The preparatory work for the selection of "Chinese Traditional Furniture Industry Masters," organized by the China Furniture Association, is now being actively carried out. This initiative will focus on two key areas: design and craftsmanship. The title of "China's Traditional Furniture Industry Master" marks a historic first for the traditional mahogany furniture industry, recognizing skilled individuals in both design and production. To better understand the significance and details of this master selection, the reporter interviewed Mr. Wu Bingliang, Chairman of the Traditional Furniture Professional Committee of the China Furniture Association and one of the main drafters of the selection process.
Mr. Wu emphasized that the primary goal of selecting industry masters is to set a benchmark within the contemporary traditional furniture industry. This initiative aims to guide the mahogany furniture sector from mass production to the creation of high-quality, boutique-style furniture, ensuring that traditional furniture culture and industry growth develop in harmony.
When asked about the framework and standards of the selection, Mr. Wu explained that the program includes two titles: "Master of Chinese Traditional Furniture Art Design" and "Master of Chinese Traditional Furniture Craftsmanship." Design masters must demonstrate a deep understanding of traditional furniture culture, artistic sensibility, and the ability to create representative works in both theory and practice. Craftsmanship masters, on the other hand, require extensive hands-on experience and a thorough knowledge of traditional techniques. A panel of experts, including scholars, professors, and cultural figures, will ensure the selection process remains professional, fair, transparent, and rigorous.
Compared to other recent selections in the mahogany furniture industry, which are often commercial and short-term, this initiative is different in several ways. It is not profit-driven, but rather focused on long-term standardization and development. It evaluates individuals rather than brands or products, emphasizing cultural and artistic value over commercial appeal. Moreover, the title of "master" is not just a certificate—it is a qualification that will gain increasing recognition and influence over time.
Mr. Wu also shared his motivation for focusing on this work. He pointed out that while Ming and Qing dynasty furniture is widely respected globally, the designers and makers of traditional Chinese furniture have historically been overlooked. Without proper recognition, the contributions of contemporary artisans remain unrecognized, and the historical narrative of traditional furniture is incomplete. By establishing a system for identifying and honoring industry masters, he believes the industry can take its rightful place as a cultural and artistic force.
Looking at the current state of the mahogany furniture industry, Mr. Wu identified several key challenges. These include the lack of standardized procedures, insufficient design capabilities, and an over-reliance on large-scale, resource-intensive production methods. He stressed that without a shift toward more sustainable and culturally rich practices, the industry risks environmental degradation and stagnation.
The selection of industry masters, he said, plays a crucial role in addressing these issues. By setting benchmarks in design and craftsmanship, it encourages a transition from mass production to high-quality, artisanal work. This, in turn, helps establish industry-wide standards that benefit both producers and consumers.
Finally, when asked about the concept of "fine products," Mr. Wu described it as a blend of form, artistry, material quality, and harmony. Fine products are not just functional; they are pieces of art that reflect cultural heritage and innovation. Whether as practical items for modern living or as collectibles, they represent the highest level of craftsmanship and aesthetic value in today’s mahogany furniture industry.
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