The production of classical Chinese furniture has reached a very high level by the middle of the Ming Dynasty. The prominent feature of furniture production in this period is the use of precious high-quality wood as raw materials, the interconnection between the various components, fixed without riveting, all rely on the combination of mortise and mortise, frame structure, glue closed gap to make furniture. Ancient Chinese craftsmen are well versed in the nature of all kinds of wood and the way of tenoning, and use their ingenuity to bring the possibilities of wood to the limit, this furniture production method can be said to be unique in the world, and can be called a perfect combination of practical and artistic models.
The study of Ming-style furniture has now become a specialized discipline, and Chinese and foreign scholars have a penetrating exposition, and the research content mainly revolves around the two major aspects of craftsmanship and materials, as well as the extension of historical evidence and art market. During the Ming and Qing dynasties, the scope of furniture was actually quite broad in terms of materials. Broadly speaking, in addition to wood, it also includes bamboo, stone, rattan, brown, screw, enamel, metal ornaments and other auxiliary materials, and it is accurate to say that wood is the basic material for Ming and Qing furniture. These basic materials include: yellow flower, rosewood, chicken wing wood, ironwood, ebony, acidwood, beech, nan, boxwood, camphor, and so on. Although the above wood is used for furniture, it has always been soft and hard, and the main materials used in furniture in the Ming and Qing dynasties are not the same. Hardwood furniture materials mainly include yellow flower, rosewood, chicken wing wood, ebony, acidwood, ironwood, rosewood and so on. Cork furniture, on the other hand, refers to all wooden furniture except hardwood furniture. The main materials used in Ming-style furniture are huanghuali, chicken wing wood and iron wood. Qing-style furniture uses rosewood and acidwood as the main materials. The reason why Ming and Qing furniture has left a strong mark in the history of China's material culture is inextricably linked to the characteristics of their respective eras, which is the product of the times.
First, the cause and effect of the social environment of the Ming Dynasty and the rise of Ming-style furniture
First of all, the Social Prosperity of the Ming Dynasty, the rapid development of the urban economy, the increase in the number of craftsmen, and with the increase in demand for garden architecture, the furnishings of furniture became an important part of the interior garden furnishings. In the Ming Dynasty, there were two peaks of garden construction, Chenghua, Hongzhi, Zhengde, Jiaqing and Wanli, and the various needs of the rich or nobles stimulated the garden construction. Countless pavilions, rockeries and ponds and other building places need a corresponding amount of furniture to support the decoration, and the strong demand has created a prosperous environment for the development and prosperity of furniture in the Ming Dynasty. In addition, although furniture production is handled by craftsmen, the reason why Ming-style furniture can organically combine exquisite craftsmanship with art and culture is directly related to the cultural blessing of the Literati of the Ming Dynasty. For example, we find from Tang Yin's linbook "Han Xizai's Night Feast Map" that he added more than twenty pieces of furniture to the painting, which fully illustrates the special interest of the literati in furniture. From the existing Historical Materials of the Ming Dynasty, it can be intuitively felt that the research and design of Ming Dynasty furniture are inextricably linked with the literati, such as Cao Zhao's "Treatise on Gegu Essentials", Wen Zhenheng's "Chronicle of Long Things", Wang Shisheng's "GuangzhiXuan", Gao Lian's "Eight Notes on Zunsheng", Gu Yingtai's "Museum Essentials" and other works can be seen that the Ming Dynasty literati have a profound understanding of furniture materials and aesthetic styles, which is unattainable by successive dynasties. Therefore, Ming-style furniture can best reflect the temperament of the literati and belongs to the literati furniture. The main reason why the Ming Dynasty literati participated in a large number of them was related to the imperial examination system. Although the Chinese imperial examination system was fixed in the Ming Dynasty, the literati were always influenced by the value that "the eunuch must go out of the right way". In the late Ming Dynasty, more and more scholars flocked to the field house, which brought great pressure to the imperial examination. Although the number of literati in the Ming Dynasty far exceeded that of the previous generation, due to the single subject, limited quota and the mistakes of examiners, more and more outstanding talents were blocked from the right path of the imperial examination. A large number of literati could not enter the career path through the imperial examination, and it became a common practice to abandon Confucianism and become a common practice in business, and then more and more literati and Confucians began to be filled among the landlords and rich merchants. Just as the so-called upward and downward effect, the Ming Emperor's emphasis and preference for furniture also has the icing on the cake, it is well known that the Emperor of the Apocalypse himself often personally handles the weight, and his skills are even better than the royal craftsmen, just as the so-called "Ming Xi Sect is in the palace, good at hand-making small pavilions, axe pounds do not go to hand, carving exquisitely."
In the face of the current situation of the country at the beginning of the Ming Dynasty, the central government implemented a series of policies for economic recovery, and agriculture was rapidly restored. During the period from Zichenghua to Jiajing, the Ming court stipulated several times that silver should be used as a substitute for service, which reduced the actual burden of shift workers and had a certain positive significance for the production of folk handicrafts. Craftsmen were liberated from the status of "labor slaves" of the Yuan Dynasty, various handicrafts flourished, the creativity of skilled craftsmen was activated, axe chisels were free to do as they pleased, and skills were at their peak, providing technical support for Ming-style furniture production. Along with the economic prosperity was accompanied by strengthening foreign exchanges, during the years from Yongle to Xuande, Zheng He led a fleet of ships to the West seven times, and a large amount of high-quality timber from Southeast Asia was imported into China by sea. At the beginning of the Longqing switch in the middle of the Ming Dynasty, hardwood furniture came to the fore and became a watershed for classical Chinese furniture. Fan Lian's "Cloud Scroll" reads: "Long, since the beginning of the ten thousand... Where beds, cabinets, tables, tables, all use pears, gall wood, ebony, acacia wood and boxwood, extremely expensive, cost thousands of dollars, but also a common one. "The abundance of materials provided a material basis for the production of furniture in the Ming Dynasty. Therefore, the success of Ming-style furniture is the result of political, economic, diplomatic, cultural, handicraft and other internal and external factors or intentional or unintentional, or direct or indirect resonance.
Second, Ming-style furniture and traditional concepts
Ming-style furniture aesthetic is simple and elegant, and the evil carving is inlaid. The Chronicle of The Long Things records: "If not, use wood, such as those with a thick tabletop, empty in it, slightly carved cloud heads, ruyi, and the like; do not carve dragons, phoenixes, flowers and grasses in various customs." "Guangzhixuan" records: "The Gusu people are intelligent and ancient, and they are also good at imitating ancient methods... Another example is the Jaitou Qing play, several cases, beds, nearly rosewood, pear as the main thing. It is still ancient and simple, not yet carved, that is, there are carvings in things, and they are also Shang, Zhou, Qin, and Han styles. The remote and remote areas of the sea are all imitated, and this is also the beginning of the Jia, Long, and Wansan dynasties. From the above records, it can be seen that Ming-style furniture shows the spirit and ingenuity of Chinese minimalist aesthetics. Intuitive Ming-style furniture can be known to be consistent with its artistic characteristics and documentary records, plain and elegant do not indiscriminately add carving, even if the carving is only a local embellishment, with simple and exquisite carving techniques to set off the overall beauty and artistry of the furniture itself, and not to dominate. As far as possible, the decorativeness of the ornamentation and the sense of belonging between the shape and structure.
In terms of materials, the industry has said that the furniture made of rosewood and yellow flower li is called "official kiln furniture". From the current large number of Ming-style furniture, it can be seen that making furniture made of huanghuali is the mainstream fashion from the late Ming Dynasty to the early Qing Dynasty. The basic aesthetic attribute of Ming-style furniture is that the material is mainly made of high-quality hardwood, and the natural texture and elegant color of the wood itself are fully explored and displayed, that is, natural beauty. Hardwood strong and strong properties for the craftsman to provide a physical basis and design possibilities, Ming-style furniture in the rational use of ancient architecture "big wood" and "small wood" tradition, through the style and structure between the independent and unified integration, while taking into account the practicality, successfully shaped the Unique modeling language and image characteristics of Ming-style furniture. If the shape and ornamentation are the appearance and beauty of Ming-style furniture, then the mortise and mortise structure is the soul of Ming-style furniture. Mortise, 剡木入窍也, commonly known as 'mortise', also known as 'bamboo shoot head'. The eye is the eyelet of the tenon head on the wooden utensil, or 'mortise eye'. More than 100 different kinds of tenons make furniture easy to disassemble, transport and repair and maintain, and various bearing components and mechanical properties of tenons and tenons have been most rationally designed. The exquisite tenon structure closely combines the various parts together, and the frame body is very strong and stable, but it makes the furniture shape appear ethereal, breathable and lightweight. The mortise and mortise structure of Ming-style furniture has outstanding performance in terms of technique, use and beauty. Ming-style furniture can be divided into bedding, seating equipment, living utensils, shielding utensils, storage appliances, hanging and supporting appliances with its functions. Each category strives to achieve a breakthrough in practicality and functionality from the perspective of daily life.
Third, the types and styles of Ming-style furniture are important
There are many types of Ming-style furniture, and its use can be roughly divided into six categories: beds, chairs, stools, tables, cabinets, screens, and benches.
Bed
Late Ming Dynasty Huanghua Li Tuo carved incense burner Shou character dragon phoenix pattern straight leg six-pillar shelf bed
During the Ming and Qing dynasties, people's room activities still maintained the habit of centering on beds. The bed belongs to two kinds of utensils in the strict sense. The bed is a bed and the bed is a seat. The former is used for sleep and the latter for hospitality. The "Interpretation of the Name and Interpretation of the Bed" records: "The bed on which a person sits is known as a bed; a bed." Loaded also, so self-loading also. Long and narrow and humble bed, it is said that the bed is close to the ground. Most of the tatami have no fence, also known as the "four-sided bed". The beds of the Ming Dynasty mainly include the shelf bed, the pull-out bed, and the Luohan bed. The shelf bed is the most used bed by the ancients, and the so-called shelf bed, as the name suggests, is a bed with a top frame. The summer in gangnam region is humid and hot, and it is necessary to hang a tent to block the infestation of small insects and mosquitoes. The method is usually to install columns in the four corners of the bed, the top of the bed is dustproof, called "dust-bearing", and the three sides of the bed are equipped with fences, and many small materials are used to form various auspicious ornaments. According to different functional needs, two or four columns will be added to the front and rear bed poles, so there are four-column, six-column and eight-column types. Huanghuali straight-legged six-poster shelf bed is a typical Ming-style six-poster shelf bed-shaped system, the bed seat is framed with a soft drawer at the four corners, the legs are inverted horseshoe feet, the four legs are equipped with plain long tooth plates, the top frame and eaves on the column, and there is a bed fence under the column, all of which are carved incense burner Shouzi dragon and phoenix decoration, and the decorative pattern is not common in the Ming-style shelf bed. The whole bed is basically well preserved, and the components are rarely matched, which is really rare.
Late Ming Dynasty Huanghua Li inlaid marble five-screen outrigger Arhat bed
The Luohan bed is a fence on three sides of the tatami, which has the function of sheltering from the wind and decorating. The shape of this type of bed is large and small, usually the large one is called the bed, and the small one is called the bed; and because the Luohan bed is used for sitting and lying, it is placed in the bedroom as a bed and placed in the hall as a bed. The huanghuali inlaid marble five-screen straight-legged luohan bed is a three-sided enclosure five-screen type, three back screens, one on each side, and the highest in the middle is lowered to the two sides. The five back panels are framed on the edges, and the frame is inlaid with marble, and the stone section generates a natural scenery of the landscape, and the five screens of marble are like a complete ink painting scroll with continuous landscapes, which is very interesting and pleasing to the eye. Seat surface with border plus soft drawer, this kind of rattan under the brown practice in the Ming furniture seat is commonly used, rattan flexible and comfortable, palm elastic, this fine rattan process as a furniture component form set beautiful, breathable, comfortable, smooth and many other advantages, the disadvantage is that it consumes labor costs, can not be durable, less than ten years, more than a few decades, rattan drawer damage must be re-woven after the new drawer. The contrast between the softness of the rattan surface and the solidity of the hardwood, and the gradual aging of the rattan surface in the process of use, the contrast with the color after the wood slurry highlights the simple and natural, elegant and soft beauty of the Ming-style furniture.
Stools
Late Ming Dynasty Huanghua Liyuan back three-joint carved cross chair (one pair)
Chair, seat, back reclining. Stools, narrow and long seats. In the Ming Dynasty, there were chairs, chairs, circle chairs, official hat chairs, rose chairs, backrest chairs, and so on. Stools come in several forms, such as square, rectangular, long strip, and circle. The cross chair is a relatively unique variety in Chinese furniture, and its predecessor is the evolution of the cross-legged, that is, the Hu bed introduced by the northern nomads in the late Han Dynasty. The chair originated in the late Tang Dynasty, flourished in the Two Song Dynasties, and was refined to Zhu Ming until the middle of the Qing Dynasty gradually declined. Judging from the current cross chairs, the basic feature of the shape structure is that the four legs intersect in front of and behind the four legs, which can be converted. With the junction point as the axis, the upper beam through the rope is sitting, the back corner of the seat is installed on the "chestnut circle" semi-closed into a brain, the backrest is dug into a single board or framed panel, the curved shape presented is in line with the natural curve of the human back, and maintains a 105-degree inclination angle with the sitting surface, people can sit on it and lean back, and the vine heart sitting surface naturally sinks 3 to 5 degrees deep when it is under pressure, forming a comfortable rest posture. The design of the cross chair is ergonomic in terms of seat width, seat inclination angle, backrest curvature, armrest length, foot pedal height, etc., and has a higher level in indoor furnishings, and can also be carried when going out on cruises and hunting. The back of this pair of yellow-flowered chairs is a circular arc of three-joint rings, the armrests are "cloud head" shape, and the curved head is also called "eel head" shape. The backrest is divided into three stages, with a transparent carved Shou character ruyi pattern on the top, a plain plate in the middle, and a bright angle on the bottom. The front and back legs intersect with copper shafts, and the feet step on the copper work of the bag flower. This pair of chairs is large in size, the whole body is covered with pulp, because the Ming Dynasty hardwood chairs are rare, and this pair of chairs is preserved in its original appearance, which can be said to be rare in the world.
Table case
In the late Ming Dynasty, Huanghuali had a corseted luo pot chess table
During the Ming Dynasty, there were many table cases, many of which were unique. This is a yellow flower Li chess table, this table is only from the outside to see and the general square table is no different, the table side of the ice plate line foot is "ice plate edge", four sides of the waist in the middle of a drawer, inward turn of the horseshoe foot, between the legs of the pot maple, this fir "go out to climb the slope" shape is a typical Ming Dynasty features. The highlight of this table is the living tabletop, which is opened to reveal the embedded double-sided chessboard, and then there is a central square well below, which contains the backgammon board, and there are small rooms on each side for storing backgammon pieces. If the desktop is restored, it can be used as a mahjong table, which can be described as a multi-pronged and ingenious. Although the case and the table are the same face and four legs, the shape of the case is different from the table, and the most obvious difference is that the four legs of the case are not in the four corners of the table but in some positions on the inside of the desk. There are two methods of case foot, one is that the case foot does not directly land on the ground, but falls to the mud, and the two legs share a wooden square; the other is that the legs and feet are directly grounded without supporting mud. The surface of this huanghua li head case is a single board, more than two meters, commonly known as "a piece of jade", and the two ends are tilted. The tooth plate is made of a wooden connection with the tooth head, and the front and back tooth plates are equipped with wear belts to support the case surface. The leg is straight and square, and the legs are equipped with a ganoderma lucidum pattern baffle, and the mud is dropped. The biggest feature of this case is that the nine parts are combined with a live mortise structure, which is flexible in disassembly and assembly. The use of single boards reflects the technical guidelines for the production of Ming-style furniture according to the material. The table case takes a large piece of wood as the whole material, which not only makes rational use of precious raw materials, but also fully expresses the best and most beautiful parts of the wood color texture. Among the Ming-style furniture that has been handed down, most of them are yellow and white materials, which has become a consensus in the industry, but there are also a considerable number of Ming-style furniture made of iron wood. This tree is a large evergreen tree of the Garcinia cambogia family, the newly harvested wood core is reddish brown, and later becomes black brown, and the color and texture are not significantly different from the chicken wing wood, which is more difficult to distinguish. Ironwood is the tallest of the hardwood tree species, so the material is strong and easy to obtain, which can be used to make large pieces of furniture, and the style is simple and heavy, such as Luohan bed, flat head case and so on. The iron wood is tough and the furniture is durable. According to the differences in iron wood materials in the industry, it is divided into "fine wire" and "coarse wire", and the color of "fine wire iron power" is reddish brown, smooth like jade, and the touch is excellent, which is mostly used to make large cases. The tieli wood double dragon baffle flat head case is made of large materials, and the case surface is nearly three meters long. The inner side of the case surface is slotted to install a single board core, and the edge of the ice tray is relaxed along the foot. The tooth plate is connected to the leg by a chuck tenon, and the cloud tooth head is reinforced. Begonia-style baffles are installed between the legs on the side, with a carved double dragon cross-tail pattern inside, and a floor-to-ceiling foot on the bottom. The most common case of plain teeth is to install ear-shaped teeth with plain teeth, and the cloud pattern and phoenix pattern are in order, this case is decorated with cloud pattern, beautiful shape, large body, especially rare.
Late Ming Dynasty Huanghua Li Live Mortise Single Plate Face Spiritual Zhi Pattern Baffle Warp Case
Late Ming Dynasty Tieli wood double dragon baffle flat head case
Late Ming Dynasty Huanghuali Bao copper live folding table
Late Ming Dynasty Huanghua Li Bao copper live folding table bottom live leg folding structure
The northern winter is cold, and the tile base is used to form a ventilated pedestal, and the fire below is burned for heating, called kang. The low-shaped furniture used on the bed or kang is called kang table, kang table and kang case, which belongs to the same category of furniture, and its function is to lean on, place utensils, etc. Its structural characteristics are no different from large tables, but the shape and structure are exquisite and varied. The biggest highlight of the yellow flower li bao copper live folding table is that the table legs can be folded. Looking at the folding structure of the living legs at the bottom of the table, it can be seen that the hinge and leg connections made in the shoulders allow the legs to rotate inwards, and the two horizontal firs between the legs can be rotated at the junction of the lower firs and the legs. The three wear belts at the bottom of the table are equipped with carousel strips, the middle wooden strip is used to fix the away table legs, and the two sides are used to resist the outer frame to ensure stability when the table legs are unfolded, and the overall design is exquisite, and the opening and closing are smooth and in place.
Cabinets
Late Ming and early Qing dynasties HuanghuaLi carved dragon pattern coupon mouth with railing bright lattice cabinet (a pair)
Among the excavated cultural relics, the earliest cabinets of the ancient era as of now should be the small box of the Chu Tomb of the Warring States of Changtaiguan in Xinyang, Henan, and the lacquered wooden clothing box of the tomb of Marquis Yi of Suixian County, Hubei Province. At that time, the shape of the cabinet tended to be closer to the box, and the so-called cabinet was actually a box. Cabinets developed into the Ming Dynasty due to the needs of life, there were many new styles to meet different storage requirements. There are rounded corner cabinets, square corner cabinets, four-piece cabinets (top box cabinets), bright cabinets and so on. Among them, the bright lattice cabinet is to combine the three forms of cabinet, cabinet and bright lattice into one, or the bright lattice is combined with the cabinet. The bright grid is the partition without a door, the bright grid cabinet is bright on the top, the lower layer is the cabinet, and the drawer is flat above the cabinet door. This kind of furniture is generally placed in the hall or kitchen, the bright compartment can be placed in the utensils for viewing, drawers can be placed in fine items, cabinets are used to store hospitality items and so on. This pair of yellow flower Li Liang lattice cabinet three sides of the ticket mouth through carved mite pattern, the lower cabinet door is open, the middle of the cabinet is equipped with a drawer rack, the internal space is divided into three layers, the middle is three drawers equipped with hangtags. The lower part of the cabinet is equipped with double-striated portal tooth plates. The yellow flower wood used in this cabinet is very good, the wood has a certain thickness, the door panels and other places are mostly a wood folio, the grain and color are basically the same, and the wood color and texture produce a symmetrical and beautiful decorative effect, which perfectly integrates artificial and natural. This pair of bright lattice cabinets is simple and generous, and the wood color used over the years is like steamed chestnut, the texture is amber, and it is rare to preserve in pairs, which is a masterpiece for generations.
screen
In the late Ming Dynasty, Huanghuali inlaid carved gray painted floor figure pattern screen heart twelve screens
The screen has been used as early as the beginning of the Western Zhou Dynasty, but this name was not used at that time. Although the lacquer seat screen excavated from the Chu Tomb of changtaiguan in Xinyang, Henan Province, is a funerary vessel, the production process has been very exquisite. In the Han Dynasty, the use of screens became increasingly popular, and until the Song Dynasty, they were mainly practical. Until the Ming Dynasty, the screen not only had the practicality of shielding the wind, shielding the line of sight, dividing the space, etc., but also became an indispensable decoration for interior decoration. Ming Dynasty screens are divided into seat screens and curved screens. The seat screen is to insert the screen legs into a special sturdy base, which is divided into two types: multi-fan combination and single fan interstitial screen. Curved screen is a multi-fan folding screen, belonging to the active furniture, also known as "soft screen", the number of fans is mostly double, more than up to twelve. Between each fan is connected by a pin hook or aya silk paste, it can be folded and folded when not in use, and it can be opened at a certain angle when used to stand upright, mostly for temporary furnishings. The screen center is framed with paper silk paste, which can be used for various decorations, or calligraphy or embroidery, and even more decorated with celebrity calligraphy and painting in the center of the screen, which can not only separate the space indoors, but also play a decorative and beautifying role, which is deeply loved by literati and scholars. The yellow flower and li inlaid gray painted screen is huge, which is used to separate the space in the larger hall, and consists of twelve single screens. Each fan is framed by two vertical materials and six horizontal firs, the consumables are amazing, the carving is exquisite, and the wonderful thing is that the engraved gray painted building character landscape map screen strip embedded in the middle screen center part. The engraving process has been circulating in China for a long time, and in ancient times it was called "style color", which belongs to the branch of lacquerware craftsmanship. The method is to hang a thicker layer of ash and then paint, and then engrave a concave pattern on the gray ground under the paint surface, and then fill the contour of the pattern with paint color, foil, gold and silver mud. The engraving process is suitable for abstract or figurative depictions of various subjects such as composition, plants, animals, figures, landscapes and so on. However, due to the fact that this process integrates the techniques of gold, silver, carving, lacquering, etc., there are fewer people who master the whole process of ash engraving technology today, so furniture with such decorative processes is more precious, from technology to design, etc. have important reference significance for modern ash engraving technology.
Bench
Late Ming Dynasty Huanghua LiKuo phoenix brand hangers
Hangers, basin racks, towel racks, lamp stands, dressers, mirror tables are the hanging and supporting utensils used in ancient times. Hangers are commonly used in living rooms and living rooms, but the shape and usage of hangers in ancient and modern times are different. Today hangers are used to hang clothes, while in ancient times they were used to hang clothes. The ancients mostly adopted the crossbar type. Insert two columns into the piers for fixation, and fix the transverse or transverse plate in the middle. The top of the column is equipped with beams, and the heads grow at both ends of the beams, and the ends are carved with dragon heads, crests, clouds, ganoderma lucidum and other shapes. The bottom of the crossbar is equipped with a middle brand, and there is a horizontal maple underneath. After the clothes are taken off, they are placed on the crossbar or the middle sign, and the sides are sagging. This yellow flower Li Kui phoenix pattern brand hanger two columns inserted into the drum pier seat, the drum pier double-sided relief petal pattern, the column and the top beam intersection is equipped with a transparent carved phoenix pattern horn teeth. In the middle, it is equipped with a brand of through-carved phoenix pattern, and there is a horizontal fir underneath. The middle plate and the horizontal fir at both ends of the column intersect with the column respectively, equipped with phoenix-patterned horn teeth. This hanger is exquisitely crafted and decorated with details in place, which is the finest of the Ming Dynasty Huanghuali hangers.
Late Ming Dynasty Huanghuali five-screen unicorn sending mirror table
Mirror tables, also known as mirror branches, are small dressers that can be moved at will. Because men and women in ancient times had hair, such furniture was a must-use item for daily life. In the Ming Dynasty, the mirror table became larger and more functional than the previous generation. The shape is mostly a small rectangular box with a table-like countertop, surrounded by a fence, with openings in the front fence, and a small screen erected in the back of the railing. The two ends of the screen gradually adduct in an arc, and the mirror branch is installed in the center to place the bronze mirror, and the ribbon on the mirror button can be hung on the bracket. There are several drawers on the front of the pedestal or in the double door facings, or there are drawers directly for all kinds of cosmetics. This type of furniture was quite popular in the Ming Dynasty, and was a delicate work in the furniture of the Ming Dynasty and a pearl in the crown. Huanghua Li transparent carving five-screen unicorn sub-pattern mirror table is five-screen type, the middle of the screen is high, decreasing sequentially to both sides, the two ends are arc-shaped, and the screen and mirror branch are decorated with transparent carving. The pedestal is surrounded by a six-pillar fence. There are two doors facing the front, and there are five drawers inside. This mirror table is intricately carved and large, and the original mirror branch makes this instrument more precious, which is a rare masterpiece in the Ming Dynasty mirror table.
Fourth, choose a profession, for the rest of your life, you can be a craftsman
Today, on the components of many ancient Chinese furniture, the craftsman's handwriting of the plate drawing line and marking material selection can still be seen, although the time has shuttled through hundreds of years, but at this time it will seem to be able to hear the craftsman's breathing and heartbeat, and the production scene of unloading, sawing and planing has appeared in front of the eyes.
It is precisely because of the inheritance of generations of "nameless masters" who teach each other, adhere to the loneliness of every inch, pay wisdom and sweat, and present wonderful works of ingenuity, that we can see the rich cultural heritage, and these mysterious crafts are just ordinary day after day for them. Although the life of most craftsmen is not well known, their lives have been sublimated and continued in the art of craftsmanship. Choose a profession, for the rest of your life, you can be a craftsman.
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