A Rare and Important Set of Three Imperial Cloisonné Panels

Qianlong Period (1736–1795)

Each inscribed with poetry by Yu Minzhong (于敏中, 1714–1779)

This exceptional group of three vertical cloisonné enamel panels stand as an expression of Qing dynasty decorative refinement and imperial literary culture. Each  panel depicts a seasonal garden scene—lush with flowering shrubs, elegant birds, and carefully composed landscapes—framed above by a poetic inscription in gilt characters on a lapis-blue ground.

All three inscriptions are poems by Yu Minzhong, a high-ranking scholar-official and confidant of the Qianlong Emperor, who rose to serve as Chief Grand Councillor (首席军机大臣). Yu Minzhong was known for his calligraphy, editorial work, and poetry, he was also the top graduate of the imperial examination (Zhuangyuan, 1737), and known as one of the primary intellectual architects of the Qianlong court.

That these panels bear his name and original poetic compositions strongly suggests they were intended for elite or even imperial settings perhaps commissioned as scholarly decoration for a palace retreat, a scholar’s studio, or as a high-level gift.

Panel One: Gardenia and Begonia in the Autumn Moonlight

“The gardenias reveal themselves and stand out among the beautiful and fragrant flowers,

they are clustered and hidden on the branches, the fragrance descended after the dew but came out nicely in the breeze.

The leaves faintly retain the sound of stillness, the shadow of the moonlight recalls the dreamland.

Who makes the unscented flower as the companion?

The begonias get the taste of the coolness of the Autumn.

The last script of the retirement announcement in the Hall of Mental Cultivation.

—Yu Minzhong”

This richly allusive poem links the autumnal imagery of gardenia and begonia to introspective emotion, stillness, and retreat from public life. The poem’s allusion to “the last script of the retirement announcement” composed in the Hall of Mental Cultivation (Yangxin Dian)—the working quarters of the Qing emperors—suggests that this was written at a pivotal moment in Yu Minzhong’s career, perhaps upon stepping down from official service.

The combination of floral metaphor and political autobiography is poignant: the unscented flower as companion may imply a longing for spiritual purity or detachment from court intrigue. The breeze, dew, and moonlight are all classical metaphors for inner clarity and fleeting fame.

Panel Two: Hidden Begonia and the Solitude of Spring

“To hide in the deep mountains to get the cultivation,

enjoy the peace and tranquillity in the mist and clouds in the twilight.

The frosty fine leaves are pure, the dew dropped from the soft bushes,

the flowers are fragrant and in fine appearance.

Removing the hairpin and the vibrant colour remained,

the begonia should be in a deep sleep in the springtime—

who needs to go out to compose great poems?

Written in the South chamber at the beginning of April.

—Yu Minzhong”

In this composition, the begonia becomes a figure of solitary beauty, cloaked in spring’s quietude. The poem is saturated with Daoist and reclusive motifs: “deep mountains,” “mist and clouds,” “twilight,” and the question of whether one need venture out at all to attain poetic inspiration.

The reference to “removing the hairpin” may suggest a courtesan or court beauty disrobing, further personifying the flower as a retreating yet alluring presence. The line “who needs to go out to compose great poems?” is self-referential, underlining Yu Minzhong’s scholarly withdrawal and philosophical turn away from fame. It also resonates with the classical Chinese literati ideal of the “gentleman recluse,” cultivating virtue and insight away from courtly distraction.

Panel Three: Peonies and Peach Blossoms in Early Summer

“The beauty of the spring is the peach blossom,

the heavenly fragrance is delicate,

they look like they are laughing merrily in the sudden shift of showers and sunshine.

The half-opened flowers are enchanting—

as if a beauty uncovering her dainty lips and face in an elegant movement.

The peonies are flirtatious in the flowery bushes.

Written at the beginning of the summer of the Bingwu year.

—Yu Minzhong”

This panel overflows with eroticised floral imagery, deploying a sensuous language that likens peach and peony blossoms to flirtatious court beauties. The “laughing” peach blossoms and “half-opened” flowers evoke a scene of playful seduction, and the comparison to a woman “uncovering her dainty lips and face” .

The reference to the Bingwu year (likely 1786 or 1746, depending on dating conventions) provides a specific historical anchor, suggesting a moment of renewal and appreciation for courtly pleasure, perhaps composed as a seasonal offering to the emperor or as part of a larger poetic cycle.

Interpretation and Importance

These panels encapsulate the refined world of 18th-century Qing imperial aesthetics, in which nature, poetry, and politics were intimately interwoven. The enamel medium, already prized for its beauty and imperial associations, is elevated  here with the addition of original poems , by one of the Qianlong Emperor’s closest advisors. This is a rare and significant combination.

That the poems are not imperial verses, but the words of a serving official, adds another layer of meaning. Yu Minzhong was the voice behind many of the Emperor’s editorial and literary projects, and his signature on these works implies a quiet assertion of literati identity, of reflection and retreat, that coexisted with the pageantry of court life.

Each poem provides a seasonal meditation:

• Autumn’s resignation and dreamlike introspection,
• Spring’s reclusion and self-cultivation, and
• Early summer’s flirtation and bloom.

Thematically, they form a literary triptych, articulating a sophisticated vision of withdrawal, beauty, and the transient splendour of both nature and office.

Though the traditional cycle of the Four Seasons is often depicted in Chinese decorative art, this set of three cloisonné panels—each inscribed by Yu Minzhong—may represent a literary or philosophical triptych, intentionally omitting winter in favour of a reflective yet sensuous progression through autumn, spring, and summer. Whether complete or fragmentary, the trio forms a coherent poetic meditation on the nature of withdrawal, beauty, and renewal.

As a group, these panels offer more than decorative splendour, they represent a rare convergence of courtly craftsmanship, poetic voice, and introspective philosophy, filtered through the eye of one of the most learned and powerful men of the Qianlong court.