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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 when exceptional craftsmanship is combined with rare wood can true furniture treasures be created—pieces that can be passed down through generations.
A notable piece in the collection was the "Poetry Pavilion Red Rosewood Taishi Chair Three-piece Set," which captured attention with its elegant design. As one expert noted, “Although it cannot be said that the work plan chosen by the ancient artisans was the only correct one, it was indeed an extremely delicate and wise choice at the time.â€
Those familiar with Ming-style furniture would recognize the Luohan bed, but few know the intricate details hidden within its seemingly simple structure. The junction between the side fence and the rear wall panel must align perfectly with the frame’s corner, while the three-sided wall panel should appear to rise, with a slight arch on the upper edge. Additionally, the legs must be proportionally sturdy and slightly outward, forming a stable base with thick dental plates.
Zhang Dexiang describes Ming-style furniture as “simple but not simple.†Even minor deviations in proportions or craftsmanship can lead to unsatisfactory results. However, in the modern furniture industry, there is a common issue: heavy materials but poor craftsmanship. Zhang recalls Wang Shixiang’s words: “The degree of arrogance is rigid, people can’t help but watch the fire.â€
In response, Zhang and Curtis, both disciples of Wang Shixiang, collaborated on a project to recreate classic Ming-style furniture using golden silk nanmu. They produced 16 pieces, including the Luohan couch, which were sold at Jiade’s auction for a total of 22.12 million yuan.
Wang Shixiang often said, “Porcelain is afraid of squares, wood is afraid of round.†This mantra guided Zhang during the recreation of complex pieces like the five-legged inner roll and the Shuangyuedong door-style canopy bed. These items required immense skill, especially in achieving smooth, rounded edges without modern tools.
One of the most challenging tasks was replicating the “Begonia Cross†and “Lantern Brocade†patterns on the canopy bed. These designs were not directly carved but made through precise mortise and tenon joints. Each “cross bark†involved four tenons, eight mortises, and 36 cuts, making the entire bed consist of nearly 3,000 parts and over 4,000 joints.
Curtis, who previously worked at the Chinese Classical Furniture Museum in California, emphasized the importance of craftsmanship over material alone. He believed that clumsy workmanship could never qualify as antique. During the project, he was amazed by the precision of the multi-layer lattice, where each joint was carefully interlocked, ensuring structural integrity.
Zhang Dexiang and Curtis also made some adjustments to suit modern aesthetics. For instance, they modified the back-to-back senior hat chair to make it more upright and refined. Zhang believes that while respecting tradition, contemporary re-engraving should also adapt to modern tastes.
In conclusion, Zhang emphasizes that only by combining superior craftsmanship with premium materials can furniture become a lasting treasure. Through their efforts, they hope to preserve the wisdom of ancient artisans and ensure that such artistry is not forgotten.