Ming and Qing furniture

Author: Tian Xiao
Publisher:
Publishing Date: 2005-01-01
Features: Ming Dynasty furniture is generally referred to as "Ming-style furniture." Ming-style furniture primarily uses precious hardwoods from India, Myanmar, and Southeast Asia, such as zitan wood, huali wood, tilia wood, and acid wood. These woods have rich colors, beautiful grain patterns, and a hard, fine texture. The variety and style of Ming Dynasty furniture are diverse, with the concept of complete sets of furniture already established, featuring matching pieces designed for different architectural spaces such as halls, bedrooms, and studies. The main characteristic of Ming Dynasty furniture is its use of wooden structural forms, creating unique shapes with simple, elegant, and unadorned designs. It emphasizes the lines and forms of the furniture, reflecting a bright and fresh artistic style. At the same time, Ming-style furniture fully showcases the beauty of hardwoods' colors and grain patterns, avoiding excessive carving. To highlight the elegance of the lines, small-scale carvings are applied only in areas without compromising the overall effect. The structure is rational, and the design is beautiful, fully reflecting the outstanding level of "Ming-style" furniture.
The artistic style of Qing Dynasty furniture differs significantly from that of the Ming Dynasty. The main features of Qing-style furniture are their heavy materials and larger dimensions compared to Ming furniture. Another characteristic is their elaborate decoration, including inlay, carving, and painted designs, which give a sense of grandeur, stability, and luxury, forming a stark contrast to the simplicity, lightness, and elegance of Ming-style furniture. Qing-style furniture primarily uses zitan and redwood, combined with various craftsmanship techniques, forming a distinctive "Qing-style furniture." The main production centers of Qing-style furniture are Beijing, Suzhou, and Guangzhou, each with its own regional style, hence referred to as "Jing-style," "Su-style," and "Guang-style," respectively. Jing-style and Su-style furniture retain more traditional Chinese classical forms, while Guang-style furniture, influenced by Western culture, has developed a unique style.
The appreciation of furniture is often distinguished by the "Sixteen Qualities" and "Eight Deficiencies" to assess whether a piece is good or bad, beautiful or ugly. The purpose was twofold: first, to explain the simplicity and rustic charm of Ming-style furniture, which was widely praised but could not fully capture its essence. Additionally, there were different qualities worth admiring and discussing. These qualities are often identifiable and can be appreciated without seeking external comparisons—they are universally recognized. Second, to point out that although the Ming and early Qing periods were the golden age of traditional furniture, not every piece was excellent. While it is unnecessary to avoid expressing differing opinions about furniture, the best way to encourage discussion and create a lively atmosphere is to arrange an appropriate setting, display the furniture for everyone to see, and allow for appreciation and critique.
Historically, furniture arrangements varied depending on the room. In halls, objects were arranged symmetrically, which was fixed but sometimes restrictive. In studies and living spaces, functionality was prioritized, with flexibility and variety. This created a contrast between symmetry and asymmetry, fixed and flexible arrangements. A contrast is better than none, as it makes relative qualities more prominent. Moreover, the presence of contrast itself implies variation rather than uniformity. While it is hard to imagine three or five-aisled halls in modern life, it is still possible to consciously combine symmetric and flexible arrangements, as both can be seen in this context.
The high level of Ming and early Qing furniture was achieved due to the use of precious hardwoods with dense textures, elegant colors, and beautiful grain patterns. Below, only five main varieties—huali wood, zitan wood, wingwood, tilia wood, and bing wood—are discussed, with bing wood mentioned as well. Huali wood has a color that is neither too dull nor too flashy, with grain patterns that are subtle yet dynamic. It is also known as "Xiangxiang zitan" or "hypotensive wood," as wood chips soaked in water can lower blood pressure, and wood chips used as pillows can promote blood circulation, reduce blood pressure and, with documented medicinal properties. No wonder it is cherished by many furniture enthusiasts.
Among hardwoods, zitan has the hardest texture and heaviest weight, mostly dark purple-black, with some so dark they resemble lacquer, almost invisible in grain. It is less ornate than huali wood but has a solemn and ancient elegance unmatched by any other wood. Wingwood comes in two varieties: new wingwood has a rough texture, alternating purple-black colors, unclear grain patterns, and rigid, unswirling lines, with fibers that are prone to splitting. Old wingwood has a dense texture with varying shades of purple-brown, especially on the longitudinal cut, where fine, floating grain patterns shimmer like the feathers of a bird's neck, with a radiant luster.
Tilia, also known as "tieli wood" or "teliu wood," is the tallest among hardwood species. Bing wood is not a species name but refers to the wood from the knotted, gnarled parts of old trees where tumors form. Beijing craftsmen call it "bingzi." The wood from these knotted areas always has swirling, fine grain patterns. Both Ming and Qing Dynasty classical furniture are solid wood furniture with mortise-and-tenon structures, so the properties of the wood determine the maintenance and care requirements.
Classical furniture should not be placed in direct sunlight. When placing objects on furniture, use a soft cloth as a buffer. Handle furniture gently in a vertical direction. The cloth used for cleaning should be clean, soft, and at an appropriate temperature to avoid leaving water droplets or streaks. Avoid using wet cloths for daily cleaning, and when placing cups, use a coaster to prevent water marks. If stains or watermarks occur, apply a small amount of wax—preferably a natural, oil-based wax, avoiding chemical-based waxes like Brasso. Since the furniture surface has no lacquer, it is best to choose an oil-based wax and regularly maintain it by waxing. During dry seasons, do this at least once a month; in humid seasons, reduce the frequency. This helps keep the furniture supple. Over time, as the surface becomes harder, the frequency of waxing can be gradually reduced.
Classical furniture should be regularly maintained. Under normal conditions, it should be waxed every quarter to preserve its condition. If the furniture is old, professional repair may be necessary to protect its material and structural integrity. Avoid strong sunlight exposure, as prolonged exposure can alter the wood's natural color. If small scratches appear, they can be removed by waxing. However, if scratches are deep or the wood cracks, professional repair is needed.
The expansion and contraction of furniture are normal, especially noticeable in regions with four distinct seasons. Generally, each piece of furniture stabilizes after undergoing changes with four seasons and becomes relatively stable.