inherent in Chinese design-on age-old classicism with a sense of balance, order and harmony that appeals to the most modern of minimalists.
With the current global preoccupation with Asian style-from food to interior design to philosophy-it was only a matter of time before attention come to rest on the Chinese aesthetic. Since the opening up of post-Cultural Revolution Chino in the late 1970s, the country has changed beyond measure. Today, 21st-century Chino is firmly focused on the race to become a major world player and, in architectural terms, much has been-and is being-destroyed. Traditional dwellings are being replaced with gleaming banks of skyscrapers, but within this cacophony of change, there is a growing bond of designers who prefer to look to their roots to find valid decorative directions for the future.
Such designers, many of whom have studied overseas, are blending on international outlook with a pride in their Chinese heritage to produce a new vocabulary of design. Tending to steer away from the ornate, opulent approach, they are basing their ideas on a new kind of Chinese-influenced modernism, which incorporates balanced lines, natural textures and muted colours.
This restrained approach is not entirely a new one. The Chinese philosophy-cum-religion of Confucianism (551 - 479 BC) taught that propriety and ritual are the key to social order. Slightly earlier, Taoism, advocated by the Chinese scholar Lao-Tse (604-531 BC) stressed the importance of a simple existence and the need to live in harmony with nature and the world. As the pace of modern life gains tempo, more and more city dwellers-both in Chino and around the world-ore finding that such classical serenity fits neatly into contemporary living.
In today's interiors, space and light are key. We wont comfortable, relaxed spaces that feel as good as they look. This may account for the current international preoccupation with feng shui, on ancient Chinese practise that focuses on achieving the perfect balance. Feng (meaning wind) and shui (water) emphasizes living in harmony with your environment to enable energy (chi) to work for you to promote well-being and good fortune. In the East, feng shui is on integral port of life practised by all, from the most powerful tycoon to the regular person on the street. Whilst it is on ancient art, many of its precepts are based on simple common sense: on uncluttered home is likely to leave you calmer and more productive; light interiors are good for the soul; and water features and plants in the home reflect our basic desire to live in conjunction with the natural world.
With such a rich history and culture that goes back thousands of years, Chino provides a vast bank of references to draw on. And we can merely touch the surface of a few within this book. In the Han dynasty (206 BC-220 AD) architecture was on accomplished art; under the Tong dynasty (618-907 AD), literature, pointing, ceramics, lacquer and metalwork flourished The Ming dynasty (1368- 1644) is known for its fine porcelains and furniture, for its sophisticated society dominated by literati and prosperous merchants. By the time of the final Qing dynasty (1644-1911), more ornate, colourful works were embraced and Chinese objects and themes had a lasting influence on European architecture and decor.
But it's not just interior designers who are currently focusing on Chinese history. The film industry, too, has brought Chinese style mainstream. Toke Ang Lee's multi Oscar-winning movie, Crouching Tiger, Hidden Dragon, starring Michelle Yeoh and Chow Yun-Fot, or Zhong Yimou's earlier Raise the Red Lantern, starring actress Gong Li. Both d id much to bring the richness and enduring appeal of traditional Chinese design and architecture to the fore in the eyes of the world.
Chinese calligraphy, carved woods, latticework, lacquer and open fireplaces define the series of intimate lounges and dining room which make up BAM-BOU restaurant in London's Fitzrovia. Vietnam and China have interwoven histories and today the ethnic-Chinese (Hoa) constitute the largest single minority group in Vietnam. It is common to find Chinese temples and homes that once belonged to rich mandarins still intact across the country today.
Today, classic hardwood furniture, ranging from ultra-minimal to elegantly ornate, is one of the most instantly recognizable examples of Chinese design; some of it is so modern-looking that it could have been designed today Among collectors, interest in such furniture is at on all-time high, spurred on by auction house Christie's record-breaking New York sole from California's Museum of Classical Chinese Furniture in 1996. It totalled over US$ 11 million and until this sole, experts agree, Ming dynasty furniture was perhaps the best-kept secret in the world of Chinese arts. Today, Ming furniture is increasingly rare-and prices are correspondingly high
Most Ming pieces feature clean, Bauhaus-like lines and have a system of assembly that rely solely on joinery without the use of nails. At this time, the proportional harmony of the furniture often paralleled that of classical architecture and experts agree that the preference for on exposed frame-whether it supported the roof of a reception hall or a corner leg-was shared by carpenter and cabinet-maker alike. As Robert D Jacobsen, Curator of Asian Art at the Minneapolis Institute of Arts, points out: "The reliance on wood to provide both structure and decoration, the respect for natural materials and the evolution of efficient designs apparent in classic furniture are deeply rooted in the architectural tradition." As time went by, furniture veered towards the ornate, becoming bolder during the Qing dynasty, and reaching its height in the mid-18th century when detailed carvings, bright lacquering and inlay become common.
Shanghai-based designer Wan Pierce produces soft furnishings inspired by Chinese motifs for her label Zayu. This cashmere cushion panel with dragon design was produced by Han craftspersons, using traditional methods of embroidery.
In addition to its aesthetic appeal, furniture provides a direct insight into how people lived hundreds of years ago. It also indicates status and rank as classical furniture, for the most part, was mode for the social elite, being refined in construction, finishing and decoration and conforming to aristocratic standards of elegance and craftsmanship. As the culture evolved from floor-level to choir-level seating in the late Tong period, a huge variation of furniture was produced on which people would dine, learn, work and sleep. There were cabinets, tables, day beds, clothes rocks, folding stools, screens and choirs; many of these items remain practical, versatile and particularly well suited to contemporary living. Furniture designers today have picked up on such characteristics and are producing collections based on minimal lines with on Oriental feel Low-level seating and multifunctional pieces draw inspiration from ancient traditions and when they are reworked using materials such as leather, suede, stainless steel and Perspex, they appeal to modern sensibilities.
A serving hatch leads to the kitchen area in David Orenstein's apartment in King Alberts Apartments, Shanghai.
The same applies to sumptuous silks, elegant ceramics and glossy lacquerware. Such rich colours, patterns and textures were last embraced on a major scale outside China in 18th-century Europe when the East India trading companies imported these wares to the West and houses were filled with blue and white Ming porcelains, textiles and delicate teaware. European craftsmen soon caught on and imitated Orientalism as they saw it with exotic motifs of pagodas, scenery, human figures and birds and flowers. Known as the Chinoiserie movement, it is once again experiencing a resurgence in popularity. Modern interpretations of Chinese silks embroidered with dragons, phoenix and flowers now decorate everything from clothes to curtains to bedding.
China has also been at the forefront in the development of world ceramics. Colours and styles are vast- from the Tang dynasty's (618-907 AD) bold multi-coloured pottery (known as sancai, or 'three-colour lead glaze') to the Song dynasty's (960- 1279 AD) elegant monochrome wares, such ceramics are equally appealing today. There are bold cobalt blues, blood reds, imperial yellows, serene ivories, celadons and duck egg blues, many of which retain a classical elegance that is timeless in its appeal. Other famous ceramics include the Ming dynasty's blue and white porcelain followed by the Qing dynasty's delicate famille rose, famille verte, famille noir and oxblood red sang de boeuf. Ceramicists today take their inspiration from such ancient arts, preferring simple colour treatments over complex patterning.
As the following pages show, Chinese decorative