橘子红了

竹林小憩

茶花女

美的抽象

东方维纳斯

墨竹

南京雨花石 南京鹅卵石 鹅卵石厂 浩天鹅卵石基地 雨花石商务网

Antique imported furniture General Info


By the 12th century seating on the floor was rare in China, unlike in other Asian countries where the custom continued, and the chair or more commonly the stool was used in the vast majority of houses throughout the country. Over the next few centuries furniture design and construction continued to be refined, leading up to the late Ming period (1368 - 1644), which is considered by most to be the golden age of Chinese furniture. By this time China had become extremely prosperous, particularly its coastal cities, and demand for luxury items including fine furniture had grown.

The furniture of this time displayed simple, elegant lines, beautiful curves and superb craftsmanship. The quality and accuracy of joinery was so precise that nails and glue were used only as supplements. Metalwork such as handles, hinges and lock plates were designed to complement the graceful lines of each piece. These were no longer simply functional items of furniture but had become objects of beauty, and their timeless simplicity means that they still grace even the most modern home.

Many of the designs that first appeared during this period remained unchanged, in some cases for hundreds of years. Drawings on paper were rare. Instead verbal descriptions of  types' of furniture were passed down from generation to generation, along with the skills and craftsmanship to continue the tradition. In many ways the artisans that produced the beautiful pieces of this time were far more advanced than their European counterparts. One simple example of their technical superiority is the appearance early on in China of the curved backrest, designed to both please the eye and to increase a chair's comfort. This same feature did not appear in European furniture making until centuries later.

Antique imported furniture

The majority of Ming furniture was made of timber from indigenous trees such as pine, elm and zelkova (known as  southern elm'). However, the lifting of a ban on imports in 1567 and the subsequent increase in maritime trade also saw the use of tropical hardwoods, mostly imported from South East Asia. These included the dense, precious hardwoods Zitan and Huang-Huali.

Although few examples of the originals remain today, a wide range of finishes were used for furniture of the Ming period. These included heavy carved lacquer, sometimes inlaid with mother of pearl or agate; plainer red or black lacquer; and a more natural finish, allowing the grain to stand out and the beauty of the wood to be the main focus of the piece. Contrary to the image often held in Western minds of opulent painted and lacquered items, evidence suggests that the elite scholars and officials of the time preferred a more refined and restrained finish.

Furniture produced during the early Qing period (1644 - 1911) was similar to Ming and continued to display classic, simple lines. However a change in style gradually appeared, and by the end of the 18th century the purity of Ming furniture had been replaced by angular forms and overly ornate carvings.

The designs that came out of China during the Ming dynasty were much admired by the Europeans and have had a major influence on Western interior design. The timeless simplicity and perfect proportions of Ming furniture allow these pieces to grace even the most modern home.

Antique imported furniture

Ming & Qing Chinese Antique Furniture Style

Ming antique furniture style features simple, smooth, and flowing lines, and plain and elegant ornamentation, fully bringing out the special qualities of frame-structure furniture. Influenced by China's burgeoning foreign trade and advanced craftsmanship techniques, furniture of the Qing Dynasty period turned to rich and intricate ornamentation, along with coordinated engraved designs. Because of the high level of development of Chinese furniture in the Ming and Qing dynasties, most Chinese furniture design today follows in the tradition of pieces from these two periods.


Unique Chinese furniture 

As in traditional Chinese architecture, wood is the major material used in the manufacture of antique furniture. This was in response both to needs arising from Chinese life styles, and to China's rich forest resources. The two main types are lacquered furniture and hardwood furniture. Lacquered furniture was commonly used in palaces, temples, and in the homes of the wealthy. It includes the t'i-hung , or carved lacquer style; t'ien-ch'i in which lacquer is used to fill in an engraved design, then rubbed flat; miao-ch'i , or outlined lacquer style; and luo-tien , or furniture inlaid with mother-of-pearl. Two or more methods might also be combined in the same piece. Hardwood furniture was frequently found in the homes of the wealthy, but was even more common in the homes of nobles and officials. Woods employed include red sandalwood, pearwood, padauk, ebony, and nanmu. Of these, red sandalwood is the most highly valued material for use in furniture making; it is dense, hard, and resistant to decay.

Bamboo and rattan style furniture also have a long history. Bamboo is a product unique to Asia, and is an especially developed industry in hot and sunny Taiwan. Simple and ingenious techniques are used to make clever and useful products that can be "knocked down,'' and modular pieces that can be used together or separately. Bamboo may be used in combination with other materials, such as wood, rattan, metal, and ceramic tile, in endless variation. Much bamboo and rattan furniture is exported to Europe and the United States, where it enjoys great popularity.

Chinese of Ming & Qing are fond of furniture with inlaid and carved work. In addition to shells and enamel chips, brilliant, colorful, and artistically grained jade, stones, ivory (and other animal teeth), horn, agate, and amber are used for inlaid desi gns. Marble, for example, is a stone often used for inlaid work; colorful ceramic plates are also a popular material for ornamentation. Another elegant technique used since ancient times is the inlaying of different kinds and colors of woods in a single piece. The methods of carving include relief carving, negative engraving, and free-style carving. Common subjects for furniture carving are flowers; dragons and phoenixes; the ch'i-lin, a Chinese mythical beast; and stylized cloud and leaf patterns.

Traditional Chinese furniture style of Ming and Qing dynasty is generally arranged in symmetrical suites or sets. These are, however, supplemented with other more flexible arrangements to prevent the room from having too staid an atmosphere. For example, paintings or examples of calligraphy might be hung on the wall; ceramic, enamel or other knick-knacks might be placed in an antique display cabinet; or flower arrangements made of jade or stone might top a square occasional table. Any or all of these can add splashes of color and elegant form to the room. These delicate additions set off the heavy furniture to give a rich composite effect.

The Ming Dynasty (1368 - 1644) has been called one of the most interesting in the development of Chinese antique furniture furniture. It was an age of expansion and prosperity when the decorative arts flourished, and its furniture is characterized by soft curves, fluid lines and classic proportions.

Floor sitting was widely practiced in China well into the 10th century, but Buddhism dictated a more formal seating arrangement, and with the advent of the Ming Dynasty, chairs were common furniture items. The development of the chair reached its peak in the late Ming period, and its typical elegance and simplicity extended to all types of furniture made in the era.

An important style feature of late Ming furniture

is its use of plain hardwoods. Requiring superb joinery skills, good materials and little decoration, materials such as rosewood were used to construct pieces of remarkable simplicity, distinguished by the technical achievements of both workmanship and finish.

The Qing Dynasty (1644-1911) began with the Manchu conquest of China, and the more extravagant taste of the new rulers is evident in the furniture style of this era. More ornate than the earlier period, it is a balance of the Manchu love of decoration and the prevailing conservative culture. Furniture of this period is slightly larger and makes more use of carving, but is by no means garish.

The same high quality hardwoods, joinery and finishes distinguish pieces from the Qing Dynasty; the pieces also reflect the more openly luxurious style of living. During this period China became more accessible to the West, and the elegant curves and carving of this period influenced European furniture makers.

Classic Chinese furniture can be gathered into just a few groups: beds, stools, chairs, wardrobes, chests and tables: unlike Western homes, Chinese houses traditionally required less furniture. Each piece was therefore more important, so excellent workmanship, wood, and styling have become the hallmarks of classic antique Chinese furniture.

Unique Chinese furniture 

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鹅卵石作为一种纯天然的石材，取自经历过千万年前的地壳运动后由古老河床隆起产生的砂石山中，经历着山洪冲击、流水搬运过程中不断的挤压、摩擦。在数万年沧桑演变过程中，它们饱经浪打水冲的运动，被砾石碰撞磨擦失去了不规则的棱角，又和泥沙一道被深埋在地下沉默了千百万年。鹅卵石主要化学成分是二氧化硅，其次是少量的氧化铁和微量的锰、铜、铝、镁等元素及化合物。它们本身具有不同的色素，如赤红者为铁，蓝者为铜，紫者为锰，黄色半透明为二氧化硅胶体石髓，翡翠色含绿色矿物等等；由于这些色素离子溶入二氧化硅热液中的种类和含量不同，因而呈现出浓淡、深浅变化万千的色彩，使鹅卵石呈现出黑、白、黄、红、墨绿、青灰等色系。

鹅卵石的衍生产品：

鹅卵石产品有：天然颜色的机制鹅卵石、河卵石、雨花石、网贴（网片石）、干粘石、喷刷石、造景石、木化石、文化石、天然色理石米等建筑装饰材料及室内装饰用的高级染色沙，无毒、无味、不脱色。品质坚硬，色泽鲜明古朴，具有抗压、耐磨耐腐蚀的天然石特性，是一种理想的绿色建筑材料。

鹅卵石的用途：

鹅卵石被广泛应用于公共建筑、别墅、庭院建筑、铺设路面、公园假山、盆景填充材料、园林艺术和其它高级上层建筑。它既宏扬东方古老的文化，又体现西方古典、优雅，返朴归真的艺术风格。

同时适用于：酒店、商厦、展厅、庭院、泳池、人行道、花园步道、墙壁等景观建设。彰显和谐、高档、典雅之色。

鹅卵石还为净水、污水处理、电力、园林等项工程提供了优质材料。还为陶瓷、精密铸造、造纸、喷磨、化工、单晶硅、国防等提供原辅材料。

鹅卵石材质：95% 以上的二氧化硅( SiO2 ).
鹅卵石性能参数：表面光洁度98%、抗压强度在 600 Kg/M2 以上。
　
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兄弟站点：南京鹅卵石 鹅卵石厂

　　第二是色彩。色彩主要表现为斑驳陆离、五光十色。那淡绿色清雅得令人想起春潮的岸柳；那青紫色犹如紫罗兰；那红色使人感到太阳的温暖；那桃红、柳绿、杏黄的色韵给人大富大贵的感觉；那七彩斑斓、绚丽多姿的色彩中蕴藏着无限神奇与美感。我藏一石“美人睡痕”，那胭脂色妩媚的宛若美人乍醒的睡痕（图1），那色彩妙就妙在如雾如烟，似透非透、色感细腻，色彩过渡没有绝对的分界线，色韵十足，观后给人富丽堂皇、吉祥如意的色韵美感。

　　第三是形状。雨花石的形状主要表现为圆滑的几何形状，如扁圆、椭圆、鼓圆、鸭蛋圆等常见的几何形状。雨花石经过几百万年的水潮冲涮荡漾，浪打水磨与大地震动、挤压，磨成了以上几种形状，看上去顺眼，摸起来舒服，给人圆润之感。

　　第四是纹路。看石中的纹路是否细腻流畅、曲折多变，或直、或圆、或曲、或旋，同时还要观察它的纹路是否形成图案，若是形成图案就更加有美感。雨花石中有“死石”“活石”之分，“活石”主要是指玛瑙石中的丝纹石。上好的丝纹石还要有宝玉石中的“绢丝射线”之折光，可随着视线的变动推移而变化，可大可小，石头就像活的一样。这枚“寿星佬”雨花石（图2）就具备了这一特性，可随着观赏的角度变化，石中的纹理仿佛也在变动，奇巧无穷。

　　第五是呈像。一般来讲，雨花石中呈景、呈像、呈画面的十分少见，石上的画面既要有形似、又要有神似的更为难得。形神兼备的雨花石往往使人观后赞不绝口，百看不厌。似与不似的石头，某种角度来讲就不能达到雅俗共赏的效果。

　　这里骆嘉刚先生收藏的“皖南民居”雨花石（图3），它虽然是一枚粗石，但它的呈像度很高，达到了具像的程度。石中三种色，黄、白、黑，黑白居中偏左到边形成一片错落有致的民居，黑白两色妙巧的构成民居图案，背衬黄色，似金秋时的黄昏映衬着一群民居。颜色的巧妙搭配显现出一幅迷人的画面，给人一观就像皖南民居。

　　雨花石一般来说不加工、不抛光，原汁原味为佳作。当然，只要不是后天人工雕琢、添加上的，还是上乘之作，但要减一些分值。（柏贵宝）

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    如今，这种田园式家居受到了不少广州人的喜爱，因为对于看惯了简约装修风格的人们来说，这确实是与众不同。

    绿色植物的适当装点也不可忽视 。

    

在露天小花园里打造一片绿色的世界 。

   

 用红砖或鹅卵石在室内砌一道假墙。

    在墙上挂上各种由草、木、竹、纸等材料制作的小装饰品，将大大提升居室的自然观感。

    亮点一：

　　色彩以金黄色为主

　　以金黄色调来表现农田丰收的感觉，能让居室增添一种喜庆感。在许多田园风格的家居中，深浅不同的黄色是居室的色彩主调。米色调的地砖，深色系的木地板，温和的奶油色墙面，原木家具的自然色泽，在居室内无处不在的橙黄色灯光的照射下，融合成一片金黄的世界。据设计师说，金黄色属于温和的暖色调，让生活在其中的人心情平和，倍觉温馨。

　　亮点二：

　　装饰使用天然材料

　　田园风格的家装通常使用一些自然的材质来营造家居风情，并让这些材质保持着原本的状态，以制造出一派更浓郁、更地道的自然感觉。于是，一些贴近自然的材质被运用其中，比如设计师会采用有些偏红的仿古砖或青石板来铺设地面，或用红砖或鹅卵石在室内砌一道假墙，或直接将自然界的竹子和木墩引入居室中，营造一片清雅。喜爱中式家具的人还可以购买藤制家具，将它们随意摆在室内，与田园风格的环境也能融为一体。如果选择那些看似未经加工的原木家具，将它们摆放在室内，也可以增添田园风格家居的质朴感。

 
用仿古砖或青石板来铺设地面

在花瓶中插上一把稻穗或芦苇

    亮点三：

　　自然饰品点缀其间

　　家品是田园风格家居必不可少的装点。这些家品也应当具有自然的风貌，可以在墙上悬挂各种由草、木、竹、纸等材料制作的小装饰品，或者挂上一席草帘，或者在花瓶中插上一把稻穗或芦苇，这些小家品将大大提升居室的自然观感。此外，绿色植物的适当装点也是不可忽视的，客厅显眼处的几盆插花，窗台上的吊兰，或者在露天小花园里打造一片充满绿意的世界，与田园风格的家居相得益彰。

将自然界的竹子和木墩引入居室中，营造一片清雅。

 
田园风格家居以金黄色为主调

客厅显眼处放几盆插花

    田园风格天然雕琢

　　现代人对于回归自然有着强烈的渴望。若只是在家里摆上几盆花草作为装点，为室内增添一些绿意的话，并不能称之为一个完整的田园家居。最好的做法便是将田园中的主要元素尽可能多地引入室内，采用一切自然的材质，在室内构造能够体现田园风格的家居氛围。如仿古地砖、原木桌椅、陶制器皿与老式藤椅这几个元素能营造出农舍的乡土气息，即使是朴素的红砖与水泥在这里也大有用场。
　　据设计师介绍，这类以田园风格为基调来打造的家居具有三大特色。首先，它的基本色调是丰收的金黄色，为居室营造了一种暖暖的感觉。其次，尽可能选用木、石、藤、竹、织物等天然建筑材料来进行家居的细节装饰。无论是纹理粗犷的石材，还是泛着自然清香的盆栽植物，在田园风格的家居中都显得自然而不做作。另外，装饰品是田园式家居的点睛之笔，像草编藤制品以及各式各样的绿色盆栽，就能够与整体风格和谐地融为一体，成为田园式家居的亮点。