20.5 cm (length) × 6 cm (width) × 0.8 cm (thickness)
In 1749, at the age of 39, Emperor Qianlong ordered the creation of a set of six gui (jade tablets), which were stored in a meticulously designed wooden box inscribed with the words “Zhaohua Biaode” (昭華表德, literally “manifesting glory and virtue”). An accompanying inscription on the box explains the purpose of their creation—to uphold the principles of virtue and to continue the legacy of the Xia, Shang, and Zhou dynasties. The political message was clear: although the Qing dynasty originated from Manchuria, its virtue was sanctioned by heaven, thus legitimizing its rule over all of China.
Despite the solemn symbolism, Emperor Qianlong’s refined artistic sensibility is evident in the decorative design of this set of yan gui (jade with a sharp tip). For example, according to the wooden box inscription, the function of yan gui was to “eliminate wickedness and facilitate governance,” signifying the emperor’s authority to administer justice and punish wrongdoers. However, modern observers rarely perceive any intimidating or punitive aura in these artifacts. Instead, they are struck by their balanced and elegant symmetry, raising the question: how was this visual aesthetic achieved?
A close examination of Ming and Qing imperial clothing reveals the presence of the “Twelve Ornaments of the Son of Heaven,” among which the “axe” (黼) and “paired bows facing opposite directions” (黻) appear at the lower portion of the clothing. These two motifs symbolize emperors’ qualities of decisive judgment and discernment. The yan gui incorporates these motifs in its design—placing the “paired bows” (黻) motif along the central axis and extending its proportions. This masterful design choice enhances the grandeur and solemnity of the jade tablets, while also softening their underlying connotation of imperial authority and punishment.