The Pacific Heritage Museum, attached to the Bank of Canton of California in San Francisco, is right in the middle of the vehicular and human traffic of the business district, right on the edge of Chinatown. When you enter the museum, a beige colored cloth shuts out the bustle beyond the French window; it seems as if you have entered another dimension.

Simplicity of form is often the first impression which Ming furniture imparts, as revealed by the round-cornered, wooden-hinged huanghuali cabinet pictured here.

Time tunnel

In front of you is a huanghuali-wood standing screen with an inset decorative landscape panel of marble. In front of the screen is a huanghuali folding chair; this is where the host traditionally welcomed guests.

Take a few more steps and you come upon a "Luohan" couchbed (which is for sleeping on but also serves as a couch) surrounded by a 12-panel huanghuali screen. This is where traditionally a Chinese host would entertain honored guests. Guests would sit on the couch and enjoy the musical and dancing performances laid on by the host, and partake of pastries set out on the small table. As for who would be entitled to sit here, that all depended on one's identity, status, and relationship to the host. Those with no connections or of lower social status would have to content themselves with a round "drum stool."

There is a square table (in Chinese called an "Eight Immortals table") in the forefront of the main hall. This would be the centerpiece of family life, indispensable for eating, drinking, or idle chatting. Behind the Eight immortals, a pair of huanghuali wardrobes stand erect, while a landscape scroll painting dangles between them.

Next we come to the display of the traditional Chinese personal study, which in the customary way has been given a name ("The Hall of Striving for Perfection"). The calligraphy for the wooden plaque bearing the name was done by Fu Chuan-fu, a famous calligrapher now resident in the United States. In the study are displayed huanghuali painting tables, chairs, and tapered cabinets, as well as a chest with carrying rack, small wooden cases, and other items for traveling.

The man's master bedroom, solemn and well-ordered, follows the suggestion made by the late-Ming literatus Wen Zhenheng: "Avoid excessive decoration, which would overwhelm the senses and make peace of mind impossible." In contrast, the woman's bedroom, displayed on the second floor, is far more elaborate. There is a canopy bed, a tall six-legged washbasin stand and a towel rack. The furniture here is adorned with images of Mandarin ducks and mythical qilin, which symbolize the early birth of sons, with many more sons and grandsons to follow.

（left） The graceful lines of the arches between the five legs of this huanghuali incense stand remind one of five great lotus petals.

The secret of Chinese art history?

The term "Ming-style furniture" generally refers to furniture made in the Ming (ended 1644) and early Qing dynasties from tropical hardwoods like huanghuali (sometimes called rosewood), jichimu, and the prized and costly zitan (amboyna, a type of padauk, also called red sandalwood). Skillfully crafted from the finest materials, Ming furniture differs greatly from the heavily lacquered, carved, and patterned items characteristic of the late Qing (ended 1911). In his book Classic Chinese Furniture, the mainland art historian Wang Shixiang points out that between 1522 and 1735 (from the reign of the Jiajing emperor of the Ming through the reign of the Yongzheng emperor of the Qing), China's urban economy flourished, and even ordinary citizens could aspire to well-appointed homes. This wealth, plus the opening of foreign trade which brought imports of hardwood from Southeast Asia, stimulated the "golden age" of Chinese furniture making.

For their exhibit, which consists of over 90 pieces, the Museum of Classical Chinese Furniture scrutinized paintings and woodblock prints from the Ming and Qing era with the aim of reproducing the way people arranged their living space in that time. In the two-level display area, everything from the main hall to the library to the woman's bedroom has that "lived-in" look. The "rooms" are permeated with a sense of realism and vitality. It is the rare visitor who is not drawn in and captivated by that sense of immediacy. Meanwhile, there is a display of other holdings in the museum basement--more than 70 furniture burial items. Originally these small replicas of furniture were entombed with the deceased so that he or she would "feel at home" in the afterworld, a custom which concretely and in miniature reveals much about how people thought of furniture in those days.

"Ming-style furniture reveals a secret about Chinese art history. It is casual and approachable, and it can serve as a channel by which more people can get interested in Chinese art," suggests Curtis Evarts, the curator of the Museum of Classical Chinese Furniture.

But we're getting ahead of ourselves. Let's go back to the beginning, which is the establishment of the museum.

（center） This Luohan couchbed is made entirely of precious zitan wood. We can imagine its enormous value.

It all began with an American in Paris....

The tale begins seven years ago with an American named Robert Burton. When he saw a pair of entrancingly dark and lustrous zitan "official's hat" armchairs in Paris in 1988, it was love at first sight. He bought them and placed them in his home in Renaissance, California, in the hills about three hours' drive from San Francisco, so he could look at them every day. Not long after, he purchased a jichimu table with turned-out ends, which he made into a set with the chairs. Romantic as all this sounds, he also began to get a somewhat more practical idea.

Burton was at that time head of a non-denominational philosophical and spiritual organization called the "Fellowship of Friends." The group had already collected a large number of well-known 17th and 18th century European paintings. Burton began to realize that the number of collectors for this type of work had already reached a saturation point, and it would be difficult to achieve a better collection than those who had already been long in the field. His stumbling upon classical Chinese furniture opened up a whole new world. At that time Ming-style furniture was still virgin territory in the West, and Burton seized his opportunity. Despite the fact that neither he nor anyone else in the Fellowship of Friends knew anything at all about Ming furniture, they began to feel their way forward into this new realm, albeit "nearly completely naively" and even "sometimes hastily."

（right） Much of Ming furniture's attraction lies in its "balance of simplicity and richness." Pictured here is a square huanghuali brazier stand.

A race against time

"We were really racing against time then," recalls Burton. "This is because this chance to collect pieces from China's golden age of furniture-making would not last long." Because of factors like social change and war, it is hard to preserve furniture. Wang Shixiang estimates that only about one out of every thousand pieces of Ming furniture has survived to the present day. Of these, perhaps only 500 can be considered outstanding pieces. At the time the Fellowship of Friends sold off their collection of old paintings and scoured Paris, London, Hong Kong, and Beijing for furniture to add to their holdings.

In Hong Kong they saw dust-covered pieces that had been dismantled by antique dealers and then bundled with string and stuck against a back wall. "Centuries [were] bundled up in this peculiar way," says Burton, adding: "I was fortunate to realize the beauty slumbering in such a pitiful state. It's part of the genius of the furniture that it can look so innocuous and yet be so incredible."

At first glance, these pieces of furniture are simple in the extreme. Yet their rounded edges give a feeling of comfort; the pieces also preserve the grain and the sheen of the original wood. Burton sleeps in a Luohan couchbed and keeps a huanghuali painting table for ordinary use. Its attraction lies precisely in its simplicity. "The furniture is in harmony with nature. And with the passage of time the pieces become more and more like old friends. Each piece has its own unique character."

This huanghuali screen with an inset panel of marble, and this huanghuali horseshoe-back folding armchair, are among the museum's greatest treasures.

From carpenter to curator

Burton describes their objective in collecting as "encyclopedic." They will take anything and everything from chairs, stools, tables, beds, couches, and cabinets to miscellaneous items like picnic boxes and washbasin stands. It goes without saying that each piece must be well-preserved, authentic, and rare, as well as being finely crafted out of superior materials. In addition, each piece must have an aesthetically pleasing form.

By early 1990 the Fellowship had already collected more than 70 pieces of Ming-style furniture. When the museum was opened, Burton invited Wang Shixiang to provide the calligraphy for the museum's wall plaque, while Curtis Evarts was appointed as the curator. At the end of the same year, the first steps were taken to expand beyond the museum: A society focusing on traditional Chinese furniture was formed, and it began issuing a namesake publication, The Journal of the Classical Chinese Furniture Society.

Before becoming the museum's curator, Evarts was in charge of carpentry for the Fellowship of Friends. A lot of eyebrows were raised when Burton appointed him as museum curator; even Evarts was surprised, and he admits that "I entered this field in a state of nearly complete ignorance."

True as it may be that he was an outsider to the world of Chinese furniture, he had years of experience in carpentry, cabinet making and interior design to fall back on, and he quickly became an expert. He took pieces of furniture apart and put them back together again, fascinated by the mortise and tenon structure. Also, when the museum was first getting started, he assisted in the lighting work for photographing all the furniture, which was very helpful in allowing him to see signs of repairs or alterations that would never have been visible in normal light.

Research into Chinese furniture also requires that one understand the cultural background and customs of daily life for the relevant historical period. Evarts therefore dedicated himself to studying Chinese in order to "penetrate the mindset and the culture through the language." The only Chinese person in the museum, Tan Tang-kao (who comes from Taiwan) became Evarts' private tutor, giving him instruction every day.

Evarts can now read technical classical Chinese in the original, including works like Tian Gong Kai Wu, (a Ming-dynasty illustrated compendium of agricultural methods and manufacturing technologies), Lu Ban Jing (an ancient book on carpentry), and Yingzao Fashi (a Song-dynasty building manual). He also reads classic novels of the Ming and Qing, since these are often the best source of clues about furniture styles and arrangements. "Don't underestimate The Golden Lotus. It's got a lot more than sex. It has rich and detailed descriptions of material life in the Ming dynasty," says the cultured Evarts in his decently accented Mandarin. Two years ago he came to Taiwan to lecture at the invitation of the Artasia Fine Asian Antiques and Art Consultancy. He talked about Chinese furniture in The Golden Lotus, and about how the furniture depicted in the woodcuts in the Ming dynasty Chongzhen reign edition differs from that depicted in the Qing dynasty Qianlong reign edition.

At the exhibition in San Francisco, the way the furniture is arranged has a very authentic feel. This Luohan couchbed, surrounded by 12 screens, is where the host would entertain guests. Sitting or reclining on the bed one could enjoy a singing and dancing show while savoring the delicacies served on the little table placed on the bed.

The Zen of furniture

The publication of The Journal of the Classical Chinese Furniture Society was a real innovation for the museum. Originally they thought only to publish an eight-page newsletter such as that produced by Sotheby's. But in the end it was a case of "in for a penny, in for a pound," and it expanded into a beautifully color-printed 72-page journal. In the journal Burton seeks to achieve the "the same qualities as a meditation chair--simplicity, profundity, and economy." Sarah Handler, an American, was hired as the director of the office of research; she is thus far the only art historian in the US to write her doctoral dissertation on the subject of Chinese furniture. Editor Jeanne Chapman previously served for six years as editor of the prestigious Italian art magazine FMR (though this is her first encounter editing on the subject of Chinese furniture).

This journal, the only one in the world dedicated to Chinese furniture, quickly became a meeting place for East and West. Besides reporting on furniture exhibitions in various places, it also publishes scholarly articles presented at seminars, giving in-depth coverage to history, manufacturing techniques, and aesthetics. Despite losing money, the Journal, now in its fifth year, has become essential reading for museum curators, antique dealers, collectors, art historians, and furniture lovers all over the world. "We often receive letters from readers saying they never knew that some piece of furniture in their home was so valuable. Some people even want us to examine and date their family heirlooms," says a smiling Ms. Chapman.

Besides the journal, the museum is also keeping a growing database on Chinese furniture. The Fellowship has mobilized members all over the world to scour local libraries for old Chinese texts, and to "copy anything they can find about Chinese furniture." Although there is inevitably some redundancy, the result has been a rich database. The National Palace Museum in Taipei is naturally a treasure chest of information. Although it has staged very few furniture exhibitions, there is much to be discovered in its holdings of texts and paintings. People working for the Fellowship photocopy any parts of old books that include references to furniture; if what they are seeking is in a painting they apply to museum authorities for permission to photograph the work, and then invite an expert to redraw the scene in minute detail, so that they can explore the shapes and arrangement of the furniture.

The train of events which led to the Museum of Classical Chinese Furniture's exhibition at the Pacific Heritage Museum in San Francisco began three years ago when Mr. Mao, a consultant to the Bank of Canton of California, and Felicia Tan, director of the American Chinese Arts Foundation, accompanied Wang Shixiang, who was in the US at the time, on a visit to the Museum of Classical Chinese Furniture. When they saw the museum they were impressed by the dedicated research spirit shown by these "foreigners." They were even more impressed by the quiet beauty of the furniture itself.

The Museum of Classical Chinese Furniture invited mainland Chinese arthistorian Wang Shixiang to provide the calligraphy for its name plaque. The museum's collection ranks more highly than any other collection of Chinese funiture in US museums.

Three "one-and-only's"

Thereafter Wang Shixiang accepted invitations to visit and make detailed evaluations of pieces on three occasions. He describes the museum as having "three one-and-only's": First, it is the only museum in the world specially dedicated to collecting Ming-style furniture. Second, its publication is also the only one of its kind. Finally, there is almost certainly no place else that has more than ten people devoted to all aspects related to the furniture itself, including collecting, repairing, and photographing the pieces, translating Chinese information into English, and editing and publishing.

What about quality and quantity? "Collecting is by nature a contentious field, and everyone has different views, so nothing can be perfect," says Wang. "It is missing some things it should have, but on the other hand it does have some things that are very hard to find. All in all, it would not be too much to say that in both quality and quantity this museum exceeds any collection of Chinese furniture in any other museum in the US."

Take for example the huanghuali folding chair. There are very few such pieces remaining, and this one is of outstanding quality. This item, purchased from the Royal Ontario Museum, is said to have once belonged to an emperor. Then there is the canopy bed. It is ornate without being overly ostentatious. "This is evidence that although the mainstream in Ming furniture was to be simple and unpretentious, there are also pieces that are richly decorated and very elaborate, yet elegant and not gaudy."

Though oohing and aahing over the furniture, Felicia Tan and Mr. Mao were concerned that the remote location of the museum would limit the number of visitors. Therefore, after a flurry of discussions, it was decided to hold a display at the Pacific Heritage Museum attached to the Bank of Canton of California.

Miniature pottery furniture excavated from Ming-dynasty tombs often reflects the design of furniture of the time. These two sets of chairs and tables appear strikingly similar, though they are very different in size. （photo by Frederic Choisel）

Furniture on CD-ROM

For the nine-month long exhibition, a video has been produced to introduce the furniture. They also plan to invite public television to come and make a furniture documentary, and even to bring together the classic and the modern by having Curtis Evarts appear on a CD-ROM giving a lecture about the intricacies of jointing techniques. "We want to spread the understanding of Chinese culture to the West," says Felicia Tan.

Also as part of the exhibit, Evarts and Wang Shixiang produced a catalogue of the museum's holdings, in both English and Chinese editions. Each item is explained by the two authors, and accompanied by details from woodcuts or paintings to show how the piece was originally used and how it evolved over time. Once in a while the authors express different views, but this actually pleases Wang Shixiang: "That makes things interesting. I don't agree with him, nor do I insist that he agree with me. We let the readers make up their own minds." This first-ever Sino-Western cooperation over Chinese furniture makes an interesting addendum to the long history of cultural exchange between China and the rest of the world.

This year is the 50th anniversary of the founding of the United Nations, an event which happened right in San Francisco, so even more tourists than usual are around. It is estimated that the exhibition will attract more than 100 visitors per day, adding another highlight to this popular city for travelers. When you get to San Francisco, after you've put some flowers in your hair don't forget to have a look at those precious gems from China that have survived for so long and now sit safe and sound in a distant land.

[Picture Caption]

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The Museum of Classical Chinese Furniture, which is devoted to collecting Ming-style furniture, is located in the hills three hours' drive from San Francisco. One corner of the museum reproduces a lady's bedchamber.

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Simplicity of form is often the first impression which Ming furniture imparts, as revealed by the round-cornered, wooden-hinged huanghuali cabinet pictured here.

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(left) The graceful lines of the arches between the five legs of this huanghuali incense stand remind one of five great lotus petals. (center) This Luohan couchbed is made entirely of precious zitan wood. We can imagine its enormous value.

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(right) Much of Ming furniture's attraction lies in its "balance of simplicity and richness." Pictured here is a square huanghuali brazier stand.

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This huanghuali screen with an inset panel of marble, and this huanghuali horseshoe-back folding armchair, are among the museum's greatest treasures.

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At the exhibition in San Francisco, the way the furniture is arranged has a very authentic feel. This Luohan couchbed, surrounded by 12 screens, is where the host would entertain guests. Sitting or reclining on the bed one could enjoy a singing and dancing show while savoring the delicacies served on the little table placed on the bed.

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The Museum of Classical Chinese Furniture invited mainland Chinese art historian Wang Shixiang to provide the calligraphy for its name plaque. The museum's collection ranks more highly than any other collection of Chinese funiture in US museums.

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Miniature pottery furniture excavated from Ming-dynasty tombs often reflects the design of furniture of the time. These two sets of chairs and tables appear strikingly similar, though they are very different in size. (photo by Frederic Choisel)