Illustrated History of Furniture Part 12

A very remarkable screen in Chinese lacquer of later date is in the South Kensington Museum; it is composed of twelve folds each ten feet high, and measuring when fully extended twenty-one feet. This screen is very beautifully decorated on both sides with incised and raised ornaments painted and gilt on black ground, with a rich border ornamented with representations of sacred symbols and various other objects. The price paid for it was 1,000. There are also in the Museum some very rich chairs of modern Chinese work, in brown wood, probably teak, very elaborately inlaid with mother-of-pearl; they were exhibited in Paris in 1867.

Of the very early history of j.a.panese industrial arts we know but little.

We have no record of the kind of furniture which Marco Polo found when he travelled in j.a.pan in the thirteenth century, and until the Jesuit missionaries obtained a footing in the sixteenth century and sent home specimens of native work, there was probably very little of j.a.panese manufacture which found its way to Europe. The beautiful lacquer work of j.a.pan, which dates from the end of the sixteenth and the following century, leads us to suppose that a long period of probation must have occurred before the Arts, which were probably learned from the Chinese, could have been so thoroughly mastered.

Of furniture, with the exception of the cabinets, chests, and boxes, large and small, of this famous lac, there appears to have been little. Until the j.a.panese developed a taste for copying European customs and manners, the habit seems to have been to sit on mats and to use small tables raised a few inches from the ground. Even the bedrooms contained no bedsteads, but a light mattress served for bed and bedstead.

The process of lacquering has already been described, and in the chapter on French furniture of the eighteenth century it will be seen how specimens of this decorative material reached France by way of Holland, and were mounted into the "_meubles de luxe_" of that time. With this exception, and that of the famous collection of porcelain in the j.a.pan Palace at Dresden, probably but little of the art products of this artistic people had been exported until the country was opened up by the expedition of Lord Elgin and Commodore Perry, in 1858-9, and subsequently by the antiquarian knowledge and research of Sir Rutherford Alc.o.c.k, who has contributed so much to our knowledge of j.a.panese industrial art; indeed it is scarcely too much to say, that so far as England is concerned, he was the first to introduce the products of the Empire of j.a.pan.

[Ill.u.s.tration: j.a.panese Cabinet of Red Chased Lacquer Work. XVII to XVIII Century.]

The Revolution, and the break up of the feudal system which had existed in that country for some eight hundred years, ended by placing the Mikado on the throne. There was a sale in Paris, in 1867, of the famous collection of the Shogun, who had sent his treasures there to raise funds for the civil war in which he was then engaged with the Daimio. This was followed by the exportation of other fine native productions to Paris and London; but the supply of old and really fine specimens has, since about 1874, almost ceased, and, in default, the European markets have become flooded with articles of cheap and inferior workmans.h.i.+p, exported to meet the modern demand. The present Government of j.a.pan, anxious to recover many of the masterpieces which were produced in the best time, under the patronage of the native princes of the old _regime_, have established a museum at Tokio, where many examples of fine lacquer work, which had been sent to Europe for sale, have been placed after repurchase, to serve as examples for native artists to copy, and to a.s.sist in the restoration of the ancient reputation of j.a.pan.

There is in the South Kensington Museum a very beautiful j.a.panese chest of lacquer work made about the beginning of the seventeenth century, the best time for j.a.panese art; it formerly belonged to Napoleon I. and was purchased at the Hamilton Palace Sale for 722: it is some 3 ft. 3 in.

long and 2 ft. 1 in. high, and was intended originally as a receptacle for sacred Buddhist books. There are, most delicately worked on to its surface, views of the interior of one of the Imperial Palaces of j.a.pan, and a hunting scene. Mother-of-pearl, gold, silver, and aventurine, are all used in the enrichment of this beautiful specimen of inlaid work, and the lock plate is a representative example of the best kind of metal work as applied to this purpose.

H.R.H. the Duke of Edinburgh has several fine specimens of Chinese and j.a.panese lacquer work in his collection, about the arrangement of which the writer had the honour of advising his Royal Highness, when it arrived some years ago at Clarence House. The earliest specimen is a reading desk, presented by the Mikado, with a slope for a book much resembling an ordinary bookrest, but charmingly decorated with lacquer in landscape subjects on the flat surfaces, while the smaller parts are diapered with flowers and quatrefoils in relief of lac and gold. This is of the sixteenth century. The collections of the Earl of Elgin and Kincardine, Sir Rutherford Alc.o.c.k, K.C.B., Mr. Salting, Viscount Gough, and other well-known amateurs, contain some excellent examples of the best periods of j.a.panese Art work of the seventeenth and eighteenth centuries.

The grotesque carving of the wonderful dragons and marvellous monsters introduced into furniture made by the Chinese and j.a.panese, and especially in the ornamental woodwork of the Old Temples, is thoroughly peculiar to these masters of elaborate design and skilful manipulation: and the low rate of remuneration, compared with our European notions of wages, enables work to be produced that would be impracticable under any other conditions. In comparing the decorative work on Chinese and j.a.panese furniture, it may be said that more eccentricity is effected by the latter than by the former in their designs and general decorative work. The j.a.panese joiner is unsurpa.s.sed, and much of the lattice work, admirable in design and workmans.h.i.+p, is so quaint and intricate that only by close examination can it be distinguished from finely cut fret work.

Indian Furniture.

European influence upon Indian art and manufactures has been of long duration; it was first exercised by the Portuguese and Dutch in the early days of the United East India Company, afterwards by the French, who established a trading company there in 1664, and since then by the English, the first charter of the old East India Company dating as far back as 1600. Thus European taste dominated almost everything of an ornamental character until it became difficult to find a decorative article the design of which did not in some way or other shew the predominance of European influence over native conception. Therefore it becomes important to ascertain what kind of furniture, limited as it was, existed in India during the period of the Mogul Empire, which lasted from 1505 to 1739, when the invasion of the Persians under Kouli Khan destroyed the power of the Moguls; the country formerly subject to them was then divided amongst sundry petty princes.

The thrones and State chairs used by the Moguls were rich with elaborate gilding; the legs or supports were sometimes of turned wood, with some of the members carved; the chair was formed like an hour gla.s.s, or rather like two bowls reversed, with the upper part extended to form a higher back to the seat. In M. Racinet's sumptuous work, "Le Costume Historique,"

published in Paris in 20 volumes (1876), there are reproduced some old miniatures from the collection of M. Ambroise Didot. These represent--with all the advantages of the most highly finished printing in gold, silver, and colours--portraits of these native sovereigns seated on their State chairs, with the umbrella, as a sign of royalty. The panels and ornaments of the thrones are picked out with patterns of flowers, sometimes detached blossoms, sometimes the whole plant; the colors are generally bright red and green, while the ground of a panel or the back of a chair is in silver, with arabesque tracery, the rest of the chair being entirely gilt.

The couches are rectangular, with four turned and carved supports, some eight or ten inches high, and also gilt. With the exception of small tables, which could be carried into the room by slaves, and used for the light refreshments customary to the country, there was no other furniture.

The ladies of the harem are represented as being seated on sumptuous carpets, and the walls are highly decorated with gold and silver and color, which seems very well suited to the arched openings, carved and gilt doors, and brilliant costumes of the occupants of these Indian palaces.

After the break up of the Mogul power, the influence of Holland, France, and England brought about a mixture of taste and design which, with the concurrent alterations in manners and customs, gradually led to the production of what is now known as the "Bombay furniture." The patient, minute carving of Indian design applied to utterly uncongenial Portuguese or French shapes of chairs and sofas, or to the familiar round or oval table, carved almost beyond recognition, are instances of this style. One sees these occasionally in the house of an Anglo-Indian, who has employed native workmen to make some of this furniture for him, the European chairs and tables being given as models, while the details of the ornament have been left to native taste.

It is scarcely part of our subject to allude to the same kind of influence which has spoiled the quaint bizarre effect of native design and workmans.h.i.+p in silver, in jewellery, in carpets, embroideries, and in pottery, which was so manifest in the contributions sent to South Kensington at the Colonial Exhibition, 1886. There are in the Indian Museum at South Kensington several examples of this Bombay furniture, and also some of Cingalese manufacture.

In the Jones Collection at South Kensington Museum, there are two carved ivory chairs and a table, the latter gilded, the former partly gilded, which are a portion of a set taken from Tippo Sahib at the storming of Seringapatam. Warren Hastings brought them to England, and they were given to Queen Charlotte. After her death the set was divided; Lord Londesborough purchased part of it, and this portion is now on loan at the Bethnal Green Museum.

The Queen has also amongst her numerous Jubilee presents some very handsome ivory furniture of Indian workmans.h.i.+p, which may be seen at Windsor Castle. These, however, as well as the Jones Collection examples, though thoroughly Indian in character as regards the treatment of scrolls, flowers, and foliage, shew unmistakcably the influence of French taste in their general form and contour. Articles, such as boxes, stands for gongs, etc., are to be found carved in sandal wood, and in _dalburgia,_ or black wood, with rosewood mouldings; and a peculiar characteristic of this Indian decoration, sometimes applied to such small articles of furniture, is the coating of the surface of the wood with red lacquer, the plain parts taking a high polish while the carved enrichment remains dull. The effect of this is precisely that of the article being made of red sealing wax, and frequently the minute pattern of the carved ornament and its general treatment tend to give an idea of an impression made in the wax by an elaborately cut die. The casket ill.u.s.trated on p. 134 is an example of this treatment. It was exhibited in 1851.

The larger examples of Indian carved woodwork are of teak; the finest and most characteristic specimens within the writer's knowledge are the two folding doors which were sent as a present to the Indian Government, and are in the Indian Museum. They are of seventeenth century work, and are said to have enclosed a library at Kerowlee. While the door frames are of teak, with the outer frames carved with bands of foliage in high relief, the doors themselves are divided into panels of fantastic shapes, and yet so arranged that there is just sufficient regularity to please the eye.

Some of these panels are carved and enriched with ivory flowers, others have a rosette of carved ivory in the centre, and pieces of talc with green and red colour underneath, a decoration also found in some Arabian work. It is almost impossible to convey by words an adequate description of these doors; they should be carefully examined as examples of genuine native design and workmans.h.i.+p. Mr. Pollen has concluded a somewhat detailed account of them by saying:--"For elegance of shape and proportion, and the propriety of the composition of the frame and sub-divisions of these doors, their mouldings and their panel carvings and ornaments, we can for the present name no other example so instructive.

We are much reminded by this decoration of the pierced lattices at the S. Marco in Venice."

[Ill.u.s.tration: Casket of Indian Lacquer Work.]

There is in the Indian Museum another remarkable specimen of native furniture--namely, a chair of the purest beaten gold of octagonal shape, and formed of two bowls reversed, decorated with acanthus and lotus in repousee ornament. This is of eighteenth century workmans.h.i.+p, and was formerly the property of Runjeet Sing. The precious metal is thinly laid on, according to the Eastern method, the wood underneath the gold taking all the weight.

There is also a collection of plaster casts of portions of temples and palaces from a very early period until the present time, several having been sent over as a loan to the Indian and Colonial Exhibition of 1886, and afterwards presented by the Commissioners to the Museum.

A careful observation of the ornamental details of these casts leads us to the conclusion that the Byzantine style which was dominant throughout the more civilized portion of Asia during the power of the Romans, had survived the great changes of the Middle Ages. As native work became subject more or less to the influence of the Indo-Chinese carvers of deities on the one side, and of the European notions of the Portuguese pioneers of discovery on the other, a fas.h.i.+on of decorative woodwork was arrived at which can scarcely be dignified by the name of a style, and which it is difficult to describe. Dr. Birdwood, in his work on Indian Art, points out that, about a hundred years ago, Indian designs were affected by the immigration of Persian designers and workmen. The result of this influence is to be seen in the examples in the Museum, a short notice of which will conclude these remarks on Indian work.

The copy in s.h.i.+shem wood of a carved window at Amritzar, in the Punjaub, with its overhanging cornice, ornamental arches, supported by pillars, and the whole surface covered with small details of ornament, is a good example of the sixteenth and seventeenth century work. The various facades of dwelling-houses in teak wood, carved, and still bearing the remains of paint with which part of the carving was picked out, represent the work of the contemporary carvers of Ahmedabad, famous for its woodwork.

Portions of a lacquer work screen, similar in appearance to embossed gilt leather, with the pattern in gold, on a ground of black or red, and the singular Cashmere work, called "mirror mosaic," give us a good idea of the Indian decoration of the eighteenth and early nineteenth centuries. This effective decoration is produced by little pieces of looking-gla.s.s being introduced into the small geometrical patterns of the panels; these, when joined together, form a very rich ceiling.

The bedstead of King Theebaw, brought from Mandalay, is an example of this mixture of gla.s.s and wood, which can be made extremely effective. The wood is carved and gilt to represent the gold setting of numerous precious stones, which are counterfeited by small pieces of looking-gla.s.s and variously-coloured pieces of transparent gla.s.s.

Some of the Prince of Wales' presents, namely, chairs, with carved lions forming arms; tables of s.h.i.+shem wood, inlaid with ebony and ivory, shew the European influence we have alluded to.

Amongst the modern ornamental articles in the Museum are many boxes, pen trays, writing cases, and even photograph alb.u.ms of wood and ivory mosaic work, the inlaid patterns being produced by placing together strips of tin wire, sandal wood, ebony, and of ivory, white, or stained green: these bound into a rod, either triangular or hexagonal, are cut into small sections, and then inlaid into the surface of the article to be decorated.

Papier mache and lacquer work are also frequently found in small articles of furniture; and the collection of drawings by native artists attests the high skill in design and execution attained by Indian craftsmen.

Persia.

The Persians have from time immemorial been an artistic people, and their style of Art throughout successive conquests and generations has varied but little.

Major-General Murdoch Smith, R.E., the present Director of the branch of the South Kensington Museum in Edinburgh, who resided for some years in Persia, and had the a.s.sistance when there of M. Richard (a well-known French antiquarian), made a collection of _objets d'art_ some years ago for the Science and Art Department, which is now in the Kensington Museum, but it contains comparatively little that can be actually termed furniture; and it is extremely difficult to meet with important specimens of ornamental wordwork of native workmans.h.i.+p. Those in the Museum, and in other collections, are generally small ornamental articles. The chief reason of this is, doubtless, that little timber is to be found in Persia, except in the Caspian provinces, where, as Mr. Benjamin has told us in "Persia and the Persians," wood is abundant; and the Persian architect, taking advantage of his opportunity, has designed his houses with wooden piazzas--not found elsewhere--and with "beams, lintels, and eaves quaintly, sometimes elegantly, carved, and tinted with brilliant hues."

Another feature of the decorative woodwork in this part of Persia is that produced by the large latticed windows, which are well adapted to the climate.

[Ill.u.s.tration: Door of Carved Sandal Wood, from Travancore. India Museum, South Kensington. Period: Probably Late XVIII. Century.]

In the manufacture of textile fabrics--notably, their famous carpets of Yezd and Ispahan, and their embroidered cloths in hammered and engraved metal work, and formerly in beautiful pottery and porcelain--they have excelled: and examples will be found in the South Kensington Museum. It is difficult to find a representative specimen of Persian furniture except a box or a stool; and the ill.u.s.tration of a bra.s.s incense burner is, therefore, given to mark the method of design, which was adopted in a modified form by the Persians from their Arab conquerors.

[Ill.u.s.tration: Incense Burner of Engraved Bra.s.s. (_In the South Kensington Museum_).]

This method of design has one or two special characteristics which are worth noticing. One of these was the teaching of Mahomet forbidding animal representation in design--a rule which in later work has been relaxed; another was the introduction of mathematics into Persia by the Saracens, which led to the adoption of geometrical patterns in design; and a third, the development of "Caligraphy" into a fine art, which has resulted in the introduction of a text, or motto, into so many of the Persian designs of decorative work. The combination of these three characteristics have given us the "Arabesque" form of ornament, which, in artistic nomenclature, occurs so frequently.

The general method of decorating woodwork is similar to that of India, and consists in either inlaying brown wood (generally teak) with ivory or pearl in geometrical patterns, or in covering the wooden box, or ma.n.u.script case, with a coating of lacquer, somewhat similar to the Chinese or j.a.panese preparations. On this groundwork some good miniature painting was executed, the colours being, as a rule, red, green, and gold, with black lines to give force to the design.

The author of "Persia and the Persians," already quoted, had, during his residence in the country, as American Minister, great opportunities of observation, and in his chapter ent.i.tled "A Glance at the Arts of Persia,"

has said a good deal of this mosaic work. Referring to the scarcity of wood in Persia, he says: "For the above reason one is astonished at the marvellous ingenuity, skill, and taste developed by the art of inlaid work, or Mosaic in wood. It would be impossible to exceed the results achieved by the Persian artizans, especially those of s.h.i.+raz, in this wonderful and difficult art.... Chairs, tables, sofas, boxes, violins, guitars, canes, picture frames, almost every conceivable object, in fact, which is made of wood, may be found overlaid with an exquisite casing of inlaid work, so minute sometimes that thirty-live or forty pieces may be counted in the s.p.a.ce of a square eighth of an inch. I have counted four hundred and twenty-eight distinct pieces on a square inch of a violin, which is completely covered by this exquisite detail of geometric designs, in Mosaic."

Mr. Benjamin--who, it will be noticed, is somewhat too enthusiastic over this kind of mechanical decoration--also observes that, while the details will stand the test of a magnifying gla.s.s, there is a general breadth in the design which renders it harmonious and pleasing if looked at from a distance.

In the South Kensington Museum there are several specimens of Persian lacquer work, which have very much the appearance of papier mache articles that used to be so common in England some forty years ago, save that the decoration is, of course, of Eastern character.

Of seventeenth century work, there is also a fine coffer, richly inlaid with ivory, of the best description of Persian design and workmans.h.i.+p of this period, which was about the zenith of Persian Art during the reign of Shah Abbas. The numerous small articles of what is termed Persian marqueterie, are inlaid with tin wire and stained ivory, on a ground of cedar wood, very similar to the same kind of ornamental work already described in the Indian section of this chapter. These were purchased at the Paris Exhibition in 1867.

Persian Art of the present day may be said to be in a state of transition, owing to the introduction and a.s.similation of European ideas.

Saracenic Woodwork From Cairo and Damascus.