北宋 王诜《绣栊晓镜图》溪山清远宋式条桌，复现自北宋王诜《绣栊晓镜图》。
This Song-style table is replicated from a painting by Wang Shen of the Song Dynasty.在宋画中，可以见到众多与此相近的桌子款式。
桌面有宽有窄，窄长的桌更多是作为边桌使用。
其形制从唐代的壶门桌和榻逐步演变而来，始见于宋代。
Tables of similar styles can often be seen in paintings from the Song Dynasty. Their forms were settled during this time, developed from the box-shaped tables and beds popular in the Tang Dynasty.南宋 佚名《十八学士图》局部桌子的形制极简极素，几乎无可再减。
桌面平展，桌面以下四个侧面笔直落下，直到腿足落地，四个侧立面均是平面，因而也叫四面平桌，或四平桌，以与案形结体的家具相区分。
The table is so succinct that no part can be removed without affecting its structure. The table-top extends unhampered and make a sharp turn at the four legs. All four side facades are on one plane, and tables of such a structure are distinguished in name from another type (that have inset legs, which are called AN).四平桌的桌面与下部，以一种不易察觉而实际较为复杂的方式连接：The table-top and the part beneath it are combined in an inconspicuous but complicated way:桌面的大边、抹头，先与桌面攒边相接，此时边抹、面板、面板下的穿带，构成了一个完整的部分。
支撑上述桌面部分的，是一副架子。
架子的制作是腿足上部不造束腰，在顶端长短榫之下直接格肩造榫，并在两面各留出一个断面为半个银锭形的挂销，以备与牙条上的槽口套挂。
四根牙条和四条腿足拍合后，便形成了架子。
然后，架子上再安装上述的桌面部分。
First, four frame members lock up the top board, with the clamps mounted underneath. This is the top part, to be supported by the frame. Legs join aprons to form the frame with mitre joints. A half-ingot-shaped peg is chiselled out on both sides to join with the mortises on the aprons. The frame is thus formed, and above it the top part is mounted.王世襄先生《明式家具研究》一书指出：“这种造法，牙条用料宜有一定的高度和厚度，并须在牙条上皮栽榫，边抹底面凿眼，辅助四足上端的榫卯，使桌面和支架扣紧贴严，不生缝隙。
”In his book Classic Chinese Furniture: Ming and Early Qing Dynasties, Wang Shixiang said that “such a practice requires the aprons to be of enough thickness, and tenons and mortises are required respectively on the aprons and the frame members, to serve as extra braces for the strength of the legs, and also to combine the top part and the frame in a seamless way.图片引自 王世襄《明式家具研究》宋式条桌 局部因为“此结构要求牙条有一定的高度和厚度”，所以，针对不同体量、长短的桌子，大如两米多的长桌，小如仅可置一花瓶的香几，就要求设计者把握拿捏，权衡的结果，既实现结构的稳固，又使得家具整体看上去骨肉匀停。
The thickness of the aprons requires the designer/craftsman to balance it with the size of the table, so that the finished work is firm enough to serve for years, while also looks elegant and well-proportioned.我们在宋画中所看到的此类桌子，看上去轻便柔顺，气韵清舒。
Tables that appear in the Song-Dynasty paintings look graceful and well-extended.腿足方材，越接近地面，越逐渐收敛，却瘦而不羸，而是笔直坚挺。
The legs are of a square section, and turn slimmer as they go downwards. In spite of looking weak, they hold firm and straight.足部绝不直接落地，而必要在落地前，做各种造型的变化。
在明代，足部的典型造型是或高或矮的马蹄足，在宋代，足部的造型变化更丰富，比较常见的是云足、如意足等。
The feet never touch the ground without some motifs. In the Ming Dynasty, the typical motif is the so-called horse-hoof, high or low. In the Song Dynasty, motifs are more various, but the most often-seen ones are of a scroll or Ruyi design.宋式条桌 局部宋画和明画中，偶见足部不做造型而直接落地的“改良”制式，打破了一直以来发展演变的范式。
从画作效果看，似乎稍显牵强；存世实物中也很少见，但偶见一二改良成功的案例。
Occasionally seen in a painting is an “improved” style of feet, which diverts somewhat from the trail of development of Chinese furniture. More often than not, the achieved result is not successful.明 杜堇《听琴图》局部古画中此桌，一般不作为书房的画案、书案等重器，而是出现在文人士大夫或仕女生活中更轻松、闲适的场合，如好友相聚，或独自恬然燕居，或对镜梳妆打扮。
In Song and Ming paintings, such tables are often not used as a major piece in the study. They appear mostly in the lives of scholars, bureaucrats and their wives and concubines on more relaxed and personal occasions, such as when with friends, in solitude, or in front of a mirror.画中更狭长的条桌，如文首所展示，更多是作为边桌使用，靠墙面摆放。
宋画中对这种用法表现得很少，明代版画中可以见到。
There are also tables that are more narrow and longish, as is shown in the beginning of this article. These are typically used as side tables, against a wall. Though not depicted in Song paintings, the usage can be found in Ming woodblock paintings.此桌形制虽然极其简素，构造看似并不复杂，但不见于表现更为乡野、市井的宋画之中。
它平展飘逸、轻扬向上的气息，使它不见烟火气，而更觉清气扑面。
Though seemingly of a simple structure and thus easy to make, the table is not seen in paintings depicting lives of the ordinary class. Its air of ethereality and delicacy does not blend it well with the more down-to-earth side of life.明仇英梧竹书堂图明 文徵明 浒溪草堂图明 谢环 香山九老图「溪山清远」是从中国艺术中汲取生活的意境，创造当代生活里中国独有的精神空间，让中国生命哲学和审美中的真意和诗性，重新成为当代生活的样式。
「溪山清远」通过创造家具器物来建设这种生活里的诗意，去复现我们生活中丢失的桃花源。
这是一种心灵的应答和领悟，「溪山清远」就像关于生活的作品，重新把我们置入内心的山水和心灵的景观中。