Ming and Qing dynasty furniture.

Author: Editorial Committee of "Beijing Cultural Relics Appreciation"
Publisher:
Publishing Date: 2005-06-01
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 suanzhi 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 furniture 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 exquisite, fully reflecting the outstanding level of "Ming-style" furniture.
The artistic style of Qing Dynasty furniture is entirely different from that of the Ming Dynasty. The main feature of Qing-style furniture lies in its heavy use of materials, with furniture being wider and larger in size compared to the Ming style. Another characteristic is its elaborate decoration, using techniques such as inlaying, carving, and painting, creating a majestic, stable, and luxurious impression, which contrasts sharply with the simplicity, lightness, and elegance of Ming-style furniture. Qing Dynasty furniture primarily uses zitan and hongmu wood, combined with various craftsmanship techniques, forming a distinctive "Qing-style furniture." The main production areas of Qing-style furniture are Beijing, Suzhou, and Guangzhou, each with its own regional style, thus being referred to as "Jing-style," "Su-style," and "Guang-style," respectively. Jing-style and Su-style furniture largely retain the traditional forms of Chinese classical furniture, while Guang-style furniture has developed a unique style due to its significant influence from Western culture.
The appreciation of furniture is often judged by the "Sixteen Qualities" and "Eight Deficiencies" to distinguish between good and bad, as well as beautiful and ugly. The purpose behind this was twofold: First, to explain the simplicity and rustic charm of Ming-style furniture, which was widely praised but could not fully encompass its essence. Additionally, there were different qualities worth admiring and discussing. These qualities were often identifiable and could be appreciated without seeking external comparisons—they were 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 necessarily good. While it was not necessary to avoid expressing differing opinions about furniture, the best way to engage in discussion and create a lively atmosphere was 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 and halls, objects were arranged symmetrically, which was fixed but sometimes rigid. In studies and living spaces, functionality was prioritized, making them flexible and varied. This created a contrast between symmetry and asymmetry, as well as between fixed and flexible arrangements. Contrast is better than monotony, 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 times, it is still possible to consciously combine both symmetric and flexible arrangements, as this also reflects contrast and variation.
The high level of Ming and early Qing furniture was achieved due to the use of hard, dense, and elegant hardwoods with beautiful grain patterns. Below, only five main varieties—huali wood, zitan wood, qiji wood, tilia wood, and wen wood—are discussed, with a brief mention of wen wood. 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 Huangtan" or "Xiaoya Mu," as its wood chips steeped 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 highly valued by many furniture enthusiasts.
Among all hardwoods, zitan wood has the hardest texture and heaviest weight, mostly dark purple-black, with some so dark they appear lacquered, almost invisible in grain. It is less ornate than huali wood but has a serene, ancient charm unmatched by any other wood. Qiji wood comes in two types: new and old. New qiji wood is rough, with alternating purple and black colors and unclear grain patterns, lacking the fluidity of old wood. The old wood has a dense texture with varying shades of purple-brown, especially on the longitudinal section, where fine, floating grain patterns shine like the feathers of a bird's neck, creating a brilliant luster. Tilia wood, also known as "Tilia Mu" or "Tili Mu," grows to be the tallest among these hardwoods.
Wen wood is not a species name but refers to the wood from the knotted or swollen areas of old trees, where growth is twisted and dense. Beijing craftsmen call it "wenzi." The wood from these knotted areas always features swirling, fine grain patterns. Classical furniture from the Ming and Qing dynasties is all solid wood with mortise-and-tenon construction, so the properties of the wood determine the maintenance and care requirements for these pieces.
Classical furniture should not be placed in direct sunlight. When placing items on furniture, use a soft cloth as a buffer, lift and move vertically with care, and use a clean, soft, and appropriately damp cloth to wipe the furniture. Avoid using wet cloths for daily cleaning, and use coasters under water glasses to prevent water marks. If stains or water marks appear, apply a small amount of wax—preferably a natural, oil-based wax, avoiding chemical-based products 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 maintained regularly. Under normal conditions, wax it every quarter to preserve its condition. If the furniture is old, professional restoration may be necessary to protect its material structure. Avoid prolonged exposure to strong sunlight, as it can alter the wood's natural color over time. If small scratches appear, they can often 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 distinct seasons. Generally, each piece of furniture stabilizes after undergoing four seasonal changes and becomes relatively stable.