A rare and very impressive Qing dynasty carved polychrome painted red and gold lacquered wooden Chinese wedding bed, ornately carved and decorated overall with auspicious decorative motifs and scenes relating to a happy, healthy, prosperous and fruitful marriage, the canopy bed is of angular form with a rectangular opening at the front surmounted by a cornice inset with five beautifully carved panels, to either side of the opening are further carved and pierced panels, the sides of the frame of simple cross sections, hung with blue and gold coloured curtains with a golden lining, the lower bed frame with a wavy skirt and carved at each corner with a dragon head above shaped legs, the interior fitted with a covered cushioned mattress. The bed is made entirely of mortise and tenon construction, requiring no need of nails or pins in its creation and final assembly 

China, probably made in Canton, date circa 1880

Height 220 cm, width 210 cm, depth 170 cm.

Chinese wedding beds are very special pieces of furniture that have layers of tradition woven into their fabric. Historically, such a bed was given as part of the bride’s dowry and, as here, it usually featured auspicious decorative motifs that allude to themes of fertility, prosperity and harmony. The present, very beautiful example, was made in the late nineteenth century when Guangxu reigned as Emperor during the Qing dynasty. There are three types of Chinese wedding beds, all of which are canopy beds comprising an ornate framework surrounding the sleeping area. Of the three types, the most practical one for present day use is shaped like the present example. It is simply known as a canopy bed (jiàzi chuáng) which can be roughly equated to a European four-poster bed. The next type of wedding bed is a step bed (or bá bù chuáng), which is essentially the same as the canopy bed, except that there is an additional separate front section or corridor at the entry to the bed chamber, while the third type is described as a thousand worker bed (known as qiān gōng chuáng). Thousand worker beds simply take this concept to the extreme by extending the corridor outward, thus supposedly requiring the labour of ‘a thousand workers over a thousand days’. In fact, it would not require so many people nor such a long time to assemble even the most complex wedding bed. 

What all of them share in common is great deal of individuality and ingenuity in their creation. As here, no nails or pins were used, instead the bed is made entirely of mortise and tenon construction. So all of the parts of the wooden framework including the beams, supports, panels, and carvings are held in place by means of inter locking elements, with tension-making assembly and disassembly being relatively simple. In fact, the entire bed chamber can be assembled within hours. The only tool that is needed for the final assembly is a rubber mallet and about four people to hold each of the pieces in place. 

Historically, wedding beds have played a central role within Chinese marriages, being the most important item of the bride’s dowry. Her dowry fell into four categories, firstly her furniture, such as beds, tables, and cabinets; secondly small daily utensils including wooden plates for holding fruit and candlesticks. Then came women’s tools or things needed for maintaining the house, such as irons, needle boxes, baskets, sewing goods, looms and racks. The fourth category included wedding clothes such as dresses, bedding and so forth. In turn, the bride’s dowry was integral to a highly complex set of customs and rituals surrounding the wedding itself and the forthcoming marriage. Historically, these customs followed a set of six rites that needed to be strictly adhered to in order to ensure a successful and fruitful marriage. These six rites included aspects such as asking for the ‘bride’s price’, accepting that price, preparing the dowry and then setting the wedding date itself. 

At the time that this wedding bed was made, the bride’s dowry was still considered to be woman’s private property, despite her having been married into the man’s family. This was important since it guaranteed her a certain amount of status within her future husband’s family, and even if, in due course, he favoured one of his concubines, his wife was still able to retain her own property. The dowry therefore can be seen as a symbol of the wife and her family’s status and wealth. If that dowry was not very generous, then the bride and her family could be looked down upon. 

Marriage in Chinese culture was not merely regarded as a union between two individuals but was also considered a sacred bond that brought families together. It was also steeped in tradition and symbolism. Thus, as with other aspects within the institution of marriage, much thought and money went into the creation and design of the wedding bed. For instance, finding the right person to execute the design and decoration was essential. They were considered a ‘blessed person’, who would ensure the couple’s future happiness, health and wealth. According to Chinese superstition, if the wrong person was chosen to decorate the bed, it would cause the couple great misfortune.

As here, Chinese wedding beds were very finely carved and were usually decorated with lacquer work in red and gold, since both were lucky colours, thus again ensuring a happy and prosperous marriage. It is also for this reason that Chinese brides were, and are, often dressed in red. Each wedding bed was individually carved with a variety of decorative motifs, many of which symbolise aspects that the couple and their families would hope for, such as children, happiness, harmony and wealth. 

Our bed has a wonderful variety of decorative carvings including a number of individual cartouches within a background of flowers, foliage and fruit. Among the latter are pairs of persimmons surrounded by leaves. Persimmons are large juicy fruits that flourish on the mountain slopes of northern China. They are reddish orange in colour and are shaped like beef tomatoes. They are sometimes called the ‘Chinese fig’ and symbolically play a strong role within Chinese culture. Among their many attributes, they are a symbol of good fortune and thus are often given as a gift. The persimmon is also a symbol of longevity in Chinese culture, while their roundness symbolises the union of the extended family. In addition, they symbolise perseverance and inner strength and are also a spiritual symbol of transformation. 

Integrated within the pierced fretwork is a variety of flora including lotus flowers, which like the persimmons and other motifs displayed here played a significant role within Chinese culture and in this context, marriage. The lotus flower is revered not only for its beauty but also for its profound symbolism. In various aspects of Chinese beliefs and traditions, it represents purity, enlightenment, loyalty and steadfastness in love. For this reason, it is often features in wedding ceremonies and as a decoration of romantic gifts to signify the purity and depth of love.

We also see dragons carved at the corners on the bed’s lower framework. In Chinese mythology, the dragon and the phoenix are two of the most revered creatures, embodying a rich tapestry of cultural significance. The dragon represents power, authority, and auspiciousness, while the phoenix symbolizes beauty, grace, and the cycle of renewal. Together, these mythical beings not only exemplify the duality of nature but also hold profound meanings in the context of marriage. The dragon itself symbolizes authority and strength, often associated with emperors and imperial power. Dragons are also considered harbingers of good luck and prosperity, thus making them a popular symbol in celebrations.

One of the circular cartouches shows a young woman, holding what appears to be a gong. Traditionally gongs played a strong role within Chinese culture and as such, every family would possess at least one to indicate its wealth, authority and prestige, and also to guarantee the family’s protection. While a range of brass instruments were used in various ceremonies, the gong alone is present in all the rituals of community life and is the main ceremonial instrument. Another shaped cartouche features a woman and children. She appears to be wearing horns, which are commonly associated with fertility. Yet another of the many decorative cartouches features a man and woman behind an altar with other people gathered to the sides and in the foreground. This may well represent part of the wedding ceremony when the couple would offer tea to one another’s family elders as a sign of respect. 

About a week before the marriage service, the wedding bed would be taken in ceremonial style, to the groom’s home, where it would be assembled. The actual date that this took place would often be chosen by a feng shui master, who would determine which was the most auspicious day. Traditionally, new red bed linen was presented to the engaged couple by the groom’s family. Then, on another auspicious day and at a specific time, two or three days before the wedding ceremony, the marriage bed would be prepared. Known as An Chuang, this traditional preparation was carried out by a female relative of good fortune – one who had a husband, children, grandchildren and living parents. The bed would then be made up with the new linen, upon which may be laid out a variety of objects symbolising good luck, happiness, fertility and other good fortunes. These included tangerines and oranges, (symbols of gold), alongside red dates and persimmons, so as to bless the union with sweetness. The new bride and groom might also find magnolia leaves, symbolising a harmonious marriage, or either dried lotus seeds or pomegranate leaves to ensure an abundance of offspring, while other items placed upon the bed might include money wrapped up in red paper. The complex set of rituals surrounding the design, making, assembly and preparation of the Chinese wedding only goes to emphasise the importance that this piece of furniture played within the traditional institution of marriage in China. Its interest and fascination are never ending while its beauty speaks for itself.