The ancient Chinese literati pay attention to the cultivation of the mind, and the aesthetics of life in the Ming Dynasty flourished. The simplicity of the Ming style furniture, the clear lines and the structural harmony all give people a sense of subtle spiritual pleasure. The literati of the Ming Dynasty aestheticized all the details of daily life and poured their own aesthetic taste into it.
What is Ming-style furniture? There are many furniture genres in the Ming Dynasty. In addition to the Suzhou-centered Su Zuo literati furniture, there are gold lacquer, black lacquer gold, and lacquer gold royal lacquer furniture represented by the royal family, as well as distinctive features such as Jin. The genre of the representative, as well as a variety of other folk furniture genres. In the Ming Dynasty, the literati (Shi) had a high status and his status was only under the royal family, but the literati's preference had more influence on the society than the royal family. Therefore, the Su Zuo literati furniture, which was deeply influenced by the literati at that time, had a great influence on society at that time and affected the shape changes of other furniture genres at that time. Later generations extended this influence to the literati furniture genre in the early Qing Dynasty, which was called "Ming-style furniture." Because of the profound influence of the literati, some people call them "literary furniture."
In the late 16th and early 17th centuries, the huanghuali four-headed official hat chair (a set of four)
Have an implicit sense of spiritual pleasure
The beauty of Ming furniture is that its structure conforms to the natural physiological structure of the human body. As an instrument for sitting in the daily life, Ming style furniture does not aim at relaxing the body, but rather a correct posture. This reflects the literati orientation and is the cultivation and introspection of people. At the same time, Ming style furniture is designed with the human body as the basic scale. Its structure conforms to the human body structure, making people feel more comfortable and appropriate. It is also beneficial to people's health because it conforms to human physiology, and can be sedentary for a long time. tireless.
The aesthetics of life in Ming style furniture still inherits the tradition of literati aesthetics. The Ming style furniture reflects not the extravagant aesthetic pursuit, but the "Ninggu no time, Ningpu is no coincidence, Ningshao is not good" proposed in "The Long History", whose aesthetic character is rooted in the cultivation aesthetics of the literati. . Therefore, Wang Shizhen listed "sixteen products" for Ming style furniture: concise, simple, thick, dignified, majestic, round, calm, sturdy, literary, sturdy, strong, soft, ethereal, exquisite, elegant, fresh . This is intrinsically related to Tang Sikong's Twenty-four Poetry. The total aesthetic character of Ming style furniture originates from the literati aesthetics, advocating elegance and obeying the law.
In the selection of materials, the texture of the furniture wood should have durability and preservation, the color should be coordinated with the indoor environment, the overall color is simple, and the objection is strong. The Ming furniture of a house, especially hardwood furniture, is dark in overall color, and the whole furniture is not designed with spiritual relaxation. Referring to the experience of modern people, in the environment of Ming style furniture, the spirit is not easy, and it is not as relaxed and casual as modern furniture. The living environment created by Ming style furniture is a spiritual introspection that leads to the whole. The overall structure is square and simple, and the purpose is to let people feel peace, not slack. From the aesthetic point of view, this also shows that the aesthetics of life in China is not the indulgence of the senses, but the restraint of the senses, that is to say, the aesthetics comes from the innerization of the sensory experience.
The Ming style furniture uses a straight line, and there is a kind of consciousness that emphasizes nature and emphasizes individual style. This kind of aesthetic pursuit is internalized in the production of Ming Dynasty furniture, surpassing the practicality, making Ming style furniture have some metaphysical pursuit like art. Since furniture is an instrument that is difficult to leave every day, this metaphysical beauty is implemented in daily life, and the beauty of this instrument points to the heart.
Late Ming Dynasty huanghuali raglan green slate stone table
The combination of literati fun and folk art
Wen Zhenheng's "Long Story" is a model of the aesthetics of the literati life in the Ming Dynasty. The book "Long Records" consists of 12 volumes, covering all aspects of daily life, such as room rafts, flowers, water stones, poultry, paintings, several couches, genus of utensils, location, clothing, boats, vegetables, camphor, etc. Wait, all of them become the literati to express their sense of beauty and express their own taste. "Long Records" conveys that the aesthetic tastes pursued by the literati in the Ming Dynasty tend to be ancient, elegant, and quiet. It is also the aesthetics of the Ming Dynasty literati's life aesthetics.
In addition to furniture, all of the above-mentioned "long objects" are things and things that are not necessary for daily life. In ancient and modern China and foreign countries, aesthetics is based on the premise of "uselessness". "Useful" will cause damage to aesthetics and hinder the emergence of aesthetic appreciation. However, the furniture of the Ming Dynasty embodies the continuity between the daily utensils and aesthetics of the Chinese, and does not oppose daily life and aesthetics.
In the late Ming Dynasty, elegance and vulgarity have internal interoperability. The literati created an aesthetic space for themselves with aesthetic taste, as a living territory that was intoxicated, in order to escape the triviality of the Ming Dynasty social politics. Unlike other leisurely and elegant things, furniture is an instrument in life, and its practicality far exceeds other things. As the literati to create the most important instrument in the aesthetic space, furniture is inevitably integrated into the aesthetic taste of the literati, thus breaking the long-term isolation of Chinese artisan art and literati art.
Extended reading: 30 years of collection research, Ming style furniture, culture and graphic masterpieces
Ming Huanghua pear carving dragon dragon square table
According to Wang Shizhen’s "觚ä¸è§šå½•": "Wu Wuzhong Lu Zigang Zhiyu, Bao Tiancheng's cure rhyme, Zhu Bishan's rule of silver, Zhao Liang's rule of tin, Ma Xunzhi's rule fan, Zhou Zhizhi's rule, and Lu You'ai Kim, Wang Xiaoxi, Agate, and Jiang Baoyun, both of which are more than twice the price of the regular, and their people have a squat." (Wang Shizhen: "觚ä¸è§šå½•") Here is the literati who changed the past to the craftsman. Despising, the former and contemporary artisans were advertised as "Wu Wuzhong", and "sitting with squats" showed that the craftsmen and the literati had a communication. Zhang Wei once recorded the cloud: "Bamboo and lacquer and copper and kiln, completed work. Jiaxing's wax bamboo, Wang Erzhi's lacquer bamboo, Suzhou Jianghuayu's bamboo, Jiaxing Honglac paint, Zhang copper's copper, Huizhou Wu Mingguan's The kiln started with bamboo and lacquer and copper and kiln masters, and the people and the sergeant were sitting on the courtesy. Then the world is not enough for the nobles, the special person is self-satisfied." (Zhang Wei: "Tao Yumeng Recalling the "workers") shows that the status of the artisans who were low-ranking at the time has been compared with the literati.
The practical aesthetics of Ming-style furniture combines literati and artisans through a true temperament. The literati of the Ming Dynasty was deeply influenced by the mind, and the mind emphasized the respect for their own temperament. In particular, Wang Hao, from the Taizhou School, turned Wang Yangming’s “to the conscience†with “heart†as the core, and changed to “body†as the center, emphasizing “safetyâ€, “respecting bodyâ€, “preserving bodyâ€, “love body†and “respecting bodyâ€. . The attention to the "body" was finally implemented in the claim that "the daily use of the people is the Tao", and the existence of the human body is compared with the way of the saint. Li Yu’s desire to improve a person’s desires and secular life has risen to the height of ethics. He believes that “dressing and eating is the physics of human beings. Apart from dressing and eating, there is nothing to be said.†(Li Wei: “Answer Deng Buyangâ€) Respect for everyday life enables literati to promote temperament. This is combined with the simple and natural nature of the craftsmen from the folk, which makes the Ming style furniture have a true atmosphere. In terms of form, it is less use of carvings and more basic lines to present the material aesthetics and texture of the appliance itself.
Through the design and practicality of furniture, Ming style furniture will permeate aesthetics into daily life and excavate the beauty of life itself. At the same time, the aesthetic taste of the literati and the aesthetics of folk crafts have been exchanged. With practicality as the core, the literati and folk skills can be finally combined into a work of art.
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