Mahogany furniture collection puzzle

The collection of mahogany furniture is not a new thing. For today, the collection boom that appeared in the 1980s can be regarded as a grand warm-up, but time does not make everything clear. To this day, the number of doorways for collecting mahogany furniture still leaves many Tibetans unacceptable. Although this article cannot exhaust all of them, I hope to provide some help to those who are interested in collecting mahogany furniture.

In the era of the mahogany collection, the high price of mahogany furniture has become a hot phenomenon. The reason, on the one hand, can be attributed to the power of the market economy, on the other hand, a quiet Renaissance is also contributing to it.

When the value of mahogany furniture is high, it has nothing to do with us. One is to use and the other is to collect. In these two meanings, the use is the simplest, because the local conditions can be adapted to people, and the collection is very much. First of all, as far as the purpose of collection is concerned, the author believes that it can be refined into three types: one, appreciation, and the other, the spiritual pleasure in the collection process; and the third, the first two. If you want to get spiritual pleasure from it alone, then the standard for choosing furniture is more personal, just like yourself. As for appreciation, it is clear that only personal preferences can no longer be the core and focus of choosing furniture. It has more and more complex standards.

Aesthetic evaluation of classical furniture

“Real collectors must understand furniture.” A collector who did not want to be named once said this to the author. Then he said: "Understanding, it is a complicated word, especially in the cultural background, it is even harder to understand. It would be impossible to clarify a piece of furniture from the aspects of aesthetics, structure, culture and history. Collecting furniture depends to a large extent on the accumulation of personal knowledge and literacy. This process is not achievable in the short term. Here, he emphasizes the initiative of people in the furniture collection. Of course, as he said, "it is not It may be that the operation is too difficult, and the hard standards of some furniture collections must be filled in.

Today, the Redwoods have four hard standards that are passed down by word of mouth, namely “shape, art, rhyme, material”. If you carefully taste, it is not difficult to find that these four standards are related to a "beauty" proposition. The beauty of Chinese classical furniture is unstoppable. Otherwise, Mr. Gustav Ike will not be impressed by its light when he first saw Chinese classical furniture. Mr. Aike wrote in his book "Chinese Rosewood Furniture Picture": "Twenty years ago, when I was traveling in Fujian, I first discovered the beauty of Chinese fine wood furniture. These furniture are rarely known in the West. Years later, I met again with a friend I met at the time, Professor Deng Yizhen. He did not follow fashion, but set up Ming-style rosewood furniture in Beijing. This is my beginning of interest in this topic." In addition, he also made a unique aesthetic evaluation of Chinese classical furniture in the "Introduction": "Chinese furniture has experienced the changes of styles of various eras, but until the end of a tradition, it still maintains its structural characteristics and essence. Concise legacy... This is particularly evident in the hardwood furniture that focuses on simple construction... China's daily furniture is rigorously decorated without falsehood, and its rational features are more directly indicative of powerful forms and practical properties. The main artistic charm lies in innocence, just in the soft and innocent and sleek."

In particular, this passage expresses the essence of the beauty of classical furniture. It expresses the illusory words of “innocence”, “just in the middle” and “smooth and sleek” in the form of physical objects, so that people can face the beauty.

In the "Ming-style Furniture Research" by Mr. Wang Shizhen, there is a chapter on "Products" and "Sickness" of Ming-style furniture, which specializes in the evaluation of Ming-style furniture. Among them, Mr. Wang Shizhen listed a total of sixteen and eight diseases to summarize the advantages and disadvantages of Ming style furniture, including "simplified, simple, thick, dignified, majestic, round, Shen Mu, Yu Hua, Wen Hao, Yan Xiu, Strong, soft, ethereal, exquisite, elegant, fresh and "troublesome, complex, bloated, stagnation, slim, sturdy, lost, vulgar." On the aesthetic level, these sixteen and eight diseases can be regarded as an important reference for judging the pros and cons of mahogany furniture.

If we move the time forward to the Ming Dynasty, in "The Long History", we can also understand the ancient people's aesthetic point of view on furniture: "...the bookcase must be able to accommodate the volume, the wider and the more ancient, but only deep One volume, that is, wide to the remaining, the door must use two, not available four and six. The small cupboard is made up of the seated person, the four feet are common, that is, the foot is used, it must be high, and the lower hall is used. It’s only two feet, but not two cabinets. The cabinet is empty as one...”

"Ancient" and "Ya" are important criteria for the ancients to judge the beauty of furniture, such as "the wider the more ancient", "the hall is empty as one is elegant", in addition, "custom" constitutes the opposite side of the coin. It can be seen that the ancients judged the pros and cons of furniture more from the basic point of aesthetics, rather than the fascination with materials. This pure aesthetic pursuit ultimately goes back to the ancient literati group, the cultural elites of the time, at this point, any era is universal. Nowadays, some standards have not been applied at the time, but it provides a very important revelation for furniture collection, that is, aesthetic value is the primary standard of furniture collection. Only beautiful furniture can be enjoyed and collected. Otherwise, even if it is expensive, such as red sandalwood and huanghuali, it is only practical furniture.

In addition to the aesthetic criteria, which furniture collections are more valuable? The author roughly summarizes the following three points, and hopes to help the furniture collectors.

Furniture with years

Most people's understanding of the annual money comes from porcelain. In fact, there is also a paragraph in the classical furniture, but the existence of the world is relatively rare, so the collection and research value of this kind of furniture has also improved a lot.

Some of the pieces of furniture will not only indicate the age of furniture, but also the price of painters and woodworkers, and some even tell a story, such as who collects what to do and so on. Compared with ordinary classical furniture, the furniture with the money is not only more interesting in terms of fun, but also has higher historical and academic value because of its particularity.

The furniture with annual models covers all periods of the Song Dynasty to the Republic of China in terms of time. In comparison, the number of Ming Dynasty models is mostly. It is not difficult to imagine that, given the important value of such furniture, it is not uncommon to add fake money to furniture. Due to the fact that some people are “clear and clear”, such fraudulent phenomena are concentrated on Ming-style furniture, and Tibetans who do not know much about classical furniture are easily deceived.

Distinguishing the true and false of such furniture is mainly due to the identification of details. In addition to some special circumstances or uses of furniture, most of the furniture with years of age will leave a clear trace of use due to the baptism of time. The so-called patina in the north is also one of them, which is why many collectors do not encourage the old furniture. The reason for the renovation. As the saying goes, painting tiger skin is difficult to draw bones, and the truth of identifying fakes is also true. Poor fraud is often left unfinished, and even if the fake technology is superb, the antique atmosphere of a piece of furniture is difficult to imitate. This also explains why some furniture at first glance look like old furniture. That is, the so-called "open the door". If you can understand some of the knowledge of furniture generation, it is more convenient to distinguish such fraudulent techniques, from the aspects of furniture shape, ornamentation and parts style.

It is also necessary to mention that some of the real old models are often worn out because of their age and age, which is easily overlooked. Many collectors with years of furniture are not found at the time of purchase, and more are occasionally seen in the future.

Orderly furniture

There is a consensus in the collection world: the added value of a famous master or a legendary collection will increase accordingly. Of course, there is a condition that this collection is not shoddy.

In the “Where the Best” Huanghuali Furniture Fair in 2012, a 17th-century huanghuali full of four-piece cabinets was only estimated to be 25-300 million yuan. In addition to the quality of this piece of furniture, its legendary character also adds a lot of points. This huanghuali big four-piece cabinet was originally stored in the Beijing Cultural Relics Store and is stored in the Drum Tower Sales Department. In 1976, the Liaoning Cultural Relics Headquarters came to Beijing to purchase, and the Tangshan earthquake occurred. The house collapsed. Fortunately, this cabinet supported the falling beams, so that Qin Gong and Others who slept under the cabinet retired. This cabinet is widely known in the cultural and cultural circles. Later, it was purchased by the Liaoning Provincial Cultural Relics Store and is now collected by Han Yuetang.

There are countless examples of this. Another example is the Ming Dynasty chair hidden by Philippe De Baga, the owner of the Chamber of the Ming Dynasty. This chair has been identified as the royal object of the Ming emperor. It is rare in the world, only ten, of which eight are museum collections and two are private collections. In addition to the rarity of the furniture itself and the royal royalties, Philippe De Baga, as one of the well-known overseas Ming and Qing furniture collectors, has also added an astute brilliance.

The orderly circulation is the hidden value that the outside world gives to classical furniture. If a classical furniture shape, art, rhyme, and material are good, and at the same time, royal, rare, and orderly, it will be at the top of the collection pyramid, which will have higher collection value.

Palace furniture

Because of the royal qualities of the court furniture, they became the representatives of "prestige" and "precious" in later generations, and they were highly sought after by collectors. In recent years, the major classical furniture auctions have provided an intuitive proof of it - the transaction price of the court furniture has hit record highs. I have to admit that compared with folk furniture, this kind of market expression shows the high recognition of Tibetan friends. The reason for this is that it is inseparable from the innate advantages of court furniture.

In history, the palace is like the Paris of today's world. It is the birthplace of pop culture in the region. The folk cultural landscape is mostly a variant or reproduction of royal culture. The value of court furniture is high, mainly in three points:

1. Court furniture is often used for good materials. Huanghuali, red sandalwood and other top materials have once become the "kings of the emperor" of the Ming and Qing Dynasties. In ancient times, the traffic was inconvenient. Huanghua pear was produced in Hainan. The red sandalwood relied on imports. The transportation from south to north increased the cost. Therefore, this kind of wood was expensive at the time and was not affordable to ordinary people. It is precisely because of this. They can become the material of the court furniture and are loved by the ruling class.

2. High artistic standards. To some extent, the lack of fine craftsmen and rare materials does not have artistic value. Only when they become a piece of fine furniture or crafts can their value be sublimated. The court is the place where there is no shortage of fine craftsmen. The rulers will select talents from all over the country to make furniture for them. Thus, the artistic level of court furniture is more stable than the folk furniture with uneven artistic value.

3. Court furniture is more sought after by people, or more recognized. This is a question of habit of thinking. Court furniture is the tool of the ancient ruling class. In the eyes of people, they have higher bloodlines and thus the collection value is higher. This point is similar to the orderly home. In a sense, court furniture can also be regarded as a kind of orderly furniture.

With the improvement of the collection standards, the evaluation of furniture collection will be more stringent in the future. “Collection-level furniture” is a hot word in recent years, and it has become a proof of the existence of this trend. At this point, what is the collection of furniture, has a general outline: on the basis of the four basic elements of "shape, material, art, rhyme", but also to meet the age, spread order or court furniture One or more of the conditions can be referred to as "collection furniture." In the book "Classical Furniture Appraisal", Hu Desheng and Song Yongji have tried to explore the classical furniture scoring mechanism. They have listed a number of criteria, according to which a piece of furniture is scored. This book can be used by collectors. Learn and learn from.

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