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On November 17, Zhang Dexiang and Curtis re-engraved 16 pieces of gold-wood nanmu-style furniture for Jiade’s autumn auction, achieving a high price of over 22 million yuan. Zhang believes that only through exceptional craftsmanship paired with premium wood can one create timeless furniture treasures.
The image above showcases the "Poetry Pavilion Red Rosewood Taishi Chair Three-piece Set," a piece that reflects the beauty and intricacy of traditional Chinese furniture.
"Although it cannot be said that the work plan chosen by ancient artisans was the only correct one, it was indeed an extremely delicate and wise choice at the time."
Anyone familiar with Ming-style furniture would know the Luohan bed. However, few realize the hidden complexities behind its seemingly simple design. The junction between the side fence and the rear wall panel must align perfectly with the frame’s corner. The three-sided wall panels should appear to rise, with the upper edges slightly arched. Additionally, the legs and feet must be proportionally bulky and slightly outward, forming a stable base with thick dental plates.
"The structure of the Arhat bed is relatively simple in Ming-style furniture. It may seem rustic, but every detail—proportions, structure, and craftsmanship—contains subtle nuances that are difficult to imitate," says Zhang Dexiang, who sees Ming-style furniture as "simple yet not simple." Even minor errors in proportions can lead to significant flaws.
Unfortunately, in the modern furniture collection and classical manufacturing industries, many prioritize heavy materials over craftsmanship. As Zhang puts it, "The degree of arrogance is rigid, and people can't help but watch the fire." Recently, Zhang and Curtis, under the invitation of Beijing Nan Study, collaborated with Wang Shixiang’s "Study on Ming-style Furniture" and original Ming Dynasty pieces. They used hand-made engravings with golden silk nanmu, creating 16 classic Ming-style furniture items, including the Luohan couch.
Both Zhang and Curtis are disciples of Wang Shixiang, known as the "first player in Beijing." Their goal in re-engraving Ming-style antiques is to highlight the superior craftsmanship and wisdom of the ancients. This was also Wang's original intention in studying furniture. On November 17, these 16 pieces of golden silk Phoebe Ming-style furniture were auctioned at Jiade's "The Beauty Has Been Long – The Study of Golden Phoebe in Nan Study," selling out for 22.12 million yuan.
"Wood is afraid of round," is a saying Wang Shixiang often repeated, and Zhang believes it's no exaggeration. The most challenging parts of this re-engraving were the two round pieces: the five-legged inner roll and the Shuangyuedong door-style canopy bed.
Zhang recalls seeing a five-footed inner scented table made of Huanghua pear in Wang's home, now housed in the Shanghai Museum. The table was thick, mellow, and had a straight line throughout. Though small, its roundness required high craftsmanship. Zhang experimented with soft woods like pine and poplar before finding the right technique.
Ancient craftsmen used sashes to install boards, creating a flat, soft "water barrier." When shaping, they slightly raised the bottom of the board, allowing the dental plate to swell naturally, forming a protruding edge. The legs were shaped from the shoulders outward, then inward into a hemisphere, finally resting steadily on the base. Zhang believes such craftsmanship is hard to replicate even with modern tools.
The Shuangyuedong door-style canopy bed, larger than Xiangji, was surprisingly complex. Its door covers, side enclosures, and hanging eaves were adorned with intricate "Begonia Cross" and "Lantern Brocade" patterns, offering both visual appeal and structural complexity.
Many assume these patterns are directly carved, but Zhang’s team discovered they were "spliced." A single "cross bark" involved four pieces of wood interlocked with tenon and mortise joints. Zhang calculated that one "cross bark" contained four tenons, eight mortises, and 36 saw cuts. For the whole bed, there were nearly 3,000 parts and over 4,000 tenon and mortise structures. The effort required was immense.
Ancient craftsmen used this method, ensuring durability despite wood expansion and contraction. Zhang verified that using a single piece of wood for carvings could lead to cracks. He emphasizes that the ancients combined quality materials with structural integrity.
In the world of furniture collecting, there's a saying: "Three-point material, seven-point craft." This is also the international standard for classical furniture. Ming-style furniture reached its peak due to factors like curvature, proportion, structure, and the relationship between them.
Curtis, who once directed the Chinese Classical Furniture Museum in California, refused a batch of poorly crafted but expensive wood. "Clumsy craftsmanship is the reason these pieces can't be considered antiques," he said. Even the multi-layer grid furniture impressed him, with hundreds of tenons and mortises connecting each part.
Appreciating classical furniture requires patience and attention to detail. Zhang and Curtis imagined themselves as ancient artisans, focusing on essential elements rather than superficial aesthetics. In the end, they uncovered the wisdom behind the designs.
While they made some adjustments, like increasing rigidity in the back panel of the senior hat chair to suit modern tastes, Zhang emphasized the importance of preserving the essence while removing the dross. He believes that with the right craftsmanship and materials, future generations can continue to cherish these treasures.