Page 80 - Sotheby's Part II Collection of Sir Joeseph Hotung Collection CHINESE ART , Oct. 9, 2022

This elegant chair is a fine example of the art of Ming (1368-1644)
For a few examples with slight variation in dimensions and decoration
carpenters in creating furniture pieces that are technically sound, on the aprons, see: a pair of high yoke-back armchairs, with a
proportionally balanced and aesthetically beautiful. Contributing less elaborate beaded-edged apron, in the collection of Grace
to the comfort of this chair is the S-shaped back splat, specifically Wu Bruce, published in Michael Markbreiter, 'The Grace Wu
designed to support the natural curvature of the sitter's spine. The Bruce Collection of Chinese Furniture', Arts of Asia, November-
everted ends of the top rail were designed not only to resemble the December 1987, p. 134; a pair with carved decoration above the
shape of an official's hat - thus the name guanmaoyi - but also serve centre of the apron, preserved in The Nelson-Atkins Museum of Art,
a practical function of holding in place a suspended textile panel. Kansas City (accession nos 64-4/13 A and 64-4/13 B), one of them
Ming and Qing (1644-1911) literature illustrations characteristically illustrated in Orientations: Special Issue for the Chinese Art Collection
show armchairs of this form used at dinner tables, in reception in the Nelson-Atkins Museum of Art, vol. 39, no. 8, November-
halls for guests and at the writing table in the scholar's studio. On December 2008, p. 63, fig. 12; and a chair similar to the Kansas City
special occasions, colourful textile would have draped over the one, preserved in the Tsinghua University Art Museum, Beijing.
crest rail and acted as a celebratory chair cover, as illustrated in the
Wanli (1573-1620) edition of Yangzheng Tujie / Illustrated Book of
Education Legends, also included in Grace Wu, The Best of the Best.
The MQJ Collection of Ming Furniture, vol. 1, Beijing, 2017, p. 158.
During the late Ming period, the elite was looking for simplicity and
sophistication in furniture design. The poised plainness and restraint
of adornment of this type of chair would have been an aesthetic
statement in itself.
THE PERSONAL COLLECTION OF THE LATE SIR JOSEPH HOTUNG I 159