Ancient props are fan dishes
It is constructed with old objects with stories and temperatures
A world of your own side,
In her opinion, each unique artifact
They are all miniatures from another time and space.
In the bucket room, through the utensils,
We can also enjoy a vast spiritual space.
The Host | About the host
Xuan Cuisine, ancient props collection shop owner, m80 manager. Graduated from the University of the Arts London with a degree in pure art, he is committed to the secondary construction of the impression of oriental culture. He has done installations, videos, paintings, and exhibitions. Today, she has opened her own collection studio, turning her preferences into a career.
"The significance of the artifact lies not only in itself, but also in the imprint of the life and experience of its former owner. And this small studio is the shelter and transit station of these experiences", through the utensils, the dishes perceive the picture of life, but also let themselves harvest far more than the reality of the colorful.
From left to right, they are: white porcelain peach tea bowl, Arita love flower, gold lacquer relief screen antique collection.
Treasure room, each piece is a lone product
XuanCai's studio is located in an old mansion on Taojiang Road, but there are few pedestrians here, and according to Xuancai, there is a "sense of seclusion in the middle of the bustle".
It is her hospitality, as well as an antique shop and treasure room. The shape of the room is not square, according to the trend of the wall, it is filled with exquisite objects with a history of decades and hundreds of years.
The wooden cabinets on the wall, from Shanghai in the 1970s and 1980s, house antique tea sets, intricately decorated glassware and coffee utensils, and form a wonderful still life painting with classical folding fans in the rear.
The tranquil landscape and various exquisite gadgets are in their place. With a nearly 60-year-old British antique butterfly table, there is a tea tray lined with bits and pieces such as combs and hairpins, which make people want to hold it in their hands and look at it carefully.
The unadorned walls have gradually become milder under the wear and tear of time. The chandelier above the head is shaped like a silk thread embellished into one, which is light and not oppressive at the same time, giving a sense of softness to the whole space.
What makes the dish particularly fond of it is the things with the oriental atmosphere. When she first arrived in London for university, the huge cultural barrier made her feel lonely and confused, but when she visited the flea market by chance, she felt a little comfort from the old objects with oriental aesthetic characteristics. As an art practitioner, she has also tried to use her own works to explore more possibilities of aesthetics in contemporary times.
Back in China, life has changed several times, but the collection as a hobby has been preserved by the dish, and eventually became a career.
In her many collections, many of the artifacts have lost their luster, and some have been marked with some damage and stains. But for Xuan Cai, this is what really moves her: the small bumps on the edge of the utensils, the handwriting on the surface of the screen, the damage, are the life imprints left by the former owner, so that the lifeless utensils are stained with a fresh breath.
"The life that one person can experience is extremely limited, but through these traces, you can enter into another life." ”
Meet friends with tea, comfortable
Further in the studio, it is a small tea room opened by Xuan Cuisine. It is used to sit and drink tea and entertain friends. The antique folding fan hanging from the window shows a bit of liveliness in the quiet and quaint. In the middle of a huge tea stack, "Wind Moon Master" four large characters ink dripping.
The furnishings in the tea room are full of careful thoughts: tea cabinets and tea tables are from the last century.
Drinking tea is a way to feel life. She may have started drinking tea unintentionally at first, but when she found herself more and more able to perceive subtle changes in tea, she really liked it.
"If someone had told me in the past that different teas, different waters, and different ways of making them could make a difference, I would never believe it. But now, I can really feel the difference. She said.
She will change different tea sets according to the temperament and mood of the visitors, and will also adjust the decoration of the tea room according to the season and mood.
A few simple utensils, under the keen perception of the owner, can change countless different faces and weather, which may also be the fun of the dish.
Today's home, which is only about 1 km away from the studio, is a public house of the last century, and it is full of distinctive characteristics belonging to the last century, which is exactly the style that Xuan Cuisine loves.
Add a few practical cabinet shelves, put on a favorite cover for the chair, hang your own carefully selected calligraphy and paintings, and the sense of life will naturally grow.
For her, home does not need too much mannerism: "In my impression, home is a private and comfortable place, I can sit comfortably, I can find what I want at any time, and there is a very suitable table for work, which is what I value more." ”
Nowadays, The dish is at its own pace, methodically living: every day, having breakfast with her boyfriend, the two go to their own studios, handle affairs, receive guests, and spend free time drinking tea, petting cats, and when they are not so busy, they can also meet friends for a drink. When they get home in the evening, the two will talk about their work and life for the day and make plans for the next step. "It's not so easy to arrange your life completely autonomously, but it's a lot more adaptable now." Xuan Cai said.
"At the very beginning of my life, I called myself a 'social idler.'" Xuan Cai said this, half self-deprecating, half self-satisfied.
In her view, there is nothing wrong with "idleness", which is not so much an adjective as a gesture and possibility of life: to be outside of reality and to enjoy the fullness of life.
DECO talks about aesthetics with The Dish
Q: Why did you make screens one of your main collections?
In ancient times, the screen was not only a practical object that played a role in shielding, but also a carrier of art such as calligraphy and painting. Screens were used for important ceremonies as a backdrop wall for the nobility, and together the screen and the people formed a three-dimensional picture, and it played the role of participants and builders of the scene of life. This complexity is one reason why I am fascinated by screens.
Where is Crystal Palace, a woodworking screen made during school in London, explores the boundaries of furniture and sculpture.
Q: Would it be a pity to change hands on your collection?
In my opinion, it's hard to really own anything, and no matter how much we value an object, it can only be used for decades at most. Collecting is a process of learning to say goodbye and transfer, and the important thing is not to have, but the experience and traces left by the encounter of people and things, anyone.
Q: What do you think are the characteristics of oriental aesthetics?
It should be said that it is fragile, and I have always had a feeling that the world is changeable and that nothing can be fixed forever, and I often find this in the artifacts of the East.
Porcelain and pottery, lacquer art and screw craftsmanship, for example, are beautiful and easy to break. Therefore, when I see that these beautiful things can be passed down to this day by chance, I will naturally have a cherished heart.
Q: Tell us about the aesthetic concept of the studio M80.
Integrating ancient art into contemporary life involves the circulation of collections, the transformation of old objects, the narrative decoration of space, the art of waiting for old objects, and good works will be left behind by time. Art is integrated into its own life context, rather than shelved; art is the beauty that emerges from daily life, and the "special things" that are outside the daily life, to build a force that pulls art back to daily life.
Favorite 4 pieces of orphans to share
Tea hanging
The scroll comes from Su Shi's poem "Lingao Idle Title": Jiangshan Wind and Moon, the impermanent lord, the idler is the master. Lin Qingxuan said that people with leisure are not easy to grow old. Idle, relaxed and open, is a very yearning state, tea holders change with the changes of seasons and mood, square inches of space also have infectious power.
screen
This six-strip screen, which has recently framed the wall of the space near the ceiling, shines in from the tea room, just in time to match the fine glitter of the oxidized silver foil background. For the display where the ground area has no clue. Also a good choice.
Qing Dynasty Swastika porcelain window pieces
Time left a moon white and a thin bluish blue, got one of them, and used as a pot for teapots.
Green Snake Paper Town
Paperweight in the shape of a green snake made of pig iron, with gold paint draped in green on top of the scale carving, and a broken tail looks more cute.
What does your idealist look like? Which key area of the home is the most important to focus on? We will select a wonderful message to send a fashionable store gift!
Producer | Sugar
Text | Blue Sacrifice Edit | Cold Face Photography | Li Hao Assistant | Nancy
Some of the image comes from |
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