On November 17, Zhang Dexiang and Ke Xisi's 16 pieces of Jinsi Nanmu Ming style furniture sold more than 22 million yuan in Jiadeqiu. Zhang Dexiang believes that only the outstanding craftsmanship matching the precious wood can finally create the furniture treasures of the handed down family.
Chen Lin: "Although it cannot be said that the work plan chosen by the ancient craftsmen was the only correct one, it was indeed an extremely subtle and wise choice at the time."
Those who know a little about Ming style furniture should see the Arhat bed unconsciously. But most people may not know that the seemingly square, simple and simple Arhat bed is hidden. The best place to work, the junction formed by the side and the rear panel must be aligned with the sash angle of the bed; for example, its three-sided slats seem to have a climbing posture, and The corresponding upper edge of the enclosure is also slightly arched. In addition, the legs of the bed should not only be rough in proportion, but also slightly outward, in order to form a stable lower plate together with the wide tooth plate.
"The structure of the Arhat bed is relatively simple in Ming furniture. It seems simple and simple, but regardless of the proportion, structure, or every inch of the craft, there are many subtle and subtle ways, it is quite difficult to copy." In the eyes of collector Zhang Dexiang Ming-style furniture is "simple but not simple." If the proportion of an inconspicuous detail is improper, it may cause a difference of a thousand miles and a thousand miles of regret.
However, in the modern furniture collection industry, as well as in the classical furniture manufacturing industry, the phenomenon of heavy materials and light craftsmanship abounds. In the words of Zhang Dexiang: "The extent of the ridiculousness of the slabs makes people unable to move their lives." Invited by Beijing Nanshufang, he and the American collector Ke Xisi, according to Wang Shizhen’s "Ming-style furniture research" and the Ming Dynasty furniture, in the form of engraving, with gold silk nanmu as material, hand-built including three screens 16 classic Ming furniture including Luohan.
Both of them are disciples of Wang Shizhen, the "first player in Beijing". "The purpose of our re-enactment of Ming-style antique furniture is to let more people understand the exquisite craftsmanship behind Ming-style furniture and the intellectual legacy left by the ancients. This is the original intention of Mr. Wang Shizhen to study furniture." Zhang Dexiang said. On November 17th, these 16 pieces of Jinnanmu Ming-style furniture appeared in the special edition of Jiadeqiu's "Maycheng in the long--Nan Shufang Jinsi Nanmu", and the works were completely taken away by the collectors, and the high price of 22120000 yuan was recorded.
"Wooden is afraid of the round"
"Porcelain is afraid of the square, the wood is afraid of the round", Wang Shizhen has been hanging on the mouth of the mantra, in Zhang Dexiang's view is not a rumor. He admits that the most difficult thing in this re-enactment of furniture is two pieces of round furniture - five-legged inner coiled incense and double-moon cave door canopy canopy.
“In the same year, Mr. Wang Shizhen’s family had a five-legged scented scent of huanghuali, which is now in the Shanghai Museum.†Zhang Dexiang recalled that the scent he saw in Wang Shizhen’s home was thick and round, and he could not see Go to a blunt straight line. "Although the volume is not large, but in terms of roundness, the process requirements are very high." Whether it can completely follow the craftsmanship of ancient craftsmen to achieve smooth and round, Zhang Dexiang did not fully grasp. He first made large samples of pine wood, poplar, and the like, which were similar to the woody land of the golden sage. After many experiments, he found the doorway.
“The method used by artisans in ancient times was very clever. They first used the frame to install a flat and soft 'waterblock line' on the surface of the fragrant surface. When shaping, the bottom of the fragrant panel was slightly tilted to make it The dental slab naturally bulges and forms a convex male line at the edge." Zhang Dexiang explained the scent of the calves. At this point, the craftsmen rushed through the air and let the legs of the fragrant legs go from the shoulders. The following bulges outward, and then the heel is formed into a hemispherical shape, and finally falls steadily on the mud. Zhang Dexiang believes that such ingenious craftsmanship is difficult to achieve using modern mechanical tools.
And the canopy bed, which is much larger than the incense, is as complicated as the workmanship. On page 192 of Wang Shizhen's "The Study of Ming Style Furniture", there is a picture of a clear and complete double-moon cave door canopy. The door cover, the side wall and the hanging plaque on the bed are evenly covered with the hollow "Haiyan cross and the side" and "Lantern brocade", which are not only exquisite, but also the visual effect of Hua Huali is quite rich and happy.
Many people think that these complicated hollow lines are directly carved out by the craftsmen on the wooden board. However, after observation and repeated scrutiny, Zhang Dexiang’s team found that all the lines were actually “spliced†out. "When a small sea otter grate is used, it is necessary to use four pieces of wood to bite together with the structure of the shackle shoulders, and then we must dig it around to form a 'cross shackle'." Zhang Dexiang calculated before preparing for the engraving. In an account, a "cross-bow" consists of a structure of four shackles and 36 slashes. In this way, the whole bed is made, the number of parts is nearly 3,000, and the structure of the enamel is more than 4,000. The number is amazing, and it is difficult to calculate the grinding and production time.
But the ancients used this kind of work at the time. "Like the ancients, all the patterns were spliced ​​with wooden strips. The expansion and contraction of wood affected by temperature and climate was completely neglected, and this structure can withstand various external forces and is durable." Zhang Dexiang found out after the test, "The ancients used this method." The machine not only makes the best use of it, but also fully considers the solidity of the bed frame." If they use a whole piece of wood to sculpt the flower clusters, the horizontal girders seem to be in one go, but under the swell of thermal expansion and contraction and external force, it is extremely easy. Cracking and breaking, "good-looking but not tossed."
"Seven-point process"
The ancients had a jargon about the furniture collection: three-point material, seven-point craft. In fact, this is also the international community's judgment on classical furniture collection. The reason why Ming style furniture can become the pinnacle of furniture manufacturing history in China and the world depends not only on precious wood, but also on the various elements of craftsmanship, such as curvature, proportion, structure and volume. And the delicate scrutiny of the relationship between them.
Ke Xisi has a deep understanding of this point. During his seven years as the curator of the "Chinese Classical Furniture Museum" in California, he refused a lot of wood, but the craftsmanship was very clumsy. "Some people think that it is a pity, my reason is very simple, clumsy work is the failure of these furniture, but also why they can not be used as antiques." In this re-enactment process, although Ke Xisi is not responsible for making all-round furniture, However, the production process of furniture such as plate-type multi-layer grid still impressed him.
Compared to the Arhat bed, incense sticks, and canopy bed, the construction of the multi-layer grid seems to be simpler. "But you have to know that its board foot and the ruler board are made in the middle of the double-layer board. It is not necessary to elaborate on the labor costs." What makes Ke Kesi unexpected is that The frame and the connection between the frame and the grid are in the form of lattice rags, that is, the front and back sides are mutually shackled. As a result, nearly one hundred baboons are related to each other. "As long as there is a slap in the square, it will affect the overall effect. 'Take the whole body and move the whole body', in the words of your Chinese, it is 'full of loses'." Ke Xiaosi recalled the entire process of engraving, The sweat on his head is slightly slim.
"Appreciate classical furniture, you must calm down and take time to try to figure out." Zhang Dexiang said frankly that in the process of the whole engraving, he and Ke Jusi must always imagine themselves as craftsmen living in ancient times, and smashing the surface. Only think about the most essential problem - not only to save wood, but also to test the work with time and various external forces. In the end, they realized the mystery of it. "Although it cannot be said that the work plan chosen by the craftsmen of the ancient times was the only correct one, it was indeed an extremely subtle and wise choice at the time."
Of course, in the process of the engraving, Zhang Dexiang and Ke Jusi also made some modifications to the details. For example, in the process of Zhang Dexiang's re-enactment of the squatting backboard in the senior executive hat, the number and the amount of materials used have been increased on the basis of strict imitation of the original, in order to make the chair look more straight and straight. Close to the aesthetic standards of modern people. "Taking its essence and going to its dregs is the concept that contemporary people should uphold and adhere to when they recite classical furniture." Zhang Dexiang said, "So, the exquisite craftsmanship and civilization of the predecessors will not shrink in the hands of future generations." Declined and forgotten.†Zhang Dexiang believes that only the outstanding craftsmanship matches the precious wood, which can finally create the furniture treasures of the handed down family.
Chen Lin: "Although it cannot be said that the work plan chosen by the ancient craftsmen was the only correct one, it was indeed an extremely subtle and wise choice at the time."
Those who know a little about Ming style furniture should see the Arhat bed unconsciously. But most people may not know that the seemingly square, simple and simple Arhat bed is hidden. The best place to work, the junction formed by the side and the rear panel must be aligned with the sash angle of the bed; for example, its three-sided slats seem to have a climbing posture, and The corresponding upper edge of the enclosure is also slightly arched. In addition, the legs of the bed should not only be rough in proportion, but also slightly outward, in order to form a stable lower plate together with the wide tooth plate.
"The structure of the Arhat bed is relatively simple in Ming furniture. It seems simple and simple, but regardless of the proportion, structure, or every inch of the craft, there are many subtle and subtle ways, it is quite difficult to copy." In the eyes of collector Zhang Dexiang Ming-style furniture is "simple but not simple." If the proportion of an inconspicuous detail is improper, it may cause a difference of a thousand miles and a thousand miles of regret.
However, in the modern furniture collection industry, as well as in the classical furniture manufacturing industry, the phenomenon of heavy materials and light craftsmanship abounds. In the words of Zhang Dexiang: "The extent of the ridiculousness of the slabs makes people unable to move their lives." Invited by Beijing Nanshufang, he and the American collector Ke Xisi, according to Wang Shizhen’s "Ming-style furniture research" and the Ming Dynasty furniture, in the form of engraving, with gold silk nanmu as material, hand-built including three screens 16 classic Ming furniture including Luohan.
Both of them are disciples of Wang Shizhen, the "first player in Beijing". "The purpose of our re-enactment of Ming-style antique furniture is to let more people understand the exquisite craftsmanship behind Ming-style furniture and the intellectual legacy left by the ancients. This is the original intention of Mr. Wang Shizhen to study furniture." Zhang Dexiang said. On November 17th, these 16 pieces of Jinnanmu Ming-style furniture appeared in the special edition of Jiadeqiu's "Maycheng in the long--Nan Shufang Jinsi Nanmu", and the works were completely taken away by the collectors, and the high price of 22120000 yuan was recorded.
"Wooden is afraid of the round"
"Porcelain is afraid of the square, the wood is afraid of the round", Wang Shizhen has been hanging on the mouth of the mantra, in Zhang Dexiang's view is not a rumor. He admits that the most difficult thing in this re-enactment of furniture is two pieces of round furniture - five-legged inner coiled incense and double-moon cave door canopy canopy.
“In the same year, Mr. Wang Shizhen’s family had a five-legged scented scent of huanghuali, which is now in the Shanghai Museum.†Zhang Dexiang recalled that the scent he saw in Wang Shizhen’s home was thick and round, and he could not see Go to a blunt straight line. "Although the volume is not large, but in terms of roundness, the process requirements are very high." Whether it can completely follow the craftsmanship of ancient craftsmen to achieve smooth and round, Zhang Dexiang did not fully grasp. He first made large samples of pine wood, poplar, and the like, which were similar to the woody land of the golden sage. After many experiments, he found the doorway.
“The method used by artisans in ancient times was very clever. They first used the frame to install a flat and soft 'waterblock line' on the surface of the fragrant surface. When shaping, the bottom of the fragrant panel was slightly tilted to make it The dental slab naturally bulges and forms a convex male line at the edge." Zhang Dexiang explained the scent of the calves. At this point, the craftsmen rushed through the air and let the legs of the fragrant legs go from the shoulders. The following bulges outward, and then the heel is formed into a hemispherical shape, and finally falls steadily on the mud. Zhang Dexiang believes that such ingenious craftsmanship is difficult to achieve using modern mechanical tools.
And the canopy bed, which is much larger than the incense, is as complicated as the workmanship. On page 192 of Wang Shizhen's "The Study of Ming Style Furniture", there is a picture of a clear and complete double-moon cave door canopy. The door cover, the side wall and the hanging plaque on the bed are evenly covered with the hollow "Haiyan cross and the side" and "Lantern brocade", which are not only exquisite, but also the visual effect of Hua Huali is quite rich and happy.
Many people think that these complicated hollow lines are directly carved out by the craftsmen on the wooden board. However, after observation and repeated scrutiny, Zhang Dexiang’s team found that all the lines were actually “spliced†out. "When a small sea otter grate is used, it is necessary to use four pieces of wood to bite together with the structure of the shackle shoulders, and then we must dig it around to form a 'cross shackle'." Zhang Dexiang calculated before preparing for the engraving. In an account, a "cross-bow" consists of a structure of four shackles and 36 slashes. In this way, the whole bed is made, the number of parts is nearly 3,000, and the structure of the enamel is more than 4,000. The number is amazing, and it is difficult to calculate the grinding and production time.
But the ancients used this kind of work at the time. "Like the ancients, all the patterns were spliced ​​with wooden strips. The expansion and contraction of wood affected by temperature and climate was completely neglected, and this structure can withstand various external forces and is durable." Zhang Dexiang found out after the test, "The ancients used this method." The machine not only makes the best use of it, but also fully considers the solidity of the bed frame." If they use a whole piece of wood to sculpt the flower clusters, the horizontal girders seem to be in one go, but under the swell of thermal expansion and contraction and external force, it is extremely easy. Cracking and breaking, "good-looking but not tossed."
"Seven-point process"
The ancients had a jargon about the furniture collection: three-point material, seven-point craft. In fact, this is also the international community's judgment on classical furniture collection. The reason why Ming style furniture can become the pinnacle of furniture manufacturing history in China and the world depends not only on precious wood, but also on the various elements of craftsmanship, such as curvature, proportion, structure and volume. And the delicate scrutiny of the relationship between them.
Ke Xisi has a deep understanding of this point. During his seven years as the curator of the "Chinese Classical Furniture Museum" in California, he refused a lot of wood, but the craftsmanship was very clumsy. "Some people think that it is a pity, my reason is very simple, clumsy work is the failure of these furniture, but also why they can not be used as antiques." In this re-enactment process, although Ke Xisi is not responsible for making all-round furniture, However, the production process of furniture such as plate-type multi-layer grid still impressed him.
Compared to the Arhat bed, incense sticks, and canopy bed, the construction of the multi-layer grid seems to be simpler. "But you have to know that its board foot and the ruler board are made in the middle of the double-layer board. It is not necessary to elaborate on the labor costs." What makes Ke Kesi unexpected is that The frame and the connection between the frame and the grid are in the form of lattice rags, that is, the front and back sides are mutually shackled. As a result, nearly one hundred baboons are related to each other. "As long as there is a slap in the square, it will affect the overall effect. 'Take the whole body and move the whole body', in the words of your Chinese, it is 'full of loses'." Ke Xiaosi recalled the entire process of engraving, The sweat on his head is slightly slim.
"Appreciate classical furniture, you must calm down and take time to try to figure out." Zhang Dexiang said frankly that in the process of the whole engraving, he and Ke Jusi must always imagine themselves as craftsmen living in ancient times, and smashing the surface. Only think about the most essential problem - not only to save wood, but also to test the work with time and various external forces. In the end, they realized the mystery of it. "Although it cannot be said that the work plan chosen by the craftsmen of the ancient times was the only correct one, it was indeed an extremely subtle and wise choice at the time."
Of course, in the process of the engraving, Zhang Dexiang and Ke Jusi also made some modifications to the details. For example, in the process of Zhang Dexiang's re-enactment of the squatting backboard in the senior executive hat, the number and the amount of materials used have been increased on the basis of strict imitation of the original, in order to make the chair look more straight and straight. Close to the aesthetic standards of modern people. "Taking its essence and going to its dregs is the concept that contemporary people should uphold and adhere to when they recite classical furniture." Zhang Dexiang said, "So, the exquisite craftsmanship and civilization of the predecessors will not shrink in the hands of future generations." Declined and forgotten.†Zhang Dexiang believes that only the outstanding craftsmanship matches the precious wood, which can finally create the furniture treasures of the handed down family.
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