In 1921, the first catalog about Chinese furniture
was published in France under the title 'Chinese Furniture'. In 2013, the Palace Publishing House translated and republished this book and renamed it 'Examples of Chinese Furniture in the French Collection'. When translating and publishing 'Examples of Chinese Furniture in the Old French CollectionNow I take a corner of 'Classical Craft Furniture' to explain some understandings, which is also a piece of brickwork, but those who expect to be patiently advise, have a deeper understanding, and I can learn more about the current situation of these furniture. The text is cumbersome, and it will be published continuously in divided periods. I would like to inform readers. In the early middle and early Qing Dynasty, red lacquer and golden dragon-pattern plum blossom-shaped pier (Picture 1-1) Face diameter 36.8 cm, height 45.7 cm. The gold is painted for colored lacquer, and the real object can be circulated (picture 1-2), paired, and now owned by the French collector Mr. Rohan. Observing the real object, it is known as red lacquer painting and gold crafting. Figure 1-2 Red lacquer painted golden dragon pattern plum blossom-shaped sitting pier Arhat (French) Figure 1-3 Red lacquer painted golden dragon pattern plum blossom-shaped sitting pier seat surface dug into a plum blossom shape ( Figure 1-3), the surface is decorated with a plum-shaped outline with moiré patterns, and the neighbors are connected to each other. There is a chilong in each hook-moire pattern, with different colors, running in a counterclockwise direction, the dragon head turns back, and you want to go in the opposite direction. Inward, there are five small Kuilongs forming a circle, which are the same in shape as the Chilong in the outer circle but in the opposite direction of movement. Mr. Luohan highly praised this pattern layout, thinking that it was deliberately managed by the maker to form a strong sense of rotation and momentum. The petals in the middle are open, and the interior decoration is composed of phoenix patterns. The edge of the seat surface is decorated with a swastika brocade pattern. Figure 1-4 Red lacquer painted golden dragon pattern plum blossom-shaped pier-shaped waistband decorated with curly grass patterns. The tooth plates are draped and bulged out, and the gates are dug out, decorated with relatively chi-dragon patterns. A corner is made adjacent to the tooth plate, which echoes the plum blossom shape of the pier surface. The pier body is composed of five begonia-shaped members with protruding arcs like petals (pictures 1-4), which are carved into upper and lower ruyi cloud heads, connected in the middle, and decorated with passionflower patterns. The upper part of the component is decorated with Chilong walking through the curly grass. The structure of the pier body is complicated. Careful observation and analysis shows that the middle part of the begonia-shaped member is the pier leg and foot. The arc is connected naturally and is covered by a paint layer, so it is difficult to distinguish the legs and feet without careful observation. This is also a unique fortune of ingenuity. Drag the mud waist style, also with the stool surface is plum-shaped, the waist is decorated with curly grass pattern, and the lower owl is decorated with lotus petal pattern. Figure 1-5 The pier in Song Anonymous 'Eighteen Scholars' (Collected by the National Palace Museum in Taipei). This pier structure is extremely rare. The pier is covered with a tooth plate. Mr. Luo Han believes that this is the effect of covering the fabric on the simulated pier. The tooth plate There are more twists and turns on the edge, which is to imitate the effect of the sagging of the edge of the fabric. This concept has some truth. However, from a concrete weaving effect to a more abstract incisor plate, there are great changes. Chinese plastic arts mostly follow a certain gradual law. Therefore, the establishment of this inference lacks the discovery of intermediate state examples. . The begonia-shaped members connected to the piers are derived from the popular rattan or bamboo piers in the Song Dynasty (Figure 1-5). There is no doubt about this. We can see many examples of similar piers, all of them more or less. The shape factor of the rattan pier or bamboo pier, the consecration of the begonia-shaped member of this pier is decorated with lotus patterns, which can also be regarded as a special corresponding to the early winding of two adjacent bamboo or rattan rings. Extended reading: Appreciation of the development of Baroque and Rococo style furniture (1) Picture 1-6 Red lacquer painted golden dragon pattern plum blossom-shaped pier (collected by the Palace Museum) Picture 1-7 Red lacquer painted golden dragon pattern plum blossom A pair of similarly shaped piers (pictures 1-6) are also hidden in the Palace Museum on the seat surface of the shaped sitting piers. Judging from the decorations, they were made during the Kangxi period. The paint color is red and yellowish, and the pier is decorated with flowers and birds on the brocade floor (pictures 1-7), and the composition is still interesting to the Song Dynasty. Mr. Luo Han thinks that this pattern is beautiful, but all kinds of furniture can be used everywhere. It is not the case that the seat surface pattern of the pier should be specially designed. The seat pier hidden in the Forbidden City is large in size (38 cm in diameter and 47.1 cm in height), the tooth plate is relatively straight, the lines of each part are rough, strong and strong, and the style is very good, but the shape is not as smooth and natural as this pier. Both are good at each. Field, I hope readers can compare the tasting carefully. Figure 1-8. Sunflower-shaped pouf with red lacquer and gold passionflower pattern. The shape of this pier is strange and beautiful. Although we tried to analyze the source of some of the shapes above, there are still many innovative parts, which belong to an important node in the development history of Chinese poufs. . This kind of modeling is unique. Except for this pair and the collection of the Forbidden City, some of the similar ones I have seen are all late-stage inferior imitations, including the other poufs included on the same page (Figure 1-8). The first time I saw this pier in the book 'Chinese FurnitureThe image is shocking. Later, when I was shooting furniture in the Forbidden City, I saw a pair of similar people from the warehouse. They were ecstatic and talked with their friends. They were told that the piers in the book had actually been handed down to the world. They were Mr. Rohan, an important French lacquer furniture collector. all. Later, I got acquainted with Mr. Luo Han (a scholar-style expert who claimed to have been with Chinese furniture for 30 years). From discussing this pair of piers several times, I then expanded to exchanges on Chinese furniture and even Chinese and Western furniture and art. A lot. Based on this, the author's admiration and feelings for this pier are not only derived from its own artistic value and research value, but also excited to see the real objects recorded in books nearly a hundred years ago, and I am more fortunate to have met fellow friends.
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