{"id":8648,"date":"2026-05-13T19:23:38","date_gmt":"2026-05-13T11:23:38","guid":{"rendered":"https:\/\/www.mr-shan.com\/?p=8648"},"modified":"2026-05-13T19:23:38","modified_gmt":"2026-05-13T11:23:38","slug":"%e3%80%8cthe-art-of-collecting%e3%80%8dlearning-as-the-foundation-masterpieces-by-tian-jiaqing-gather-at-guardian-auction","status":"publish","type":"post","link":"https:\/\/www.mr-shan.com\/?p=8648","title":{"rendered":"\u300cThe Art of Collecting\u300dLearning as the Foundation: Masterpieces by Tian Jiaqing Gather at Guardian Auction"},"content":{"rendered":"
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The best inheritance should not be confined to imitating forms but should follow the fundamental core concepts and then seek development. I have known Tian Jiaqing for many years and I am impressed by his academic foundation and his practical approach to creating classics. His decades-long dedication in the field of traditional furniture has led to a unique design language and the creation of works that combine the genes of traditional woodwork with the artistic temperament of the contemporary era. He is an irreplaceable and indispensable figure in the contemporary inheritance of Chinese traditional furniture.<\/p>\n

Tian Jiaqing’s creations are not out of thin air but rather the result of a long period of accumulation and deep study before creation. In his early years, he devoted himself to the research of Qing Dynasty furniture, filling the academic gap in this field with his meticulous hand-drawn measurements and systematic and in-depth research. The publication of “Qing Dai Jia Ju” directly initiated a new discipline, and the manuscript of the monograph was permanently collected by the National Library. (Lot1912) The two hand-drawn sketches pieces (ink line drawings and color paintings) attach with Qing Dai Jia Ju (signed edition) are the empirical evidence of his academic research at that time. With lines that are accurate to the millimeter, they precisely restored the structural principles of Qing Dynasty furniture and became the core documents for the establishment of the discipline. (Lot1913) The Sun Mao Jian De Si Suo three-color printing plates is the result of his decades of practice and reflection on wooden furniture, printed in a traditional style to form a core theoretical system for evaluating ancient wooden furniture. These two foundational works laid the underlying logic for his entire creative system, first thoroughly understanding the structure, form, and principles of traditional furniture before discussing innovation and expression.<\/p>\n

This consistent academic foundation also underpins the completeness and self-consistency of his creative ideas, making “Jiaqing Zhi Qi” (Jiaqing’s Works) a contemporary classic with theory, system and character. From (Lot1914) the fan-shaped chair (wooden model), which is based on the Ming-style folding fan official hat chair and has undergone repeated proportion adjustments to complete the form improvement, it is the classic prototype of the “Tian-style chair”; to (Lot1915) the folding chair (wooden model), which is based on the traditional folding chair’s principles and has been restructured to create a new form suitable for the contemporary context; then to (Lot1918) the three-piece set of ebony round legs chess table with two stools, which is based on the traditional “round-encased round” craftsmanship as an academic basis, innovatively integrating the wrapped legs and top-toothed arched crossbars, becoming a contemporary study room furnishing that combines aesthetics and practicality; to (Lot1921) the large raised-end painting table with ebony stand supports and tieli wood top, which, through in-depth academic research on the structure of large frame desks, breaks the secular prejudice of “wood has different values”, and uses composite materials and strict proportions to create a “large desk conveys the truth” scholar’s heavy object; and finally to (Lot1919) the maple wood qin table, which, based on academic exploration of furniture acoustics and structural science, breaks the form constraints of traditional qin tables for thousands of years, and uses new materials and a double-resonance box design to achieve functional innovation.<\/p>\n

This maple wood qin table is not a result of a sudden inspiration but rather an inevitable outcome of Tian Jiaqing’s decades-long dedication and comprehensive cultivation across multiple fields. In his early years, he followed Mr. Wang Shixiang in delving into the research of the guqin and qin tables, deeply understanding the symbiotic relationship between the guqin and its table. He knew that a good qin table could resonate with the sound of the guqin, becoming a “second instrument”. He maintained close ties with important collectors in the guqin circle, wrote prefaces for books on guqin rubbings, and had a profound understanding of both the cultural context of traditional guqin instruments and the real needs of contemporary players. He personally restored the Ming Dynasty huanghuali qin table with a resonator box, which was once owned by Mr. Chen Mengjia and is now in the collection of the Shanghai Museum. This unique piece allowed him to thoroughly grasp the acoustics and structure of traditional qin tables, laying a solid foundation for his innovative designs rooted in tradition.<\/p>\n

He is well-versed in both Chinese and Western classical music, has a close friendship with the piano master Gary Graffman, and his performance skills have been highly recognized. He was also invited by Steinway to design a commemorative edition piano and recorded the self-composed and self-performed “A wonderful night in spring”. He has a professional-level understanding of the relationship between musical instruments, materials and sound color that transcends both Chinese and Western cultures. His exploration of the principle of sound transmission through materials is the key to his design of a double resonator for the maple wood piano table and breaking through the traditional acoustic limitations.<\/p>\n

As the pioneer of Qing Dynasty furniture studies, his research on mortise and tenon structures was personally endorsed by Mr. Wang Shixiang. With both top-notch academic proficiency and genuine craftsmanship, he has enabled innovative designs to possess both aesthetic appeal and structural stability.<\/p>\n

He developed a broad international perspective and cross-cultural communication skills at an early age. His excellent command of English enabled him to engage directly with the West, absorbing diverse influences with an open mind and infusing his works with contemporary and global aesthetics. When the public was obsessed with Ming and Qing hardwood furniture, he took a different path and initiated the research field of fire-making tools, publishing the book “MakingFire”, thus opening up a brand-new perspective for the collecting community.<\/p>\n

He has also collaborated with contemporary artist Xu Bing across disciplines, constantly expanding the boundaries of design in the process of exchanging ideas. He is not confined to the identity of a “furniture craftsman”, and always maintains an open creative mindset to explore the possibilities of combining woodcraft with different fields.<\/p>\n

These diverse skills support and complement each other, and the all-round accumulation has enabled him to always adhere to the creative concept of “establishing learning first, then making objects”, thus creating the unique “Jiaqing Zhi Qi” (Jiaqing’s Works). The nine masterpieces presented in the Spring Auction of China Guardian are the best testimony to his 47-year creative journey, and also bring traditional woodwork to life in the contemporary era.<\/p>\n

Collecting holds a world of secrets. That’s all for today. We’ll continue next time.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

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