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Lot Essay
In the traditional Chinese domestic setting, the bed is among the most important pieces of furniture. Its large size meant that it would dominate the bedroom, and it was probably the most expensive item to commission, due to the large amount of timber used. Canopy beds appear to have been closely influenced by architectural construction. It is the only form of furniture noted in the Ming dynasty carpenter's manual Lu Ban Jing to have used auspicious measurements that was also employed for buildings. A canopy bed served multiple functions, offering not only a place to sleep at night but also to act as a center of activity during the day. It was common practice to use drapery to create a private world within a closed curtain. During the daytime a bed would be used, with curtains drawn, for entertaining guests, often seated around small items of furniture designed to be accommodated on the beds. At night, the curtains would be closed and the bed would become a private world of rest and intimacy, as illustrated in the two Wanli period woodblock prints Xianyuan Jishi (Chronicles of the Immortal Lady) and Qiting Ji (The Story of Flag Pavilion) shown above. The current example is carved on the railings with the characters fu, lu, and shou translating to prosperity, success and longevity, and are thought to bring good fortune to the owner.
The present canopy bed is distinguished by the elaborate carving on the legs and frame and the finely carved railings. The high waist and shaped, beaded apron are carved with striding chilong, and ‘bamboo’-form struts at the corners and dividing the recessed panels on the waist. The legs are boldly carved with animal masks bearing their pointed teeth and terminating in claw feet. The geometric pattern of the lower rails nicely contrast to the more elaborate openwork railings, which are carved with chilong interspersed with the characters fu, lu and shou. A huanghuali bed of slightly larger size, also featuring lion-mask and claw legs and ‘bamboo’-form struts is illustrated by Wang Shixiang and C. Evarts, Masterpieces from the Museum of Classical Chinese Furniture, Chicago and San Francisco, 1995, p. 22, no. 11. Another related huanghuali canopy bed, with similar platform decoration, and railings carved with chilong, fu and shou in the Liangyi Collection is illustrated in C. Evarts, Liang Yi collection: Zitan, Hong Kong, 2007, p. 80, no. 22 and 23.
The present canopy bed is distinguished by the elaborate carving on the legs and frame and the finely carved railings. The high waist and shaped, beaded apron are carved with striding chilong, and ‘bamboo’-form struts at the corners and dividing the recessed panels on the waist. The legs are boldly carved with animal masks bearing their pointed teeth and terminating in claw feet. The geometric pattern of the lower rails nicely contrast to the more elaborate openwork railings, which are carved with chilong interspersed with the characters fu, lu and shou. A huanghuali bed of slightly larger size, also featuring lion-mask and claw legs and ‘bamboo’-form struts is illustrated by Wang Shixiang and C. Evarts, Masterpieces from the Museum of Classical Chinese Furniture, Chicago and San Francisco, 1995, p. 22, no. 11. Another related huanghuali canopy bed, with similar platform decoration, and railings carved with chilong, fu and shou in the Liangyi Collection is illustrated in C. Evarts, Liang Yi collection: Zitan, Hong Kong, 2007, p. 80, no. 22 and 23.