The early Qing Dynasty continued the simple and elegant style of Ming Dynasty furniture. However, after the middle period of Emperor Kangxi, China entered a golden age that lasted over a century under the reigns of Kangxi, Yongzheng, and Qianlong. During the Yongzheng and Qianlong periods, the aristocracy of the Qing Dynasty built numerous royal gardens, seeking wealth and luxury. In order to demonstrate their orthodox status and showcase their "talent," emperors scrutinized every detail of royal furniture—its form, materials, size, decoration, and placement. Craftsmen then shaped and carved the furniture to reflect imperial dignity, focusing on heavy materials, large scale, and intricate carvings, which led to excessive extravagance and indulgence, gradually overshadowing the subtle elegance of Ming-style furniture.
In the first stage, from the beginning of the Qing Dynasty to the early years of Kangxi, craftsmanship remained largely a continuation of the Ming tradition. Palace furniture during this time used high-quality hardwoods such as rosewood, which was the most preferred material due to its deep color, dense texture, and fine grain. Other woods like mahogany and wenge were also used, but they were not mixed together. To ensure consistency in appearance, color, and texture, some pieces were made from a single piece of wood rather than assembled from smaller parts. At this time, the characteristics of Qing furniture were not yet distinct, and few surviving works from this period remain. This era can be considered part of the inheritance phase of previous generations.
By the end of the Kangxi period, through the reigns of Yongzheng, Qianlong, and Jiaqing, the Qing Dynasty experienced a period of political stability and economic growth, often referred to as the "Prosperous Age of Qing." Furniture production flourished alongside societal development, technological progress, and increasing demand. This era marked the emergence of a distinctive style known as "Qing-style furniture":
1. **Massive and Grand Designs**
The shape of Qing-style furniture became more robust and solemn compared to earlier styles. It featured generous use of materials, larger sizes, and elaborate forms. The master chair of the Qing Dynasty exemplifies this style, with a broad seat, full backrest, and thick legs, giving it a majestic and throne-like appearance. Similar features can be seen in tables, desks, and stools, where thick legs and solid structures highlight the grandeur of the design.
2. **Excessive Decoration and Opulence**
Mid-Qing furniture became highly decorated, aiming for richness, fullness, and extravagance. A wide range of materials and techniques were combined, including carving, inlaying, gilding, and the use of different woods and stones. No space on a piece of furniture was left untouched, creating an overwhelming sense of luxury. While this style reached unprecedented levels of magnificence, it sometimes came at the expense of functionality, leading to overly ornate designs that prioritized aesthetics over practicality.
In the third stage, from the Daoguang period to the end of the Qing Dynasty, China faced significant challenges, including the Opium War and the gradual decline of the economy. Social conditions worsened, and foreign influences began to penetrate Chinese culture. This shift affected furniture styles, especially in Guangdong, where French Rococo influences became evident. The resulting "Guangsu furniture" incorporated curvaceous forms and excessive decoration, often using less noble materials and showing a more rough craftsmanship.
Generally, when we refer to "Qing Dynasty furniture," we are usually talking about the mid-Qing period, spanning from the Kangxi era through the reigns of Yongzheng, Qianlong, and even into the early 19th century. The flourishing of this style was closely tied to the imperial vision of the Qing rulers, reflecting both the bold spirit of the nomadic people who conquered China and the desire to display wealth and power. While there were drawbacks to the overemphasis on luxury, Qing-style furniture showcased an unprecedented level of craftsmanship and artistic expression.
One of the most popular decorative themes in Qing furniture, especially in the later period, was the use of auspicious symbols. Every pattern, image, or motif carried deep meaning, often using symbolism, allegory, homophones, and analogy to convey messages of good fortune and prosperity. Examples include "Magpie on Plum Tree" (symbolizing happiness), "Kirin's Son" (representing a virtuous child), "Songhe Wannian" (eternal harmony), "Five Bats Holding Life" (five blessings), "Double Fish Jiqing" (prosperity), "Five Fortunes Come Together," "Hulu Bandai" (abundance), and many others. These motifs remain popular today, continuing to influence traditional Chinese design.
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