the rounded triangular beige coloured stone with russet patches, finely incised with a flowering plant with lush leaves, the reverse inscribed in lishu ('clerical script) with an imperial poem by the Qianlong emperor, signed yuti with one seal chaoyu ('good jade')
In the eighteenth century the love for jade pebbles was such that many of them were left in their natural state or polished until the white jade showed through the outermost layer and engraved with simple and elegant designs and inscriptions. Although the poems add a level of meaning to them as works of art, it was the simple natural beauty of the pebbles that first inspired the poems.
Compare a related pebble, carved with a landscape scene in low relief on one side and inscribed on the other, in the Qing Court collection and still in Beijing, published in The Complete Collection of Treasures of the Palace Museum. Jadeware (III), Hong Kong, 1995, pl. 172. A set of four pebbles with varying degrees of russet-brown markings, undecorated but for kaishu inscriptions on one side, was included in the exhibition Jades from China, The Museum of East Asian Art, Bath, 1994, cat. no. 345; and another, from the B.S. McElney collection was in included in the exhibition Chinese Jade Carving, Hong Kong Museum of Art, Hong Kong, 1983, cat. no. 277.
Please call 1-800-555-5555 to order a print catalog for this sale.
Online Registration to Bid is Closed for this Sale. Would you like to watch the live sale?Watch Live Sale