Chinese classical furniture began in the Shang and Zhou Dynasties, and Ming-style furniture born in
Chinese classical furniture began in the Shang and Zhou Dynasties, and Ming-style furniture born in the Ming Dynasty reached the pinnacle of Chinese furniture art. Suzhou was an important town for furniture making in the Ming Dynasty, and Daoguang's "Suzhou Fuzhi" recorded: "The prosperity of talents in Wuzhong is the world, and as for the ingenuity of hundreds of craftsmanship, it is also incomparable." "In addition to Wuzhong, there are also famous masters in all parts of Jiangnan, spreading in all directions.
The splendid Ming-style furniture is not only the material heritage left by the ancestors, but also the extremely valuable spiritual wealth. Its view is smooth, and the wind bone is contained in the ethereal; Fuzhi fairy bone jade muscle, tough and slightly warm.Ming-style furniture does not emphasize ambitiousness, not luxury, simple and elegant as the first, "the greater the realm of Jingyin". Li Yu has a cloud in "Idle Love": "In civil engineering matters, the most taboo is extravagance, and the family of bandits should be frugal and simple, that is, the prince, and should also be based on this." ”When Wang Shixiang talked about the beauty of Ming-style furniture, he summarized that Ming-style homes have "five beauty": wood beauty, modeling beauty, structural beauty, carving beauty, decorative beauty, and the first of the five beauty is wood beauty. In order to fully show the beauty of the material, texture and color of the wood itself, it is rare to see Ming-style homes with large-scale carvings.When talking about furniture in Yuan Hongdao's "History of Bottles", he said: natural in the room, rattan bed one. It should be wide and thick, and it should be smooth. All local sidebar lacquered tables, gold screw beds, and colorful vase racks are discarded.At that time, people's furniture aesthetics had changed from the artificial beauty of lacquer to the pursuit of the natural beauty of wood, the so-called "clear water goods". This turbid "clear" is what we think of as the true natural beauty, so after a hundred years of use and circulation, most of the ancient furniture shows a natural luster, commonly known as "pulp", reflecting the ancients' artistic purpose of advocating nature and learning nature.Kenji Oda, a collector and researcher of the world's famous chairs, once said, "The chair has a complete beauty in its own right. The shape of a beautiful chair is no less beautiful than a sculpture, and it has the power to dominate space." This expression is especially appropriate to describe Ming-style furniture.The elegant Ming-style furniture, its proportions and scales all reveal a natural harmony, and the lines start and end, containing a unique rhythm and charm. The white space outside the components is the exquisite and silent design of the craftsman, as Wang Shixiang's friend Mr. Chen Mengjia (1911~1966) remembered in the title page of "Ming Style Furniture Reward" said: "These blanks are not just blanks, they are themselves undecorated decorations, a kind of wordless words." The ancients called the sound outside the string, the so-called subtlety, this is what it means."Inclusion is the spiritual essence of the sculpture of Ming-style furniture.The subtle character of Ming-style furniture is a unique charm other than the beauty of transcendent form. It rejects exaggerated shapes and contains a restrained temperament; Abandon excessive carvings and exude simple elegance; It focuses on the inadvertent polishing, and the technique is not exposed, and it reveals a low-key sophistication....Ming-style furniture, which abandons ostentatious and restrained temperament, is not a kind of style that people lack today.Such a style must be our real "national treasure".The meaning of the ancients is rare today. Through the Ming-style furniture, we can get a glimpse of the wisdom essence of the ancient people's plastic arts, which contains the life aesthetics that we have inherited and yearned for.One case after another, one table and one chair, the wordless beauty presented by Ming-style furniture shows the unique spiritual picture of Chinese literati.
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