The present seal bears an inscription of the name of a studio in the Summer Palace, a place close to the heart of the Qianlong Emperor, who frequently linked the studio to his deep concerns over the agricultural harvest of his Empire.

Chunyuxuan (Studio of Spring Shower) was the major building at Xinghua chun guan (Hall of Spring Apricot Blossoms), which was originally a farming field and one of the Forty Scenic Views of Yuanmingyuan. The landscape of the area can be seen in the painting by the Qianlong period court painters Shen Yuan and Tang Dai, included in Chine: l'empire du trait: calligraphies et dessins du Ve au XIXe siècle, Bibliothèque nationale de France, Paris, 2004, cat. no. 133. The imperial poem composed by the Qianlong Emperor in the 9th year (1744) describes the few halls in the area, sparsely built behind the pavilion, surrounded by apricot trees, all behind fields of vegetables, reminiscence of farming villages. It continues to express the Emperor’s satisfaction with the midnight rain in Spring (see Qing gaozong yuzhi shiwen quanji [Anthology of imperial Qianlong poems and text], yuzhi shi ­­chu ji [Imperial poetry, part 1], vol. 22, p. 6).

The main studio was named Chunyuxuan by the Qianlong Emperor in the 20th year (1755). The Emperor stated in a poem in the next year that it was named the Studio of Spring Shower because of the optimal amount of rainfall in the previous Spring (ibid., yuzhi shi er ji [Imperial poetry, part 2], vol. 63, p. 16). The Qianlong Emperor has written over 20 poems on this Studio, many of which expressed his concerns about rainfall and its impact on agriculture. One of such poems, dated to the 22nd year (1757), states that if the amount of rainfall is comparable to the Spring snow, a good harvest will follow (ibid., vol. 75, p. 9). In the 54th year (1789), the Emperor expressed his conflicting anxieties about droughts and floods (ibid., yuzhi shi wu ji [Imperial poetry, part 5], vol. 47, p. 1). The repeated theme of these poems suggests the importance of agriculture in the Qing dynasty.

小巧玉璽，雕春雨軒之名。乾隆皇帝常臨此軒，藉詩詠抒發他對春雨與農穫之憂。

春雨軒，位處杏花春館，原為菜圃，屬圓明園四十景，乾隆年間宮廷畫師沈源、唐岱之《圓明園四十景圖詠》中有繪，御製詩曰：「由山亭迤邐而入，矮屋疏籬，東西參錯。環植文杏，春深花發，欄然如霞。前辟小圃，雜蒔蔬蓏，識野田村落景象」，又云：「夜半一犁春雨足，朝來吟屐樹邊停」（乾隆九年作，〈圓明園四十景詩．杏花春館〉，《清高宗御製詩初集》，卷22，頁6），不禁讓人聯想到農田幽憇，極富詩意，圖見《Chine: l'empire du trait: calligraphies et dessins du Ve au XIXe siècle》，法國國家圖書館，巴黎，2004年，編號133。

乾隆二十年（1755年），將杏花春館主體建築命名為「春雨軒」，又在翌年《春雨軒小坐因而成詠》詩中說明其由，曰：「去歲春雨好，軒成因名之」（《清高宗御製詩二集》，卷63，頁16）。此後有關春雨軒之御製詩，逾二十首，多藉由春雨的多寡，流露乾隆帝對耕作農穫的關心。例如乾隆二十二年（1757年），雨雪充沛，次歲寫道：「若論春雪如春雨，便慶食升有四升」，指出春雨對農業與糧食的影響（同上註，卷75，頁9）。乾隆五十四年（1789年）又賦詩道：「因煩來每少，轉慮致過多」，指雨水過少憂旱、太多又怕淹（《清高宗御製詩五集》，卷47，頁1）。從上推想，可知農業對大清國尤為重要，是以乾隆帝一再詠詩，借春雨軒抒發憂國憂民之心。