A LINGZHI FUNGUS INSCRIBED WITH AN IMPERIAL QIANLONG POEM, SIGNED RUAN YUAN QING DYNASTY, JIAQING PERIOD

the fungus of a semicircular form, one side naturally gnarled, the flat reverse side with an imperial poem in gilt, composed by the Qianlong Emperor and titled shengzhi yong zhi ping bayun (‘Eight rhymes on lingzhi screen by his honorable majesty’), elegantly inscribed in clerical script, signed Ruan Yuan and followed by two small seals in cinnabar red, wood stand

Fang Jing Pei, Treasures of the Chinese Scholar: Form, Function, and Symbolism, New York, 1997, p. 115, illustrated figs. 95 and 107.

Apart from an old repair to the bottom left section, as well as some expected age cracks and minor chips to the extremities, the overall condition is very good. The gilt inscription also has some expected rubbing, but the majority of the characters have been preserved.
"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."

Of impressive size, the auspicious lingzhi fungus is inscribed on the reverse in gilt with an imperial poem dated in accordance with 1774, which praises the ageless elegance of the naturally formed fungus with sophisticated gnarled surface. The poem was translated in Fang Jing Pei, Treasures of the Chinese Scholar: Form, Function, and Symbolism, New York, 1997, p. 115, as follows:
　　　　　Leaving its homeland,
　　　　　it bade farewell to mountains and rivers,
　　　　　to become a screen upon the desktop.
　　　　　Like the clear moon, it is difficult to paint or describe,     
　　　　　natural and untouched by human design.
　　　　　Its appearance is as rare as purple
　　　　　sandalwood or white jade.
　　　　　Descriptions of its quality
　　　　　may require many words.
　　　　　Its age in years is as numerous as
　　　　　harvest grains,
　　　　　As impossible to count as
　　　　　clouds over the countryside.
　　　　　It is as precious as the time of Emperor Yao.
　　　　　It is a trinity of the champion flowers,
　　　　　To be immortalized by
　　　　　ten thousand flourishing blossoms.
　　　　　It is proper to have these thoughts recorded,
　　　　　in spite of risking laughter
　　　　　As at one who dons a longevity robe, 
　　　　　Or paints beautiful flowers
　　　　　on an embroidered scarf.
　　　　　Where and how does one begin?

The poem was described as shengzhi, instead of the usual term yuzhi, indicating that the poem was composed by the then Emperor Emeritus, suggesting that the present lingzhi was inscribed after the abdication of the Qianlong Emperor in favor of his son, the Jiaqing Emperor.

Several lingzhi fungus-inset screens are in the collection of the Palace Museum, Beijing. One zitan example, illustrated in A Lofty Retreat from the Red Dust: The Secret Garden of Emperor Qianlong, Hong Kong Museum of Art, Hong Kong, 2012, cat. no. 36, displaying a large fungus with ripples of rings mounted against a background of carved scrolling clouds, is inscribed on the reverse in gilt with the same imperial poem, followed by the date in accordance with 1774. The screen is unusually further incised with related poems in smaller fonts by five contemporary prominent officials, suggesting the importance of auspicious fungi and the appreciation of their natural grace in the court.

Symbolising longevity, magnificently formed lingzhi fungi were considered desirable gifts for the emperors in the Qing dynasty. Entries documenting such offerings from regional offices and individual officials can be found in the court records, including one dated in accordance with 1792 reporting a lingzhi screen was presented by the Governor of Hubei and later sent to Jehol. Signifying longevity, and more importantly, the refined literati taste of the royals, these tributes were oftentimes made into planters or screens and placed at various locations in the imperial palaces.

Ruan Yuan (1764-1849), upon succeeding in the civil examination in the 54th year of the Qianlong reign (1789), was promoted to various prominent positions by the Qianlong Emperor in recognition of his education and talents, and continued to serve the court until the Daoguang period. Renowned for his discerning taste, the scholar was arguably one of the most celebrated collectors of literati works of art in the Qing dynasty. His calligraphy was also highly appreciated by the Qianlong Emperor; see a jade-inlaid couplet by Ruan Yuan installed at Yucuixuan (‘Bower of Purest Jade’) in Ningshougong (‘Tranquility and Longevity Palace’), ibid., cat. no. 3.