Auction Information

Description

Ruyi is carved from whole white jade, with a smooth texture. Create a cloud leaf style head with a Ruyi cloud pattern border on the upper half of the head, and emboss a birthday wish image on the ground inside. In the center of the screen, the fairy propped up a spirit deer and strolled in the sea on a thick and sturdy tree trunk. At one end of the tree trunk, the fairy's basket was placed, filled with Ganoderma lucidum and fairy grass. The surrounding waves were rough and undulating, creating waves of waves. Peach trees sprout from the rock walls, with their branches flowing horizontally and green leaves tender. Two large longevity peaches hang down, creating an overall auspicious atmosphere. The scene depicts the ancient Chinese longevity fairy Magu, who is about to cross the sea to congratulate the Queen Mother on her birthday. The central part of the stem is raised in an S-shaped shape, gradually widening from top to bottom. The front is a high relief peach tree, with its branches winding upwards and the peach leaves flipping naturally. The peach fruit is round and plump, hanging from the branches. The fine branches, tender leaves and peach fruit overlap and cover each other, creating a strong sense of three dimensionality. Under the peach tree stands a crane, with a slender figure, plump wings, and a slender neck. It turns its head back and stands on one foot, symbolizing the auspiciousness of longevity and peach age. Cranes and peaches are both symbols of longevity. According to Jia Sixie's "Shennong Jing" during the Northern Wei Dynasty, "Jade peaches, dressed in clothing, will never die." Cranes have an elegant and graceful body, also known as the "Hundred Feather Sect." They are said to have been transformed by ordinary people after ascending to immortality, also known as the "Immortal Crane". They hold a high position in Chinese culture and are symbols of longevity, auspiciousness, and elegance. This work combines auspicious patterns such as Ma Gu's birthday offering, longevity peaches, and cranes, expressing blessings for a long and elderly life. It carries the wishes of the Qing Dynasty imperial family and nobles to celebrate their birthdays and pray for blessings. Ruyi was originally a tool for monks. In the Qing Dynasty, in addition to serving as a symbol of good luck in Buddhism and Taoism, it also added functions such as royal wedding and longevity auspicious vessels, rewards for monarchs and officials, and gifts, all of which symbolized "good luck in everything". According to records, from the 16th year of the Qianlong reign to the 33rd year (1751-1768), during the eighteen years, every year when the Empress Dowager celebrated her birthday, the Qianlong Emperor would personally present a jade ruyi as a birthday gift, indicating its importance. After the thirtieth year of the Qianlong reign, it was almost a tradition to worship Ruyi every year. As recorded by Yao Zhiyuan, a Qing Dynasty official, in his "Miscellaneous Records of the Bamboo Leaf Pavilion": "During the annual festival, the king and ministers presented good luck, taking the meaning of auspiciousness." In the eyes of Emperor Qianlong, good luck was even more of a "symbolic object." For example, in the "Record of the Attendance of the British Envoy of Emperor Qianlong", the British envoy Magorani wrote: "Every palace or house must have a throne, and next to the throne, there must be a good luck." From some of the preserved furnishings of Qing palaces to this day, it can be found that, The Ruyi placed next to the throne is mostly made of jade and stones, such as the "Inner Scenery of Changchun Palace", "Three Wishes Hall in the Hall of Nourishing Heart" and other palaces, as well as the "Qianlong Mirror of Ancient Art". Qianlong sat on the throne, observing the scene of various ancient treasures. Beside him was a jade Ruyi, showcasing the extraordinary appearance of jade carvings. The emperor's display of jade carvings next to the throne may also serve the functions of "preventing accidents" and "directing longing". Qianlong also mentioned in his imperial poetry that "everywhere by the seat, leading the Chen as usual, although pictures and words convey good luck, difficulties bring frequent signs of auspiciousness." This presents the aesthetic intention of the Qing court that "pictures must be intentional, and meanings must be auspicious.". The old collection of the Qing Palace, now housed in the Palace Museum in Beijing, features the theme of quail and millet, symbolizing "peace and prosperity throughout the year". This piece of Qing Qianlong's "Bai Yu Ma Gu Xian Shou Ru Yi" is themed around fairies, longevity peaches, and cranes, symbolizing the auspiciousness of "Ma Gu Xian Shou" and "He Shou Tao Ling"