A HUANGHUALI PAINTING TABLE, HUA’AN
A HUANGHUALI PAINTING TABLE, HUA’AN
A HUANGHUALI PAINTING TABLE, HUA’AN
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A HUANGHUALI PAINTING TABLE, HUA’AN
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Furniture from the Collection of Mimi Wong
A HUANGHUALI PAINTING TABLE, HUA’AN

17TH-18TH CENTURY

细节
34 ½ in. (87.6 cm.) high, 80 ¾ (205.1 cm.) wide, 26 ¾ in. (67.9 cm.) deep
出版
R. Hatfield Ellsworth, N. Grindley and Anita Christy, Chinese Furniture - One Hundred Examples from the Mimi and Raymond Hung Collection, New York, 1996, pp. 170-171, no.64
展览
Essence of Style: Chinese Furniture of the Late Ming and Early Qing Dynasties, Asian Art Museum of San Francisco, 17 January- 6 September 1998, pp.78-79, no.24

荣誉呈献

Marco Almeida (安偉達)
Marco Almeida (安偉達) SVP, Senior International Specialist, Head of Department & Head of Private Sales

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拍品专文

This rectangular inset leg bridle joint table is unorthodox in several respects. It is very close to the true proportions of a painting table as opined by Wen Zhenheng in volume 6 of the Zhang Wu Zhi and differs only in that he suggests that a painting table should have everted flanges, albeit flat and rounded.The author also mentioned that a table with a stretcher between the feet, as here, was even better (Craig Clunas’ translation, Superfluous Things, Material Culture and Social Status in Early Modern China, page 42). The long side aprons and the end aprons are highlighted by the simple expedience of a raised bead to the lower edge which follows the shape of the unmitred bridle joint and terminates in a simple angular scroll repeated at the corners of the end aprons as well. Without doubt though, the most unusual feature of this table is the upward curved stretcher between the legs, a curve reflected in the gently outward splayed feet. This feature is unknown on any other tables published so far of this type. This shape is reflected, not only, in the upper stretcher between the legs but also in the mitred aprons that form part of the inner framing decoration of these legs. One imagines that this would be profligate use of a precious, and expensive, timber but the expedience of cutting each stretcher from a single piece of wood, one above the other, would result in the loss of only the lowest crescent shape and the upper two corners. The same technique would be used for creating the matching upper and lower aprons, and the apron beneath the stretchers.

A considerably smaller, and aesthetically less successful table in the collection of the Palace Museum, Beijing, published by Wang Shixiang in Classic Chinese Furniture – Ming and Early Qing Dynasties, 1986. no. 113 exhibits the same unmitred bridle joint and angular relief carving to the aprons, but not the splayed foot or the curved stretchers, is also ascribed a Ming date by Wang Shixiang.

This item is made of a type of Dalbergia wood which is subject to CITES export/import restrictions since 2 January 2017. This item can only be shipped to addresses within Hong Kong or collected from our Hong Kong saleroom and office unless a CITES re-export permit is granted. Please contact the department for further information.

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