This set of four armchairs were made of Hongmu. The chairs have spindles at the back and as arm support in the style of the Ming Dynasty. The top of the spindles at the back bent slightly backwards. The comb pieces form a zig-zagged shape downwards and backwards to form a linkage with the spindles. The zig-zagged design is used consistently on the beams below the saddle seats, supported by short spindles, forming an apron. Plain aprons are used at the back. The legs are rectangular attached with four stretchers, the front of which being the lowest. An extra hollow stretcher is added to the lowered stretcher at the front for foot support. The whole design is sleek and elegant, without extra flourishings and are perfect for a scholar's home.

According to The Studies of Ming Furniture by Wang Shi-Xiang (1914-2009), this design was called "meiguiyi (rose chair)" in the north, "wenyi (scholar's chair)" in Jiang Zhe areas, and "xiaojieyi (ladies' chair)" suggesting a feminine taste. The chair is called "meigui (rose)" as the word was a description for a beautiful jade in the past. Such saying was used by Sima Xiang-Ru (B.C. 179-117), in Western Han Dynasty, also by Yan Shi-Gu of Tang Dynasty. Hence, this word was adopted to describe an exquisite design that is comparable to a translucent jade. It was also said that the small size of the chair was called as "guiziyi (ghost chair)". As the "gui" in rose and ghost shared the same character, it became rose chair when the chair was introduced to the North.

This armchair is designed with a low back and low arm. The saddle seat is upright, echoing with the Song style - a low back that reached almost half of the ordinary chairs. Huanghuali and Hongmu are common material for the simplistic design. These low-back armchairs were common in the Ming Dynasty as its low design does not affect the window panes and its sleek design match perfectly with any medium, including the modern glass design.