Such incense stands are depicted in contemporary paintings and woodblock illustrations, such as one in the Ming novel Jin ping mei [The plum in the golden vase, or the golden lotus] (fig. 1), and another in the 14th-century drama Pipa ji [Tale of the pipa] by the scholar Gao Ming (c.1305-1370) (fig. 2).
A stand of this type, but of larger size and a solid circular base, was sold at Christie’s New York, 19th September 1996, lot 48; and another, but with a more exaggerated curve in the cabriole legs, is published in Sarah Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, pl. 17.6. See also a circular huanghuali incense stand, attributed to the Ming dynasty but of shorter proportions, from the collection of Wang Shixiang, illustrated in Wang Shixiang, Classic Chinese Furniture, London, 1986, pl. 73, together with a slightly taller three-legged example, pl. 72. A stand with cabriole legs is illustrated in the Wang Zhenpeng’s (c. 1280-1329) handscroll Vimalakirti and the Doctrine of Nonduality, dated to 1308, in the Metropolitan Museum of Art, New York, illustrated in Sarah Handler, op.cit., pl. 17.1.
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