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本期編輯/開鴻順 明式家具是中國傳統(tǒng)家具的集大成者。經(jīng)過歷代的更替、經(jīng)濟的發(fā)展以及各民族文化的融合，達到了相當高的藝術成就。 Ming-style furniture is the epitome of traditional Chinese furniture. Through the replacement of the past dynasties, economic development and the integration of various ethnic cultures, we have achieved considerable artistic achievements.
它不僅注重材料的質(zhì)地、顏色和紋理，而且善于運用線條的起伏變化和構件的精巧設計來體現(xiàn)家具的簡潔明快和典雅柔美，同時也善于用結(jié)構來體現(xiàn)中國之“禮”以及對意境的追求。所體現(xiàn)的工藝風格，已成為傳統(tǒng)家具藝術的劃時代標志。 It not only pays attention to the texture, color and texture of materials, but also is good at using the ups and downs of lines and the exquisite design of components to reflect the simplicity, lightness and elegance of furniture. 含蓄 中西文明對比的研究者認為：“天人合一”和“主客二分”，是中西文化的本原化區(qū)別。這種區(qū)別造就了兩種迥異的性格取向，一外顯、進取；一偏重于內(nèi)向收斂和內(nèi)省、內(nèi)求。 Researchers who compare Chinese and Western civilizations believe that "the unity of man and nature" and "the dichotomy of subject and object" are the original differences between Chinese and Western cultures... 含蓄的性格，成為中國人區(qū)別于西方人的一個很大的特點，并且成為中華美學中的一個審美范疇。 Implicit character has become a great characteristic of Chinese people different from Westerners, and has become an aesthetic category in Chinese aesthetics.
明式家具的結(jié)構形式和特點，既是宋元家具的歷史延續(xù)，也是借鑒其它藝術形式的結(jié)果，特別是深受中國傳統(tǒng)的木結(jié)構建筑、園林以及宋、元、明時期的文化藝術的影響。 The structural form and characteristics of Ming-style furniture are not only the historical continuation of furniture in the Song and Yuan dynasties, but also the result of drawing on other art forms, especially the influence of traditional Chinese wooden architecture, gardens and the culture and art of the Song, Yuan and Ming dynasties. 含蓄體現(xiàn)在建筑和園林以及其它的藝術形式和規(guī)范中，而且這些藝術之間相互融合、相互影響。那么，含蓄在建筑、書畫、詩詞上的存在，同樣也體現(xiàn)在傳統(tǒng)家具上。 Implicit expression is reflected in architecture, gardens and other art forms and norms, and these arts are integrated and influenced each other. So, the existence of implication in architecture, calligraphy and painting, poetry, is also reflected in traditional furniture.
明式家具的結(jié)構直接來源于中國傳統(tǒng)的木結(jié)構建筑，采用橫斷面很細的硬木材榫接，很少用塊材，與西方古代家具相比，顯得很輕巧。 The structure of Ming-style furniture is directly derived from the traditional wooden structure of China. It uses hardwood tenon with very thin cross section, and rarely uses block materials. Compared with western ancient furniture, it is very light. 由橫豎線材而不是塊材來制作家具就留下了大片的空間，它們并不是無意義的抽象存在，而是被明式家具的使用者和制作者賦予了深刻的含義。 Making furniture from horizontal and vertical wires instead of blocks leaves a large space. They are not meaningless abstract existence, but are endowed with profound meaning by the users and producers of Ming-style furniture. 通過空的穿插、遠近來表現(xiàn)立體，而家具本身就是立體的，但它們都能引發(fā)豐富的聯(lián)想，給人的心理感受也是相同的。 Three-dimensional furniture can be represented by space and distance, and the furniture itself is three-dimensional, but they can trigger rich associations and give people the same psychological feeling. 空間 明式家具上線材搭接后的空間在節(jié)點部位普遍輔以牙子，牙子通常裁成花草形圖案，在整個家具上不占主導地位，起美化作用，但這些牙子本身的紋樣和雕刻十分生動，不似廳堂等家具那么嚴肅和規(guī)準。 The space of Ming-style furniture after the lapping of thread materials is generally supplemented with teeth at the nodes. The teeth are usually cut into flower-shaped patterns, which do not occupy a dominant position in the whole furniture and play a role in beautification.
最主要的是在方形空間中附加了這些曲線的牙子之后，使整個空間乃至家具本身活躍了起來，打破了空間的呆板，也因此具備了特別的含義，引人發(fā)想。 The most important thing is that after adding these curved teeth in the square space, the whole space and even the furniture itself have become active, breaking the rigidity of the space, and therefore have special meaning and make people think. 有時牙子本身也采用透雕的手法，更加豐富了明式家具的空間變化。 Sometimes the tooth itself also adopts the technique of openwork, which further enriched the spatial changes of Ming style furniture. 明式家具中的屏聯(lián)、架格上經(jīng)常可以看到連續(xù)性的抽象圖案，構成封閉性或者隔斷性的虛空間，這些圖案或抽象，或具象，或為一個完整圖案的拆分重組。 In Ming style furniture, continuous abstract patterns can often be seen on screen couplets and shelves, forming closed or isolated virtual space. These patterns are either abstract, or concrete, or the split and reorganization of a complete pattern. 在空間上均密的排列，分解線形構材留下的空間，極具朦朧感，仿佛蘊含著豐富的內(nèi)容，令人遐想，另外，在高束腰的家具上，往往有鏤空的絳環(huán)洞；這些空的形象和園林中的花窗極其相似，花窗在園林中是一種造景手法。 The space left by the uniform and dense arrangement in space and the decomposition of linear materials is very hazy, as if it contains rich content and makes people daydream. In addition, on the high-waisted furniture, there are often hollow tapering holes. 透過花窗景致有了延伸，觀者心境因與自然的融合而得到釋放，家具上的空能引發(fā)人的深思，蘊含著古人超然象外的思想寄托。 The view through the flower window has been extended, and the viewer's mood has been released due to the integration with nature. The empty energy on the furniture causes people to think deeply, which contains the transcendental thought of the ancients.
文人氣節(jié) 文人在中國文化歷史上居有重要的一席，應該是最浪漫、最有活力并具創(chuàng)新性的一個群體。但在封建禮教的壓制下，一些人趨于迂腐，或者成為統(tǒng)治階級的喉舌和玩偶，或者深陷禮制不能自拔，更多的文人則借用詩詞、藝術來表達自己的憤世嫉俗。 Scholars play an important role in the history of Chinese culture and should be the most romantic, dynamic and innovative group. However, under the suppression of feudal ethics, some people tend to be pedantic, or become the mouthpiece and doll of the ruling class, or become trapped in the etiquette system. 含蓄是一種高品質(zhì)的美，雖擁有而不賣弄，雖潛蘊而不炫耀，這是文人所推崇的高風亮節(jié)。中國傳統(tǒng)明式家具的一些結(jié)構很好的體現(xiàn)了文人的這一特征。 Implicit is a kind of high-quality beauty. Although it is owned, it does not show off. Although it is hidden, it does not show off. This is the lofty demeanor that scholars admire. Some structures of Chinese traditional Ming-style furniture well reflect this characteristic of literati.
明式家具上的束腰，是中國傳統(tǒng)家具所獨有的，現(xiàn)代家具上很少見，即使是同時期的西方家具也很少見到，更沒有大量的運用。除束腰外，明式家具中桌、案和椅面的邊沿（工匠所稱的冰盤沿）也有豐富的層級變化，在有束腰的桌上和束腰連在一起，是束腰的一部分，稱為疊澀。 The waist band on Ming style furniture is unique to traditional Chinese furniture. It is rare in modern furniture, even in western furniture of the same period. In addition to the waist, the edges of the table, table and chair surface (the edge of the ice plate called by the craftsman) in Ming-style furniture also have rich hierarchical changes. 內(nèi)斂 明式家具的內(nèi)斂從腿足之間圍合成的半封閉空間來看也是十分明顯的。 The introversion of Ming-style furniture is also obvious from the semi-enclosed space between legs and feet. 明式圈椅和扶手椅各具千秋，都是明式家具的優(yōu)秀典范，但它們有內(nèi)斂性的共同特點。扶手椅和圈椅主要用于廳堂接人待物，由于傳統(tǒng)的封建禮教，家具形式要求方正穩(wěn)重。 Ming-style armchairs and armchairs have their own merits and are excellent examples of Ming-style furniture, but they have the same characteristics of introversion. The armchairs and armchairs are mainly used to receive people and things in the hall.
明式家具似黃非黃、似黑非黑、似紅非紅的色調(diào)，在環(huán)境中往往呈現(xiàn)一種令人舒適的中性色調(diào)，稍偏暖或稍偏冷，但都能協(xié)調(diào)、深沉；不刺激、不滯怯、不帶火氣，也不灰暗，使人感受到的是色彩的無比豐富和含蓄。 Ming style furniture is yellow instead of yellow, black instead of black, and red instead of red. In the environment, it often presents a comfortable neutral color, slightly warm or slightly cold, but it can be coordinated and deep. |
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