- 49
A GILT AND PAINTED BROWN LACQUER STAND QING DYNASTY, QIANLONG PERIOD
Description
- lacquer and wood
Provenance
Condition
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
The most striking feature of this stand is the ornately fashioned legs which are reminiscent of ropes interlocking with huang or bi disc rings, a decorative motif that was standardised during the Qianlong reign. The concept is derived from archaic bronze decoration; for example see a bronze ling of the Spring and Autumn period (770-476BC) included in the exhibition The Imperial Packing Art of the Qing Dynasty, Palace Museum, Beijing, 2000, cat. no. 4, and a bronze hu of the Warring States period (475-221 BC), cat. no. 7. Compare a hongmu bench, the apron also carved to imitate ropes and discs, included in the exhibition Chinese Hardwood Furniture in Hawaiian Collections, Honolulu Academy of Arts, Honolulu, 1982, cat. no. 83; and a zitan table, but the discs inlaid with cloisonné enamel medallions, in the Palace Museum, Beijing, published in The 200 Objects You Should Know. Red Sandalwood Furniture, Beijing, 2008, pl. 159.
This stand is also notable for its amalgamation of intricate decorative motifs from different artistic traditions; the floral vajra and wheels on the top, which derive from Buddhist iconography, also cleverly echo Western feathery motifs to create an ornate contemporary design. Unlike qianjin and tianqi lacquer, which had to follow a clearly-outlined pattern, painted lacquer allowed for more freedom in designs. A related gilt-decorated stand depicting a combination of Buddhist and Western-inspired motifs is illustrated in The Complete Collection of Treasures of the Palace Museum. Furniture of the Ming and Qing Dynasties, vol. 1, Hong Kong, 2002, pl. 168. Is it interesting to note that the underside of the table top has also been decorated, but with a contrasting design of ball flowers, which appear to have been inspired by Japanese motifs; a similar design is found on a pair of 18th/19th century lacquer cabinets, sold in our New York rooms, 29th November 1994, lot 420.