Ming style furniture has always been known for its simplicity and simplicity, but even if it is simple, it is not without decoration. On the contrary, its decoration is unique and elegant. Especially the carvings on the back of the chair, the craftsmanship and the unique charm, so it is very good to appreciate, it is also very talkative.
In addition to the "S" shaped single plate of the light, the furniture back of the Ming furniture is almost always decorated in this part, and the most common is the engraving decoration. Traditionally, chairs have been the symbol of status and status. The conspicuous part of the back of the chair has naturally become the center of craftsmanship and planning, in pursuit of the perfection of decoration and the spiritual symbol of personality.
The following is a brief analysis of several typical back-carved forms of Ming furniture.
1. A small area of ​​the finishing touch. That is, a small area of ​​suitable pattern or individual pattern is carved in the conspicuous part of the backboard (see Figure 1). This kind of carving form is the most eye-catching in the back carving of Ming furniture. Although the carving area is small, it is exquisite workmanship, and strives to create an aesthetic effect with a smart and transparent theme. The common engraving technique is to engrave various themes in the linear frame of the wishful cloud, round or square shape, and the most classic in the cloud-shaped frame, the dynamic and simple artistic effect. The main theme of the carvings is the grass, the cloud head, the plants and flowers, the variants of the word, the various types of dragons and phoenixes and other birds.
2. Segmented back carving. This form of engraving is to decorate the back of the chair in two parts, or to divide it into three sections of unequal proportion. The two-stage carving (Fig. 2) refers to the carving of the patterns on the upper and lower parts of the single board, which are generally not separated in the middle, and the upper part is embossed or open-cut in a simple pattern, similar to the small-area carving form, and then in the single board. The lower part is open to a bright foot. The three-stage engraving (Fig. 3) refers to dividing the backboard into upper, middle and lower sections, separated by a crosspiece. The area of ​​the middle section is the largest, the upper section is the second, and the lowermost section is the smallest. The common form is an openwork or embossed pattern in the upper section, with an embossed pattern or plain or mosaic wood in the middle, and an openwork pattern on the bottom. The proportion of the three sections is moderate, the patterns echo each other, and the reality is a beautiful paradigm of Ming-style furniture backboard carving. The bright feet are a special feature of the Ming style furniture back carving (such as 4), the configuration is beautiful, and the air is transparent. The main forms are the grass type, the wishful door type, the cloud head type and the hook cloud type, the lines are stretched, smooth, and have a moving rhythm.
3. Full-back carvings (Figures 5 and 6). This form is generally suitable for carving a set of patterns on a long strip of a single piece or by providing an openwork process to the entire back. Although it is full of carvings, the layout of the pattern is dense and airy. Commonly there are bottle patterns, entangled flower patterns, cloud dragon patterns, landscape patterns, etc. The theme is rich, the form is strong, the patterns are elegant and elegant, and the gorgeous side of the Ming style furniture is displayed. (The author of this article is from Zhejiang Forestry College)
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