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十八世紀 黑漆百寶嵌撒螺鈿梅竹雙清一統碑椅
美国
03月22日 晚上9点 开拍 /16天5小时
此拍品禁止/限制出入境
拍品描述 翻译
H: 34 1/2, W: 18 1/2, D: 15 3/4 in. (H: 87.6, W: 47, D: 40 cm.)
A Chinese black lacquer hardstone-inlaid 'bamboo and prunus' chair
18th century
Provenance:Private collection, New York.
来源:紐約州私人收藏
Condition:Overall in good condition. With age-appropriate wood splitting and lacquer cracking, areas of overpainting, and scattered lacquer loss, particularly along the joinery.
品相:總體品相良好;有年代磨損,木裂、漆面龜裂、脫漆、局部有補漆,榫卯接合處較為明顯
高清細圖鏈接:https://oag.smugmug.com/191-March-DAY-2
英文长介绍:Constructed with a wooden core and finished in multiple layers of deep black lacquer, the surface is lustrous and reflective, dark as polished obsidian. Scattered throughout are innumerable finely cut fragments of mother-of-pearl, sprinkled in the demanding sa luodian technique, shimmering like stardust across an inky sky. As light shifts, iridescent hues emerge subtly from the otherwise solemn ground, imparting vitality within restraint and richness within depth. This technique is exceptionally labor-intensive, requiring both consummate skill and significant resources, and was historically reserved for furnishings of elevated status. The upright back splat is carved in the form of a monumental stele, from which the chair derives its name yitongbei. It is inlaid in baibao (hundred-treasure) technique with a refined composition of plum blossom and bamboo—mei zhu shuangqing—symbols of purity and moral integrity. Gnarled plum branches twist with iron-like strength, bearing layered blossoms at varying stages of bloom, delicately shaded in soft whites and blush tones with gilt-highlighted stamens, suggesting fragrance lingering in the cold air. Slender bamboo stalks rise alongside, their leaves crisply articulated, embodying resilience and humility. Set against the black lacquer ground, the inlays glow with sculptural clarity and rhythmic depth. The rectangular seat is framed with reserves decorated in finely scattered mother-of-pearl forming scrolling floral vines, the interlacing branches and blossoms symbolizing continuity and enduring prosperity. The pierced aprons are fluidly carved with cloud- and wave-like forms, lightening the visual mass of the chair while introducing an ethereal elegance that echoes the decorative language of the seat and back. Straight, square-section legs provide structural stability, their restrained profiles balancing the richness of the surface ornamentation. Throughout, the dialogue between matte black lacquer and shimmering inlay is masterfully controlled: mother-of-pearl glints appear and recede, while the baibao motifs alternately assert and soften themselves, revealing refined craftsmanship in both detail and overall composition. Despite centuries of age, the lacquer remains warm and intact, the inlays vibrant and secure, bearing witness to both the quality of the materials and the careful stewardship of successive owners. Chairs combining black lacquer, baibao inlay, and sa luodian decoration are exceedingly rare. The complexity of the techniques, the time required for execution, and the losses incurred through historical upheavals mean that few examples survive today, and complete, well-preserved works of this type are seldom encountered on the market. Marrying the elegance of Ming-inspired forms with the opulence and technical sophistication of early Qing lacquerwork, this chair represents a masterful synthesis of literati taste and courtly refinement. Through layered lacquering and inlay, it unites symbolic imagery, sculptural form, and luxurious surface treatment into a single, harmonious object—an exceptional and elusive work within the canon of Chinese lacquered furniture. To encounter this chair today is to step into a scholar’s studio of the past: seated upon it, worldly concerns seem to recede, replaced by a quiet resonance of purity, integrity, and cultivated repose.
See below references for similar items: Palace Museum, Beijing, accession no. Gu 00208172; Sotheby’s, London, May 2015, lot 137.
中文长介绍:本件作品以木為胎,髹以重漆,色若玄玉,光可鑒人。通體遍撒細碎螺鈿,如星屑落於墨海,隨光影流轉而幻出虹彩,于沉穆中見靈動,於深邃中顯華滋。此“撒螺鈿”之法,耗工甚巨,非良工巧匠不能為,亦非尋常人家可得而用,足見其當年所托之重、所藏之珍。靠背板挺直如碑,故得“一統碑”之名。以百寶嵌成“梅竹雙清”之景:老梅虯枝盤曲,如鐵線勾勒,花瓣層疊,或含蕊欲放,或綻蕊吐芳,色分粉白,蕊點金粟,似有暗香浮動;竹影數竿,葉葉分明,勁節虛心,與寒梅相映成趣。所用百寶于黑漆底上熠熠生輝,層次井然,立體感十足。一板之上,寒梅傲雪,修竹搖風,既寫物態之清,亦喻君子之節,正所謂“器以載道,物以傳情”。椅面方整,開光內以細碎螺鈿繪纏枝花卉,枝蔓婉轉,花葉連綿,寓生生不息、富貴綿長之意。牙板線條流暢,鏤空處若雲卷波湧,既減器身之重,又添空靈之致,與椅面、靠背之紋遙相呼應,使整器于莊重中不失靈動,于華贍中不失清雅。腿足方正,結構穩固,線條簡潔而不失力度。通體黑漆之下,螺鈿星點若隱若現,百寶嵌紋若明若暗,於細微處見匠心,於整體中見風骨。歷經數百年風霜,漆色依舊溫潤,鈿屑依然璀璨,百寶嵌飾完好如初,足見歷代藏者護惜之至,亦顯其材質之精、工藝之堅。 為可貴者,此類黑漆嵌百寶兼撒螺鈿之椅,工藝繁複,耗工耗時,且歷經兵燹與歲月侵蝕,存世者本就寥寥,能完整保存至今者更是鳳毛麟角,於今日收藏市場上極為少見。 烏髹為骨,鈿屑為星,百寶嵌成清韻;竹影橫斜,梅香暗度,一椅坐盡文心。此清早期黑漆嵌百寶撒螺鈿“梅竹雙清”靠背椅,承明式之雅,啟清工之華,以多重髹漆與鑲嵌之技,熔文人意趣與宮廷奢美於一爐,實為漆木傢俱中可遇不可求之雋品。 今觀此椅,如對古人,如入雅室,一坐之間,便覺塵囂漸遠,清韻自生。
相似藏品可參閱:故宮博物院館藏,編號故00208172;蘇富比拍賣2015年05月倫敦拍賣,編號137。

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