Yuan Jindong, Zhou Jingnan and Hu Jingchu, Meandering Poetry Scroll of Traditional Chinese Furniture — A Book Review of the History of Chinese Material Culture-Furniture. 2023. Kaiming Press, Shanghai. (in Chinese)
The History of Chinese Material Culture-Furniture (Furniture), co-written by Professor Yuan Jindong of Central South University of Forestry and Technology, Professor Zhou Jingnan, a research librarian of the Palace Museum, and Professor Hu Jingchu, a master of furniture in higher education in China, and published by Kaiming Press, is a comprehensive, systematic, and in-depth book about the history and development of Chinese traditional furniture, which has high academic research value and important practical significance. It is a meandering poetry scroll of traditional Chinese furniture with approximately 230 000 words and 400 exquisite pictures.
1. Furniture is an important part of The History of Chinese Material Culture. This series, which has high innovative and academic value and pioneering significance, was compiled by China’s top archaeologists and historians. It highlights the creativity of Chinese people and interprets the rich history and culture of the Chinese nation. Therefore, it is paramount to better understand the long-standing Chinese civilization. Its academic perspective, which focuses on material objectivity and systematic relevance, will inevitably have a positive impact on the academic field. In the history of human development, Chinese civilization has managed and preserved its cultural system, even after rough hardship. Consequently, it has left a wide and rich cultural heritage that represents a significant contribution to the history of human civilization. Traditional Chinese furniture is the most shrinking pearl in the cultural necklace of Chinese civilization. However, it is a pity that, thus far, similar to other material cultures, there is no comprehensive and systematic history of Chinese furniture culture constructed and narrated based on the physical furniture culture remains. The publication of this book remedies this regret and fills this academic gap.
Since its reform and opening up, China’s economy has rapidly developed and has had a significant impact on the global economy. Confidence in path, theory, system, and culture has led to the return of tradition. During the tide of cultural revival, the traditional furniture industry was unwilling to lag behind in the vigorous exploration and promotion of traditional culture. Traditional furniture is undergoing an all-round innovation under the guidance of the ecological cultural view of adhering to the rules of nature and uniting humans and the universe; the creation cultural view of conveying and embodying truths through objects; the design cultural view of harmony in diversity; and the craft cultural view utilizing materials and continuously improving workmanship. Cultural genes and the roots of traditional furniture are particularly important in the process of innovation and development. The volume “Furniture” emerges as the times require and it is a major incentive to inherit and carry forward the traditional culture and hence, to revive the traditional furniture culture of the Chinese nation.
2. The furniture writing technique is unique and pleasing. The confused primal prehistoric furniture, original furniture developed with small steps in the Xia and Shang dynasties, pre-Qin furniture with paint and metal in harmony, Han furniture with its own special place, Furniture of the Wei, Jin, and Southern and Northern Dynasties spreading to the east, elegant and colorful furniture in Sui, Tang, and Five Dynasties, Song furniture with Climactic initial, furniture of Liao, Jin, and Yuan Dynasties with the elegance of the northern desert, Ming furniture with the detachment from the Earth, and Qing furniture in its flourishing age and form — a vast and surging, romantic, and elegant historical picture scroll of Chinese traditional furniture slowly spread out in front.
Furniture describes Ming furniture in this way: Ming-style furniture is a bright pearl of Oriental art. These strings have persisted for hundreds of years. The wisteria planted by Wen Zhengming and the official hat chair under its mottled shadow are harmonious. The proud and enthusiastic beauty of nature and the reserved and restrained beauty of human creation — movable and quiet, respectively, — completely leave the audience behind. Glance at once and you will never forget it. — This is a Ming-style furniture, for which all the accumulation and precipitation before is destined. She is young and fresh, uproaring and surging like the sun on the sea; she has minimalist strips, and is the world’s earliest ‘less is more’; she has the most vivid texture, with mountains, water, clouds, and, of course, countless elegant figures and events; she has the most elaborate structure, with no nail. The furniture perfectly reflects the rigidity and softness of the mortise and tenon structures. The worldviews and methodologies of the ancients’ understanding and interpretation of the universe are all condensed to a piece of furniture. How marvelous! Is this not the climax?”
Based on archaeological relics and historical documents, combined with beautiful words, furniture continuously and pleasantly narrates the story of traditional Chinese furniture culture, with its lingering voice constantly haunting.
3. Furthermore, furniture is presented with a completely systematic material culture, significantly strengthening the global status of the Chinese furniture tradition. In the current world furniture tradition, only two cultures have created furniture traditions that significantly influence modern furniture designs: Western and Oriental cultures. One is the Western furniture tradition (including North American furniture), and the other is the Oriental furniture tradition, namely, the Chinese furniture tradition. Oriental furniture has made significant contributions to the formation and development of modern furniture in different periods, as well as to the development of European furniture.
4. Traditional Chinese furniture provides the design prototypes and principles for modern chairs. Thus, it can be seen that the great overseas influence of Chinese traditional furniture culture can be traced back to ancient times. In modern times, archaeologists, explorers, and missionaries from Western countries have shown the Western world the magnificent life scenes in ancient Chinese society, including furniture, through photographs, research reports, and professional works. Unfortunately, this transmission has been passive and historically forced. In addition, none of the early atlases or monographs on Chinese furniture were written in Chinese. Compared to the aforementioned works, furniture goes beyond depth and breadth. If an English version is published in the future, it will certainly play an important role in positively influencing the spread of traditional Chinese furniture.
Perhaps Furniture may further arouse our consciousness of cherishing national history and love, and protecting furniture and cultural relics. A nation that protects cultural relics, cherishes historical heritage, and treasures history has a bright future.
