14. "cord-marked”
translated it into Japanese as jōmon.
The pottery style characteristic of the first
phases of Jōmon culture was decorated by
impressing cords
into the surface of
wet clay.
16,000 years ago-perhaps the oldest in
the world.
15. Linear applique
APPLIQUE - ornamental needlework in which pieces of fabric are sewn
or stuck onto a large piece of fabric to form pictures or patterns.
18. Iron Age era dated 300 BC to AD 300.
appearance of new pottery styles and the start of an intensive rice
agriculture in paddy fields
Techniques in metallurgybased on the use
of bronze and iron were also introduced in this period.
25. classical Japanese history,
running from 794 to 1185 A.D.
It is the period in Japanese
history
when Buddhism, Taoism and
other Korean influences were
at their height.
The Heian period is also
considered the peak of the
Japanese imperial court.
Sitting Bed
26. Tatami Mats
Tatami mats are basically made of
straw.
Also, tatami mats are covered by igusa (rush)
and are edged by decorative cloth.
It's said that tatami are effective in absorbing
heat and moisture.
tatami are made in standard sizes, with the
length exactly twice the width, an aspect
ratio of 2:1.
27. Fusuma Doors
Fusuma doors are made by pasting
thick fusuma papers on frames.
Many Japanese rooms are divided
by fusuma.
*A door is a fixture but if you make it into wall art then it’s a furniture.
63. CHINESE FURNITURE
Throughout history, the diversity of culture has found expression
in many directions, including the way people have designed and
furnished their built environment. Design is shaped by many
factors, including environmental, religious, and political
circumstances. As these factors change, design reflect these
changes while building on previous design theories and
philosophies. Styles in design, therefore, reflect these
surroundings and their foundations.
64. HISTORY
Records of Early Chinese furniture were inscribed on stones and stamp-brick
• It reveals a mat-level furniture culture: either they knelt or sat crossed-legged on woven mats
• Furniture includes: low tables, screens and armrests.
• Kingdom of Chu: Minimalist and simplistic, bearing unique and colorful patterns & finely carved
decoration in relief and openwork
• Han Dynasty (206 BC-220 AD) to 2nd Century AD: Buddhism and foreign customs greatly
influenced high seating or “Barbarian” Huchuang seats. These folding stools/ seats were
originally used for mounting horses. Another example of raised seating furniture was the low
platforms called Ta. These were used by dignitaries and high officials.
• Tang Dynasty (618-907 AD): Stools and chairs were common among elites. Prototype of the Yoke
chair as well as the Round Back chair.
• Song Dynasty (960-1279) : Wasted Corner leg furniture
• Ming & Qing Dynasty: Furniture more simplistic and angular in form, it generally held minimal
classic patterns. These were carved from durable tropical hardwoods
65. MATERIALS
• BAMBOO
Commonly employed go-to material for the
construction of chairs, stools, beds, cases matting
and screens. This the poor man’s material. Some
were elaborately designed in packed lattice work
finished with black lacquer and capped with ivory
or bone.
• DECORATIVE STONE
primarily used as a material for top panels
• WOVEN CANE
A special pliable stretched fiber commonly used
for beds and stools using an under-webbing
technique.
66. CONSTRUCTON & JOINERY
• enhances the connoisseurship of Chinese hardwood furniture.
• techniques employed play an important part in the overall effect.
• The animation and harmony experienced
when viewing masterpieces is often the result of
a unity that lies beneath the surface—
members are not only connected together to
form a functional object,
• born from an ancient
technological culture and
developed through
continuous evolution of
timber architectural
systems.
67. CONSTRUCTION & JOINERY:
FRAME & PANEL
• more efficient use of material,
• typical of most panels in Chinese
furniture,
• The frame is joined with
mitered, mortise-and-
tenon joints..
• This 'tongue-and-groove' system
• secures the panel within the frame without glue or
nails permits the panel to float within the frame to
accommodate its slight expansion and contraction due
to changes in humidity.
68. CONSTRUCTION & JOINERY:
CORNER LEG : ‘Waisted’ & ‘Simianping’
• The corner-leg form is self-
descriptive with legs generally set
flush to the corners of the top
frame.
• The legs can be of straight, c-curved, or
cabriole style; they typically terminate with
some a horsehoof or variation of ruyi -shaped
motif, animal claws, or scrolled foot.
69. • developed from early box-style constructions,.
• Tables, beds, and stools of minimalistic,
SIMIANPING
• long tenons are shaped onto the
leg members penetrate through the
aprons and into the seat frame or table
top.
• simianping corner joints differ from those of waisted
construction because of the greater apron
thickness.
70. WAISTED
STYLE
• retains architectural characteristics of the
classical Greek pedestal
• decorative taohuan panels
were fitted to the 'high-
waist' section.
• it became associated with the seat of
Buddha. As Buddhism spread into China, so did
the classical pedestal form.
71. • closely related to traditional
post-and-beam
architecture, commonly
applied to the creation of stools,
chairs, tables and cabinets.
CONSTRUCTION & JOINERY:
RECESSED LEG
• This technique employs legs
joined at points inset (or
'recessed') from the corners
of a mitered frame.
• The legs generally splay
outward toward the base,
and are connected by various
configurations of
72. CONSTRUCTION & JOINERY:
BAMBOO STYLE
• employs rounded, bamboo-like
members that are configured to
simulate the wrap-around and
layered construction techniques of
furniture made from real bamboo.
• the use of hardwood or lacquered
softwood to simulate the
construction of bamboo furniture
was popularized during the
transitional 17th century,
has its own logic and origins, falls
somewhere between the traditional
systems 'recessed-leg' and 'corner-leg'
construction.
74. DAY BED
. During the late Ming, some
sophisticated connoisseurs
preferred the archaic style of
the box-style platform over the
modern daybeds with free-
standing legs.
• Low platforms,
• used as honorific seats,
• earliest type of raised
seating furniture to appear in
China. Sitting platforms were
called ta; the relatively longer
chuang was used both for
sitting and reclining.
75. LUAHAN BED
• use was similar to the daybed,
• the couch bed (chuang, luohan chuang) is distinguished by railings,
• more formal piece of furniture.
• The development of railings may be related with the early placement of
screen panels around the back and sides of the platform,
• which enhanced the sitter as well as provided privacy and protection
from drafts.
• Bamboo was also a favorite material of construction for couch beds
76. CANOPY BED
• The platform bed extended with surrounding screen panels or tented awnings to provide night time enclosure.
• characterized by a super structure fitted to the top of the bed, which was enclosed with panels and/or hung with draperies.
• This room within a room provided private space that was further insulated from drafty quarters.
• Four-post canopy beds
– common during the Ming period, were typically draped with fabric around the outside of the frame that suited to the season.
– Pongee silk or thick cotton provided insulated during the cold winters;
– gauze netting, provided relief was from annoying insects during the summer without diminishing the refreshingly cool evening breezes.
– Silk curtains for a lady's bed were often finely embroidered with decorative and auspicious patterns.
• canopy bed w/lattice rails Curtains
– drawn back during the day with curtain hooks, and the cozy cubicle continued to be utilized for dining, socializing, and other daily activities.
• Six post canopy beds
– exhibit a somewhat more architectural style.
– The curtains were generally hung on the inside of these beds so as to reveal its decorative lattice-work and/or open-carved panels.
• alcove bed
– The alcove bed is yet a larger piece of furniture that fits upon base with floor boards.
– An extension in front provides space for a small table, cabinet, and/or stool. The alcove bed is described in the Ming carpenters manual Lu Ban
jing.
77. STOOL
• The stool was the most common and also earliest type of raised seating furniture in China.
• Stools were commonly made of wood, bamboo, cane, root, porcelain and stone.
• High quality stools were made of precious hardwoods or finely finished with lacquer.
• those made during the Ming and Qing dynasties, only the durable or well-cared for pieces have
survived.
• In any early culture, primitive stools may have been no more than a block of timber or piece of stone.
• its long history, stool forms evolved with gradual developments including foreign influences that
migrated from Central Asia along the Silk Route.
• The practical stool filled both social and functional needs.
• Large stools served as a platform to elevate one of dignified status. In formal groupings with chairs,
• In casual gatherings, friends all gathered around to sit on stools without the pretension of
hierarchical rank.
• the multi-functional stool also served as a stand, step stool, low table and work bench.
79. FOLDING STOOL
• the Han emperor Lingdi was recorded to have had a fondness for
foreign curiosities, including the ‘foreign barbarian seat’ (huchuang).
• This term referred to the folding stool, which was commonly used by
nomadic tribes in the more remote northern and western regions.
• Its use spread throughout China over the following centuries.
• It became a popular seat for rulers and dignitaries when traveling or
cruising on a boat, and its lightweight portability made it especially
suitable for officers on military campaigns.
• Travelers convenient carried them over the shoulder
80. ROUND STOOL
• especially popular during the Ming dynasty.
• As a stylistic concept roundness and wholeness (yuanhun) suggest
organic unity.
• Unfortunately, because curvilinear components are easily broken,
few of these lovely objects have survived the vicissitudes of time.
• Round stools include those with ‘bulging-legs’, ‘cabriole-legs’,
‘drum-shaped‘, and straight-leg types.
• Such stools exhibit sophisticated construction, as the craftsman is
no longer working with familiar right angles, requiring mastery in
the calculation of circular and curvilinear geometry, three
dimensional visualization, as well as special techniques to securely
unify the frame, legs and aprons with structural integrity.
81. ROOT AND STOOL
• The tradition of gnarled-wood
and root furniture stems from
Buddhist and Daoist affinities
toward the unaffected state of
things and the natural world.
• Stone stools were
commonly set out in
the garden.
• Stone endures
exposure to the
elements, and
provides a cool seat
during the hot
summer months.
• Stools fashioned from natural
growth forms display
beautiful eye-catching
abstractions
83. OFFICIAL’S HAT CHAIR
• the name reflects the shape of
the sculpted crestrail, which
appears like a winged official’s
hat
• The Chinese term ‘chair with four protruding ends’
describes the extended crestrail and handgrips, which may
be truncated with flat ends or finished like calligraphic
brushstroke with rounded or lilted ends.
• characterized by armrests
and crestrail that turn
down into the vertical
posts. Chinese craftsman
term this right angle joint a
‘pipe joint’, which reflects
a resemblance to a
smoking pipe.
84. ROUND BACK ARM CHAIR
• By the Ming dynasty, it developed
into one of the most graceful chair
forms of traditional furniture.
• are exceptionally
comfortable for supporting the
elbows and arms.
• In the West, the term ‘horseshoe
armchair’
• The round-back chair exhibits the
artistic aesthetic called ‘roundness’
or ‘wholeness’.
• Chinese cosmological concept of
‘round heaven and square
earth’.
• Frame members shaped with a
round section above and a square
section below also express this idea.
85. ROSE CHAIR
• low height, small size, and
angular construction with
straight-member back and
armrests.
• drawn from the traditional
bamboo chair with its
continuous frame members
bent to 90 degree angle and
lattice-work panels made of
smaller-diameter bamboo.
• In Ladies quarters, primarily
on the small size as well as
the effeminate term ‘rose
chair’ (meiguiyi)
• the straight backrest of the rose chair
was not intended for relaxation
like the ergonomic backrests of other
traditional chairs.
86. QING STYLE
• appears as a large stool with separate railings attached above,
differing from integrated construction of the traditional chair
with arm and back posts continuous with the legs below.
• Many have no back inclination,
• but are rather perpendicular and straight without anyvertical
splay.
• The railings are often decorated with angular scrolling and/or
carved decoration.
• these chairs have a stiff, formal appearance.
89. Han Chinese migrants began arriving on the island of
Taiwan during the Ming dynasty, 1364-1644, and
naturally brought with them the furniture traditions of
the motherland, so that on the whole the furniture
tradition inTaiwan mirrored that to be found on
mainlandChina.What differences that did evolve
chiefly concerned aspects of decorative effect.
Taiwanese period furniture is not quite as grand and
imposing as the produce ofTaiwan'sChinese cousins.
Nevertheless, its relative simpleness and unassuming
air give it a beauty and charm that are ground in the
craftsmanship and materials that formed its nature.
Variations in style and use of materials arose from the
characteristics of different areas inTaiwan, which
resulted from the contrasting origins of settlers,
patterns of development and local materials.
90.
91.
92.
93.
94.
95.
96.
97.
98.
99.
100.
101. The development of the furniture-making craft today has taken a
clear turn toward creative diversity.Craftsmen have begun
studying design with an open and free mind, allowing traditional
and modern, Eastern and Western cultures to clash, creating a
spark of brilliance which endowsTaiwanese furniture with the
ability to meet the challenges of this new era.
106. There are many different
timbers utilized in the
manufacture of Indonesian
furniture, but perhaps the
best known and most widely
used is Teak
CHARACTERISTIC
107. Indonesian furniture tends to be
made of teak, as well as
dark mahogany.
INDONESIAN ROSEWOOD
(Sonokeling)
PINE and DAMMAR
CHINA BERRY (Mindi)
MAIN TIMBERS
108. cut easily, has natural
oil and water resistant
TEAK AS FURNITURE
MATERIAL
109.
110. PREHISTORIC ERA:
TERRACOTTA POTS
First obejective of Indonesian clay
pots serves as a solemn
dedication to the all powerful
being. The second one serves as a
mundane purpose namely to
please the eyes of other people in
the society.
111. BATIK POTS
Terracotta Pottery is
covered with Batik fabric
which is glued and
lacquered to produce a
unique finish.
112. WOVEN MATERIALS FOR
FUNITURES :
Woven furniture - Organic materials such as Rattan,
Banana Leaf, Water Hyacinth and Sea Grass or a
combination of wood and all of the above fibers.
