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全球拍卖首页 > Bonhams UK > The H Collection > Lot 28
A HUANGHUALI HORSESHOE-BACK ARMCHAIR, QUANYI 17th century
英国 北京时间
2021年05月13日 开拍 / 2021年05月11日 截止委托
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拍品描述 翻译
A HUANGHUALI HORSESHOE-BACK ARMCHAIR, QUANYI 17th centuryWith curving toprail sloping down to the arms supported on serpentine side posts and terminating in a curved hook beyond the corner posts set with shaped spandrels, the backsplat carved with a ruyi panel enclosing entwining chilong dragons, the back corner posts continuing below the rectangular frame set with a mat seat, to the back legs joined by stretchers and a footrest with plain shaped apron. 94cm (37in) high x 60cm (23 5/8in) wide x 45.5cm (18in) deep. 注脚 十七世紀 黃花梨圈椅Provenance: Sotheby's Hong Kong, 5 April 2015, lot 2848An important European private collection來源：香港蘇富比，2015年4月5日，拍品編號2848歐洲重要私人收藏Armchairs like the present example are timeless in the simplicity and elegant balance of their lines. Known as 'horseshoe-back armchairs' quanyi, these seats are particularly attractive for the fluidity of their form achieved through the continuous curved crest rail that also functions as an armrest. Quanyi chairs were often made in sets of two or four and are depicted in woodblock illustrations dating to the Ming and Qing dynasty, showing their use in the context of activities related to dining, painting or receiving guests. Horseshoe-back chairs displayed high status and with the addition of two carrying poles, they were easily converted into sedan chairs reserved for high-ranking officials; see C.Clunas, Chinese Furniture, London, 1988, p.24.The elegant design of the present seat was probably inspired by chairs of nearly-identical shape made of varying lengths of bamboo, which were subsequently bent into a 'U'-shape and bound together using natural fibres. These seats were highly regarded for their lightweight, sturdy and strong appearance, so the cabinetmakers quickly adapted this design to hardwood furniture using ingenious joinery techniques. The continuous back was obtained by fitting the members together with a cut-out to accommodate a tapered wood pin that, once inserted, locked each part firmly in place. A lacquer coat was then applied to the surface crest rail so as to make invisible the underlying joinery. The complexity of this technique called for utmost precision, since any slight error in the angle of any of the joints was magnified by the adjoining members; see Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, pp.43-45.The present chair is distinguished by the attractively-figured grain on the backsplat and the precise carving of the ruyi-form medallions. Quanyi chairs were either left undecorated or carved on the splats and aprons with raised designs, such as the present seat. The subjects selected to decorate such chairs included interlocking archaistic designs, floral scrolls, entwined chilong and writhing dragons. According to Robert Ellsworth, these designs were an innovation of the late Ming period; see R.H.Ellsworth, Chinese Furniture. Hardwood Examples of the Ming and Ch'ing Dynasties, New York, 1971, p.86. The author further observes the similarities between the curvilinear apron of quanyi chairs, which the present example also displays, with its counterpart found on Tang period tables, such as the example in the Shōsōin Treasure House, Nara, illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkley, 2001, pl.12.6.Compare with a single huanghuali horseshoe-back armchair, 17th century, similarly decorated with finely-carved ruyi medallions enclosing pairs of sinuous chilong, formerly in the collection of Robert H. Ellsworth, which was sold at Christie's New York, 18 March 2015, lot 139. See also a pair of huanghuali horseshoe-back chairs, 17th century, which was sold at Christie's New York, 16 March 2017, lot 607.圈椅扶手三接，兩端出頭迴轉收尾。靠背板上端作葵形開光，內鏟地浮雕雙螭圖。後腿上截出榫納入圈形彎弧扶手，下穿過椅盤成為腿足，鵝脖與前腿足亦相同造法。扶手與鵝脖間打槽嵌入小角牙，扶手左右支以三彎形上細下大的圓材聯幫棍。椅盤下的券口牙板浮雕卷草??紋，並沿輪廓線起一道陽線為飾，兩側面則裝光素的券口牙子。腿間施步步高趕棖，踏腳棖及左右兩側管腳棖下各安一素牙子。質量輕便、結構堅實的圈椅是明清時期最為經典的家用坐具之一，無論場合是否正式皆可適用，並常見於明代書籍版畫插圖之中。圈椅還可用作高階官員的轎椅，作為其尊貴身份的象徵，見柯律格著，《Chinese Furniture》，倫敦，1988年，頁24。圈椅因其圓而細的月牙扶手而得名。明代工匠通過複雜的楔釘榫造法，在硬木上復刻出竹篾彎曲的效果，傳達出豐盈且平衡的圓潤之美。楔釘榫是將兩片榫頭盡端有小舌的榫頭合掌式地交搭，小舌入槽後要能緊緊貼合，使榫頭不能上下移動，然後在搭口中部剔鑿方孔，將一枚斷面為方形的頭粗而尾稍細的楔釘貫穿過去，使得榫頭不能左右移動。圈椅的月牙扶手圓而細，楔釘榫任何構件的輕微誤差都會被相鄰的構件放大，尤須造得精緻。見王世襄著，《明式家具研究》卷一，香港，1990年，頁43-45。此具圈椅後背板木紋緻密，雕工精細。除素圈椅外，圈椅大多如本例，在後背板和券口牙板處進行裝飾；裝飾主題包括仿古紋飾、纏枝花卉、蟠龍瑞獸等。安思遠認為，此種複古的紋飾設計是為晚明時期創新，見安思遠著，《Chinese Furniture：Hardwood Examples of the Ming and Early Ch'ing Dynasties》，紐約，1971年，頁86。安氏進一步認為，此類券口牙板可在唐代桌案裝飾中找到相似之處；參見奈良正倉院所藏一例，收錄於S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁244 ，圖版12.6。安思遠舊藏一件十七世紀黃花梨圈椅，後背板開光浮雕螭龍紋，可為比對，售於紐約佳士得，2015年3月18日，拍品編號139。另參考一對十七世紀黃花梨圈椅，售於紐約佳士得，2017年3月16日，拍品編號607。

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