When the bright moon hangs high and everything is silent, in the ancient study, under an oil lamp, those quiet and far-reaching classical furniture seem to tell the story of thousands of years. Chinese's love for furniture can be described as unique and ingenious. In ancient times, furniture was not only a necessity for home life, but also a symbol of status and cultural accomplishment. Tonight, let's unravel the mysteries of these precious pieces of furniture and discover the extraordinary craftsmanship and unique culture behind their depths. Huanghuali, red sandalwood, and big red sour branches, behind these familiar names, are witnesses to the ultimate pursuit of materials and craftsmanship. Why did the ancients be so demanding about the selection of furniture materials that they were almost obsessed? This is not without purpose, but has a profound cultural connotation and spiritual pursuit. The first "quality" is simple, but behind it is the crystallization of the wisdom of the ancients. As a heavy weapon in the home, furniture represents the glory of the family, and naturally needs to be stable and durable, so that it can be passed down from generation to generation. The Chinese' choice of rosewood is a hard material that is inseparable from their unique smelting technology. At that time, China's smelting technology was leading the world, and the invention of woodworking planers allowed these hard materials to be carved into shape.
With the opening of the sea ban in the Ming Dynasty and Zheng He's voyage to the West, he brought back precious hardwoods from overseas, which also brought a turning point for the production of classical mahogany furniture. However, it is not enough to be "strong", the ancients paid more attention to "tattoo beauty". Imagine that those delicate and silky wood grains have been transformed into lifelike pictures in the hands of ancient craftsmen. Huanghuali's "ghost face", "raccoon spot", red sandalwood dense red clouds, these natural patterns are highly respected in the Ming Dynasty craftsmanship, they do not need too much carving, simplicity in nature, the concept of the unity of nature and man is reflected in these furniture. Inevitably, we have to talk about those very characteristic colors - "colorful". The golden yellow and purple black of Huanghuali, the noble purple of red sandalwood, and the festive jujube red of big red sour branches are not only gifts of nature, but also a reflection of the aesthetic taste of the ancients. In those days, the color of furniture could intuitively reflect the owner's taste and status. Poets often say that when you taste something, you know its person. The "smell" of ancient furniture is undoubtedly the most poetic quality. The fragrance of huanghuali, the sandalwood of red sandalwood, and the sour fragrance of red sour branches, these elegant aromas are not only to satisfy the enjoyment of the sense of smell, but also have far-reaching significance.
In ancient times, incense was believed to refresh people's hearts and spleens and have the effect of prolonging life. Talented and beautiful people often use these fragrances to make incense tubes, sachets, or burn spices when reading books and poems, in order to purify the soul and enhance the sentiment. How can such furniture not make people flock to it? They not only represent a way of life, but also a cultural inheritance. During the Ming and Qing dynasties, classical furniture became the pinnacle of Chinese craftsmanship and was praised by the world. However, these pieces of furniture, full of stories, have become rare today. Spanning thousands of years, the furniture that contains the wisdom and emotions of the ancients still quietly tells their stories. In the clean lines of modern homes, the shadow of classical furniture can occasionally be captured, as if it is a messenger of time, telling us one story after another about tenacity, beauty and cultural heritage. Let us cherish this legacy, because it is the crystallization of the wisdom of the Chinese nation and our common wealth. In that era when the art of wood carving was prevalent, there was a mysterious and seductive word quietly circulated - "sexual run". It is not only a praise for the good oiliness, toughness and non-decay of wood, but also a reputation for the gloss and transparency of furniture after fine polishing.
This kind of beauty is as smooth as satin, as smooth as amber and jade, and as delicate as a baby's skin. At this moment, have you been deeply attracted by this description and want to explore the mystery of this "sexual moistness"? Let's start with red sandalwood and huanghuali. These two kinds of wood with excellent texture, in the hands of the wood carving masters of Xianyou and Dongyang, can turn decay into magic. They use these two kinds of wood to carve people, flowers, birds, rare birds and animals, and the details are extremely vivid. Have you ever imagined that a knife slashes through the wood, and the "horizontal" carving is still strong even if the wood fiber is cut, what kind of ingenuity is this? It is precisely because of this unique material that the carving can withstand hundreds of years of wind and frost without deformation, breakage, decay and decay. Carpenters can display their talents and skills on such materials, as if they were on a blank sheet of paper with no boundaries. On the other hand, when we talk about another meaning of "sexual moisturization", the "old mahogany" furniture that has been ground and polished by veteran craftsmen becomes more precious and charming through their skillful hands.
Without the need to paint, the oiliness of the wood itself gives the furniture a subtle fluorescent effect, transparent or translucent, delicate enough to the touch. Over time, these pieces of furniture will slowly form a natural protective film in use, the pulp, which will be more moisturizing and delightful. In the Ming and Qing dynasties, mahogany furniture was not only a daily necessities, but also a carrier for the literati to pursue art and aesthetics. According to historical records, the literati and scholars in Jiangsu and Zhejiang put down their pen and ink and walked into the design and production of mahogany furniture. This culture of "player furniture" makes the design of furniture full of creativity and cultural heritage. The Emperor of the Apocalypse of the Ming Dynasty was one of them, and even indulged in playing with furniture, so much so that the government and government abandoned it. The Yongzheng Emperor also had a soft spot for the production of small mahogany pieces, and personally approved the royal family, and the participation of the royal family undoubtedly made this craft famous. Do you know how fascinating this art is when the emperors of a country are obsessed with it? The classical furniture of the Ming and Qing dynasties, because of such a high level of attention and participation, the skills have become more and more exquisite, and it has become a legend that is difficult to replicate in later generations. These pieces of furniture not only bear the traces of history, but also the crystallization of the painstaking efforts and wisdom of generations of craftsmen.
They quietly tell the glory of the past, waiting for those who have a heart to discover and cherish. To this day, traces of these classical pieces of furniture can still be found in collectors and museums. Each one exudes a faint fragrance of oil, as if telling their past. In this fast-paced modern society, you might as well slow down, find a quiet afternoon, and feel the charm of "sexuality" for yourself. Perhaps in a casual moment, you will suddenly understand why mahogany furniture can survive for a hundred years, and why those ancients were so fascinated. "Sexuality" is not a simple two words, it has a profound cultural heritage and skill inheritance behind it. This is a good story in the history of ancient Chinese arts and crafts, and it is the crystallization of the wisdom and hard work of countless craftsmen. Now, let us work together to inherit and protect this endangered skill, so that the key of "sexual run" will continue to open the mysterious door of classical furniture, so that the world will continue to be amazed.