A magnificent imperial white jade table screen, Qianlong Period (1736-1795)

The thick rectangular panel carved in high relief with a scholar peering from an open pavilion set in the mountains by a lake, and beneath a large, gnarled pine tree, an attendant kneeling on the opposite bank as he washes his master's inkstone in the gently flowing waters, all beneath a partially gilded incised imperial poem entitled Yu Zhi Di Yan Tu Shi, the finely polished stone of even tone with some small whitish inclusions
9 in. (22.9 cm.) high, 6 3/16 in. (15.7 cm.) wide, wood stand - estimate: $500,000-700,000

Notes : The poem may be translated as follows:

Standing on the edge of the quiet pond after the lesson,
the child attendant assists his master with washing the inkstone.
There should be fish swallowing the ink,
but people no longer exchange calligraphy for geese.
As I enjoy the company of this beautiful Hetian jade
suddenly I feel many of this kind are inferior.
As I lean below the southern edge of the roof
once the window is open, all images feel empty.

The master calligrapher Wang Xizhi (321-379) was alleged to have exchanged calligraphy for geese, and this poem makes a reference to this assumption.

The size of the screen would have made it ideal for the scholar's table. It has been carved from a very thick portion of the stone, a trait typical of imperial quality 18th century jade table screens. It is perhaps due to their use on the scholar's table that screens of this type often depict scenes of immortals, scholars, or the refined pleasures of the literati class. Compare the size and scholarly subject matter depicted in two imperially inscribed white jade table screens dated to the Qing dynasty, illustrated in The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, National Palace Museum, Taipei, 1997, pp. 192-3, no. 65, and pp. 196-7, no. 67. It is important to note that the carvers of both illustrated screens, and the current lot, have incorporated in the design an area left blank for the later addition of the inscription. See ibid., pp. 204-5, no. 71, and pp. 206-7, no. 72, for two jade table screens in which the pine needles and gentle waves have been carved in a similar fashion to those found on the current lot.

A pair of larger dark green jade table screens dated to 1764, carved with scenes of the four pleasures, is illustrated by L. Yang and E. Capon in Translucent World: Chinese Jade from the Forbidden City, Sydney, 2007, pp. 214-5, no. 152. Of particular note is the manner in which the waves have been incised, with widely spaced, broad, and at times, relatively flat lines.

Christie's. Masterpieces of Chinese Art. 17 September 2008. New York, Rockefeller Plaza. www.christies.com