The main types of styling structures such as chair stools, table cases and bed-beds of Ming-style furniture can be divided into two types: non-bow waist type and waist type. No waist, refers to the furniture legs and teeth directly connected to the panel, the three-dimensional space formed by the legs and the teeth is the retracted surface, the structure directly absorbs the construction of the large wooden beams on the building, furniture The legs are used in the same way as the pillars of the house. There is a waist, which is a line under the panel that is decorated with a retracted surface. It is like adding a belt to the furniture, hence the name "waist." It has a relationship with the door-bed making method of the Tang Dynasty. The legs and the panels are connected by the intermediate structure of the waist. In the paintings of the Song and Yuan Dynasties, the furniture of this method has appeared. There are two ways to waist, a low waist and a high waist. In general, their role is to increase the transition period between the panel and the leg, which greatly increases the space for the art of decoration, and the profound philosophy of the aesthetics of Ming furniture is also revealed. Therefore, the waist is occupying an important position in the Ming style furniture design and decorative aesthetic system.
First, the basis of change in modeling and structural decoration
The shape of the non-waisted furniture is relatively simple. It adopts a straight line as the core configuration element, and the method of modeling the leg and foot with the round material is its "grammar". In order to increase the stability of the structure, the non-waist furniture has a "side foot" structure, that is, the panel and the legs are slightly more than 90 degrees, forming a trapezoidal frame with a narrow upper and a lower width, which greatly increases the stability of the furniture. Sexual and static sense. The shape and structure decoration of this type of furniture generally has crowning, adding dwarf or clip flower.
The reason why the waist furniture is considered to be not the same as the non-waist furniture is that they avoid the direct connection of the waistless body to the ground, but use the transition of the waist to relax the teeth and legs. Reconstructing the space form, their shape, width, and position along the face can be changed with the ingenuity of the carpentry. However, the change of the shape of the waist furniture is strictly adhered to the aesthetic principle of Ming style furniture, which is also the internal rules, so that we can appreciate the magnificence of Ming style furniture and appreciate their unified cultural temperament.
We can see that in the waist-type furniture, the tooth strips are generally bulged at least flush with the surface of the face. This freedom of shape makes the legs and feet use the square material and the material is enlarged, thus producing the round material. The strength of the beauty is quite different from the artistic effect. The bulging state produces a variety of possibilities, and has been a series of two types of square legs and legs, which are matched with straight and curved strips. Straight leg and leg are square and rigorous, and there is a lot of change. The most common ones are the so-called "expanded legs" and "three-legged legs". The former is an arc to the bottom, and the latter is halfway. Bent out, creating a beautiful and elegant look.
The structural decoration that matches this leg shape also has the use of the tyrants, horseshoes, and mud, which have both the practicality of the stable structure and the decorative effect of the landscaping. From the analysis of their decorative effects, Overlord makes the high-waist furniture avoid the partition of the structure such as straight shovel and Luopan squat. The contour of the circle formed by the dent and the leg is more complete, and the space is maximized. "The liberation." The horseshoe is made up of the extension of the legs and feet, and is dug with the whole material at the grounding. Whether it is inversion or eversion, the legs and feet are changed at the grounding point. Whether it is a straight foot or a curved foot design, the overall structure is sleek, so that the spatial level can be adjusted again. The mud is a circle of lines that is added under the horseshoe, so that the plane cross-section of the furniture appears again at the ground. These echoes with the superstructure are intended to change the overall shape while changing the shape, so that the shape of a piece of furniture becomes more self-reliant.
Second, the line, the carving and decoration stage
The non-waisted furniture mostly uses round material, and due to the limitation of construction, at least a straight sill reinforcement must be added between the legs, and the area of ​​each constituent material is divided into small, and the extra decoration is difficult to display. Generally, such The line decoration of the furniture is the most classic, reflecting the simple and refined art of Ming style furniture. In addition to the general purpose of the general purpose, the most distinctive feature is the decoration on the round material. The engraving is reflected in the small curls on the narrower strips and the small clips that are inserted between the strips and the jaws.
Because of its multi-purpose square material, the waist-sleeve furniture will inevitably make the craftsman who is skilled in the decoration of the line foot feel like a fish. In addition to the application similar to the non-waist furniture, the line-and-pin decoration of the waist-type furniture also utilizes the characteristics of the square material, resulting in two decorative methods of kneading and snoring. The so-called kneading surface is such that two or more faces of the square material protrude slightly outward into an arc shape to match the full outer expansion of the entire shape. The snoring is the opposite of the fact that the concave surface is dug in the surface of the legs of the legs, the squats, the sides of the table, etc., so that the furniture as a whole produces a thin and enduring tendency.
The large face exposed by the face, waist, teeth and legs of the waist furniture is the main part of the carving decoration. Their carvings are extremely oriented to the unification of style and the ability to grasp the scale, with exquisite workmanship as the mainstay, but not to be ostentatiously ostentatious; to combine the aesthetics of the styling structure with beauty, to pursue magnificent and natural, thus adding a very rich aesthetic thought to the history of Chinese furniture design. . In the straight-legged furniture with straight waist straight, the decorative patterns are more holistic and solemn, so they like to use the pattern of the corners and the corners of the dragon. On the furniture of the swelled leg, the flowing lines can relax and sway along the contour of the curved material. Therefore, the grassy lotus pattern and the grass dragon pattern are easy to play, and the size of the object can be freely simplified or The complex decorative theme will be more mature.
Generally speaking, the degree of carving of the waist-waist furniture is larger than that of the non-waisted furniture, but its carving technique mainly consists of flat carving, relief and openwork. Don't forget to save materials when designing, so the round sculptures that are more flamboyant and consume the material are used less. The engraving pattern of Ming furniture rarely covers the entire land, but strives to bring out the beauty of the texture and form of this piece of furniture without destroying its integrity. This kind of fine work does not exaggerate, the overall consciousness of decoration and styling mutual interpretation and mutual incompatibility is precisely the reason why Ming style furniture has become the highest realm of furniture art in China.
Due to the support of the waist, the legs of the waist-type furniture bulge, thereby constructing a larger space frame under the same size face. And because of the relative abundance of materials and the multiple stability of the waist, the strips, and the leg-to-foot joints, the furniture does not need to be reinforced by the side legs, and the legs and the ground are at a stable 90 degree angle, so the panel In addition to being richer and wider, the space structure underneath also has a solid and self-satisfied content. This contrasts with the simplicity and thinness of the non-waisted furniture, as if it is a straightforward, one-minded one. In the soul of Confucian scholars, the scent of escaping and meditation with heavy body knowledge and life is added.
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