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十八世紀 填漆戧金朱漆太平有象紋菱花式香幾一對
美国
03月22日 晚上9点 开拍 /16天3小时
拍品描述 翻译
H: 34 1/2, W: 18 1/2, D: 18 3/4 in. (H: 87.6, W: 47, D: 47.6 cm. (each))
A pair of Chinese red lacquer 'elephant-and-vase' incense tables
18th century
Provenance:Private collection, New York.
来源:紐約州私人收藏
Condition:Both in overall good condition with minor age wear and minor edge losses. Each table shows minor loss to the gilt decoration on one foot. One table has a wood split to the top panel; the other has a loose connection between the stretcher and one foot.
品相:均總體品相良好,有輕微年代磨損,邊緣有小磕損;兩桌各有一足描金裝飾局部缺失;一桌面板有一條木裂,另一桌一足與橫棖連接處鬆動
高清細圖鏈接:https://oag.smugmug.com/191-March-DAY-2
英文长介绍:Each incense stand is elegantly fashioned with a lobed diamond-shaped top, the softly curving outline reflecting the refined restraint of Ming-style furniture while embracing the sumptuous decorative sensibility characteristic of the Qing period. The waisted apron is fitted with conforming, gently scalloped spandrels, above three gracefully curved cabriole legs that swell subtly from the waist before tapering inward and terminating in outward-flaring feet set on shaped pads, lending both visual poise and structural stability. The tabletop is exquisitely decorated at the center with the auspicious motif taiping youxiang (peace reigns when the elephant appears). A benevolent elephant stands bearing a vase upon its back, a visual rebus in which xiang (elephant) echoes xiang (auspiciousness) and ping (vase) signifies peace, together conveying wishes for universal harmony, national prosperity, and enduring stability. Upon the elephant’s back grow luxuriant peach branches laden with fruit, symbolizing longevity and abundance. Beneath, stylized waves and rockwork (haishui jiangya) evoke grandeur and continuity, interspersed with the Buddhist Eight Treasures, imparting refined spiritual blessings. Scholar’s rocks are further adorned with lingzhi fungus and set against shou and fu rocks, forming an allusion to "mountains of longevity and seas of blessings," reinforcing the auspicious narrative. The legs are densely ornamented with scrolling floral vines, the interlacing branches and abundant blossoms symbolizing unending wealth and flourishing vitality. Despite the richness of the decoration, the overall composition remains harmonious and well ordered, each motif thoughtfully placed and imbued with layered cultural meaning, revealing the artisan’s exceptional skill and deep iconographic knowledge. Constructed with a wooden core, the stands are finished in deep cinnabar red lacquer of rich, lustrous tone. The decoration employs the demanding tianqi qiangjin technique: the designs are first carved in intaglio, filled with colored lacquer and polished flush, then incised and gilded with fine gold lines to articulate texture and detail. The resulting interplay of red lacquer and gold is vibrant yet dignified, with crisp definition and fluid linework, exemplifying the high standards of early Qing imperial lacquer production. Remarkably, this pair survives with the original lacquer largely intact, displaying a natural patina and minimal losses; one top exhibits a minor age-related crack. Given the labor-intensive nature of qiangjin lacquerwork and its historical association with courtly and aristocratic furnishings, single examples are already rare, and a matched pair preserved in such condition is exceedingly uncommon. Combining refined form, masterful craftsmanship, excellent condition, and deeply resonant auspicious symbolism, this distinguished pair embodies the technical and aesthetic heights of early Qing lacquer furniture. Suitable for display in a formal hall or refined studio, and equally compelling as a major addition to an advanced collection, it stands as a superb example of Chinese lacquer artistry, uniting cultural significance, artistic excellence, and enduring collectability.
See below references for similar items: Palace Museum, Beijing, accession no. Gu 00111763; Sotheby’s, New York, March 2015, lot 213.
中文长介绍:香几面作菱花式,線條婉轉靈動,承明式家具之秀雅,開清式陳設之華贍;束腰,下接隨形牙板,三彎腿柔婉有力,自束腰處緩緩外膨,復向內收合,足端外翻舒展,足下承托泥,穩重大方,既增器身穩固之效,亦添形制端莊之美。幾面中心精繪太平有象主題紋樣:大象敦厚樸茂,負瓶而立,取「象」諧「祥」、「瓶」喻「平」之意,寓天下太平、國泰民安、盛世恆昌。象上瑞桃繁茂,碩果垂枝,象徵福壽綿長;象下海水江崖,波瀾壯闊,間飾佛教題材暗八仙紋,意蘊清雅吉祥;洞石旁綴靈芝仙草,下襯壽山福石,合為壽山福海、芝仙祝壽之吉兆。腿足周身滿飾纏枝花卉紋,枝蔓連綿,花繁葉茂,喻富貴綿延、生生不息。全器紋飾繁而不亂,意趣吉祥,一紋一景皆有深意,盡顯匠人巧思與文化底蘊。全器以木為胎,髹朱紅大漆,漆質厚重溫潤,色澤沉穆華貴,採用填漆戧金絕技,先雕紋樣凹槽,填彩漆磨平,再以戧金勾勒肌理,金紅相映,層次分明,細勁流暢,盡顯清早期宮廷漆作之高超水準。 尤為可貴者,此對香几原漆保存完整,包漿自然,幾乎無缺損脫漆,一隻几面略有小裂。填漆戧金工藝繁複費工,向為宮廷貴胄陳設所用,單件已屬難得,成對完存者在市場上更是鳳毛麟角,彌足珍貴。 此對香几,既承清早期盛世工藝之精髓,又蘊中華傳統吉祥文化之深致,造型、工藝、品相、寓意皆屬上乘,既可陳於廳堂雅室、焚香置器,亦為典藏傳世之重器,於古今漆木家具收藏中,是為集工藝、祥瑞與收藏價值於一身的傳世佳器。
相似藏品可參閱:故宮博物院館藏,編號故00111763;蘇富比拍賣2015年03月紐約拍賣,編號213。

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