Every now and again a truly sumptuous book comes along: a book of lush photography and extravagant presentation that quickly renders the reviewer into submission. How is one to put into prose the aesthetic experience? How churlish it would be to find fault! This is such a book.
The book has 451 high quality colour photographs generously displayed on large format pages (12 inches high by 11 inches deep) – maybe a tad too deep for comfort on standard shelves. It is a book more suited for the library coffee table; a table such as that from the Philippines illustrated on page 211: the “library table of narra wood ably supported by a pair of turned and fluted stretchers”; possibly even the nineteenth century Korean cabinet that shelves classic literary works “together with calligraphy brushes and other scholarly items” on page 242. The latter shows the books (i.e. pages tied with tapes) and stacked, which might be a kindness to this book, although the binding does seem robust.
The subject‐matter is crafted domestic furniture in wood: tables, chests, beds, cupboards, tables, screens – and doors, ones with richly painted designs. No plastic, metal, post‐modernist or minimalist furniture here! The area covered is Asia, or more precisely, India, Indonesia, Thailand, China, Tibet, Philippines, Korea and Japan. Each country has its own author and chapter, with a prose introduction giving an account of the development of furniture in the context of the geographical and historical background. Each introduction is followed by full colour photographs of items of furniture with brief captions. In some countries there is a regional sub‐division, e.g. Bengal, Madhya Pradesh and Rajasthan in India; Sumatra and Java in Indonesia; Cholla in SW Korea. Two small chapters conclude the work: one of photographs of both the bark and grained veneers of the woods used; and the other of photos of traditional wood‐working tools. There are details of the several authors, the locations of the furniture featured (private collections, antique dealers and museums around the world), and a brief index.
The point is made that much Asian furniture is influenced by European models, both from the early explorers and merchant‐adventurers, but mostly from the European colonial periods when the development of commerce encouraged the Europeans to bring their own furniture with them, or, in the case of the larger items, to get local craftsmen to make them. Each region developed individual styles. In Indonesia, for example, there was the influence from the Hindu Javanese kingdom, seventh to the sixteenth century; the Muslim kingdoms form the sixteenth to the nineteenth centuries, and the European influence from the same period. One reason for the distinctive regional variations was due to the native woods that were available – the aromatic woods in the case of Indonesia; bamboo and nipa in Thailand; though other influences noted are the role of furniture as a status symbol; the role of the palace, monastery, and private house; function, such as the scroll cabinets of China or the howdas of Thailand (for riding on elephants). One particular function I warmed to is that of using the arms of chairs on which to place books, drinks, and other items: the sillon fraile or “friar's chair” of the Philippines which have wide, flat arms (originally a fixture in the balcony of the parish convento or manse). Philippine furniture, generally, seems to have a strong personal, domestic flavour, with a stress on living quarters. Japan, too, has furniture influenced by “worlds within the home”; such as the stepped cupboards which serve as both storage and a staircase – a boon in small houses. In Tibet, the Buddhist religious influence is strong with “education through iconography”. The multi‐drawer painted cabinets of the Orient are also decoratively striking, as well as being highly functional. From these distinctive designs, furniture in Asia developed into a major decorative art, and individual pieces became works of art themselves. This furniture is now treasured by collectors world‐wide.
The title words, “directory” and “sourcebook” puzzled me a little. This book does contain illustrations of actual surviving examples of furniture and the locations of all are duly identified, so these words have validity, if used a little strangely. An “illustrated catalogue” might be nearer the mark, or “an illustrated guide”.
Although a sumptuous book, in places innovative design features are overdone. The awkward size has been mentioned. A large page is important, but a standard A4 would have been adequate and made for easier handling. Particularly weird and unhelpful is the placing of page numbers and running heads midway up alternate pages (usually verso, but not invariably) on the inside margins. This is dumb! Pages numbers need to be clearly seen. The fact that the running heads are miniscule makes matters worse; finding where you are in the book is a pain.
On opening this book, however, such blemishes fade against the richness of its contents. The first image, of an Indian woman opening the “Ornately embellished brass doors of the Rambah palace, Jaipur, [which is] open invitingly for visitors” does, indeed, tempt us inside. The exotic designs, the use of lacquer, the detail of the decoration, and the craftsmanship of the furniture; the glorious colour photographs and the lively supporting texts, all combine to make this book a memorable work of art. And rarely can such a richly illustrated book be so reasonably priced! It is a bargain well worth investment. Furniture is of interest to everyone. This is a good opportunity to stretch horizons!
