Page 100 - 2020 October 8 HK Fine Classical Paintings

3648
A PAIR OF HUANGHUALI CONTINUOUS
HORSESHOE-BACK ARMCHAIRS, QUANYI
LATE MING DYNASTY
each constructed with a horseshoe-shaped arm resting on
two back stiles, centred with a back splat carved with a ruyi-
shaped medallion enclosing a chilong, flanked by cusped upper
edges, the arms supported on each side with an elongated
S-shaped brace and a post, each post decorated with a shaped
spandrel, the seat with a cane surface enclosed by a frame
gently curving inward and ending in a narrow flat band, above a
beaded-edged cusped spandrelled apron carved with scrolling
tendrils, the sides and back with plain straight aprons, all
above stretchers joining the side and back legs near the feet
and a shaped footrest at the front atop a plain straight apron
64.5 by 58.5 by h. 102 cm, 25⅜ by 23 by h. 40⅛ in.
◉ HK$ 1,200,000-1,800,000
US$ 156,000-233,000

Armchairs of this type remain strikingly modern in the
simplicity and balance of their lines. Known as quanyi or
‘horseshoe back chairs’, these chairs are particularly attractive
for the fluidity of their form achieved through the continuous
curved crest rail that also functions as an armrest. Frequently
depicted in Ming and Qing dynasty woodblock illustrations,
chairs of this elegant silhouette were commonly produced in
sets of two or four and used while dining, painting or receiving
guests. With the addition of two carrying poles, they were
converted into sedan chairs reserved for officials of high
rank, and as mentioned by Craig Clunas in Chinese Furniture,
London, 1988, p. 24, they were considered ‘markers of high
status, seats of honour’.
Chairs of this design are known either left undecorated or
carved on the splats and aprons with raised motifs, such as the
present piece. These motifs are discussed by Robert Hatfield
Ellsworth in Chinese Furniture. Hardwood Examples of the
Ming and Ch’ing Dynasties, New York, 1971, p. 86, who notes
that they are an innovation attributable to the late Ming and
Kangxi period. He further observes the similarities between the
curvilinear apron on chairs of this type and that found on Tang
period tables, such as the example in the Shōsōin Treasure
House, Nara, illustrated in Sarah Handler, Austere Luminosity
of Chinese Classical Furniture, Berkley, 2001, pl. 12.6.
明末 黃花梨圈椅成對

此類圈椅線條簡約，扶手彎弧，流麗秀美，雅致勻
稱，洋溢現代氣息。圈椅常見於明清木刻版畫，輪廓
典雅，多成對或四件成套，用於餐膳、繪畫或款客。
圈椅兩側若加長桿，可作明轎，為達官貴人之用。柯
律格敘述，此類明轎展示坐者權威，乃上賓之椅，見
《Chinese Furniture》，倫敦，1988年，頁24。

此類圈椅多光素無紋，或如本品，靠背板及牙子浮雕
紋飾。安思遠曾談及此類圈椅圖案，相信為晚明、
康熙時期創新紋飾，見《Chinese Furniture. Hardwood
Examples of the Ming and Ch’ing Dynasties》，紐約，1971
年，頁86。