玲珑世界：清代玉山子

美国塞缪尔哈恩艺术博物馆收藏有一系列微型玉山子。每件玉雕都勾画出山或者山的某个部分，构图主题则多与佛教或道教相关。在古代中国人眼中，山是超自然之物，具有神性，因而成为隐居之所和佛教、道教寺院的选址所在。如庐山和五岳就被佛、道两教钟情。

This article looks at a series of miniature landscapes in jade from the collection of the Samuel P.Harn Museum of Art. Each example explores a particular aspect of the mountain and its associations.These are mainly either Daoist or Buddhist in concept.Because of their early cosmological associations and vast remoteness, mountains have been seen as both spiritual and supernatural by the Chinese. They were places of retreat and favoured as the ideal site for monasteries and temples.Mt Lu and the Five Sacred Mountains,for instance ,were revered by both Buddhists and Daoists, but any mountain might have a spiritual aspect.

除真实存在的山之外，还有想象中的仙山，如八仙居住的蓬莱诸岛，有时也称寿山，是艺术家们乐于表现的主题。收藏在塞缪尔哈恩艺术博物馆的一件台屏（图一），描绘的是神仙之地。画面中，八仙中的五位透过云朵掩映的空隙眺望远方的山顶，山下有神鹿现身。鹿是此类场景中常见之物，既是长寿的象征，也与人们的世俗愿望相关联（鹿谐音“禄”，官员俸禄之意）。乍看之下，永生和世俗愿望并不相搭，鹿却兼具两相属性，显示出调和之道。这件作为文案台屏的玉器，表达的是希望长寿并拥有成功人生的双重用意。

In addition to real mountains ,there were also imaginary ones , like that on the island of Penglai, the dwelling-place of the Eight Daoist Immortals , sometimes called Shoushan(‘Moutain of Longevity’) and a favourite subject for artists to represent. A piece in the Harn ,although not strictly speaking a boulder,well illustrates the iconography associated with this mythiacal place ,with five of the Eight Immortals looking across a void hidden by clouds to the peaks beyong(fig.1).The deer that appears in the bottom right-hand corner of the plaque is a familiar presence in such a scene,the animal being associated both with longevity and ,by contrast, with the more worldly wish for a good income(the name for deer, lu,being a homonym forlu an official’s salary in Chinese ). Although immortality and worldly success might not at first sight be comfortable bedfellows, such an object’s use world have been a means of reconcilement. Its presence as a table screen on a writing desk would have had the dual intention of the wish to reach old age having had a long and successful career.

图一

台屏

清代，公元18世纪

软玉

高20.3厘米，宽14.6厘米，厚1.6厘米

美国塞缪尔哈恩艺术博物馆藏（2009.48.201）

（图片采自ORIENTATIONS, October 2011, p.64, fig.1）

另一件玉山子表达的也是类似主题。其构图聚焦于山路上的寿老（道教寿老神）与侍者（图二-一）。两人被具有长寿意涵的灵芝、桃、松环绕，而鹿作为长寿和成功的使者，再次出现于右下角。玉雕背面雕刻的是山路另一侧，另一名侍者手持挂果桃枝，面对桃树和仙鹤，表达的依然是长寿意愿（图二-二）。山中仙鹤可能还具有更深层的寓意，或可解为汉字画谜“祝凌好山”。

This theme is also to the fore in an actual boulder carved with the figure of Shoulao (the Daoist God of longevity)with attendant emerging from the centre of a mountain path (Fig.2).The two figures are surroundedby symbols of longevity -lingzhi fungus,peach (held by the attendant ) and pine trees -with the deer, again in the bottom right-hand corner,emblematic of both long-life and success.Carved on the reverse is literally the other side of the mountain path from which Shoulao has emerged,with another attendant holding a branching peach and opposite him a peach tree and crane, yet more symbols of longevity(fig.2a).The possibilities for further punning implied by the crane in the mountains should not be overlooked,as a rebus is created:zhuling haoshan(‘we pray for a life as long as that of the crane and the moutains’).

玉山子

清代，公元18世纪晚期

软玉

高11.1厘米，宽11.6厘米，厚5.7厘米

美国塞缪尔哈恩艺术博物馆藏（2009.48.226）

（图片采自ORIENTATIONS, October 2011, p.65, fig.2）

玉山子背面，表现寿老及山路

（图片采自ORIENTATIONS, October 2011, p.65, fig.2a）

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