Patterns serve as one of the most reliable indicators for determining the age of furniture, often reflecting distinct characteristics of their time. Upon closer inspection of the ornamental details on furniture, it becomes evident that many designs closely resemble those found on porcelain. During a particular dynasty, popular motifs tend to spread across various artistic fields, influencing and interweaving with one another. Nothing exists in isolation, nor does it transcend time and space. The decorative elements seen on furniture are frequently mirrored in porcelain. Therefore, using porcelain patterns as a reference can significantly aid in identifying the era of a piece of furniture.
The red sandalwood pattern throne is a well-known classic in Chinese furniture design. Historical records confirm its origin to the Ming Dynasty. However, when comparing it to a large blue-and-white flower-shaped bottle, some doubts arise. The lotus motif on the bottle is almost identical to that on the throne—clear veins, balanced yin and yang, and delicate petals. Though different in form, both share a similar elegance. At this point, it would be incorrect to assume that the lotus pattern on the throne necessarily dates back to the Ming Dynasty. The bottle, however, clearly bears the inscription “Daqing Qianlong Year System†on its base, suggesting a later Qing Dynasty origin.
The huanghuali wood unicorn design chair is also a famous piece, traditionally attributed to the Ming Dynasty. Its backrest features a three-section frame, with the center decorated by a unicorn and stone clouds. The unicorn stands facing backward. While it's common to determine the age of such chairs based on design alone, a comparison with porcelain ornamentation can reveal more nuanced clues.
The qilin, a mythical creature, appears frequently in Ming Dynasty porcelain. During the middle of the Ming period, qilin were typically depicted lying down, with their front and hind legs resting on the ground. By the late Ming and early Qing dynasties, they were shown sitting, with their front legs no longer straight but their hind legs remaining similar to the earlier style. From Emperor Kangxi of the Qing Dynasty onward, qilins began to be portrayed standing upright. This evolution in depiction aligns with the production timeline of the chair, offering further evidence of its historical context.
The walnut-wood single-panel three-screen arhat bed showcases a Bogu pattern that closely resembles the typical designs found on Kangxi-era blue-and-white porcelain. From layout to content, the pattern is nearly identical. The Bogu motif was popular twice during the Qing Dynasty—once in the Kangxi period and again in the Tongzhi and Guangxu eras. Each period had its own interpretation: the Kangxi version emphasized elegance and leisure, while the later version reflected a more scholarly and refined taste.
Like the Bogu pattern, the meaning and expression of other motifs can vary greatly over time. These subtle differences have become a key focus for scholars and collectors. With greater familiarity, it becomes easier to distinguish between early Qing and late Qing Bogu patterns, allowing one to appreciate the refined moods and emotions embedded in ancient art. Understanding the cultural significance of these artifacts requires a deeper grasp of the political, economic, and social contexts of their time, enhancing our ability to interpret and evaluate them accurately.
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