Things are not just inert objects that simply do

what we make them do. They carry meanings, meanings sometimes so powerful that they over- whelm their use entirely. The double life of things is most easily spotted at the upper end of consumption. The court, for instance, had to be filled with objects of the finest quality, not because an expensive elegant stool was more useful than a cheap sturdy one, but because it was doing more work than supporting the rear end of the person sitting on it. It was what it was because it had to publicize the wealth and elegance that the court was expected to embody.
The Yuan and Ming courts were accordingly major consumers of luxury objects: paintings to be hung on walls, furniture to be sat on, place settings ordered from the porcelain kilns in Jingdezhen, silks to dress themselves and their families, elegantly bound books to read and to present to loyal subordinates. The scale of courtly consumption was vast. An entire apparatus of state workshops, some of them within the precincts of the palace itself, some in key manufacturing cities such as Suzhou and Hangzhou, came into being to manufacture the luxury objects the court commanded. Popular taste followed suit, of course. People outside the imperial family eyed these luxuries for themselves and connived to consume them, though they could only do so within some very particular rules—such as making sure that whenever you bought something with a dragon on it, that dragon's feet sported only

你好!
what we make them do. They carry meanings, meanings sometimes so powerful that they over- whelm their use entirely. The double life of things is most easily spotted at the upper end of consumption. The court, for instance, had to be filled with objects of the finest quality, not because an expensive elegant stool was more useful than a cheap sturdy one, but because it was doing more work than supporting the rear end of the person sitting on it. It was what it was because it had to publicize the wealth and elegance that the court was expected to embody.
The Yuan and Ming courts were accordingly major consumers of luxury objects: paintings to be hung on walls, furniture to be sat on, place settings ordered from the porcelain kilns in Jingdezhen, silks to dress themselves and their families, elegantly bound books to read and to present to loyal subordinates. The scale of courtly consumption was vast. An entire apparatus of state workshops, some of them within the precincts of the palace itself, some in key manufacturing cities such as Suzhou and Hangzhou, came into being to manufacture the luxury objects the court commanded. Popular taste followed suit, of course. People outside the imperial family eyed these luxuries for themselves and connived to consume them, though they could only do so within some very particular rules—such as making sure that whenever you bought something with a dragon on it, that dragon's feet sported only
我们让他们做什么。它们具有意义，意义有时如此强大，以至于它们完全被使用。物质的双重生命最容易被发现在消费的高端。例如,法院不得不充满对象最好的质量,不是因为一个昂贵的优雅的凳子比廉价的一个更有用,而是因为它在做更多的工作比支持的人的屁股坐在它。它之所以如此，是因为它必须宣扬法庭所期望的财富和优雅。
元明法院因此奢侈品的主要消费者对象:油画挂在墙上,坐在家具,下令从景德镇的陶瓷窑的地方设置,丝绸衣服自己和家人,优雅的纸质书阅读和给忠诚的下属。宫廷消费的规模是巨大的。整个装置的工作坊,其中一些选区内的宫殿本身,在一些关键制造苏州和杭州等城市,是制造豪华法院命令对象。当然，流行的味道也随之而来。皇室家族以外的人打量着这些奢侈品消费为自己和纵容他们,尽管他们只能这样做,在一些非常特定的规则,确保当你买了东西,龙,龙的脚只炫耀

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