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The basic characteristics of Ming furniture

by:Jinlon Furniture     2022-01-30
Ming-style furniture is exquisite but not lewd, simple but not vulgar, and thick but not sluggish. Its unique aesthetic personality and artistic paradigm are also clearly reflected in the decorative patterns. 1. Pattern theme. Chinese pattern patterns have the characteristics of inheritance and convergence, and the productions of each era more or less contain historical factors. The decoration of each category may also appear in other categories. Ming poetry furniture is just like this. Many of its decorative themes are inherited, such as auspicious clouds, dragons and phoenixes, twisted flowers and plants, and legends of characters. These themes can often be seen in categories such as weaving and embroidery, ceramics, and lacquerware. However, the decorative themes of Ming-style furniture still have their own inclination and selection, such as pine tree pattern, bamboo pattern, plum pattern, orchid pattern, pomegranate pattern, ganoderma pattern, lotus pattern and other plant themes; mountain stone, flowing water, village house, Landscape themes such as pavilions; animal themes such as fish algae pattern, auspicious lin pattern, auspicious lion pattern, and magpie pattern are more common. In the choice of decorative subjects, the craftsmen of the Ming Dynasty were also very particular about occasions. This makes the subject matter of Ming-style furniture more in line with the specific application environment and the requirements of the user, and less pretentious. At the same time, they also pay attention to the combination of the theme and the furniture itself, and pay attention to the innovative expression styles of common themes. On [Lingzhi Wenji] [Lotus Throne], we not only see the two decorative patterns of Lingzhi and Lotus that have been used for thousands of years. The image also saw the unique artistic effect similar to sculpture produced by combining them with the shape of the furniture. 2. Decorative structure. The decorative structure of Ming-style furniture adapts to the characteristics of upright and strong, concise and lively, and the organization is more rigorous, well-proportioned, compact and orderly. The decorative structure of Mingshi furniture has an inherent organizational logic, which is characterized by a stylized (Knife). The origin of (Guazi) can be traced back to bronze decorations and tangled flowers. However, the decorative structures that developed and finalized these prototypes were undoubtedly the creations of craftsmen in the Ming Dynasty. There are many decorative motifs in the patterns of Ming furniture, such as Huacao Zi, Ruyi Kidney, Dragon Kidney, Grass Dragon Kidney, Animal Face Kidney Kid, Huiwen Kidney Kid and so on. The pattern design of the pattern structure created by the craftsmen of the Ming Dynasty has been used by later generations and constitutes the basic feature of traditional Chinese furniture. The decorative patterns of Ming-style furniture often give people a sense of squareness, stability, and uniformity, which is inseparable from the skillful grasp of the decorative structure suitable for furniture modeling and artistic quality by the craftsmen. 3. Performance techniques. The expressive technique of Ming furniture pattern pattern is quite superb, and its success lies in that it embodies the law of the beauty of form all the time. Ming-style furniture is mostly made of precious hardwoods, and the materials themselves have beautiful and elegant colors and textures. Therefore, craftsmen often only decorate small areas on some conspicuous parts, such as the backboard of chairs, the teeth of table cases, etc., carving some flowers and animals, or inlaid with a piece of jade, so that large plain faces and small pieces The decoration forms a sharp contrast, which not only highlights the effect of decoration, but also does not destroy the integrity and natural beauty of the body. Of course, there are no lack of examples of Ming-style furniture (wrong color engraved gold), but the craftsmen always follow the principle of contrast and coordination. Large-area carvings and engravings are always accompanied by bright edges or blanks. There is always room for (breathability) in the dense and redundant patterns. Therefore, the decorative patterns of the furniture in the Ming Dynasty did not adopt the processing method of engraving and inlaid bags, or the processing method of portraying and depicting, both of which maintained an ethereal and real decorative effect.
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