Matched with the rapidly increasing demand for Chinese antiques, prices for Huanghuali furniture have skyrocketed over the past five years due to increased demand and limited supply. The volume of new Huanghuali wood originating in Hainan is very limited, it has now been placed under State protection and might risk going extinct.

Originally known as huali or hualu, the modifier huang (yellowish-brown) was added in the early twentieth century to describe old huali wood which surfaces had mellowed to a yellowish tone due to long exposure to light.

The colour can range from reddish-brown to golden-yellow. As member of the rosewood family, Huanghuali stands for rarity, beauty and in today’s Chinese furniture market, high prices. It is believed that there are less than 10,000 pieces of Huanghuali furniture left in the world.

Huanghuali is possibly the hottest category of furniture and works of art in the world today.

Hainan Island appears to be the main source of the wood, typically growing at altitudes below 600 meters on low hills and terraces, such as Diaoluo Mountain and Jianfeng Ridge; although it is believed that there are similar species in North Vietnam, Indochina, Guangxi and other islands of the South China Sea.

Dating to the mid-Ming period, Huanghuali furniture is believed to have been prized by the very wealthy, the upper classes and officials reaching its zenith during the mid-to-late Ming period. As the final feudal Dynasty under Han rule, the Ming era witnessed the full maturation of a culture deeply rooted in Confucian principles. The emergence of Huanghuali furniture during this time is inextricably linked to the intellectual achievements and aesthetic sensibilities of the Scholar-gentry class.

The choice of materials for furniture was closely tied to the cultural, ethnic, and political needs of the ruling class. The auspicious element for the Ming imperial family was “fire”; Huanghuali wood with yellow colour was also associated with the element of fire, thus becoming the material of choice for the Ming royalty and high-ranking officials. By the mid-to-late Ming Dynasty period, the popularity of Huanghuali had reached obsessive levels among the populace.

明代黄花梨木雕螭纹圈椅 故宫博物院 Ming Dynasty Palace Museum, Beijing, China

Huanghuali wood grows slowly and is scarce in resources, difficult to harvest, with the saying that it takes “five hundred years to grow to the thickness of a bowl’s rim.” Due to its delicate grain, warm colour, hard texture, stable nature, and resistance to deformation, Huanghuali wood has been widely used in Ming and Qing furniture and Scholars’ items, making it highly valued by royalty and literati.

Due to slow growth, large pieces of Huanghuali that could be obtained from nature were nearly extinct by the late Ming and early Qing dynasties. The Qing imperial court had stored some Huanghuali timber, but more than half of it was used for constructing the Qianlong Garden. The remaining stock was completely depleted during Yuan Shi Kai’s coronation. As newly planted huanghuali takes over 200 years to mature, experts predict that the shortage of Huanghuali could last for up to 200 years.

Interestingly, Huanghuali wood is considered to have medicinal value in traditional Chinese medicine research including lowering blood pressure and blood lipids, activating blood circulation, removing blood stasis, stopping bleeding, and relieving pain. It is mostly used to treat the pain associated with coronary heart disease and bruises.

《欽定四庫全書》本《本草綱目》Traditional Chinese medicine book Bencao Gangmu from the Qinding Siku Quanshu

COLOUR

The colour of Huanghuali ranges from golden-yellow to reddish-brown.Originally, the wood was known only as “huali,” which means “pear tree flower.” “Huang” (yellow) was added to describe the surface of old huali wood that has mellowed over years of exposure to light.

SCENT

Huanghuali, known by its scientific name as Dalbergia Odorifera has a sweet fragrance that distinguishes this wood from Hongmu, a similar-looking but pungent-smelling wood. It has an airy and slightly milky aroma, making it a pleasant smell when you work with it.

GRAIN

Huanghuali is valued for its rich amber tones and abstract figural patterns, including the most distinctive and precious one the “Ghost Face”.
Classical “Ghost Face” pattern forms are due to seasonal weather resulting in scars or burls growths on the trunk. The swirling grain pattern is highly valuable with a saying it “worth a thousand gold.” In addition to ghost face, there are also “cloud and water,” “silk and bamboo” and “landscape” patterns. The richness and beautiful abstract grain of Huanghuali is cherished and valued by traditional Chinese Scholars and reflects an artistic pursuit that reveres nature.

Huanghuali is a very durable material, impermeable to water and insects. The strength of the wood made this the ideal material to withstand the physical demands of the tenon-mortice construction of Chinese furniture.

黄花梨是一种稀有的红木树种，主要产自海南省，曾用于装饰皇家居所，其植物学分类为降香黄檀。随着市场对中国古董需求的迅速增长，黄花梨家具的价格在过去一段时间内因需求增加和供应有限而大幅上涨。海南产的新黄花梨木数量非常有限，目前已被列为国家保护对象，可能面临灭绝的风险。

黄花梨最初被称为花梨或花榈，”黄”（黄棕色）这个修饰词是在二十世纪初添加的，用来描述因长期光照而表面变得温润发黄的老花梨木。事实上黄花梨木的颜色范围可以扩展到红棕色和金黄色。作为红木家族的一员，黄花梨以稀有和美观著称，在当今的中国家具市场上，价格昂贵。据推测，现存黄花梨家具不足一万件。

黄花梨木是当今世界上最炙手可热的家具与艺术品类别之一。海南岛被认为是黄花梨木的主要产地，通常生长在海拔600米以下的低山丘陵和梯田地带，如吊罗山和尖峰岭；不过，北越、印度尼西亚、广西以及南海的其他岛屿也被认为存在类似的树种。

黄花梨家具可以追溯到明朝中期，黄花梨家具在当时受到贵族阶层和朝廷官员的青睐，并在明朝中后期达到顶峰。作为汉族统治下的最后一个封建王朝，明朝见证了儒家思想的文化的完全成熟。黄花梨家具的出现与当时士大夫阶层的学术追求和审美品味有着密不可分的关系。

家具材料的选择与统治阶层的文化和政治需求紧密相连。明朝皇室的吉祥元素是“火”；带有黄色调的黄花梨木也与火元素相关，因此黄花梨格外受到明朝皇室和达官显贵青睐。到了明代中后期，黄花梨家具在民间的热潮已达到痴迷的程度。

黄花梨木生长缓慢，资源稀缺，采伐困难，有“五百年才能长成碗口粗”的说法。因其细腻的木纹、温润的色泽、坚硬的质地、稳定的特性和抗变形的优点，黄花梨木在明清家具及文房用具中被广泛使用，备受皇室与文人墨客的推崇。

由于生长缓慢，到明末清初，自然生长的大块海南黄花梨几乎绝迹。清朝皇室曾储存了一些黄花梨木材，但其中一半以上用于建造乾隆花园。剩余库存在袁世凯登基时被完全耗尽。由于新种植的海南黄花梨需要200年以上才能成熟，专家预测黄花梨的短缺可能会持续长达200年。

黄花梨木在中医研究中被认为具有药用价值，包括降血压、降血脂、活血化瘀、止血和止痛。黄花梨木主要用于治疗冠心病相关的疼痛和瘀伤疼痛。

颜色

黄花梨的颜色范围从金黄色到红棕色不等。最初，这种木材仅被称为“花梨”，意为“梨花木”。后来加上了“黄”字，用于描述经过多年光照后表面逐渐温润的老花梨木。

香气

黄花梨的学名为降香黄檀（Dalbergia odorifera），因其甜美的香气而区别于外观相似但气味刺鼻的红木。其香气轻盈略带奶香，使用时气味宜人。

纹理

黄花梨因其丰富的琥珀色调和抽象的纹理图案而备受推崇，其中最具代表性且珍贵的图案便是“鬼脸纹”。经典的“鬼脸”纹路是由季节性天气导致树干上产生的疤结或瘤状生长所形成的，这种旋转的纹理被誉为“价值千金”。除了鬼脸纹，还有“云水纹”、“丝竹纹”和“山水纹”等图案。黄花梨丰富且美丽的抽象纹理深受传统文人的喜爱，反映了对自然的艺术追求。

黄花梨质地坚韧，具有防水防虫的特性。其木材的强度使其成为理想材料，能够承受中国家具榫卯结构的物理需求。

The post Huang Hua Li 黄花梨 appeared first on Chinese Wood Stands.

Bamboo is highly valued by Chinese Scholars since ancient times. It is believed to be a symbol of gentlemanly integrity (junzi), it contains various virtues that a Chinese gentleman required, such as strength, tenacity, humbleness, and nobility. Bamboo, plum blossom, orchid, and plum chrysanthemum are collectively regarded as the “Four Gentlemen”. The pine tree, bamboo, and plum blossom are also admired as “Three Friends of Winter”. Therefore, bamboo related artworks have always been an essential part of Chinese Scholars’ life. There is a saying that “Gentlemen can live a life without decent food but cannot live a life without bamboo”.

Bamboo carvings became an important factor of Scholars’ items. The popularity of bamboo carvings reached a peak during the Ming and Qing Dynasty (15th – 19th Century) with the prosperity of the literati class. The contents and functions of bamboo carvings became increasingly rich during that period. At the same time, the craftsmanship became more and more exquisite. However, due to the difficulties of storage, there are only a few bamboo carving antiques kept till today. The perfect pieces from Ming and Qing Dynasty became objects with high values which are very collectable.

Both of the bamboo root and branches are fine materials for art creation. The bamboo root carvings always make the best use of the natural curve of the root, carving them into vivid sculptures for displaying. While the branches are always carved into functional Scholars items, bamboo brush pot and wrist rest take advantage of the natural shape of the culm as well as the hollowed core of bamboo. Besides, incense holder, fan ribs, seal, flute, and shaped cups are also common themes of bamboo carving.

656 Chinese Bamboo Brush Pot 人物竹雕笔筒, Diameter: 14cm Height: 16.5cm Circa 1800

Artworks out of bamboo culms always have elegant surface carving. It is like painting on the surface of bamboo. Carving techniques basically can be differentiated as yinke (negative carving) and yangke (positive carving), depending if the carved panel is lower or higher than the surface. For example, the wrist rest decorated with a poem is a negative carving [625]and the brush pot depicting a Scholar on a horse is a positive carving [656].

Bamboo carvings represent the pursuits of Chinese scholars, symbolysing dignity and integrity. More importantly, the finely carved and perfect bamboo arts from the Ming and Qing Dynasty are rare objects with great collection values.

658 Chinese Finely Bamboo Luohan 竹雕弥勒罗汉像 Length: 4cm Width: 3.5cm Height: 3.9cm Qing Dynasty

Chinese artists also used a special technique where the exterior layer of the bamboo stalk is used to create a soft and smooth appearance resembling boxwood.
Such works were popular in the imperial workshop because of the appeal to the Qianlong Emperor.

659 Unusual Chinese Bamboo Veneer Ruyi 竹黄福寿如意 Length: 30cm Width: 7.3cm 18th Century

You are very welcome to our gallery to find your perfect bamboo object to compliment or start your collection.

中国竹雕有着悠久的历史。 明清时期，中国竹业高度发达繁荣，拥有世界上面积最大分布最广的竹林。 竹子是一种速生植物，主要生长在四川、湖南、浙江等中国南方地区。 每年冬季，竹刻师们都会聚集在一起，挑选最好的原材料，然后干燥的过程可能会持续几年。竹刻师们可能需要几个月甚至几年的时间才能雕刻出一件杰作。

自古以来，竹子就受到中国文人的珍视。 竹被认为是君子气节的象征，包含了中国绅士所需要的各种美德，力量、坚韧、谦虚、高贵等。梅、兰、竹、菊并称“四君子”。 松、竹、梅也被誉为“岁寒三友”。 因此，与竹有关的艺术品一直是中国文人生活中不可或缺的一部分。 中古有句古话：“君子可食无肉，不可居无竹” 。

竹雕也因此成为文房珍玩的重要组成部分。 明清时期（15-19世纪）随着文人阶层的繁荣，竹雕的流行达到顶峰。 这一时期竹雕的内容和功能日益丰富。 与此同时，竹刻工艺也越来越精湛。 但由于保存困难，至今仅存世有极少量的竹雕古玩。 明清时期的完美竹雕成为具有极高收藏价值的物品。

竹根和竹枝都是艺术创作的上佳素材。 竹根雕总是充分利用根部的自然曲线，将其雕刻成生动的塑像来展示。 虽然竹枝总是被雕刻成功能性的文房用品，笔筒和臂搁利用了竹秆的自然形状以及竹子的中空核心。 此外，香炉、扇骨、印章、笛子、异形杯等也是竹雕常见的题材。

656 Chinese Bamboo Brush Pot 人物竹雕笔筒, Diameter: 14cm Height: 16.5cm Circa 1800

以竹秆为材料的工艺品，表面雕刻精美。 就像在竹子表面作画一样。 雕刻技术基本上可分为阴刻和阳刻，具体取决于雕刻的面板低于或高于表面。 例如，饰有诗句的腕托为阴雕，而刻画书生骑马的笔筒为阳雕。

竹雕代表了中国文人的追求，象征着尊严和气节。 更重要的是，明清竹艺雕刻精细、完美，是不可多得的珍品，极具收藏价值。

658 Chinese Finely Bamboo Luohan 竹雕弥勒罗汉像 Length: 4cm Width: 3.5cm Height: 3.9cm Qing Dynasty

中国艺术家还使用了一种特殊的技术，利用竹秆的外层创造出类似黄杨木的柔软光滑的外观。这类作品因而受到乾隆皇帝的青睐而在宫廷作坊中流行。

659 Unusual Chinese Bamboo Veneer Ruyi 竹黄福寿如意 Length: 30cm Width: 7.3cm 18th Century

非常欢迎您来到我们的画廊，寻找完美的竹雕艺术品，开始您的竹雕收藏之旅。

The post Chinese Bamboo Carvings 中国竹雕文化 appeared first on Chinese Wood Stands.

珍稀天然宝石的收集和鉴赏由来已久，在中国和其他亚洲国家已有 1000 多年的历史。文房珍玩中的供石作为自然景观的缩影，通常在书斋被当作文人雅士凝神静思的载体。

故宫博物院, 石海九如图卷, 清，石海绘，绢本，设色，237.厘米，28.厘米
Palace Museum, Stone Sea Nine Painting, Qing Dynasty, L. 237cm, W. 28cm, Beijing, China

As Harvard Art Museum’s Curator Emeritus Robert D. Mowry says, “like a landscape painting, the rock represented a microcosm of the universe on which the Scholar could meditate within the confines of his studio or garden.”

正如哈佛艺术博物馆名誉馆长罗伯特·莫里 (Robert D. Mowry) 所说，“供石犹如泼墨山水画，岩石代表了宇宙的缩影，学者可以在书房或花园的一方天地内沉思冥想。”

宋 · 米芾《研山铭》, 北京故宫博物院藏, 绢本手卷，行书，卷纵36厘米，横136厘米
Palace Museum, Ming Shan Yan, Mi Fu, W. 36cm, L. 136cm, Beijing, China

A few of the mountainscapes may recall specific peaks but most represent imaginary mountains. The abstract forms may recall a variety of images to the viewer, such as dragons, phoenixes and even human figures. It was the abstract qualities that appealed to the Chinese Literati.

一些供石可能会让人想起特定山脉，但大多数代表的是想象中的山峰。 观者发挥想象力还可以联想到各种图像，例如龙凤甚至人物。 正是这种抽象的特质深深吸引着中国文人。

蘇州獅子林太湖石
Taihu Stone, Lion Garden, Suzhou, China

Mi Fu was one of the most famous calligrapher in Song Dynasty. He was so obsessed collecting stones, bow to them as he regard them as his ‘older brothers”. Because of the stones, Mi Fu lost his official position but had no regrets, instead he wrote “Worshiping Stones Picture” to express his pride.

宋朝大书法家米芾爱石痴迷至极，他称供石为自己的兄弟。米芾因为拜石丢了官却无悔，反而自写《拜石图》，倾诉得意之情。

Many factors contribute to the fantastic Chinese Scholar’s Stones, ranging from geographic origin to the colour and texture of the stone. A number of terms were created to describe the desired qualities in a Chinese Scholar’s Stone, the most common standards are shou (thin, 瘦), tou (openess,透), lou(perforation, 漏) and zhou(wrinkling, 皱). It would be highly valued by the hollow part of the stone to be able to create a strong contrast with the material and light.

供石的评判标准有很多，从原产地到石头的颜色和纹理。人们创造了许多术语来描述供石所需的品质，最常见的标准是“瘦”、“透”、“漏”和“皱”。供石中空的部分能与石体和光线形成强烈对比则备受推崇。

Taihu Stone, Liu Garden, Suzhou, China苏州留园冠云峰太湖石

The finest Chinese Scholar’s Stones often come from riverbeds or mountains. There are three main Chinese sources for the stones: Lingbi stone from Lingbi, Anhui province; Taihu stone from Lake Tai, Jiangsu province; Yingde or Ying stone from Yingde, Guangdong Province. Many valued Chinese Scholar’s Stones were varying forms of ancient marine lime- stone or metamorphic rocks from carbonate-based materials.

最精致的供石通常来自河床或山川中。珍罕供石的主要产地有三个，分别是中国安徽省北部灵璧县出产的灵璧石，江苏省太湖出产的太湖石和广东省英德市出产的英德石也称英石。许多供石都是不同形式的古海洋石灰岩或碳酸盐基材料的变质岩。

Unlike the Lingbi Stone and Ying Stone shaped mostly by water, Gobi Desert stones are shaped by wind and sands with deep, rich, and lustrous appearance which became very collectable. Gobi Chalcedony stones are stones that appear waxy, lustrous, sometimes semi-transparent, and they occur in a variety of colours.

与灵壁石、莹石大多由水塑造而成的不同，戈壁石由风沙塑造而成，其深邃、丰富、光泽的外观备受文人墨客的喜爱。 戈壁玉髓石是一种呈蜡状、有光泽、有时呈半透明状的宝石，有多种颜色。

Most Chinese stones tend to be varying shades of grey and black along with the white mineral formations of the stones. In contrast the harder, Gobi stones were often varying shades of yellow, red, browns, and are lighter colors than the more southern rocks.

大多数供石往往呈不同深浅的灰色和黑色，以及白色矿物结构。 相比之下，戈壁石更加坚硬，其颜色通常有不同深浅的黄色、红色和棕色，并且比南部的供石的颜色更浅也更丰富鲜艳。

The post Chinese Scholar‘s Stone 中國供石文化 appeared first on Chinese Wood Stands.

托普卡匹皇宫博物馆展出了近12000件中国瓷器藏品，不间断地揭示了13世纪至19世纪中国瓷器演变的历史年表。
A nearly 12,000-piece collection of Chinese porcelain is on display in the Topkapi Palace Museum, revealing an uninterrupted historical chronology of the evolution of Chinese porcelains from the 13th to the 19th century.

托普卡匹皇宫最初由君士坦丁堡的征服者苏丹穆罕默德二世于1460年至1478年间建造，并在其悠长历史中多次被扩建和被改造。
The Topkapi Palace originally built between 1460 and 1478 by Sultan Mehmed II, the conqueror of Constantinople, and has been enlarged and remodelled several times during its long history.

直到19世纪中叶，托普卡匹皇宫一直是奥斯曼帝国苏丹及其宫廷的所在地。
Until the mid-19th century, the Ottoman Sultan and his court located in the Topkapi Palace.

1922年废除了奥斯曼君主制后，托普卡匹皇宫于1924年4月3日由Mustafa Kemal Atatürk下令改建为博物馆。
After the abolition of the Ottoman monarchy in 1922, the Topkapi Palace was converted into a museum by order of Mustafa Kemal Atatürk on 3 April 1924.

托普卡匹皇宫厨房占地超过5,250平方米，在奥斯曼帝国的鼎盛时期曾经每天为5,000多人提供食物。
Spanning over an area of over 5,250 square meters, a palace kitchen in Istanbul’s European side was once feeding over 5,000 people per day, during the heydays of the Ottoman Empire.

为了使宫廷厨房和餐桌更加富丽堂皇，13世纪的奥斯曼苏丹开始收集最精美的中国瓷器。
In order to make the court kitchens and tables more opulent, the Ottoman sultans of the 13th century began collecting the finest Chinese porcelain.

所有的瓷器每天都在被使用，而不仅仅是用于展示， 这些瓷器是他们唯一用来装食物的容器。
All the porcelain were using every day and not just for displayed. It was the only containers they had for food.

咖啡对于土耳其人来说是非常重要的。尽管在19世纪，土耳其宫廷咖啡文化依旧以传统的方式继续，但贵族会在日常生活中使用由咖啡杯、杯托和咖啡壶组成的中国瓷器咖啡用具套装。
The coffee was very important in Turkey. Although coffee culture at the palace continued in the traditional manner during 19th century, consisting of coffee cups, cup holders and coffee jugs, Chinese porcelain coffee sets were used in their daily life.

果酱在宫廷生活中也占有重要地位。奥斯曼帝国的苏丹还有专门厨房，制作果酱、果汁和糖果。劳伦斯女士在参观结束后，受到展览的启发，自己开始尝试用土耳其的新鲜草莓制作果酱。
Jam also had an important place in court life. The Ottoman sultans had special kitchen for making jams, juices and sweets. Inspired by the exhibition, Mrs Laurence Paul began making jam using fresh strawberries from Turkey by herself.

历史学家认为，奥斯曼宫殿中实际使用的中国瓷器数量超过10万件，但其中大部分在几次地震和火灾中丢失或毁坏。
Historians believe that the actual number of Chinese porcelains used in the Ottoman palaces was over 100,000, but most of them were lost or destroyed in several earthquakes and fires.

其中一些藏品是高级官员或外交使团赠送的礼物，但其中很大一部分，是通过古代丝绸之路，从中国运到奥斯曼宫殿中的。
Some of these pieces were presented as gifts from high-level state men or foreign diplomatic missions, and a significant part of the collection was transferred from China to the palaces through the ancient Silk Road.

直到1700年代初，中国是世界上唯一的瓷器生产国，中国生产的瓷器非常昂贵，在当时被称为“白金”。
Until the early 1700s, China was the only porcelain producer in the world, and the pieces it produced were very precious known as White Gold.

在宫廷厨房中，最受欢迎的中国瓷器类型之一是青瓷，因为土耳其人认为青瓷有验毒的功能。如果食物里被加入了毒药，用青瓷装盛后，青瓷会变色或破裂。
One of the most preferred types of Chinese porcelains in the palace kitchens was celadons because they were believed to change colour or get cracked when poison was added.

16世纪后期，奥斯曼苏丹定制和购买了许多绘制有古兰经经文的青花瓷用作餐具。
In the late 16th century, the Ottoman sultans customised and purchased many porcelains with Qur’anic verses for use as tableware.

从19世纪开始，土耳其艺术家通过模仿和再创造，也自己尝试制作了许多瓷器，其中大部分灵感来自中国的青花瓷。
From the 19th century, Turkish artists, through imitation and reinvention, also experimented with their own porcelain. Most of them inspired by Chinese blue and white porcelain.

托普卡匹皇宫博物馆收藏的中国瓷器，包含了宋、元、明、清时期的青瓷、青花瓷、单色瓷、彩色瓷共约一万多件中国瓷器收藏。
The collection of Chinese porcelain in the Topkapi Palace Museum includes over 10,000 pieces of celadon, blue and white, monochrome and coloured porcelain from the Song, Yuan, Ming and Qing dynasties.

托普卡匹皇宫博物馆收藏的中国瓷器，是当今海外博物馆中数量最多，价值最高的收藏之一。
The collection of Chinese porcelain in the Topkapi Palace Museum is one of the largest and most valuable collections in overseas museums today.

托普卡匹皇宫藏品囊括了13至20世纪初中国销往奥斯曼帝国兼中近东各伊斯兰国家的各种瓷器。
The collection of the Topkapi Palace includes a wide range of porcelain from China to the Ottoman Empire and the Islamic countries of the Middle East from the 13th to the early 20th century.

托普卡匹皇宫藏品是中国陶瓷生产、制造和远销贸易历史与发展的重要佐证。
The Topkapi Palace Collection is an important testimony to the history and development of Chinese ceramic production, manufacture and export trade.

参考资料References：
1.联合国教科文组织：https://zh.unesco.org/silkroad/content/tuopukapagongbowuguan
2.Chinese porcelains used in Ottoman palace on display in Istanbul: https://www.chinadaily.com.cn/a/202010/06/WS5f7c2e99a31024ad0ba7d505.html
3.TOPKAPI PALACE MUSEUM: https://muze.gen.tr/muze-detay/topkapi

The post Chinese Porcelain in Topkapi Palace Museum-土耳其皇宫中的中国瓷器 appeared first on Chinese Wood Stands.

The “Four Treasures” which includes inkstick, inkstand, brush and paper are very well known, however other finely carved objects are also expressing the delicate Chinese literati sensibilities.

This blog will introduce water-droppers made in different materials. The water-dropper is an essential utensil for Scholars. Although it is not selected as one of the main objects in “The Four Treasures”,  it is associated with them in a vital and functional way. Each time the Scholar composed a literati work, he needed to produce ink by grinding an in-cake on an ink-stone, adding a small amount of water during the process.

In the past Chinese Scholars preferred using inkstick in the form of solidified ink to be dissolved with a small amount of water on an inkstone, in order to control the amount of water applied, they use water-dropper.  A classic water-dropper has two openings which function is to allow air passing through the dropper inside, it also permits to the water to flow smoothly. A literati would raise their index finger from one hole in order to release the air for the purpose of allowing water to fall out slowly and rhythmically, it is also a way that is considered to achieve inner peace.

Various shapes and different materials were used for water-droppers to enlighten the Scholars literati achievements.

On the left you can see a very interesting piece carved in bamboo in the shape of an auspicious emblem, the peach. This unique bamboo water-dropper is ingeniously carved with leaves around the fruit.

Along with the aesthetic consideration, this water-dropper deeply shows the essence of humble literati lifestyle and culture.

You can also find some water-dropper cast in bronze which is also a popular material in  the Chinese literati heritage; bronze casting technology in China has a very long history, which dates back to the early Shang, in the mid-second millennium BC.  Due to its well-established casting techniques in China, bronze has been made into various lively and delicate ornaments for Scholar’s desk. The heaviness of those bronzes could also be used as paper weight.

In our collection we have a piece depicting a buffalo with a shepherd boy playing the flute sitting on the top, which is a motif derived from a legend about the Emperor Hongwu founder of the Ming Dynasty. It is said he presented a picture of a boy ridding a buffalo for himself who had humble origins.

Ceramic is also a material very popular in Chinese cultural heritage, we are showing a pair of turquoise glazed water-dropper in the form of toads. Turquoise glazed technique was used since the Yuan Dynasty (1279-1368), it represented a new orientation for the potters, and was mainly used during the Ming and Qing Dynasties.

Chinese Scholars liked to use writing accessories made of Jade, as Confucius praised jade as “the embodiment of virtue”. There are hundreds of Chinese saying which use the word Jade, almost always in a positive context, as something good, noble, beautiful or honest, reinforcing the cultural belief that jade is something associated with the best in a man. We are showing a Jade water-dropper in a shape of a quail, the meaning of that bird is courage, peace and harmony depicting perfectly Chinese Scholars.

在我們之前發表的名為《文人墨寶》的文章中，我們介紹了中國文人如何以傳統的方式通過桌上的物件展現他們高品質的審美。中國的“文房四寶”， 包括硯，硯台，毛筆和紙張，它們以被人所熟知，然而其他在書桌上出現的精緻物件同樣表達了中國文人的細膩情感。此文將要展示的是不同物件製作的名為水滴壺的物件。

水滴壺是文人墨客書桌上最基本的用具之一。儘管它沒有被選進“文房四寶”中，但它以一種重要和使用的方式將它們聯繫起來。中國文人在每次創作文墨時，都會有一步在硯台上磨墨的過程，通過加入少量的水。因為在過去，中國文人喜歡使用凝固的墨水，也就是硯，在硯台上用少量的水去溶解成墨汁，他們選擇了水滴壺來實現控制用水量。

一個經典的水滴壺造型，具有兩個孔，其功能正是讓空氣順利通過滴管內部再釋放。它同樣也允許了水順利地流動。文人會從一個洞口舉起他們的食指，以釋放空氣，讓水緩慢而有節奏地落下，這也是一種被認為可以實現內心平靜的方式。各種形狀和不同材質的水滴壺被用於豐富學者們的文藝成就。

下面你可以看到一件非常有趣的竹刻作品。它的形狀是一個具有吉祥含義的圖案——桃子。這個獨特的竹質水滴壺巧妙地在果實周圍雕刻了葉子。

除了在美學上的考慮，這個水滴壺還深深地展示了謙遜的文人的生活方式和他們的文化精髓。

除此之外，你也可以找到一些用青銅鑄造的水滴壺，這也是中國文人遺產中的一種常見的材料，中國的青銅鑄造技術有著悠久的歷史，這可以追溯到公元前兩千年的商朝早期。

由於中國具備了完善的鑄造技術，青銅也被製作成各種活潑精緻的文房飾品。並且，由於這些青銅器不小的重量，它們也可以作為紙鎮使用。

在我們的收藏中，有一件青銅製水滴壺作品描繪了一頭水牛，上面坐著一個吹笛子的牧童，這一形象也是源自明朝洪武皇帝的傳說。據說他將騎水牛的男孩形象以代表他純樸和謙卑的出身。

陶瓷也是中國文化遺產中非常流行的一種材料，我們展示的是一對綠松石釉面的蟾蜍造型的水滴壺。

綠松石釉面技術源自元朝（1279-1368），它在當時呈現出此後陶藝家們的新風潮，隨後在明清時期被廣泛地使用。

中國文人喜歡使用玉石製成的書寫配件，因為孔子將其讚為“美德的化身”。中國有許多使用玉這個詞的諺語，幾乎都是讚美之詞，通常指美好的，高貴的，美麗的或者誠實的事物，加深了其文化信仰，即玉和人的美德相互輝映的寓意。

我們展示的是一個鵪鶉形狀的水滴壺，這種鳥類的含義是勇氣，和平與和諧，完美地描繪了中國學者的品質。

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In China, implied meaning has always been an important part in antiques. Specifically, Chinese ancestors endowed some plants, animals, and imaginary beasts with different auspicious meanings. They believe that by possessing items with such images, their wishes would be conveyed to them. There are mainly three ways that Chinese people present auspicious meaning through objects:

Firstly, using widely known symbols to express their meaning. Secondly, directly using the auspicious words on the item. Finally, depicting images which can be express with auspicious meaning using puns or rebuses.

This blog will introduce you the first kind, which is the most commonly-seen, and diversified one.

The various plants, flowers, animals and Chinese characters provide artists with plenty of opportunity for artistic creation. Then, we will focus on illustrating one auspicious wish contain in several symbolic motifs: longevity.

Longevity – ShouLao

Longevity is one of the most culturally and symbolically important themes in traditional Chinese Art. It is one of the five blessings. Several images present the meaning of longevity, such as Shoulao (god of longevity), peach and Lingzhi Mushroom.

In Chinese traditional culture, the Sanxing (Three Stars) represents three attributes of a good life: Fu, Lu and Shou, each represents: blessings, status and longevity. They are thought to date from Ming dynasty. As a matter of fact, Shouxing or Shoulao is the god of longevity, he is recognised by his high domed forehead, with deer, crane and peach which is a symbol of immortality, and holding a stick (see below fig.1).

Longevity – ShouTao (Peach)

Peach is a typical auspicious symbol of longevity, with high status in Chinese culture.
《神异经》记载：“东方有树，高五十丈，名曰桃。其子径三尺三寸，和核美食之，令人益寿。”
Translate as:
“There are trees in the east.
They are fifty feet tall,
which are peaches.
Its son (peach) is three feet
and three inches in diameter,
the peach of immortality and
delicacy that ripens every thousands of year,
which makes people live longer”.

Gradually, peach became an emblem of long life.

Longevity – Lingzhi

Furthermore, Lingzhi is another important auspicious symbol of longevity and health. It is very rare and notable medical fungi since ancient China, people believe it has magical curative effect.

During the Qin (221-207BC) and Han (206BC-AD220) dynasties, Taoists regard Lingzhi as a magical plant. It also known as Xianzhi (fairy) or Shenzhi(spiritual). Moreover, in the Chinese traditional thinking, Lingzhi is an auspicious plant with a mystical force. It grows widely in deep mountains and is difficult for people to pick.

Figure 3 and 4 is a Chinese Boxwood Ruyi. The top of the Ruyi carved in the shape of a Lingzhi and an open-worked smaller Lingzhi intertwined, with silk tassel knot, which effectively emphasising the auspicious nature of that object.

In fact, there are plenty of theories regarding its origins, and because Ruyi literally means – ‘wishes fulfilled’ in Chinese. Accordingly, they are typical auspicious symbol for celebrating a longevity of a marriage. Accomplished craftsmanship were required to produce them.

Figure 5 and 6 is an unusual Zitan stand, with Lingzhi surrounded on the top and supported by open-work base.

In general, China has an extremely rich tradition of auspicious motifs. Above all, this blog presents different types of symbol with the expression of longevity. We will discuss more about this topic next time.

Leave a comment of your thought, and follow our blog page for the ‘next part’ of the symbolic meaning of auspicious symbol in Chinese artworks.

众所周知，古董艺术品是珍贵的原材料通过精细加工而成的，他们的收藏价值主要体现在艺术价值和实用性。但同时，古董艺术品的象征意义也是其收藏价值的一个重要组成部分。

在中国，具有意义的吉祥图案长久以来都是艺术品的重要组成部分。中华民族的祖先们赋予自然界许多动物，植物以及虚构的野兽不同的吉祥寓意，他们认为用这些图案装饰物品会给自己带来祝福和好运。在中国传统技艺中，主要有三种赋予艺术品吉祥寓意的方法：

第一种是将器物饰以广为人知的吉祥物，第二种是直接将带有祝福的话语装饰于器物表面，最后一种则是在艺术品上饰以通过谐音等与吉祥寓意关联的意象。本文将会介绍第一种赋予吉祥寓意的方法，同时也是最为常见，表现形式最为丰富的一种。

多种多样具有吉祥隐喻的动植物给艺术家们提供了广泛的创作空间。下面，我们将从第一种展开，介绍一个重要的吉祥寓意—— 长寿

长寿：

长寿是中国传统艺术品中最具文化和象征意义的主题之一，也是五福之一。有许多物品被赋予长寿意义，比如寿老，手套和灵芝就是其中颇具代表性的几样，传达着长寿健康，以及好运的意义。

在中国传统文化中，三星代表了中国人最基本的三个愿望，即：福，禄，寿，以及他们的代表，福星，禄星和寿星，此说法可追溯到明朝。古人将寿星描述为白须老翁，额部高而突出，常衬托以鹿，鹤，仙桃，以及拐杖，象征长寿（插图1）。

在中国艺术品中，代表长寿的典型之一就是寿桃。在传说中，天庭王母的寿桃可以使人益寿千年。另外，寿老手中也常执桃。《神异经》记载：“东方有树，高五十丈，名曰桃。其子径三尺三寸，和核美食之，令人益寿。”因此，桃逐渐成为了长寿的象征。

灵芝则是长寿与健康的另一个重要象征，它是中国古代非常罕见和著名的药用真菌，人们相信它有神奇的疗效。在秦朝（公元前221-207年）和汉朝（公元前206年-公元220年）时期，道家认为灵芝是一种神奇的植物，它也被称为仙芝或神芝。在中国传统思想中，灵芝也被视为是一种吉祥的植物，具有神秘的力量。它生长在环境十分恶劣的深山中，因此人们很难采摘到。

图3和图4是黄杨木雕如意。如意取料于整根黄杨木枝，一端自然刻画以灵芝，另有一稍小灵芝以镂空雕刻，缠绕于主干之上，生动自然。末端坠以吉祥结及流苏，有效的强调了这一物件的吉祥意义。

关于如意的起源有很多说法，“如意”，意为“称心如意”，同时也被广泛用为贺婚祝寿的重要物件。按清宫习俗，于皇帝或皇太后寿辰时，王公大臣会向其呈进如意，也是万寿节礼仪之一，故清宫礼品中如意存世数量最多。

图5和图6则是不规则的紫檀木座，顶部环绕灵芝，以开放式底座支撑。

总的来说，中国有着极其丰富的吉祥图案和传统，本博客只介绍了一种赋予吉祥意义的方法，我们会对这个话题进行更多的讨论。如果您有任何想法，请在下方留言并关注我们的博客页面，以及时了解更多关于本话题的内容。

The post The Symbolic Meaning of Auspicious Symbol in Chinese Artworks – 吉祥图案在中国艺术品中的象征意义 appeared first on Chinese Wood Stands.

In the first half of the 20th Century, Western Scholars and collector began to show interest in the cultural and artistic values of traditional Chinese furniture. By the 21st Century, they have become one of the most favoured categories among collectors of Chinese Antiques. One of the many aspects that attracted connoisseur’s attentions was the material, which often featured beautiful grain and rich colour. Though made from a variety of wood, fine quality pieces of Chinese classical furniture much sought after by modern antique collectors were crafted with rare hardwoods. Zitan, an extremely dense, blackish-purple wood, is considered as the most precious of all wood and is said in ancient texts to have sourced from various places from Indochina to Chinese provinces, like Yunnan, Guangxi and Guangdong. Huanghuali, mostly harvested in Guangdong province and Hainan Island and known for its exquisite range of colour from light yellow to purplish red and excellent grain, was used to make most of the best furniture during the late Ming and early Qing Dynasty. Lastly, Hongmu is the most common hardwood in Chinese Classical Furniture, but it was not until the second half of the Qing Dynasty when it was used extensively.

From small stools and chairs, to large cabinets and bookcases, Chinese Classical Furniture appeared in many forms with different functions. The characteristics and styles of the furniture rooted in the common traditions of the Chinese people. The late Ming of the 16th and 17th centuries was a period when the society was dominated by influential scholarly class. To suit the needs of these individuals, who were actively in pursuit of quiet and plain lifestyles, a succinct style of furniture featuring minimal decoration was produced. Though simple in design, craftsmen paid extra attention in its practical function, as they carefully built in the lines and proportion in order to provide the highest level of comfort to its owner. By the Qing Dynasty, the minimalist style from previous time also persisted. However, a new style, influenced by the aesthetic taste of the Manchu court for opulence and flamboyance, was particularly in fashion. Chinese furniture in this style was much heavier and elaborate, often enhanced with intricate carvings and even inlaid decorations.

中國古代家具，從廣義來説是指各式樣的明清家具，在古時是各堦層人士家裏的必需品。早在20世紀初，西方的學者與收藏家已經開始對中國家具所蘊涵的民族文化傳統產生了興趣。而到了21世紀， 它們更是成爲了在中國古董收藏界裏面最受歡迎的其中一個種類。然而其用料是其中一個讓中國家具得到衆多收藏家喜愛的原因。雖然家具的原料有許多种，但最爲精美的中國家具均是用珍貴的硬木製造而成的。其中紫檀是在中國等級名份比較高的珍貴木材。 生於亞熱代地方，如中國雲南，海南以及南洋國家，紫檀木材堅硬緻密，色澤大多為深紫紅色，紋理極爲細密，在明清時代大多數只供給宮廷使用。黃花梨是另外一種在古代被奉為最珍罕的木材。出產于中國海南島和兩廣，黃花梨的木紋十分美觀，肌理細膩，顔色種類多，從淺黃到紫赤。明代及清代早期製作的高檔家具大多是用這種木材所制。其他比較普遍使用的硬木材統稱為紅木，簡單來説就是指帶紅色木紋的硬木，在紫檀和黃花梨短缺的晚清時期特別受到重用。

明清時期是中國古典家具的黃金時期。在這個時期製造的家具品種繁多，如桌椅，櫃，凳及其他家居擺設。跟其他中國藝術品一樣，人們的品味和社會的風向對家具的風格產生了直接的影響。在晚明時期，中國文人的清高品格得到了升華以及廣大社會的重視，而他們所追求的樸素生活方式也充分反應在當時的家具風格。雖然構造普遍簡單，大多式樣質朴，但工匠們並無掉以輕心，而更花心思來提高家具的舒适性。可到了清代，因宮廷審美情趣及思想觀念的變化，家具的風格也漸漸的失去明代簡約流暢的風格。到了乾隆後期，造型更是變化無窮，作工特別細緻，注重裝飾。往往採取一木連作，因此清代家具造型上和明代對比渾厚，莊重。

The post Chinese Classical Furniture – 中國古代家具 appeared first on Chinese Wood Stands.

The colour of the grain resembles that of ivory, and it gets darker with time. Boxwood carvings are produced primarily in the areas of Zhejiang, Fujian, Shanghai Jiangsu etc., among which Yueqing in the city of Wenzhou is the main source of manufacture; its carving, along with the wood carving of the city of Dongyang as well as the stone carving of Qingtian County, are together known as the ‘Three Carvings of Zhejiang’. The origin of Boxwood carving remains unclear; the earliest material proof currently in existence is the carving of Iron Crutch Li made during the second year of the Zhizheng Era (1342 CE) of the Yuan dynasty, stored in the Palace Museum, Beijing. Boxwood carving began to become prominent during the Ming and Qing Dynasties, and gradually developed into individual free-standing artworks.Their main subjects range from characters in folktales to those in classical Buddhist scriptures, including the Eight Immortals, the Old Man of the South Pole, Guan Yu, Maitreya and Avalokittesvara etc.

Boxwood carvings from the late period began to be made in combination or group forms. Their appearances are influenced stylistically by literati paintings, exhibiting fine carved lines and consummate blade crafting. The famous folk carving master, Zhu Zichang (1876 – 1934 CE) inherited and refined the boxwood carving technology; his works such as ‘Hide-and-Seek’, ‘Ji Gong’ had won awards in various national and international contests. The Boxwood Carving embodies the essence of traditional Chinese handicraft. In recent years, wood source for the Yueqing Boxwood carving has been decreasing, and meanwhile we also witness a steady drop in the specialized craftsmanship. The heritage and propagation of this technique is therefore barred to a great extent, and as a result remaining intact boxwood carvings also become more precious.

黃楊木雕是來自于中國浙江地區的民間雕刻藝術。黄杨木生长缓慢，四五十年樹齡的黃楊直徑僅達15釐米左右，故古语有云：“千年难长黄杨木”；据《本草纲目》记载：“黄杨性难长，岁仅长一寸，遇闰则反退”。然其光潔緊實的木質，細膩的紋理及莊重的色澤，使得黃楊木成爲傳統木雕不可多得的材料之一。
黃楊木色黃如象牙，年代愈久色澤愈深。黃楊木雕产于浙江、福建、上海、江苏等地，其中温州市乐清市是黄杨木雕的主要產地，乐清黄杨木雕和东阳木雕、青田石雕，并称为”浙江三雕”。其起源眾傢紛說，而現存最早的實物證明為元代至正二年（1342年）的“李鉄拐像”，現存北京故宮博物院。黃楊木雕于明、清時期開始流行，逐漸發展為單獨的圓雕工藝品。其内容題材主要包括民間故事傳説與佛教經典中的人物神佛， 如八仙、壽星、關公、彌勒、觀音等。晚期的黃楊木雕由單體雕發展為拼雕、群雕等，其外觀逐漸受到文人劃風格的影響，綫條細密流暢，刀法圓潤。民間著名的黃楊木雕刻大師朱子常（1876-1934）傳承並改進了黃楊木雕技巧，他的作品“捉迷藏”，“濟公”等曾在各種國内外賽會獲獎，為黃楊木雕的傳播做出極大的貢獻。
黃楊木雕充分体現了中國傳統手工藝的智慧。近幾年乐清黄杨木雕的材料来源出现危机，同时专业人员流失严重。這使得黃楊木雕的雕刻技藝發展與傳播受到限制。這也使得現存完好無損的黃楊木雕更爲彌足珍貴。

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Jades are generally differentiated into nephrite and jadeite by their characteristic appearance and hardness, despite the Chinese commonly used the word yu to describe both minerals. Nephrite, ranges from creamy white through green, yellow, brown, even to black, was the most used mineral in Chinese jade objects until the era of the Qing Dynasty. The supply of nephrite increased drastically under the ruling of the Manchurians of the Qing Dynasty after the Qianlong Emperor (1736 – 1795) conquered of Xinjiang, where Hotan, a major county with rich nephrite deposits was located. Jadeite, a harder mineral known as feicui with vivid green colour, quickly received attention from the Manchu court when Merchants began importing them from Burma around 1800. Wealthy Merchants and local artists had gradually chosen animals and human figurines as the main subject matters to respond to the growing market for decorative styles. With steady inflow of raw materials, imperial patronage, combined with the deeply rooted auspicious symbols in ancient Chinese iconography, the jade industry enjoyed unprecedented growth.

Today, both nephrite and jadeite remain a major category among collectors of Chinese Works of Arts. Jade artisans utilised the precious stone as a painting surface and incorporated superb hand-carving techniques to create highly appreciated works of art. Connoisseurs not only admired the sharp smooth edges, carving, rich colours and transparency of jades, but also the moral beauty, meaning and virtues famously commented by the great Confucius.

Jade Monkey Group, Qing Dynasty, Courtesy of the V&A Museum

玉石是與中國藝術文化密不可分的材料，長期以來吸引著中國藝術家和鑑賞家。自新石器時代以來，玉石不僅是高雅品性的象徵，而且還是吉祥平安的護身符，甚至是永生不老的通靈寶物。玉雕工匠以其精湛的工藝在色彩豐富的玉石上進一步增強了石頭的美感。因爲玲瓏剔透的玉石稀少罕見又不易取得，在古時候玉石僅限于貴族使用。

儘管中國常用玉一字，其實它只是一類礦石的泛稱，通常以其特有的特質而分為軟玉和硬玉。軟玉是中國傳統的玉料，按顔色黃玉，青玉，碧玉與白玉等。自乾隆皇帝（1736 – 1795年）征服新疆後，在清代滿洲人的統治下，軟玉的供應急劇增加，正是因爲在那裡有一個具有豐富軟玉礦床的主要縣 – 和田。然而硬玉在中國廣泛稱爲翡翠。其特點為翠綠色豐富，光澤強與折射率高。當商人大約從1800年開始從緬甸進口此玉料時，翡翠迅速受到清官庭的注意。另外，由於高品質的翡翠僅產於緬甸特定的礦脈，產地的惟一性也增加了它的高貴品質。隨著各種原材料的穩步流入，富有的商人和地方藝術家也逐漸地選擇動物和人的雕像作為主題來響應裝飾風格與市場需求。加上帝國的庇護以及中國古代圖像中根深蒂固的吉祥符號，玉石工業在18世紀的清朝享有前所未有的增長。

自古有云，玉乃石之美者，有五德，潤澤以溫，仁之方也。今天，玉仍然受到收藏家的喜愛。玉工匠利用寶石作為繪畫表面，並結合精湛的手工雕刻技術，創造高度讚賞的藝術作品。繁簡的雕刻，豐富的色彩和翡翠的透明度，以及孔子對玉石的高尚評價使玉持續受到各國鋻賞家喜愛。

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In his ‘Vessels for the Studio’ Tu Long (1542-1605) listed as much as 45 different scholars’ objects, amongst which brush pots, seals, water droppers, wrist rests, scroll holders, paper weights and the less expected meditation lamps, evil-warding mirrors, rocks and swords. The objects were used for study, contemplation and stimulated social discourse.

Brush pots made of valuable materials and with elegant embellishments were held in great reverence. Together with wrist rests they were often made of bamboo, making use of a natural curvature, but also of wood, porcelain, lacquer and jade. Natural materials and themes were most appreciated by scholars. Brush pots were decorated with scenes of literati subject matters, inscribed with poetry and marked with the seals of their makers, not unlike paintings. They were sometimes kept bare so as to emphasise their natural and sometimes unusual forms.

Precious hardwoods such as huang huali or zitan were admired for their exquisite grain but were sometimes carved to imitate humbler materials such as bamboo or gnarled root, because scholars were not meant to be interested in monetary value; on the contrary they aspired to escape mundane concerns.

中国笔筒
中国古代文人书写绘画所用的笔墨纸砚被称为文房四宝。许多在书桌上可以看到的文具器物也可以用于饮茶等其他活动。除此以外，文人们也常常收集细致精巧的摆件来装饰自己的书桌。明代屠隆在他的《考槃余事》中记载了具有代表性的四十五种文房器玩， 其中有笔筒，印章，水注，臂搁，画筒，镇纸，以及不常见的禅灯，辟邪镜，赏石，与裁刀。这些文具既可用于读书写字，也可用作思考或文人交际时的器物。

文人崇尚材料珍贵雕琢优美的笔筒。用自然弯曲的竹，红木，瓷器，漆器与玉所做的臂搁也收到青睐。文具的自然材质与母题是文人墨客们最欣赏的。文人场景主题常常用装饰笔筒，并与书画一样附上诗文与作者的印章，但也有时候被刻意不加修饰，以凸显它们的自然或特殊的形态。珍贵的木质，例如黄花梨与紫檀因为它们的美丽的纹路而具有极高的吸引力，有时候它们却会被雕刻成普通的物品例如竹子与粗糙的树根，因为文人并不在意它们的价值，相反他们更渴望摆脱世俗的心态。

Rosalie Fabre

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