Chair exhibitions show culture sitting pretty

Unlike some exhibitions that may require endless footslogging, this curated collection of Chinese wooden furniture — in actual fact just a few dozen pieces — invited viewers to linger.

Visitors could not only admire the craftsmanship but also get hands-on experience by assembling sunmao (mortise-and-tenon) joints and encounter the distinct aromas of various types of wood.

For over three months, the exhibition Elegance of Woodcraft: Timeless Beauty, which concluded on Sunday, had drawn more than 1 million visitors to the Summer Palace Museum and its Deheyuan, or Garden of Virtue and Harmony, in Beijing.

The exhibits traced the development of classical Chinese wooden furniture, its cultural significance, and the fusion of the East and the West in the designs dating to the Ming (1368-1644) and Qing (1644-1911) dynasties. On display were 83 premium pieces and sets of furniture.

In recent years, smaller, more refined exhibitions of traditional Chinese wooden furniture have become popular.

Artisans and cultural relic restorers, collaborating with curators, have used modern exhibition techniques to showcase the intricate craftsmanship, artistry and profound cultural legacy inherent in Chinese wooden furniture, breathing new life into this intangible cultural heritage.

The Summer Palace exhibition was held to celebrate the 110th anniversary of the palace's public opening. It focused on Ming and Qing furniture relics from classical gardens, encompassing a wide range of traditional furniture styles and types.

Yang Fuhua, curator and conservator at the cultural relics protection department of the Summer Palace, explains that this exhibition offers an immersive experience by displaying most of the artifacts without protective cases, allowing visitors to see them up close.

"A dragon chair may seem small in a palace. But in the exhibition, it's as big as a double bed," says Yang.

"We closely monitor temperature, humidity and maintain the relics regularly, with infrared sensors in place to minimize any external impact."

At Deheyuan, furniture was arranged to re-create scenes from ancient paintings, while the display at the Summer Palace Museum focused on explaining the cultural significance of the furniture, including its ties to rituals and social traditions.

Compared to the Forbidden City, Summer Palace furniture feels more relaxed, featuring pieces like root-carved screens and root-made chairs, Yang says.

"Garden furniture often features natural designs like bamboo or plum blossoms and is arranged more freely," he explains.

One section showcased woodworking tools, along with illustrations explaining the process. Another highlighted how royal furniture was made, starting with a designer's sketch, followed by the emperor's approval before production began.

"We wanted this exhibition to appeal to everyone," Yang says, adding that many furniture makers attended the exhibition, with some seeing for the first time the original designs behind patterns they had been working on for years.

Alongside the furniture, raw materials like rosewood were on display. Visitors could identify wood scents and also try assembling 12 types of mortise-and-tenon joints.

Yang says the mortise-and-tenon structures on display for use were initially tight and tricky to handle, but after just one weekend of being used by children, they became much easier to manipulate.

"This exhibition and its interactive activities work together, making it one of the most successful events we've ever hosted," Yang says.

Another exhibition, titled Seat of Honor, is running at the Ou's Traditional Woodwork Exhibition Hall in Zhongshan, Guangdong province, featuring 50 rare chairs collected by Huang Dingzhong, an architect and collector of traditional Chinese furniture.

Curator Deng Bin, professor at Jiangnan University in Wuxi, Jiangsu province, emphasizes the significance of chairs in the evolution of Chinese furniture.

"From the Tang Dynasty (618-907) to the Five Dynasties and Ten Kingdoms (907-960), the transition from sitting on the ground to using elevated seating like chairs marked a major shift in daily life in China. This adoption of high seating shaped living practices over 1,000 years ago," he says.

Deng explains that chairs influenced changes in writing posture, musical techniques and furniture design.

"The introduction of chairs elevated all furniture types, altered their sizes, and increased their variety."

He notes that, due to their frequent use and close interaction with people, chairs must balance aesthetics with comfort.

"Chairs are frequently moved and need to be both sturdy and lightweight. Ancient craftsmen invested immense skill and creativity into chair-making. It's a testament to their craftsmanship that well-made ancient chairs have survived to this day," he says.

Deng cites the strong historical connection between Chinese people and wood. "The plentiful vegetation in China naturally inclined ancient craftsmen to work with wood. With the introduction of chairs, artisans promptly integrated them into their woodworking practices," he says.

"Influenced by traditional wooden architecture, Chinese chairs are made entirely with mortise-and-tenon joints — without using any nails or screws."

Deng describes the exhibition as small but refined, focusing on rich content and innovative presentation.

"We've chosen furniture from the late Ming to early Qing dynasties," he says.

"The exhibition highlights regional diversity, featuring styles from places like Suzhou in Jiangsu, Beijing, and provinces of Shanxi, Anhui, Fujian and Guangdong."

Deng points out the warmth and character of the pieces, noting that chairs have a special connection with their users.

"Some chairs feel like they're embracing you. You can sense the care and craftsmanship in each piece," he says.

"To really appreciate these chairs, you need to see and touch them. Photos can't capture the details, like the rounded edges that make the furniture feel safer and more comfortable."

The exhibition is divided into three sections. Visitors first pass through a narrow corridor into an area where one or two pieces are displayed, separated by white fabric.

"Our antique furniture frequently carries the marks of time and use, narrating stories of history. Set against a white backdrop, the wood's hues are accentuated, imparting a delicate aura. While these pieces are crafted to withstand centuries, they also remind us of our transient existence, urging us to handle them with care and reverence," the curator says.

Before the exhibition opened, students from a local junior middle school paid a visit. Deng was worried they wouldn't be interested, but they ended up spending the entire day there.

"I believe museums should not only educate but also provide an immersive, all-encompassing experience for visitors," he says.

Zhang Yongchuan, 38, who works in international logistics and loves traditional furniture, is deeply impressed by the exhibition.

He describes it as "a perfect blend of tradition and modernity", praising the layout and presentation for being both systematic and professional.

The exhibition is set to run for a year, with Deng expressing hopes of taking it on a national tour afterward. This would allow a broader audience to experience the beauty and craftsmanship of ancient Chinese wooden furniture, he says.