Wu Tengfei is a Chinese master of woodcarving, senior arts and crafts artist, recipient of the national “Grand Craftsman of Light Industry” title, visiting professor at the College of Design, Nanjing Forestry University, and postgraduate supervisor at Central South University of Forestry and Technology. He is also the director of the Redwood Furniture Design Institute of Dongyang, founder of the “Da Qing Han Lin” classical art furniture brand, and design director of the contemporary Chinese furniture brand “Shangxi.”

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Born in Dongyang, Zhejiang—renowned as the hometown of woodcarving—Wu is passionate about tea, reading, and design, with a love for painting and the arts. He studies architecture, gardens, and Chinese classical learning.

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In 2007, he founded the “Da Qing Han Lin” brand, adhering to the philosophy of “We only make the finest,” establishing it as a leading enterprise in China's high-end redwood furniture industry. In 2022, the brand was named one of the “Top Ten Enterprises in China’s Furniture Industry” by the China National Light Industry Council. Wu has led the integrated development of Dongyang woodcarving and redwood furniture, and has been a strong advocate for the establishment of the “Dong Zuo” style. His works have won numerous awards both nationally and internationally.

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To mark the 60th anniversary of diplomatic relations between China and France and the China-France Year of Culture and Tourism, Wu Tengfei debuted his latest “Chinese Study” series at the Louvre in Paris. His “Shangxi Chair” was acquired by the Mobilier National (National Furniture Administration of France), becoming the only work by a Chinese artist in its collection. His “Shangxi Incense Table” was acquired by the Musée des Arts Décoratifs of the Louvre.

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In response to the current state of Chinese design, Wu spent five years in dedicated study to trace the roots of Chinese design culture, explore its theoretical foundation, and integrate concepts from contemporary Western design. In 2019, he launched the “Shangxi” brand of contemporary Chinese furniture, with the aim of “shaping contemporary Chinese design, reviving the aesthetics of Chinese living, and leading the development of Chinese furniture design.” His philosophy of “Chinese yet new, new yet Chinese” seeks to present a new chapter in the evolution of Chinese contemporary design.