Interest in traditional Chinese furniture has increased in recent decades as we in the west have become more familiar with the beauty and craftsmanship of Chinese design. As China has opened its doors to tourism and foreign enterprise, so more and more westerners have started to appreciate the elegance and artistry of these beautiful pieces.
Initially interest was in the hardwood pieces – cabinets, chairs and altar tables in Huanghuali, Zitan and Jichimu wood, which were popular among the Chinese elite during the Ming and Qing dynasties. More recently though more and more collectors have learned to appreciate the beauty and value of furniture from China’s regions – painted red and black lacquer cabinets from Shanxi, walnut furniture from Gansu and the brightly coloured furniture of Tibet and Mongolia.
These pages have been developed as a resource for collectors of Chinese antiques or for those with a general interest in Chinese furniture. We have tried to provide enough detail to satisfy the enthusiast, but for further information we would recommend that you see our resources section for a list of recommend books and publications.
Decoration and Symbols
In order to embellish further the beautifully designed furniture produced during the Ming and early Qing dynasties, a great number of techniques and devices were applied by Chinese craftsmen. The most common and perhaps most important of these techniques was to use carving, both relief and openwork. This would be applied not only to doors and larger panels, but also to aprons, spandrels and other areas of a piece. Paintings were also extremely common, particularly in furniture from Shanxi province in northern China and in furniture from the western provinces, while inlays of alternative woods, mother of pearl, marble or ivory were also popular in furniture made for the ruling classes, particularly in the Qing dynasty.
The types of decoration and symbols used in Chinese furniture can be split roughly into a number of categories:
Ancient designs
During the Ming dynasty in particular it was common to mimic designs from old bronzes, stone carvings or jades. One motif that was extremely popular was the double-coin symbol indicating ‘double happiness’ – often see around the aprons of side tables.
Geometric patterns
Window panels and door panels within Chinese homes would often be carved in geometric or rhythmical patterns such as hexagons or stars – meant to symbolise lasting, unbroken prosperity. Another popular design, made up of more random carvings, became known as ‘cracked ice’.
Animal motifs
Many animals, both mythical and real, have symbolic meaning in China and were used either in carvings or paintings to decorate Chinese furniture. Some of the most common included:
Dragon. A symbol of royal authority as well as male fertility. Often found on the back of stately chairs.
Butterfly. Symbol of longevity and also of marital happiness.
Fish. In pairs symbolise marital happiness and fortune.
Qilin. A mythical beast – half lion, half dragon. A symbol of fecundity or fruitfulness.
Phoenix. Symbol of good fortune.
Crane. Symbol of wisdom and of the father / son relationship.
Lion. Symbol of power and protection.
Botanical motifs
Certain flowers, plants and fruits also have significant meanings in China. The most common motifs used in Chinese furniture include:
Peony. Symbol of wealth, success and high rank.
Plum blossom. Signifies beauty and longevity. Often used on marital beds.
Persimmon. Symbol of long life, protection and beauty.
Bamboo. Symbol of longevity.
Pomegranate. Symbol of fertility.
Chrysanthemum. Symbol of longevity or endurance.
Ruyi. Not strictly botanical – the ruyi is a magic wand that can bring the bearer whatever he or she wishes. Used particularly in Shanxi province in northern China.
Calligraphy
Calligraphic symbols were used to decorate furniture more during the Qing dynasty than the earlier Ming. They would either be applied with gold or lacquer, or in carved relief. The most popular symbol was the ‘fu’ character for good luck, which was very frequently used on the backs of chairs. Other characters often used include ‘shou’ for longevity and ‘wan’ (an inverse swastika) for immortality.
Human Characters
Paintings or carvings of people were usually based either on historical or mythical characters. Popular depictions included the ‘Eight Immortals’, the white bearded god Shou (representing longevity) and the god of weath Tsai Shen (usually depicted holding a ‘ruyi’). Characters from legend and popular novels such as the Water Margin were also common.
Cracked Ice Window Panel, Reproduction
Foo Dog Boxes, Tibet
Yoke-Back Armchair, showing Ruyi and 'Fu' character carving
Peony Detail
Detail from Painted Shanxi Cabinet
