Chinese
Junyu
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Ming-style furniture is the most in line with the aesthetics of the literati, which can be called "the unity of literary quality".
Late Ming Huanghuali ice crack through the lattice cabinet
Ming-style furniture is praised by the world for its unique style, because of its stylistic characteristics, it is very suitable for the ideal of "unity of literary quality" in the aesthetics of the literati, and has reached the artistic realm of PuyuHunjin.
The term "Puyu HunJin" comes from the "Appreciation of the New Language of the World": "Wang Rongmu Mountain's huge source is like Puyu Hun Jin, everyone admires its treasure, and it is not well known for its instrument." "Puyuhun Jin is an aesthetic ideal of the Chinese literati tradition, which means natural beauty and unadorned.
This aesthetic ideal of admiring simplicity and nature but also beautiful and rejuvenating it has a great relationship with the dialectical relationship between "literature and quality" in China.
Ming Huanghuali Overlord Rectangular Table
The view of the unity of the literary quality is full of dialectics. In Ming-style furniture, the text and quality have reached a high degree of unity, and the beauty of their materials is both the inner quality beauty and the external literary beauty.
Ming Huanghuali flat head case
When Wang Shixiang talks about the beauty of Ming-style furniture, he summarizes the first of the "five beauty" of Ming-style furniture, which is the beauty of wood. The simplicity and smoothness of Ming-style furniture, natural simplicity, is to fully display the beauty of the wood's own material, texture and color, so we rarely see Ming-style homes with large areas of carving, in the overall structure, fully display the beauty of the material.
Ming Huanghuali has a belt to support mud four-legged square incense table
This aesthetic is very much in line with the Chinese literati's view of the quality of the chinese literati. In Yuan Hongdao's "History of Bottles", when talking about furniture, he said:
The room is natural and one, and the rattan bed is one. A few should be wide and thick, and should be smooth. Paint tables on the local sidebars, gold screw beds, and colorful vase racks are not used.
Among them, "several should be wide and thick, should be smooth" is to require furniture to fully display the delicate and magnificent beauty of the wood itself, and it is also a legacy of the Ming Dynasty furniture material concept.
In the early Qing Dynasty, the backrest of the Huanghuali was carved with a ruyi cloud head circle chair
The beauty of Ming-style furniture lies in the beauty of materials, due to the change of furniture wood, people's aesthetic taste has changed from the artificial beauty of paint to the pursuit of the natural beauty of wood.
In order to better reflect the natural beauty of these wood colors, when decorating furniture, the main process is to use unfiled paint, the so-called "clear water goods", which are only polished and waxed on them. This turbidity is what we think of as the true natural beauty.
In Wen Zhenheng's "Chronicles of Long Things", talking about the desk, he pointed out that "lacquer is particularly vulgar". I think that without lacquer, it is more elegant. This pursuit of authenticity was a very common aesthetic concept at that time, and it was also a complete fit for the literati to pursue inner authenticity.
This concept of pursuing the beauty of natural wood textures embodies the artistic purpose of the ancients to advocate nature and teach nature, so it creates a simple and dignified taste of Ming-style furniture.
Ming Huanghuali geometric pattern fence six-column shelf bed
"Like a ripple, better than a ripple." Carefully analyzed from an aesthetic point of view, it is the complete unity of light and ignorance, cang and beauty. It is said that it is bright, and the light of the pulp is indeed brilliant and eye-catching, but if you look closely, it is not a flash of light, but it is hidden, with a certain dark color.
This kind of light is very magical, saying that this kind of light is old, indeed after the baptism of the years without any irritability, but it is extremely fresh and feminine, like a pond spring grass, willows become songbirds.
The harmonious unity of ming and obscurity, cang and charm is extremely in line with the spirit of Chinese art and the principle of life of Chinese literati.