EXTRAORDINARY, RARE, 18/19th Chinese Qing Dynasty dragon throne chair. Property of General Chen "CangQuan" Acquired in 1970's, Chay Kee, Kowloon, Hong Kong. Gorgeously constructed with three conjoined back splats, wide rectangular hard mat, rising both arms panel, with gallery shoes. Ornately lacquered after an imperial example with all over decoration of dragons pursuing flaming pearls, the scalloped crest top surmounting the stepped back and arms, over a wide rectangular seat, all raised on lattice legs set into a hoofed stretcher. Decorated wealthy with detailed dragons motif in various color chasing a flame pearl within fumes clouds, all reserved against vermillion-red lacquered ground, with plain ebony lacquered underside. The composition is sophisticated and the decoration colors are simply a feast for the eye. The main color of the cinnabar Vermillion-Red means happiness, while the Dragon in Chinese Symbols is power, royalty and a yang symbol. Measurements: 50-1/2" H " x 50-1/4" W x 35" D Lot Notes:In the Tang dynasty (618–907), Chinese lacquerware saw a new style marked by the use of sheets of gold or silver made in various shapes, such as birds, animals, and flowers. The cut-outs were affixed onto the surface of the lacquerware, after which new layers of lacquer were applied, dried, and then ground away, so the surface could be polished to reveal the golden or silvery patterns beneath. This was done by a technique known as pingtuo. Such techniques were time-consuming and costly, but these lacquerwares were considered highly refined. It was also the period when the earliest practice of carving lacquerware began.The art of inlaid gold, silver, and mother-of-pearl continued from the Tang into the Song dynasty. Several existing decorative techniques gradually developed further after the 10th century, such as qiangjin (engraving filled in with gold), diaotian or tianqi (inlaid with lacquer of a different color), and diaoqi (carved lacquer. Especially the art of inlaying lacquer with mother-of-pearl was intensively developed during the Song dynasty (960–1279). However, during the Song, the artistic craft also made use of inlaid gold in a process of which is to engrave intricate patterns in the lacquer surface and to fill the intaglio with gold powder.The knowledge of the Chinese methods of the lacquer process spread from China during the Han, Tang and Song dynasties, eventually it was introduced to Korea, Japan, Southeast and South Asia.