家具是伴随着人类社会物质生活的变化而变化的，家具的演变史可以看做是人类社仿古门窗会家居文明史在器物上的缩影。

Furniture is accompanied by changes in the material life of human society changes, the history of the evolution of furniture can be seen as a microcosm of the history of human society will be living on the artifacts artifacts.

在没有能力实现规模工业东阳木雕化生产的年代，家具不仅仅是物质文明的具体表现，更是时人精神的集中体现。

In the absence of the ability to achieve the scale of the industrial production of Dongyang wood, furniture is not only a concrete manifestation of material civilization, but also a concentrated expression of the spirit of the time.

田家青先生在《明清家具鉴赏与研究》阐述了其采用记分法来评价明式家具，而其中“罕见与独特程度”被放置到了与“造型”同样的高度，可见其对于创新的重视程度。

Mr. Tian Jiaqing described the scoring method to evaluate the Ming style furniture in the "study and appreciation" and "the furniture of Ming and Qing Dynasties, rare and unique" is placed to the "other" and the same height, the degree of attention for innovation.

红木家具一直在创新

Rosewood furniture has been innovative

“问渠那得清如许，为有源头活水来”。

"How can it be so clear, as has the springhead".

创新的思维绝不应该是一潭死水，而应从多方面引入创新的活水，“博采众家之所长为我所用”，以得到源源不绝的创造动力。

Innovative thinking should never be a pool of stagnant water, living water and introduced it in many aspects of innovation, "from director of public companies, used to get endless creative power.

多数时候创造总是伴随着模仿而来，但一味地以复古的方式来模仿家具制式，那最后只能是仅仅停留在模仿的层面，而设计创新本身就是一种发明与创造，其所需要的不仅仅是外在的形制，更需要内在的灵魂与思想。

Most of the time the creation is always accompanied by imitation, but blindly to retro way to mimic the furniture standard, the last is only merely imitating the level of design innovation itself is a kind of invention and creation, the need is not only external shape, but also need the inner soul and mind.

不论是明式家具，清式家具抑或海派家具，都是以适应其时代精神并在其前代的基础之上所做的再创造。

Whether the furniture of the Ming Dynasty, the Qing style furniture or furniture style, is to adapt to the spirit of the times and re creation made on the basis of the previous generation.

庄子《知北游》中所载：“是其所美者为神奇，其所恶者为臭腐。臭腐复化为神奇，神奇复化为臭腐。故曰：‘通天下一气耳’。”当下社会的浮躁以及生活的压力促使人们更为欣赏明式家具的空灵、素雅，以期得到宁静、无为的禅意之境。但当大时代背景产生变化，当世人已过惯了清净的田园生活，谁又敢说他们不会向往类似于清式家具的繁丽以求表达内心的欲望呢?

Chuang-tzu's "know North Tour" contained: "it is the beauty of the people for the magic, who are evil for rotten. The complex of deodorization is magic, and it is magically transformed into rotten. Hence the saying: "the world one ear."." The current social impetuous and life pressure makes people appreciate the ethereal and elegant furniture of the Ming Dynasty, in order to get quiet, Wuwei Zen realm. But when the background changes, when the world has been so pure pastoral life, who can say that they not yearn for similar to the Qing style furniture, the last in order to express their inner desires?

明式家具所体现的更多的是一种“极简的纯粹”，但由于历史背景不同，我们始终无法真正体会到时人对于家具所表露的情怀。历史总是不断地轮回与重现，文明亦是不断地堆叠与交织。

The embodiment of the Ming style furniture is more of a "pure Minimalism", but due to the different historical background, we cannot truly understand and reveal the feelings for furniture. History has always been a recurrent and recurrent, civilization is also constantly stacked and intertwined.

正所谓“江山代有才人出，各领风骚数百年”，一件家具只要符合时人的使用习惯及审美情趣，即“注重适用，寓美其中”，便不必将其置于各种陈规框架之中予于批判，家具所表达毕竟只限于个人的思想，而每个匠人对于世界的理解又不尽相同，如此才能不拘泥于形式的束缚与局限，展现思维所能表达的繁华万千。

Is the so-called "Jiangshan generation of talented people, the talent for hundreds of years, as long as a piece of furniture in line with people's habits and aesthetic taste," focus on the application, the application of aesthetics in ", it need not be placed in the framework to the restrictions of criticism, after all only furniture expression of personal thoughts, and each craftsman to understand the world is not the same, bound and limitations so as to not rigidly adhere to the form of the show, thinking can express the bustling thousands.

因此，创新设计不应是亦步亦趋、人云亦云，而应该脱离常规、独树一帜。设计本身并不存在固有的框架，是永无止境的。其所追求的应当是不断适应甚至超越当代的精神表现。

Therefore, the innovative design should not be followed, and others, should be out of the ordinary, become an independent school. Design itself does not exist in the framework, is endless. Its pursuit should be to adapt to and even beyond the contemporary spirit.