History of Japanese Furniture Design - Report Example

Student: Course: Lecturer: Date: A History of Japanese Furniture Design and how it Affected England's Decorative Arts and Architecture Introduction Japonism is a term which normally refers to European fanaticism toward Japanese art in the late-19th century. The art included porcelains, fans, silks, screens, bronzes, lacquers and ukiyo-e woodblock prints that arrived from Japan in large quantities, following the 1854 decision by Tokugawa Shogunate to open its port to international trade. In 1872, French coined the term Japonisme to describe the French decorative artwork made in Japanese style. Such artworks influenced by Japanese style were referred to as Anglo-Japanese in England. Japonism was particularly related with inexpensive, colourful Edo period woodcuts, developed by Hiroshige from 1797 to 1858 and Hokusai from1760 to 1849, and other masters such as kunisada from 1786 to 1865, Toyokuni from 1769 to 1825, Toyoharu from c. 1748 to 1809, kuniyoshi from 1797 to 1861, and Keisai Eisen from 1790 to 1848. These forms of old Japanese printmaking contained a considerable impact on modern art in the entire Western Europe, and acted as a source inspiration source for styles such as Art Nouveau from 1890 to 1914, Post-Impression from1880s and 1890s and Impressionism from 1870s and 1880s. The Japanese artworks demand was so high that Tadamasa Hayashi, a Paris art dealer sold 150,000 ukiyo-e prints in excess, for eleven years from 1890 to 1901 (Visual Art Cork 1). Japanese paintings and Ukiyo-e prints were extensively admired by artists from Europe due to their non-European refreshingly characteristics. This particularly included their employment of strong silhouettes and diagonals, asymmetrical compositions, employment of bold cropping approaches, aerial view, elongated pictorial formats, and other new vision angles, as well as a focus on vividly decorative motifs. Another conspicuous aspect is a large unshaded (flat), vibrant colour area. Majority of these Japanese art characteristics were a direct contrast to academic art of traditional western, and they were ushered in by artists in 19th century, acted as new sources of ideas. For instance, Ukiyo-e images were major Post-Impressionist style inspiration with their flat picture-planes, pattern surfaces and curvilinear lines. These styles included Vienna Secession in 1897 to 1939, Jugendstil in 1890s to 1914, and art Nouveau in 1890 to 1914, as well as Nabis from 1890s, Cloisonnism from 1888 to 1894, and Synthetism from 1888 to 1894. A few compositional features that include spaces, eliminated all apart from abstract line and colour elements. The utilization of unshaded, bold colour in flatter structures also assisted in paving the way for abstract art revolution that stated in the late 1990s, with Cubism advert. Victorian art was influenced by Japanese gardens, architecture, paper, books and furniture designs, particularly the Arts and Crafts English Movement that took place form 1880s onwards (Visual Art Cork 1). The Japan arts had a weighty impact on the culture of British in the second half of the nineteenth century. Japan had for a long time blocked European to trade in their country, apart from Dutch. However, in 1850s, Japan opened its ports to other foreigners, including Britain. A huge number of Japanese products were consequently exported to Britain. The Japanese artwork was very distinct from what was being produced in Britain. It therefore acted as a major inspiration source, for various designers and artists from 1850s to 1900 period. In this regard, this paper will focus on establishing how Japanese furniture design impacted England decorative art and architecture during this period. This is because this is the period where Japan experienced the greatest level of its art and crafts objects transfer to Britain (Vam 1). Thesys A Review of the History of Japanese Furniture Japan is among the prehistoric civilisations, which was fascinated in west since the beginning of 16th century. However, Japan again quickly closed its doors, leaving a single open port for foreign trade. The situation remained until mid-19th century when Japan opened up trade. This resulted to the arrival of Victorians who were very shocked by bare Japanese rooms that were very different from their own. The Japanese traditional home was founded on Ma, which is the balance between objects and space. The rice straw woven tatami matting was very essential to interiors of Japanese. The room dimensions are measured with tatami mats. These mats were employed for sleeping, flooring and seating. The space was sectioned by wooden tracks sliding shoji screens, which could be removed to increase the room space. With time, the west were highly attracted by the Japanese decorations and furniture, an aspect that made them, particularly Victorians to integrate Japanese styles in their art work (BBC 1). Key People of this Historical Vast Period Japanese art has been embraced widely in Britain after Japan opened its country for international trade. Different people embrace Japanese art and integrated it widely to their own art work. This section describes various individuals who contributed highly to the integration of Japanese art work in England. Christopher Dresser (1834-1904) was a writer and designer who was a great promoter of Japanese design style. He started gathering Japanese objects after viewing them displayed in 1862 London International Exhibition. Dresser established various import firms and promoted Japanese art via publications, lectures and exhibitions. Dresser in his work sought to express the design boldness, treatment breadth and execution simplicity, which he appreciated in Japanese art (Vam 1). Edward William Godwin (1833-1886) was a critic, designer and architect as well as a great Japanese design and art admirer. He portrayed his Japanese art’s appreciation in his wallpapers, textile designs, theatre and architecture. Godwin was specifically popular for his Anglo-Japanese furniture. Godwin focused more on integrating the general principles of elegance and simplicity, which he admired in the Japan art. He however did not imitate the Japanese art, but integrated various aspects that he found relevant and applicable in his work (Vam 1). Arthur Lasenby Liberty (1843 -1917) was the creator of the popular Liberty’s shop situated in the London’s Regent Street. The store was established in 1975 and it focused on selling imported goods from East. This store played a great part in ensuring that Victorian embrace the Japanese artwork. Liberty began to commission Godwin and Christopher Dresser work since 1980s. He therefore enhanced awareness and growth of Japanese artwork in England (Vam 1). Charles Rennie Mackintosh (1868-1928) was a designer who was involved in designing Martyrs school and Glasgow Herald Building at around 1895. His work was highly influenced by Japanese art, which he had studied. The Glasgow Herald Building had a lot of Japanese effects in its shape, as well as exaggerated level of eaves of projecting timber at the left, stairwells, and in a number of internal sections. These features are attributed to Mackintosh passion for Japanese art. The external decoration demonstrates quiet details of his growing Art Nouveau style, especially the right doorways. Charles played a great role in promoting Japanese art in the west (Blaikie 1). Key People and Fairs/Exhibitions Involved in the Process of Opening the Artistic Confines of Japan to the Western Society and Especially to England The 1862 international exhibition played a great part in promoting Japanese art work in furniture. During this exhibition, the public managed to see sensible and restrained furniture when Faulkner, Marshall, Morris and Company demonstrated part of their work. During this event, Christopher Dresser denoted the ingenious construction of one or more gilded and stained drawing-room chairs, though he could not credit them as beautiful. A good example of Morris School’s early furniture is Philip Webb work. The work was both traditional and revolutionary (Spencer 1). Another exhibition was conducted in 1867 in Paris, where Bruce Talbert, a commercial designer, who was very influential in the Gothic idiom demonstrated his work. His magnificent sideboard, built by Holland and Son was demonstrated in this exhibition. The sideboard contained similar architecture quality in miniature, which is related with William Burges furniture. Bruce Talbert published forms of gothic used on furniture, soon after the exhibition of 1867, where he illustrated the likelihoods of the gothic style adaptations. However, Talbert left his over- insistently gothic style in 1876, and embraced a style, in accordance with fashion change, though in a unique way (Spencer 1). The 1862 exhibition did not only mark a unique general taste improvement, but also provided England with its actual chance to view a part of Japanese designs. This happened when the British Consul General in Japan, Sir Rutherford Alcock, demonstrated the collection he made while staying in Japan. These exhibits excited designers. The 1867 folding screen, stands as one of the initial essays in Anglo-Japanese style. This screen is credible for its confident Japanese motifs use, which are presumably taken from Japanese traditional pattern books. Sketchbooks of Godwin in the Victoria and Albert Museum Print Room has a number of details and drawings of the Anglo-Japanese style furniture. The style brings one into concluding that Godwin utilized the style to address the fashion needs and as his own exuberant invention vehicle (Spencer 1). Another artist influenced by Japanese work was Thomas Jeckyll. Thomas has his initial chance to see Japanese work in 1862 exhibition. Contrary to Godwin who was carried away by the structure of the Japanese furniture, Jeckyll was impresses by the Japanese decoration, particularly, its effective and simple geometrical patterns. Jeckyll made a large cabinet, which utilized the carved pattern of traditional Japanese, though it resembles the Jacobean style structure. Nevertheless, the Jacobean structure also adopted Japanese carved pattern. In this regard, Jeckyll piece had a few structural Japanese features adopted by Jacobean and Japanese decoration features she adopted (BGC 1). The Commercial and Artistic Relationships between Japan and England from Approximately 1851 to 1900. There was a very healthy artistic and commercial relationships between England and Japan during 1850s and 1900. This can be demonstrated by the 1862 international exhibition that took place in London. In this exhibition more than 600 objects from Japan were exhibited. They included prints, books, porcelains, lacquer ware and enamelled ware. This resulted to the development of a sensation, particularly among the artistic community. However, despite of this, the unreformed government of Japan was still isolated largely from the globe, and thus it was not engaged in offering objects for the exhibition. The collection of the Japanese objects was done by Sir Rutherford Alcock who had collected the items during his stay in Japan as a government minister. The exhibition stunned the painters, designers, the artists, the specialists and the cognoscenti (Checkland 20). Most of them started purchasing Japanese after that exhibition. The exhibition can then be said to have been one way to open trade for Japanese art work in the international trade. This also attracted more artist into visiting Japan, which enhanced more economic benefit from tourism and increase in purchase of more Japanese art work, including what was not displayed in the 1962 exhibition. It also made Japanese work famous as more and more western artist started integrating Japanese work into their masterpiece. Although there were few Japanese objects in this exhibition, their value was very high compared to the value of other objects from other foreign nations. The Japanese objects in the exhibition were viewed at a fee due to their uniqueness, unlike others that were free and available in the manufacturer’s site. Based on the fact that the exhibition received between 40000 and 50000 individuals each day, the town was able to attract a considerable revenue from the Japanese collections (Checkland 21). The relation between Japan and England was also enhanced by the development of University of Glasgow which highly embraced Japanese artwork. The university enhanced the level of art in the country. It enhance recruitment of various Japanese in different educational level in the country, hence creating jobs. It also facilitated in 1901 Glasgow International Exhibition in Japan which was funded by the Japanese government. This played a great role in integrating the Japanese government into international affairs. This exhibition also opened a way for various Japanese companies to open shops in different international countries that include London, Boston and New York, and excel in their sales. This provided these companies an opportunity to expound their businesses internationally. Therefore, the relation between Japan and England acted as one way to promote trade in Japan and enhancement of the economic benefit between the two countries. It also created a room for the England to learn more and to borrow more art style from Japan, and hence enhancing the quality, uniqueness and profitability of their art products (Checkland, 22). -Anthitesys- Key Furniture Pieces Developed During this Period This section focuses on key furniture pieces developed during this period. Tansu is one of these furniture. Tansu is a Japanese word used to refer to a chest, cupboard, or chest of drawers. Tansu were created for different purposes during the Meiji era that existed between 1860 and Tansu is composed of two or more stacks pieces and its handles are structured to be joint placed inside. The chests are designed to be mobile. It contain heavy iron handles, does not contain legs, its created by both hard and soft wood, contain minimalist design containing straight lines as well as little detailing ornate. It is also coated in a lacquered or dry finish. Below is a picture of a traditional tansu (Khan 1) Chabudai is another Japanese furniture created during this period. This is like a small table that was created in Japan to mimic those in western modern home. The chabudui is short and was normally foldable from inside, for easy storage. Due to its height Chabudai is used with a mat or zabuton which is a legless traditional Japanese chair (Kim and Choi 5). The table is shown below in a dinning set up (Pinterest 1). Mirror holder is another product created during this time. Mirror holder was created for position big e-kagami at viewing position. They were of different sizes, where the most frequently used typed being of about 24 inches high. This was normally accompanied by coiffure stands that were used to hold hair ribbons, perfume oils and combs. They also varied in size and decoration. Dressing stands (kyodai) were also developed during this time. They were two types which included the one used by common classes and those belonging for aristocracy. The later contains a square base with two or more drawers, and a mirror frame (Koizumi 128). Conclusion Japanese art work has been of great importance in the growth and development of west art and design. It was highly embraced during 1850s to 1900. During this time, different artists from England borrowed various aspects of Japanese artwork to supplement their work. This included the Japanese structure and their decorative techniques. The closure of the Japan country to international trade made their objects unique to artist of other countries during 1850s. This could have highly contributed to the great preference of their work by western nations. Thus, the level of Japanese art influence on England artists is expected to have gone down. However, its impact is still experience in the region even today. There are still various elements of Japanese art in England artwork, which were integrated in the development of the modern artwork design and styles. However, its impact on England artwork and architecture is currently very low as compared to what was experienced during 1850s to 1900. Work Cited BBC. “History.” N.p. 2014 Web. 10 Jan 2016 < http://www.bbc.co.uk/homes/design/period_japanese.shtml> BGC. “Thomas Jeckyll: Architecture and design.” N.p. 2003. Web 10 Jan 2016 < https://www.bgc.bard.edu/gallery/gallery-at-bgc/past-exhibitions/past-exhibitions-jeckyll.html> Blaikie, Gerald. “Charles Rennie Mackintosh – Glassgow Buildings.” N.P. 2016. Web. 10 Jan 2016 < http://www.scotcities.com/mackintosh/> Checkland, Olive. Japan and Britain after 1859 Creating Cultural Bridges. London: RoutledgeCurzon. 2003. Khan, Cheryl. “What is Tansu in Japanese?” N. p. 2014 < https://www.tansu.net/blog/asian-furniture/tansu-japanese/ > Kim, Jinok and Choi, Kyungran. “Comparative Study on Korean and Japanese Traditional Furniture Design.” N.p. N.d. Web 10 Jan 2016 < http://www.idemployee.id.tue.nl/g.w.m.rauterberg/conferences/cd_donotopen/adc/final_paper/408.pdf> Koizumi, Kazuko. Traditional Japanese Furniture. Tokyo: Kodansha International, 1989. Print. Pinterest. “Traditional Japanese Dining Table.” N.p. N.d. Web. 10 Jan 2016 < https://www.pinterest.com/pin/333759022356004971/ > Spencer, Robin. "Anglo-Japanese Furniture and the Cult of Japan." Anglo-Japanese Furniture and the Cult of Japan. N.p., n.d. Web. 10 Jan. 2016. Vam. “Style Guide: Influence of Japan." Victoria and Albert Museum, Digital Media Webmaster@vam.ac.uk. N.p., n.d. Web. 10 Jan 2016. Visual Arts Cork. "Japonism (c.1854-1900)." Japonism (1854-1900). N.p., n.d. Web. 10 Jan 2016. Read More

A few compositional features that include spaces, eliminated all apart from abstract line and colour elements. The utilization of unshaded, bold colour in flatter structures also assisted in paving the way for abstract art revolution that stated in the late 1990s, with Cubism advert. Victorian art was influenced by Japanese gardens, architecture, paper, books and furniture designs, particularly the Arts and Crafts English Movement that took place form 1880s onwards (Visual Art Cork 1). The Japan arts had a weighty impact on the culture of British in the second half of the nineteenth century.

Japan had for a long time blocked European to trade in their country, apart from Dutch. However, in 1850s, Japan opened its ports to other foreigners, including Britain. A huge number of Japanese products were consequently exported to Britain. The Japanese artwork was very distinct from what was being produced in Britain. It therefore acted as a major inspiration source, for various designers and artists from 1850s to 1900 period. In this regard, this paper will focus on establishing how Japanese furniture design impacted England decorative art and architecture during this period.

This is because this is the period where Japan experienced the greatest level of its art and crafts objects transfer to Britain (Vam 1). Thesys A Review of the History of Japanese Furniture Japan is among the prehistoric civilisations, which was fascinated in west since the beginning of 16th century. However, Japan again quickly closed its doors, leaving a single open port for foreign trade. The situation remained until mid-19th century when Japan opened up trade. This resulted to the arrival of Victorians who were very shocked by bare Japanese rooms that were very different from their own.

The Japanese traditional home was founded on Ma, which is the balance between objects and space. The rice straw woven tatami matting was very essential to interiors of Japanese. The room dimensions are measured with tatami mats. These mats were employed for sleeping, flooring and seating. The space was sectioned by wooden tracks sliding shoji screens, which could be removed to increase the room space. With time, the west were highly attracted by the Japanese decorations and furniture, an aspect that made them, particularly Victorians to integrate Japanese styles in their art work (BBC 1).

Key People of this Historical Vast Period Japanese art has been embraced widely in Britain after Japan opened its country for international trade. Different people embrace Japanese art and integrated it widely to their own art work. This section describes various individuals who contributed highly to the integration of Japanese art work in England. Christopher Dresser (1834-1904) was a writer and designer who was a great promoter of Japanese design style. He started gathering Japanese objects after viewing them displayed in 1862 London International Exhibition.

Dresser established various import firms and promoted Japanese art via publications, lectures and exhibitions. Dresser in his work sought to express the design boldness, treatment breadth and execution simplicity, which he appreciated in Japanese art (Vam 1). Edward William Godwin (1833-1886) was a critic, designer and architect as well as a great Japanese design and art admirer. He portrayed his Japanese art’s appreciation in his wallpapers, textile designs, theatre and architecture. Godwin was specifically popular for his Anglo-Japanese furniture.

Godwin focused more on integrating the general principles of elegance and simplicity, which he admired in the Japan art. He however did not imitate the Japanese art, but integrated various aspects that he found relevant and applicable in his work (Vam 1). Arthur Lasenby Liberty (1843 -1917) was the creator of the popular Liberty’s shop situated in the London’s Regent Street. The store was established in 1975 and it focused on selling imported goods from East. This store played a great part in ensuring that Victorian embrace the Japanese artwork.

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