Lot Essay
The dating of this lot is consistent with the result of a C14 test, conducted by Rafter GNS Science, sample No. PH/RC11/233, 28 March 2011.
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THE ANCIENT SPINDLE-LEG TABLECurtis EvartsBlue Oaks FarmAutumn moon, 2018In ancient China, prior to the introduction of chair-level seating, low tables suited for mat-level sitting were the common form. Evidence from excavated burial objects as well as visual reference materials also reveals various styles of low tables, including one with slender comb-like legs attached with a base stretcher. After more than a thousand years, tables of similar style appear elevated to chairheight use. However, not long after the Song dynasty, this once ubiquitous form disappeared; and with few examples surviving to modern time, this type has also been more or less consigned to oblivion. Notwithstanding, the recent discovery of a rare example with curved spindle-legs（曲柵足）dateable to the Five Dynasties era provides an excellent opportunity to shine light on the history of this ancient table form.Since the Zhou dynasty, various types of stands and/or low tables were associated with sacrificial rites for the placement of ritual foods, wine vessels, etc. Ministering to ancient tradition and inspired from ancient classic texts, these early forms continued to be illustrated in books and paintings of later periods. Such is a Ming dynasty compilation of Sanlitu (Illustrations of the three ritual classics), which depicts a fangzu（房俎）and a juzu（椇俎）(fig. 1); the fangzu is described with supplementary text as a low table in use during the Zhou dynasty with multiple supports joined with a base stretcher; the juzu is also described as a low table inuse during the late Shang period (Yin period) with multiple curved legs like the winding branches of the zhiju（枳椇）tree. Likewise, Kaogongji zuanzhu illustrates a table (an) with multiple curved legs and everted ends. Archaeological findings and depictions in paintings from the Zhou dynasty onwards suggest that such low spindle-leg tables with straight or curved legs were a common form that existed for centuries.By the Han dynasty, tables of this form had become assimilated into the activities of secular life. Three tables with curved legs depicted on an excavated Han dynasty tomb brick illustrate various scenes from daily life. Similar depictions found on other brick carvings and wall paintings typically illustrate their use in food preparation, dining, or simply placed in front of the sitter as an armrest. And following the relatively unified era of the Han dynasties, the kingdom broke up into smaller independent states; and although this period was relatively chaotic from a political point of view, continuity is evident within the furniture tradition. A low pottery table excavated from a Three Kingdoms (220–280) period tomb in Shandong province is of the same curved leg form, and its exposed mortiseand-tenon joints also reveals the standard construction technique for attaching legs to tabletop; several wall paintings from the same period that were unearthed at Jiayuguan in Gansu province illustrate banquet and culinary scenes with the same form of table. And likewise, a wall painting discovered in a Sixteen Kingdoms period (304-439AD) tomb in Gansu reveals the multiple leg form with a clearly delineated base stretcher of undulating profile. A white glazed pottery table excavated from a Sui dynasty tomb also exhibits a relatively early form with everted ends (fig. 2).Besides use as a table, this form was also adapted to other uses, such as the aforementioned armrest. The utilisation as a seat is also apparent in a scene from the hand scroll Admonitions of the Court Instructress; therein a long narrow bench with curved, spindle legs is drawn up close to a canopy bed for the emperor as he visits one of his consorts. The painting bears attribution to Gu Kaizhi, who was active in the Jin dynasty (265–420); and although there is some debate regarding its date and whether or not it is a copy of Gu’s original work, it is generally agreed to be a work of no later than the early Tang period. In any case, the style of the long bench follows closely the pattern that was contemporary to Gu’s lifetime.In the Tang dynasty painting Fu Sheng Expounding the Classics, the form is seen as a low writing table—set out with inkstone and brush as the aged Fu gazes upon a scroll document (fig. 3). Fu was a Confucian scholar who had hid a copy of the Shang shu (Classic of History) during a time of book burning in the Qin dynasty and later tutored the Han emperor. This low table is similar to earlier examples with curved legs and everted flanges. Another painting by the Five Dynasties (907-960) painter Wei Xian, Scholar in Landscape, depicts a scholar studying in a hut, seated behind a low writing table with everted ends and spindle legs (fig. 4), verymuch like the lacquer table offered at Christie’s.Between the Tang and Song periods, with the gradual shift from mat level tables to chair height tables, tables of similar style with longer legs began to appear. Depictions in paintings suggest that these elevated structures often required additional stabilisation. A scene in the Southern Song painting Odes of the State of Bin depicts a scholar sitting at a writing table with ruyi shaped decoration around the top; and while the long legs of the table are of the ancient pattern, they are also stabilised with a cross tie between the base stretchers and diagonal braces that reach to the underside of the tabletop. And in Brushing a Plum Blossom, a literati scholar sits at a large painting table with low everted ends and ruyi decorated aprons; here the S-shaped spindle legs are more closely spaced and also stabilised with diagonal cross braces. These two paintings clearly suggest the adoption of the ancient low form to chair-level table height.Throughout the Song and Yuan dynasties, these ancient table forms were also associated with Buddhist and Daoist traditions. Several examples appear amongst the scroll set Five Hundred Luohans painted during the Southern Song period; in one example from the one-hundred scroll set, a luohan presides over a ceremony for the deceased while sitting at long red lacquer table with everted ends and gracefully shaped cabriole legs. In the Southern Song painting Heavenly Official, the Daoist deity Tianguan kneels upon a raised platform in front of a low table with multiple legs (fig. 5). In Yuan dynasty wall paintings at Yonglegong, Daoist deities also appear before high altar tables of similar form. And in one the Ten Kings of Hell scrolls by the Southern Song artist Jin Chushi, a king passing sentence on the souls of the dead sits at writing table; the spindle legs are of a rather unusual articulated style, and were it not for the Christie’s low table of similar style, one could easily conclude they were simply a fanciful design of the artist!By the Ming period, the ancient spindle-leg table virtually disappeared with littleto-no evidence in paintings or excavated material; however, a few writings from late Ming and early Qing period literati reveal that it was not entirely forgotten. In Wen Zhenheng’s comments regarding the selection of a painting table he states, “The everted flanges must not be too sharp, but smooth and rounded, then it is according to the antique pattern. And those similar to the style of Japanese tables with “scroll-like trailing tails” (tuowei) are most exquisite; do not use those with four [independent] legs like a writing table.” During the Ming dynasty, the Japanese were still using patterns borrowed from Tang and Song China, and Japanese lacquered furnishings were also highly favoured by the Jiangnan literati. Zhou Erxue also relays reverence for this early table form: “Regarding painting tables, there are Song and Yuan dynasties works with crackled lacquer and frames decorated with silver inlaid lozenge patterns. Do not use four legs, but supportthe top with “scroll-like trailing tails” that reach to the ground; the ends should be slightly upturned to retain the scroll ends when viewing paintings. This style is most wonderful.” The archaic term tuowei suggests the pattern of “scroll-like trailing tails” like the ancient multiple-spindle leg support. And as seen in the Ming dynasty version of Fu Sheng Expounding the Classics, which was likely inspired from the earlier version illustrated as fig. 4, this term also provides some indication of the ancestor for the scroll-leg table. In any case, while highly revered during the 17th century as an archaic form and at which time there may have existed a few Song period works, examples surviving to modern-day are virtually non-existent.Here above, the long history of the ancient spindle-leg table has been brought to light to provide historical context for the rare piece offered by Christies in this sale. With the exception of excavated pieces, those surviving from daily use above ground can be numbered on a single hand. Another rare example with lacquer coating of similar quality was published by Sammy Lee in Oriental Lacquer Furniture (fig. 5), and to which he attributed a Tang period date. Lacquer sampled from the underside Christie’s table has been carbon dated to the Five Dynasties period—a date that coincides with the form’s long history as well as its stylistic development. And moreover, the table depicted in the Southern Song Ten Kings of Hell scrolls also provides a telling reference for the unique style of leg articulation that appears on the Christie’s table.Over the past decade, an increasing number of examples of pre-Ming dynasty furniture have come to light based upon evidence from furniture inscriptions as well as C14 lacquer dating. Nonetheless, it cannot be considered an exaggeration to qualify the Christie’s table as “exceptionally rare”—and one that is surely destined to find its place in the history of Chinese furniture as a rare example of ancient spindle-leg form.THE PROPERTY OF A GENTLEMAN
A HIGHLY IMPORTANT AND EXTREMELY RARE LACQUERED SPINDLE-LEG TABLE
FIVE DYNASTIES-NORTHERN SONG DYNASTY (907-1127)
Details
A HIGHLY IMPORTANT AND EXTREMELY RARE LACQUERED SPINDLE-LEG TABLE
FIVE DYNASTIES-NORTHERN SONG DYNASTY (907-1127)
The plain rectangular top with beaded edge on the sides is set with everted flanges. Supported on each narrow side by elegantly curved spindled legs, the whole is raised on thick trapezium shoe feet. The table is covered overall in a thin layer of viscous black lacquer suffused with network of characteristic fine crackles.
19 1/2 in. (49.5cm.) high,
41 in. (123.5 cm.) wide,
14 3/4 in. (37.5 cm.) deep
FIVE DYNASTIES-NORTHERN SONG DYNASTY (907-1127)
The plain rectangular top with beaded edge on the sides is set with everted flanges. Supported on each narrow side by elegantly curved spindled legs, the whole is raised on thick trapezium shoe feet. The table is covered overall in a thin layer of viscous black lacquer suffused with network of characteristic fine crackles.
19 1/2 in. (49.5cm.) high,
41 in. (123.5 cm.) wide,
14 3/4 in. (37.5 cm.) deep
Provenance
Acquired in Japan in the early 2000s