Antique Furniture -- Say Goodbye to Comfort

Author: Liu Jian (Compiler)
Publisher:
Publish Date: 2004-09-01
Features: This book is a collection of works on the appreciation of ancient Chinese furniture, divided into four parts: "A Poetic Ode to Wooden Creations," "Appreciation of Fine Ancient Chinese Furniture," "Identification and Preservation of Ancient Chinese Furniture," and "Collection and Investment in Ancient Chinese Furniture." The book primarily explores modern people's nostalgia for ancient furniture. The growing enthusiasm for rediscovering the value of ancient furniture has become an undeniable fact, and an increasing number of consumer groups are joining the ranks of buyers of classical furniture. When writing this small book, the author hoped to help people understand it, appreciate its craftsmanship, and recognize its extremely high artistic and profound historical and cultural value. By introducing the identification and preservation of ancient furniture and its collection and investment, the book guides readers to discover and appreciate the artistic beauty of Chinese furniture. Furniture is a material necessity for human life, but to some extent, it carries an extremely deep cultural heritage, fully reflecting the spiritual and cultural connotations of the society at that time. Regarding early classical furniture, from the lacquered wooden furniture of the Han Dynasty, we can sense the restless atmosphere of a cultural transition period: a blend of romanticism and pragmatism, and a coexistence of theological and rational spirit. The style of Tang Dynasty furniture reflects its sociocultural form: open, inclusive, and embracing. Song Dynasty furniture continues to bridge the past and the future, though it may not be as magnificent, it still aligns with the cultural characteristics of the Song Dynasty that emphasize righteousness and reason. The famous Ming Dynasty furniture is an external manifestation of traditional Chinese literati culture, embodying a cultural core that values nature, rationality, philosophy, and Zen-like subtlety. Therefore, from its form, structure to decorative craftsmanship, Ming Dynasty furniture everywhere reflects the tendency of Ming literati to and artistic conception. Compared to other categories in Ming Dynasty culture, such as gardens, drama, and literature, it becomes clear that they share a high degree of consistency in cultural value orientation. Their creation is marked by a strong sense of subjectivity, rarely constrained by popular aesthetic tastes, thus truly becoming literati furniture. The Qing Dynasty furniture, on the other hand, reflects the transition from literati culture to nobility, making it the work of artisans under the rule of imperial taste. It is precisely the cultural traits of these exquisite ancient furniture, especially Ming Dynasty furniture, that give us every reason to view them as works of art. Taking Ming Dynasty furniture as an example, its unique artistic qualities—natural, ethereal, transcendent, exquisite, subtle, and restrained—its pursuit of an inner feeling centered on spirit and momentum, and the artistic realm of "words cannot fully express, yet there is meaning beyond the strings"—all make countless people admire it. As the renowned Chinese classical furniture scholar Han Hui said, "According to modern aesthetics, the ultimate artistry, craftsmanship, design, and diverse styles of Ming Dynasty furniture continue to awe the heart. Chinese furniture undoubtedly holds an immortal place in the history of world decoration." And how to guide people to discover and appreciate the artistic beauty of Chinese furniture is what the author hopes to achieve in writing this small book.