Provenance 來源:|Stephen Junkunc III collection|Christie's New York, Masterworks of Ancient and Imperial China, 17 September 2008, lot 589|斯蒂芬·君尼庫克三世舊藏|紐約佳士得，《Masterworks of Ancient and Imperial China》，2008年9月17日，編號589||The inscription reads 松溪隱釣圖，子剛 Songxi yindiao tu, Zigang and can be translated as "fishing on one's own under a pine tree and by a stream, Zigang".|The current lot is exceptional for the quality of the stone and decoration, and ranks amongst the highest quality examples of its type. The most sought-after jade quality is known as 'mutton fat' white jade, or yangzhi baiyu. This rare stone was rare and heavily prized by the Imperial court of the Qing dynasty for its purity and snow-white translucency.|Little is known regarding Lu Zigang in terms of actual evidence, in contrast with his legendary reputation as the finest Suzhou jade carver of all time. According to Craig Clunas's research, Lu's name appeared in the 1642 edition of the Gazetteer of Taicang Subprefecture, 太倉州志 Taicangzhou Zhi, recording him as a native of this district, "fifty years ago there was in this prefecture a certain Lu Zigang, whose skill at carving [jade] with the knife remains unsurpassed to the present. Jade hairpins by him sell for fifty or sixty ounces of silver each. The skill was not handed on at Zigang's death"; see C.Clunas, Superfluous Things. Material Culture and Social Status in Early Modern China, Honolulu, 1991, p.64.|Fascination with the landscape subject of a lone fisherman by a stream hidden from plain view amidst pine trees was widespread during the mid-Qing period and found favour in the Qing Court; see for example the Imperial calligraphy on handscroll with Qianlong Yubi calligraphic inscription and impressed seal marks of the Qianlong Emperor, Fishermen in Reclusion among Mountains and Stream by the Ming dynasty painter, calligrapher and poet Tang Yin (1470-1524), in the National Palace Museum, Taipei, accession no.000467N.|以白玉為料，玉質瑩潤均勻，呈橢圓形，一面主要浮雕一溪邊端坐的高士孤身垂釣，周圍山石松柏圍繞。另一面雕山石梧桐，右上雕「松溪隱釣圖」五字和「子岡」篆書款，整體浮雕深淺有度，作工十分精細，實屬賞心悅目之作。|眾所周知，陸子剛為玉雕大師，以高超的玉雕技法著稱，從其名字所得名的「子剛牌」便可知。有關陸子剛的史載不詳，其籍貫曾被稱為「州人」、「蘇州」、「吳門」等，最明確的記載是明崇禎十五年(1642年)的《太倉州志》：「凡玉器類，砂碾，五十年前，有州人陸子剛者用刀雕刻，遂擅絕，今所遺玉簪，價一支值五六十金，子剛死，技亦不傳。」請參閱C.Clunas著，《Superfluous Things. Material Culture and Social Status in Early Modern China》，檀香山，1991年，頁64。山水人物及松蔭高士等題材一直盛行於清代中期，也為清宮所喜愛。乾隆帝曾在明代著名畫家唐寅的《溪山漁隱圖》題引首及七言詩一首，並鈴有多方鑑藏御璽，此畫題材可與本玉牌作對比，現藏於台北國立故宮博物院，博物院編號000467N。