Patterns serve as one of the most reliable indicators for determining the age of furniture, often reflecting distinct historical styles. Upon closer inspection, the decorative elements on furniture frequently resemble those found on porcelain. During a particular dynasty, popular motifs tend to spread across various art forms, influencing and interweaving with one another. Nothing exists in isolation, transcending time and space. The ornamentation seen on furniture can often be traced back to similar designs on porcelain. By using porcelain patterns as a reference, it becomes a practical and efficient way to establish a benchmark for identifying the era of furniture pieces.
The red sandalwood pattern throne is a well-known classic piece of furniture. Historical records confirm its origin to the Ming Dynasty. However, when comparing it to a large blue-and-white vase, some doubts may arise. The lotus design on the vase is nearly identical to that on the throne—clear veins, balanced yin and yang, and soft, delicate petals. Though they are different in form, their artistic charm is equally striking. At this point, we should not rigidly assume that the lotus pattern on the throne necessarily dates back to the Ming Dynasty. Notably, the bottom of the vase clearly bears the inscription: "Daqing Qianlong," indicating it was made during the Qing Dynasty's Qianlong period.
The huanghuali wood unicorn design chair is also a famous piece, traditionally identified as a Ming Dynasty creation. Its backrest consists of three sections, with the central part featuring a unicorn and cloud-like carvings. The unicorn stands proudly, facing backward. While it’s common to date such chairs based on visual cues, a comparison with porcelain ornamentation reveals more complexity. This highlights the importance of cross-referencing different art forms for accurate dating.
The qilin, a mythical creature, appears frequently in Ming Dynasty porcelain. During the middle Ming period, qilins were typically depicted lying down, with both front and rear legs touching the ground. From the late Ming to early Qing, they began to sit, with their front legs no longer straight but their hind legs still resembling the earlier style. By the Kangxi era of the Qing Dynasty, qilins were shown standing upright, appearing more dynamic. This evolution in depiction aligns with the production timeline of the chair, reinforcing the need to consider stylistic shifts when analyzing historical artifacts.
The walnut-wood single-panel three-screen arhat bed features a Bogu pattern that closely matches the typical designs seen on Kangxi-era blue-and-white porcelain. From layout to detail, it seems almost like a direct replica. The Bogu pattern gained popularity twice in the Qing Dynasty: once during the Kangxi period, known for its elegance and leisurely style, and again during the Tongzhi and Guangxu eras, which emphasized scholarly knowledge and cultural refinement.
Like the Bogu pattern, the meaning behind these designs evolved over time. These subtle differences have become a key focus for scholars and collectors. With more exposure and study, it becomes easier to distinguish between early Qing and late Qing Bogu patterns, allowing us to better appreciate the aesthetic values and emotional depth of the past. Understanding the cultural significance of an artifact requires a deeper grasp of the political, economic, and social context of its time, which enhances our ability to interpret and judge historical works accurately.
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