Page 104 - 2020 October 8 HK Fine Classical Paintings

45

PROPERTY FROM AN IMPORTANT COLLECTION
A PAIR OF HUANGHUALI ROUND-CORNER
TAPERED CABINETS, YUANJIAOGUI
MING DYNASTY, 17TH CENTURY
each constructed with a rectangular projecting top supported on
splayed corner posts enclosing a pair of panelled doors within
round moulded frames flanking a central stile, surmounting a
horizontal band divided into three sections, all above plain apron
and spandrels, the interior fitted with two shelves
96 by 51 by h. 179 cm, 37¾ by 20 by h. 70½ in.

◉ HK$ 2,000,000-3,000,000
US$ 258,000-387,000

明十七世紀 黃花梨有櫃膛圓角櫃成對
The round-corner cabinet is one of the most elegant and
recognisable form of classical Chinese furniture. Its subtle
sloping stiles and wood-hinged construction with the top
hanging over the stiles, developed from principles and
aesthetic ideals that were well-established in Chinese wood
architecture. Like pillars or columns, the side stiles gently
taper to increase the illusion of height and lightness, while the
panelled doors and sides, like walls within a room, can be easily
removed to reveal the space within.
These round-corner cabinets owe their gracefulness to their
perfect proportions and clean, unadorned surfaces. The
powerful swirls and attractive hues of the wood become the
focal point of the design, as on these pair where the panels set
into the doors, originally cut from the same log and placed side
by side, feature mirroring grain patterns. These elegant cabinets
were a popular type of domestic furniture in the Ming and Qing
dynasty, and were made of various sizes and with more or less
pronounced sloping sides. They were kept in scholar’s studios
and used to store either clothes or writing instruments.
Cabinets with the panel below the doors divided in three
sections are unusual although a very similar cabinet from
the collection of Mrs Cluney Murray, is illustrated in Robert
Hatfield Ellsworth, Chinese Furniture. Hardwood Examples of
the Ming and Early Ch’ing Dynasties, New York, 1971, pl. 126.
圓角櫃乃中式家具典雅之範。上窄下寬，櫃帽噴出，
作臼窩以納門軸，乃從木造建築演化而來。由下至上
收窄，尤顯挺拔、輕靈，櫃門及兩側如室內之牆，可
靈活拆卸，櫃內空間一覽無遺。此式雛型為帶門大
箱，宋人置於案上。南宋手卷《蠶織圖》中可尋一
例，黑龍江省博物館藏，見 Sarah Handler，《Austere
Luminosity of Chinese Classical Furniture》，柏克萊，2001
年，圖版15.5。

圓角櫃比例得當，光素無紋，故得恬雅韻致。現例一
對採獨板而為櫃門，用料紋理流暢，色澤雋婉，木紋
相映成趣。明清家宅素愛圓角櫃，所用尺寸不盡相
同，皆呈上窄下寬狀。常置於文房，或收褒衣博帶，
或存筆墨紙硯。《金瓶梅》中，西門慶便於書齋擺櫃，
放官袍及配飾。

門後設板，將櫃一分為三，乃非尋常式樣，然有一例
頗似，Cluney Murray 夫人蓄，錄於安思遠，《中國家
具：明清硬木家具實例》，紐約，1971年，圖版126。