清 紫檀浮雕山水圖竹節圍子床

magnificently carved, the wide seat of generous proportions formed from three planks set in a floating panel, framed by a three-panel stepped throne-back ornately carved in relief with a continuous landscape with pavilions and lodges by the riverside surrounded by rocky mountains, scarcely adorned with figures leisurely engaging in various activities, each panel enclosed by a faux bamboo border, the reverse painted in gilt with an additional continuous landscape with a series of lavish waterfront mansions amidst towering trees and lofty mountains, the side rails similarly decorated, each terminating in a small openwork panel depicting pine trees against a craggy mountain, the seat supporting a small rectangular stand carved with landscapes and bamboo-style feet, the seat frame similarly carved with bamboo accents, all above an apron further decorated with bamboo bordered landscape panels with trees and rocks, the corners of the apron wrapped with overlapping bamboo leaves, each solid round-section leg with ridges simulating bamboo, the wood of a deep chestnut tone, old brocaded cushions with bats amidst clouds against a blue background and floral scrolls against a yellow background

山中商會

《支那古美術展覽會》，山中商會、大阪美術俱樂部，大阪，1935年，編號101

細川護貞，《文具：永青文庫名品選》，東京，1978年，編號83

This magnificent couch bed has been preserved in extraordinarily good condition. Apart from minor cracks and bruises, the body of the bed is in good condition. There are age cracks and minor losses to the edges and small areas of the lacquer panels. Other minor surface wear.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

此羅漢床以竹節紋作框架，飾板雕刻奇山異水，氣勢雄闊，體現清式家具不僅實用且裝飾性強之特色。紫檀為造辦處木作中最受珍視之木料，觸感如玉質般潤滑，紋路緻密，色沉而顯自然光澤，屬明清宮廷裡最受傾愛之材質。造床需用大塊面料，然紫檀數量稀珍，因此比較起黃花梨或其他硬木材質，紫檀羅漢床更是少見。推斷此床之用料、厚實構造及比例、及裝飾的壯闊山水圖，應為清室男性皇族的書齋所用。

書齋為休憩辦公之處，屬重要廳室，而其內擺設亦據書齋主人所需，細心挑選而來。此床的竹節及山水紋飾，呼應君子退隱山林，遠離官場之意求，適作書齋家具，亦是於中作詩、畫、靜想之佳處。Sarah Handler 於《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁133，曾引用明代文人，文震亨（1585-1645）之言，「坐臥依凭，無不便適。燕衎之暇，以之展經史，閱書畫，陳鼎彝，羅肴核，施枕簟，何施不可。」據明文獻，此類床用於閒暇休憩時，而椅則用做正式接待賓客。

圍子床以其面上三面圍欄為特色，此形制可上溯至漢朝坐榻，日可作榻几，夜可作床，一人獨倚或二人並坐皆宜。陳元靚《事林廣記》之元刻本中，刊錄雙人坐於榻床上戲雙骰，其榻即近類圍子床。至明一代，床式更臻完善，元刻本可見之支撐結構可被移除，而飾板的設計及佈局亦更為講究。清代盛行以繁複雕琢裝飾床框，亦可見於此床之寬飾板，不僅增添其裝飾性，且提供整體構造所需支撐。

王世襄，《中國家具賞鑒：明代和清代早期》，卷1，香港，1990年，頁77-78，提及低背床最常見為三屏風式，背板較大，側板較小；亦為常見的還有五屏風式，背板三片，側板各一屏；略為少見的則是七屏風式，背板三屏，側板各二屏。如此床之七屏風者，明代罕見，清中期後才漸成風尚。可比較一件硬木、鸂鶒木及紫檀夾板之五屏風式圍子床，床圍上刻山水人物紋，售於紐約佳士得2009年9月15日，編號289；另一件三屏風式圍子床，飾淺刻魑龍靈芝紋，前述出處，卷二，圖版C7；還有一件黃花梨圍子床，三屏鏤雕穿花鳳凰紋圍欄，展於《Beyond the Screen: Chinese Furniture of the 16th and 17th Centuries》，波士頓美術館，波士頓，1996年，編號15。