(light piano music)
- [Beth] We're in the Shanghai Museum,
looking at miniature furniture found in a Ming tomb.
- [Kristen] This was the tomb
of an official during the Ming Dynasty
and has wooden figurines, and also furniture
from the late 16th and early 17th century.
- [Beth] When we go back in Chinese history
and see how emperors and elites were buried with objects
that related to their everyday life when they were alive
with the idea of continuing that life after their death.
- [Kristen] You would wish for that
same sort of social status in your life,
you would expect that, and you'd bring everything
that you would need to continue
your leisurely pursuits in the afterlife.
Here, though, we're much later,
we're in the Ming Dynasty, so actually,
a lot more materials have survived, wood being one of them.
- [Beth] So anything made of wood that was as ancient,
for example, as the Han Dynasty or earlier,
would likely not have survived.
Wood decomposes so quickly.
- [Kristen] We've got a great insight
into what the furniture from this period
might have looked like.
- [Beth] In addition to dozens of figures.
In a procession, some of the figures carrying a sedan chair
for presumably the person who this tomb was for.
But we see a day bed, trunks, tables, chairs, racks,
and everything so carefully carved, so thoughtfully carved.
- [Kristen] There's a difference
between even just the two sets of figures.
We have wooden figures with hats and robes
carrying the sedan chair, and those contrast
with the servants, ready to help
with whatever needs the tomb occupant would have.
- [Beth] So, art historians
can look at miniature furniture from this tomb
and get a sense of how furniture was made
and the design of the furniture itself.
- [Kristen] As we look closely at this, you can see
that the Ming aesthetic was very clean, simple lines,
not a lot of ornamentation,
but everything fit together in very geometric patterns,
a lot of careful joinery and little flourishes,
just slightly upturned edges, very elegant aesthetic.
- [Beth] So for example, when we look at the day bed
that has the rattan, the weaving in the center,
we look at those legs, we can see a little flourish,
little curve toward the bottom.
Or the table that probably contained a fire for the water
and the teapot to be heated, has lovely, curved legs.
- [Kristen] We also see open work
when we look to the day bed.
We see an intricate carving of the wood
as if this was also a larger piece of furniture or even
part of the open worker lattice on a garden corridor.
- [Beth] And minimal decoration that we see
in the Ming dynasty is really a contrast
with the style of the next dynasty, the Qing,
which is much more elaborate and highly decorative.
- [Kristen] Looking closely at some of these features,
you can see even the techniques used in furniture carving
and the way that pieces were joined together.
- [Beth] So I see in that table with the teapot,
mortise and tenon, joinery in the wood.
We can see the metal clasps on the sides of the trunk.
- [Kristen] We've got the same materials
as one would have in life.
This concept of the afterlife and the needs
that one would have in the afterlife changed,
but they certainly reflect the fashions of that time.
- [Beth] Not everyone could have afforded this,
but if you could, you'd wanna bring
these things into the afterlife.
- [Kristen] This is an important point too,
about this Confucian ideal and this idea of filial piety
that the sons of the tomb occupant
would provide the best possible burial for the deceased.
At any scale of life, they would always try and buy
the best and provide the most for their ancestors.
- [Beth] And that Confucian idea of everyone
playing their role, observing funerary rights,
and honoring one's ancestors.
(light piano music)