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拍品专文
This exceptionally rare Tibetan travel trunk is distinguished by its sophisticated decorative programme and robust construction, reflecting both the practical demands of long-distance travel and the aesthetic preferences of elite patrons.
The four visible sides are decorated with a striking red and black abstract lattice pattern over a golden ground inspired by stylised cloud motifs commonly found on luxury Chinese textiles (see the cloud forms on a Ming Dynasty rank badge in the Copper Hewitt Museum of Design, 1902-1-432) that were highly prized imports within Tibet during the period.
The framing golden borders are enriched with a distinctive overlapping tripartite design that recalls the construction of Tibetan armour, possibly imitating the appearance of lamellar plates. This martial aesthetic is reinforced by the elaborate iron mounts: scrolling arabesque corner fittings provide both structural protection and decorative refinement, while the central locking mechanism is similarly framed in ornate ironwork. Ruyi-shaped iron elements further secure the edges of the trunk, creating a harmonious integration of form and function. In striking contrast the back panel is covered entirely by the abstract cloud design over a black ground with dazzling effect.
The decorative vocabulary employed on this trunk demonstrates the dynamic interplay between Tibetan, Chinese, and broader Central Asian artistic traditions. Its armour-inspired borders are particularly noteworthy, drawing parallels with examples of Tibetan arms and armour published by Donald J. LaRocca and exhibited in the Metropolitan Museum of Art's landmark exhibition Warriors of the Himalayas: Rediscovering the Arms and Armor of Tibet, 2006, pp. 119, 122. Compare with a smaller trunk with a related design formerly in the Sargon Collection, sold by Bonhams, New York, 13 September, 2011, lot 1019.
The four visible sides are decorated with a striking red and black abstract lattice pattern over a golden ground inspired by stylised cloud motifs commonly found on luxury Chinese textiles (see the cloud forms on a Ming Dynasty rank badge in the Copper Hewitt Museum of Design, 1902-1-432) that were highly prized imports within Tibet during the period.
The framing golden borders are enriched with a distinctive overlapping tripartite design that recalls the construction of Tibetan armour, possibly imitating the appearance of lamellar plates. This martial aesthetic is reinforced by the elaborate iron mounts: scrolling arabesque corner fittings provide both structural protection and decorative refinement, while the central locking mechanism is similarly framed in ornate ironwork. Ruyi-shaped iron elements further secure the edges of the trunk, creating a harmonious integration of form and function. In striking contrast the back panel is covered entirely by the abstract cloud design over a black ground with dazzling effect.
The decorative vocabulary employed on this trunk demonstrates the dynamic interplay between Tibetan, Chinese, and broader Central Asian artistic traditions. Its armour-inspired borders are particularly noteworthy, drawing parallels with examples of Tibetan arms and armour published by Donald J. LaRocca and exhibited in the Metropolitan Museum of Art's landmark exhibition Warriors of the Himalayas: Rediscovering the Arms and Armor of Tibet, 2006, pp. 119, 122. Compare with a smaller trunk with a related design formerly in the Sargon Collection, sold by Bonhams, New York, 13 September, 2011, lot 1019.