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.

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。

The post Chinese Water-Dropper 中國水滴壺文化 appeared first on Chinese Wood Stands.