Folding round-back armchair, late 16th century. Huang-hua-li hardwood with iron hardware, 104.62 x 76.52 x 76.2 cm (unfolded). Minneapolis Institute of Art, Gift of Ruth and Bruce Dayton, 98.80.3.

Considered by many to be one of the most elegant designs created by Chinese cabinet makers, the round-back folding armchair is a unique combination of utility and ceremonial grandeur. This large, harmoniously proportioned chair is an exact mate to one now owned by the Shanghai Museum. It retains its original patina, decorative carving, and most of its iron fittings, which are inlaid with a scrolling lotus design. An openwork iron plaque bearing auspicious Buddhist “treasure” emblems is attached to the footrest with iron bosses. Both comfortable and portable, folding chairs like this were reserved for persons of high rank. In paintings, they are often depicted in front of solid screens, the seat of honor from which to greet important guests at formal gatherings.

Footstool, 16th-17th century. Huang-hua-li hardwood, 16.19 x 66.04 x 31.12 cm. Minneapolis Institute of Art, Gift of Ruth and Bruce Dayton, 96.31.

Recessed-leg Altar Table, 16th-18th century. Huang-hua-li hardwood. Minneapolis Institute of Art, Gift of Ruth and Bruce Dayton, 99.120.

Throughout China, long side tables with everted ends were often placed against the back walls of reception halls and temples where they were used in a ceremonial context. These altar tables could be set with ancestral tablets, Buddhist or Taoist images, and a variety of ritual utensils including censers, candlesticks, flower vases, and offering plates. Sometimes called "wall tables," they could also serve a variety of secular functions throughout the household, including the display of precious objects.

It is understandable that these major pieces of ceremonial furniture would often be of grand proportions and ornate decoration. This magnificent example is especially praiseworthy. Its top consists of a single, thick plank of beautifully grained huang-hua-li twelve-and-a-half feet in length. It is the second longest such table recorded and among the most elegantly proportioned of the few massive, single plank, long tables to survive. The work is elaborately decorated with richly carved dragon spandrels and openwork panels of serpentine dragons inset between the legs.

Couch-Bed, c. 1600. Huanghuali hardwood, 80.01 x 217.81 x 118.11 cm. Minneapolis Institute of Art, Gift of Ruth and Bruce Dayton, 98.78.1a-d.

The low-back couch-bed (chuang) with solid rails is among the simplest and most harmonious forms of Ming furniture. Evolved from ancient box-style platforms, it had developed, by the Ming dynasty, into the sophisticated corner-leg frame with the type of side railings seen here. Often used as the centerpiece in formal seating arrangements within a reception hall, the chuang was extremely versatile and could even be found in the scholar's studio and the women's quarters. Used for sitting, reclining, and sleeping, a low table could be placed on the platform to allow for eating and drinking, writing, or playing board games. Sleek and powerful, this beautifully proportioned couch avoids decoration, relying instead on its boldly outcurved legs, concave waist, and strong graining for its visual effect. It employs massive construction with powerful inward turning legs and strong convex aprons whose wide bead moldings continue down the inside edges of the hoofed feet. These couches were accessorized with long footrests, backrests, decorative cushions, and padded blankets.

A pair of Drum Stool with Lobed Body, late 17th century. Huang-hua-li hardwood, 41.3 x 35.56 cm. Minneapolis Institute of Art, Gift of Ruth and Bruce Dayton, 97.89.2.

Pair of Low Back Armchairs, late 17th century. Huang-hua-li hardwood, 88.9 x 57.15 x 45.72 cm. Minneapolis Institute of Art, Gift of Ruth and Bruce Dayton, 95.17.1.

Small Occasional Table, late 17th century-early 18th century. Huang-hua-li hardwood, 72.55 x 66.04 x 44.29 cm. Minneapolis Institute of Art, Gift of Ruth and Bruce Dayton, 99.27.

Yokeback Armchair, 16th-17th century. Huang-hua-li hardwood and rattan, 110.17 x 60.33 x 48.26 cm. Minneapolis Institute of Art, Gift of Ruth and Bruce Dayton, 98.78.2.2.

Lute table, c. 1600. Huang hua-li hardwood and cedar, 72.39 x 127.95 x 36.04 cm. Minneapolis Institute of Art, Gift of Ruth and Bruce Dayton, 96.123.1.

This extremely rare lute table captures the essence of literati taste. Made in Suzhou around 1600, the work exemplifies the sophisticated designs achieved during the golden age of Chinese furniture making. Its simplicity, fluidity and superb balance, made possible by extremely advanced, concealed joinery, allows for a minimal use of material and elegant proportions.

Throughout Chinese history, the lute (qin,) has been the most important symbolic musical instrument. Since Confucian times (6th century BCE), lute playing was regarded as a sign of enlightenment. By the Ming dynasty (1368-1644), the qin had developed into a significant icon for the literati, who saw its mere possession as an indication of intellect and refinement.

Roundback Armchair, 17th century. Huang hua-li hardwood, cane, metale; 104.78 x 73.03 x 64.14 cm (outer frame). Minneapolis Institute of Art, Gift of Ruth and Bruce Dayton, 94.59.2.

Yokeback Armchair, c. 1600. Huang-hua-li hardwood and cane, 120.97 x 64.45 x 67.63 cm. Minneapolis Institute of Art, Gift of Ruth and Bruce Dayton, 97.26.2.2.

Amongst the tallest recorded yokeback armchairs, this pair demonstrates excellent proportions and exceptionally dynamic and vigorous lines. Tall armchairs were reserved for the most important members of a household and were commonly used in formal gatherings. In spite of their apparent rigidity, well-made yokeback chairs are ergonomically sound with rounded armrests, flexible seating and a contoured back splat which support the body with relative comfort. 

Compound Wardrobe Cabinet, 18th century. Huang-hua-li hardwood and baitonghardware, 249.6 x 124.5 x 55.6 cm (assembled). Minneapolis Institute of Art, Gift of Michele and David Dewey, 99.216.1.1a-g.

The largest form of Chinese cabinet is the monumental, square corner compound wardrobe. Always made in pairs, the form consists of a tall, lower unit surmounted by a shorter upper unit or "hat chest" constructed from the same materials. These cabinets were designed primarily for the storage of fine garments which were folded and laid flat rather than hung. There is historical evidence that compound wardrobes were placed in important public spaces within the household such as reception halls and main entrances where prestigious furniture was used to impress a status conscious society. Since the traditional Chinese house was not constructed with built-in closets, these cabinets were also used in bedroom settings. This elegant, early eighteenth century pair is unusual in that the stacking units are set on fitted stands rather than raised on corner legs like most other cabinets of this type.

Platform Daybed, late 16th century. Huang-hua-li hardwood, 49.69 x 194.47 x 104.62 cm. Minneapolis Institute of Art, Gift of Ruth and Bruce Dayton, 99.54.