Caring for Chinese Furniture

April 5th, 2010

 

The craftsmanship of traditional Chinese furniture is unrivaled. Constructed without nails or screws, antique cabinets, tables, and beds are held together by carefully carved joints that fit one another like individually forged locks and keys. Many Chinese antiques were crafted centuries ago, and—with the proper care—will continue to last several lifetimes.

 

Prized Patinas

Furniture-makers of the past incorporated handmade paints and lacquers into their designs. Today, the craft of antique lacquer is a lost art. When Chinese antiques first became popular in the West, many people stripped the furniture of its original patina, unknowingly reducing its value. As collectors became more educated about the nature of Chinese furniture, original patina became more and more prized. Antiques retaining their patina are among the most highly respected and sought after pieces.

 

Caring for Lacquered and Painted Finishes

Although hard and glossy, antique lacquer and paint finishes can also be quite brittle. Avoid chipping or scratching lacquer by moving furniture with care and keeping surfaces clear of sharp or heavy objects. Do not use water, oil or solvents on the surface. For daily cleaning, use a soft, dry cloth. If the surface is dull or dirty, lightly polish it using a high-quality clear paste wax.

 

Maintaining Furniture Finishes

Unpainted wood furniture should be waxed—not sanded, stained, or lacquered. Altering the original wood finish will detract from its value. In the case of lacquered or painted pieces, the dealer or craftsman should determine whether the finish is old or new. If the finish is new, the craftsman can sometimes strip or replace it without damaging the furniture’s value. If the finish is antique, it should be kept in tact as much as possible, with damaged areas cleaned or repaired by a professional.

 

Humidity and Dryness

Constructed largely from wood, Chinese furniture is designed to expand and contract with moderate seasonal changes. To prevent wood from drying out in the winter months, a simple solution is to keep a cup full of water inside a cabinet or drawer. In humid summer months, basic air conditioning or a dehumidifier will keep the wood from warping. To prevent cracking, treat unpainted wood with a fine, clear furniture paste wax every six months—more in a dry climate, less in a humid environment.

 

Cleaning Wood Furniture

Do not clean antique wood with wet cloths, oils, or spray wax. For daily cleaning, use a dry cloth. To clean heavily carved areas when dust or dirt builds up, use a soft toothbrush lightly coated in a high quality paste wax. Regular waxing of the entire piece—every six months or so—will keep antique wooden furniture in top form.

 

Restoring Broken Furniture

Proper repair of Chinese antiques requires an inherent understanding of the object’s nature. We recommend contacting the original dealer for recommendations if your furniture requires restoration. A skilled craftsman will disassemble the furniture without damaging it, fix the broken part(s), and correctly reassemble the piece.

 

Floating Panels

Many Chinese antiques, such as cabinets and sideboards, were designed with floating panels in the center. Over time, these panels may expand and contract, sometimes leaving a small gap or white space when the panel moves. Depending on the width of the gap between panels, the seam can be darkened by a conservator. If the gap is significant, a conservator may fill the seam with a piece of antique wood. These gaps are a normal result of the wood’s expansion and contraction over many years, and do not generally effect the value of a piece.

Spring Palace Paintings: Chinese Erotic Art

March 31st, 2010
 

 Spring Palace Art

 

Erotic Chinese art in letters and pictures was a tradition that spanned from antiquity until its apex in the Late Ming Dynasty (early 17th Century). This art was not just produced for stimulation. Chinese erotica was layered in ideals of feminine beauty, narratives on imperial and vernacular life and most importantly, humor, tenderness and love. However, after the last dynasty and between the two republics (1912 and 1949), Chinese sexual art was suppressed by modern Confucius followers and Western missionaries resulting in the destruction of many pieces. Today it is very rare to find authentic Chinese erotica.

 
Why is Chinese erotic art called spring palace painting?

The word ‘Spring’ refers to the archaic springtime rituals during which girls and boys separated by a brook sang love-songs to each other. Later, when love-making became part of refined imperial court culture, the word ‘palace’ was added as an allusion to the emperor’s residence. Erotic fiction in China spun tales of the misbehavior of rulers and their consorts. Fervid imaginings of what happened behind the walls of the Forbidden City and the pleasures one might enjoy if in the possession of absolute power were irresistible to novelists, painters and the audiences for whom they were created.  Erotic art developed concurrently with the rise of the rich mercantile cities of southern China from the 10th century on. 

 
What is a Pillowbook?

In China, the long tradition of erotic literature, or pillowbooks, ranges from poetry and novels to instructional manuals. Like spring palace paintings, erotic poetry typically embodied attributes of humor and flirtation. However, novels often blurred the line between fiction and non-fiction, integrating a mixture of historical figures, and narratives that are themselves factually questionable. The ambiguity of what is real and what is not, is due to the fact that sex attracted its share of bad writers and poor artists, as well as the inconceivable idea that tales of imperial sexual escapades could ever leave the palace walls.

 
What are the Mediums and Motifs of Chinese Erotic Art?

Chinese erotic art can be found on inlaid boxes, porcelain figurines, silk or rice paper paintings, and even on the soles of ceramic shoes. However, the album (a series of paintings loosely bound in book form) was the preferred form of erotic art. album is not unified by a narrative, and the participants in the scenes do not reappear from leaf to leaf. Also found in albums are non-erotic or subtly erotic leaves that serve to contextualize the sexual acts depicted.


Snuff Bottles are another medium where sensual scenes can be found either through reverse painting or through the craftsmanship of the glass. Reverse painting on snuff bottles is just as it sounds, executed from the inside of the bottle facing out. Tobacco was believed to have medicinal benefits in China and was consumed both in the imperial court and in the larger population; hence the production and popularity of snuff bottles. With the simultaneous increase in popularity of snuff bottles and erotica, it is only natural to find the two paired together.
 

Although clothing, hair and even the scenes for seduction can vary (gardens, brothels, palaces, bedrooms, and even boats) there are a few visual hallmarks that are reoccurring in spring palace paintings. The notorious practice of foot binding was widespread in China until the twentieth century and – not surprisingly – feet play an important part in Chinese erotic art and literature. It was not a national epidemic of foot fetishism as much as an alternative object of secondary sexual interest. Small feet in China were analogous to ample breasts in the West. “Oh, a little foot! You Europeans cannot understand how exquisite, how sweet, how exciting it is!”  Almost uniformly, even among erotica created in the 1920s, extremely small feet are a hallmark of feminine beauty and sensuality.
The most important hallmark of erotic painting in China is the tender treatment of the figures and the exquisite detail of their settings. The faces of the lovers are soft and sweet. The luxurious folds of their robes add to the sensuality of the scene, as it is not always apparent what is happening under all of that fabric. Even the settings add to the narrative. Because there was not much documentation about design and the use of furniture during ancient times, there is much to learn by studying the context of the paintings. Not only are they beautifully composed in perfect detail, the scenes are layered. For example, there is usually a garden that can be seen from the bedroom or a garden divided by scholars’ rocks or lattice. This layering makes the viewer wonder, is there more to see? Is there someone watching along with us?
 

 

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 To view a selection of Chinese erotica from Pagoda Red’s collection, click here

 

Demystifying the Swastika

March 5th, 2010

Swastika 

For years, we’ve been speaking with clients about the presence of the swastika on the 18th and 19th c. Chinese furniture and paintings in our collection.  Clients are often upset by the symbol, which calls forth the atrocities committed in WWII.    The Asian swastika has always been a symbol of all things good—peace, compassion, luck, success and happiness.  It has never been clearly documented as to why the Nazis used the swastika as the symbol for their hateful ideology.   Many historians believe the Nazis wanted to capitalize on this globally known image, which embodies so many good qualities in order to portray and promote a new political party.     

 

Germany was just a tribal land when the swastika emerged in India’s material culture 3,000 years ago.  The swastika is derived from the Sanskrit word: “svastikah”, which means ‘being fortunate’.  About 2,500 years ago, when Sakyamuni brought Buddhism to China from India, the Chinese adopted this significant image.  Today this ancient symbol of prosperity can still be found in India, Tibet and China on tombs, cave paintings, ceramics, bronzes and furniture.


In India, both clockwise and counterclockwise swastikas were used, with different meanings: the counterclockwise swastika is associated with the goddess Kali-Maya, the mother of Buddha, and the clockwise swastika is associated with Ganesha, the elephant-headed father of Buddha. In Chinese Buddhism the clockwise direction symbolizes future success and happiness and many Buddhist rituals, like circumambulation, follow this direction. 


Like the lotus, the wheel and the tiger, the swastika is ever present in Tibetan furniture, usually symbolizing earth and its indestructible durability. Its presence in Tibetan art brings blessings of stability and peace and acts as a reminder for its owner to strive for contentment. 


What does this all mean to the art historian and the collector? Simple details such as the direction of the spinning swastika help connoisseurs locate the origin of an object’s creation, and the type of blessing and role the object played in material culture.  The direction of the swastika and its subtle integration into an object are identifying Asian features.  In objects and furniture created by the Nazis, the swastika is commonly branded in a predominate location. After the mid-20th century, the Buddhist swastika (outside of India) is universally left facing due to the association of the right-facing swastika with Nazism. 


The Chinese culture embraces an even broader meaning for the symbol than the Buddhist religion. For example, in China, the swastika is also the symbol for Wan, which means “ten thousand,” an auspicious number in Chinese classical culture. Based on this symbol, the hall of “Peace and Harmony in Ten Thousand Directions” was designed and built in the shape of the swastika at the Imperial Summer Palace in Beijing.  Furthermore, today there is an organized movement in China to take back the positive connotation of the symbol.


Though the Nazis bastardized it’s meaning during WWII, the swastika is still a symbol of hope, luck, and prosperity to millions of people today.   With education and awareness, people in the West will hopefully let it reclaim its true meaning.   

 

Double Happiness: Pairs & Chinese Design

March 5th, 2010

 

Pairs & Chinese Design    

Chinese folklore teaches that when a baby is born, the man in the moon ties an invisible red thread around its leg. He ties the other end of the magic thread to the baby’s destined mate, and as the two grow up a mysterious force will draw them to one another. If their paths cross, they will marry.

 

The sense of immutable union underlying this story is so engrained within Chinese culture that it enters every aspect of home life. Pairs of cabinets, chairs, and screens evoke the married couple who form the center of the family. Relatives and friends present young couples with gifts in pairs, such as paintings of bamboo and plum, to bless their home with harmony and children. The Chinese character “Double Happiness” is an even more common wedding symbol, often found stamped onto envelopes, embroidered on textiles, and painted on porcelain jars. Expressing the wish to multiply the couple’s joy, the symbol combines the two characters representing contentment.

 

This understanding of wholeness through pairing is so fundamental that it guides nearly every aspect of life. All three major Chinese religions—Buddhism, Confucianism, and Taoism—teach that harmony can be achieved through the union of two opposites into one whole: male and female, yin and yang, sun and moon. 

 

 The philosophy of pairing permeates Chinese design as well. Chinese courtyard gardens strive to balance the duality of natural and manmade worlds by joining crooked paths with straight ones, or setting twisted stones alongside smooth ones. Feng Shui’s approach to space planning relies heavily on coupled sets to bring balance to a room—whether a pair of chairs, matched sets of vases, or two stools designed to flank a sofa or bed.

 

A beautiful example of coupled furniture is a pair of 19th century red lacquered cabinets in which the original craftsman wedded the cabinets with a pattern of plum branches that spreads across the doors. When one cabinet is viewed alone, the design appears to be an abstract motif or the shadow of many years of wear on the lacquer. It is only when the cabinets are placed side by side that the picture emerges, marrying the pieces in an unbroken set.

Off to the Shows!

May 5th, 2009

Off to the Shows

Show season is here in Chicago. I recently attended the openings of the Merchandise Mart Dream Home and the Infant Welfare Society’s Lake Forest Showhouse and Gardens and was truly inspired by how some of Pagoda Red’s favorite designers transformed their spaces.

Marshall Erb and Michael Del Piero both created amazing rooms in Lake Forest. Among the many pieces Michael borrowed from Pagoda Red, she was most excited about a pair of hand-thrown primitive 19th century urns and a free-form Chinese footrest. She paired these with volumes of antique leather bound books and weathered pottery from around the world to accesorize the bookshelves in the library of the historic Lansdowne Estate. It was an incredible combination of textures, shapes and provenance. Her knack for accessorizing is like no one’s. She told me that’s why she wanted the library—shelves and more shelves to let her talent shine!!!

Marshall borrowed more than 25 different shaped oversized blue and white porcelain urns from Pagoda Red. He used them on the front steps of his space, the pool house, to lure people in. Most were planted with bright yellow daffodils, which were spring perfect in combination with the deep violet crocus he planted in a giant clamshell, also from Pagoda Red. Flowering forsythia branches drew the eye to and cast natures light on the dramatic two-story drapery panels framing the pool house. The long panels were basic white outdoor sheers that Marshall ingeniously striped with hand applied canary yellow grosgrain ribbon—so preppy chic and clever.

Back in the city, Laurel Feldman designed the foyer of the DreamHome at the Merchandise Mart. A marble tub hand-carved with peoniesfrom Pagoda Red was the focal point. Laurel transformed it into a koi pond with help from a friend at Heffernan Morgan. Three rock crystal spheres“floated” in the water –they were actually mounted on custom lucite stands. Laurel repeated the peony motif from the trough on a gorgeous hand-painted finish behind an oversized mirror. I loved this finery juxtaposed with the organic Pagoda Red Chinese monumental root pedestalholding an over-the-top porcelain vase with seasonal flowering branches.

Mick De Giulio incorporated a live edge Nakashima style dining table with stainless legs in his clean kitchen at the DreamHome. Mick is a master of details-from the perfect pick chandelier over the table to the repeated chevron detail on the marble shelf.

Definitely not to be missed!

P.R.
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For more information about the showhouses and the designers mentioned above:

The Lake Forest Showhouse runs thru May 17th 2009. For more information, click here.

The Merchandise Mart’s DreamHome runs thru December 18th, 2009. For more information, click here.

Michael Del Piero Good Design: www.michaeldelpiero.com

Marshall Morgan Erb Design, Inc.: www.marshallerb.com

Laurel Feldman Interiors: www.laurelfeldmaninteriors.com

Mick De Giulio, de Giulio kitchen design: www.degiulio.org