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Where does the charm of Ming-style furniture span time and space come from? When we are enamored with Ming-style furniture, what kind of aesthetics do we cherish?


This traditional art form from the East resonates with modernist aesthetics.


Fascinating Ming-style furniture refers to furniture products with good materials and good quality in the early Ming to Qing dynasties. They seem to integrate the perfect proportion of style, style, and work together. With their simplicity, elegance, subtlety, and ingenuity, they have become an art form with oriental philosophical beauty.


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The artistic status of Ming-style furniture was actually first established in the West.


In 1944, the German scholar Gustav Ike's "A Study of Chinese Rosewood Furniture" collected and mapped a number of excellent examples of Chinese hardwood furniture, which became the pioneering work of modern Ming Dynasty furniture research.


"It has no disguise at all, showing a kind of pure beauty and respect for the material." "Creating a simple and unhurried extraordinary temperament."


In the book, Ike described Chinese hardwood furniture represented by Ming-style furniture. It is this book that enabled the world to discover the Ming-style furniture that is "as perfect as a mystery", thus starting the collectors' pursuit of it. .


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Since the publication of "Ming-style Furniture Appreciation" by Wang Shixiang, a cultural relics master, in 1985, Ming-style furniture has really become lively in China. This is the first book on Ming-style furniture written in Chinese.


Four years later, Wang Shixiang built a basic system of related research with a "Ming Style Furniture Research" of nearly 300,000 characters and more than 700 pictures.


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After its analysis and induction, the appearance of Ming-style furniture was presented to people's eyes for the first time in a complete and systematic manner, first divided into categories, then divided into varieties, and the arrangement of utensils of the same variety started from the most basic shape, from simple and complex until its change. body.


The sixteen fine works of Ming-style furniture listed in the book, such as conciseness, simplicity, dignity and sheenness, have already become an important criterion for people to appreciate Ming-style furniture.


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Since then, the research and collection of Ming-style furniture has entered an unprecedented peak. It is not accidental that Ming-style furniture fragrant at home and abroad.


In the eyes of scholars, the wisdom of the predecessors of the Ming-style furniture and the simple and simple meaning contained therein resonated with modernist aesthetics, especially minimalist aesthetics. Both pursued a fresh, elegant, scientific and practical design. thought.


For example, in terms of styling, Ming-style furniture emphasizes the beauty of lines. The curves and straight lines are interspersed to outline the body space, which is full of philosophical charm. Most of the twists and turns are practical and decent.


Wang Shixiang once described a Ming Dynasty Huanghuali four-headed armchair: "If you look from the side of the chair, you will see a curve from the hip to the neck."


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Another example is color and materials. Ming-style furniture often chooses high-quality wood such as huanghuali wood, emphasizing the simplification of the material used, and making full use of the texture of the material itself to restore the beauty of the material.


The reasonable structure even makes Ming-style furniture rich in the beauty of science and technology.


In this regard, collector Ma Wei has cited two cases-one is a chair, the lower half and the upper half are made of one piece of wood, the advantage is that it is strong and not easy to loose, and the other is the case furniture, regardless of the insertion in the internal structure The shoulder tenon is still a collet tenon, which has the tendency of being pressed and tightened, commonly known as "the ten thousand years prison".


These aesthetics are actually quite in line with the aesthetic trends of modern people. Many collectors have found that Ming-style furniture is still comfortable and harmonious in the modern space, and it can even withstand all kinds of fashion changes.


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科尼美赫横塘店

科尼美赫横塘店

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Before his death, An Siyuan displayed a lot of Ming-style furniture in the mansion on New York's "Fifth Avenue", striking with the arrangement that spans Eastern and Western cultures, classical and modern cultures.


What is more worthy of attention than the beauty of utensils is the implicit attitude to life and humanistic spirit.


The spacious atrium is supported by two rows of tall pillars. The left and right sides, or the east and west sides, are sash partition fans created from cabinet wood, and soft-colored silk curtains hang behind it. Walls and columns are covered with wallpaper. The ground is covered with polished black tiles. Set against this dark background, the placement of furniture is subject to the regularity of the plane layout.


The amber or purple color of rosewood furniture is very harmonious with the light and soft colors of precious carpets and flower felt or embroidered satin chair covers and cushions.


Calligraphy and famous painting hanging shafts are carefully arranged throughout the room. On the red lacquer base are blue-and-white porcelain or bronze that has turned green over time. The paper lattice windows block the glare of the day.


At night, candlelight and corner lights combine various colors into a wonderfully coordinated radiance.


Ike's detailed description of the home environment in which Ming Dynasty furniture was located in the "Chinese Huali Furniture Illustration" actually contains such a representative message-many people are more than interested in Ming-style furniture. The beauty of simple utensils also includes the poetic life of their master, the traditional Chinese literati Mo Ke.


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Qin chess, calligraphy and painting, poetry, tea and wine, and other ancient Chinese literati cultivated their minds and cultivated their sentimental lifestyles, which all serve as voiceovers for Ming-style furniture.


For example, Xiangji was born in response to the literati's taste of burning incense and smelling incense. It is small and sparse, with slender "dragonfly legs". It is also like a few, mainly used for decorating vases and other decorations in halls or entrances.


Some researchers pointed out that the aesthetics of life infiltrated by Ming-style furniture inherits the cultivation tradition of ancient Chinese literati aesthetics and is intriguing. It was not a lavish and stimulating pursuit of beauty, but it was regarded as a model of the aesthetics of the Ming literati's life.


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17th Century Huanghuali Table with Long Waist and Three Curved Legs


On closer inspection, it is not difficult to find that the Ming-style furniture, which is a daily sitting and lying appliance, is not aimed at relaxing the body, but instead reminds people to correct their forms, which leads to spiritual introspection.


Take the most representative Ming-style furniture—the circle chair as an example. Its chair tray has a large area, which is not conducive to reclining on the back. People cannot sit in it with a relaxed posture, let alone "Ge You Lie".


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This is actually the original design of the circle chair. The center of gravity is on the thighs rather than the hips, which requires people to sit. This structure, but quite in line with the human body structure, the entire thigh and hips support the body, reducing the weight of the head of the spine and maintaining the integrity of the spine.


In such a chair, people can sit for a long time without getting tired, and feel comfortable and quiet at all times.


The implicit spiritual pleasure revealed in Ming-style furniture is worthy of people's admiration.



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