Page 243 - Sotheby's October 3 2017 Chinese Art

Armchairs of this type remain strikingly modern in the 此類圈椅線條簡約，扶手彎弧，流麗秀美，雅致勻稱，洋
simplicity and balance of their lines. Known as quanyi or 溢現代氣息。圈椅常見於明清木刻版畫，輪廓典雅，多成
‘horse-shoe back chairs’, these chairs are particularly 對或四件成套，用於餐膳、繪畫或款客。圈椅兩側若加長
attractive for the fluidity of their form achieved through the 桿，可作明轎，為達官貴人之用。柯律格敘述，此類明轎
continuous curved crest rail that also functions as an arm 展示坐者權威，乃上賓之椅，見《Chinese Furniture》，
rest. Frequently depicted in Ming and Qing dynasty woodblock 倫敦，1988年，頁24。
illustrations, chairs of this elegant silhouette were commonly
produced in sets of two or four and used while dining, painting 圈椅，初以竹造， 竹子柔韌，易製弧形椅圈，優雅輕盈，
or receiving guests. With the addition of two carrying poles, 卻穩固實用，廣受青睞。其後木匠以巧工妙思改用硬木
they were converted into sedan chairs reserved for officials 製椅，然工精繁複，不容有絲毫失誤。以弧形圓材攢接椅
of high rank, and as mentioned by Craig Clunas in Chinese 圈，兩接圓材以楔釘榫結合，連接緊密，上漆後連接處隱
Furniture, London, 1988, p. 24, they were considered ‘markers 約，椅圈扶手一順而下，始成如此雅致圈椅。
of high status, seats of honour’.
此類圈椅多光素無紋，或如本品可見，靠背板及牙子浮
This elegant design derive from chairs of nearly identical 雕紋飾。安思遠曾談及此類圈椅圖案，相信為晚明、清
shape but made of pliable lengths of bamboo, bent into a 康熙時期創新紋飾，見《Chinese Furniture. Hardwood
‘U’-shape and bound together using natural fibres. Highly Examples of the Ming and Ch’ing Dynasties》，紐
popular for their lightweight, sturdy and strong appearance, 約，1971年，頁86。他觀察此類圈椅之壺門券口牙子，
cabinetmakers cleverly adapted this design to hardwood 與唐代案桌上所見相似，參考奈良東大寺正倉院藏唐例，
furniture by creating ingenious joinery techniques. In order 載於 Sarah Handler，《Austere Luminosity of Chinese
to create the continuous back, members were fitted together Classical Furniture》，柏克萊，2001年，圖版12.6。
with a cut-out to accommodate a tapered wood pin that would
lock them firmly in place when inserted. The complexity of the 參考兩對售於紐約蘇富比之近例，分別見於1987年4月
design required utmost precision, as a slight error in the tilt of 25日，編號567及1987年10月9/10日，編號440。紐約
any of the joins would be magnified by the adjoining members. 佳士得另見數例：安思遠舊藏一椅，見於其著作，前述
Once the lacquered coat was applied to the surface crestrail, 出處，圖版18，售於2015年3月18日，編號139，另有一
the underlying joinery was not visible and virtually impossible 對，售於2013年3月21日，編號927。明尼阿波利斯藝術
to wrest apart. 學院且藏一對，尺才略大，載於 Robert D. Jacobson 及
Nicholas Grindley，《Classic Chinese Furniture》，明
Chairs of this design are known either left undecorated or 尼阿波利斯，1999年，圖版12。
carved on the splats and aprons with raised motifs, such as the
present piece. These motifs are discussed by Robert Hatfield
Ellsworth in Chinese Furniture. Hardwood Examples of the
Ming and Ch’ing Dynasties, New York, 1971, p. 86, who notes
that they are an innovation attributable to the late Ming and
Kangxi period. He further observes the similarities between the
curvilinear apron on chairs of this type and that found on Tang
period tables, such as the example in the Shōsōin Treasure
House, Nara, illustrated in Sarah Handler, Austere Luminosity
of Chinese Classical Furniture, Berkley, 2001, pl. 12.6.

Similar chairs include two pairs sold in our New York rooms,
the first, 25th April 1987, lot 567, and the second, 9th/10th
October 1987, lot 440; a few sold at Christie’s New York,
one chair from the collection of Robert Hatfield Ellsworth,
illustrated op. cit., pl. 18, and sold, 18th March 2015, lot 139,
and another pair, 21st March 2013, lot 927; and a slightly larger
pair in the Minneapolis Institute of Arts, illustrated in Robert
D. Jacobson and Nicholas Grindley, Classic Chinese Furniture,
Minneapolis, 1999, pl. 12.

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