The table intricately incised and colored in varying shades of red lacquer, the top depicting trees, flowers and exotic birds, on a dense diaper ground; above a shaped apron with spandrels and double stretchers, all similarly decorated with flowers and birds. 

Polychrome lacquer gained popularity during the late Ming dynasty, applied either through brush painting or gold engraving combined with color, as seen in the present table. This piece exemplifies the qiangjin and tianqi techniques—two methods that enriched lacquerware with intricate detail. The qiangjin technique, which involves incised lines filled with gold, dates back as early as the Warring States period, while tianqi, a subset of the caiqi color-lacquering technique, has origins in the Shang and Zhou dynasties. When combined, these methods produced a striking interplay of gold lines and vibrant polychrome lacquer. The production of lacquered furniture—including tables, stools, and incense stands—flourished during the Jiajing and Wanli periods, reflecting the Ming court’s strong appreciation for such craftsmanship. The Ming dynasty is widely regarded as a golden age of Chinese furniture making. Craftsmen mastered the properties of various woods and developed sophisticated joinery techniques, constructing furniture without the use of glue or nails. The present table exemplifies these principles, showcasing an elegant form, structural integrity, and the complexity of its tenon joinery, which has allowed it to endure for over four centuries. Ming furniture design remained deeply rooted in earlier prototypes from the Song period, with stylistic continuity spanning several hundred years. For further insights, see Wang Shixiang, Development of Furniture Design and Construction from the Song to the Ming, in Chinese Furniture: Selected Articles from Orientations 1984-1999, Hong Kong, 1999, p.42. Recessed-leg tables like this were historically known as “character one” tables (yi zi zhuo shi), named for their resemblance to the single horizontal stroke of the Chinese character for “one” (yi 一). This design likely originated from traditional wood construction techniques as early as the Han dynasty. The specific style with side stretchers is documented from the Song dynasty (960–1279), when craftsmen incorporated bridle and tenon joints, continuous aprons with small spandrels, and double stretchers along the sides. A notable example appears in the painting Country Boys Playing in Class, attributed to the Song period, where two recessed-leg tables of this form are depicted. For reference, see Wang Shixiang in Development of Furniture Design and Construction from the Song to the Ming, in Chinese Furniture: Selected Articles from Orientations 1984-1999, Hong Kong, 1999, p.55, pl.35.