The pair of magnificent Qianlong rosewood high relief Nine Dragon Passion Lotus pattern top box large four-piece cabinet is a standard top box standing cabinet type large corner four-piece cabinet, made of selected rosewood materials, the top and back cabinet board are covered with ash. The shape is flat and stable, the proportion is even, the cabinet and the top box are of equal material, and the frame is connected with a lattice shoulder mortise. The front is flat, the side of the hill is made of drums, and the latch and cabinet are provided. Both the door panels and the side hill panels are slotted with cross-belts to prevent cracking and deformation. The middle of the cabinet is equipped with a cage and two drawers. Between the feet are equipped with tooth plates, and copper boots are worn at the ends of the feet. The copper face page and hangtag of this cabinet are quite exquisite, the shape is elegant, the engraving pattern is exquisite, which is rich in decorative effects, and the contrast with the color of the rosewood cabinet is strong, which can dilute the dull feeling of large furniture. The most eye-catching feature of this cabinet is the high relief of the shovel floor of the eight cabinet doors and the cabinet plate, the carving process is exquisite, the layout is complicated and orderly, and the overall shock gives people a majestic and majestic power. The "shoveling" high relief is a unique process of the Qing Dynasty's "Great Inner Rosewood Work", that is, all the bottoms outside the pattern are bulldozed, so that the pattern is prominent and the three-dimensional sense is strong. Compared with the "grounding" relief method of general hardwood furniture, the same pattern, "shoveling" relief requires many times the man-hours. The relief floor of the court rosewood furniture is as smooth as a mirror, which is beyond the reach of ordinary craftsmen. The eight door panels and the two cabinets are both shoveled high relief five-clawed cloud dragon, or bowed or peeped down, the dragon body tosses, qi Yu Xuan, the dragon claw crossbow, strong and powerful, the foot tooth plate carved seawater river cliff, majestic. But seeing the dragon's head full, the double horns rising, the whiskers flying, the body tactful, the scales obeying and the dragon's claws stretching the crossbow, are all carefully portrayed. Each cloud dragon pattern is independently formed into chapters, and echoes each other, each cabinet door double dragon head slightly higher than the door frame, both consistent with the cabinet body and into the trend of expectation, a total of nine dragons, a clear metaphor for the nine five, the prestige of the four sides. The overall view of the paired furnishings, the lower cabinet gable two cloud dragons also face each other left and right, moving and echoing. In addition, in addition to Kowloon, the European classic "passionflower" pattern is the main carving pattern, which winds up with the dragon-shaped winding branches, which is flexible and natural, and the Western architectural style in the Yuanmingyuan is in the same vein. Passionflower ornamentation was very popular in the Qianlong Dynasty, and the Qianlong Emperor once wrote this flower in the summer of 1775 in the imperial inscription "Passionflower Fu", which shows his love. This cabinet ornament is not only based on the dragon pattern of the symbol of Chinese imperial power, but also supplemented by the gorgeous and colorful Western patterns, which is a representative work of the combination of Chinese and Western civilizations.
Remarks: 1. The old collection of the Mayil family in Denmark was purchased from Beijing around 1920
2. Old Collection, National Museum, Copenhagen, Denmark, 1937-2008;
For bidding for this lot, please contact the relevant business personnel of the company to apply for a special bidding number plate in advance.
This cabinet is the old collection of the Mayil family in Denmark. The relationship between the Mayi family and China is very deep, and in the twenty-eighth year of the Qing Dynasty, that is, in 1902, Wei Hemu. William came to Shanghai, China, and in 1905 founded Shenchang Foreign Firm, the predecessor of general electric company and the state-owned Shanghai Boiler Factory. In 1909 he was appointed Deputy Danish Consul in Shanghai. In 1915, due to the commercial needs of North China, Wei Hemu. Ma Yi'er went north, and after renting a former Qing Dynasty palace in Beijing' Beijing Hotel, which was close to the Forbidden City, Dayuanbao Hutong, renovated it as his residence in Beijing. Previously, the owner of the palace went to Shenyang after the revolution in 1911 and leased the mansion to the Danish Great Northern Telegraph Company as the residence of Danish telegraphers, which became a fixed stronghold of the Danes in Beijing at that time, known as the "Danish Exhibition Hall". Mr. and Mrs. Ma have lived back and forth between Shanghai and Beijing for many years, and they have a great love for Chinese culture, a wide collection, a strong interest in Peking Opera, and a friendship with Peking Opera master Mei Lanfang. Nearly a century later, his grandson Bai Mushen came to China again in 1991 to visit his grandfather's former life in China and publish the book "Ma Yile - A Danish Industrialist in China", and because of the origins of the previous generation, he also became friends with Mei Baojiu, the son of Mr. Mei Lanfang. In 1994, he was appointed Consul General of the Danish Consulate General in Shanghai, went to Beijing in 1995 to serve as Danish Ambassador to China, and in 2010 was appointed Director General of Denmark at the Shanghai World Expo. In his book "Ma Yile - A Danish Industrialist in China", Bai Mushen recorded that the Ma'ers had a variety of Chinese antiques in their homes and offices at that time, and they were even more interested after living in Beijing. They bought antiques through two sources, one was from antique dealers, and the other was to participate in the internal auctions held from time to time by the Sunqing Interior Ministry in the decade before Puyi left the palace from 1911 to 1924. His important position and great commercial success gave him more opportunities to give priority to the collection of art from the qing dynasty. Many Europeans in China at that time collected More or less Chinese art, and the Norwegian General Monte was a good friend of Mayer, and after his death, thousands of Chinese works of art in his collection were donated to the Western Norwegian Museum of Decorative Arts. When Maier died in Shanghai in 1935, his children collected the collections from his estate and transported them back to Denmark, where they began to exhibit in public at the National Museum in Copenhagen, Denmark, including ceramic figurines, bronze sculptures, Buddhist vessels, furniture and porcelain, including the pair of large cabinets.
This pair of Qianlong rosewood high relief Nine Dragon Passion Lotus pattern box large four-piece cabinet belongs to the high specifications of furniture, the art style and social environment of the Qianlong period and other factors have left a clear mark on this furniture, carving patterns in the same period of firing on the official kiln porcelain and royal building stone carvings can find relevant examples, its artistic and historical value can not be doubted. The workmanship of rosewood furniture is known as "rosewood workmanship", that is, according to the characteristics of rosewood, according to a unique process of processing a method. Specifically divided into two forms: one without carving, light and element into the instrument, combined with the noble texture and color of rosewood itself to give people a round, quiet feeling. Another, especially after entering the Qianlong Dynasty of the Qing Dynasty, in order to show the wealth and luxury of the Qing Empire, the use of the plastic nature of rosewood is exquisitely carved, when the Royal Manufacturing Office concentrated the craftsmen of Guangzhou, Suzhou and other places with high craftsmanship in the country, and produced a number of rosewood carved furniture with high artistic standards. The high relief of the shovel used in this pair of top boxes and cabinets is a typical representative of the peak craftsmanship of furniture in the Qianlong period. As a high relief of the shovel, the foundation is the shovel, which is extremely challenging in the rosewood life, and the intention and force must be consistent when shoveling the ground, in order to achieve a flat mirror effect. This pair of cabinet relief carving techniques are fascinating, the dragon pattern and passionflower pattern are interspersed with natural roundness, rich in layers, strong three-dimensional sense, and the effect of near-round carving is seen from the side. This set of large cabinets was the standard court practice, and during the Kangxi Dynasty, the Yangxin Hall Manufacturing Office created the "Oil and Wood Works", which mainly made royal furniture. The craftsmen of the manufacturing office are mainly from Guangdong and Jiangnan, and their different production techniques and styles are gradually integrated into The Beijing Works. Kyosaku furniture is mainly rosewood, and in terms of style and shape, it first gives people a feeling of elegance and magnificence, solemn majesty. Because of the pursuit of posture, the requirements for materials are very high. From the perspective of the proportions, materials and details of the mortise structure, such a large volume of four-piece cabinet was completed by a team, which should include craftsmen from guangdong, Suzhou and other southern regions and northern regions such as Shandong and Hebei. They do it according to the unified process, unified process and unified modeling of the manufacturing office, and set the culmination of the craftsmanship of various places, representing the highest production level of the furniture heyday of the Qing Dynasty.
The cabinet materials are extremely luxurious. For example, from the cabinet door materials, all the large materials are centered, and the two sides are spliced with small materials, which is extremely rare in the cabinet. Compared with similar rosewood cabinets, the top box door center has a piece of material that reaches a rare width of 34.6 cm, which is unique among other cabinets. The selection of materials is impressive, except for small parts such as the back plate and internal shelf, the rest are all made of high-quality rosewood. Beijing old Luban Pavilion craftsmen because the Venus rosewood is full of visible Venus strands as the top product, this group of large cabinet rosewood material selection of the best Venus small leaf rosewood large material, a large area of water ripple cross-produced by the douban texture, very rare, in today's extremely difficult to see. The Qing Dynasty promoted the precious hardwood with deep color, dense texture and fine texture, of which rosewood was the first choice, and many huanghuali furniture at that time was dyed dark to make it antique. At the same time, the realization of the upper layer's preference for thick and rich artistic style objectively depends on the excellent processing performance of rosewood. Therefore, in the court furniture of the Three Dynasties of Kangyongqian in the Qing Dynasty, rosewood products accounted for a great proportion, especially in the middle of the Qing Dynasty, the selection of materials was very exquisite, often requiring a clear color, no boils and no scars, no standard skin, uniform color, and some furniture even required to be made of the same wood. There are also more profound political reasons for the use of such materials that embody the royal orthodoxy and status.
According to the living environment of the Qing Dynasty and the requirements of the palace furnishings, this large four-piece cabinet should be placed in the main hall, arranged left and right, or stored in clothes and crowns, or stored treasures, which is essential for the Qing Dynasty court to live, and is the core furnishing of the main hall of the palace, occupying the most prominent position. Judging from the historical records of the Qing Palace, the number of such rosewood cabinets is rare, and there are currently more than ten sets of large cabinets in the Forbidden City in Beijing, all of which are displayed in various palaces. In the indoor environment construction of the Qing Dynasty, furniture and furnishings were often taken as an integral part of the indoor environment construction, which was considered together with interior decoration. According to the depth, opening and use requirements of the building, determine the type, style, scale, etc. of furniture, and carry out complete sets of design and configuration. This set of rosewood cabinets should also be designed and customized with a palace in the Forbidden City, generally arranged on both sides of the main hall, and there should be a five-clawed dragon screen and a throne in front of the cabinet.
At present, the number of rosewood cabinets that can be compared and seen in public and private bibliographies is extremely rare, and the number of large four cabinets of rosewood that is more than three meters high is even rarer. Checking the "Work File of the Office", compared with the tables, chairs, and thrones at that time, the production volume of the cabinet itself was very small. At the same time, due to its large size, difficulty in handling, and non-ordinary houses can accommodate it, it is often dismantled or converted to other uses in social turmoil, and it is extremely rare to pass it on in pairs, and in museums and private collections around the world, the well-made rosewood large four-piece cabinet is very rare, and the carving of dragon patterns is even more rare. At present, the four large cabinets with a size of more than 3 meters seen in the world are all based on the theme of five-clawed dragon pattern, except for the royal family, it is impossible for anyone to use the five-clawed dragon pattern and have the strength to have such a large number of rosewood materials. In the current surviving examples, only a pair of 4.4-meter-high rosewood cloud dragon large four cabinets displayed in the Taihe Hall in the Forbidden City in Beijing and a pair of 3.7-meter-high rosewood cloud dragon pattern large four cabinets next to the west mezzanine door are recognized at home and abroad. The Shanghai Museum also has a collection of rosewood large four-piece cabinets similar to the age, ornamentation and size of this pair of large four-piece cabinets, but no two top boxes were seen when exhibited. In 2007, Poly Autumn Auction launched a large four-piece cabinet with a height of 2.48 meters in the Qianlong Rosewood Square Horn, which set a record for the auction of imperial furniture in the Qing Dynasty at that time. The height of this pair of cabinets reaches 3.25 meters, which is worthy of the largest size existing outside the Forbidden City, and the quality is intact, which is indeed the only temple heavy weapon.
In order to facilitate the successful assembly of such a large cabinet body, the mortise and the large side are engraved with carpentry marks, and the pair of large cabinets are marked as "heaven" cabinets and "ground" cabinets abbreviated as "soldiers". "Yi Chuan Zhi Zhi Shang" said, "Heaven is honored and the earth is humble, and Qiankun is determined." Humble and high, noble and lowly. This is the ancients to describe the natural order of heaven and earth, the Qing Dynasty Ming system, with the left as the precious, the other and this pair of cabinets, the left is the "heavenly cabinet", the right is the "earth cabinet", the dragon head echoes in the direction, the momentum is magnificent. Coincidentally, the 4.4-meter-high Rosewood Yunlong Lianshan Dasi pair of cabinets displayed in the Taihe Hall of the Palace Museum in Beijing was also found to have carpentry marks when disassembling and assembling, marked as "large" cabinets and "he" cabinets.
Rosewood warms spring thunder
--The basic characteristics of rosewood
"Muddy into rosewood gold shavings, make the lute sound into it." Hu Di traveled thirty thousand miles, and that could be sent to Ming Jun immediately. "Where is Meng Haoran's "Liangzhou Words" writing rosewood? It is clear that they are painting and chanting, and the rosewood pipa full of gold chips is melodious, far away and clear, and is it true that friends who have traveled far away in Hudi have gone like pipa and not returned?
If Meng Haoran is good at writing, the Eastern Jin Dynasty Cui Leopard is lustful: "Purple wood, out of Funan, Lin Yi, color purple red, also known as rosewood." The Ming people, on the other hand, are both good at literature and lust, Wang Zuo's "New Treatise on Gemu": "Rosewood, out of the toes, Guangxi, Huguang." Sexual firmness, the new color red, the old color purple, there are crab claw patterns, the new one is soaked in water, the color can be dyed, the crown is the most wonderful. Near the straight one on the powder wall, the fruit is purple, and the remaining wood is not. "Ming Wanli WangShishi "Guangzhixuan": "Rosewood is crisp and lustrous, the texture is rhinoceros, the tree body is only arched, and the rosewood has no fragrance and white sandalwood." ”
The above words have clearly and clearly described the origin, size, pattern, color, fragrance, materiality, luster, immersion, new and old, and use of rosewood. We use this as a clue to unveil the mystery of rosewood one by one.
1. Place of origin
Among the wood used in ancient Chinese furniture, only the origin of rosewood is the most controversial. There are 6 main views, namely native to China, Southeast Asia, Thailand, Aden, Indian Ocean islands, and India. According to the scientific data available so far, the first five views are wrong. In 1918, Mr. Kong Qinglai and Wu Deliang, when compiling the "Great Dictionary of Botany", said: "Rosewood Pterrocarpus santalinus L· F., legumes, rosewood genus, East Indies origin ...", and the Indian scientist Pearson (R· S· Pearson) and H. P· Brown's book Commercial Timber in India marks the specific location of rosewood, or sandalwood, in southern India:
(1) The center of the sandalwood distribution area is the Cuddapah District (in Andhra Pradesh)
(2) The North Arcot & · South Kurnool Forests）
(3) The Godavari Forests
(4) Kurg and Mysore (Coorg & Mysore)
(5) The South Thana Division in Mumbai
According to the Tirupati Forestry Authority in Andhra Pradesh, India, Pterostilbene:
(1) Commonly found in arid broad-leaved forests in southern India;
(2) Mainly concentrated in the chittor east division of Andhra Pradesh, that is, in the Sashachalam hilly area of Tirupati and the Bhakarapet Mountains, velingonda hilly areas and srikalahasti mountains, generally growing at altitudes above 300-600 meters above sea level.
Mr. Feng Guangping, a botanist, believes in his article "Examination of the Names and Facts of Rosewood": At present, although the origin of P.santalinus (P. santalinus) is different, most of them agree that it is produced in southern India. Gamble (1979) argues that rosewood produces the Hills of Cuddapah in the Deccan Plateau, southern Kurnool, northern Arcot and Chingleput. Drury (1982) believes that the Palghaut Mountains, which produce Coromandel. Ahmedullah and Nayar (1986) believe that rosewood is found in eastern Ghatsila, Gudeb, Kanur, northern and southern Algod, Ginglebud, Dharmapuri and other regions. Raju and Rao (1987) believe that rosewood is found in the Gudberg, Chittoor, Nellore regions of Andhra Pradesh and northern Algod in Tamil Nadu. Kurmar and Sane (2003) believe that rosewood is native to Pondicherry in and Overhatch, India, and is cultivated in Orissa and West Bengal. Rao and Raju believe that sandalwood rosewood is endemic to the Eastern Ghats. Taken together, sandalwood is naturally distributed in the East Ghats on the east coast of India, in southern Andhra Pradesh and northern Tamil Nadu.
The author has repeatedly gone deep into the south and southeast of India, where rosewood originates, and the distribution area of rosewood natural forests is getting narrower and narrower, and only a small amount of rosewood can be seen in some forest areas of Andhra Pradesh. The origin of rosewood is limited to India, while other countries and regions are only sporadic introductions.
Second, the size
The Guangzhixuan says that rosewood "only arches the body of the tree", and hardwood row is also called "rosewood without large material". Judging from the actual size of the rosewood furniture left over from the Ming and Qing dynasties, the length is more than 4 meters, while the width of a single plate is less than 30 centimeters.
The diameter of rosewood logs I have seen in China and India is also 30-60 cm in diameter, but it is only a handful. It has a lot to do with its growth environment, the natural distribution area of rosewood has a hot climate, rosewood grows in the weathered reddish-brown rock surface, the land is poor, and the underground high-grade iron ore is very rich. The growth period of rosewood is too slow, and when it reaches a certain age, it will stop growing naturally and the phenomenon of heart rot and hollowness will occur, which is also the main reason for the "ten sandalwood and nine emptiness". The diameter of the small head of rosewood is mostly between 10-20 cm, and the so-called large material refers to more than 20 cm, and the rosewood of this size is now rare. The rosewood carved Kowloon passionflower pattern top cabinet that appeared in the Poly Spring Auction in 2013 is 325 cm high, and the left and right dimensions of one of the top box door core plates (generally made of four to five rosewood plates of different sizes) are: 34.6 and 25.2 cm; 18.2, 14.8, 13.2 and 13.2 cm, respectively. The left and right dimensions of the door core of the cabinet: 27.2, 23.0, 23.8, 23.6 cm. Among the known rosewood top cabinets stored at home and abroad, the size of the material used for the rosewood carved Kowloon passionflower top cabinet is very prominent. These rosewood heavy tools mostly appeared in the middle of the Qing Dynasty, which is also the year when the rosewood material is abundant, and the type of the instrument is huge and does not hesitate to work. Because of this, their fate is so terrible that they have been destroyed by the hardships of war and plunder, transportation and storage, and there is little left. In China and the world, the so-called rosewood heavy or large instruments are rare, in addition to the shape, process and aesthetic factors, the small size of rosewood is its main limiting factor.
Third, the pattern
Gold chip pattern, that is, rosewood surface venus dense, like gold chips leaking ground. This phenomenon is possible in both new and old rosewood, some are local, some are in pieces, and in plantations or growth periods are short, or grow in rosewood with superior production conditions, this phenomenon is less common.
Crab claw pattern, crab crawling is not in a straight line, leaving traces in a fine curved semi-arc. The slender, curly golden texture of the rosewood surface resembles the footprints left by the crab's claws, also known as the cow hair pattern, and the rosewood covered with cow hair pattern is the so-called "cow hair pattern rosewood". According to the surface ripples of rosewood and other indicators, the Indian government has divided rosewood into four levels: A, B, C and NG.
Rhinoceros pattern, Ming Wangzuo's "New Gegu Essentials" said that rhino horns "... Its pattern is similar to that of a caviar, called a millet pattern, and there are eyes in each millet pattern, which is called a millet eye, which is called a mountain rhinoceros. ...... Its color is as black as lacquer, yellow as millet, up and down are transparent, and the cloud head and feet are clear. Wang Zuo divided rhinoceros patterns into seven categories: there are rhinoceros with sky flowers, there are heavy patterns, there are positive patterns, there are people who pour through, there are flowers such as pepper bean spots, there are spots scattered and light color, there are black rhinos without flowers and pure black.
Rhinoceros patterns mostly appear in local or pieces of golden yellow, translucent rosewood, especially in the old rosewood that has been lying in the mountains for many years. This is the top of the rosewood.
Watercress, rosewood watercress is rare, the shape is round or oval, densely distributed or scattered, generally continuous, less broken. The watercress is a combination of golden yellow, purple-brown or black textures, which are sparkling under bright conditions, like the lake reflected in the morning light. Rhinoceros can also produce such a wonderful situation.
Pear pattern, rosewood surface texture is thick and wide orderly, light purple red with a dull luster of gray-yellow stripes, the proportion of wood is lighter than that of ordinary rosewood. Rosewood originates from plains with better growing conditions, in front of and behind houses, and in plantations with older trees.
Chicken blood, also known as chicken blood rosewood, is whole or mostly like chicken blood, dark purple-brown, almost no Venus, gold wire, and no translucent amber. Chicken blood rosewood is homologous to pear-patterned rosewood.
Fourth, color
The natural color of rosewood is purple or purple-brown. The new facet of the heartwood is orange-red, and over time it becomes a dark reddish-purple, purple-black or almost all-black with dark and light stripes. Song Ye Yanjue's "Incense Spectrum" said: Those with solid skin and yellow color are yellow sandalwood, those with clean skin and white color are white sandalwood, and those whose skin is rotten and purple are purple are rosewood. Its wood is not strong and fragrant, while the white sandalwood is particularly good. Qing Qu Dajun's "Guangdong Xinyu , Fragrant Language , Sandalwood "Lingnan also produces sandalwood, the skin is strong and the yellow is yellow sandalwood, the white sandalwood is white sandalwood, the skin is rotten and the color is purple and the rosewood is purple, all have incense. The white sandalwood wins, and the rosewood comes from the sea. In the humble book "Rosewood", the author believes that the yellow sandalwood, white sandalwood and rosewood of the "Incense Spectrum" and "Guangdong Xinyu" are actually one thing, that is, sandalwood, but they are named after the different colors of sandalwood, and the different families of rosewood that we see for hardwood furniture are not the same kind of wood. Rosewood after long-term sun exposure, the surface is grayish white, if the wax is hot after rubbing, it will quickly restore the true color of rosewood, not a kind of white rosewood in rosewood.
5. Aroma or taste
Rosewood generally has no fragrance and no taste. The new facets of rosewood sometimes have a slight fragrance.
Sixth, materiality
It is as heavy and dense as iron, and the dry density of the gas is 1.05~1.26g/cm3, and it sinks when it enters the water. Cutting is very difficult, and the saw is prone to sparks and clipping saws. But it is suitable for complex, slender carving. For example, the famous "rosewood worker" in history appeared in the Qianlong Dynasty during the peak period of rosewood retention, and the level of processing of rosewood reached the extreme, and vivid and realistic patterns could be carved in the small parts of furniture or other utensils.
Seven, luster
Rosewood tube hole is filled with red gum and pterostilbene, rosewood oil is also rich in the whole body, so rosewood is moist and creamy, such as silk, excellent feel, after polishing and scalding wax rosewood is still bright after hundreds of years.
8. Immersion in water
The water immersion solution is purple-red and has a fluorescent reaction. Wood chips, if placed in alcohol, immediately produce a dazzling golden red flame.
IX. Old and New
The new ones are red, the old ones are purple. The color of the new felling wood is orange and red, while the rosewood or construction materials that have been lying down for many years, and the logs or plates that have been stored for a long time are mostly purple-black-brown in color. Hardwood row also has the old rosewood and the new rosewood, in fact, both are the same tree species, from ancient times to the present rosewood there is only one kind of rosewood, that is, sandalwood rosewood, and there are not several tree species, this statement is non-scientific and unserious.
10. Uses
Rosewood is mainly used in India and Europe for dyeing, construction, utensils, agricultural tools or handicraft carvings, and ancient Indian rosewood sawdust or red rosewood extract is dotted between the eyebrows as a symbol of Hindu status.
The history of the use of rosewood in China dates back to the Eastern Jin Dynasty or earlier, and it should be made as furniture, musical instruments or other utensils no later than the Tang Dynasty. The Japanese Shosoin Temple has a collection of five-string pipa, rosewood painting groove pipa, rosewood gold and silver painting, spiral rosewood ruanxian, wood painting rosewood chess game, wood painting rosewood chess game double land, rosewood gold handle incense burner, rosewood painting rosewood gold and silver painting book. During the Ming and Qing dynasties, especially in the Qianlong Dynasty, the manufacture of rosewood furniture and utensils was very common.
In the decoration of the Yuan Da'er Palace Garden, there is a rosewood royal bed placed in the east clip of the Yanchun Pavilion Bedchamber. In the palace garden, there is a rosewood hall and a nanmu hall. "History of the Yuan" volume 131 "Yi Hei Lost Biography": In the twenty-fourth year of the Yuan Dynasty, the Ma Ba'er Kingdom, for eleven years or even, used private money to buy rosewood temple materials and offer them. According to the great inner building of the rosewood hall for the twenty-eighth year of the 28th century, its use is this material.
Rosewood has been described as a dye in Chinese history. Tang Cao Song's "Qinglong Temple Presents Yunhao Master": "The rosewood is dressed in incense, and the spring hall day is especially long." Here opened a new lecture, He Shan locked the old house. The History of Song Chronicle 15: "Rosewood, Zhu, Luo Wei, Soap Da Aya, Bronze Sword, Pei, Yushi, Doctor Fuzhi." The so-called "rosewood clothing" is clothing made of rosewood red extract as a dye slurry or other fabric. Song Li admonished "Building the French Style": "If you paint Songwen, that is, the common earth yellow in the body, first draw with ink brushes, then brush between rosewood, and purple sandalwood with lacquer ink to make it purple." Ink dot knots in the heart. Arches, beams, etc. are underneath the Hezhu Tong brush, and there are also ink or rosewood embellished with ink or rosewood in the Dandi, which is mixed with the name of the song text, which is called Zhuo Bai clothing. ”
Rosewood is also used in medicine, eaves decoration, handicraft making and many other aspects.
"Rosewood warms spring thunder, noisy cutting sounds one after another." The history and culture of rosewood have been passed down from generation to generation, and the sound and sound have been passed down, and there is still a long way to go to understand the understanding of rosewood and rosewood furniture, and there are still many unsolved mysteries that have not clarified the "true face of Lushan". The above words are written in a cursory manner, and scholars and collectors must not hesitate to teach them.
Standing Director of the Cultural Relics Restoration Professional Committee of the Chinese Society of Cultural Relics
Chinese Ming and Qing dynasty furniture material research experts