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Lot 212
  • 212

A HUANGHUALI RECTANGULAR KANG TABLE (KANGZHUO) 17TH CENTURY

Estimate
30,000 - 50,000 USD
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Description

  • wood (not rosewood)
the mitered frame, inset with two panels, with beaded edge above a narrow recessed waist and apron of arched, curvilinear form with beaded edge, continuing onto cabriole legs of square section terminating in cloud-scrolled feet, the underside with three transverse stretchers

Provenance

Manfred Schoeni, Hong Kong.

Condition

The frame has been tightened and joins consolidated. There are multiple nicks and dents to the beaded edges and there is a filled repair as well as a broken off tenon to the recessed waist.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

The present table derives from the earliest form of Chinese furniture; the platform. Early hierarchies were visually established by means of literally higher seating. Over time, as seating and tables evolved, the kang, still a form largely associated with the colder northern climates as it was placed above a platform of heated bricks, remained much the same; an indispensable platform of varying size placed on day, couch and canopy beds for drinking, dining, playing board games, reading and writing among other things. Kang embrace a wide stylistic range  from plain rectilinear to dynamically curved and ornamented.

The seminal Ming dynasty carpenter's manual Lu Ban jing comments on the particular type of dynamic curvilinear apron seen on the present example. The book uses the term leishui huaya (carved like water) to help guide artisans towards the fluid rippling that may be observed on scrolling, rhythmic lines 🐓along the apron of the present table.