DuringtheMingandQingdynasties,mostofthefurniturewashand-madeusingpadauk,rosewood,andotherhigh-qualityhardwoodasrawmaterials.Thankstoitssophisticatedproductionprocess,elegantandsimplestyle,gracefulsculpting,preciseandexquisitemortise-and-tenonstructure,andsmoothlines,itsartisticcharmisenduring,anditisstilllovedbypeopletoday.
PerfectCombinationofHandworkandWood
InancientChina,hierarchieswerestrict,andsuperiorsandinferiorswereobvious.People鈥檚dailylife,speechandbehavior,andvariouscustomsandculturesweredeeplymarkedbytheirfeudalismrankings.Asanessentialpartofdailylife,Chinesestylefurniturehasnotonlybeendeeplyinfluencedbyfeudalculture,butalsoreflectspeople鈥檚dailylifeandculturalcharacteristics.
ChineseclassicalfurniturerepresenativeoftheMingandQingdynastiesusedhardwoodssuchasrosewoodandpadauk.Thecommoncharacteristicsofthesewoodsarehardness,corrosion-resistant,havingdistincttextures,andfurnituremadeofthemisbeautifulanddurable.Theserawmaterialsarenowrareandexpensive,andordinarypeopleoftenusewoodsuchaspine,elm,andbeech,butthequalitybetweenthewoodsdiffersgreatly.
Classicalfurnitureismostlymadebyhand.Al-thoughwiththeadventofelectrictoolsandtheimprovementoftechnology,somesimpleprocessesinfurnitureproductioncannowbecompletedbymachines.However,theycannotcompletelyreplacehandwork.Forexample,thesmoothhandfeelingofthefurnituresurfacerequirestheworkertouseasharpandwideknifetoscrapealongthewoodsurfaceafterthemachinehasfirstflattenedthewood,andusehishandtofeelthechangeofsmoothnessthroughthetouchaftereveryscratching.Besides,furniturecarvingisalsoinseparablefrommanualoperation.Theshapescarvedbythemachineareneatbutthelinesarerigidandlackingvitality.Onlythemanualcarvingsaremorerefinedandcreative,dynamicandfullofvitality.Acraftsmanbusycraftingtenon-and-mortisepiecesatafurnituremanufacturerinZaozhuangCity,ShandongProvince.
Thetenon-andmortisestructureisthedefiningfeatureofChineseclassicalfurniture.ThemostexquisiteaspectofChineseclassicalfurnitureisthestructuralpartofthefurniture鈥搈ortise-and-tenonwork.
Combiningpiecesofwoodtogetherusingnothingmorethanthewooditselfisatraditionalcarpenter鈥檚craftinancientChina.Itreferstotheuseofconcaveconvexsplicingbetweentwocomponents.Theprotrudingpartiscalledthe鈥渢enon,鈥漚ndtherecessedpartiscalledthe鈥渕ortise.鈥漌hencombined,fitthemperfectlytogether.Thismethoddoesnotrequirenailsandrarelyusesglue,butsolelyreliesonthetenonand-mortiseconnection.Tenon-and-mortisestructureisthecrystallizationofthewisdomoftheChineseworkingpeopleandfullyembodiesthecreativityandartistryofhumanity.ItwasfirstdiscoveredinthestiltwoodenstructurewheretheancestorsoftheHemudusitelivedmorethan7,000yearsago.ItwaswidelyusedintheSpringandAutumn(770-476BC)andWarringStates(475-221BC)periods,becamematureintheSongDynasty(960-1279),andreacheditspeakintheMingandQingdynasties.Itsgreatestadvantageisthatitallowsthewoodtoavoiddamagebynailsintothewood,anditisverystableandfirm.Thetenon-and-mortisetechnologyisabasicskillofallcarpenters.Duetothedetailedandsubtlecombinationofhardwoodfurniture,thetenonandmortisetechnologyrequiresworkerstobepreciseandcompact,whichcanonlyrelyonmanualsurveyingandmapping.Therefore,itrequiresyearstomasterthetechnology.
ChinesefurniturealsoimpliesancientChinesephilosophies.Forexample,Daoismemphasizestheequilibriumbetweenyinandyang,whileinthetenon-and-mortiseconnection,tenonisyangandmortiseisyin,thetwoareintegratedandcomplementary.Therefore,theentiredevice,irrespectiveofsize,doesnotneedanailoradropofglue,butitcanstillbefirmforcenturiesregardlessoftemperatureandclimatechanges.Confucianism,whichemphasizesgentlenessandmoderation,hasalsobeenembodiedintraditionalChinesefuniture.Therefore,regardlessofstyleorlayout,Chinesefurnitureismostlysymmetrical.Thetype,shape,andmaterialarethesameorsimilar.Withasenseofunity,harmony,andseriousness,itimpliesbalanceandstability.AMing-stylerosewoodcanopybed.ConciseandSmoothMing-styleFurniture
ChinesefurniturereacheditspeakintheMingandQingdynasties.Therefore,traditionalChinesefurnitureisdividedintotheMing-stylefurnitureandtheQing-stylefurniture.Thedistinctionbetweenthetwoismainlybasedonthestyle,form,andcraftsmanshipofthework.
JiangsuProvince,especiallytheareaadjacenttoSuzhou,iswell-knownfortheproductiontechniquesofMing-stylefurniture.Therefore,itisacknowledgedthatfurnituremadeinSuzhouisrepresentativeoftheMing-stylefurniture,alsoknownasSuzhou-stylefurniture.
TheMingDynastywasagoldeneraforthedevelopmentofChineseclassicalfurniture.Perfectinshapeandelegantinstyle,Ming-stylefurnitureisunrivaledbythosemadeinothereras.Itsstructureadoptssmall-structuresplicing.Therationalityanddiversityoffunctionsareemphasizedinthestyling.Thisisnecessarytomeetthephysiologicalcharacteristicsofhumanbeings,andisrichandelegant,whichisacombinationofbothartandpracticality.TheMing-stylefurnitureisdominatedbyrosewood,anditwaschangedtopadaukduringthelateMingandearlyQingdynastiesduetolackofrosewood.Ming-stylefurnitureconsistsmostlyoftables,chairs,andcabinets,whichhavenoinlaysandchasing,withverylittlecarvingdecorations.
ThedesignersoftheMing-stylefurniturearemostlyrefinedscholars.Manufacturedbyexcellentwoodworking,itisfullofculturalambience.Designersoftenblendtheircreativeideasintothedesign,makingitappealing,dignified,andsimple.Thestructurestressesconsistencyoffunctionandaesthetics,whichisconsistentwiththepursuitofChineseculture.Atfirstglance,itseemsinsignificant,butuponfurtherinspection,itshowsauniquecharm,andeverydetailisworthappreciating.
Themostprominentfeatureistheuseoflines.Un-derthepremiseofsatisfyingthestructureandfunction,thestreamlinedlinesformthebody.Butitisnotasingleline,becauseifallarestraightlinesitappearsdullandrigid,andifallarecurves,itlookstooweak.Therefore,theMing-stylefurnitureisacombinationoflinesofdifferenttypes,andthecurvesandstraightlinesareproperlymatchedtoachievebothchangeandunity.Visualeffectsmakepeoplefeelanaturaleleganceandasimpledesignconcept,whichisfullyconsistentwiththemodernfashionofminimalism.
Thestylegivesfullplaytothecharmoflineart,andtheuseoflinesisreflectedinthelinearchangeoftheoutlineofvariousparts.Forexample,thebackrestboardofachairmostlyadoptsanS-shapedcurve,whichfitsthenaturalcurveofthehumanbody,andconformstoergonomics.Itisanextremelyscientificcurve.Ingeneral,thelinesarethebonesoftheMingstylefurniture.Thesmoothandbeautifullinesarejustliketheproportionsofhumanskeletons.Withagoodfoundationandappropriatemodification,thebeautycanlastforever.
In2006,themanufacturingtechniquesoftheMing-stylefurniturewereincludedinthefirstbatchofnationalintangibleculturalheritagelist.Guangzhou-stylefurniturepaysattentiontodetailanddecoration.Guangzhou-styleFurniture
Inthemid-QingDynasty,withfurtherconsolidationandstrengtheningoftheQingregime,thetrendoftheManchu-Hanconfederationclearlymanifestedintheculture.ThefurnitureartalsocontinuedtodevelopbasedonthehighlysuccessfulachievementsoftheMingdynasty.Ontheonehand,itinnovatedaccordingtotheinterestsoftherulingclass.Ontheoneotherhand,WesternmissionariescametoChinainlargenumberstostrengthentheexchangeofEasternandWesterncultures.Assuch,manyWesternelementswereintegratedintoChinesefurniture,sothatthefurnituresystemwasintegratedwithcertainWesternelementsandgreatlyenrichedtheformandfunctionofChinesefurniture.
GuangzhoubecameanimportantgatewaytoChina鈥檚foreigntradeandculturalexchangesduetoitsspecificgeographicallocation.ThearchitecturesofsomelocalcommercialinstitutionsbegantoimitateWesternstylesandformedanunprecedented鈥淲esternfever.鈥漈hefurniturethatadaptedtothebuildingsgraduallyformedanewstylethatisnowinpopulardemand.Asaresult,the鈥淕uangzhou-style鈥漟urniturewhichfeaturesbigandheavybodyandsophisticatedcarvingshavebecomepopular.Awiderangeoffurnituremanufacturingstylesfocusoncomplicatedsculpturaldecoration.Inadditiontoalargeareaofcarving,differentmaterialsareinlaid,suchasjade,marble,ceramics,andjewelry,ofwhichthemostprominentaremarblesandshells.
LocatedinsouthernChina,Guangzhouisrichinwoodforfurniture,whichwasaproductionareaoftraditionalhigh-endfurnitureduringthelateMingandearlyQingdynasties.Afterbecomingatradingport,theinfluxofWesterncultureattractedalotofBaroque,Rococo,andotherpaintingandarchitecturalstyleswhiletakingintoaccountthetraditionalbeautyofdesignandtheartsandcraftsofLingnanarea.ThefurnitureproductionhasgraduallychangedfromfreshandsimpleoftheMingDynastytoasplendidluxury.Inparticular,theblazingLingnanculturemergeswiththeunrestrainedWesternartstyle,formingauniqueGuangzhoustyleoffurniture.Theemergenceofthisnewtypeoffurniture,duetothehighqualityofmaterials,superbproductionprocesses,andextravagantstyleofmaterials,wasdeeplylovedbythenobility.ItquicklyflourishedinthemiddleandlateQingDynastyandbecameoneofthetypicalstylesofQing-stylefurniture.
MostofthematerialsusedinGuangzhou-stylefurnitureareprecioushardwoods,whicharecharacterizedbybulkymaterialsandsteadymodelling;theyarelavishlydecoratedanduseallthetechniquesthatcanmakeanaestheticimpact.Forexample,themaincomponentsofthefurniture,suchasthelegsandpillars,nomatterhowlargethebendingis,generallydonotusesplicingmethods.Instead,theyaremadeoutofonesingletimber.Theentirepieceoffurniturealsousesthesamekindofwood,anditisnotdopedwithotherwood.Inaddition,theGuangzhou-stylefurniturepaysattentiontodecoration.Exceptthebacksideofthefurnitureandthepanelsoftablesandstools,alltheothercomponentsarecarvedwithsophisticatedpatterns.Althoughitishand-carvedandpolished,itisfinelyground,leavingthesurfaceofthepatternglossy,withoutanysignsofcutting.Inthedecorativethemeandornamentation,influencedbyWesterncultureandarts,itisobviousthattherearemanyWesternpatterns.
ItscorevaluesareembodiedinthecreativityofadaptingforeignthingsforChineseuseand,makingthepastservethepresent,andthecouragetobreakthrough.ThisspiritofcreativityandinnovationisinlinewiththespiritofpioneeringandenterprisingoftheLingnanculture.
In2008,Guangzhou-stylehardwoodfurnitureproductiontechniqueswereincludedinthenationalintangibleculturalheritagelist.AnexquisitepieceofSuzhou-stylefurniture.MagnificentBeijing-styleFurniture
Theso-calledBeijing-stylefurnituremainlyreferstofurniturethatwasusedbytheroyalcourt,whichwereproducedinBeijing.Themanufacturingskillsofthisstylewerebornintheimperialcity,whichisoneofthethreemajorschoolsofclassicalChinesefurniture.
TheBeijing-stylefurniturewasbornintheQingDynasty.Theemperorcollectedthingsfromtheworldforhisownuse,andrecruitedskilledcraftsmenfromSuzhouandGuangzhoutoentertheImperialWorkshop,aspecialagencyforthemanufactureofroyalproducts.ForthearistocracyoftheQingDynasty,theiraesthetictrendwasbroad-mindedandnoble.Inordertomeettheaesthetictasteoftherulers,thelivingenvironmentoftheimperialpalacesandinnercourt,thefurnituremusthaveagrandstyleandposture.Thankstosufficientfinancialresources,materialresources,andmanpower,afinestyleofBeijing-stylefurniturewasthusestablished,featuringmagnificent,solemn,andgracefularistocratictemperament.ThisaestheticeffectnotonlyretainsthebeautyofSuzhou-stylefurniturelines,butalsodrawsonthegorgeousfeaturesofGuangzhoustylefurniture.Inaddition,theliteratiandeventheemperorspersonallyparticipatedinthedesign,graduallyformingagraceful,elegant,andluxuriousstylethatreflectstherichpalaceculture.
Beijing-stylefurniturealsousespadauk,rosewood,andotherprecioushardwoodmaterials.Beforemakingapieceoffurniture,theImperialWorkshopmadeasamplepresentation,whichcouldbeproducedaftertheapprovaloftheemperor.Therefore,oneofthecharacteristicsoftheBeijing-stylefurnitureisthe鈥渞oyalstyle.鈥滱tthemid-Qingperiodcoincideswithprosperity,boththeroyalcourtandthehigh-rankingofficialswereinthepursuitofluxuryinallaspectsoflife.ThefurniturespecificationsweremoreextravagentthantheMingstyle,thematerialalsowasbold,andthecarvingwasmorestable,luxurious,andbeautiful.Thesurfaceofthefurniturewasdecoratedwithgold,silver,jade,enamel,goldandcopperplates,blueandwhiteporcelainplates,andotherspecialdecorations,whichformedacombinationofluxuryandcraftsmanship.
OnedecorativecharacteristicistointegratetheShangDynasty鈥檚bronzewareandtheHanDynasty鈥檚stonecarvingartintothefurniturecarvingdecoration.ThisisthesuccessoftheBeijing-stylefurnitureaswellasitsuniquestyle.TheimagesofBeijing-styledragons,phoenixes,andtigersarecompletelydifferentfromtheSuzhou-styleandGuangzhou-styledecorations.Thesedifferentformsofclassicaldecorationarequiet,elegant,andantique.ThefurnitureoftheYongzhengandQianlongreignspreservedintoday鈥檚ImperialPalaceinBeijingaremostlymasterpiecesoftheImperialWorkshop.Itmaintainsahighdegreeofcoordinationwiththepalace鈥檚architecture,caissonceilings,windowornaments,andthepalace鈥檚magnificenthandicrafts.Thefurnitureisinlinewiththeirenvironment.
However,duetoexcessivepursuitofluxuryanddecoration,ithasreducedthefurniture鈥檚practicality.ThisisthebiggestregretoftheBeijing-stylefurniture.TheBeijing-stylefurnituremanufacturingtechniquereacheditspeakduringtheKangxiandQianlongreignsoftheQingDynasty,anddeclinedafterthelateQingDynasty.AfterthefoundingofthePepole鈥檚RepublicofChinain1949,duetoactiverescue,protection,andsupportpoliciesadoptedbythegovernment,theBeijing-stylefurnitureproductiontechniqueshavebeenrestoredanddevelopedtoacertaindegree.WhileinheritingandretainingthecharmanddecorationoftraditionalBeijing-stylefurniture,ithasrevertedtopracticaluseasitscoredevelopmentaspect.Nowadays,modernBeijingstylefurniturehasbecomeanundisputedboutique.
In2008,Beijing-stylehardwoodfurnitureproductiontechniqueswereaddedtothenationalintangibleculturalheritagelist.C
(CompiledbyChinaToday)