清十八世紀 紫檀鑲大理石羅漢床

the mat seat enclosed by the rectangular frame with 'ice-plate' edge supported on a narrow straight waist and straight apron above heavy square-section legs terminating in hoof feet, joined at either end by a humpback stretcher, the back frame divided into three sections, each with inner frame set with a panel of white and black marble, suggestive of swirling clouds and mountainous landscape scenes, the exterior carved with three raised panels, each enclosing archaistic dragons, the abutting side rails similarly set with two marble panels to the front and carved to the exterior, all surmounted by a humpback cresting rail joined by carved and pierced inter-laced dragon roundels to the back and sides

1980年代末/1990年代初購自黑洪祿，香港

This impressive Luohan bed is in very good condition with the exception of some very minor patching to the main frame, replaced hard matt base and possibly the trimming strips, a small fill to the top front edge of the frame and minor surface scratches and wear commensurate with age.
"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."

清代家具，實用美觀，兩者兼具，本羅漢床正為佳例。大理石紋理變化自然，映襯紫檀亮澤如絲，相得益彰。床足及床架光素無紋飾，僅於內側刻雅淡淺浮雕，盡展木材優質。紫檀木床甚為難得，皆因木材珍貴，故本品應屬曾顯赫皇族所有。

大理石板初時鑲嵌於木框之內，或稱「石畫」，最早流行於明朝，深受文士珍重，主要製自雲南大理石材。天然石紋隱有山水之意，置於文人書室，或點綴亭台樓閣，皆為合宜。本羅漢床鑲大理石，亦屬良配，文人聚首，談天論道、書畫揮毫之餘，觀賞石紋，更添靈感。清宮舊藏一例，飾十一塊大理石板，大理石兩面可見，現藏於北京，載於《故宮博物院藏文物珍品全集．明清家具（下）》，香港，2002年，圖版13。清代流行於主框內鑲嵌大理石作飾，清代宮廷繪畫《雍正行樂圖冊》，描繪雍正帝斜臥於床榻之上，圖見《故宮博物院藏文物珍品全集·清代宮廷繪畫》，香港，1996年，圖版16，頁108；此外，《月曼清遊圖冊》描繪眾女賞畫，背景包括一鑲大理石床，該畫為清宮舊稱，現存於北京，載於《故宮博物院藏文物珍品全集．明清風俗畫》，香港，2008年，圖版47.11。

羅漢床特色為三面圍子，後發展為左右圍板略矮，床板高低起伏宛如寶座之式樣。羅漢床日間為榻，晚間為床，轉換簡便，兼且既可獨坐，亦能款客，構思靈巧。元代陳元靚《事林廣記》木刻版畫《打雙陸圖》，繪兩打雙陸者同坐於榻上，榻形與本品相近。本床式樣臻於明朝，前述畫中床榻部份支架，不復見於明朝以降，圍子分佈更為精細，均稱典雅。

王世襄論述，低背床之中，以三面圍子最為普遍，左右圍板略小；次之為五幅圍板，背面三板，左右各一；亦有七板式樣，背板三面，左右各二，本品屬後者，罕見於明代，清朝中期開始較為普遍，詳見《Connoissuership of Chinese Furniture. Ming and Early Qing Dynasties》，卷1，香港，1990年，頁77-78。