The Aesthetic Rules of Ming Style Furniture

Seeking unity and change in change is an important rule that constitutes the beauty of form. In the long-term production practice of Ming-style furniture, the artisans of the Ming Dynasty understood the importance of this aesthetic rule and used it relatively freely, leaving us with many immortal masterpieces. Take the Huanghuali armchair as an example. The contour of the chair circle with a large curvature prominently becomes the main theme of the shape of this piece of furniture and constitutes the characteristic of this piece of furniture. The other components echoed it, setting off this theme. As the visual center of the chair, the image and arrangement of the wishful flowers on the backrest are more refreshing. Centering on the tufted flower, the teeth on both sides of the backrest, the angle teeth on the upper end of the front legs, and the left, right, and back teeth plates of the seat are unified. This group of small-curvature decorative components echoes the main ring, backrest and other large-curvature components, playing an orderly contrast. It is no exaggeration to say that this armchair is a beautiful pleasure with a circle as the main melody. Bring extremely rich changes into a high degree of harmony and unity. Curves are rich in elasticity. The shape of Ming furniture uses more curves in proportion. It absorbs the fine traditions of Chinese painting lines, and has the essence of smooth stretching and the combination of rigidity and softness. Whether it is a force-bearing member with a large curvature or a decorative molding with a small curvature, most of the floral decorations and the tooth plates are simple and vigorous, round and smooth, without any pretentiousness, unpretentious corners, and sluggishness. Take, for example, the legs of the Huanghuali Couch Lian Er Men Hucui. The baseline of the Huanghuali couch is also the cutting line of the material used for the legs of the couch. The contour of the outer edge of the leg is divided into three sections. The upper section forms a small curvature from outside the base line to the base line, the middle section basically coincides with the base line, and the lower section vigorously wraps inward to form a horseshoe-shaped outer contour curve. Make a graceful arc on the upper line of the inner edge contour line, starting from the inner reference line, returning to the reference line at a distance of about 60-100 mm from the ground, and then bending it outward with another curve to the ground line, forming a rich The elastic horseshoe foot contour line makes the foot strong and strong. Compared with the dull and feeble inversion horseshoes in the late Qing Dynasty, the styling effect is quite different. Carved decorations are widely used in Ming-style furniture, either simple or complex, with a very high level. Ming-style furniture pays attention to the consistency of carving and structure, and does not engage in false carvings, let alone damage or weaken the strength of components. Techniques include shallow carving, flat relief, deep carving, open carving, vertical carving, etc. The composition is mostly symmetrical, or evenly balanced patterns appear in the symmetrical composition. The subject matter is diverse. Animal patterns include dragon pattern, phoenix pattern, chi tiger pattern, Kui pattern, lion pattern, deer pattern, unicorn pattern, grass dragon pattern; plant patterns include curly grass pattern, twisted branches pattern, peony pattern, bamboo pattern, plum pattern, Ganoderma lucidum Grain, treasure pattern; other patterns include cross pattern, swastika pattern, ice crack, wishful cloud head pattern, jade ring, rope pattern, moire pattern, water pattern, flame pattern and geometric pattern. The carved parts are mostly in the furniture's dental board, back board, end of the component, etc., which is flexible and eclectic. From the perspective of styling effect, it plays a role of finishing touch and set off. The general characteristics are rounded swordsmanship, well-defined layers, moderate density, neat lines, complete shapes, and vivid images. The function of metal trims is consistent with the decorative effect. Ming furniture uses metal trims, first of all focusing on practicality, either for opening, or for carrying, or for protecting the corners, or for strengthening the joints. On the premise of meeting the functional requirements, metal ornaments play a beautifying role and become an indispensable means of decoration for some furniture. Ming-style furniture uses metal decorations mainly in boxes, cabinets, and cabinets, followed by crosses, top chairs, screens, and some special Kang tables. The metal ornaments are mainly made of white copper, which is a copper-nickel alloy, which has a soft color and is far better than brass. On the high-end furniture used by the emperor, there is also a kind of gold metal piece that is hammered with gold and silver wires on an iron plate with an inscribed hammer. Commonly used ornaments include face pages, button heads, tags, nose wear, locks, hinges, pull handles, wrap corners, and some special metal parts. Face pages and hinges are often round, rectangular, rectangular, round, and wishful cloud head shapes, etc. Hang tags are mostly shaped like peach, gourd, fish, bat, bottle, chime, etc., and button heads, locks, handles, etc. have more functions The more concise shape determined. Copper ornaments often achieve decorative effects through changes in their contours.
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