Page 177 - Bonhams Cornette Saint Cyr, Property from the estate of Jean-Pierre Rousset (1936-2021)

It was most desirable to have a guqin table with an ancient brick, The shape of the present table is also rare. Compare with a related
such as the one made by Guo Gong of the Han dynasty or possibly huanghuali table of similar form, with high waist and legs that have a
Spring and Autumn period, not because it sounded better than a right angle section cut out of the inside corner, Ming dynasty, illustrated
contemporaneous brick, but because such a piece of furniture would by Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and
be imbued with added history and depth, containing literally a piece Early Qing Dynasties, Hong Kong, 1990, p.94, no.B76. According
of history from China's classical past. Making music from a Spring to Wang, this unusual feature of the legs is derived from 'Tang box
and Autumn period brick, would be the closest thing to making the construction furniture.' See Ibid., p.62.
ancient stone from the time of Confucius talk and enter communion
with antiquity. Compare also with a related Tianqi and qiangjin lacquer guqin table,
Wanli, in the Qing Court Collection and illustrated in Guqin in the
Not all guqin tables had Han or ancient bricks however. The present Collection of the Palace Museum: Classics of the Forbidden City,
lot's brick top, was made during the Ming dynasty. See for example, Beijing, 2017, p.249, also decorated with numerous writhing dragons,
the stone bricks decorated with dragons, on the stone archways from but without a brick top. See also a a black lacquer table with related
the site of the palace of the Kings of Heng, Qingzhou, Shandong decoration in gilt of dragons, Wanli six-character mark and of the
Province, from the Jiajing period, illustrated by C.Clunas, Screen of period, illustrated in Imperial Furniture of Ming and Qing Dynasties:
Kings: Royal Art and Power in Ming China, London, 2013, p.35. Classics of the Forbidden City, Beijing, 2008, p.142.
Compare also the design of dragons on the surface to lacquer wares As with the Freer table, the Rousset one is decorated with the 'Eight
from the late Ming period. See for example, the dragons on a Tianqi Treasures' (Babao), resplendent in auspicious wishes. The double
and qiangjin lacquer luohan bed, Chongzhen eight-character mark lozenges (方勝, fangsheng) symbolises happiness in marriage and
and of the period, illustrated in Imperial Furniture of Ming and Qing counteracts maleficent influences. The wish-granting pearl (寳珠,
Dynasties: Classics of the Forbidden City, Beijing, 2008, pp.44-45, baozhu) or flaming pearl symbolises the granting of wishes. The
no.34. See also the dragons within shaped cartouches on lacquer stone chime (磬, qing) symbolises a just and upright life. The pair of
boxes of the Wanli period, for example a multicoloured rectangular rhinoceros horns (犀角, xijiao) symbolises happiness. The double
lacquer box and cover with dragons, Wanli eight-character mark, in coins (雙錢, shuangqian) symbolises wealth. The gold or silver ingot (
the Qing Court Collection, illustrated in The Complete Collection of 錠, ding) and coral (珊瑚, shanhu) also symbolise wealth, and the ruyi
Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming sceptre (如意, ruyi) symbolises the fulfilment of wishes.
Dynasties, Hong Kong, 2006, p.229.

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