"The combination of handcraft techniques such as baibao-inlaid and Cloisonné Enamel is commonly seen in Qing-style furniture, but no such precedent has been found in surviving palace chairs. This seems to be a signal released by ancient artisans, providing us with a solid reference while also allowing us ample room for creativity. Thus, attempts were made to create the Baibao-Inlaid Tuo Ni Quan Chair and the Cloisonné Enamel Tuo Ni Quan Chair.“
This circular chair went through repeated studies of the original artifacts in the Palace Museum and underwent multiple modifications. Based on that, traditional baibao-inlaid craftsmanship was incorporated, adding more artistic significance to the subject matter and symbolism. The chair's circular frame features smooth multi-center curves, tapering gradually from the connecting points on both sides, displaying subtle changes. The front ends of the armrests are rolled into beads, and the gaps are carved with relief designs of lotus flowers and Western lotus patterns. The back panel is divided into three sections with framed patterns. The upper part is carved with openwork scrolling leaves, the middle part is inlaid with a design of vibrant lotus flowers and birds, with colors that are vivid but not garish, and the composition is skillfully executed. The baibao patterns, depending on the angle of light, display a variety of dazzling colors. The lower part of the back panel features cloud patterns and prominent corner carvings. The seat edges have crisp and clean lines, and the lower four legs are connected to the waist with shoulder tenons. The curved legs have a full and robust form, with inward-turned horse hooves, and the foot tips are adorned with carved floral corner teeth, resting on the Tuo Ni. Finally, the chair's appearance is completed with turtle feet, showcasing a confident and dignified overall design.
︎
Featured in the 2017 Beijing Poly 12th Anniversary Autumn Auction