Zou Hong
Huanghuali Intangible Cultural Heritage Inheritor, National First-Class Technician, Expert Enjoying Special Allowances from the State Council
Master of Arts and Crafts of Hainan Province, Senior Master of Arts and Crafts of China Light Industry Jewelry and Jewelry Center, National First-Class/Senior Technician, Master of Arts and Crafts of Hainan Province, Hainan South China Sea Craftsman, Outstanding Talent of Hainan Province, Executive Chairman of Hainan Provincial Arts and Crafts Artists Association, Executive Chairman of Hainan Provincial Huanghuali Society
Huanghuali Folding Chair
Huanghuali Folding Chair
Zou Hong (Expert enjoying special allowances from the State Council)
Zou Hong, male, a member of the Communist Party of China, was born in 1976 into a family of woodcarvers in Sichuan. Influenced by his ancestors, he enjoyed making his own toys from a young age. Later, he was immersed in classical calligraphy and painting in the family gallery, developing a unique Chinese aesthetic. He mainly engages in the creation of Ming-style furniture made of Hainan huanghuali wood. He is an expert enjoying special allowances from the State Council, an expert of the China Light Industry Jewelry Center, a senior arts and crafts master, a national first-class/senior technician, the leader of the Hainan Provincial Model Worker and Craftsman Talent Innovation Studio, a Hainan Provincial Arts and Crafts Master, a Hainan Provincial South China Sea Craftsman, a Hainan Provincial Outstanding Talent, a representative inheritor of the huanghuali intangible cultural heritage project, a Hainan Provincial Technical Expert, the leader of the Zou Hong Skill Master Studio, the executive chairman of the Hainan Huanghuali Society, and the chief appraiser of the CMA National Inspection and Testing Center for Hainan Huanghuali Wood.
Major Achievements
He has published 7 papers, including "Expressive Techniques and Artistic Characteristics of Huanghuali Carving" and "Application of Digital X-ray Photography Technology in Wood Carving Statues". He has also obtained 10 patents and software copyrights, including "A Cultural Communication Platform with Adjustable Function", "Hainan Huanghuali Tenon and Mortise Table", and "Flower Table (Song Style)". His works "Inkstone Screen" and "Holding Box" have been permanently collected by the China National Arts and Crafts Museum.
Artistic Experience
Zou Hong was born in Sichuan Province in 1976. Since 2001, he has been engaged in Hainan rosewood art creation and founded the Hainan rosewood brand "Chai Yi Fang". In 2001, he was the first in Hainan to innovate and standardize the handmade production of rosewood beads; in 2003, he took the lead in opening a Hainan rosewood specialty store; in 2010, he exhibited Hainan rosewood artworks and carving techniques at the Shanghai World Expo; in 2014, he opened a Hainan rosewood store; and in 2020, the arts and crafts project he led was selected as one of the first "Double Hundred" talent team bases in the Hainan Free Trade Port.
Main achievements
In May 2010, the work "Hainan Rosewood Blessing from Outer Space" won the Special Gold Award (a national official award) at the Shanghai World Expo.
In March 2015, the work "Hainan Rosewood Folding Chair with Chilong Pattern" won the Gold Award (a national industry award) at the Golden Phoenix Innovative Product Design Competition.
In September 2021, the work "The Only Way" won the Gold Award (provincial industry award) at the "Hundred Schools of Thought Contend, Craftsmen's Spirit Across the World - Hainan Arts and Crafts Artists' Works Exhibition".
In December 2022, she won the "Gold Award" in the Arts and Crafts category of the Hainan Provincial Industry Skills Competition and was awarded the title of "Hainan Provincial Technical Expert" (a provincial industry award).
In March 2023, the work "Never Forget the Original Intention, A Century of Great Cause" won the "Gold Award" (provincial industry award) in the first Hainan Provincial Arts and Crafts "Contest Award" selection.
In October 2021, the work "Smiling Cherry Blossom Pot" won the "Gold Award" (provincial industry award) at the (First-Class Woodcarver) Examination Works Exhibition hosted by the Hainan Rosewood Society.
In May 2010, the work "Hainan Rosewood Nine Dragons Hanging Screen" won the Silver Award (a national official award) at the 6th Shenzhen Cultural Fair China Arts and Crafts Cultural Creativity Award.
In May 2016, the work "Hainan Rosewood Four-Out-of-the-Head Official Hat Chair" won the Silver Award (a national official award) at the Shenzhen Cultural Fair China Arts and Crafts Cultural Creativity Award.
In May 2018, the work "Hainan Rosewood Straight-Lattice Shelf" won the Silver Award (a national official award) at the Shenzhen Cultural Fair China Arts and Crafts Cultural Creativity Award.
In May 2019, the work "Hainan Rosewood Ming-style Mirror Stand" won the Silver Award (a national official award) at the Shenzhen Cultural Fair China Arts and Crafts Cultural Creativity Award.
In May 2017, the work "Hainan Rosewood Four-Sided Flat Qin Table" won the Bronze Award (a national official award) at the Shenzhen Cultural Fair China Arts and Crafts Cultural Creativity Award.
In June 2023, the work "Hainan Rosewood Carved Dragon Pattern Backrest Chair" won the "Bronze Award" (a national-level industry award) at the 19th China Arts and Crafts Cultural and Creative Competition.
In September 2024, the work "Hainan Rosewood Round Corner Cabinet" won the Gold Award (provincial industry award) at the 2nd Hainan Provincial Arts and Crafts Competition.
In September 2024, the work "Hainan Rosewood Round Corner Cabinet" won the 2024 Hainan Provincial Arts and Crafts Industry Employee Innovation Achievement Award (provincial industry award).
Huanghuali Folding Chair
Dimensions: 69×58×108 cm. (27 1/8×22 7/8×42 1/2 in.)
This folding chair is made of huanghuali wood, with a lustrous reddish-brown color and beautiful grain. The armrests are joined with five mortise and tenon joints, with protruding ends that curve back to finish, and the top flattened. The backrest panel is tenoned into the lower part of the armrests and the rear edge of the seat, with corner braces on both sides. The upper part has a ruyi-shaped openwork panel with a relief carving of a chilong (螭龙) pattern, while the middle rectangular openwork panel has a pierced carving of a qilin (麒麟) pattern. The lower part has a raised foot. The three-curved supporting structure is supported by bamboo-joint patterned pillars, and the bronze fittings contrast with the color of the huanghuali wood. The seat has a soft cushion, and the edges are decorated with relief carvings of facing chilong (螭龙) patterns. The footrest below is inlaid with square knot and cloud pattern corner protectors, and the lower part is carved with a curved arch.
Dimensions of Huanghuali Round-back Chair
70×64×101 cm. (27 1/2×25 1/4×101 in.)
The pair of armchairs, made entirely of huanghuali wood, are quite large, robust in material, and possess a strong, imposing presence. The armrests are thick and five-piece, with outward-curving armrests resembling bent iron, conveying inner strength. The backrests curve in a "C" shape, quite spacious, revealing the natural mountain-like grain of the huanghuali wood after cutting. They taper towards the base, narrowing at the top and widening at the bottom, with the upper section carved from leftover material into curved, pointed hanging brackets. The upper center is recessed with ruyi and longevity character patterns. The "S"-shaped connecting rods curve gracefully, like water plants swaying in the water. The gooseneck armrests also have three curves, with small corner brackets resting below the armrests. The seats are soft-cushioned, with a rim edge and a downward-curving bowl-shaped rim. The legs are round on the outside and square on the inside, thick and with a pronounced curve, contributing to the overall imposing presence. A carved ruyi cloud pattern bracket is placed between the legs, and a knife-shaped bracket is attached to the back. The legs are fitted with progressively higher stretchers, and except for the back, the lower three sides are also fitted with curved stretchers. Looking at this round-backed chair, one cannot help but admire the wisdom of the ancients, using mortise and tenon joints to join the wood, resulting in a sturdy, stable, beautiful, and durable piece. Moreover, it is extremely rare to find a pair preserved in this chair.
Ming-style furniture often features rattan drawers and has the most scholarly and literati-like design.
The round-backed armchair is a classic category of Ming-style furniture, beloved for its simple and timeless elegance. Its round top and square bottom perfectly embody the ancient Chinese philosophy of a round heaven and a square earth. The armrests, like condensed dewdrops, allow for comfortable and natural seating, making it a piece of furniture that combines aesthetics and practicality. Shen Chunjin's preface to *Changwu Zhi* states: "Tables and couches should be of standard, utensils should be of style, and their placement should be fixed. The value lies in their refinement and convenience, simplicity and elegance, and ingenuity and naturalness." This perfectly encapsulates the aesthetic principles of literati interior furniture arrangement.
Huanghuali table
Dimensions: 120×58×84 cm (47 1/4×22 7/8×33 1/8 in)
Classical furniture, especially Ming dynasty tables and desks, is extremely rare to find pieces that still retain traces of the arched legs of a bed. In this example, the arched outline is remarkably intact below the apron. The floral and foliate section of the legs has a right-angled cross-section, indicating that it has been carved out, creating a notch. Furthermore, the hoof-shaped feet have two upward-curving points. These are all traces of the arched bed, helping us trace the origins of waisted furniture.
This table is made of huanghuali wood, with a smooth and beautiful grain. The tabletop is constructed with mortise and tenon joints, featuring a single-panel top with a smooth, rounded edge and rich moldings, revealing visible tenons. The waist is straight and plain, with rounded corners where the aprons and legs meet. The central apron of the arched doorway tapers to a point, graceful and elegant, extending to the feet with a touch of spirit. The four legs are long and slender, without any stretchers between them, creating a simple and airy feel. The feet taper inwards to form hoof-shaped feet, also carved with floral and foliate outlines, echoing the upper part of the legs, resulting in a unified and harmonious design.
Huanghuali table
Dimensions: 196×53×86.5 cm. (77 1/8×20 7/8×34 in.)
The tabletop is a single, thick, uncut plank, 53 centimeters wide, dense and fine-grained, with undulating grain at both ends resembling towering mountains, possessing a magnificent and expansive beauty. Both ends are fitted with upturned ends. The edge is finished in three sections, gradually decreasing in slope, ending with a clean, narrow, flat line. The legs are joined to the tabletop with mortise and tenon joints, with a central incense stick-shaped line. The aprons are plain, with raised lines along the edges, and the phoenix patterns on the apron heads are three-dimensional and striking. Stretchers are attached to the bottom of the front and rear legs, with exquisitely carved dragon patterns on the stretchers. The curves are lively and full, the carving delicate and translucent, the patterns exquisite and perfectly integrated, the carving skillful, and the combination of openwork and intaglio techniques, possessing rhythm and artistic value. The top of the arched panel is pointed, and the stretchers rest on a bridge-shaped plain support, serving to reinforce the surface and prevent moisture and insects.
This piece boasts a rigorous and precise structure, a lustrous finish, and exquisite craftsmanship, featuring double-sided carving. The decorative motifs combine dragon and phoenix patterns, symbolizing auspiciousness and good fortune.
Huanghuali Luohan Bed
Dimensions: 218 × 112.5 × 62 cm (85 7/8 × 44 1/4 × 24 3/8 in)
This daybed is made of huanghuali wood, with a plain frame and three lattice-patterned panels. The middle panel is slightly higher, while the two side panels are slightly lower, creating a simple yet elegant and refined look. The panels are made using the mortise-and-tenon method, a technique derived from architectural craftsmanship. The patterns used are mostly derived from architectural railings and window lattices, arranged in a regular pattern to form the bed surround. The symmetrical and repetitive patterns are highly aesthetically pleasing. The mortise-and-tenon method creates a visual effect similar to openwork carving, both ornate and ethereal, with strong decorative appeal. However, it is more economical in terms of material and can achieve patterns that openwork carving cannot. The three panels combine mortise-and-tenon and single-piece carving techniques. Only the crabapple blossom section is carved from a single piece of wood, while the two short timbers and horizontal sections are combined with the crabapple blossom using the mortise-and-tenon method. The rounded corners further add a sense of dynamic variation to the entire panel.
The bed surface is upholstered with a latticework design, the edges tapering from top to bottom. The waistband and apron are made from a single piece of wood, the apron being plain and recessed, intersecting with the legs at the latticework. The recessed shape is derived from the curve of a cusped arch, whose outline curves in three undulations, ending in a pointed center; the apron in the recessed shape droops slightly in the middle, forming an arc, creating a rounded design. The four legs are made of square timber, with sturdy hoof-shaped feet.
During the Ming and Qing dynasties, the Luohan bed was generally displayed in the hall or placed in the study, serving both sitting and reclining functions, and was especially favored by scholars. This Luohan bed is relatively small in size and was typically placed in the study during the Ming dynasty for use as a place to rest.