In the popular imagination, Chinese classical furniture is renowned for the fluid lines of the Ming style and the grand majesty of the Qing style. Yet, within the brilliant galaxy of traditional Chinese woodworking, exists a category of artifacts often cherished by connoisseurs as the “jewel in the palm”—miniature furniture.

These exquisite, petite objects are far from mere toys. They are masterfully crafted art pieces, scaled down in precise proportions while strictly adhering to the authentic joinery, material selection, and carving techniques of full-sized furniture. Today, we explore the Chinese aesthetics embedded within this micro-universe and their unique role in the lives of ancient literati.

With a rich history, Chinese miniature furniture served diverse cultural functions across different historical epochs. According to historical texts and archaeological excavations, they primarily functioned in the following capacities:

Scholar’s Objects: The most elegant destination for miniature furniture. During the Ming and Qing dynasties, scholars placed great emphasis on the intellectual atmosphere of their studios and desk displays. Proportionately scaled-down scholar’s lamps, official’s hat chairs, recessed-leg tables, or flower stands were frequently placed on writing desks to serve as ornamental bases for seals, scholars’ rocks, fine porcelain, or scholars’ stationery.

Collectors’ Art: Superior miniature furniture served as a master artisan’s “calling card” to showcase ultimate craftsmanship. Due to the diminutive scale, executing precise mortise-and-tenon joinery (such as flush corner joints or giant’s arm braces) and intricate openwork carving within a fraction of an inch demanded far greater eyesight and patience than creating full-sized pieces.

Models and Funerary Objects: In ancient times, certain miniature pieces served as burial goods (mingqi) or as scale models for architectural and bespoke furniture commissions, utilizing them to demonstrate the owner’s status or for drafting and refining design schematics.

The Distinctive Miniature Wooden Garden Seat

Among the diverse array of miniature furniture collectibles, the most eye-catching and connoisseurship-demanding piece is undoubtedly the miniature wooden garden seat (traditionally referred to as zuodun, xiudun, or gudun).

In ancient China, authentic, full-sized garden stools were predominantly crafted from blue-and-white porcelain, famille-verte porcelain, or stoneware to withstand weathering in courtyards, gardens, or pavilions. Consequently, in the realm of miniature craftsmanship, a pure wooden miniature garden stool is exceedingly rare, surpassing others in both manufacturing difficulty and collectible value. Artisans had to utilize jade-like hardwoods to cross over and replicate the rounded contours and openwork aesthetics originally native to porcelain.

Though measuring only a few inches high and fitting comfortably in the palm of a hand, these miniature wooden stools perfectly replicate all the core technical features of large-scale Ming and Qing furniture:

Cross-Medium Replication of Form and Structure: These miniature seats mostly emulate the classic “drum stool” (gudun) profile—cylindrical with a gently bulging waist. In traditional woodworking, fashioning hard timber into a fluid, plump, and perfectly symmetrical bulging body requires superlative “turning and rounding” skills. Any minor deviation in miniature turning or polishing would instantly deflate the spiritual resonance of the stool’s silhouette.

Openwork and Lattice Designs: While original porcelain stools featured pierced openings for ventilation, the wooden miniature versions elevated this design into the realm of ultimate carving art. Utilizing precise fretsaw cutting and chiseling on the diminutive body, artisans created

Simulated and Archaic Structural Detailing (Carved Panels): A closer inspection of the upper and lower rims of these miniature garden seats reveals a row of uniformly spaced, small bosses—known as “boss decorations” or “drum nails” (guding wen). This detail originates from the ancient Chinese tradition of stretching leather over drums and securing it with nails. Hand-carving these plump, rounded drum nails one by one out of dense hardwood is not only a homage to ancient ritual vessels but also endows the tiny seat with a three-dimensional, tactile beauty.

                          Provenance: Recorded in the Spink & Son exhibition catalogue The Minor Arts of China, London, March 1983 (No.23)

著录：记载于斯宾客1983年3月的展览图录《中国工艺微珍》，藏品编号：23

在人们的普遍印象中，中国古典家具向来以行云流水的明式风格和雄浑大气的清式风格而闻名于世。然而，在中国传统木作工艺的璀璨星河中，还存在着一类常被藏家奉为“掌上明珠”的器物——微型家具（袖珍家具）。

这些精致小巧的物件绝非单纯的玩具。它们是高超的艺术品，在严格遵循足尺家具的真实榫卯结构、选材以及雕刻工艺的同时，按精确比例缩微而成。今天，我们就来一同探索深藏在这片微观宇宙中的中国美学，以及它们在古代文人生活中的独特角色。

微型家具的多元历史功能

国微型家具历史悠久，在不同的历史时期承载着不同的文化功能。根据历史文献与考古发掘，它们主要扮演了以下几种角色：

文房清供：这是微型家具最风雅的去处。明清时期，文人雅士极度注重书斋的文化氛围与案头陈设。按比例缩小的官帽椅、条案、香几或灯台常被置于书案上，用作印章、奇石、名瓷或文房雅玩的基础底座。

藏家艺术（掌上乾坤）：高规格的微型家具往往是手艺大师展现极致匠心的“名片”。由于体量极小，要在几分几厘的微小空间内完成精准的榫卯契合（如粽角榫或霸王枨）以及繁复的透雕，对匠人的眼力与耐心的要求远甚于制作一件足尺家具。

模型与随葬明器：部分微型家具会作为随葬品（明器）入土；或者作为建筑及定制家具的实物比例模型，用于向主顾彰显身份，或用于设计方案的推敲与修改。

独树一帜的微型木制坐墩

在琳琅满目的微型家具藏品中，最引人注目且最考量鉴赏眼光的，当属微型木制坐墩（传统上亦称坐墩、绣墩或鼓墩）。

在中国古代，为了抵御庭院、园林或亭台之中的风雨侵蚀，真实的足尺坐墩多由青花瓷、五彩瓷或陶器制成。因此，在微型工艺领域，纯木制的微型坐墩极为罕见，其制作难度与收藏价值皆凌驾于其他器形之上。匠人们必须利用温润如玉的硬木，去跨界复制和重现瓷器原有的圆润浑厚轮廓与透雕美学。

这些微型木墩虽然仅高数寸，可纳于掌心，却完美复刻了大木作明清家具的所有核心技术特征：

跨材质的造型与结构复刻：这些微型坐墩多效仿经典的“鼓墩”造型——呈圆筒状，腰部微微隆起。在传统木作中，将坚硬的木料雕琢出流畅、饱满且完美对称的鼓腹线条，需要极高的“旋削与团圆”功底。微型车旋或打磨过程中的任何微小偏差，都会瞬间破坏墩身线条的灵动气韵。

镂空与花窗设计：原版瓷墩的镂空设计本是为了通风，而木制微型版本则将这一设计推向了雕刻艺术的极致。匠人们在狭小的墩身上使用精细的拉丝锯和凿子，开凿出玲珑剔透的图案。

拟真与高古的结构细节（鼓钉纹）：仔细观察这些微型坐墩的上下沿，会发现一圈排布均匀的小圆凸起——即“纹饰”或“鼓钉纹”。这一细节源于中国古代在鼓面蒙皮并用钉子固定的传统。在质地密实的硬木上一粒粒手工剔刻出这些饱满圆润的鼓钉，不仅是对高古礼器的致敬，更赋予了这件微型坐具一种三维立体的触觉之美。

绚丽的小香几与名贵硬木

除了坐墩之外，文人书案上最常见的便是微型小香几/小花几，它们对材质的选择有着更为苛刻的标准。为了赋予这些微观杰作以生命，

匠人们高度依赖能够承受微雕工艺的顶级硬木：

黄杨木：黄杨木以结构极度致密、质地坚硬而著称，雕刻难度极大。然而，其细腻的纹理却能成就无可挑剔的微雕细节。经过数十年的赏玩与摩挲，它会包浆出一层迷人的、如琥珀般温润的色调，深受藏家珍视。

紫檀与红木：在面对最高规格的定制时，手艺大师们会选用紫檀（一种质地密实、色泽深沉的奢华硬木）或红木（传统酸枝木等）。这些材质为微型几案带来了天然的分量感、深邃的光泽和历史的厚重感，确保它们拥有与足尺家具相同的气场。

绚丽纹样：这些小几常常饰有精美的植物或几何图案的低浮雕，例如经典的冬青纹或缠枝莲纹，不断挑战着人类双手在方寸之间所能达到的工艺极限

The post CHINESE MINIATURE WOODEN FURNITURE 中国古代微型木质家具 appeared first on Chinese Wood Stands.

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。

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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。

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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。

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