The traditional Chinese culture that has grown over the long years of thousands of years has not only been amassed in high-quality books such as French books and famous paintings, but also embodied in people’s ordinary daily life.
Any kind of culture has its own personality. Its character cannot be hidden. It naturally manifests itself in various kinds of life appliances and displays a certain special style. This ideological and humanistic factor that attaches to the material entity is truly Bring something of fun to collectors.
Therefore, reading the special language and symbols carried by these morphological carriers is a unique way to gain this joy.
The same as the plastic arts, the artistic language of Ming-style furniture is obviously different from other Chinese arts and crafts. As a vassal of ancient architecture, Ming-style furniture, like the building structure that houses and carries it, places great emphasis on the use of space.
In all of its praises, the word "conciseness" can best impress people today. In fact, the simple meaning of the contract is to minimize the cost of work and materials, and the decoration is minimal, even without decoration.
Without fancy furniture design, if it is not vulgar, simple but not simple, we must find new ways to use it for self-improvement. Then apart from space, Ming-style furniture has almost no reason, so there is no one Which form of furniture in the country can show more attention to space than Ming-style furniture.
Although the Ming-style homes are decorated with carvings, enamels, paintings, and embellishments, most of them are just a few. Some occasional makeup artists also win with their shapes. For example, the dragon-patterned flowers on the black-painted flat head case are designed to show the owner. Identity status, failed to conceal the beauty of the three-dimensional space configuration of this case, if you hide the color and ornamentation, only view the outline of the shadow, especially the styling and space of tacit understanding, can be described as lead wash to see all the truth.
As Huanghuali high basin frame shows, the interesting taste of Ming-style furniture lies not only in the overall shape, but also in the shape of auxiliary components and the spatial outline enclosed by adjacent components. Therefore, appreciation of Ming-style furniture cannot ignore its details. Processing and spatial organization forms.
The large curved chair circle on the Huanghuali circle chair, the open carving of the backrest plate, and the gentle silhouette of the door under the chair plate cut in and accommodate the originally invisible space and show a beautiful shape.
The body's own shape and space are kneaded into a whole, so that it is pleasant to watch, and it is good for ancient wood craftsmen. They are not only an expert in the anatomy of wood, but also the cutting hand of space.
Obviously, “empty spirit†is a kind of beauty presented by Ming-style furniture, which is benefited from its changing spatial processing methods—closed or semi-closed graphics, sometimes some kind of simple graphics, and sometimes many simple ones. The combination of graphics into a composite pattern.
The outline of the spatial relationship between the displayed components (virtual) and the shape of the component itself (actual) complement each other and hide the actual situation. This styling and contouring is like a door or window in a landscape architecture, and is often displayed in various patterns of closed graphics.
It is not difficult to see that the design of Ming-style furniture is not concerned with the exquisite carving of concrete decorative patterns, but the overall shape and reconciliation with the surrounding environment, paying attention to the rendering effect of furniture on architectural style, aiming at the pursuit of “artistic conceptionâ€.
The appearance of a combination pattern or composite pattern on a piece of furniture usually has a certain relationship with the function of the part, or it covers, encloses, or cuts off. These patterns are merely a combination of lines and do not have any texture. However, if these patterns are converted into furniture components, they can have a delicate texture and a transparent visual effect, making it the largest decorative element in all functional components. show off.
Looking at the space that has been cut off by the ancients, it is imaginary and insipid.
"Zhou Yi Chu Ci" day: "The metamorphosed person said the way, the shape of the next person said that the device, and the change of the cut that is called, and push the line that the line of the pass." This is exactly the thousands of years of traditional Chinese devices have been Follow the rules.
The shape of the furniture is generally an ancient one rather than a new one. However, the progress of the era makes it impossible to remain the same. It adopts a “retrofitting†approach, that is, under the premise of generally inheriting the old system, it makes partial changes. .
The structure and shape of Ming-style furniture is not only a continuation of the history of Song and Yuan Dynasties, but also a result of other art forms. In particular, it is deeply influenced by Chinese traditional architecture, gardens and other artistic categories, and is particularly good at extracting wooden structures and other artifacts. The structure and decoration factors are simplified and refined to become their own characteristics and style.
The structure of Ming-style furniture comes from the Chinese traditional large wooden beam structure, which is characterized by the use of linear wood splicing, basically without blocks, saving both material and light and beautiful appearance.
To reduce the material consumption as much as possible while satisfying practical functions is a basic process rule for many practical appliances including furniture. Its direct significance is to reduce costs, reduce weight, and avoid unnecessary use during handling and handling. trouble.
At the same time, the space divided by the vertical and horizontal wires is not meaningless, but it is as decorative as the components themselves.
It can be seen that in terms of design, the treatment of “emptiness†is not the expertise of modern people . The fact that hand-painted Ming-style furniture is sufficient to prove that the ancients have already reached a certain level of understanding and use of space.
The linear architecture makes Ming-style furniture an art of space. On the same piece of furniture, the space contrasts with each other, and one space can see another space. As the angle of view changes, so does the form of space. Some of the space is divided into vertical and horizontal short pieces into a combination of patterns, these expressions are influenced by the landscape architecture.
For example, the corrugated railing pattern painted in the Ming Dynasty garden monograph "Yuanye" appeared on a back frame of yellow pears. The ripples on the back surface can be seen through the stencil between the front and side panels. Fan live, two kinds of artistic plane graphics are related in perspective -
The jingle vouchers are like a stage foreground, which defines a stylized outline for the space within the square at right angles. The wafting rippled fans live like a stage backdrop and express an atmosphere of illusion and romance. They are set against each other, a poetic three-dimensionality. Spatial configuration has taken place.
In Ming-style furniture, this form of organization can be seen everywhere. Space and space form a similar contrast, interpenetration, and row-to-place relationship in literary works. These clever, harmonious and changeable spatial structures give people visual and aesthetic pleasures. , thereby triggering a rich association.
The formation of rectangular space on furniture is the product of a linear architecture. There are two aspects to everything, and while the wire structure shows its advantages, it is inherently accompanied by visual monotony and structural instability.
Due to the small size of the material, the connection surfaces of the components are small, and the quadrilateral is easily deformed, so the stability and firmness of the structure itself are insufficient. In order to make up for this defect, auxiliary components can be installed at the junction of the main components, and "kid" came into being.
Tooth can be used for various shapes, the common straight tooth, gutta perspex and pupils belly tooth, although it is acting as a supporting role, but its role can not be underestimated. In addition to stability and reinforcement, the tooth can beautify the furniture. It breaks the monotony and rigidity of the main frame in its geometric shape.
Needless to say, toothpick is an important styling method for furniture. Although it has no encircling chair, it does not have a pleasing backrest, but it has no graceful legs, and it also has a clear and transparent look, but it is also furniture. The artistic language is like an adverb and a conjunction in a literary work. It is not significant but important.
"Functional decision form" is the rule of thumb for all practical appliances. Ming-style furniture is no exception. The processing of certain rectangular spaces, such as between chairs and stools, is the most common, except for the use of dental prostheses. It is divided using tweezers, and then it is further divided by dwarfs or kazi flowers to form a composite space.
The direct purpose of this segmentation is to reinforce the unstable rectangular structure while breaking the visual monotony and beautifying the space. The place that was originally inconspicuous is active due to the addition of functional components such as toothpick, razor clam, dwarvish, and kaki flowers, and these components themselves can be decorated by embossing or openwork, and the most monotonous space becomes the richest. In the space of change.
In Ming-style furniture, it is a common practice to allow functional components to perform decorative functions at the same time. Rarely, there are components that are purely decorated and do not have any practical function. From this point of view, Ming style furniture already contains aesthetic pragmatism similar to modern design concepts.
"Opening up" is a unique way of dealing with space. The overall image is improved by changing the shape of the components, and is often found in the backrest board of a chair.
In the relief and openwork expressions, the latter's visual effects are clearly superior, or allow them to be open, or to openwork the moire, ruyi, wild beast, as well as animal and plant patterns and other auspicious patterns, with the eye-catching pen to introduce And open space. By improving the spatial organization of furniture, extending, expanding, and borrowing space, it creates a transparent, light and ethereal artistic effect.
Since you can use subtraction to create space like optimization and optimize the shape, you can use addition to achieve the same goal. The design and combination of "waist" and "daddy" belong to this form of space organization, both of which originate from the Xumi seats in the architectural platform.
For Ming-style furniture, although the waist is not a decorative focus, it can affect the overall situation. It is usually free of grain and is occasionally embossed or openworked to show its elegance and elegance.
Where the waist is to be retracted into the installation, such as the belt of the waist. It is made for the shape, play a foil role, there is no practical function, that is to say if there is no waist, only the shape is different, does not prevent the firm and use of furniture.
Convergence in appearance makes the waist very inconspicuous, but this does not affect its importance, the form of restraint reflects both the cultural characteristics of the implicit, but also highlights the outline of the upper and lower adjacent components. Under the waist, the proportion of furniture is more uniform and more elegant.
The deafness is not as common as the waist, and most of the furniture with waistband does not have any deterrent. It only appears on the furniture that has a more sophisticated or specific specification.
It is more inconsequential than the waist, but it is still an independent shape optimization component, not insignificant. Its value is also reflected by the waist, especially in high-waisted furniture, the use of the debridement can eliminate the monotonous and dullness produced by the direct connection between the waist and the tooth, so that the partial lines are rich and the contour is soft.
Although the waist and the braces have little practical value, as an art language and styling method, they not only add visual aesthetics of furniture, but also symbolize the perfect expression of Ming style furniture.
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