17th century|The rectangular top panel with subtle 'ice-plate' edge set above an apron with U-shaped spandrels, fitted into slightly splayed, cylindrical supports above gracefully arched rounded stretchers on the longer sides, further secured by twin oval-shaped stretchers on the shorter sides, the corners of the top panel and the bases of the supports mounted with brass caps; finely inlaid with mother-of-pearl on black lacquer ground, the top exhibiting a rectangular reserve, with two poetic couplets flanking a central lush peony plant issuing from rocks between elegant blooming branches, amidst carefully rendered birds and insects, all framed within a broad band filled with scholar's objects, auspicious elements, music instruments, and additional blossoms, the sides decorated with delicate foliate sprays and formalized cloud pattern.|16 1/2 x 51 1/4 x 31 1/2in (42 x 127.5 x 80cm)|The couplet on the right side can be translated as:The blossoms swaying gently in the breezeThe red petals in the rain, resembling thin silkThe couplet on the left side can be translated as:The beauty of the color and texture of the mother-of-pearl [are] as refined as [what is] used for the birthday cup for the Emperor YaoIt is rare to see a fine mother-of-pearl inlaid lacquer table surviving from the seventeenth century like the present example. The simple elegance and pleasing outline of the table carry the distinctive characteristics of admired Ming furniture, often found being made from richly-figured tropical wood like huanghuali, tieli, xiangnan, etc.Archaeological findings indicates that the technique of inlaying mother-of-pearl on lacquer was practiced as early as the Shang dynasty. Lacquered furniture with mother-of-pearl inlay decoration appears to have been among the luxurious types of furniture during the Ming dynasty, as evidenced by some of the descriptions in Chinese literature, pictorial illustrations, and contemporary paintings. The Golden Lotus, a sixteenth century novel by an anonymous author includes vivid descriptions of interior settings. Mother-of-pearl inlaid lacquer furniture is mentioned a number of times in the novel (e.g. Chapter 30). Refer also to a Ming dynasty painting titled 'Scooping the Moon from a Golden Basin' in the Shanghai Museum, in which a servant is seen standing in front of a black lacquered long table with mother-of-pearl inlays. The appearance of a lacquered and mother-of-pear inlaid censer stand in a Ming dynasty portrait of a court lady also indicates that the popularity of this type of furniture in luxurious court setting (Power and Glory: Court Arts of China's Ming Dynasty, Li He and Michael Knight, Asian Art Museum of San Francisco, 2008, p. 251, no. 140; and p. 261, no. 148) Furniture made during the early Qing dynasty closely followed the Ming style. Refer to a table of comparable form, attributed to the Kangxi period, illustrated in The Complete Collection of Treasures of the Palace Museum. Furniture of the Ming and Qing Dynasties (I), Hong Kong, 2002, plate 143.