Page 157 - 2018 Hong Kong Important Chieese Art

While Chinese furniture is generally appreciated for its elegant 有清一朝，中式家具在以往輪廓簡潔、樣式淳樸的基礎
simplicity and clean silhouette, the aesthetic of the present 上，添加華紋麗飾，配合清朝皇室奢靡之風。就其樣式、
table is associated with the lavish interiors of Qing imperial
製作而言，皆克循古制，然於裝飾處推陳致新、別出心
palaces. In its form it upholds all the qualities that are sacred to
the furniture craftsman who has strictly adhered to traditional 裁，所營面貌令人拍手叫絕。面心用各色貼皮拼作萬字錦
principles and methods. However, earlier prototypes are not 紋，錯綜妍巧；牙板鏤飾拐子紋，精湛整隽，以此看來，
merely copied, but a bold and original design has been created 清代木作技藝已達登峰造極之境，又能融傳統紋樣與西洋
to superb effect. The opulence of the piece is achieved through 視效於一體，就觀念層面，亦已超塵拔俗。
the intricate wan design on the table top and carved decoration
that are not only of the highest skill in technique and execution 此類四足長方形承具稱為條桌，其用途甚豐，常設於臥室
but is also rich in both Chinese traditional iconography and
架子床側，以作倚靠，或置書齋，為書畫之案，亦可安於
western influence.
內室，用作無訪客時之簡易餐桌。
Tables of this long rectangular form, called tiaozhuo, were
made with the four legs crafted at the corners or set in. 面心嵌飾之條桌，嵌材多採玉石，以便擦拭、清理，但如
Tiaozhuo were used in a number of ways, however, they were 本例面心以木片巧拼萬字錦紋者，寥若辰星。相類裝飾可
most common in bedrooms placed next to the large canopied
見紫檀方凳，四周鑲白玉，屬清宮舊藏，現仍貯北京故
bed providing a platform to lean on or as writing and painting
宮，錄於《北京故宮藏文物珍品全集：明清家具（下）》
surfaces in studios. They were also placed in private chambers
to be used for casual meals when no guests were present. ，香港，2002年，編號72。以白玉為飾者，可謂不惜工
本，此番配搭恰證貼皮拼紋工藝亦非凡品，僅飾於頂級皇
Although many tiaozhuo feature stone insets on the top as
they were easier to clean, it is extremely unusual to find table 室御用家具。
tops made of pieces of wood skilfully fitted together to form
an attractive wan design. This attractive decorative device can 條桌周邊所雕拐子紋及雙鳳紋均源自高古玉及青銅紋
also be seen on a zitan stool, with additional jade inlay around 飾。鳳紋遠觀若洛可可之C形紋，繁麗精緻，唯細細審
the sides, from the Qing court collection and still in Beijing, 視，方才覺其差異。Jonathon Hay 於其著作《Sensuous
illustrated in The Complete Collection of Treasures of the
Surfaces, The Decorative Object in Early Modern
Palace Museum. Furniture of the Ming and Qing Dynasty (II),
China》中（檀香山，2010年），探討十八世紀之藝術審
Hong Kong, 2002, no. 72. The jade insets of this stool suggests
that such ornate surface tops were reserved only for the finest 美觀念，發現紫檀一木，將中國傳統紋飾中古樸蒼勁之幾
and most important imperial furniture. 何線條表現得張弛有度、恰如其分，被視為藝術載體之「
The carved scrolls and phoenix are design elements taken 新形式」（頁161）。本條桌融會中西、貫通古今，彰顯
directly from early jades and bronzes. It is notable that the 兼容並包、博採眾長、鑑古以為今用之皇家美學品味。
phoenix resemble elaborate Rococo C-scrolls when viewed
from afar, and it is only upon closer inspection that their actual 此條桌所用紫檀木料甚為罕珍，唯造辦處木作奉旨可用。
form is deciphered. Jonathon Hay in Sensuous Surfaces, 因其質地絲滑如玉，紋絡細緻縝密，光澤沉穩含蓄，深受
The Decorative Object in Early Modern China, Honolulu,
明清宮廷所喜。紫檀生長週期漫長是而可用之材有限，其
2010, discusses the 18th century taste for archaism and
又僅存於南部地區，如廣東、廣西二省，故價值連城。有
notes that zitan wood provided an ideal surface for the bold
geometric lines of Chinese antique vernacular, describing it 清一朝，紫檀因過度砍伐於中國境內幾近衰竭，便由南太
as a ‘distinctly new form’ (p. 161). It seems then, that this 平洋島嶼進口以為續。康熙時期，備崇紫檀木料，不顧樹
table embodies features of both East and West harmoniously
齡大小，皆伐而用之，以至絕跡。乾隆一朝，宮廷已採用
merged in a distinctive style that speaks to the expansive,
multi-cultural imperial taste, simultaneously referencing the 特殊措施保護造辦處庫存紫檀料。據《養心殿造辦處各作
past, while pushing into the future with innovative design. 成做活計清檔》載，紫檀之使用嚴受內廷監管，無旨不得
擅動。
The present table is also significant for its material, zitan
wood, which is one of the most expensive and highly esteemed
timber available to the master craftsmen working in the Muzuo
(Wood Workshop) belonging to the Zaobanchu (Imperial
Palace Workshop). With its jade-like silky texture, extremely
fine and dense grain, subtle and deep lustre, zitan was the
favoured timber of the Ming and Qing courts. Its long growth
period combined with its limited availability, growing mainly
in the southern regions, such as Guangdong and Guangxi
provinces, made it especially valuable. By the Qing dynasty,
excessive felling of zitan led to the exhaustion of its supply in
China and large quantities had to be imported from islands
in the South Pacific. During Kangxi’s reign demand for zitan
was so great that even young trees were cut, resulting in
the complete extinction of the species. By Qianlong’s reign,
special measures were taken by the Court to protect any
existing stores of zitan which were kept in the warehouses of
the Imperial Workshop. The Archives of the Imperial Workshop
at Yangxin Hall (Yangxin dian zaoban chu ge zuocheng huoji
qing dang) confirm that the use of zitan was scrupulously
monitored and restricted to the Palace Workshops.

IMPORTANT CHINESE ART 155