Making seats that suit today's needs while honoring tradition, Li Yingxue reports.

Editor's note: Traditional arts and crafts are supreme examples of Chinese cultural heritage. China Daily is publishing this series to show how master artisans are using dedication and innovation to inject new life into heritage. In this installment, we unveil the timeless beauty of Chinese wooden furniture.

The smooth, timeworn contours of a wooden chair seem to whisper tales from another era. Along its armrests, the elegant curves embody centuries of mastery, each line an echo of the artisans who crafted it.

But upon closer examination, this seemingly ancient chair has secrets to tell: A sleek cushion now rests against the back, its curve subtly adjusted for modern ergonomics. Hidden beneath each leg are small wheels, allowing this sturdy piece of craftsmanship to glide across the floor.

This chair, a product of tradition fused with innovation, was created by Liu Gengsheng, 60, a master of Beijing-style wooden furniture. The craftsmanship behind it has been recognized as a national-level intangible cultural heritage since 2008.

It is a meticulous reproduction of a Qing Dynasty (1644-1911) relic from the Palace Museum, adorned with traditional motifs and intricate openwork carvings.

The design adheres strictly to ancient methods — no screws, only sunmao (mortise-and-tenon) joints, with each leg carved from the same piece of wood.

But Liu's work represents more than just craftsmanship; it is a glimpse into a tradition that stretches far beyond his workshop.

Across China, traditional wooden furniture has long been admired not only for its meticulous construction and visual appeal, but also for the cultural stories embedded within its patterns and motifs — stories that reflect centuries-old aspirations for harmony and prosperity.

Today, this craftsmanship endures thanks to the dedicated efforts of artisans like Liu.

But making these pieces is only the beginning. The tradition extends into artifact restoration, antique reproduction and contemporary design. In each of these areas, artisans, restoration specialists and designers are preserving a dual heritage — the practical skills of woodworking and the deep cultural roots that ground these creations.

The result is a bridge between the past and future, where handcrafted furniture serves as a functional piece and a vessel of China's cultural legacy, inviting modern audiences to connect with tradition through the objects they use every day.

Liu has spent over 40 years crafting wooden furniture. He was born and raised in Beijing's Luban Hutong, an alley that was named after the legendary master carpenter Lu Ban and teeming with artisans and craft shops.

At 19, Liu followed his father's footsteps, joining the century-old brand Longshuncheng to learn the craft of Beijing-style wooden furniture.

Beyond crafting, Liu has mastered the skills of restoring antique furniture. In 1999, he established a restoration center.

"Some customers bring us nothing more than a pile of wood, barely more than kindling. We approach each piece with a genuine desire to restore it to its former glory," Liu says.

"From a single piece, you can glimpse the design philosophy and craftsmanship of the time, and also the continuity of Chinese culture."

In recent years, Liu and his team have been involved in numerous restoration projects for artifacts from the Palace Museum.

"Restoration is a meticulous process," Liu says. "Like a traditional Chinese medicine doctor, we start with observation — recording the piece's era, techniques, materials and even the meaning behind its patterns.

"You can't just disassemble a piece of history casually; it poses a risk of causing additional damage. Each component must be meticulously labeled, disassembled according to the precise mortise-and-tenon technique, and then reassembled once the restoration process is finished."

Liu stresses the importance of preserving the original character of each piece. "The principle of 'restoring the old as old' is essential. Minimal intervention is crucial; it embodies our deep respect for history."

Restoring wooden furniture provides Liu an opportunity to learn the techniques of different eras. "It's a lifelong learning process," he says.

Antique appeal

Traditional Chinese wooden furniture is categorized into three main styles — Beijing, Canton (today known as Guangzhou in southern Guangdong province) and Suzhou in eastern Jiangsu province.

"Canton-style integrates Chinese and Western influences, showcasing a diverse and inclusive range of designs. Suzhou-style is known for its meticulous craftsmanship and understated elegance while Beijing-style, originally used in imperial courts, combines the opulent material use of Canton-style with the intricate workmanship of Suzhou-style, emphasizing the ceremonial aspects of furniture," explains Ou Shengchun, 65, who has dedicated over 40 years to designing and creating classical wooden furniture.

Alongside his work, Ou also curates a collection of classical Chinese furniture from both domestic and international sources.

"Our passion for classical furniture remains undiminished, and we continue to be inspired by the wisdom and skills of ancient artisans," he says.

Since 2018, Ou has been preparing to open an exhibition hall in Zhongshan, Guangdong province, gathering antique furniture pieces and related materials from around the world.

In May, the exhibition hall officially opened to the public, offering free admission. Exhibits on display introduce the history of traditional Chinese furniture, and the craft and culture of traditional woodworking, as well as the collection of Wang Shixiang (1914-2009), a well-known scholar of traditional Chinese furniture.

One standout exhibit, titled The Birth of a Chair, breaks down every part of a wooden chair, suspending each piece in midair, so visitors can clearly see the various mortise-and-tenon joints that connect them. "Through these exhibits, we aim to showcase the craftsmanship, artistry, culture and historical evolution of traditional Chinese woodworking and furniture," Ou says.

He is one of the first professionals in the country to delve into the reproduction of antique wooden furniture. In his pursuit of reinventing traditional wooden pieces, he upholds a principle of"90 percent tradition, 10 percent innovation", focusing on refining even the minutest details.

For instance, in the adaptation of a classical "throne chair" for contemporary homes, he and his team adjust the chair's proportions, reducing its size and lowering the height of the backrest to enhance its functionality.

Recognizing that these chairs are usually placed in living rooms, they design double- and triple-seater versions, creating a series of sofa sets.

They also design new furniture for modern living spaces, such as TV cabinets and writing desks, incorporating practicality and traditional aesthetics.

"Today's consumers have an increasingly sophisticated sense of aesthetics. More people want to decorate their homes with the beauty of traditional wooden furniture and are willing to spend time understanding and appreciating its charm," he says.

"Consumer expectations have risen, encompassing not just the style, craftsmanship and materials of wooden furniture but also its placement within their living spaces. I believe this trend is positive — as demand evolves, so do consumer preferences," Ou says.

Showcasing elegance

A lifelong enthusiast of traditional Chinese painting, Xu Jianping excels in designing Ming-style furniture, which originated from Suzhou during the Ming Dynasty (1368-1644) and is known for its clean and simple designs.

Even in the digital age, Xu's solid foundation in meticulous painting remains evident.

At 70, Xu, an inheritor of Ming-style furniture-making techniques, has completed major restoration projects, including the Humble Administrator's Garden and the Master of Nets Garden in Suzhou, as well as the former residence of Hu Xueyan (1823-85), a prominent businessman and official in the Qing Dynasty, in Hangzhou, Zhejiang province.

In 1970, Xu embarked on his journey by delving into the realms of Chinese flower-and-bird painting and Suzhou embroidery design. By 1973, he had immersed himself in the craft at a Suzhou rosewood carving factory, dedicating a year to mastering woodworking and another year to honing his carving skills.

After a brief stay at a machine processing workshop, Xu later transitioned to a design studio, marking the inception of his career in classical Chinese furniture design — a field he passionately pursues to this day.

He says that to better preserve the craftsmanship of wooden furniture, traditional designs need to be integrated into modern daily life, aligning with contemporary habits while remaining affordable.

He has designed a tea table and chairs set, adding backs to what were originally simple stools to enhance comfort for tea-drinking sessions.

"We aim to incorporate elements of Ming-style furniture so that the cultural aspects and overall design are recognizable," Xu says.

In addition to continuing their deep involvement in design and production, master artisans in the wooden furniture industry are exploring new ways to showcase their work and educate the public about mortise-and-tenon techniques.

In August, Xu visited Guangzhou to give a public lecture on wooden furniture making, collaborating with inheritors of Beijing-style and Canton-style hardwood furniture.

"As an inheritor, it is crucial to uphold traditions and standards while incorporating ancient elements and thinking creatively," Xu says.