Page 18 - Classical Chinese Furniture from Heveningham Hall may 28 2021 hk.pdf

fig. 1 Gustav Ecke, Chinese Domestic Furniture, Rutland, Vermont and Tokyo, 1962, pl. 1
圖一 古斯塔夫·艾克，《中國花梨家具圖考》，東京，1962 年，圖板 1 號

2803 Continued

The platform bed, or ta, with its simple and restrained lines, represents 1944年，《中國花梨家具圖考》在京出版，開明式家具研究之先河。書
one of the very few forms to be preserved in classical Chinese furniture 中所錄122件家具實例，精彩紛呈。近三十年來，凡偶顯拍場者，其稀
design. By the Ming dynasty, platforms with four legs in various sizes
had come into favour replacing earlier box-construction platforms. The 其珍，視如明星，備受關注。書中圖版的開篇，創造性地放了一張榻的
present lot has a bold and simple design, with restrained lines and no 馬蹄腿局部，幾近原大，佈滿畫面（圖一）。只見三段弧線圍合而成的
relief decoration that fashioned from thick pieces of beautilfully grained 飽滿形體裡，黃花梨紋路如水漣漪，棕眼如風飄雪，並點綴著兩處「狸
wood, as how it was strikingly illustrated by Gustav Ecke in Chinese 斑」，雖是黑白圖版，卻依然能感受到黃花梨溫潤如玉的質感和簡約造
Domestic Furniture, 1962 (fig. 1). 型蘊含的張力。明式家具在用材、工藝、造型等方面的成就，顯現無
The use of the daybed was manifold - during the day, it served as a 遺，跨越中西、古今，震撼人心，堪稱明式家具最經典的鏡頭之一，不
sitting platform, and at night a bed. In Austere Luminosity of Classical 得不佩服古斯塔夫·艾克先生對明式家具理解之深刻。該榻全貌見於書
Chinese Furniture, Berkeley, 2001, pp. 105-21, S. Handler discusses 中圖版15，曾於1997年、2000年兩次現身紐約佳士得，時隔21年，今春
the origins and uses of this intriguing form. For a further explanation
of the daybed as indoor and outdoor seating during the Ming dynasty, 又呈現於香港佳士得。其寬105厘米，在珍貴硬木榻中屬於大型，數年
refer to Wang et al., op.cit, p. 6. For paintings depicting daybeds used 所見三五例而已。從面框底部孔眼來看，初為席面，現在為硬板貼席，
in the above manner, refer to the Catalogue for the Special Exhibition 這是是民國時北京的家具修復手法。榻的造型以渾樸大氣示人，周身光
of Furniture in Paintings, National Palace Museum, Taiwan, 1996, nos. 素無飾，突出木質自然的自然美。面框、束腰、牙板、腿足間比例自然
20 - 23 where scholars are variously depicted seated casually with legs
draped over the side of the bed or seated cross-legged with both legs 和諧，壯碩穩健的馬蹄腿最為引人矚目。
on the mat.
Daybeds with hoof feet and without stretchers are exceptionally rare. A
citable example is the wooden model mentioned by Wang Zhengshu in
his article, ‘Conjectures on Models of Ming-Period Furniture from the
Pan Yunzheng Tomb in Shanghai’, Beyond the Screen, Museum of Fine
Arts, Boston, 1996, pp. 77-83, and illustrated by N. Berliner, op. cit., p.
150, no. 30b.

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