从形制、构造及伤况看故宫藏黄花梨藤心椅的研究  

Analysis of the Huanghuali Woven Seat Chair in the Palace Museum from the Perspectives of Form,Structure,and Damage

作　　者：崔光耀 李敬源[1] CUI Guangyao;LI Jingyuan(Palace Museum,Beijing,100009,China)

机构地区：[1]故宫博物院,北京100009

出　　处：《家具与室内装饰》2025年第3期96-102,共7页Furniture & Interior Design

基　　金：故宫博物院青年项目“清宫佛龛工艺制作及修复研究——以养性殿佛堂佛龛为例”(KT2020-23)。

摘　　要：故宫藏黄花梨藤心椅长期以来一直被认为是能够代表明代家具的经典扶手椅样式,但笔者在修复和研究的过程中发现,该文物存在改制问题。笔者通过实际修复、数据统计和理论对比的方式,从形制、构造及伤况三个角度来考量和分析,论证该文物实际上并非是一把经典、原装的明式椅,而是由玫瑰椅部件、南官帽椅部件和后配部件组合而成的改制椅。通过这一案例,我们得以管窥:木制类家具的形式并非是固定不变,最后呈现的形态为动态演化的暂时性结果。这对我们判断文物类别的非单一性具有一定的启发。The Huanghuali woven seat chair housed in the Palace Museum has long been regarded as a classic armchair style representative of Mingstyle furniture.However,during the process of restoration and research,the author discovered that the artifact had undergone modifications.The author,using the methods of cultural relic restoration,data statistics and theoretical comparison,analyzed and assessed the chair from three perspectives:form,structure,and damage,to argue that the artifact is not an original,classic Ming-style chair,but rather a modified chair assembled from parts of a rose chair,a southern official hat chair,and other later-added components.Through this case study,we gain insight into the idea that the form of wooden furniture is not static,and the final form is a transitory result of dynamic evolution,providing significant insights for categorizing the non-singularity of artifacts.

关 键 词：明式家具 椅子改制 演化 传统家具 古典家具 

分 类 号：TS664.1[轻工技术与工程]