1 Introduction
Chinese classical furniture production is excellent, the classical furniture carving art is to classical furniture added a few aesthetic interest and cultural connotation. Ming and Qing furniture carving decorative art culture, a long history, and China’s classical bamboo, wood, tooth, horn carving artwork in the same lineage, is influenced by the Shang and Zhou bronze, Spring and Autumn jade, Tang and Song ceramics and other carving artwork, absorbing its spiritual culture, reflected in the sublimation of furniture crystallization.
Exquisite carving is the main decorative technique in classical craft furniture, its artistic value to a certain extent beyond the external value of the traditional furniture itself, is the classical art of China’s wonders.
Ming furniture embodies the essence of Chinese classical furniture, its shape and workmanship have reached the peak of the degree, Ming furniture carving art and the traditional art of the Qin and Han dynasties have a lineage of origin; and other craft production of the same period has a close relationship, showing the spirit of the national culture of the Ming and Qing dynasties, not only to show the rich and luxurious life of the emperor, but also to show the literati worship of elegant state of mind, but also to reflect the The good wishes of the common people praying for peace and happiness.
2 classical craft furniture carving art appreciation
2.1 beautiful and diverse carving ornamentation
Classical craft furniture carving ornamentation, carving patterns rich in subject matter, different styles, furniture carving in the Ming and Qing dynasties reached the peak of art. Ming furniture is simple and concise, simple and generous in decoration, mainly to reflect the beauty of its materials and the formation of a simple style with fresh and elegant and bright features, its carving craftsmanship is fine and rigorous structure, according to the overall needs of the furniture, the furniture of the local carved decoration.
According to the classification of carving patterns, Ming furniture carving pattern is the masterpiece of China’s carving art, landscape figures, flowers, birds, fish and insects, but its tendency to pine, orchids, bamboo and plums and other plant themes and animal themes such as dragon and phoenix, the prominent feature is the use of a large number of themes with auspicious symbolism, such as the ring, Ruyi, clouds, etc. to express the good wishes of the common people to a happy and peaceful life.
According to the location of the carving pattern, the carving pattern of different parts of Ming furniture basically formed an independent carving style, there is a certain paradigm, mainly in the back of the furniture, teeth (including all kinds of corner teeth, hanging teeth, standing teeth, tooth plate, tooth head, coupon mouth, ring mouth and gear plate, etc.), leg feet, ends, knots and all kinds of plate surface and other parts of the carving, work fine intention, with a dynamic decorative effect.
Some structural carvings not only play a decorative role, but also play the role of support and reinforcement. In addition, in the conspicuous parts of the furniture is usually carved or linear carving decorative techniques to do a small area carved decoration, with a large area of plain base to form a sharp contrast, is also a common form of Ming furniture carving.
2.2 long meaningful carving connotation
Classical craft furniture carved ornamental patterns mostly have a fixed meaning, which is the accumulation of China’s traditional culture precipitation, but also the wishes of our ancient people’s trust. Such as plant carvings, different flowers and plants according to their own characteristics were given different qualities and symbolic meaning, such as peony symbolizes rich and gorgeous, lotus flower symbolizes clean and honest, plum flower symbolizes robust and proud, chrysanthemum symbolizes noble and elegant, orchid symbolizes simple and unpretentious, etc., the traditional culture has given them a certain spiritual connotation.
As a symbol of royalty and nobility, the dragon has become a favorite object of worship, such as the dragon pattern, the dragon dragon and other dragon patterns decorated in the palace and the furniture used by the royal family; phoenix as the legendary king of birds, became the totem worshiped by the ancient people of China.
In addition, in the carving of classical furniture, many patterns of different subjects are combined together, and the homophones and harmonies in the patterns are cleverly used to form patterns with auspicious meanings, such as “Five Blessings for Longevity”, “Phoenix through Peony”, “Blessings for the Future” and “Blessings for the Future”. “These auspicious combinations express people’s aspiration and pursuit of a better life and good things, and are very popular in traditional Chinese culture. These auspicious pairings express people’s desire and pursuit of good life and good things, and are very prevalent in traditional Chinese culture.
At the same time, classical furniture carving patterns are deeply influenced by traditional culture, Confucianism advocates the concept of “cultivation”, plum, orchid, bamboo and chrysanthemum become the first choice of carving patterns; while the flying sky, lotus, flame and other ornaments are influenced by Buddhist thought; to “longevity” as the theme of is the continuation of the Taoist idea of immortality.
2.3 Increasingly mature carving techniques
Furniture carving process in the continuous practice of skilled craftsmen to explore, in the Ming and Qing dynasties, the development of mature, carving techniques, including round carving, relief carving, carving, half relief carving and half carving, Ming and Qing dynasties furniture fully used carving, inlay, porcelain, stacking and other craft techniques, carving and inlay is the main method of decoration of Qing furniture, the Qing dynasty, in addition to inherit the original Ming dynasty bamboo inlay, jade inlay, stone inlay and other forms, and the development of inlay, enamel inlay In addition to inheriting the original Ming Dynasty bamboo inlay, jade inlay, stone inlay and other forms, and the development of inlay, enamel inlay, porcelain inlay and bone inlay. The carving process is mainly composed of “topping”, “rough” and “sweeping work” three major components.
(1) Topography.
The pre-designed carving pattern is drawn onto the carving workpiece to form the reference pattern for carving, i.e. “topping” procedure, which is an important step in the carving process and has a direct impact on the subsequent processing and the final beauty of the carved parts. When topping the pattern, we should pay attention to the following aspects: the paper used for topping should be light, transparent and soft to reveal the original color of the wood, and at the same time, it should be completely adhered to the surface of the wood; when dealing with larger pattern size or symmetrical distribution and complex shape of the pattern, the pattern can be copied in pieces, but we should pay attention to the overlapping of the pattern at the joints; when pasting, the paste should be brushed on the workpiece, not on the pattern, to avoid bubbles and impurities.
(2) Rough carving.
The carving workpiece after processing the topography, according to the design intent and expression of the pattern, after chiseling, sawing, grinding and other processing with the outline of the pattern prototype. Rough carving to wait for the topography of the sample stickers firmly after the workpiece can be hollowed out and de-edged, “filing burr” processing, in the process of relief carving system rough “milling” processing requirements.
(3) sweeping work.
Before sweeping work to use a round mallet to knock various types of shovel and chisel, to avoid direct shoveling caused by the destruction of the carving pattern, and then use light wood file, sharp wood file, scraper blade and a smaller type of shovel knife on the basic completion of the carving pattern for detailed repair, after repair with sandpaper will be polished to smooth.
3 to modern furniture decorative significance of reference
When modern furniture is decorated, many use carvings to decorate a large number of traditional patterns to enhance the cultural connotation and added value of the product.
But because the subject matter and the form of carving and decoration are directly absorbed from the Ming and Qing furniture, or even copied the carved decoration of the Ming and Qing furniture, lack of due innovation, the loss of Chinese furniture should be the flavor and style, it is difficult to meet the spiritual and aesthetic needs of modern people.
Therefore, when borrowing the art of classical craft furniture carving, to refine the classical furniture carving patterns.
First of all, to choose a good pattern, such as dragon, phoenix, qilin and other auspicious birds and animals, the use of symbolic and allegorical techniques, reflecting the pursuit of the “joy” sense of culture.
Second, to reflect the philosophical concept of “the unity of heaven and man”, to take flowers, birds, fish and insects, landscape and trees in nature as the subject matter of the design, and to give them a good symbolic meaning, reflecting the unique spirituality of Chinese culture.
Again, to reflect the cultural characteristics of subtle beauty, the use of “hidden” and “concealed” techniques, the pursuit of “words do not exhaust the meaning, there is a sound beyond the strings” of the state of blending of things, reflecting the simplicity and coordination of the Aesthetic interest, emphasizing the harmonious integration of furniture and environment, furniture and people.
Finally, to meet the aesthetic interests of modern people, different historical periods, people’s aesthetic preferences vary, in the design and production of furniture decorative patterns, to combine contemporary features, simplicity and moderate decoration, reflecting the personality and pursuit of modern people.
In the design of modern furniture decoration, on the one hand, it is necessary to combine the characteristics of the times and the real needs, on the other hand, it is also necessary to consider people’s aesthetic consciousness and nostalgic feelings. At the same time, we should improve the carving process, overcome the defects in the traditional carving process, strengthen the training of design talents, consider the use of computer graphics design, enhance the accuracy of carving patterns, strengthen the improvement of technology, improve the working efficiency of machinery, strengthen the accuracy and standardized management of the technology of carving process, and integrate new materials to design furniture decoration that meets the needs of modern people.
4 Conclusion
The carving of classical craft furniture plays a pivotal role in its artistic whole, becoming an integral and important part of classical furniture, reflecting the wisdom of the ancient literati furniture design aesthetic light, conveying the aesthetic interest of the pursuit of skilled craftsmen craft ideas.
Modern furniture decoration to learn from the classical craft furniture carving art and carving techniques, the use of modern means of processing, so as to better meet people’s aesthetic concepts and artistic pursuits, to create a legend for the new era of furniture decoration.