The design of Chinese furniture is quite difficult in the design of furniture. After more than a decade, I think that many people can't touch the doorway, so I want to give the designer entrepreneur a little more ideas.
The term "Chinese furniture" referred to here mainly refers to the current mahogany furniture. Accurately said: Contemporary Chinese traditional furniture is the question of this article: the design of traditional Chinese traditional furniture. Of course, some of the references in this paper are also applicable to the entire furniture design field. The word "Chinese" is no different from modern furniture design.
Many people think that mahogany furniture is historically, not only! It is rare to use such hard wood for furniture in all parts of China. Why? There is no sharp weapon, no current power tools, it is really difficult to do. In history, more furniture is made of wood commonly known as "wood". At that time, there was no "globalization", and trade and transportation conditions could not allow our ancestors to see so many wood species. About the "Yellow Pear" was used in the Ming Dynasty, its density is not very high, and the processing difficulty is acceptable. It is worth noting that there is no concept of "redwood" at this time.
The difficulty of Chinese furniture design is that this product itself is not only a daily necessities, but the cultural factors behind it are many designers, and the discussion of "culture" is the core point of this article. For the designers who want to make Chinese furniture, it is not only the standard of traditional furniture such as tables and chairs, but also the understanding of the culture behind them. Don't look at your own local culture. To truly understand, the difficulty is definitely greater than the design concept of modern furniture and western furniture. Our contemporary people have a deeper understanding of these concepts than ancient Chinese culture, which is also the result of modern education.
The ancient culture we are talking about is more of the Ming and Qing dynasties. In fact, the cultural system that the two generations of furniture continues is different. Ming was the last Han regime, and Qing was the majority ruled by ethnic minorities. The culture was different, and the political appeals were different. The background of Ming furniture is the inheritance of Song, which is derived from the daily life of the Chinese people and is based on the aesthetics of the Han people. This determines the cultural attributes of Ming Dynasty furniture. This attribute is consistent with other cultures in China during the same period, including literature and opera, and is comparable to the manufacturing level of other industries during the same period.
If the furniture of the Qing Dynasty is seen from the folk, it is not very different from the Ming Dynasty, especially in the early Qing Dynasty. But today, many people emphasize that Qing furniture is nothing more than two clues: one is the court, and the other is the late foreign culture.
Many scholars have talked about the court furniture. I won’t go into details here. I just want to say: This is not a tradition, or a source. The appearance of court furniture is the alienation of traditional Chinese furniture, and it is a change that has not developed on the normal track. Don't take this as a tradition. The tradition of Chinese culture is in Confucianism, and in the people, not in power.
Later, Chinese furniture production under the influence of foreign culture also had great problems, especially after 1840. At this time, China is already very weak, unable to absorb healthy nutrients normally, and the erosion of the spirit of national culture is the main aspect.
Today, few designers and entrepreneurs can analyze Chinese furniture from these angles. Chairs, tables, cabinets, boxes, etc., so some drawings are transferred around the enterprise. The so-called development design is more on the tip of the branch. There are about seven or eight thousand mahogany furniture manufacturers in the country, and there are really ones that have the ability to develop and design.
Second, the difficulty of designing and developing Chinese furniture is that many outstanding designers in the society can not understand the cultural essence. I have seen many works by outstanding designers, mostly symbolizing the elements of traditional furniture, thinking that this is tradition is Chinese culture. Some master designers from abroad also have a superficial understanding of traditional Chinese furniture, and cannot understand the essential spirit of Chinese furniture. Symbolization is a denial of the spirit and a lazy man.
For more than a century, China has mainly learned from the West in the process of modern modern times. We have reshaped our society with Western ideas, including values, moral values, and civilized systems. In other words, in today's entire cultural system, Chinese traditional culture is in a weak position. This is the result of the historical development of modern Chinese society, which is not personal. For example, design and aesthetics are foreign words. They are not in the framework of Chinese traditional culture. They are a complete modern concept.
Today's traditional Chinese furniture is just at the intersection of Eastern and Western cultures. The problem is: in today's national renaissance, we don't have our own furniture design culture. How can we revive?
What puzzles designers is another difficulty, that is, modern family life is very different from the past. Traditional furniture is not so comfortable to use, because it is often not based on practical principles but ethics. It is a continuation of the desire to develop product comfort, or to adhere to the original cultural symbol, which is often a dilemma. Here, designers face choices.
Third, what is the traditional Chinese culture reflected in furniture? I think the first is the production culture, which is the accumulation of thousands of years of civilization history in furniture production. The second is folk culture, which has evolved in the course of thousands of years of history, a thing associated with the sleeping and sleeping diet. The third is aesthetic culture. The furniture contains the most traditional and most typical concept of China. At present, this concept of beauty is at least influenced by foreign culture and reflects the local characteristics.
First talk about the production culture. The people of our country are very characteristic in the production of utensils. In the history, many artifacts were made by ancestors. The manufacture of our artifacts is highlighted in a "smart" character, reflecting the ingenuity of the working people of our country, and it has become a symbol of "Made in China" in history rather than today. Reflected in the furniture production "smart" is also very prominent. The root of traditional furniture manufacturing is the "æ¦«å¯ structure", which is also the soul of Chinese traditional furniture, which uses a clever word. There are a lot of articles about "榫å¯" including myself, and I won't repeat them here. But if you give up, you are no longer a traditional Chinese furniture, but a series of modern furniture. This is an important dividing line. In addition, the traditional "finishing" and "splicing" of traditional furniture is also very characteristic.
The production of traditional Chinese furniture and the traditional Chinese architecture have the same blood relationship, which is one of them. Analysis of the structure of traditional Chinese architecture, including Chinese folk wood carvings, helps to understand the traditional furniture manufacturing technology. The basis for the development of products by Chinese furniture designers is also.
Then talk about folk culture. Furniture is a daily necessities, as it has been in the past. It is the daily necessities that are derived from everyday life. A history of Chinese furniture is a history of the evolution of Chinese living and living. From the seat to the "hu bed", to the high seat, until now, the stereotypes and maturity of ancient furniture are reflected, which reflects an important aspect of the lives of our people, which is often not seen in the official history. This kind of thing is very interesting and can be a fun point in design. The humanistic characteristics of traditional Chinese furniture are very strong, fully embodying the Chinese nation's concept of "apparatus."
China has a vast territory, and only Han people have different styles and customs in different regions. Guangdong is different from é—½, and çš– is different from Hubei. In particular, Jin, Su, Zhe, Lu, Xiang, Yi and Yue furniture have their own history and characteristics. These differences are very clear, just as different dialects in these places are different, but modern times are blurred for various reasons. If you put Shanxi furniture together with Guangdong furniture, you can see it clearly. Regional culture is the foundation of folk culture and another interesting point in traditional Chinese furniture design.
Finally, I said aesthetics. Where is the key point of Chinese aesthetics? What is different from foreign countries? This is a topic to be discussed from the bottom of our culture. Simply put, it is an aesthetic concept formed by the influence of Confucian culture, Taoist culture and Buddhist culture. For example, "subtle beauty" is a typical Chinese aesthetic culture. For another example, the pursuit of "skinny", "transparent", and "qu" also fully reflects the traditional aesthetic pursuit of China. Another example is the concept of "circular side", "outside the circle" or "the place above the circle". These are all different manifestations in the furniture.
Reflecting beauty through lines is also a very special aesthetic concept for Chinese people. In traditional furniture, the visual dynamics created by the lines are a very important expression of beauty. It is especially important to note that the smooth expression of the Ming Dynasty furniture is the most attractive part. In addition, the two common decorative techniques of "starting the line" and "punching" are also a manifestation of the line. These techniques of making decoration allow one to observe different homes at different angles and thus have a line of sight movement. The movement produces beauty, and our ancestors are very clear.
Over the past decade or so, the design of traditional Chinese furniture in all furniture designs is the most difficult. The furniture in the Ming and Qing Dynasties is doing well, and it is not necessarily good to look at the original copy. Why? The environment of the bearing has changed, and the proportion of space in the furniture is different. If the designer does not have a very sensitive spatial scale, he can’t grasp it. of. It is harder to leave the Ming and Qing dynasties to design originals. Why? Without ideas, your design has no theoretical support, no development system, and only the pattern change can be changed.
Difficult! Contemporary traditional furniture without design culture is difficult!
Fourth, but the designer is not without any room, but can say that the space is still very large.
First, the furniture is now carried out under the conditions of contemporary industrialization. The highly developed industrial processing capability has made us and our ancestors no longer in the face of hardwood. Modern industrial processing is a better way to open, dry, reclaim, engrave, polish, and paint.
Second, we have the opportunity to see and use much more rare wood than the predecessors. This is not to say that the Ming and Qing dynasties, where traffic and trade are closed, are impossible before the Republic of China and before the reform and opening up. If it is not reform and opening up, not globalization is not the WTO, we have no conditions to see. More wood provides the foundation for today's traditional furniture design boom.
Third, the improvement of living standards today, especially the improvement of living conditions, provides a space for furniture design that can be fully developed, and the design has a better place to play. At the same time, under the great conditions of national rejuvenation, the topic of national culture will attract more people's attention. Through more people to participate in the discussion, there will be a clearer understanding of the problems of Chinese furniture design.
Fifth, the road to solution. This is the prescription, which is the hardest. The manuscript is handed over to the editorial department, and they suggest that you have a solution. I know that it is easy to say that it is difficult to open a prescription. However, the editor proposed not to do it, but had the right to resist it.
One of the recipes: change the view of wealth on Chinese furniture, especially mahogany furniture. The first thing to do is to restore the material properties of the furniture. Furniture is a piece of equipment at home, and we now call it "commodity" more. Use, originally the first attribute of furniture. I don't know when to start, buying furniture is like buying stocks, which has aroused everyone's wealth and enthusiasm. Indeed, the valuable hardwood has risen a lot in value over the years, and the focus on this point has exceeded the attention of furniture use value. If the public's view of the wealth of Chinese traditional furniture mahogany furniture does not change, producers will continue to make products that deviate from their own attributes. Of course, this era is lost in money. If consumers only think about wealth and have no other requirements, it is difficult for producers to improve.
Fang Zizhi 2: Change the cultural concept of mahogany furniture. Culture is the second attribute of furniture. Different ethnic groups and different regions form a unique living culture in the long history process, and furniture is the representative of living culture. Therefore, the second thing to do is to restore the cultural attributes of the furniture. Chinese traditional furniture represents Chinese traditional culture and represents the traditional Chinese tradition and traditional morality. The Ming style furniture that is now being made is basically imitation of Ming Dynasty furniture. But if you put the two together, you can clearly see the difference. Why? It is the culture is different. As mentioned above, subtlety and introversion are the typical elements of China's beauty. This is reflected in Ming Dynasty furniture and many Qing Dynasty furniture, but it is not found in today's Chinese or mahogany furniture. Modern demands are exposed and publicized. Most people think that this is "beauty", so the implicit is no longer. Moreover, the different living cultures in different parts of the past reflect different furniture in different parts of the furniture. So there are: Su Zuo, Jing Zuo, Guang Zuo, as well as Jin style, Hui style and so on. Today, from the south to the north, from the east to the west, the country is doing the same, which has a little regional characteristics. Without geographical features, it loses a local cultural identity. If these can't return to the original point, it is still difficult to design furniture.
Fang Zizhi: The producer needs to go back to the past. Many of the previous ones are proposed for the big environment, and the following are more for the producers. Today's Chinese-style furniture makers do ancient Chinese style furniture, but many people know nothing about the ancient culture of their country. Why? What is the reason? How did these different forms of furniture come from, and how did they evolve? I don’t know. I gave the drawings and imitated them, so the things that came out were only the cats and cats. Many of the traditional Chinese furniture that we have done in this era lacked God. There is no soul to "spirit"! Therefore, the producer must return to the past spiritually, and regain the ancestors' respect for creation and respect for production. For example, the engraving thing, in the past, a woodcut carved, at least three years of apprenticeship. The use of carving techniques is very cautious and very elegant. All the sculptures that can be seen on the furniture of the Ming and Qing Dynasties today are of a very high level of art. Hyundai has power tools and engraving machines, and the engraving patterns that are rampant in furniture are shoddy and unsightly. What's more, when you put a piece of furniture from the head to the foot, there is no place to start, how to respect the "object"?
Fang Zizhi: A little more innovative spirit. As mentioned above, the lack of research and development capabilities of many traditional furniture manufacturers is a big problem at present. More companies simply can't talk about design and development. They rely mainly on a few drawings. They sell according to what they do. Where does the culture come from? So the fourth prescription is that mahogany furniture manufacturers should increase investment in R&D innovation. .
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