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2. Ming Dynasty
2. Ming Dynasty
2-1 Emulating Antiquity Without Being Bound by It
2-1 Emulating Antiquity Without Being Bound by It
— The Aesthetic Shift of the Ming Dynasty
— The Aesthetic Shift of the Ming Dynasty
Influenced by Song Dynasty Neo-Confucianism, the Ming literati emphasized recreating the simplicity of ancient times. Through imitation antique stationery and furnishings, the study became a space where “ancient charm meets modern sensibility.”
Kuei-Shaped Copper Incense Burner
The Kuei was one of the important ritual receptacles used to hold food during the Shang and Zhou dynasties.
This Ming Dynasty incense burner continues its form, serving to burn incense and create the scholarly ambiance of a “literary fragrance” in the study.
Lotus-Seed-Pod-Shaped Water Purer Imitating Ge Ware Glaze
The Ming Dynasty's revival of ancient styles went beyond mere replication of artifacts. Instead, it involved incorporating the forms or aesthetics of antiquity with creative innovation to craft contemporary utensils, embodying a lifestyle that sought modernity within an ancient spirit.
Do you like vintage style? Which style do you prefer?
2-2 Nature in the Study
2-2 Nature in the Study
-The Unity of Self and Object in the Ming Dynasty
-The Unity of Self and Object in the Ming Dynasty
In Ming Dynasty studies, nature was not something separate from humanity, but rather an object that merged and interacted with the inner world.
The concept of “unity of self and object” was deeply rooted in the life philosophy of the literati, integrating the tranquility and power of nature into daily life and creative pursuits.
Bronze Water Dropper in the Shape of a Toad
This bronze inkwell drip is modeled after a three-legged toad, symbolizing the aspiration to “climb the toad and pluck the cassia”—a metaphor for passing the imperial examinations.
Placed in a corner of the study desk, it not only adds a touch of whimsy but also embodies the spirit of animism and an attitude of harmony with nature.
Elmwood Pen Holder in the Shape of Ganoderma
This pen holder is carved from a single piece of natural burl wood, with the main branch positioned centrally and secondary branches extending sideways at an angle like lingzhi mushrooms, preserving the wood's natural texture.
Through the objects placed upon their desks, Ming Dynasty scholars invited mountains, rivers, plants, birds, and beasts into their study. Beyond mere decoration, it was a state of mind that embraced coexistence with nature.
If you could choose one natural element to place on your desk, which would you pick?
2-3 Wen Zhenheng - A Barometer of Taste in the Ming Dynasty
2-3 Wen Zhenheng - A Barometer of Taste in the Ming Dynasty
Wen Zhenheng, born into a literary family in Suzhou during the Ming Dynasty, was a representative figure of the late Ming literary youth. His treatise, The Treatise on Superfluous Objects, established “naturalness” as the core criterion for evaluating artifacts. It emphasized that the finest writing implements should be unpretentious, close to nature, minimally processed, and capable of revealing the creator's true spirit—revealing his critique of “stiff, vulgar” objects. This work not only reveals Wen Zhenheng's aesthetic perspective and lifestyle philosophy but also stands as the best guide for understanding late Ming taste today.
Elmwood Pen Holder in the Shape of Ganoderma
This lotus-leaf-shaped water vessel is carved from bamboo root. The outer edge of the leaf curls inward, engraved with a crab and insect-eaten marks. Beside it, a lotus flower sprouts from the base of the vessel.
Engraved on the side of the leaf in running script is the inscription “Made by Sansong,” identifying it as the work of Zhu Sansong, a renowned late Ming Dynasty bamboo carver.
By the standards of refinement championed in The Treatise on Superfluous Things, this piece aptly reflects Wen Zhenheng's elegant pursuit of everyday objects.
The Reproduction
The Reproduction
Bamboo Armrest Carved with "Wang Qiao Mossong One Shoe"
This armrest, carved from a bamboo joint, depicts a scholar holding a pair of wooden shoes while leaning against a rock. It portrays the legend of “Wang Qiao and the Duck-Footed Shoes.” Ancient people believed Wang Qiao could ride ducks to fly, moving swiftly like the wind. He was regarded as a divine being, symbolizing integrity and virtue.
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