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Lot Essay
The inlaid inscriptions on the doors of the lower cabinets draw from four classical writings, each from a different period extending from the Song to the Ming dynasty, which refer to the scenes of orchid, prunus, bamboo, and chrysanthemum, and collectively as the 'Four Gentlemen'. They represent dignity, quietude, fortitude and simplicity, which are the qualities every gentleman should have.
清風空谷佳人遠，一種氤臺伴曉雲
-董其昌
素芳林下超群品，繁蕊枝頭巧疊䨇
-劉克莊
未出土時先有節，及凌雲處尙虛心
-徐庭筠
莫嫌老圃秋容淡，且看黄花晚節香
-韓琦
Disappearing in the breeze
The beauty [of the orchid] a memory
-Dong Qichang
Preeminent among all flowers
Delicate prunus buds blossom from branches
-Liu Kezhuang
Dignity rooted in the ground
Its [bamboo] modesty remains even at great heights
-Xu Tingjun
Amidst withering flowers
The lingering fragrance of chrysanthemum prevails
-Han Qi
Each inscription is followed by two seals: a circular seal, reading 文鑒齋 Wen Jian Zhai (Studio of Wenjian), and a square seal, one reading 盧世榮印 Lu Shirong yin (Seal of Lu Shirong) , another reading, 盧映之印 Lu Yingzhi yin (Seal of Lu Yingzhi), and the third reading 盧啟泉印 Lu Qiquan yin (Seal of Lu Qiquan). Each inscription is executed in a different style of calligraphy, thus demonstrating the artisans’ great knowledge of the classical arts and history, facility with language, and expertise in a variety of techniques.
The delicate tracery of the floral stems and the depictions of the rocks can be seen in other mother-of-pearl-inlaid lacquer works, such as a double chest in the collection of O. Roche, esq., illustrated in Chinese Furniture, London, 1922, pl. VIII. Compare the very similar inlay techniques, using large section of mother of pearl on a black lacquer ground, seen on the present pair with the double chest and another inlaid box, also in the collection of O. Roche, esq. and illustrated ibid., pl. XXII(a). A square-corner mother-of-pearl-inlaid lacquer cabinet, dated to the 17th-18th century, richly decorated with baskets of flowers and rockwork, sold at Christie’s New York, 24 March 2011, lot 1356.
清風空谷佳人遠，一種氤臺伴曉雲
-董其昌
素芳林下超群品，繁蕊枝頭巧疊䨇
-劉克莊
未出土時先有節，及凌雲處尙虛心
-徐庭筠
莫嫌老圃秋容淡，且看黄花晚節香
-韓琦
Disappearing in the breeze
The beauty [of the orchid] a memory
-Dong Qichang
Preeminent among all flowers
Delicate prunus buds blossom from branches
-Liu Kezhuang
Dignity rooted in the ground
Its [bamboo] modesty remains even at great heights
-Xu Tingjun
Amidst withering flowers
The lingering fragrance of chrysanthemum prevails
-Han Qi
Each inscription is followed by two seals: a circular seal, reading 文鑒齋 Wen Jian Zhai (Studio of Wenjian), and a square seal, one reading 盧世榮印 Lu Shirong yin (Seal of Lu Shirong) , another reading, 盧映之印 Lu Yingzhi yin (Seal of Lu Yingzhi), and the third reading 盧啟泉印 Lu Qiquan yin (Seal of Lu Qiquan). Each inscription is executed in a different style of calligraphy, thus demonstrating the artisans’ great knowledge of the classical arts and history, facility with language, and expertise in a variety of techniques.
The delicate tracery of the floral stems and the depictions of the rocks can be seen in other mother-of-pearl-inlaid lacquer works, such as a double chest in the collection of O. Roche, esq., illustrated in Chinese Furniture, London, 1922, pl. VIII. Compare the very similar inlay techniques, using large section of mother of pearl on a black lacquer ground, seen on the present pair with the double chest and another inlaid box, also in the collection of O. Roche, esq. and illustrated ibid., pl. XXII(a). A square-corner mother-of-pearl-inlaid lacquer cabinet, dated to the 17th-18th century, richly decorated with baskets of flowers and rockwork, sold at Christie’s New York, 24 March 2011, lot 1356.