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The Art of Chinese Chop Engraving中國的篆刻藝術
Chinese Culture/Chinese Chop Engraving

A sentence frequently heard in the everyday life of a Chinese is "Please sign your name and put your chop on it." You need your name chop to withdraw money from the bank, to pick up a registered letter from the post office, to legalize a contract, and to acknowledge receipt of official documents. In China, from ancient times to the present, from official government business to private affairs, no matter how important or trivial, your chop affixes your credit and your promise. After signing your name, your chop is still required for a document to be legally binding. Name chops are also the constant companions of Chinese calligraphers and painters. Artists follow the custom of stamping their works with their name chops to "sign" them and as proof of authenticity. Despite its small size, the chop plays an extremely important role in the life of a Chinese.

Name chops are engraved by hand. Through the technique of carving, name chops combine the beauty of written Chinese characters and line drawing. A name chop produces virtually the same image of the same characters or figures no matter how many times it is used, and so can be considered a forerunner of one of the four great inventions of the Chinese--printing (the other three being the compass, gunpowder, and papermaking). Its importance cannot be underestimated.

Traditionally, the most common materials for making chops were copper, for the general population, and jade, for the emperor and nobility. Both copper and jade are highly durable materials which must be slowly and carefully cast or ground by an expert craftsman in a very exacting process. By the end of the Yuan Dynasty (1279-1368 A.D.), however, the great painter Wang Mien began to carve his own chops from pyrophylite, a relatively soft mineral. When a skilled calligrapher himself carves a chop, not only does the beauty of the calligraphy come through, but the special effect achieved by knife carving as opposed to grinding is a particularly pleasing one. This method of chop carving soon became very popular among the literati of the time, who later added a new feature to the chop : a poem that could be recited or chanted was written on one side of the chop, based on the artist's feelings and surroundings when he carved the chop. Or he might simply record his name, hometown, and the date on which the chop was carved. The embellishment reveals a great deal about Chinese artistic life of the time. Due to vigorous promotion by literati over the centuries, the art of chop engraving in time joined traditional Chinese calligraphy and painting to form a three-way partnership of the fine arts in China.

The most important part of chop carving is the engraving of the stamping surface. And half the task of carving a chop is done once the calligraphic style has been chosen, and the arrangement of the characters decided; this is called the "composition" of a chop. Carving the characters with skillful, confident cuts is called "knife technique." The marriage of these two techniques results in a totally new form of written expression, referred to as "calligraphic technique." Chop engraving that is of a certain standard or higher displays excellence in the three areas of "composition," "knife technique," and "calligraphic technique." To further increase the refinement and beauty of the chop design, chop engravers may, in addition to carving the stamping surface, create an elaborate sculpture on the top of the chop, or cut out a scene on the sides in shallow relief. Or they may sculpt a unique and breathtaking original design into the chop based on the natural grain and coloring of the stone used, further increasing the artistic value of the chop. The combination of two and three-dimensional art on a chop gives it special artistic depth and sophistication.

After a chop has been engraved, it must be pressed into red ink paste, then stamped onto paper before it becomes an object of practical use; so red ink paste is an indispensable implement in chop art. Red ink paste is made from cinnabar, a mercuric compound. The most important feature of red ink paste is its hue and luster; good ink paste has a brilliant, lustrous red color that retains its original beauty over the ages. Porcelain is the most ideal material for the ink paste container. Ink paste must be frequently stirred with a stirrer so that the oil does not separate to the top, leaving dried out paste underneath. Those who take their chop implements seriously store the ink paste container in a wooden or satin tapestry box to protect the paste from accidental bumps or knocks.

The art of chop carving is highly venerated in the Taiwan on Taiwan. Chops constitute an independent category in fine arts exhibitions, and classes in chop art are held in college and university art departments around the country. There is a privately administered Chop Engravers' Association of the Taiwan that puts out publications and holds lectures, seminars, and exhibitions to vigorously promote interest in this unique Chinese art. There are also study sessions led by an instructor, or discussion gatherings held among people involved in chop art; or sometimes imprints from chop creations are published in book form and exchanged as gifts. Chop art provides opportunity for quiet and satisfying leisure activity that is well worth promoting among the general population.

In Taiwan, chop art is not only a form of artistic expression, the ubiquitous chop engraving shops that dot the country attest to its practical nature. Commonly seen in chop engraving shops are uncarved chops made of wood, stone, metal alloys, and synthetic fiber that the customer can pick from according to personal preference and need. An even wider selection of calligraphic styles is his for the choosing, from the traditional seal script, or chuan shu, to clerical script, or li shu, to regular script , or k"ai shu, to the various scripts designed exclusively for use in chop engraving, such as the "bird," "insect," and "phoenix" styles--and on to an endless number of further styles and variations. The swelling stream of tourists and students coming to Taiwan has sparked foreign interest in chop art; a one-of-a-kind name chop is a highly personalized and unique souvenir to keep and treasure. This uniqueness assures the continued thriving of this art regardless of geographical boundary or passage of time.

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Chinese Jade
Chinese Culture/Chinese Jade

The word "jade" communicates a sense of mystery. In Chinese, "jade" (yu) refers to a fine, beautiful stone with a warm color and rich luster, that is skillfully and delicately carved. In Chinese culture, jade symbolizes nobility, perfection, constancy, and immortality. For millennia, jade has been an intimate part of the lives of Chinese of all ranks and classes. It is viewed as the most valuable of all precious stones.

Jade is found in mountains and riverbeds, and Chinese consider jade to be "the essence of heaven and earth." When polished and carved into various articles, jade is attributed with certain cultural characteristics. In ancient Chinese cosmology, the firmament was considered to be round, and the earth square. Thus a round jade ceremonial ornament with a hole in the center, called a pi, was carved to honor the gods of heaven, and a long hollow jade ornament with rectangular sides, called a ts'ung, was made to honor the spirits of earth. According to ancient Chinese legend, the phoenix and the dragon are animal deities that were the life-source of family clans. For this reason, jade was often used as a material for carving phoenixes and dragons worn as ornaments. These ornaments symbolized the noble bearing of a gentleman, and are the origin of the Chinese saying : "The gentleman's morals are like jade."

Sacrificial and auspicious articles were used in ancient institutionalized rites, and are generally referred to as "ritual utensils." Sacrificial utensils were used in offerings to ancestors or in paying ceremonial respect to the gods of heaven and earth. We know from archaeological remains that people of the Neolithic Era carved a great number of round pi and rectangular ts'ung for use as sacrificial utensils. The concept of a round heaven and rectangular earth, which eventually became deeply ingrained in the Chinese mind, may have first emerged around this time. "Auspicious utensils" were carried or worn by the nobility as symbols of their office or authority. For example, jade axes and spades later evolved into kuei, elongated pointed tablets of jade. When the "son of heaven," or emperor, dispatched a duke, prince, or other official for external duty, he would give him a "tablet of authority" to proclaim the task assigned to him by the "son of heaven." The traditional function of ritual jade utensils gradually began to wane after the Han Dynasty (206 B.C. to 220 A.D.), when only a small number of sacrificial jade utensils were used in ceremonial rites led by the emperor.

Burying jade objects with the dead was a common practice in ancient China.

"The living wear jade as a symbol of their moral integrity, and jade accompanies the deceased to comfort their souls." Over four thousand years ago in China, great quantities of jade utensils were often laid over or around a casket, particularly the pi-representing the round heaven, and the ts'ung signifying the rectangular earth. They were a symbolic link of communication between heaven and earth, of exchange between man and the spiritual world. Later, jade articles were carved specifically for burial with the dead, based on the idea that the jade's qualities of nobility, perfection, constancy, and immortality would prevent the physical body from decay. Examples of jade objects for burial use are a thin, light jade cicada which was placed in the mouth of the dead, and a thick, round jade piglet, which was enclosed in a hand of the deceased. A cicada goes under the ground and is "reborn" after shedding its skin; and a pig breeds quickly, thus increasing wealth. Thus natural motifs are used to express human desires for reincarnation or increased wealth for one's family.

The development of jade utensils after the Sung (960-1279 A.D.) and Yuan (1271-1368 A.D.) dynasties tended more towards pure craftsmanship and artistry. Except for a small number of ritual jade utensils set out by the emperor in sacrificial rites, the carving of large quantities of jade utensils in this era is attributable mainly to their sophisticated aesthetic appeal. The majority of carved jade items were ornamental in nature, including pieces for display and items for personal use. But ornamental jade display pieces were also used for reasons. Such articles included brush holders, brush washers, water cups, armrests, and red ink paste (for name chops) boxes. Fine and exquisite workmanship endowed each piece with richness, luster, and delicacy, reflecting the high quality of life aspired to by the Chinese. Jade items for personal use included combs, hairpins, bracelets, and waist pendants. Jade ornaments were also set in walking sticks, waist sashes, garments, and caps.

Jade ornaments have remained popular up until the present day. Today in the Taiwan, the purchase, wearing, and giving of jade items as gifts is still very common. Jade is viewed as an ideal gift for couples making a mutual commitment, and for one's children when they get married. Even now, the Chinese retain the idea that in addition to being beautiful, jade can protect from misfortune and bring good luck.

Jade is an essence produced through the natural forces of rivers and mountains over eons. However, if it is not skillfully cut and polished, there is no way for the potential richness and luster that people prize to be expressed. The Chinese have a saying that goes. "If jade is not properly cut, it cannot be made into a useful utensil." Cutting is an important step in the process of producing jade articles.

The manufacture of Chinese jade articles was already highly developed by the Shang Dynasty (16th to 11th century B.C). The Chinese of this period had the technology to produce jade articles of every imaginable type, shape, and size. By the end of the Chou Dynasty (11th century to 256 B.C.) and the beginning of the Han Dynasty, Chinese jades reached a second peak in their development. Craftsmen had at their disposal more advanced tools and efficient methods of polishing jade and creating unsurpassed masterpieces. One technique involved carving an article with several linked components out of a single piece of jade, demonstrating the high sophistication of the craftsman's mastery. From this point on, jade craftsmen could accommodate practically any and every customer demand in their work.

In the Taiwan today, the art of jade carving has reached yet another summit in its development. Traditional forms and modern styles are combined into striking new creations, and modern technology has greatly elevated the quality of workmanship. No longer is jade for the exclusive use of emperors and noblemen; just about everyone in the Taiwan has the means to own and wear jade. Beyond maintaining its historical role, jade artistry has been further developed with creativity and skill, and has become an indispensable part of everyday life. Jade remains an eternal symbol of China's magnificent civilization.

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Chinese Opera
Chinese Culture/Chinese Opera

When you enter a Chinese Opera theater in Taipei, the first thing you will notice is a brilliant, lavishly embroidered hanging. Performers will then stride on stage to the sound of strings and woodwinds, or to the clanging of gongs and drums.

First may be a handsome, sturdy young man in warrior garb, somersaulting across stage and displaying his martial skills. Next may follow a young woman veiled by strings of pearls and dressed in silk brocade, singing in a gentle, feminine voice and performing a billowing dance. Then there is the famous Monkey King Sun Wu-k'ung, of the opera journey to the West, with his twitching, scratching, and mischievous simian antics. These characters are all representative of China's traditional National Opera, or Peking Opera.

Opera viewing has long been a popular entertainment enjoyed by both the common people as well as China's royalty and aristocracy. Libretto and musical score writing attracted the participation of literati and the gentry. The T'ang Dynasty Emperor Ming Huang (712-755 A.D., also known as Hsuan Tsung) and Emperor Chuang Tsung (923-925 A.D.) of the Later T'ang are considered the "honorary fathers of Chinese Opera" for their enthusiastic support of the art. Their main claim to this title was their technical knowledge of music. Emperor Hsuan Tsung founded the Pear Garden Academy, a music and dance performing troupe within the court. In later times, opera singing was referred to as the "pear garden profession," and opera performers as "pear garden brothers."

Librettos for Peking operas feature both tragic and comic elements, interspersed with singing, dancing, and poetic narration, to dramatize historical events and popular legends. Another style of performance is dialog rendered in language close to everyday speech, and pantomime executed with ordinary gestures. Heartwarming humor reflects and satirizes society, while being educational and entertaining.

The character roles of Peking Opera are distinguished on the basis of sex, age, and personality. The four main character types are the sheng, tan, ching, and ch'ou.

The costumes worn in Chinese Opera performances are broadly based on the dress current in China about four centuries ago, during the Ming Dynasty. Exaggerated flowing sleeves, pennants worn on the backs of military officers, and pheasant feathers used in headwear were added to heighten the dramatic effect of the stage choreography. These extra touches bring out the various levels of gestures and the rhythm of the movement. Like facial make-up, Chinese Opera costumes tell much about the character wearing them, while also being aesthetically appealing. In the past, Chinese Opera singers would rather wear a worn and torn costume than one that did not correctly represent the character he was portraying.

Chinese Opera was originally performed against only a backdrop, with the other three sides open. The set is extremely simple. It includes a table, which might stand in for a desk, an official's table, or even a hill or bridge. Spatial transitions from one place to another are smooth and economic. The actors have over the centuries developed a set of sophisticated formulae of stylized symbolism. The beards worn by male characters; flowing sleeves, fans, and colored satin ribbons used in dances; and weapons used in fighting are all different types of banners that represent extensions of human limbs. All require a high degree of skill to manipulate, and embody rich theatrical meaning. Actors must begin receiving strict training from a very young age to be able to bring off naturally and with complete ease the singing and reciting style, eye movements, hand gestures, and gait that express the thoughts and emotions of the opera characters.

In the past, Peking Opera tended to be a "theater for actors." Actors drew on the tradition in which they were well-versed to give extemporaneous performances. The moon lute, two-stringed violin, and drum players, who provide the musical accompaniment for the opera, had to cultivate a high degree of sensitivity to and coordination with the actors through years of working together to be able to flow with the performance. Modern Chinese Opera, however, is now set in a box-type stage, and a director system, stage design, and professional lighting are gradually being introduced. These new features serve to enrich the performance and viewing experience, while not being allowed to violate the traditional core of the opera.

Major Peking Opera troupes in the Taiwan include the Ta Peng, Hai Kuang, and Lu Kuang troupes, and the National Fu-Hsing Dramatic Arts Academy. All four are first-rate professional groups that employ the top Chinese Opera talent in the Taiwan. Through an alternating schedule, a public performance of traditional Peking Opera is staged by one of the four groups almost every evening in Taipei.

There is also a new avant-garde group, the Ya Yin Elnsemble, led by Kuo Hsiao-chuang, a younger generation opera actor. Ya Yin has won wide affirmation and praise from both domestic and international audiences through its writing of new librettos, flexible incorporation of Western theatrical concepts and functions, and experimentation with new performance techniques. The true degree of Ya Yin's success can be measured in how the group has succeeded in attracting young intellectuals to Peking Opera performances.

An impressive new experiment has combined Western drama with traditional Chinese operatic style. Director Wu Hsing-kuo produced a highly innovative and successful adaptation of Shakespeare's Macbeth into a modern Peking Opera. Rather than forsaking tradition, this type of experiment is an intermediary step that helps to make traditional Chinese Opera more accessible to modern audiences.

The National Fu-Hsing Dramatic Arts Academy, funded by the Taiwan Ministry of Education, provides seven years of intensive professional training under the finest teachers in the field. This program is the core of a long-term commitment to cultivating young actors, musicians, and stage technicians for Chinese Opera. The academy has a practice troupe that specializes in performing operas with educational themes for elementary and high school students. There are also over 1,000 amateur Peking Opera troupes in the community, and in colleges and universities. Such groups hold occasional public performances.

Every week, Taiwan's three television stations air prerecorded or live Peking Opera performances, bringing high quality Chinese Opera into everybody's living room, One program teaches children to appreciate this traditional art through a lively presentation of the history, symbolism, and performance of Peking Opera. Most radio stations offer programs that feature the best of Peking Opera through records of outstanding past performances as well as live broadcasts. These efforts go a long way to keeping the art vital and popular.

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Chinese Culture/Chinese Society, Traditions/Chinese Written Language
Chinese Written Language

People often have the impression that Chinese characters are extremely difficult to learn. In fact, if you were to attempt to learn how to write Chinese characters, you would find that they are not nearly as difficult as you may have imagined. And they certainly qualify as forming one of the most fascinating, beautiful, logical, and scientifically constructed writing systems in the world.

Each stroke has its own special significance. If you are familiar with the principles governing the composition of Chinese characters, you will find it very easy to remember even the most complicated looking character, and never miss a stroke.

The earliest known examples of Chinese written characters in their developed form are carved into tortoise shells and ox bones. The majority of these characters are pictographs. Archaeologists and epigraphers of various countries have learned that most early writing systems went through a pictographic stage, as did the Egyptian hieroglyphics. Most writing systems, however, eventually developed a phonetic alphabet to represent the sounds of spoken language rather than visual images perceived in the physical world.

Brick inscriptions

Chinese language is the only major writing system of the world that continued its pictograph-based development without interruption, and that is still in general modern use. But not all Chinese characters are simply impressionistic sketches of concrete objects. Chinese characters incorporate meaning and sound as well as visual image into a coherent whole.

In traditional etymology, Chinese characters are classified into six different methods of character composition and use. these six categories are called the Liu Shu.

The Liu Shu categories are:(1)pictographs(hsiang hsing); (2)ideographs(chih shih); (3)compound ideographs (hui i); (4)compounds with both phonetic and meaning elements (hsing sheng); (5)characters which are assigned a new written form to better reflect a changed pronunciation (chuan chu); and (6)characters used to represent a homophone or near-homophone that are unrelated in meaning to the new word they represent (chia chieh).

One notable feature of Chinese characters is the "radical." "Radical" in English means "root," but the "radical" of a character is more like a general classification of the referent of a character than a "root." For example, the characters yu "language," shuo "talk," chiang "speak," sung "file a legal suit," i "discuss," "opinion," and lun "discuss"all share the yen radical, which means "language," and gives the reader a clue to the meaning of the character as a whole. The characters hsiu "rotten," shan "cedar," sung "pine," t'ao "peach," and lin "forest," all contain the mu "wood" or "tree" radical, indicating one of their shared key characteristics.

If you know the radical of a character, you can usually get a general idea of the meaning of the character it is a part of. Although there is a theoretical total of almost 50,000 written Chinese characters, only about 5,000 of these are frequently used; and the total number of radicals is only 214. So learning to read and write Chinese is not nearly so formidable a task as it may at first seem.

Although Chinese characters may appear to be quite complicated, they cannot be randomly simplified. Omitting or changing strokes not only obscures the origin and categorization of a character, but also robs the character of its unique characteristics. The government of the Taiwan has always placed great importance on language education, and on promoting a standard written style. Language competitions in which schoolteachers, students, and others can participate are held each year.

Taiwan is the one place in the world where you can live in an open and friendly Chinese environment while receiving high quality Chinese language instruction. As a result, an increasing number of people from all corners of the globe are coming to Taiwan's various Mandarin training centers to study the Chinese language in its original form.

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Traditional Chinese Music
Chinese Culture/Chinese Music

A Flower Moon Night on Spring River puts the listener in a happy mood, as though he were looking at a graceful Oriental landscape painting; Mournful Autumn makes one feel the inner sorrow of a bleak autumn day; Ambushed From Ten Sides deposits the listener on a thunderous ancient battleground; All the World Rejoices stirs up a joy of celebration in whoever happens to get caught up in its festive rhythms. These are famous examples of traditional Chinese musical compositions, all of which can transport the listener into a whole new sensory world.

The origins of Chinese music, or traditional Chinese music can be traced back to distant antiquity. Around 3,000 years ago, when European music was just experiencing its first rustlings of life, a complete musical theory and sophisticated musical instruments began appearing in China, owing largely to the orthodox ritual music advocated by Confucius. By the Han Dynasty (206 B.C.-220 A.D.), the imperial court set up a Music Bureau, which was in charge of collecting and editing ancient tunes and folk songs. Because of commercial contacts with Central Asia, foreign music entered China in the form, for example, of the p'i-p'a , or lute, and the hu-ch'in , a vertically-held violin. Influenced by this foreign-originating music, composers of the time modified and improved Chinese music. By the time of Emperor Shaun Tsung (r. 713-755 A.D.) of the T'ang Dynasty, the court organized the Pear Garden Academy song and dance troupe, cultivating a large number of musicians, and thus laying a firm foundation for Chinese music.

The variations of rhythm, beat, tone quality, and embellishments in traditional Chinese music are highly distinctive and unlike their Western counterparts. This is mainly due to the unique sounds and playing styles of traditional Chinese musical instruments.

Chinese musical instruments can be divided into four basic categories based on the method by which they are played:" blown," "bowed," "plucked," and "struck" (i.e. percussion) instruments.

The development of traditional Chinese music in the Taiwan on Taiwan can generally be divided into two categories. The first developed from the traditional music played by folk performing groups, usually composed of three to five or at most ten people. The performers are generally of advanced age, and they play mostly folk tunes or themes from traditional Chinese operas. This kind of music gives the listener a good feel for the rhythms of day-to-day Chinese rural life. The modern version of the Chinese "orchestra," comprised of dozens of different types of Chinese instruments, developed in response to changes in society. Besides performing traditional Chinese music, the Chinese orchestra plays adapted versions of folk songs along with classical and modern symphonic compositions. It is widely favored by young music lovers.

There are currently three professional orchestras in the Taiwan on Taiwan that give frequent public performances of Chinese music: the Taipei Municipal Orchestra, the Chinese Music Orchestra of the Broadcasting Corporation of China (BCC), and the Experimental Chinese Orchestra of the National Taiwan Academy of the Arts. Most of the members of these orchestras were trained in departments of traditional Chinese music of local universities and colleges. In addition to the technical music training they receive, they also study traditional music under the guidance of elderly folk performers. In this way, they preserve and pass on tradition while carrying out musical research and development. Outside of the three professional orchestras, there are over 200 amateur and school orchestras. And classes on traditional Chinese musical instruments are held in elementary, junior high, and senior high schools, a further reflection of the popularity of Chinese music in Taiwan today.

In the area of composition, musicians are experimenting with incorporating elements from other musical systems and introducing creative innovations while preserving the spirit of traditional music, thus infusing Chinese music with a whole new vitality.

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Chinese Pottery and Porcelain
Chinese Culture/Chinese Pottery

The origins of Chinese pottery and porcelain go back to distant antiquity. And from the masterful excellence of Chinese ceramics, we can deduce the painstaking labor that went into making them. In the National Palace Museum in Taipei, you will find many outstanding examples of nearly translucent eggshell china. Painted on the surfaces of these Ming (1368-1644 A.D.) and Ch'ing (1644-1911 A.D.) period pieces are delicate flowers, grasses, birds, and beasts that make one sigh and wonder how such fine work was ever produced.

Four objective factors influenced the beginnings and development of Chinese pottery and porcelain: clay, fuel, river systems, and markets. Heavy clay and large quantities of fuel are required for pottery and porcelain making. Prohibitively high shipping costs made pottery production economically impractical in areas without these basic prerequisites. So a locale with plentiful supplies of both clay and lumber as fuel had the best potential for setting up a ceramics kiln.

Once a large kiln has been set up, it often continues to produce for hundreds of years. The arts of preparing clay, glazing, and firing are often passed down from generation to generation; so each area will tend to develop its own individual glazes, clays, and decorating techniques, resulting in unique styles and designs. These special characteristics provide much of the basis of modern appraisal of ancient pottery and porcelain pieces: from the particular features of a piece, one can usually pinpoint definitively when and where it was made. Beginning with the Han Dynasty (206 B.C.-220 A.D.), and into the T'ang (618-907 A.D.), Sung (960-1279 A.D.), Yuan (1279-1368 A.D.), and Ming (1368-1644 A.D.) dynasties, large quantities of pottery and porcelain were exported from China to Korea, Japan, the Ryukyu Islands, the Southeast Asian peninsula, the Philippines, Indonesia, India, the Middle East, the eastern coast of Africa, continental Europe, Great Britain, and the United States. Pottery and porcelain pieces exported during these periods are an excellent source of research materials on the history of China's communications, trade, and economic relations with other countries.

Clay suitable for pottery and porcelain making is produced in the Peitou and Nanshihchiao areas of Taipei. Beginning in the late 19th and early 20th centuries, pottery and porcelain kilns gradually became concentrated in the Yingke Chen area of Taipei County. Today, Yingke Chen is the main ceramic-producing area of northern Taiwan. Due to the accumulation of ceramic-making experience over the years, and the ceramic masters residing in Yingke Chen who have received their craft from previous generations, modern kiln facilities continue to come to Yingke Chen to set up shop. The pottery and porcelain producing centers of central Taiwan are in Miaoli and Nantou counties. Thanks mainly to the plentiful supplies of stoneware clay and rich forest resources of the Shihtoushan area, kilns have sprung up all over these two counties. Some of the kilns in the Miaoli area have begun using natural gas as a fuel for firing pottery. They also import high-quality porcelain clay, and have brought in modern facilities and technologies to further improve the quality of their products.

The key to why ceramic art has been able to develop to such a high level in China lies in the spirit of Chinese craftsmen to strive for excellence. Ceramic and porcelain pieces dating back to various historical periods have demonstrated again and again how Chinese artisans overcame the shortcomings of the materials they used, and how craftsmanship can conquer the difficulties encountered in working with clay. For example, in the late Yuan (1279-1368 A.D.) and early Ming (1368-1644 A.D.) dynasties, the material used to produce porcelain in world-famous Chingte Chen, Kiangsi Province, was porcelain stone mixed with kaolin, a material with relatively poor plasticity. Faced with this difficulty, the porcelain makers of the time came up with the idea of grinding the raw material to an extremely fine consistency, then soaking it in water for several years. This process of hydrolysis increased its stickiness and plasticity. In this way the clay could be stretched and formed on a potter's wheel into beautiful porcelain articles. When half-dry, a special knife was used to shave it until extremely thin; this is how the famous Chinese "Eggshell" porcelain-a product of the official kin of the Ming and Ch'ing dynasties-was made. Modern porcelain makers would today be hard put to reproduce this unique process for treating porcelain clay, and the highly developed craftsmanship that accompanied it-even with their state-of-the-art equipment and technologies.

Pottery and porcelain artisans of today have full access to modern technological knowledge, and can freely choose their equipment. But they all still carry on in the traditional belief that man can indeed conquer nature. Some imitate ancient designs, others produce avant-garde pieces. With their minds, their hands, and clay and fire, these potters express the artist's perception of beauty, his professional experience, his sensitivity, and his level of artistic cultivation. A senior potter of Taiwan, Lin Pap-chia , has over the past 40 years come to be known as the "doctor" of the Yingke Chen ceramics industry. He can usually come up with an answer to virtually any question or problem regarding ceramics that is brought to him, and he has also helped to cultivate uncounted creative talent in the area of ceramic making. Chiu Huan-tang and Shin Nai-yueh made their contributions by bringing in new ceramic making concepts from the United States, and by creating modern works of ceramic art. These masters have also helped train a new generation of ceramists in their art. Young artists who have distinguished themselves in their field include Lien Pao-chai, Chen Chiu-chi, Yang Wen-ni, Sun Chao, and Feng Sheng-kuang. All have their own richly expressive and creative styles.

In the Taiwan, some ceramists have learned their craft on their own, others through study abroad; but most received their training from the National Taiwan Academy of Arts, the industrial arts department of National Taiwan Normal University, and the ceramics section of the Chemical Engineering Department of the Chinese Culture University. Accompanying the rise in the standard of living in Taiwan, the number of people who enjoy ceramics and themselves like to throw pots is increasing every year. Those who have actually dug into clay with their own hands have the highest appreciation of the masterful creations of the ancient makers of pottery and porcelain. In meeting the challenge of modern art by merging it with traditional culture, Chinese ceramic art looks toward wholly new creative and innovative horizons.

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Gifts in Chinese Culture
Chinese Culture/Chinese Gifts
Gifts in Chinese Culture

by: Wong Yee Lee

Chinese people have their own culture when it comes to giving friends or relatives gifts.

When it is a new-born baby, usually jade or silver bracelet or necklace would be good, particularly ones which can make the clinging sound so it will make some noise when the baby moves. Alternatively, some children's clothes, shoes or gloves would be good too. When it is an older child, some toys or stationary would be good.

When it comes to some old people, something practical should be considered. A walking-stick, some valuable food such as bird's nests or Chinese mushrooms would be highly welcome.

For those who go to visit their prospective parents-in-law, something more valuable would be an option, such as some good wine or something meaningful.

If it is a family, a vase, some dining sets or pictures would be ideal.

It is not easy to think of something special for every occasion. So very often if it is not of any special visits, some fruits such as apples or oranges would be good enough.

It is important to know that giving someone gifts should not be a one-way business. Courtesy requires reciprocity. The person who receives the gift should find a chance in the future to return the same favor by returning a gift of similar value the next time you meet. You can do so simply by either paying a visit with a similar value gift or by inviting the friend out for a meal with you paying the meal. Don't do it right on the next day because it may appear awkward.

There are also some taboos to avoid in Chinese culture. Though modern Chinese don't seem to mind them so much, it is still necessary to know what would be suitable in an occasion.

Books would not be welcome in places like Hong Kong or Macau because the pronunciation of 'book' in Cantonese resembles the sound of 'loss'. Especially for those people who are frequent players in race course or Mark six, they would definitely not welcome this idea.

Umbrellas would not be welcome in most places in China because the pronunciation of 'umbrella' resembles separation. Of course nobody would like the idea of separation, particularly concerning your loved ones.

Clocks would not be welcome, particularly on someone's birthday because the pronunciation of 'clock' resembles termination, which means death. No wonder people don't like receiving clocks as birthday gifts.

If you want to give your friends some fruits, remember to buy an even number of them because odd numbers would bring bad luck. So buy 10 apples instead of 9.

Foreigners may find it awkward when your friend says 'You don't need to buy anything when you come here.', or 'Keep it to yourself. I have a lot of these'. He may not mean it. What you need to do is to insist on him receiving the gift since Chinese people do not tend to receive the gift immediately.

Don't mind it if he doesn't open your present immediately too. Chinese people would think opening the present in front of you would be impolite and so they would tend to put it aside and only open it after you have left.

These ideas can only be served as guidelines. Knowing that you come from a foreign culture and being more broad-minded to foreign ideas, Chinese people are nowadays more tolerant to things which are not in line with their culture. So, don't worry too much when you visit a Chinese friend or family. Maybe your exotic idea would bring them a lot of surprises!!

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A Brief History of Taiwan

The Neolithic Age began on Taiwan about 7,000 years ago. Archeologists have found Neolithic artifacts throughout the island that share similarities with clay objects discovered along the southeastern coast of China. Items form the early Tafenkeng Culture can be found throughout Taiwan's eastern coast. Larger stone implements are from the later Chilin Culture and Peinan Culture. Archeologists believe the ancestors of Taiwan's indigenous peoples made these relics.

Before the mass migration of people to Taiwan in the 17th century from Fukien and Canton Provinces along the southeast Chinese coast, Taiwan was solely the domain of aboriginal peoples. While considered part of the Autornesian-language ethnic group by ethnographers, Taiwan's indigenous peoples had distinct languages, material cultures, and social structures. In the 19th century, ethnographers believed that aborigines came to Taiwan at different times and settled in various places after journeys from the south (such as modern-day Philippines and Indonesia), aided by sea currents and seasonal winds. However, the theory that tribes in neighboring regions to Taiwan's southern flank originated from Taiwan has gradually gained the upper hand in the last decade.

In the middle of the 16th century, Western European sea powers arrived in the seas off East Asia. Once the Spanish occupied Manila, the East China Sea and South China Sea became lively regions for adventuresome traders and pirates. Given this sort of background, the island of Taiwan became an object of competition for Europeans, Chinese, and Japanese. In 1624, the Dutch East India Company established a foothold in the Tainan area as a center to trade with China. Contract laborers came to Taiwan from Fukien Province on the mainland to produce tropical crops such as sugar cane and rice. As the Dutch East India Company continued to sell special permits for the sale of various commodities and proselytized the aboriginal peoples, this could be termed the first appearance of a quasi-governmental presence on Taiwan.

In 1662, Cheng Chen-kung, who was defeated while resisting the new Ching dynasty in China fro coastal Fukien, retreated to Taiwan and forced the Dutch out. Cheng's forces consisted of pirates and trader adventurists who circulated around Asia in the latter half of of the 17th century; yet once they arrived in Taiwan, they established the island's first Chinese-style regime. During the period of dynastic transition on the Chinese mainland, a steady stream of Chinese living along its southeast coast sought refuge on Taiwan.

A Brief History of Taiwan

After prevailing on the mainland, the Ching dynasty conquered Taiwan in 1683. Thereafter Taiwan became a territorial part of the Chinese empire. Despite such, the Manchu control of Taiwan was largely focused on preventing Taiwan from becoming a base of resistance or as a haven for Chinese criminals. As a result, various restrictions were placed on the migration of Chinese to Taiwan, and Chinese were banned from developing Taiwan's mountainous regions, with development restricted to the Western coastline. Government administration functioned within this boundary, while everything beyond the limits was considered foreign. Therefore, before the mid-19th century, the Ching dynasty was only in control of the Western plains, and the ruling capability of administrative institutions was quite weak.

As the Manchus weren't overly eager to rule Taiwan and their ability to rule was limited, Chinese along the mainland's southeastern coast ignored various restrictions and migrated to Taiwan, seeking a world of new opportunity. This created a strong dynamic on Taiwan in contrast to the apathy of the Manchus. These new migrants brought with them techniques and culture from their home villages and created villages among indigenous tribes in the plains. They either rented land from or forcibly occupied aboriginal land, and intermarried with the indigenous peoples. Over a period of roughly 200 years of this interaction, most aborigines of the plains became integrated with the immigrants from China. Only a few retain their indigenous language and culture to this very day.

As a result of the weak government, immigrants were forced to use their own means to protect themselves, which sparked the creation of social regulations and an arbitration system. Villages and townships entered into mutual protection alliances, and society in general became armed. Some remnants of this are still seen in Taiwan society. For example the sacrificial rites seen in folk religious activities often can be traced back tot the protection alliances of times past.

In the second half of the 19th century, Western colonial powers again extended their influence to the Far East. In 1860, the Chang dynasty opened the ports of Tamsui in northern Taiwan and Kaoshiung in southern Taiwan to foreign trade and allowed missionaries to come to Taiwan. The roughly 150-year break in contact with the West ended, and tea and camphor became emerging industries. This sparked rapid development in the hills of Taoyuan, Hsinchu, and Miaoli In 1874, Japan sent troops to Taiwan in response to the killing of an Okinawan living outside the borders of government control in Southern Taiwan. This spurred the Ching Dynasty to include areas outside the borders under its rule, and it enabled legal development in the foothills. In 1884, the Sino-French War rippled through Taiwan when the French army occupied northern Taiwan and its navy blockaded Taiwan's ports. In response to the foreign invasion, the Ching dynasty made Taiwan a province and increased the island's defensive fortifications. However, the Sino-Japanese War of 1894 set the stage for Taiwan to be ceded to Japan the following year under the terms of the Treaty of Shimonoseki.

Upon occupying Taiwan, the Japanese created a transportation infrastructure including railways, highways and harbors, improved public health by setting up modern Western-style medical facilities, created schools, and established the foundation for administrative bodies and a legal system. Taiwan's focus on agricultural was maintained and revolutionary agricultural techniques were introduced, developing a large sugar cane industry and providing rice for Japan. The colonial relationship between an industrial Japan and agricultural Taiwan was thereby established.

In the years before 1920, Japan created a basic infrastructure on Taiwan just as World War I presented economic opportunities. At this time Taiwan saw rapid economic growth and many Taiwanese either renovated or built new homes. The Japanese colonial government began carrying out urban planning, and many small modern towns took root. Thanks to the policy of universal education by the colonial government, Taiwan's first generation of intellectuals emerged around 1920. They staged a cultural movement in the 15th year of the Showa era, started magazines and newspapers, and held lectures to espouse the modern Western tenets of democracy and rationalism. They even became politicized to the point of seeking establishment of a colonial self-rule political entity.

In the late 1930's as Japanese imperialism further developed, the Japanese colonial government began to assimilate the Taiwanese, referring to the Taiwanese as subjects. Taiwanese were strongly encouraged to adopt a Japanese lifestyle, but the movement had only limited success. On the other hand, due to needs of the war, the Japanese colonial government used Taiwan labor to build roads in rural areas, to construct military installations and the like. After entering the Pacific War, Taiwanese were mobilized on the war front. In 1945 Japan surrendered. The Allied forces Pacific commander, General MacArthur, ordered that the Japanese imperial government and forces surrender to China, bringing to an end the Japanese colonial period in Taiwan.

Not long after Taiwan emerged from Japanese colonial rule, the Nationalism lost the Chinese civil war and retreated to Taiwan in 1949. Soon after, the Korean War erupted and Taiwan became a key link in the line of defense against socialism in the Western Pacific during the Cold War. Up until the mid-1960's, Taiwan received military and economic assistance from the United States. This was a period of Americanization of Taiwan. Western art, culture, and architecture were introduced to Taiwan during the period of U.S. assistance.

After the 1970's, the Cold War began to thaw. The Republic of China was forced out to the United Nations and Japan, the U.S. and other nations served diplomatic relations. As this time, there was criticism that Taiwan had become overly Westernized and a policy focusing on local culture should be implemented. Thereafter, various degrees of compromise were reached between local and foreign culture. Especially after the mid-1980's, the advancement of democracy, freedom and internationalism made the integration of these cultures all the more vibrant and diverse.

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Introduction to Chinese Tea Cups

By: Sarah Williams

As you all know, the Chinese are so meticulous when it comes tea wares. Perhaps this is due to the fact that tea wares like the Chinese tea cups and tea pots play a very important role in the tea preparation. A tea ceremony would not be successful without the use of tea wares. As many people said, the true essence of a Chinese tea ceremony would not be felt if tea wares are lacking.

One of most necessary item in a typical Chinese tea set is the Chinese tea cup. Well, tea cups come in different designs and forms these days. They even differ according to their uses. In this article, I will mention three of the most well-known and highly purchased Chinese tea cups these days. Note that these tea cups are now available in the market and you can even found them online, particularly at http://EnjoyingTea.com.

Consider the following varieties of a Chinese tea cup:

Filtering Tea Cups

As the name implies, filtering tea cups or mugs are used by tea drinkers to primarily filter the tea. Most of this kind of Chinese tea cup are designed and crafted with internal filters. Here are few samples of filtering tea cups:

• Yixing Clay Filtering Mug – This tea mug is made in Jiangsu province, an area situated 120 miles northwest of Shanghai China. For centuries, the Yixing wares are known to be the best vessels for tea. They were made in purple clay and are said to absorb the aroma and flavors of the Chinese tea. These Chinese tea cups are also said to have the ability to withstand high temperatures and are slow to conduct heat. Therefore, the handle remains comfortably cool even when enjoying very hot tea. And, to enhance the practical usage, this Chinese tea cup has an internal filter.

• Poet Filtering Tea Cup – This Chinese tea cup is actually a porcelain mug which is deemed as a perfect companion for enjoying loose tea leaves. It comes with its own lid and an internal porcelain filter, allowing room for tea leaves to expand and provide full infusion of the leaves. Today, this variety of Chinese tea cup depicts a picture of a Tang dynasty poet inspired by outdoor beauty.

Cast Iron Tea Cups

• Black Cast Iron Tea Cup – This item has long been considered as perfect for enjoying tea. It can serve as a great companion for any cast iron teapots and being a classical teapot, it is made from sturdy iron and has enamel coating on the interior to prevent rusting. It is worth noting that this Chinese tea cup now comes in different color.

Specialty Tea Cups

• Small Peony Flower Gaiwan – As the name implies, this porcelain Gaiwan has a lovely peony flower design. Gaiwan actually originated from Ming Dynasty and became popular during the Chine Dynasty in China. Accordingly, this Chinese tea cup is large enough to accommodate tea brewing, yet small enough to be held comfortably for drinking.

• Four Season Character Tea Cup – This is but an exquisite porcelain tea cup. It has four season calligraphy character at all sides, so the name bears it.

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Oriental Tapestry

Oriental tapestries are tapestries with oriental designs. Oriental designs are essentially the famous style of paintings and artistry created and used by the early Chinese and Japanese. These designs are identified with bright colors and lucky figures which are also a part of Feng Shui. Through minimalist interiors and natural hues of the Japanese decorating style, every oriental design help creating a sense of tranquility.

Our collection of Oriental Tapestries consists of wall hangings with designs of elephants, camels and many such animals in varieties of oriental designs. This collection comprises of Royal Elephants and other Royal artifacts woven in 1844. These designs were inspired from the designs of the famous Jean Amédée Couderc. His original designs are exhibited at the Musee du Louvre of Paris. Our collection also includes trendy oriental designs which were quite loved in Europe in the XIX century, along with the Belgian tapestries . These tapestries were woven in Aubusson. Other designs woven in the same style are camels, Lord Buddha and Cheval drape.

In fact, some of the most famous oriental tapestries designs are Dragon, Buddha and many more from the 18th century. All our tapestries are made using some of the finest quality wool and silk. They are woven by the craftsmen who are world famous for their artistry and craftsmanship. Each oriental tapestry is a masterpiece in itself. They are inspired from some of the famous oriental designs. They are also an inspiration to many in the world. Oriental tapestry wall hangings are also available in wholesale. We are one of the leading suppliers of magnificent oriental tapestries and other tapestries to interior designers, furniture stores, drapery stores, antique and curio showrooms.

You can meander through our website and look at all our collection of beautiful tapestries . You can add to your cart any tapestry piece that would accentuate the beauty of your home décor. You can check out our collection of oriental tapestries that include tapestry throws, tapestry handbags, tapestry bell pulls, tapestry runners and much more. You can shop for really artistic and highly inspirational tapestry cushions, tapestry bolsters, tapestry handbags and tapestry throws that are woven in Europe. You can buy these pretty oriental tapestries to gift them to your loved ones. The oriental tapestries make for a handsome gift for any kind of occasion. Such gifts would be cherished and you will be remembered for an entire lifetime.

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Chinese Culture/Chinese Wedding Rings
Chinese Wedding Rings

by: Burt Cotton

Wedding is a special celebration which lasts up to a lifetime. And there could not be anything better than a wedding ring which serves as an epitome of commitment, love and trust between the two partners. Since 11th century, the ritual of exchanging wedding rings has been practiced with utmost excitement and passion. And one Asian country vehemently follows this tradition of wedding rings. Well, you guessed it right; it's none other than China.

As the ritual of exchange of wedding rings is prominent in China, the Chinese wedding rings are also very popular. The land of the mystical dragons and ancient culture blooms with unique styles and designs of wedding rings. In Chinese weddings, the style and the class of the wedding rings play an important role. In fact the jewelers constantly keep on updating the materials and designs of the Chinese wedding rings.

Coming onto the aspect of the materials used in the Chinese wedding rings, there are basically 4 types of material used. These are diamonds, platinum, yellow gold and white gold.

Let us take a peep into how these materials are incorporated in the making of Chinese wedding rings.

Diamond Wedding Rings

Diamond wedding rings are a very popular choice as Chinese wedding rings. These rings are prominently made up of two types. The first one is a solitaire Chinese wedding ring and the second one is the diamonds Chinese wedding rings. Well, the solitaire Chinese wedding rings consist of a single diamond on the whole of the ring. This diamond is placed on a band which can be made up of any material like platinum, yellow gold or white gold. Moreover one can choose a colored solitaire to make the ring look even more beautiful and charismatic.

The other types of diamond Chinese rings are the ones on which more than one diamond is placed. These rings can have numerous small sized diamonds or three big size diamonds, and various other diamond combinations.

Platinum Wedding Rings

Platinum Chinese wedding rings are a symbol of class and society. There are several types and styles of platinum Chinese rings. Some of these rings include the sacred symbols of the Chinese cultures. On the other hand, some rings contain some famous and holy quotation, while the other rings have the dragons engraved on them.

If one prefers to have a simple platinum band for a Chinese wedding, he can also buy a plain platinum wedding band to represent the beauty in simplicity. Some Chinese platinum wedding rings can also have the inscribed names of both the partners.

Yellow Gold Wedding Rings

Yellow gold wedding rings are the most common types of Chinese wedding rings. These rings are available in different karats according to the gold content used in the making of them. On an average, a Chinese wedding yellow gold ring is made up of 14K gold. This implies that the ring has 58.3 % gold along with 41.7 % of other metals. Another common category of golf Chinese wedding rings is the 18K gold ring wherein the gold content is 75%.

White Gold Wedding Rings

Well, many people confuse white gold wedding rings with platinum wedding rings. However, white gold wedding rings are yet another popular choice as Chinese wedding rings. These rings are made up of a metal called palladium which is responsible for the white color of the ring.

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Chinese Art of Cloisonne
Chinese Culture/Chinese Art of Cloisonne

By: Jane Roseen

Originating in Beijing during the Yuan Dynasty (1271-1368), the Chinese art of cloisonné is an intricate process that requires many years of training for an artisan to master.

Cloisonné underwent a major change during the Ming Dynasty around 1426-1456 when a blue enamel was discovered, which gives cloisonné its gorgeous look, and is still used today. Ming Dynasty cloisonné is considered the most intricate.

Cloisonné pieces can be found in large objects, such as vases and other large utensils and decorative items, as well as small items like earrings, bracelets, chopsticks, or jars.

The Making of a Masterpiece

When visiting China, be sure to visit a cloisonné factory. It’s an experience you won’t soon forget. Cloisonné requires many hours of pain-staking labor, and Chinese artisans have mastered the entire process. It’s amazing to watch each of the artisans in deep concentration creating these beautiful pieces.

Step 1: Cloisonné Design

The first step in creating one of these lustrous cloisonné pieces is to create the design. Artists draw the design on a piece of paper, which is then handed off to the next artisan in the process.

Step 2: Base Hammering

In this step, copper sheets are hammered on to an enamel piece, whether it is a large vase or a small bracelet. The seams are sealed with copper solder and then the piece is put into a stove to weld it. This is a time-consuming step and must be done perfectly to achieve the desired effect.

Step 3: Copper Wire Curving

Unbeknownst to most people, cloisonné is not constructed of a single piece of enamel. It is constructed instead of hundreds, and sometimes thousands of small copper wires glued to the copper base.

Workers shape a small red copper wire to make the design as the designer has instructed. These small, intricate designs can be birds, flowers, or any of hundreds of other types of designs. The wires are attached using small tweezers and pliers. The copper wires are then pasted on the surface of the copper body. Then another worker puts silver solder between the red copper wire and the red copper body. The piece is then put in the stove where the copper wires are welded onto the base.

Step 4: Enamel Filling

When cooled, workers polish the piece and then fill in the wire design with enamel materials according to the color design. Workers sit in front of a table using a small suction pipe to suck the enamel from the colored dishes into the pipe.

After filling the wires with enamel, workers absorb any remaining moisture with cotton. The piece is then put in a kiln for the first firing. During the firing process, the enamel shrinks. So when cooled, workers fill with more materials and fire again. This entire process is repeated three times until the enamel completely fills the copper wires.

Step 5: Polishing

The final step in this involved process is polishing. Workers use emery stone to polish the cloisonné until it is very smooth. They even up the color enamel material with the copper wire. If there are places where the enamel doesn’t quite match evenly with the copper wires, more enamel is added and the piece is fired again. The polishing process will begin again. Then a soft yellow stone is used to grind off any larger imperfections. Charcoal is used last to grind the piece to a high sheen.

Creating the gorgeous cloisonné pieces we see today takes time, patience, and ingenuity. Regardless of the type of cloisonné piece that you have, including trays for your favorite gourmet chocolates, it is sure to add beauty and elegance to your home or office.

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Asian Decor Trends

by: Damien Pfirsch

The recent surge in popularity of Asian decor can be partly attributed to its look of serenity: it graces spaces with a peaceful, natural feel, serving as an antidote to stress. Asian decor design elements are characterized by clean lines and simple forms. The effect is subtle yet dramatic, and creates a tranquil ambience.

Indeed, the essence of Asian decor is in its simplicity. The "less is more" philosophy con also be applied to Asian decor accessories, when carefully selected and placed within a designated space.

Furthermore, Asian decor harmonizes particularly well with contemporary styled interiors. Typically, the furniture is low and formed using clean straight lines; while Asian decor accents are often dramatic and add a unique and elegant touch to any modern interior.

Finally, the current shift away from against mass-produce looks and a desire for more unique, artist-inspired pieces explains the increasing appeal of Asian décor. With a few well-selected Asian décor accents, we can confer a singular and authentic feel upon any room.

The End of Zen Decor?

A decade ago, the most successful Asian decor style in the West was modern Japanese design - commonly referred to as Zen design. Zen design uses very clean lines and geometrical figures to project a sense of minimalism dominated by black, grey and white colors.

But recently, homeowners began turning away from the rigorous rules governing Zen décor, which are often regarded as too strict and requiring drastic changes to existing décor schemes.

The new Asian decor style is more relaxed and informal. It also facilitates more room to be creative, a reality that has seduced numerous interior designers and decor aficionados. It is certainly far easier to add elegant Asian-styled flourishes to a room, with a few artistic décor accents or furniture items. Furthermore, with bright colors and unique forms, new Asian décor accents project a warmer look and feel than their Zen counterparts.

Incorporating Asian Decor Accents

Asian decor accents and contemporary art creations, by artists and craft masters from Thailand and surrounding nations, are captivating art and décor fans around the world.

Interior designers and consumers alike are increasingly open to experimenting with different design elements and textures; and to blending contemporary Asian-inspired decor creations with Western design elements to create a unique, personalized look and feel.

This new trend, sometimes referred as "fusion", offers endless possibilities. A carefully selected modern Asian décor creation can complement an already exciting room design in a subtle way, or as a bold and visually impressive centerpiece. Either way, this fusion of modern Asian decor elements with other modern features is easily accomplished and provides an opportunity to create a truly unique and distinctive home environment.

Another interesting point about fusing Eastern with Western decor is the freedom this ethos gives people to personalized their spaces. It's surely more desirable than being restricted by a set of rules regarding minimal color combinations, shape, balance, and the need to leave lots of empty space. After all, this design evolution increases the options for homeowners or designers to follow their personal inspirations. Everyone is free to play with colors, materials. And shapes to create artful atmospheres that feature a distinctive Asian décor flair.