Page 249 - Sotheby's October 3 2017 Chinese Art
P. 249
The simple yet elegant form of this table is one bears resemblance to its linearity, the origins
of the most recognisable designs of classical of recessed-leg tables can be traced back to
Chinese furniture and one that best epitomises architectural forms as evidenced in their bare
Chinese scholars’ fondness for unassuming structural lines. This particular design with
and functional furniture. While tables of this side stretchers is known from as early as the
design were made for all classes of society, the Song dynasty (960-1279), when tables with
substantial elements, choice of highly figurative bridle and tenon joints, a continuous apron
huanghuali, and finely finished surfaces of this with small spandrels, and double stretchers
piece indicate that it would have belonged at the sides were produced. Two tables of this
to a wealthy scholar or a court official. Left form are depicted on the painting Cun tong nao
undecorated except for the beaded apron, it xue tu [Country boys playing class], attributed
is this form that first captured the attention of to the Song period and illustrated in Wang
20th century furniture historians, and is now Shixiang, ‘Development of Furniture Design and
considered quintessentially Ming. Construction from the Song to the Ming’, Chinese
Furniture. Selected Articles from Orientations
Recessed-leg tables of this minimalist form are 1984-1999, Hong Kong, 1999, p. 55, pl. 35.
highly versatile. Illustrations from Ming sources
reveal their multiple uses, from altars to painting Two huanghuali tables of similar proportions were
tables and side tables, with their light and simple sold in our New York rooms, the first, 10th/11th
form allowing them to be easily moved from April 1986, lot 468, and the second, 19th March
one location to another as required. Their basic 2007, lot 351; a slightly larger one is illustrated in
proportions were adapted to their intended George N. Kates, Chinese Household Furniture,
purpose, thus they were constructed in various New York, 1948, pl. 30, from the collection of
sizes. The proportion of this table, with its Gustav Ecke; and another of shorter shape,
considerable depth, makes it suitable to be used from the collection of Dr S.Y. Yip, included in the
for a variety of scholar activities such as painting exhibition Dreams of Chu Tan Chamber and the
and calligraphy. Romance with Huanghuali Wood, Art Museum,
The Chinese University of Hong Kong, Hong
Historically referred to as ‘character one table’ Kong, 1991, cat. no. 22, was sold in these rooms,
(yi zi zhuo shi), as the single horizontal stroke 7th October 2015, lot 130.
of the Chinese character for the numeral ‘one’
IMPORTANT CHINESE ART 247
