The graceful, timeworn contours of a picket chair appear to whisper tales from one other period. Alongside its armrests, the elegant curves embody centuries of mastery, every line an echo of the artisans who crafted it.
However upon nearer examination, this seemingly historic chair has secrets and techniques to inform: A modern cushion now rests towards the again, its curve subtly adjusted for contemporary ergonomics. Hidden beneath every leg are small wheels, permitting this sturdy piece of workmanship to glide throughout the ground.
This chair, a product of custom fused with innovation, was created by Liu Gengsheng, 60, a grasp of Beijing-style picket furnishings. The craftsmanship behind it has been recognised as a national-level intangible cultural heritage since 2008.
It’s a meticulous replica of a Qing Dynasty (1644-1911) relic from the Palace Museum, adorned with conventional motifs and complex openwork carvings.
The design adheres strictly to historic strategies — no screws, solely sunmao (mortise-and-tenon) joints, with every leg carved from the identical piece of wooden.
However Liu’s work represents extra than simply craftsmanship; it’s a glimpse into a convention that stretches far past his workshop.
Throughout China, conventional picket furnishings has lengthy been admired not just for its meticulous development and visible attraction, but additionally for the cultural tales embedded inside its patterns and motifs — tales that replicate centuries-old aspirations for concord and prosperity.
Right this moment, this craftsmanship endures due to the devoted efforts of artisans like Liu.
However making these items is just the start. The custom extends into artefact restoration, vintage replica and modern design. In every of those areas, artisans, restoration specialists and designers are preserving a twin heritage — the sensible expertise of woodworking and the deep cultural roots that floor these creations.
The result’s a bridge between the previous and future, the place handcrafted furnishings serves as a useful piece and a vessel of China’s cultural legacy, inviting trendy audiences to attach with custom via the objects they use day-after-day.
Liu has spent over 40 years crafting picket furnishings. He was born and raised in Beijing’s Luban Hutong, an alley that was named after the legendary grasp carpenter Lu Ban and teeming with artisans and craft outlets.
At 19, Liu adopted his father’s footsteps, becoming a member of the century-old model Longshuncheng to be taught the craft of Beijing-style picket furnishings.
Past crafting, Liu has mastered the abilities of restoring vintage furnishings. In 1999, he established a restoration centre.
“Some prospects carry us nothing greater than a pile of wooden, barely greater than kindling. We method each bit with a real want to revive it to its former glory,” Liu says.
“From a single piece, you may glimpse the design philosophy and craftsmanship of the time, and likewise the continuity of Chinese language tradition.”
Conventional Chinese language picket furnishings is categorised into three primary types — Beijing, Canton (right this moment often called Guangzhou in southern Guangdong province) and Suzhou in japanese Jiangsu province.
“Canton-style integrates Chinese language and Western influences, showcasing a various and inclusive vary of designs. Suzhou-style is understood for its meticulous craftsmanship and understated magnificence whereas Beijing-style, initially utilized in imperial courts, combines the opulent materials use of Canton-style with the intricate workmanship of Suzhou-style, emphasising the ceremonial facets of furnishings,” explains Ou Shengchun, 65, who has devoted over 40 years to designing and creating classical picket furnishings.
Alongside his work, Ou additionally curates a group of classical Chinese language furnishings from each home and worldwide sources.
“Our ardour for classical furnishings stays undiminished, and we proceed to be impressed by the knowledge and expertise of historic artisans,” he says.
