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拍品专文
Imposing, throne-like chairs such as the present example may have been singular commissions and not part of a larger set. The large scale, powerful upturned ends of the crest rail, and sleek curving arms emphasize the elevated status of the sitter. The rarer square members accentuate the strong, architectural lines and when paired with the broad, curved back splat amplifies its sense of grandeur. The chair is a Ming-period masterpiece embodying the sophisticated construction techniques and innovative design of a master furniture maker.
The elegant simplicity of this impressive chair is derived from its pure form and balanced proportions and defines the restrained yet sophisticated aesthetic of Ming furniture. The present chair is distinguished by its impressive height, measuring just over 121 cm. high, and by the use of square members rather than the standard round members. This deviation to square members alters the construction techniques and subtly changes the overall visual effect. Visible miter joints are used for square member construction, highlighting carpentry techniques, and become integral to the overall design. Round member chairs use pipe joints which are hidden within the internal structure of the chair, thus creating a more fluid, effortless design. Miter joints are stronger than pipe joints and encourage bolder designs and more robust, muscular chairs.
Of the few remaining square member chairs, the present chair is arguably the best extant example. A slightly smaller waisted, square-member chair (109 cm. high) with inward-curving legs terminating in scroll-form feet is illustrated in N. Berliner, Beyond the Screen, Chinese Furniture of the 16th and 17th Centuries, Boston, 1996, p. 106, fig. 9. A variation of this waisted type, fitted with a tripartite stone-inset splat set and raised on tall square-member legs was sold at Rich Golden Hues and Graceful Forms – Classical Chinese Furniture from the Tseng Collection; Christie’s Hong Kong, 29 November 2022, lot 2811. A related shorter (104 cm. high) pair of huanghuali square-member chairs is in the Victoria & Albert Museum, London, and illustrated by C. Clunas, Chinese Furniture, London, 1998, p. 18, no. 3. See, also, a square-member chair with more flared ends on the crestrail and elegantly turned side posts illustrated by Grace Wu in Three Decades of Ming Furniture, Beijing, 2024, p. 109.
The elegant simplicity of this impressive chair is derived from its pure form and balanced proportions and defines the restrained yet sophisticated aesthetic of Ming furniture. The present chair is distinguished by its impressive height, measuring just over 121 cm. high, and by the use of square members rather than the standard round members. This deviation to square members alters the construction techniques and subtly changes the overall visual effect. Visible miter joints are used for square member construction, highlighting carpentry techniques, and become integral to the overall design. Round member chairs use pipe joints which are hidden within the internal structure of the chair, thus creating a more fluid, effortless design. Miter joints are stronger than pipe joints and encourage bolder designs and more robust, muscular chairs.
Of the few remaining square member chairs, the present chair is arguably the best extant example. A slightly smaller waisted, square-member chair (109 cm. high) with inward-curving legs terminating in scroll-form feet is illustrated in N. Berliner, Beyond the Screen, Chinese Furniture of the 16th and 17th Centuries, Boston, 1996, p. 106, fig. 9. A variation of this waisted type, fitted with a tripartite stone-inset splat set and raised on tall square-member legs was sold at Rich Golden Hues and Graceful Forms – Classical Chinese Furniture from the Tseng Collection; Christie’s Hong Kong, 29 November 2022, lot 2811. A related shorter (104 cm. high) pair of huanghuali square-member chairs is in the Victoria & Albert Museum, London, and illustrated by C. Clunas, Chinese Furniture, London, 1998, p. 18, no. 3. See, also, a square-member chair with more flared ends on the crestrail and elegantly turned side posts illustrated by Grace Wu in Three Decades of Ming Furniture, Beijing, 2024, p. 109.