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39 ? in. (101 cm.) high, 27 in. (68.6 cm.) wide, 26 ? in. (67.3 cm.) deep
Grace Wu Bruce, London.Dr. S. Y. Yip Collection, Hong Kong, 1993.Grace Wu Bruce, Hong Kong, 2000.
With its majestic proportions and deceptively complex design, this important folding chair embodies the subtle grace and technical genius of Ming-dynasty furniture. As seen in the graceful movement of the arms, the beautifully figured grain of the back splat, and the robust construction of the crossed legs, this folding chair suggests the power and importance of its original owner. Commissioned by a person of great status, a chair of this technically sophisticated design must have been executed by a master carpenter, who possessed both expertise and contacts to source the finest quality huanghuali. For the present folding chair, huanghuali was chosen for its strength, revered golden tone, and rich and exuberant grain pattern. The fine quality of the wood suggests that no expense was spared in its original commission. This magnificent folding chair is a surviving masterpiece from the Ming period.Though folding horseshoe-back armchairs are seen in Ming-dynasty woodblock prints and in Song-dynasty paintings, there are only a limited number of surviving examples dating to the Ming period. Of what furniture remains from the Ming period, the folding horseshoe-back armchair is the rarest. Collapsible for ease of transport and compact storage, their complex construction and fragile design made these chairs subject to greater wear and more susceptible to damage. Ingenious DesignThe design is an elite variation of the older and humbler folding stool. Recorded to have been in use since the Han dynasty (206 BC – AD 220), the folding stool was called huchang, or ‘barbarian bed,’ a reference to its foreign origin. Of the four types of armchairs, the horseshoe-back design, with its sweeping U-shaped crestrail and outswept hooks, is the most easily adapted to collapsing. When folded, the front seat rail fits snugly within the curved supporting arms. However, despite its ingenious design, the folding chair cannot support as much weight as its non-collapsible counterparts. Wood cut on a curve is less stable, thus metal bracing, as seen on the backward curves of the legs, the tops of the footrests, and the joins, was introduced to further strengthen these chairs. Metal pins, inserted where the legs cross, allow the legs to fold upwards. The Most Honored SeatThe folding horseshoe-back armchair was used by the Imperial family and wealthy and powerful individuals as a symbol of status and rank. The “first folding chair” (di yi ba jiaoyi) is a well-known Chinese saying and conveys the importance of this type of chair, as the most honored seat in a public room. A woodblock print published in the Ming-dynasty carpenter’s manual, Lu Ban Jing, shows an official seated on a folding horseshoe-back chair at the front of the room, with a side chair and a ‘Southern Official’s Hat’ armchair (nanguanmaoyi) arranged to his right and left, respectively. These vacant seats were intended for men of lesser rank and so distinguished the host. So important as status symbols were these chairs in the Ming period, that the most commonly found pottery furniture model was the folding horseshoe-back armchair, conferring in the afterlife a status to the deceased perhaps unachievable while alive. Ming-dynasty pottery models of folding chairs are easily recognizable by the exaggerated and unusually large metalwork where the legs cross, underscoring its sophisticated mechanics. Found in a variety of materials and woods, including lacquer, and exotic woods, such as huanghuali, folding horseshoe-back chairs could be used as portable thrones when intended for Imperial use. The folding chair is frequently seen in Ming and Qing period imperial paintings as the seat for both emperors and empresses. A pa