------ Analyze misunderstood furniture collection concepts
In the context of the national collection, the public's enthusiasm for mahogany furniture products is also increasing day by day. The higher frequency of media reports, while popularizing collection knowledge for the world, will inevitably have the point of view of authenticity and indiscriminateness. In this article, we will focus our attention on those wrong views and cognitions, and analyze these misunderstood views on furniture collection.
Misunderstanding 1: Absolute device type wrong view: 1. Van Ming style furniture must have higher artistic value and collection value than Qing style furniture .
2. The collection is to collect those classic classic furniture styles. ...
Root of error: The absolute superstition of authoritative knowledge has formed a single worship without self-judgment.
Error analysis:
Mr. Wang Shixiang's "Research on Ming-style Furniture" and "Treasure of Ming-style Furniture" pushed Ming-style furniture to the peak of classical furniture art. The ensuing upsurge of collection also revolved around the keywords of the "Ming style", and even the popular mantra of "one bright to ten clear" became popular in the circle. "Emphasis over lightness" has become a universal collection.
It is undeniable that Ming furniture integrates the spiritual pursuit of ancient Chinese literati in artistic value, which is the best expression of elegant culture in classical furniture, but at the same time, not all Ming furniture is impeccable and perfect. The minimalist lines increase the difficulty of making Ming-style furniture, and every deviation of radian and angle will make the whole piece of furniture "missing, utterly wrong". Only those with high aesthetic and collection knowledge can find the furniture with the highest artistic value from many common products. Relatively speaking, the impetuous sentiment of the domestic collection market has led many collectors to list material gains as their primary purpose, inadvertently delving into the spiritual aspects of furniture such as the artistic aesthetic. As a result, these collectors are extremely vulnerable to the negative effects of "emphasis on lightness", and one-sided superstition on "authority", and ultimately make collections that damage the purpose of investment.
Although Qing-style furniture is different from Ming-style furniture in terms of artistic value orientation and records the aesthetic changes after the rule of Manchu, its production process is developed on the basis of Ming-style furniture. During this period, many complicated manual techniques such as inlaying and carving were absorbed into the furniture production, and finally formed an artistic expression different from the literati style. Perhaps this is the most successful place for Qing-style furniture: the creation of a classic furniture style unique to that era, rather than the endless imitation of today ’s mahogany market.
In addition to being paranoid about Ming-style furniture, there are also some collectors who are particularly obsessed with individual classic models, especially the palace furniture in the Forbidden City. Under this market demand, "production" came into being. From the Forbidden City to the Summer Palace, almost all noble furniture can find similar imitations in the folk. In fact, for the collection of classical furniture, the real most valuable is not the so-called classic models, but rather those furniture with relatively special types. With their unique irreplaceability, they have become the real darling of the collection market.
But is this "unique" impeccable?
The answer is clearly no. The most taboo of collecting is to form an absolute cognitive view. Only specific analysis of specific problems can find a relatively correct collection direction.
Misunderstanding 2: Material and superstition wrong views: 1. Lacquered wood (chaimu) furniture is folk furniture and has no great collection value.
2. Only furniture made of Huanghuali and red sandalwood has collection value.
3. Wherever Huanghuali and Red Sandalwood furniture are of collection value. ...
The root of error: multiple expressions of materialism, the distorted expression of utilitarianism in the field of collection.
Misunderstanding:
The price of precious wood has been rising all the way, and the collection now shows more of the trend of materialism. Some people are full of enviable sighs when talking about Huanghuali and red sandalwood furniture. There is no other meaning in the world except for the two. It is undeniable that Huanghuali and Red Sandalwood are indeed the materials of choice for making classical furniture, but whether a piece of furniture has collectible value is not determined solely by the raw materials. After becoming a work of art, it has extremely high artistic value.
This view of wood as the sole standard for collection cannot be based on at least the following two aspects.
On the one hand, not all Huanghuali and rosewood furniture have collection value. Although in the auction market we can often see the high-priced Huanghuali and rosewood furniture, but also in the auction market there are a large number of failed Huanghuali and rosewood furniture. In addition to the impact of the auction price, the craftsmanship and quality are the fundamental reasons for the fate of the same material furniture. To give a simple example, the artistic value of Huanghuali furniture used by Suzhou literati in the Ming Dynasty and Huanghuali furniture used in the countryside of Hainan during the same period was completely different. Those vulgar, imbalanced and rough-crafted furniture, even made of precious materials, still have no collection value.
On the other hand, some lacquered wood (firewood) furniture also has a high collection value. These furniture mainly include beech furniture in the south and elm furniture in the north. As early as the mid-Ming period, Chinese classical furniture had achieved extremely high artistic achievements. At that time, the furniture used was made of domestically produced fine wood. And even when mahogany became the main material for palace furniture, there was no lack of embellishment of lacquered wood furniture, black lacquered painted screens, and lacquered thrones ... These furniture are not uncommon in today ’s Forbidden City [Weibo] furniture catalogues. From this, we can find out what kind of fallacy is the view that only emphasizes the material and ignores the artistic value of lacquered wood furniture.
At the same time, since the collection value of classical furniture is composed of artistic value, cultural value and historical value, the future collection space of lacquered wood furniture should not be underestimated. This can be seen through the auction transaction records last year: In December 2011, Guardian held an auction of "Clear and Bright-Classical Furniture of Ming and Qing Dynasties". The lot was made of beech, elm and other non-mahogany materials. The master finally achieved a good rate of 90.65% turnover rate and a total turnover of 8.624 million yuan. One of the "beech wood openwork dragon-shaped round corner cabinets" had a high price of 667,000 yuan, and a pair at the same auction "Clear mahogany crutch chair" only took the price of 207,000 yuan, which shows that the material is not an absolute standard for judging the value of the collection.
Misunderstanding 3: Wrong views of historical worship: 1. The older the furniture, the more valuable it is.
2. Only old furniture has collection value. ...
The root cause of the error: I do not understand the value of the mahogany furniture collection, and the contemporary expression of "raising the ancients and suppressing the present".
Error analysis:
There have been many collection trends in ancient China. It seems that every prosperous age can ignite people's enthusiasm for collection, and the collection phenomenon of "yang Gu Yi Jin" is by no means unique to today. I heard Mr. Hu Desheng tell a story: In ancient times, an extremely rich upstart wanted to collect, so he asked for advice. What kind of things are most valuable? People told him that the older he is, the more valuable he is. So he used his family's property to buy a straw hat that Dayu wore when he was treating water, a sack that Jiang Taigong wore when he was fishing in Weishui, and a wooden bowl used by King Zhou Wen in the prison when he was in captivity. Wearing a straw hat and straw hat, holding a wooden bowl and begging in the street. This story was compiled during the Yongzheng period of the Qing Dynasty, in order to satirize those collectors who blindly "raised the ancients and suppressed the present".
It can be seen that this excessive historical worship is not a problem in the collection of classical furniture, but a common problem in the collection of all cultural relics. Not all "old" things can be called cultural relics, and only those old objects with artistic value, cultural connotation, and historical significance are real antiques and have collection value. The same is true of classical furniture collections.
The development of Chinese classical furniture has experienced a long historical evolution, reaching the peak of art in the Ming and Qing Dynasties. The Song and Yuan Dynasties before this period can be regarded as the development and accumulation stage of the classical furniture art. The furniture before Song and Yuan Dynasties embodies more historical value, and it is not as artistically accomplished as the Ming and Qing furniture. Therefore, it is obviously wrong to use history sooner or later as the criterion for determining the value of furniture collection.
Despite the excessive obsession with production time, it is not difficult to find that modern new mahogany furniture also has a collection value. This is also reflected in the auction market. In the previous "Jiaqing Ware" special auction, the classic furniture with era style designed and produced by Mr. Tian Jiaqing was auctioned. This special auction has created a remarkable result with a turnover of more than 20 million yuan, and many furniture transaction prices have made antique furniture in the Ming and Qing Dynasties unmatched. Because some newly-made classical furniture is no less than antique furniture in terms of design and craftsmanship, coupled with the rare regeneration of rare wood and the unreproducibility of one piece of wood, the newly-made classic furniture also has a high collection value.
Misunderstanding 4: Wrong view of craft code: 1. The more carvings, the higher the collection value.
2. The complexity of the process is proportional to the value of the collection. ...
The root of the error: Under the premise of over-emphasis on craftsmanship, a value orientation of "don't tire of its complexity" is derived.
Error analysis:
Chinese classical furniture is a branch of arts and crafts. Therefore, craftsmanship must become an important expression of classical furniture. However, in recent years there has been a view that puts too much emphasis on the complexity of the process and ignores other factors such as device type. This can be seen not only in the field of collection, but also in the newly-made classical furniture, forming part of the popularity of "carved art furniture".
Among the aesthetic standards of classical furniture, shape should always be the core standard. A beautiful piece of furniture , whether made of rosewood, red rosewood, walnut, elm, or made in Song, Yuan, Ming, Qing, Republic of China, and modern times, has artistic value. On this basis, it is the proper embellishment of carving, inlaying and other processes. Although simplification and complexity can be regarded as an artistic style, such as the French Baroque and Rococo, this kind of complicated expression needs to be appropriate and appropriate, otherwise it is very easy to go to the "cumbersome" and "detailed" mentioned by Mr. Wang Shixiang "And bloated" in the "sick" state.
Take this Huanghuali high-waist belt holding mud sculpture wreath chair as an example, this is an example that Wang Lao regarded as "cumbersome". In addition to the structural "the waist and the mud are not there on the general circle chair" and "the carved short walls and long teeth on the chair tray are more cumbersome", this piece of furniture is too complicated and improperly carved. It pushed into the "complex" aesthetic mud. "In addition to its carvings, it is almost indiscriminately covered with the whole body, the content is messy, flowers, animal faces, dragon patterns, curly grass, etc., piled up, arbitrarily pieced together." Here, the complicated carving did not increase the collection value of the furniture , but because of inappropriate use has become a typical model criticized by the world, the collection value is also greatly reduced.
postscript:
The knowledge involved in furniture collection is very extensive, and it is not as simple as the picture. It requires a deep understanding of the history, culture, craftsmanship, materials and other aspects of classical furniture. In the years of hundreds or even thousands of years, the ancestors left us with a large amount of classical furniture, we must carefully screen when collecting. Fine products are always a few. Whether it is collection of purple and yellow furniture or lacquered wood furniture, only those few fine furniture have collection value. Do n’t be superstitious about any absolute authority.
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