Best details about design and furniture of japan

1. B des interior Design
Chitkara School of Planning And Architecture
Assignment-1
SubmittedTo-
MRANGADSINGHCHAUHAN
MRSRAMNISH
SubmittedBy-
TriptiBansal
GurjeetSingh
SwastikVerma
KartikBehal
ShikaVerma
Reeju
JAPANESE FURNITURE

2. INDEX
JAPAN
JAPANESE FURNITURE
HISTORY OF JAPAN
MATERIAL USED IN JAPANESE FURNITURE
Jōmon period-(14000-300 Bce)
Heian period
EDO PERIOD
The Meiji period

3. Japan, island country lying off the east coast of
Asia. It consists of a great string of islands in a
northeast-southwest arc that stretches for
approximately 1,500 miles (2,400 km) through
the western North Pacific Ocean. Nearly the
entire land area is taken up by the country’s
four main islands; from north to south these
are Hokkaido (Hokkaidō), Honshu (Honshū),
Shikoku, and Kyushu (Kyūshū). Honshu is the
largest of the four, followed in size by
Hokkaido, Kyushu, and Shikoku. In addition,
there are numerous smaller islands, the major
groups of which are the Ryukyu (Nansei)
Islands (including the island of Okinawa) to the
south and west of Kyushu and the Izu, Bonin
(Ogasawara), and Volcano (Kazan) islands to
the south and east of central Honshu. The
national capital, Tokyo (Tōkyō), in east-central
Honshu, is one of the world’s most populous
cities.
JAPAN,

4. JAPANESE FURNITURE
STRONG FLOOR CULTURE
THE
FURNITURE
USED TO BE
SMALL AND
PORTABLE
THAT ALLOW
THEM TO
CREATE
DIFFRENT
PURPOSE
ROOM
HIBACHI GRILL
WILLINGNESS TO LIVE WITHIN A VERY
MINAMALIST SPACE ,WHICH ALLOWS
THEM QUIET CONTEMPLATION FOR
THE MIND AND ALLOWS THEM TO
FOCUS ON FEW ITEMS THEY HAVE
FURNITURE WITH CLEAN
LINES
USED TO FOCUS ON
JOINERIS AND
BECOME THE
DECORATIVE
ELEMENT.
COMPLICATED
WOOD WORKING
BUT DONE WITHOUT
ANY SORT OF METAL
IMPLIMENTS.
USED TO BE STRONG
AND AESTHATICALLY
PLEASEING

5. USED TO FOCUS ON JOINERIS AND
BECOME THE DECORATIVE ELEMENT.
COMPLICATED WOOD WORKING BUT
DONE WITHOUT ANY SORT OF METAL
IMPLIMENTS.
USED TO BE STRONG AND
AESTHATICALLY PLEASEING
SO WE SEE THIS JAPNESE CRAFSTMEN PUTTING
INCREDIBLE WORK FOR VERY SIMPLE PEICES SUCH
AS THIS BENCH WITH AVERY COMPLICATED
DOVETAIL PATTERN PUT INTO IT ,THAT PATTERN
BECOMESVIRTUALLY THE ONLY DECORATIVE
ELEMENT IN THIS BENCH
THESE PEOPLE ARE ALWAYS WANTED VERY CLOSE
TO THE NATURE
THROUGHOUT THEIR EXISTENCE AND THEREFORE
THEY WANT TO MAKE MORE USE OF NATURAL
RESOURCES THAT THEY ARE WORKING WITH

6. ZAISU-LEGLESS
CHAIR-
ALLOWS ONE TO SIT
COMFORTABLY ON
THE FLOOR WITH
BACKREST
ZABUTON - A LARGE, FLAT
CUSHION USED IN JAPAPN FOR
SITTING OR KNEELING ON THE
FLOOR
THESE CUSHIONS ARE VERY
SIMILAR TO WHAT WE SAW IN
THROUGH THE MEDIEVAL
EUROPE THAT ARE COMIG IN
THROUGH THE BYZANTINE
EMPIRE
THE MATERIALS CAN BE SILK OR
CAN BE EMBROIDERED
MULTI PUROPOSE
IDEAS THROGHOUT
THEIR ROOM
KYOSOKU
AN ARMREST

7. HISTORY OF FURNITURE: JAPAN
At first glance, this installation of History of Furniture might seem to be not much about furniture at all,
but stay with me. Like everything else that exists on this planet, furniture has evolved and grown over
time. We did not always have a "sofa" or a "chair" to sit on. At various times throughout history and in
different cultures, homes may have contained an array of objects which might not seem familiar or
comfortable to our 21st century sensibilities.
This might be the case with the interiors of ancient Japan. Interestingly, in both ancient and
contemporary traditional Japanese culture, the floor is really the place to sit or sleep. Notice
that furniture seating is conspicuously absent in the beautiful room above (the only furniture
pieces are low tables for eating, writing, or display). Japanese interiors were furnished with a
type of woven straw floor mat called tatami. These mats were finished on the edges and could
be laid in different configurations to adapt to the shifting dimensions of the rooms which
could be adjusted using sliding shoji screens. Then, as now, shoes were left outside before
entering a home. In this way, the tatami mats remained clean for sitting and sleeping.
CROSS-SECTION OF
A MODERN TATAMI
WITH AN EXTRUDED
POLYSTYRENE
FOAM CORE
TATAMI

8. TATAMI MATS ARE TRADITIONALLY MADE IN
JAPAN AND ARE TYPICALLY RECTANGULAR IN
SHAPE. THE STANDARD SIZE FOR A TATAMI MAT IS
ABOUT 3.3 FEET BY 6.6 FEET (1 METER BY 2
METERS). THE THICKNESS OF A TATAMI MAT IS
ABOUT 2.5 INCHES (6.35 CM). HOWEVER, IT'S
WORTH NOTING THAT THERE ARE VARIATIONS IN
SIZE AND THICKNESS DEPENDING ON THE REGION
AND INTENDED USE. FOR EXAMPLE, MATS FOR
MEDITATION ROOMS OR TEA CEREMONIES MAY BE
SMALLER, WHILE MATS FOR SLEEPING OR
LOUNGING MAY BE LARGER

9. Japanese furniture
has a long and rich history that dates back to
ancient times.
During the Jomon
period (14,000-300 BCE), Japanese people
used natural materials such as wood, stone,
and bamboo
to create basic furniture for their homes.
In the Heian period (794-1185), Japanese
furniture became more refined and influenced
by Chinese
and Korean design. This period saw the
introduction of the "Tatami" mat, which is a
traditional mat
used for sitting or sleeping on the floor. Tatami mats
are made of woven straw or rice straw and are
covered with a soft, durable fabric. They are still a
common element of traditional Japanese-style
homes today.

10. During the Edo period (1603-1868),
Japanese furniture became more
elaborate and ornate, with a
FOCUS ON CRAFTSMANSHIP AND
ATTENTION TO DETAIL. THIS PERIOD
SAW THE DEVELOPMENT OF "SHOJI"
SCREENS,
which are translucent screens made of paper or
rice paper mounted on a wooden frame. Shoji
screens are used to divide a room or to provide
privacy, and are an integral part of traditional
Japanese architecture.
In the Meiji period (1868-1912), Japan
began to modernize and adopt
Western design influences,
which led to the development of a
more diverse range of furniture styles.
Today, Japanese furniture
encompasses a wide range of styles,
including traditional, modern, and hybrid
styles that blend
traditional and modern elements.

11. MATERIAL USED IN JAPANESE FURNITURE -
Japanese furniture is often made of wood, with a focus on natural materials such
as bamboo and rice paper.
Bamboo is a popular material for Japanese furniture due to its strength,
durability, and natural beauty. It is often used to make traditional items such as
baskets and screens, as well as modern furniture pieces like chairs, tables, and
shelving.
Rice paper, or "Washi," is another common material used in Japanese furniture. It
is made from the long fibers of the paper mulberry tree and is known for its
strength, flexibility, and translucence. Rice paper is often used to make Shoji
screens and other decorative elements.
Other materials that are commonly used in Japanese furniture include wood, silk,
and cotton.
Japanese furniture is known for its attention to detail and craftsmanship, and
many pieces are made using traditional techniques and hand-crafted by skilled
artisans

12. ELEMENTS OF JAPANESE FURNITURE
There are several elements that are common to Japanese-style furniture:
Simplicity: Japanese furniture is known for its simplicity and clean lines. It is typically made
of wood and features a minimalistic design with a focus on functionality.
Natural materials: Japanese furniture often incorporates natural materials such as bamboo, rice
paper, and wood, with a focus on natural finishes and textures.
Tatami mats: Tatami mats are traditional mats made of woven straw or rice straw and are
used for sitting or sleeping on the floor. They are a common element of Japanese-style
furniture

13. Futon bedding: Futon bedding is a type of thin, flexible mattress that can be easily rolled
up and stored when not in use. It is typically used in conjunction with Tatami mats.
Shoji screens: Shoji screens are translucent screens made of paper or rice paper
mounted on a wooden frame. They are used to divide a room or to provide privacy and
are an integral part of traditional Japanese architecture.
Sliding doors: Sliding doors, or "Fusuma," are another common element of Japanese-
style furniture. They are made of paper or rice paper mounted on a wooden frame and
are used to divide a room or to provide privacy. Overall, Japanese-style furniture is
characterized by its simplicity, functionality, and natural aesthetic, and is designed to be
in harmony with the surrounding environment

14. HERE ARE SEVERAL TYPES OF WOOD COMMONLY USED IN
JAPANESE FURNITURE, INCLUDING:
HINOKI (JAPANESE CYPRESS) - A SOFTWOOD THAT IS LIGHT IN COLOR AND HAS A DISTINCTIVE
AROMA. IT IS OFTEN USED FOR TATAMI MATS AND TRADITIONAL BATHHOUSES.
SUGI (JAPANESE CEDAR) - A RED-BROWN WOOD THAT IS STRONG AND DURABLE. IT IS OFTEN USED
FOR CONSTRUCTION AND ROOFING IN JAPAN.
KISO HINOKI - A TYPE OF HINOKI WOOD THAT IS GROWN IN THE KISO REGION OF JAPAN. IT IS KNOWN
FOR ITS FINE GRAIN AND BEAUTIFUL COLOR.
KEYAKI (ZELKOVA) - A HARDWOOD THAT IS LIGHT IN COLOR AND HAS A BEAUTIFUL GRAIN PATTERN.
IT IS OFTEN USED FOR FURNITURE AND INTERIOR FINISHING.
KIRI (PAULOWNIA) - A LIGHT-WEIGHT, SOFT WOOD THAT IS OFTEN USED FOR JAPANESE WOODEN
BOXES AND CHESTS.
AKAGASHI (RED ARBORVITAE) A RED COLORED WOOD THAT IS USED FOR FURNITURE AND
FLOORING.
MAKINOI (JAPANESE OAK) - A HARDWOOD THAT IS KNOWN FOR ITS STRENGTH AND DURABILITY, IT IS
USED FOR FURNITURE AND FLOORING.
YAMANASHI (JAPANESE BEECH) - A HARDWOOD THAT IS KNOWN FOR ITS STRENGTH AND
DURABILITY, IT IS USED FOR FURNITURE AND FLOORING

15. HINOKI (JAPANESE CYPRESS)
SUGI (JAPANESE CEDAR)
KISO HINOKI WOOD
KEYAKI (ZELKOVA)
KIRI (PAULOWNIA)
AKAGASHI MAKINO YAMANASHI

16. The Jōmon period, which encompasses a great expanse
of time, constitutes Japan’s Neolithic period. Its name is
derived from the “cord markings” that characterize the
ceramics made during this time. Jōmon people were
semi-sedentary, living mostly in pit dwellings arranged
around central open spaces, and obtained their food by
gathering, fishing, and hunting. While the many
excavations of Jōmon sites have added to our knowledge
of specific artifacts.
All Jōmon pots were made by hand, without the aid of a
wheel, the potter building up the vessel from the bottom
with coil upon coil of soft clay. As in all other Neolithic
cultures, women produced these early potteries. The clay
was mixed with a variety of adhesive materials, including
mica, lead, fibers, and crushed shells. After the vessel was
formed, tools were employed to smooth both the outer
and interior surfaces. When completely dry, it was fired in
an outdoor bonfire at a temperature of no more than
about 900°C.
JŌMON PERIOD-(14000-300 BCE)

17. INCIPIENT JŌMON (CA. 10,500–8000 B.C.)
This period marks the transition between Paleolithic(new stonage) and Neolithicold
stonage) ways of life. Archaeological findings indicate that people lived in simple surface
dwellings and fed themselves through hunting and gathering. They produced deep pottery
cooking containers with pointed bottoms and rudimentary cord markings—among the
oldest examples of pottery known in the world.
INITIAL JŌMON (CA. 8000–5000 B.C.)
By this period, the gradual climatic warming that had begun around 10,000 B.C. sufficiently
raised sea levels, so that the southern islands of Shikoku and Kyūshū were separated from
the main island of Honshū. The rise in temperature also increased the food supply, which
was derived from the sea as well as by hunting animals and gathering plants, fruits, and
seeds. Evidence of this diet is found in shell mounds, or ancient refuse heaps. Food and
other necessities of life were acquired and processed with the use of stone tools such as
grinding rocks, knives, and axes.

18. EARLY JŌMON (CA. 5000–2500 B.C.)
The contents of huge shell mounds show that a
high percentage of people’s daily diet continued to
come from the oceans. Similarities between pottery
produced in Kyūshū and contemporary Korea
suggest that regular commerce existed between
the Japanese islands and the Korean peninsula. The
inhabitants of the Japanese islands lived in square-
shaped pithouses that were clustered in small
villages. A variety of handicrafts, including cord-
marked earthenware cooking and storage vessels,
woven baskets, bone needles, and stone tools, were
produced for daily use.
MIDDLE JŌMON (CA. 2500–1500 B.C.)
This period marked the high point of the Jomon
culture in terms of increased population and
production of handicrafts. The warming climate
peaked in temperature during this era, causing a
movement of communities into the mountain
regions. Refuse heaps indicate that the people
were sedentary for longer periods and lived in
larger communities; they fished, hunted animals
such as deer, bear, rabbit, and duck, and gathered
nuts, berries, mushrooms, and parsley.
POINTED BOTTOMS AND RUDIMENTARY

19. LATE JŌMON (CA. 1500–1000 B.C.)
As the climate began to cool, the population
migrated out of the mountains and settled
closer to the coast, especially along Honshū’s
eastern shores. Greater reliance on seafood
inspired innovations in fishing technology, such
as the development of the toggle harpoon and
deep-sea fishing techniques. This process
brought communities into closer contact, as
indicated by greater similarity among artifacts.
Circular ceremonial sites comprised of
assembled stones, in some cases numbering in
the thousands, and larger numbers of figurines
show a continued increase in the importance
and enactment of rituals.
FINAL JŌMON (CA. 1000–300 B.C.)
As the climate cooled and food became less
abundant, the population declined
dramatically. Because people were assembled
in smaller groups, regional differences became
more pronounced. As part of the transition to
the Yayoi culture, it is believed that
domesticated rice, grown in dry beds or
swamps, was introduced into
Japan at this time.
POTTERY IN KYUSHU

20. HEIAN PERIOD
Heian period, in Japanese history, the period between 794 and 1185, named for the location of the
imperial capital, which was moved from Nara to Heian-kyō (Kyōto) in 794.
IT IS SAID THAT THE FORMATIVE FOUNDATION OF JAPANESE FURNITURE WAS LAID IN THE HEIAN ERA.
THE FURNITURE WE CAN SEE IN “SHINDEN- ZUKURI” ON SCROLLS OF OLD PAINTING ARE CALLED
“CHODO”. WE CAN FIND A GREAT DEAL OF “CHODO” IN THE “SHOSOIN- TREASURES”. “RUIJU-
ZOYOSHO”
FROM THE LITERATURE IN THE HEIAN ERA, IT HAS BEEN UNDERSTOOD THAT “CHODO” IN A BROAD
SENSE INCLUDES ALL THE TOOLS NECESSARY FOR A LIVING. IN A NARROW SENSE, “CHODO” MEANS
TOOLS USED INDOORS. IN THE HEIAN ERA,
THE HEIAN PERIOD DEVELOPED AESTHETICS THAT ARE
UNIQUELY JAPANESE. ART, BEAUTY STANDARDS, FASHION,
LITERATURE AND WRITING SYSTEMS DEVELOPED DURING THIS
PERIOD ARE STILL RELEVANT TO THIS DAY.

21. DURING THE HEIAN PERIOD, THE JAPANESE IMPERIAL COURT
AND NOBILITY WERE HEAVILY INFLUENCED BY CHINESE
CULTURE, SO MUCH OF THE FURNITURE FROM THIS PERIOD
WAS INFLUENCED BY CHINESE DESIGN. FOR EXAMPLE, KANG, A
TYPE OF RAISED PLATFORM BED, AND SHOIN, A STUDY OR
RECEPTION ROOM, WERE BOTH BORROWED FROM CHINESE
ARCHITECTURE AND BECAME POPULAR AMONG THE JAPANESE
ELITE.
THE USE OF TATAMI MATS, WHICH ARE MADE FROM WOVEN
RUSH GRASS, ALSO BECAME POPULAR DURING THE HEIAN
PERIOD. THESE MATS WERE USED TO COVER THE FLOORS OF
ROOMS, AND FURNITURE WAS OFTEN DESIGNED TO BE USED IN
CONJUNCTION WITH TATAMI MATS. FOR EXAMPLE, KYŌDAI, A
TYPE OF LARGE CUSHION, WAS USED FOR SITTING ON TATAMI
MATS.
IN ADDITION TO FUNCTIONAL PIECES, THE HEIAN PERIOD SAW
THE DEVELOPMENT OF DECORATIVE FURNITURE SUCH AS
KAZARI-DANA, AN ORNAMENTAL ALCOVE USED TO DISPLAY
ARTWORK AND OTHER DECORATIVE ITEMS. THIS ALCOVE WAS
AN ESSENTIAL PART OF THE ARCHITECTURE OF HEIAN PERIOD
HOMES AND WAS A PLACE WHERE THE HOMEOWNER COULD
EXPRESS THEIR TASTE AND CULTURAL INTERESTS.
OVERALL, HEIAN PERIOD FURNITURE WAS CHARACTERIZED BY
ITS SIMPLICITY, FUNCTIONALITY, AND ELEGANCE. IT REFLECTED
THE CULTURE AND SOCIETY OF THE TIME, WITH AN EMPHASIS
ON NATURE, BALANCE AND HARMONY.
KANG, A TYPE OF RAISED PLATFORM
KAZARI-DANA,

22. CHABUDAI: A SHORT-LEGGED TABLE USED FOR EATING AND OTHER ACTIVITIES.
TANSU: A TYPE OF CHEST USED FOR
STORING CLOTHES AND OTHER
HOUSEHOLD ITEMS
KOSHIKAKE: A LOW PLATFORM
USED FOR SITTING AND
SLEEPING
BYOBU: A TYPE OF FOLDING
SCREEN USED FOR PRIVACY OR TO
SEPARATE DIFFERENT AREAS OF A
ROOM.

23. EDO PERIOD
The Edo period (江戸時代, Edo jidai) or Tokugawa period (徳川時代, Tokugawa jidai)
is the period between 1603 and 1867 in the history of Japan, when Japan was
under the rule of the Tokugawa shogunate and the country's 300 regional daimyo.
Emerging from the chaos of the Sengoku period, the Edo period was characterized
by economic growth, strict social order, isolationist foreign policies, a stable
population, perpetual peace, and popular enjoyment of arts and culture. The
period derives its name from Edo (now Tokyo), where on March 24, 1603, the
shogunate was officially established by Tokugawa Ieyasu. The period came to an
end with the Meiji Restoration and the Boshin War, which restored imperial rule to
Japan.

24. FURNITURE FOR SAMURAI,
COMMONERS, AND ACTORS
WITH FOUR DISTINCTIVE SEASONS, JAPAN IS BLESSED WITH A WIDE VARIETY OF TREES AND FOREST
TYPES. FOR THIS REASON, WOOD HAS BEEN THE PRIMARY MATERIAL USED FOR ARCHITECTURE AND
FURNISHINGS SINCE ANCIENT TIMES. WOODWORK CAN BE ROUGHLY DIVIDED INTO SEVEN DIFFERENT
TYPES: SASHIMONO (FINE CABINETMAKING, OR JOINERY), KURIMONO (HOLLOWED-OUT FORMS),
HORIMONO (CARVING), MAGEMONO (BENTWORK), TAGAMONO (COOPERAGE—SLATS SET AROUND A BASE
AND HELD IN PLACE BY A RING, SUCH AS IN A BARREL), AND AMIMONO (INTERWOVEN WOOD STRIPS).
AMONG THESE, SASHIMONO IS A COMPLEX TECHNIQUE BASED ON INTRICATE JOINERY (TSUNAGI) AND
TENONS AND MORTISES (HOZO). THE HISTORY GOES BACK TO THE ANCIENT COURT CULTURE OF THE
HEIAN PERIOD (794–1185). WOODWORKING CRAFTS IN EDO ADVANCED DURING THE EDO PERIOD (1615–
1868), WHEN SKILLED ARTISANS WERE CALLED TO THE EDO METROPOLIS FROM ALL PARTS OF THE
COUNTRY. EVENTUALLY, WITH INCREASINGLY STABLE LIVING CONDITIONS, THE DEMANDS FOR
FURNITURE INCREASED. SASHIMONO CARPENTERS OF EDO MADE MANY TYPES OF HOME FURNISHINGS,
HONING THEIR TECHNIQUES AND CATERING TO THE TASTES OF THE SAMURAI, MERCHANTS, AND KABUKI
ACTORS (NASHIZONO SASHIMONO).
EDO SASHIMONO REFLECTS THE TASTES OF SAMURAI AND COMMONERS. IT IS BASED ON STRAIGHT LINES,
LITTLE ORNAMENTATION AND A POLISHED LACQUER TO BRING OUT THE GRAIN OF THE WOOD. THESE
FURNISHINGS, FAVORED BY EDOITES IN THE LATE 1960S, CAME TO BE CALLED SIMPLY "EDO SASHIMONO".
IN 1983 EDO SASHIMONO WAS DESIGNATED A TOKYO TRADITIONAL INDUSTRIAL ART, AND IN 1997 THE
MINISTRY OF INTERNATIONAL TRADE AND INDUSTRY (CURRENTLY, THE MINISTRY OF ECONOMY, TRADE
AND INDUSTRY) DESIGNATED IT AS A TRADITIONAL CRAFT OF JAPAN. MODERN CRAFTSMEN HAVE
INHERITED THE "CLEAR CUT, PLAIN, SOLID" ART OF EDO FURNITURE MAKING.

25. JAPANESE ANTIQUE WOODEN
LOW TABLE /1800-1912 'EDO-MEIJI
PERIOD'/WABI-SABI TABLE
Japanese Antique Wooden Ladder
1800s-1860s/Wabi Sabi Primitive
Mingei Object
TYPES OF FURNITURE

26. JAPANESE ANTIQUE WOODEN
DRAWER/1800-1912/WABISABI
STORAGE CHEST/TANSU
JAPANESE ANTIQUE WABI SABI
STORAGE BOX 1800S-
1860S/CHESTS OF DRAWERS
TANSU

27. JAPANESE IRON BOUND
SEA CHEST, C. 1800
UNUSUALLY LARGE HEAVILY
PATINATED 19TH C. EDO
PERIOD JAPANESE TANSU
WABI SABI

28. WABI SABI
WABI-SABI IN WOODEN OBJECTS
THERE ARE COUNTLESS LINKS BETWEEN WABI-SABI PHILOSOPHY AND WOOD. FOR
STARTERS, A BIG COMPONENT OF WABI-SABI IS BEING CONNECTED WITH EARTH AND
DECORATING WITH ORGANIC MATERIALS SUCH AS WOOD AND STONE.
SIMILARLY, WABI-SABI CHARACTERISTICS INCLUDE ASYMMETRY, ROUGHNESS,
SIMPLICITY AND MODESTY. ALL THINGS WHICH ARE COMMON WHEN WORKING WITH
WOOD. AFTER ALL, WOOD ISN’T UNIFORM (BOTH ITS COLOUR AND TEXTURE VARY), IS
RARELY CONSISTENT, AND IS TRULY FULL OF NATURAL (YET BEAUTIFUL)
IMPERFECTIONS. THIS IS WHY WOODEN OBJECTS ARE A MUST FOR WABI-
SABI INTERIOR DESIGN

29. As the Meiji era (1868-1912) ushered in an unprecedented level of interaction with
western society, Japanese crafts were eagerly purchased by foreigners and sent abroad
as export items. Not only crafted arts such as ceramics andcloisonne(Cloisonné is the
technique of creating designs on metal vessels with colored-glass paste placed within
enclosures made of copper or bronze wires, which have been bent or hammered into
the desired pattern.), but furniture made by Japanese artisans also displayed superior
workmanship that was well received and consequently exported. While the smaller
crafts might have been imported and admired within western homes without any
alteration, larger scaled furniture items were sometimes adjusted to suit the functional
needs of their new environment. Therefore this surge of Japanese furniture exports not
only allowed western households to own and appreciate Japanese crafts, but the
commercial necessity to adapt to functional needs spurred alterations in the Japanese
designs, thus creating combinations of craft and form that were entirely new to Japan
as well.
The reforms enacted during the Meiji emperor's rule brought about the
modernization and Westernization of the country and paved the way for
Japan to become a major international power.
THE MEIJI PERIOD

31. This phenomenon is explored in depth at the LIXIL Gallery in its current
exhibition, Japanese Furniture That Went Overseas - Exquisite Beauty &
Delicate Craftsmanship. The show is divided into five different categories
of furniture that were produced throughout Japan, each finding its own
connection and route to buyers abroad. The presentation of these five
types -- Japanese Marquetry, Shibayama Inlay, Inlaid Mother-of-Pearl,
Sendai Chests, and Yokohama Sculptural Furniture -- enables viewers to
fully comprehend how Japanese furniture captivated western society and
gave birth to the common equating of Japanese craft with "exquisite
beauty and delicate craftsmanship
JAPANESE
MARQUETRY SHIBAYAMA INLAY
INLAID MOTHER-OF-
PEARL
SENDAI CHESTS YOKOHAMA SCULPTURAL
FURNITURE

32. JAPANESE
MARQUETRY
Crafted with different colors of wood
arranged in intricate patterns, Yosegi
Zaiku or Japanese marquetry is a style of
object decoration that's practiced in
Hakone, a town near Mount Fuji. No wood
staining is used to create the mosaics; the
area around Hakone is well-known for it
wide variety of trees.
There are over 22 different
types of wood used by these
artisans: ash, rosewood,
STEP : 1
STEP : 2
STEP : 3
STEP : 4

33. STEP : 5 STEP : 6

34. SENDAI CHESTS
Sendai tansu is a type of chest of drawers made in the city of Sendai, Miyagi prefecture. Usually they are
made of Japanese chestnut, cedar, and zelkova wood, and renowned for their highly ornamented iron
fittings and three different types of beautiful Japanese lacquer coating. The making of Sendai tansu
involves three different craft techniques: carpentry with no nails or screws; lacquerwork to bring out the
beauty of the wood grain; and the metal chasing of the intricate designs. To complete a single chest of
drawers, an average of 100 to 200 metal fittings are made in a variety of shapes with pictorial designs and
motifs, such as dragons, lions, or peonies, which are traditional bringers of good luck and fortune.
The top drawer of this chest has a width of about 1m 20 cm and can store katana (a long single
edged sword used by japanese ) .
Before making , trees need to desicated
for 20-30 years .
Base odf chess called KIJI
This is called kijiro - nuri which is process to
paint the first coat, then lacquer over and
finally polished

36. MOTHER OF PEARL INLAY:
THE PROCESS. MOTHER OF PEARL IS THE INNER LAYER OF OYSTER AND MUSSEL SHELLS.
EACH SHELL IS UNIQUE IN COLOR AND TEXTURE WITH A SHINY AND IRIDESCENT FINISH,
MAKING IT AN IDEAL DECORATIVE MATERIAL, ESPECIALLY AS AN INLAY IN ROSEWOOD
FURNITURE.
Preparing tools is important to ensure a high quality finished product.
For example, the fret saw must be hand-sharpened with notches to
effectively cut the Mother of Pearl designs out of the blanks.
Individual designs are drawn onto the shells before they are cut. Often
times, a paper sketch of the design is glued to the surface in order to
produce accurate designs. The curvature, colors, and patterns of the shell
are all taken into account when determining where the design will be cut
on the shell in efforts to minimize the arch on each piece.
A simple definition of the Japanese art form generically known as “Shibayama”
is “the inlay of a design into an ivory, wood or lacquer base using a variety of
carved natural materials of varying textures and colours, most often comprising
numerous sea-shells, horn, stained ivory and wood”.
The use of shell as an enhancing and decorative inlay has been practised in
Japan for literally hundreds of years, particularly by lacquer artists in the
production of writing boxes, inro and similar items. However it was during the
19th century that the Shibayama family (from whom this style of work derives its
name) developed the technique into a highly detailed and truly stunning art
form that became hugely popular during the Meiji period.
SHIBAYAMA INLAY