幅畫的作者中董邦達、鄒一桂和錢維城，均為乾隆朝的重要「詞臣」，而丁觀鵬則是內務府如意館中的職業畫家。雖然都同樣是作畫，但是他們的身份、地位相差懸殊。

第三，這還是一件歐洲畫家和中國畫家合作的藝術品。如前所述，此冊頁前面的乾隆肖像，當出自義大利傳教士畫家郎世寧之手，而其他畫作是中國畫家完成的。義大利畫家郎世寧是經常為乾隆皇帝繪製肖像的，與這幅相類的畫還見於台北故宮博物院所藏的《御製詩文集》前面的肖像（見《乾隆皇帝的文化大業》圖錄）。

第四，畫上畫家署款的格式非常特別，即所有的畫家都不寫自己的姓而只寫自己的名，如「邦達」、「一桂」、「維城」、「觀鵬」，這種現象在清朝的宮廷繪畫中極其罕見，甚至可以說是目前見到的唯一的實例。從後頁的跋文看，或許因為這是君臣在一起觀賞古玩的一次雅集活動，故而君臣之禮、君臣之間的界限不是十分嚴格。

第五，這件作品的小巧尺寸來看，應當是屬於乾隆皇帝置於案頭經常觀賞、把玩的心愛之物，冊頁前後所鈐之「五福五代堂古稀天子寶」、「八徵耄念之寶」、「太上皇帝之寶」的印章，可以說明乾隆皇帝在七十歲、八十歲之後，都還曾經觀賞過這件作品。

第六，三位「詞臣」畫的都是山水和花卉，惟獨丁觀鵬畫的是人物故事，從其所畫的內容來看，應當是東晉「王羲之書扇」的故事。每位畫家都發揮其所長，所以畫面非常精緻。

至於冊頁中畫面上方所鈐的其他印章，一共有三十二方，還專門作了釋文，書寫在印章的旁邊。這些印章似乎都是乾隆皇帝搜集來的古印，但是這些古印好象都是些大成問題的假貨，由此我們對乾隆皇帝鑑賞古印的水準，亦有所瞭解了，那些作畫、題跋的大臣中未必沒有看出來的，但是為了捧乾隆皇帝的場，也只有大加讚揚份了。此冊頁中未見寫字作畫的年份，故只能從側面作些推測。據查董邦達卒於乾隆三十四年（1769年）、鄒一桂和錢維城同卒於乾隆三十七年（1772年）；丁觀鵬的卒年雖然沒有明確記載，但是清內務府的檔案中顯示，他於乾隆三十五年（1770年）後就不再見其活動了；而為乾隆皇帝繪製肖像的郎世寧則卒於乾隆三十一年（1766年），所以他們一起作畫的下限為乾隆三十一年（1766年），此冊頁應當創作於這年之前，屬於乾隆前期的作品，這與冊頁前乾隆皇帝肖像中相貌的年齡亦相吻合。

總而言之，這是一件乾隆前期時的宮廷藝術品，確真無疑，但是畫家不寫姓、只署名的落款格式，又非常令人不解。大家不妨共同來研究，破解這個謎團。

* 原文載於《皇京西暮》，蘇富比，香港，2007年，頁48-49。

乾隆帝對宮藏古玉印的整理鑑別與「鑑古席珍」冊頁*

郭福祥

清代是中國歷史上內府收藏最為鼎盛的時代之一。尤其是乾隆皇帝，對古代藝術品鍾愛之至，搜集不遺餘力，在他統治的六十餘年中，內府收藏堪稱宏富，歷代珍品無不囊括府庫。針對這些內府收藏，當時還編纂了較為詳實的著錄典籍，成為後人研究的十分重要的資料。對於古代璽印，乾隆帝也同樣注入了相當多的精力，極力搜羅，不斷整理，使內府的璽印庋藏漸成規模，奠定了清宮璽印收藏的基礎。

乾隆皇帝對古代印章的搜集整理工作主要涉及古銅章、古玉印、明代牙石章等幾個部分，而香港蘇富比拍賣公司此次即將拍賣的這件「鑑古席珍」冊頁就是乾隆君臣對宮藏古玉印進行整理的直接成果。此件冊頁實際上是專門為乾隆整理過的三十二方古玉印製作的印譜。推蓬裝。冊頁上下夾板用癭木製作，其中上夾板正中刻隸書「鑑古席珍」四字。內頁計九開。第一開和第二開均為灑金箋，分別鈐「五福五代堂古稀天子寶」、「八徵耄念之寶」。第三開上半部分為乾隆御筆「朗照」二字，下半部分中間為一圓光，圓光內為乾隆帝的肖像。第四開至第七開每開的上半部分均分別為八方古玉印的鈐本，下半部分依次分別為董邦達畫山水小景、鄒一桂畫折枝梅花、錢維城畫山水小景、丁觀鵬畫羲之題扇故事。第八開的上半部分為乾隆御筆題詩一首，下半部分為蔣溥、汪由敦等八名大臣的跋語。第九開為灑金箋，鈐「太上皇帝之寶」。整個冊頁詩、書、畫、印有機結合，充滿濃郁的文人氣韻。為便於對此件冊頁價值的理解和判斷，在這况針對乾隆君臣整理鑑別古玉印的歷史情況作一些介紹。

對古玉印的搜集和整理是乾隆時期文事活動的重要組成部分。乾隆對古玉印的關注，大約從乾隆十年（1745年）即已開始，直到他去世，興趣一直不減，這恐怕與乾隆對玉器的喜愛有很大關係。在他看來，古代尤其是秦漢時期，印章雖然多鑄金刻玉以為之，但玉常少於金，故而能夠流傳下來者更為罕見，值得珍視。乾隆十四年（1749年）將宮中收集到的十六方玉印製匣盛裝，並鈐拓印譜，命文臣題跋，他自己也特別為此作詩宣揚，這是我們所能見到的乾隆第一次將古玉印整理集結。此後，每收集整理一批，乾隆都要題詩記述。通過乾隆的這些詩作，我們可以瞭解到當時宮中古玉印的收藏情況。根據現在的統計，在將近五十年的時間况，經過乾隆整理鑑別的古玉印大致有十五批次，每批少的僅一方，最多的一次達到一百方，總量在四百方左右。可見乾隆時期內府收藏的古玉印在數量上是相當可觀的。由於此前對宮藏古玉印沒有足夠的關注，缺乏系統整理，龐雜紛陳，因此乾隆君臣對宮藏古玉印的系統清理可以說彌補了這方面的不足。

我們現在所掌握的材料可以清晰地勾勒出乾隆君臣對宮藏古玉印整理鑑別的具體情狀。其對每一批古玉印的整理，大致按照以下的步驟進行。首先是根據古玉印的材質、紐式、印文的特徵和內容等要素判定其時代。按照一般的程式，這些印章先要呈給乾隆帝御覽，皇帝若感興趣，就會想方設法尋找材料，初步鑑別後提出處理意見。或者是在提呈御覽的時侯，就已經將相關的背景材料同時呈進以便定奪。因此，對古璽印時代的確認往往是通過乾隆之口首先說出，而且往往會得到大家的公認，最終反映在乾隆相關的御製詩中。「紐篆見炎劉，圭璋德並儔」、「古色煥斑爛，炎劉俊可攀」，這都是乾隆帝最終的鑑別意見。其次是重新排次，基本是按照印文的內容進行，也就是乾隆所說的「部分等次藤箋紀」、「各依其類以次排」。這一工作基本是由侍從諸臣完成，如：「臣等謹依印統前後而排次之，竊思秘府所藏，瓊章瑤檢不下數千百方，茲特昆山之片玉而精璆環寶已足媲美，圖球益信」及「巨等幸與編次，謹拜手稽首識諸簡末」等都是。當然，諸臣的工作也是在乾隆的授意之下進行的，「屏檔惟謹錯置紛，重排次命翰苑臣」、「我偶發現識舊物，乃命文臣重排次」正是當時的實錄。再次是製作印譜。將印文按排次的順序鈐拓成譜，配有乾隆的相關御製詩或御題識語，後附之以侍從諸臣的題跋，相當於一份完整的檔案。這些印譜或紫檀夾板，或錦面夾板，其上多題四字嘉名，如「韞古含珍」、「珍羅芝檢」、「文府雲章」、「綠字凝輝」等，且製作都相當精緻考究。最後是選取或新製外匣盛裝。把印璽按照排定的次序置於印匣內，再與印譜合在一起，存放於固定地點。至此，一批璽印的鑑別整理工作才算基本結束。

需要特別說明的是，當時參與宮中璽印鑑別整理工作的侍從大臣前後不下二十餘人。包括：梁詩正、董邦達、於敏中、金德瑛、汪由敦、蔣溥、裘日修、張若澄、錢維城、錢汝誠、王際華、蔣木鼎、嵇璜、觀保、王傑、董誥、彭元瑞、吳省蘭、阮元、瑚圖禮、那彥成等。這些人都是乾隆朝通曉文史、藝術的飽學宿儒之士，尤其是書畫，可謂各個精通。他們的工作除了對乾隆檢視過的璽印作基本的釐定排次之外，最主要的恐怕就是奉命撰寫附於印譜之後的題跋。這些題跋的基本內容，一是要為乾隆的基本結論進一步尋找依據，加固乾隆的看法。如：「玉印十六方，臣等奉來力賜觀，茂華溫澤，斑采蔚然。爰考其紐篆鐫刻，質諸秦漢印統，⋯⋯文既怑相符契，而大小形制亦皆吻合，其為炎劉以上物無疑」、「漢玉十印，奉敕令臣等審視。臣等檢閱秦漢印統一書，紐紋篆法不爽纖毫」。二是對乾隆帝的所謂「崇古博物」、「稽古右文」大唱贊辭，以證明當今聖上的卓爾不群。如：「我皇上崇古博物，朗鑑旁搜，一名一物莫不甄綜集錄，豈惟席上之常珍」、「我皇上稽古博物，既嘗舉鐘鼎之款識，若鑑銘，若泉貨，一一考據而辨證之。複取秦漢以來印章列之成譜，⋯⋯御製長歌冠於篇首。古情彬鬱，逸韻鏘流。臣等拜觀全冊。爛兮若卿雲之麗霄，煜乎如丹霞之成綺。實深慶諸印之上蒙乙覽，仰承睿藻，散者以聚，湮者以彰，珍同拱壁，遂得傳之永永也」。有時為了達到頌揚的目的甚至強做人解，如：「小璽吉語中言壽者九，言昌者亦九，九之字寓久，冠以承天子民，福永萬年，更於皇上敬勤之意有合。」將乾隆帝的有關御製詩與大臣的題跋相互對照，可以看出在清宮古玉印整理過程中，真正的主角乃是乾隆皇帝自己。

按照乾隆帝的旨意製作印譜冊頁是古玉印整理鑑別過程中至關重要的一步，所有人的工作都會在這况得到充分的體現。一般而言，所集古玉印的鈐本、乾隆帝的御製詩或御題、侍從諸臣的跋語是印譜冊頁中必不可少的元素。此外，還要根據情況或加入乾隆帝自己的御筆書畫，或加入侍從諸臣及宮廷畫家的書畫作品，以使印譜冊頁具有更強的觀賞性。這在現存清宮《內務府造辦處活計檔》中是有記載的。如：乾隆十八年「七月初四日，員外郎白世秀來說：首領桂元交御容題跋五頁，隨漢玉圖章十方、冊頁樣一件。傳旨：著交秘殿珠林裱推風冊頁一冊。欽此。」從此條檔案所記載的內容，可知冊頁是專門為上一年乾隆帝所集的十方漢代玉印所做的印譜。該譜同樣有乾隆帝的御容畫像、御筆題記、文臣跋語及十方玉印的鈐本。「推風」即是現在所說的「推蓬」，為書籍冊頁的一種裝裱形式，也是「鑑古席珍」冊頁所用的裝裱形式。又如：乾隆二十年「五月初十日，員外郎白世秀來說：太監胡世傑交各式玉圖章大小四十方。傳旨：著配匣做五屜盛裝，底下留裝冊頁空。先做樣呈覽，得時在博古格換裝。欽此。於本年五月十四日員外郎白世秀、副催總舒文將各式玉圖章大小四十方，配得合牌屜樣六屜，內一屜裝冊頁樣一件，持進交太監胡世傑呈覽。奉旨：將圖章裝四屜，每屜裝十方，冊頁裝一屜，共配五屜，交懋勤殿分次序，再做樣呈覽。欽此。於本年五月二十七日副催總舒文將各式玉圖章四十方，配得合牌屜樣四屜，合牌冊頁樣一屜，持進交太監胡世傑呈覽。奉旨：著配須彌座罩蓋匣，將冊頁屜放在上層，畫花樣呈覽。欽此。於本年六月初二日員外郎白世秀將各式玉圖章四十方，配得合牌屜樣四屜，合牌冊頁樣一屜，合牌罩蓋匣樣一件，畫得坐龍並漢紋璧花樣，持進交太監胡世傑呈覽。奉旨：准雕龍成做。欽此。於本年十月十七日員外郎金輝、副催總舒文來說：太監胡世傑交各式玉圖章四十方、聖容御筆冊頁一冊，於本年十一月初五日員外郎白世秀將各式玉圖章四十方，配得紫檀木罩蓋匣、冊頁，持進交太監胡世傑呈進訖。」該條檔案與乾隆二十年所作《詠漢玉章》詩記載的集古玉印四十方正相吻合，並明確記述為這四十方玉印製作的印譜冊頁中包含乾隆帝的御容畫像和御筆題記。為了製作這四十方玉印的印譜冊頁和木匣，乾隆帝對製作的每一步都十分關注，提出具體要求，反反復複達半年之久。再如：乾隆三十二年「九月二十八日，催長四德、五德來說：太監胡世傑來交嵌玉紫檀木雕繩紋式長方匣二件，內各盛玉圖章八方，每匣計屜二層。傳旨：將玉圖章配屜下槽放在下層，其上層空屜內配冊頁二冊，先呈樣，得時冊頁著董邦達、錢維城、裘日修、王際華寫一字一畫，圖章上有字的磨去。欽此。於十月初一日催長四德、五德將嵌玉紫檀木長方匣二件，內各盛玉圖章八方，配得屜、冊頁樣，交太監胡世傑呈覽。奉旨：照樣准做。圖章內有字的往薄况磨。欽此。於十一月二十五日催長四德將紫檀木長方匣二件，內各盛玉圖章，配得屜、冊頁交太監胡世傑呈進訖。」該條檔案更是明確記載讓董邦達、錢維城等侍從文臣在所做的印譜冊頁上作畫、題字。通過上引三條檔案，可以使我們瞭解到乾隆君臣在整理鑑別宮藏古玉印過程中製作相應印譜冊頁的詳細過程、冊頁的具體裝裱形式及其內容。

將蘇富比公司即將拍賣的這件「鑑古席珍」冊頁與上述所引檔案相比照，可以看出此件「鑑古席珍」冊頁集乾隆御容肖像、御筆題記及御製詩、古玉印鈐本、侍從諸臣跋語、宮廷畫家的畫作於一身，在同類作品中是不多見的，可以說是乾隆君臣在整理鑑別宮藏古玉印過程中出現的極具代表性的作品。這件「鑑古席珍」冊頁本身沒有明確的時間標記，但通過冊內乾隆帝的御製詩，我們可以得知其製作的大體時間。乾隆帝此詩作於乾隆二十二年（1755年）春天，詩原題為《詠漢玉章》，後收錄在《高宗御製詩二集》卷六十六中。而題寫跋語的八位大臣中，汪由敦是最早去世的，時在乾隆二十三年。這也就意味著此件「鑑古席珍」冊頁只能做於乾隆二十二年的春天至汪由敦去世的乾隆二十三年之間。翻檢這件凝聚著諸多人心力的作品，乾隆君臣二百五十年前對古玉印整理鑑別的歷史畫面生動鮮活地呈現在我們的面前，使我們不免產生如同當時乾隆君臣在鑑賞這些古玉印時所生發出的「幾暇怡神，與子墨客卿同登筍席」的感觸。

* 原文載於《皇京西暮》，蘇富比，香港，2007年，頁52-55。

郎世寧畫聖容御筆冊

此「鑑古席珍」冊，稱之稀世御寶，當之無愧。前有著名傳教士郎世寧筆下乾隆聖容，後有當時宮廷大師董邦達、鄒一桂、錢維城與丁觀鵬的繪畫作品，又鈐古印三十二枚，添書御製詩，四絕兼涵，誠君臣合冊之極至，展現高宗的鑑藏文化修養。據清宮檔案可知此冊應乃乾隆二十一年（1756年）御旨製作之品，時高宗四十五歲，正值壯年、如日方中，無怪郎世寧筆下御容英姿煥發。高宗至暮年時還加鈐寶璽，想必對此冊珍而重之。

在下旨製作此「鑑古席珍」冊的前一年，乾隆二十年五月十日（1755年6月19日）清宮造辦處活計檔匣作記錄，上呈「各式玉圖章大小四十方」，高宗傳旨為其特製「聖容御筆冊頁一冊」，圖章分裝成四屜，「每屜裝十方、冊頁裝一屜，共配五屜」（圖一）。同年六月十二日（7月20日）又為「觀文摧蓬冊頁一頁」而「旨著郎世寧畫御容」（圖二）。郎世寧聖容在七月初一日（8月8日）畫完，而聖容御筆冊與四屜圖章則在十一月初五（12月7日）配置妥善。兩項記錄的時間符合，推斷四十方圖章冊內的聖容應乃出自郎世寧之手。

翌年，乾隆二十一年八月十一日（1756年9月5日）「郎中白世秀、員外郎金輝來說，首領桂元交漢玉圖章三十二方，傳旨照先做過盛四十方圖章匣樣，配紫檀木盛裝，分四屜，每屜擺圖章八方，上安一屜，配册頁一册，欽此。」十二月二十七日（1757年2月15日），「漢玉圖章三十二方，配得紫檀木雕五面罩蓋匣一件，隨年節活計，安在養心殿呈進訖」（圖三）。檔案詳列圖章數目、分屜安排，並指示所配冊頁制式應與前述四十方圖章冊一樣，即須包涵郎世寧畫聖容、御筆題字，裝幀成推蓬冊，種種細節均與此冊吻合。

冊末的御製〈詠漢玉章〉，據《清高宗御製詩文全集．御製詩二集》，卷66，頁11，詩成於二十二年正月初七至上元節之間（1757年2月24日至3月4日），推測是乾隆皇帝在收到四屜三十二方圖章、推蓬冊頁後寫作的（圖四）。

此冊製成之初呈進養心殿，但後來或移遷至原為乾隆歸政而設的寧壽宮。光緒三十二年（1906年）立的〈寧壽宮三所庫存陳設檔〉記：「一百四十三號，雕紫壇罩蓋匣一件（內盛）冊頁一冊、玉圖章三十二方」。

有別於為公開展示而繪的巨幅立軸、貼落，小像如此，乃供靜謐私賞而製。高宗聖容小像極罕，尚存私人收藏者或僅此孤例。博物館藏例可參考台北故宮高宗《御製詩集》與《御製文集》內府烏絲欄寫本，書前扉頁同樣繪有高宗圓光小像，其中又以《御製詩初集》及《御製詩二集》的最似，收錄於《品牌的故事：乾隆皇帝的文物收藏與包裝藝術》，台北，2017年，編號IV-27（圖五）。該院相信高宗當時年紀分別約為三十九及四十九歲，又指圓光「有視覺聚焦的功能」，推測參與首幅御容製作的郎世寧或據「西洋透視原理」倡議此式，經參酌定樣後繪成，奠定此後書前扉頁圓光小像的制式（頁225）。

此冊來源有緒，乃前法國總統保羅．杜美（1857-1932年，圖六）舊藏。1889年，杜美以約訥省激進黨人選入眾議院，開始了他的政治生涯，隨後於1895年在萊昂．布儒瓦（Leon Bourgeois）的領導下當選財政部長。1897-1902年擔任法屬印度支那總督，居越南西貢，在聯邦的公共事務上建樹良多。回法後重返眾議院，1912年更進入參議院，1931年擊敗阿里斯蒂德．白里安（Aristide Briand）當選總統，惜僅一年後遇刺身故。