Classical Chinese Furniture

MARCUS FLACKS

contents

classical Chinese furniture 5

A brief history 7

Trends in collecting Chinese furniture 15

On the selection of pieces for this book 32

Chairs 37

Stools 81

Cabinets and Shelves 137

Tables 181

reference

Restoration 254

Original condition 256

Relative sizes 258

Joinery 260

Map: origins of timbers 268

Materials 270

Artist index 272

Index 274

Bibliography 276

I set off on a journey in search of treasure and was rewarded

by these rare masterpieces. However, as always in life it is

the travelling companions who are the real treasures.

contents

classical Chinese furniture 5

A brief history 7

Trends in collecting Chinese furniture 15

On the selection of pieces for this book 32

Chairs 37

Stools 81

Cabinets and Shelves 137

Tables 181

reference

Restoration 254

Original condition 256

Relative sizes 258

Joinery 260

Map: origins of timbers 268

Materials 270

Artist index 272

Index 274

Bibliography 276

I set off on a journey in search of treasure and was rewarded

by these rare masterpieces. However, as always in life it is

the travelling companions who are the real treasures.

38

From the point of view of pure design, I find this chair

one of the most surprising and exciting pieces that I have ever handled.

The extraordinary sense of movement created by the beautifully-shaped spindles

seems amplified by its juxtaposition with the rigid linear frame. The severity of

the contrast is, however, beautifully softened by the use of rounded members

and the clever use of a rounded, bamboo-like moulding on the seat frame. This

design is said to evoke running water or ripples in a pond. Its success is down to

the beautiful crafting of the members and their balanced placement. Although

I think of this as one of the most successful designs in Chinese furniture, it is

extremely rare, with only a handful of examples and variations existing. This is

perhaps due to the skill required to craft the spindles as well as the abundant use

of timber.

I first came across a variation of this design when researching our first pair

of rose chairs (page 44). The fluidity and movement of the spindles immedi-

ately mesmerized me. I assumed, quite wrongly, that such a successful design

would have been so popular that many examples would have survived. However,

for several years I asked everyone I knew if they had, or at least had seen, any

examples and was almost always met with a negative answer. Finally, my

persistence was rewarded and I was able to acquire this chair. There are very few

extant examples of this design and although they follow the basic concept of the

‘S’-shaped spindle, their treatment is often quite different. The first chair I saw

had flat, linear spindles; in our example they are fully rounded. Whilst both are

successful, the difference in result is quite marked.

Rose chairs are normally quite small chairs with low, straight backs and

straight arms that are set slightly lower than the top and at right angles to the

seat. The very rectilinear and somewhat austere framework of the rose chair is

both a curse and a blessing. It is a curse because, unless one sits bolt upright,

it is quite uncomfortable. It is not surprising that these chairs were shown in

paintings and woodblock prints being used by ladies, accustomed to sitting in

an elegant and upright position and are sometimes termed ‘writing chairs’ or

‘literati chairs’, terms which may have arisen because their angular design is

conducive to an upright and attentive sitting position. The blessing is that it

allows the craftsman the opportunity to take a classical, linear form that has

remained practically unchanged since the Song dynasty (960–1279 ce) and exper-

iment within its strict structure. Sadly, most rose chairs follow fairly standard,

and in my opinion not very successful or at least inspiring, designs. However,

occasionally (as with the three examples in this book) they get it spectacularly

right, creating something vibrant and often unexpected.

Rose Chair with

‘S’-Shaped Spindles

彎欞圍子玫瑰椅

Huanghuali wood,

17th – early 18th century

黃花梨，十七至十八世紀初

寬 W 55 cm (213/4")

深 D 42 cm (161/2")

高 H 82.5 cm (321/2")

38

From the point of view of pure design, I find this chair

one of the most surprising and exciting pieces that I have ever handled.

The extraordinary sense of movement created by the beautifully-shaped spindles

seems amplified by its juxtaposition with the rigid linear frame. The severity of

the contrast is, however, beautifully softened by the use of rounded members

and the clever use of a rounded, bamboo-like moulding on the seat frame. This

design is said to evoke running water or ripples in a pond. Its success is down to

the beautiful crafting of the members and their balanced placement. Although

I think of this as one of the most successful designs in Chinese furniture, it is

extremely rare, with only a handful of examples and variations existing. This is

perhaps due to the skill required to craft the spindles as well as the abundant use

of timber.

I first came across a variation of this design when researching our first pair

of rose chairs (page 44). The fluidity and movement of the spindles immedi-

ately mesmerized me. I assumed, quite wrongly, that such a successful design

would have been so popular that many examples would have survived. However,

for several years I asked everyone I knew if they had, or at least had seen, any

examples and was almost always met with a negative answer. Finally, my

persistence was rewarded and I was able to acquire this chair. There are very few

extant examples of this design and although they follow the basic concept of the

‘S’-shaped spindle, their treatment is often quite different. The first chair I saw

had flat, linear spindles; in our example they are fully rounded. Whilst both are

successful, the difference in result is quite marked.

Rose chairs are normally quite small chairs with low, straight backs and

straight arms that are set slightly lower than the top and at right angles to the

seat. The very rectilinear and somewhat austere framework of the rose chair is

both a curse and a blessing. It is a curse because, unless one sits bolt upright,

it is quite uncomfortable. It is not surprising that these chairs were shown in

paintings and woodblock prints being used by ladies, accustomed to sitting in

an elegant and upright position and are sometimes termed ‘writing chairs’ or

‘literati chairs’, terms which may have arisen because their angular design is

conducive to an upright and attentive sitting position. The blessing is that it

allows the craftsman the opportunity to take a classical, linear form that has

remained practically unchanged since the Song dynasty (960–1279 ce) and exper-

iment within its strict structure. Sadly, most rose chairs follow fairly standard,

and in my opinion not very successful or at least inspiring, designs. However,

occasionally (as with the three examples in this book) they get it spectacularly

right, creating something vibrant and often unexpected.

Rose Chair with

‘S’-Shaped Spindles

彎欞圍子玫瑰椅

Huanghuali wood,

17th – early 18th century

黃花梨，十七至十八世紀初

寬 W 55 cm (213/4")

深 D 42 cm (161/2")

高 H 82.5 cm (321/2")

106

Rare Corner-Leg Stool

罕見鼓腿彭牙帶托泥方凳

Huanghuali wood,

early 18th century

黃花梨，十八世紀初

This unusual stool is particularly notable for its highly-

sophisticated design and its intricate details. The shaping of the members

– from the bulging aprons to the deep butterfly corners – come together to

create an alluring design that is both ‘rounded’ and ‘square’ at the same time.

The richness of the details from the crisp beadings and shaped waist to the

elegantly-formed feet all add to a feeling of high elegance. To me this stool is a

masterpiece of 18th century Chinese furniture design, taking the Ming design

to another level of refined elegance.

The design of this stool is somewhat of a hybrid between a corner-leg stool and

a drum stool. Based on a classic corner-leg design with legs that end in hoof feet,

the floor stretcher and incurving legs give it the same ‘roundness’ or ‘wholeness’

as a drum stool. This is further emphasized by the curved aprons and rounded

corners that help to create an overall curved form.

寬 W 39 cm (151/4")

深 D 39 cm (151/4")

高 H 48 cm (183/4")

106

Rare Corner-Leg Stool

罕見鼓腿彭牙帶托泥方凳

Huanghuali wood,

early 18th century

黃花梨，十八世紀初

This unusual stool is particularly notable for its highly-

sophisticated design and its intricate details. The shaping of the members

– from the bulging aprons to the deep butterfly corners – come together to

create an alluring design that is both ‘rounded’ and ‘square’ at the same time.

The richness of the details from the crisp beadings and shaped waist to the

elegantly-formed feet all add to a feeling of high elegance. To me this stool is a

masterpiece of 18th century Chinese furniture design, taking the Ming design

to another level of refined elegance.

The design of this stool is somewhat of a hybrid between a corner-leg stool and

a drum stool. Based on a classic corner-leg design with legs that end in hoof feet,

the floor stretcher and incurving legs give it the same ‘roundness’ or ‘wholeness’

as a drum stool. This is further emphasized by the curved aprons and rounded

corners that help to create an overall curved form.

寬 W 39 cm (151/4")

深 D 39 cm (151/4")

高 H 48 cm (183/4")

176

This unusual clothes rack is a great example of form and

function coming together to create a more successful whole. The design is

a wonderful blend of rhythmic linearity, roundness, and restrained but elegant

decoration. Unlike many of the existing clothes racks in huanghuali that tend

to be rather ornate, this piece makes simplicity its great strength. The simple

bold members project strength and stability and are softened by the cursive

spandrels. However, the most unusual and striking elements of the design are

the six equally-spaced vertical posts that were intended for the drying of boots.

This very practical feature inspired by function has an unexpectedly powerful

impact on the design, turning it into one of the most interesting and remarkable

examples of the type. This clothes rack was found and almost certainly produced

in Anhui province. The almost austere simplicity and boldness of the design are

not only indicative of this region but might also point to this piece having been

intended for use in a gentleman’s quarters.

Rare Clothes Rack

罕見衣架

Huanghuali wood,

17th century

黃花梨，十七世紀

寬 W 121 cm (471/2")

深 D 36 cm (141/4")

高 H 168 cm (661/8")

176

This unusual clothes rack is a great example of form and

function coming together to create a more successful whole. The design is

a wonderful blend of rhythmic linearity, roundness, and restrained but elegant

decoration. Unlike many of the existing clothes racks in huanghuali that tend

to be rather ornate, this piece makes simplicity its great strength. The simple

bold members project strength and stability and are softened by the cursive

spandrels. However, the most unusual and striking elements of the design are

the six equally-spaced vertical posts that were intended for the drying of boots.

This very practical feature inspired by function has an unexpectedly powerful

impact on the design, turning it into one of the most interesting and remarkable

examples of the type. This clothes rack was found and almost certainly produced

in Anhui province. The almost austere simplicity and boldness of the design are

not only indicative of this region but might also point to this piece having been

intended for use in a gentleman’s quarters.

Rare Clothes Rack

罕見衣架

Huanghuali wood,

17th century

黃花梨，十七世紀

寬 W 121 cm (471/2")

深 D 36 cm (141/4")

高 H 168 cm (661/8")

214

The quality and condition of this table is amongst the best

that we have ever handled. It represents the apex of the mature Ming style

where classical forms reached the highest level of refinement before ceding to

the influences and tastes of the Qing court style. The quality of the detail on

this piece, from the vibrantly-drawn ‘cloudhead’ spandrels, crisp beadings and

rounded corners of the top and top panel, to the balance of the design and quality

of the timber used are all of the highest order. The single panel huamu (burr) top

is an exceptional piece of timber, not only for its size, but also for the figuring of

the grain.

Whilst the basic design is of the classical recessed-leg form, the shorter,

deeper proportions imply that this piece was intended for use as a small writing

or painting table. This piece is thus a good example of the changing proportions

(as its depth is not over 65 cm), an issue that I touched upon in the introduction,

that might have led some not to classify it as a painting table. However, when

one sees the proportions of this piece, its intended use is beyond question.

The condition of this table is quite exceptional. There are no replaced

members, including the end aprons that are missing on 90% of recessed-leg

tables. The underside is coated with a thick layer of fabric, clay and lacquer that

certainly helped to keep the structure intact. When we found this piece, it had

clearly been used in a kitchen for some time and many of the surfaces particu-

larly the top, had a thick layer of grease on them. Whilst this may not have been

immediately attractive, once we removed it, we discovered that it had protected

the huamu top allowing it to retain its rich colours and textures. Apart from its

obvious aesthetic qualities, this table is a rare and valuable artefact because of its

exemplary condition.

Small Painting Table

小畫案

Huanghuali wood

and huamu (burr),

17th century

黃花梨與花木，十七世紀

寬 W 128.5 cm (501/2")

深 D 62 cm (241/2")

高 H 81 cm (32")

214

The quality and condition of this table is amongst the best

that we have ever handled. It represents the apex of the mature Ming style

where classical forms reached the highest level of refinement before ceding to

the influences and tastes of the Qing court style. The quality of the detail on

this piece, from the vibrantly-drawn ‘cloudhead’ spandrels, crisp beadings and

rounded corners of the top and top panel, to the balance of the design and quality

of the timber used are all of the highest order. The single panel huamu (burr) top

is an exceptional piece of timber, not only for its size, but also for the figuring of

the grain.

Whilst the basic design is of the classical recessed-leg form, the shorter,

deeper proportions imply that this piece was intended for use as a small writing

or painting table. This piece is thus a good example of the changing proportions

(as its depth is not over 65 cm), an issue that I touched upon in the introduction,

that might have led some not to classify it as a painting table. However, when

one sees the proportions of this piece, its intended use is beyond question.

The condition of this table is quite exceptional. There are no replaced

members, including the end aprons that are missing on 90% of recessed-leg

tables. The underside is coated with a thick layer of fabric, clay and lacquer that

certainly helped to keep the structure intact. When we found this piece, it had

clearly been used in a kitchen for some time and many of the surfaces particu-

larly the top, had a thick layer of grease on them. Whilst this may not have been

immediately attractive, once we removed it, we discovered that it had protected

the huamu top allowing it to retain its rich colours and textures. Apart from its

obvious aesthetic qualities, this table is a rare and valuable artefact because of its

exemplary condition.

Small Painting Table

小畫案

Huanghuali wood

and huamu (burr),

17th century

黃花梨與花木，十七世紀

寬 W 128.5 cm (501/2")

深 D 62 cm (241/2")

高 H 81 cm (32")

Rose Chair [p. 38]

The designs of the replacements were taken from the indications of the original members as well as studying many similar examples. The unusual, removable summer-winter seat was also replaced.

Clothes Rack [p. 176]

One low spandrel and one horizontal spandrel replaced as well as minor patches. All the replacements have been made in old huanghuali timber.

Southern Official Hat Chair [p. 50]

Low aprons replaced. The patch on the lower left of the burr panel was inserted with an old piece of burr wood matching the texture and grain of the original as best as possible.

Incense Stand [p. 244]

Three-quarters of one foot was damaged and replaced. Replaced patch to one corner of the marble top.

Pair of Southern Official Hat Chairs [p. 54]

Inlaid metal reinforcements at the joint junctions were mostly replaced. The original chairs had cut-ins indicating that there were metal parts in the original design.

Corner Leg Stool [p. 106]

The floor stretcher was missing, and the replacement was based on the design of this particular stool and on the study of other examples. One leg had a break repaired.

RESTORATION

In this appendix I have chosen from the furniture pieces in this book, those that had the most restoration and replacement. Some of the other pieces had minor repairs, such as replaced seats, low aprons or restored small patches, that I felt were fairly standard and of no significance.

Lute Table [p. 234]

One corner had a long triangular patch repaired (ca. 10 cm) where there was damage from chopping. The legs have each been drilled twice, above the foot, where a crude modern secondary stretcher was attached to improve stability.

Scroll Table [p. 200]

The scrolls at the bottom of the inner legs, which would always have been separate pieces, are replacements. These replacements have been made with similar old timber.

HHL Table with Drawer [p. 188]

The drawer was missing and the table has a modern replacement made with old timber. This is often the case with drawers.

Zitan Table [p. 192]

The inlaid metal reinforcements at the corners have been replaced. The fact that the metalwork is cut into the timber is not only a guide to the size and shape of the metalwork, but also an indication that it was intended as an original part of the design.

Metalwork is replaced on both cabinets as are the majority of the low aprons. The central stile and one long frame member are replaced on one cabinet, and

boxwood drawers on the other cabinet. Both cabinets have modern lacquer panels (loose) dropped into the original recessed tops.

Pair of cabinets [p. 146]

254 255

Rose Chair [p. 38]

The designs of the replacements were taken from the indications of the original members as well as studying many similar examples. The unusual, removable summer-winter seat was also replaced.

Clothes Rack [p. 176]

One low spandrel and one horizontal spandrel replaced as well as minor patches. All the replacements have been made in old huanghuali timber.

Southern Official Hat Chair [p. 50]

Low aprons replaced. The patch on the lower left of the burr panel was inserted with an old piece of burr wood matching the texture and grain of the original as best as possible.

Incense Stand [p. 244]

Three-quarters of one foot was damaged and replaced. Replaced patch to one corner of the marble top.

Pair of Southern Official Hat Chairs [p. 54]

Inlaid metal reinforcements at the joint junctions were mostly replaced. The original chairs had cut-ins indicating that there were metal parts in the original design.

Corner Leg Stool [p. 106]

The floor stretcher was missing, and the replacement was based on the design of this particular stool and on the study of other examples. One leg had a break repaired.

RESTORATION

In this appendix I have chosen from the furniture pieces in this book, those that had the most restoration and replacement. Some of the other pieces had minor repairs, such as replaced seats, low aprons or restored small patches, that I felt were fairly standard and of no significance.

Lute Table [p. 234]

One corner had a long triangular patch repaired (ca. 10 cm) where there was damage from chopping. The legs have each been drilled twice, above the foot, where a crude modern secondary stretcher was attached to improve stability.

Scroll Table [p. 200]

The scrolls at the bottom of the inner legs, which would always have been separate pieces, are replacements. These replacements have been made with similar old timber.

HHL Table with Drawer [p. 188]

The drawer was missing and the table has a modern replacement made with old timber. This is often the case with drawers.

Zitan Table [p. 192]

The inlaid metal reinforcements at the corners have been replaced. The fact that the metalwork is cut into the timber is not only a guide to the size and shape of the metalwork, but also an indication that it was intended as an original part of the design.

Metalwork is replaced on both cabinets as are the majority of the low aprons. The central stile and one long frame member are replaced on one cabinet, and

boxwood drawers on the other cabinet. Both cabinets have modern lacquer panels (loose) dropped into the original recessed tops.

Pair of cabinets [p. 146]

254 255

walnut

Oak

Nanmu, CYPRESS

CAMPHOR

KUNDIAN, DONGJIN, JICHI WOOD

HONGMU

TIELI WOOD

LONGYAn

ZHANGHEN

Elm (jumu)

LOCUST (HUAIMU)

ELM (yumu)

HONGDOU FIR

HUANGHUALI

zitan

Huanghuali

MAP: origins of timbers

GA

NS

U

SH

A

N D O N G

ZH

ENGZHo

u,

H a n a n

X

IAn, SHa

a

n x iSH

AA N X I

Sic

h u a n

HAIN

AN

YUN

NA

N

GU

A N G X I

gu

an

g d o n g

JIA N G X I

FUZHOU

, F

u j i a nA

N H UI

J I A NG

SU

India, Cambodia, V

ietn

am

an

d t

he M

a l a y p e n i n s u l A

Vie

tn

am

an d C a m b o d i a

268 269

walnut

Oak

Nanmu, CYPRESS

CAMPHOR

KUNDIAN, DONGJIN, JICHI WOOD

HONGMU

TIELI WOOD

LONGYAn

ZHANGHEN

Elm (jumu)

LOCUST (HUAIMU)

ELM (yumu)

HONGDOU FIR

HUANGHUALI

zitan

Huanghuali

MAP: origins of timbers

GA

NS

U

SH

A

N D O N G

ZH

ENGZHo

u,

H a n a n

X

IAn, SHa

a

n x i

SHA

A N X I

Sic

h u a n

HAIN

AN

YUN

NA

N

GU

A N G X I

gu

an

g d o n g

JIA N G X I

FUZHOU

, F

u j i a n

A

N H UI

J I A NG

SU

India, Cambodia, V

ietn

am

an

d t

he M

a l a y p e n i n s u l A

Vie

tn

am

an d C a m b o d i a

268 269