An imperial gilt-inscribed pale celadon and russet jade 'landscape' table screen, Qing dynasty, Qianlong period | 清乾隆 御製青白玉描金「棲霞秋色」圖座屏

A European private collection.

Christie's London, 10th May 2016, lot 40.

歐洲私人收藏

倫敦佳士得2016年5月10日，編號40

Emperor Qianlong's Southern Tours and an Imperial Inscribed White Jade "Qixia Mountain" Table Screen

Qixia Mountain, a famous mountain in the northeast of Nanjing, was once the abode of Ming Sengshao, a hermit in the six dynasties who built the Qixia Temple here. On the sixth day of the third month in the twenty-second year of Qianlong’s reign, the emperor made his first visit to Qixia Mountain with his mother. He stayed in the temporary imperial palace for two days. When he began to return to Beijing four days later, he stayed here for another day. During the three days he stayed here, the emperor composed 19 poems, which fully showed his adoration of the waters and mountains here. In his first poem on Qixia Mountain, he praised:

As the most beautiful mountain in Nanjing, it stunned me unprecedentedly on my first visit.

The clouds cover the Purple Peak Pavilion, while the springtime water trickles out of the White Deer Spring.

The stone tablet of Buddhism was carved in the Sui dynasty, and the hermit of the Southern Qi Dynasty changed his residence to a temple for the sake of Buddha's fate.

The peak name Black Gauze Cap (shamao) symbolizes officialdom, which the hermit may not like. [1]

Only a few of the famous scenic spots of the Qixia Mountain, such as the Purple Peak Pavilion (zifengge), the White Deer Spring (bailuquan), the Sui (Tang) Stela, and the Qixia Temple are mentioned in the poem. When the emperor first visited the Qixia Mountain, he left his imperial inscriptions to mark 15 scenic spots. They include Best scenery (Zuisheng), Purple Peak (zifeng), Merits and Virtues Pavilion (gongdege), Pine Forest Spring (wasongquan), Green Mountain House (shoucui shanfang), Spring Stone from Nice Building (quanshi zijialou), the Great Void Pavilion (taixuting), Rolling Hills of Nanjing (baixi juan'e), Spring Rain Mountain House (chunyu shanfang), Soaring Clouds (lingyunyi), Monks' Fine Cottage (shiliang jingshe), Bamboo-Hat-Shaped Pavilion (liting), Huashan Mountain, Chang Taoist Temple, and Taigu Hall. So many imperial inscriptions are beyond the realm of general sightseeing. It is a summary of the landscape of Qixia Mountain. In other words, the Qianlong Emperor became the creator of the scenic spots of Qixia Mountain. After that, the emperor would make imperial inscriptions to add new scenic spots every time he came here. According to incomplete statistics, there are over 30 places with the Qianlong Emperor's imperial inscriptions here, which is extremely rare in other Jiangnan scenes throughout his southern tours. The first visit to the Qixia Mountain left the emperor with the impression that "I was stunned by the view on my first visit", and he immediately ordered Qian Weicheng to paint the scenes and bring them back to Beijing. Without letting the emperor down, Qian presented the final painting to the emperor for inspection on the sixth day of the fifth month. The emperor immediately ordered the Imperial Workshop to "paste the mounting paper with a two-cm-wide blue silky edging". It might be made into a picture on the wall, which was posted in the imperial palaces or imperial gardens for constant viewing. Only after three years, namely in the twenty-fifth year of Qianlong’s reign, Qian Weicheng created a large painting named Panorama of Qixia Mountain, on which the Qianlong Emperor inscribed a poem:

The picture describing the Sheshan Mountain seems to have a life, as if the mountain suddenly appears in front of me.

The undulating mountains are like layers of waves, with springs trickling under the grace peaks.

The remains of the ancient hermit enrich the cultural heritages, and the scenery here reflects the great painter's style.

The future and the past are fleeting; you are only in it by chance.[2]

The emperor made a note below the sentence of "future": "I will have a southern tour again next year." He looked forward to climbing Qixia Mountain again the year after while he watched the painting, with burning desire beyond words. However, the third southern tour conceived by the emperor embarked two years later rather than a year later. The painting was mounted on a hanging scroll in the thirty-third year of Qianlong’s reign, which is the Panorama of Qixia Mountain scroll collected by the National Palace Museum in Taipei. There is another handing scroll of Qian Weicheng's Panorama of Qixia Mountain collected by the Palace Museum in Beijing, which is, together with the scroll Panorama of Qixia Mountain collected by the National Palace Museum in Taipei, recorded in the Collected Treasures of the Stony Moat (shiqu baoji). Meanwhile, an album of twelve leaves named Qixia Mountain Painting created by Qian Weicheng is also recorded in Collected Treasures of the Stony Moat. So far, along with the Qixia Mountain Painting presented by Qian Weicheng on the sixth day of the fifth month in the twenty-second year of Qianlong’s reign mentioned above, Qian Weicheng painted four pictures for the same place in total, showing the emperor's special love for this place. The above paintings are very crucial to the creation of the present Imperial Inscribed White Jade "Qixia Mountain" Table Screen, because their picture features had a direct impact on the Picture of Qixia Temple, a wood-cut works as one part of the Southern Tour Grand Ceremony compiled in the thirty-fifth year of Qianlong’s reign. And the corresponding relationship between the latter and the present White Jade Table Screen is definite, except for the different materials of woodcut and jade in representing the same image. Readers can make one-by-one comparison by examining the accompanying images of this article.

This Imperial Inscribed White Jade "Qixia Mountain" Table Screen is 24.5 cm long, 18.3 cm tall, and 3 cm thick, with Qixia Mountain picture engraved on the front, and two poems with the same name. They were composed in the twenty-second and twenty-seventh years of Qianlong’s reign respectively, gilded on the back. The poem composed in the twenty-second year has been quoted before. Here is the poem written in the twenty-seventh year of Qianlong’s reign:

The Qixia Mountain was named after the Qixia Temple, possibly to avoid the taboo of certain Chinese characters.

It used to be called Qixia Temple, Sheshan Mountain, but now the mountain is directly called the Qixia Mountain.

The place is rich in different kinds of herbs to heal the wounded and rescue the dying, and there are also many clear springs that bring peace and comfort to people.

I'm not here fora break and relaxation, but to understand people's conditions and the difficulties of the country.

The palace where I am staying is simple, but I'm still at ease when I compose poems in the beautiful landscape. [3]

The two poems are the first poem on the Qixia Mountain composed respectively during first and second southern tours. The two poems were engraved in one place, indicating that the processing time of the jade was between the twenty-seventh year and the thirty-fourth year of Qianlong’s reign when the emperor returned to Beijing from his fourth southern tour. Comparing the picture of it with that of the wood-cut Qixia Temple, which is one part of the Southern Tour Grand Ceremony, one may find that the mountains, trees, and buildings correspond with each other without any difference, especially the layout of the three peaks is beyond doubt that the two paintings are closely linked. Again, when observing the jade table screen, one can see the famous scenic spots of Qixia Mountain one by one. One can refer to the coloured points in the attached pictures to identify the specific corresponding relationship. Among Ten Qixia Scenic Spots formed after that time, we can identify at least eight from the two pictures, including the Lingfeng Pond (lingfengchi), Purple Peak Pavilion, Pine Forest House, Secluded Residence Nunnery (youju'an), Layering Wave Cliff (dielangya), Pearl Spring (zhenzhuquan), Rainbow Mirror (caihong mingjing), and Deyun Nunnery (deyun'an). The Palace Museum in Beijing also holds a large grey Jade boulder with Panorama of Qixia Mountain, representing the Qixia Mountain in a more stereoscopic way to highlight the morphologic effect, forming the visual differences of the three dimensions and one dimension between the present work and the present White Jade Table Screen. The two palace furnishings sharing the same theme create a different viewing experience. Coincidentally, in the forty-first year of Qianlong’s reign, the Salt Administrator of Huaibei-Huainan Area Yiling Ar contributed "one jade boulder with Imperial Poems on Qixia Mountain" to the court. Moreover, the contribution by the Salt Administrator also indicates that such works might be created by Jiangnan craftsmen who were familiar with local scenery, which provides useful clues for us to explore the sources and the craftsmen of the Imperial Inscribed White Jade "Qixia Mountain" Table Screen. It is sure that the two imperial poems on the back of the Imperial Inscribed White Jade "Qixia Mountain" Table Screen should be engraved by the special gravers working for the Imperial Calligraphy Workshop as the calligraphy style of the poems is completely consistent with that of the emperor, achieving unity in form and spirit.

In the sixteenth year of Qianlong’s reign, the Qianlong Emperor toured Jiangsu Province and Zhejiang Province with his mother, which kicked off his six southern tours spanning 34 years. The Qianlong Emperor emphasized repeatedly that the main motivation of the southern trips was "river engineering rather than anything else". So understanding local customs and social conditions, and visiting famous landscapes were trifles to him compared with the significant purpose of river engineering. Undeniably, the Qianlong Emperor made plans on river engineering (for the Yellow River) and coastal defence (for the Qiantang River) before and during each southern tour. He and his ministers in charge jointly created the magnificent feat of river control, such as river dikes and scale-shaped seawall construction, keeping Jiangsu, Zhejiang and surrounding provinces away from the river and sea inundation for long indeed. He wrote many poems describing him and his ministers in charge of river control to command and dispatch the personnel on site. These poems were engraved on multiple monuments in Huai'an and Haining areas, surviving up to now. Apart from river engineering, calling in local officers, holding additional imperial examination, relieving tax burdens, and performing military exercises and reviews were also important agenda during his southern tours. These can be regarded as the government affairs, with an embodiment of "trip for official businesses" during the imperial tours. Although the Qianlong Emperor used "supervising everything myself without selfish desires; supervising my ministers and their servants regarding obeying laws; supervising the local officials regarding fulfilling official duties; observing the common people of each province about how they meet me" as excuses to prevent people from criticizing his southern tours as sightseeing trips，future generations should take his extravagance and ostentation as a warning.

In recent years, an increasing number of people start to pay attention to the Qianlong Emperor's southern tours with the popularity in culture and museums in the whole society. The story of the emperor's tour more than 200 years ago is not only a topic, but also a phenomenon, being relentlessly developed and exploited by various works, special exhibitions, tourism development and even cultural and creative products. From the economic phenomena, we find that the essence of his southern tours should be re-evaluated and re-examined.

When we start from the Forbidden City alongside the Grand Canal today, we'll find that almost every tourist attraction in Beijing, Hebei, Shandong, Jiangsu and Zhejiang provinces is related to the Qianlong Emperor's southern tours. No matter whether it’s natural mountains and waters, or cultural landscapes, the emperor left his inscriptions at nearly every attraction of the above lands during his southern tours. Facing those time-honoured attractions, the emperor often ordered the imperial painters to "create paintings of the attractions accurately" and imitate them in Beijing's imperial gardens, just as Wang Kaiyun described in his poems on Qing Palace, "The emperor enjoyed the good scenery of Jiangnan (the south area of the Yangtze River), and 'shifted' them to the imperial garden in a scaled-down manner." They did not only imitate the similar appearance of the landscape of Jiangnan, but also directly used the same materials, crafts, and even craftsmen. Today, we can still peek into the gorgeous Jiangnan dream of the Qianlong Emperor from the jaw-dropping southern-style decoration of the First District of the Palace of Tranquil Longevity (Ningshougong) in the Forbidden City.

Interestingly, the Qianlong Emperor once exaggerated in his later years that he had only two achievements in his life, "One is the western military action and the other is the southern tour." The western military action refers to the suppression of the rebellion across the south and the north of Mount Tianshan, while the southern tour is the synonym for his six tours to Jiangsu, Zhejiang and the surrounding provinces. The two seemingly unrelated events were closely linked by one thing. That is what the Qianlong Emperor was obsessed with throughout his life - jade. His obsession with jade was reflected in the fact that each of his dozen sons were given the name of fine jade. In the seventh month of the twenty-fourth year of Qianlong’s reign, the rebellions of Elder and Younger Xojam clans were wiped out. With the ending of the war at the south of Mount Tianshan, the road accessing the jade in southern Xinjiang was completely opened. This greatly enriched the jade material sources to the Imperial Workshop of the Qing Palace. Along with the southern tours of the emperor, the jade materials from the northwest were engraved with rich decorative patterns like souvenirs. A considerable number of them were processed in Jiangnan area and imprinted with deep "southern tour" memories. The present imperial inscribed white jade" Qixia Mountain" table screen is one of them.

This Imperial Inscribed White Jade "Qixia Mountain" Table Screen is an elaborate work among the jade screens in the era of Qianlong Emperor. The Palace Museum in Beijing has preserved multiple similar jade screens, most of which are in the form of table screens, including the Gray Jade Table Screen with the pattern of "Lao Zi Entering the Gate", the Fisherman-Woodcutter-Landscape patterned Gray Jade Table Screen, the Fisherman-Woodcutter-Farmer-Scholar patterned Jasper Table Screen, the White Jade Table Screen with the pattern of "Su Dongpo Visiting Red Cliff", the Gray Jade Table Screen, etc. This indicates that the jade screens describing scenery formed a typified production tradition for the Qing Palace furnishings in Qianlong’, reign, and the present Imperial Inscribed White Jade "Qixia Mountain" Table Screen should also be a table screen with a wooden seat to be displayed in the palace. It is worth noting that the above-mentioned Gray Jade Table Screen collected in the Palace Museum in Beijing (cultural relic number: Gu-00103186) should have a very close relationship with this Imperial Inscribed White Jade "Qixia Mountain" Table Screen. Both the front and back sides of the grey jade table screen are carved with patterns. However, the Palace Museum only names it in a simple way as it may not understand the meaning of the images. It is not difficult to find, by scrutinizing the pictures and the imperial poems on it, that views in the front and on the back of this table screen show two scenes of Qixia Mountain- Purple Peak Pavilion and Nine Pines, which, of course, also appear in this Imperial Inscribed White Jade "Qixia Mountain" Table Screen. By comparison, the corresponding relationship between them can be completely established: The rendering of the Purple Peak Pavilion and the nearby Qixia Temple, Wuliang Hall, and Stupa in the present screen is enlarged and clearer than the example from the Palace Museum; the scene of Nine Pines, on the other hand, which is rudimentarily represented in the present lot is depicted more specifically in the Palace Museum example. One creates a distant view while the other shows a close view, demonstrating the close association of the present screen to the one from the Imperial Qing court collection. The association between the two works in the Qing court is beyond doubt. Speculating based on common sense, the emperor was fond of no fewer than ten scenic spots in Qixia Mountain. So, there should be multiple table screens showing the sub-views to be produced, forming the corresponding relationship of the sub-views and the panorama between them and the Imperial Inscribed White Jade "Qixia Mountain" Table Screen. As for the survival of other sub-view table screens, it needs to be further explored and sorted out. Thus, from paintings to woodcuts, from jade boulders to jade table screens, from panorama to sub-views, relentlessly paintings and engravings of the Qixia Mountain echoed the Qianlong Emperor's praise for "the most beautiful mountain in Nanjing".

It is conceivable that after the Qianlong Emperor's last southern tour at the end of the forty-first year of his reign, the emperor regretted that he would never see the scenic spots in the south in the rest of his life, which can be seen from his remarks that "six southern tours have come to an end, and I can only visit Jiangnan in my dreams in future."[4]Nevertheless, he might be able to get uninterrupted psychological compensation and spiritual sublimation through these paintings, jade carvings, and table screens that transcend time and space.

[1] (Qing) Hongli: Visit Qixia Mountain, Vol. 71 of The Second Collection of Imperial Poems.

7 Compiled by the First Historical Archives of China, Art Museum of the Chinese University of Hong Kong: Zaobanchu Archives of the Qing Imperial Household Department (qinggong neiwufu zaobanchu danganzonghui), vol. 32, p. 494, the thirty-forth year of the Qianlong reign, list of manufacturing tasks, the Imperial Workshop's manufacturing task record: "On the nineteenth day, received Assistant Minister Li Wenzhao's affix, including one panorama landscape painting of Qixia Mountain by Qian Weicheng presented by Dong Wujing on the second day of the third month... By Imperial Order: ...imperial inscribed on Qian Weicheng's landscape painting...mount on a hanging scroll..."

[3] (Qing) Hongli: Visit Qixia Mountain, Vol. 23 of The Third Collection of Imperial Poems.

 11(Qing) Hongli: No. 6 of Six Poems with Three-repeated Previous Rhyme, Vol. 5 of The Fifth Collection of Imperial Poems.

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序

天地乾坤，乃宇宙萬物運行之根本，以天子皇權為中心，同為本珍藏核心哲學也，精鑒臻選宮廷御製工藝品構築而成。乾隆皇帝身為天子，確立滿族天命，江山正統、皇權天授， 屬國本要務。如此渴求，明見於高宗終身嚴守朝禮，亦反映在許多御製詩文，以及皇帝親授製作之器物，用以強調闡揚天子一統天地之地位。

乾隆皇帝廣蒐高古玉器，深信古玉載德，尤其玉璧，象徵天。不僅專研古玉壁，並撰詩文讚頌，時而詔命特製紫檀木座，陳設於宮殿、書齋。本收藏中御製紫檀嵌龍鳳纹玉璧插屏，可謂存世作例中佼佼者。乾隆皇帝珍藏古玉壁，偶亦特令琢製新玉壁。本藏之御製和闐青玉大玉璧與鑄銅雙龍座，精湛恢弘，氣勢懾人，原應立於紫禁城重要宮殿首，精準位於中軸線上。唯一尺寸、刀工、打磨均相同，且琢自同一塊碩大玉料之大玉壁，鑄銅座亦與本品風格一致，今仍立於養心殿，此乃乾隆皇帝最主要的理政起居之處。本品之歷史意義與重要性，不言而喻。

收藏中眾多珍寶，如一件仿古白玉圭壁，玉質淨潔瑩亮； 鎏金銅雙龍戲珠紋摺疊式帖架，細緻精美，或曾於養心殿書齋中，伴君覽卷讀書；匯芳書院舊藏天然藤木禪椅，取野藤木根巧製，靈動奇絕；皆彰顯清代帝王對於政權正統、藝文發展及心靈修養之追求。羅列至珍，足證藏主眼力雄銳，畢生心血，惟最珍稀重要之御製工藝品，方能入藏。

仇國仕

亞洲區主席

亞洲藝術部主席兼環球主管

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御製詩：

第一金陵明秀山 所欣初遇足空前

畫屏雲罨紫峰閣 乳竇春淙白鹿泉

梵業鐫碑尚隋代 淨因舍宅自齊賢

更誰鑿壁名紗帽 只恐平原意未然

棲霞名寺遂名山 點竄寧因字句間

藥草攝生何不可 乳泉滌慮恰宜閒

偶來尋勝非耽靜 敢懈觀民正憶艱

樸斲行宮居信宿 對時摛藻我猶閑

御題

「乾」圓印、「隆」方印

第一金陵明秀山，所欣初遇足空前

—乾隆南巡與白玉御題游棲霞山屏

乾隆十六年，乾隆帝奉母巡幸江浙，拉開了歷時34年共六次的南巡序幕。 南巡之舉，在乾隆帝自己說來，就是「南巡之事，莫大於河工」[1]——治河，成為了他一再強調的南巡主因。 至於治河以外的省方問俗、優遊林泉，則一概被其視為細枝末節，無關出巡宏旨。 不可否認的是，乾隆皇帝的歷次南巡，於河工（黃河）、海防（錢塘江）多有擘畫，他與督臣共同創造的定清口水志、築魚鱗石塘的治河壯舉，也確實保障了江浙幾省長久的河清海晏。其與河臣親臨現場指揮調度的詩章鐫刻在淮安、海寧兩地的多座豐碑上屹立至今。除治河外，諸如引見地方官員、開恩科取士、蠲除錢糧、演兵閱武等，同樣也是南巡途中的重要內容。 這些均可視為政務活動，是帝王出巡之「行在辦公」的體現。 南巡途中「視予躬之如何無欲也，視扈蹕諸臣以至僕役之如何守法也，視地方大小吏之如何奉公也，視各省民人之如何瞻覲親近也」[2]成為了乾隆皇帝封堵後世視其南巡為遊山玩水之悠悠眾口的口實，理由雖然冠冕堂皇，其鋪張靡費之巨，實為後世炯誡。

近年來，隨著席捲全社會的文化熱、博物館熱，越來越多的人開始關注乾隆南巡。 兩百多年前皇帝出巡的故事，已經不止是一個話題，更是一種現象，被眾家著作、專題展覽、旅遊開發甚至是文創產品一再琢磨利用。 撕開經濟的外衣，我們發現其南巡本真的東西應當得到再評價與再認識。

今天，我們從紫禁城出發，沿大運河一路向南，歷數北京、河北、山東、江蘇、浙江五地風景名勝，可以說少有與乾隆南巡無關的。 燕南趙北、孔林岱岳、黃淮河網、越水吳山，南巡途中的地方名物幾乎都被皇帝摩挲品題。

面對那些久名於世的風景名勝，皇帝動輒命畫手「致佳圖以歸」[3]，然後在皇家園林中大加仿建，一如王闿運清宮詞所述：「誰道江南風景佳，移天縮地在君懷。 」對江南美景的模仿，不僅追求環境的神似，更是從材料到工藝甚至是工匠的直接照搬。 我們今天仍然可以在紫禁城寧壽宮一區令人咋舌的南式裝修中一覽乾隆皇帝華麗的江南夢。

有意思的是，乾隆皇帝晚年曾經誇張地說他的一生只做了兩件事，「一曰西師，一曰南巡」。 西師，即對天山南北的用兵; 南巡，則指六次巡幸江浙。 這兩件事看似無關，卻因為一件物品而被緊密地聯繫在一起。 那就是乾隆皇帝終其一生都在如癡如醉地迷戀的東西——玉。 說他如癡如醉，他的十余位兒子每一個都被他冠以美玉的名字。 乾隆二十四年七月，大小和卓木叛亂被剿滅，天山南路戰事底定，南疆玉路至此徹底打通。 這極大地充實了清宮造辦處的玉料來源。 隨著皇帝的四出巡幸，來自西北的玉料像紀念品一樣，被鐫刻上豐富的裝飾圖案，其中相當一部分要發往吳地雕琢加工，同時也就被烙上了深深的南巡記憶，我們今天看到的這塊白玉御題游棲霞山屏便是其中之一。

棲霞，南京東北一座著名山峰，曾是六朝隱士明僧紹的幽居處，他開創的棲霞寺就築於山中。 乾隆二十二年三月十六日，皇帝奉母初臨棲霞，於行宮駐蹕二日，四天后起鑾回京時，再至棲霞駐蹕一日。 皇帝於此盤桓三日，賦詩19首，足見對這裡水態山光的愛慕。 他在第一首棲霞詩中如是讚道：

第一金陵明秀山，所欣初遇足空前。

畫屏雲罨紫峰閣，乳竇春淙白鹿泉。

梵業鐫碑尚隋代，浹因舍宅自齊賢。

更誰鑿壁名紗帽，只恐平原意未然。[4]

詩中提到了棲霞山著名景物如紫峰閣、白鹿泉、隋（唐）碑、棲霞寺等，其實遠不及此。 皇帝初遊棲霞，即對其中15處「點位」親灑宸翰，予以標明。 計有最勝、紫峰、功德閣、萬松泉、受翠山房、泉石自佳樓、太虛亭、白下卷阿、春雨山房、凌雲意、石梁精舍、笠亭、話山、暢觀、太古堂。 如此繁密的點題，已經超出了一般遊覽的境界，這是對棲霞山山水環境的概括和總結。 換句話說，乾隆皇帝在此時成為了創構棲霞山景觀的造景人。 此後再巡江浙，每至這裡必有新的「點位」得到皇帝點題。 不完全統計，當有三十余處之多，這在南巡所至的江南景物中是極其少見的。 對棲霞的初次邂逅，即給皇帝留下了「所欣初遇足空前」的印象，他隨即命錢維城作圖，擬將倩影帶回北京。 錢氏不辱皇命，僅在五月初六即將完稿上呈御覽[5]。 皇帝立刻命造辦處將此圖「托紙鑲六分寬藍綾邊」處理，想必是做成了貼落，被張貼在皇宮或御園的某座宮殿中以備時時觀覽。 僅三年後，乾隆二十五年錢氏再作《棲霞全圖》大畫，乾隆皇帝於圖上題詩：

走筆無端寫攝山，攝山忽到眼根前。

不殊疊浪高拖嶺，宛識玲峰下有泉。

高士隱蹤昔肥遯，大家畫法此齊賢。

未來過去胥權置，且爾相於玩偶然。[6]

在「未來」一句下面，皇帝作注曰：「將以明年復舉南巡之典。 」觀畫的同時，憧憬著來年能夠再登棲霞，期待之情溢於言表。 不過，第三次南巡並不如皇帝構想的那樣在「來年」重舉，而是拖到了「後年」。 這幅畫在乾隆三十四年被裝裱成掛軸[7]，此即台北故宮博物院藏《棲霞全圖》軸。 北京故宮博物院另存有錢維城《棲霞山全圖》手卷一卷（圖1），與台北故宮《棲霞全圖》軸均著錄於《石渠寶笈》。 另，《石渠寶笈》中尚有錢維城《棲霞山圖》冊頁一套十二幅。 至此，加上前文所述二十二年五月初六錢維城呈覽的《棲霞山圖》，同一畫手對同一地點描繪了四個版本的圖像，這不能不說是皇帝對此處的情有獨鍾。 以上畫作對本文的主角——白玉御題游棲霞山屏的創作極為重要，因為它們的畫面特徵直接影響了乾隆三十五年纂成之《南巡盛典》木刻本《棲霞寺圖》，而後者與白玉御題游棲霞山屏的對應關係是一目了然的，只是同一畫面在木刻和玉料兩種材料上的不同表現而已，讀者可在本文的配圖中一一檢索對比。

此件白玉御題游棲霞山屏長24.5cm，高18.3cm，厚3cm，正面鐫棲霞山圖景，背面描金陰刻乾隆皇帝丁丑（二十二年）、壬午（二十七年）兩首同名詩作。 丁丑詩前已引述，壬午詩為：

棲霞名寺遂名山，點竄寧因字句間。

本名攝山棲霞寺，名也今雲棲霞山。

藥草攝生何不可，乳泉滌慮恰宜閒。

偶來尋勝非耽靜，敢懈觀民正憶艱。

朴斲行宮居信宿，對時摛藻我猶閒。[8]

兩首詩分別為第一、第二次南巡棲霞山眾多詩篇中的首詩。 二詩鐫刻一處，表明其製作的時間上限為乾隆二十七年，下限當在乾隆三十年第四次南巡迴鑾之際。 以其畫面與《南巡盛典》木刻本《棲霞寺圖》對勘，我們會發現山勢、樹石、建築均可以一一對應，尤其是三峰鼎峙的畫面佈局，兩者間毫無二致，說二圖互為因循是無可置疑的。 再觀察玉屏，棲霞山的著名風物被一一表現出來，具體對應關係讀者可參見附圖中的標色點位（圖2）。 在此後形成的「棲霞十景」中，我們從兩種畫面裡至少可以辨認出八處，計有玲峰池、紫峰閣、萬松山房、幽居庵、疊浪崖、珍珠泉、彩虹明鏡、德雲庵。 故宮博物院另存有青玉棲霞全圖山子一座，因為山子的天然特徵使然，其表現的棲霞山景致更加立體化，隨形效果更加明顯，與白玉御題遊棲霞山屏形成了一立體一平面的視覺差異，同是宮廷陳設，帶來了不同的觀賞體驗。 無獨有偶，乾隆四十一年，兩淮鹽政伊齡阿向宮廷進貢「御製棲霞詩玉山一件」（圖3）[9]。 由此可知，棲霞主題玉山子在清宮中並不鮮見，而且經兩淮鹽政入貢本身，也說明了此類作品應當都是熟悉本地風物的吳工所為，這為我們探究白玉御題游棲霞山屏的來源和工匠提供了一個可資借鑒的方向。 當然，白玉御題游棲霞山屏背後的兩首御製詩完全復寫皇帝筆法，形神兼備，當為清宮御書處的專門刻手所為。

白玉御題游棲霞山屏是乾隆時代玉屏類陳設中的精品。 北京故宮博物院保存有與之相類的玉屏多面，且多以插屏形式出現。 如青玉雕老子進關圖插屏、青玉山水漁樵圖意插屏、碧玉御題漁樵耕讀圖插屏、白玉蘇子游赤壁圖插屏、青玉插屏等等。 這說明，乾隆朝此類寫景玉屏在宮廷陳設中已經形成了類型化的製作傳統，白玉御題游棲霞山屏當年也應為一件配有木製屏座的插屏而陳設在宮殿之中。 值得注意的是，前引故宮插屏里被定名為「青玉插屏」的一件（文物號故00103186）（圖4.1及4.2），與白玉御題游棲霞山屏應有十分密切的關係。 此件青玉插屏前後兩面均雕有圖案，故宮方面似乎並未明了其圖像含義而對其定名流於簡單。 細察畫面並所附御製詩不難發現，此插屏的前後景致竟然表現的是棲霞山的兩處景觀——紫峰閣與九株松，此二景當然也出現在白玉御題游棲霞山屏中。 通過對比，二者可以完全建立畫面的對應關係：白玉御題游棲霞山屏中紫峰閣及其附近的棲霞寺、無量殿、舍利塔比青玉插屏的畫面放大得更清晰、更直觀; 白玉御題游棲霞山屏中被約略表現的九株松則被青玉插屏予以一一示現。 二者一遠觀，一近看，妙趣橫生。 兩件作品當年在宮廷中的聯繫毋庸置疑。 照常理推測，皇帝中意之棲霞名勝不下十景之多，此類分景插屏亦應製作多面，與白玉御題游棲霞山屏之間形成分景圖與全景圖的對應關係，至於其他分景圖插屏是否存世，有待進一步挖掘整理。 所以，從繪畫到木板，從玉山子到玉插屏，從全景圖到分景圖，如此一而再、再而三地寫畫並鐫刻棲霞圖景[10]，誠應了乾隆皇帝對這裡「第一金陵明秀山」的讚美。

可以想見，當乾隆四十九年末次南巡迴鑾之後，南國勝景今生不再相見，乾隆皇帝發出的「六度南巡止，他年夢寐遊」[11]的喟嘆，應該可以通過這些超越時空的畫作、山子和插屏而得到不間斷的心裡補償和精神昇華吧。

[1] （清）弘曆：《御製詩二集》卷十四《南巡記》。

[2] （清）弘歷：《御製詩二集》卷十四《南巡記》。

[3] （清）弘歷：《御製文二集》卷十《安瀾園記》。

[4] （清）弘歷：《御製詩二集》卷七十一《遊棲霞山》。

[5] 中國第一歷史檔案館、香港中文大學文物館編：《清宮內務府造辦處檔案總彙》第23冊，第11頁，乾隆二十二年各作成做活計清檔，造辦處活計庫：「五月初六日，太監董五經來說：『首領桂元交宣紙錢維城棲霞山圖畫一張。 』傳旨：著托紙鑲六分寬藍綾邊，欽此。 」

[6] （清）弘歷：《御製詩三集》卷二《題錢維城棲霞山圖疊舊作遊棲霞山韻》。

[7] 中國第一歷史檔案館、香港中文大學文物館編：《清宮內務府造辦處檔案總彙》第32冊，第494頁，乾隆三十四年各作成做活計清檔，造辦處活計庫：「十九日接得郎中李文照押貼一件，內開三月初二日董五經交...... 錢維城棲霞全圖山水畫一張...... 傳旨...... 御題錢維城山水畫一張...... 裝裱掛軸...... 欽此。 」

[8] （清）弘歷：《御製詩三集》卷二十三《遊棲霞山》。

[9] 中國第一歷史檔案館、香港中文大學文物館編：《清宮內務府造辦處檔案總匯》第40冊，第102頁，乾隆四十一年宮中檔簿：「三月初九日，兩淮鹽政伊齡阿進御製棲霞詩玉山一件...... 奉旨著伊差人送京交英廉。 」

[10] 棲霞主題文物，北京故宮博物院還有方琮畫山水王際華書游攝山棲霞寺詩成扇、御製過棲霞嶺詩墨等等多種，本文不一一例舉。

11] （清）弘歷：《御製詩五集》卷五《駐蹕安瀾園三疊前韻六首》之六。