Gebyok, artistic wood carving Partition from Central Java

Gebyok is a boundary or partition between guess room (jogo satru) with the living room. Currently, gebyok are made variably in many sizes, which can be different with its standard size that assembled in the traditional house of Kudus. Gebyok is a boundary or partition between guess room (jogo satru) with the living room. Currently, gebyok are made variably in many sizes, which can be different with its standard size that assembled in the traditional house of Kudus.

The aim is to suit with the queries of the users which take its function as:

    Room decoration

    Boundary between area surrounding pools and the terrace of the house

    Partition between living room and rooms

    Background for relaxing room

 

 

 

 

 

Rattan Fact

Despite being a popular material for in- and out-door furniture most people know little about Rattan. On the following pages we give you some "background" information about Rattan.

          

Rattam in Asia

There are indications that rattan has been used since the early days of mankind for the production of furniture, though no exact historical data exists. It was originally exported from Indonesia, where it predominately grows, and eventually reached the shores of China. There, skilled craftsman built not only furniture but also baskets and other household items.

It is widely accepted that from China rattan then entered Japan where, within a short time, it became very popular too. It was the Japanese who honed the art of modern rattan furniture. Several production centers developed in Japan and rattan furniture was and remains highly popular in Japanese households.

Singapore, due to its proximity to Indonesia and the availability of skilled craftsmen from China, developed into South East Asia's rattan furniture production center. Until the late 1980s, Singapore was probably the biggest exporter of rattan furniture. Manufacturing came to a sudden end when Indonesia's government decided to stop exporting raw rattan. However, a lot of rattan is still traded and exported.

Rattan in America

It is thought that rattan entered America through colonists who brought wicker and basket chairs with them. Paul Frankl was one of the first major designers to use rattan in modern design. Frankl's book, "Space For Living," shows several rattan items, including a square-pretzel sofa. Because this design was extensively copied by other rattan manufacturers, it is often attributed to Frankl.

It was not unusual for rattan furniture to be used in the dining room or intermixed with upholstered furniture. A wide variety of furniture pieces were produced in the 1930s and 1940s, such as sofas, (both one-piece and sectional), sofa beds, chairs, curved couches, coffee tables, screens, desks, beds, dining tables and chairs, sideboards, servers, bookcases, nightstands, dressers and wall shelves.

Rattan for American produced furniture usually originates in the Philippines which, after Indonesia, is the 2nd biggest rattan exporter.

Rattan In Europe

The British and the Dutch, who held large colonies in South East Asia, were the early traders of rattan. Europe generally imported rattan as finished furniture from Singapore, Malaysia or Indonesia. Europe itself did not produce any significant rattan furniture despite its popularity.

Rattan furniture is still very popular in Europe and demand for well crafted and well designed pieces remains constantly high.

Rattan In Indonesia

In Indonesia, rattan is harvested in the jungles of Borneo, Sulawesi and Sumatra. Trading has been mainly concentrated on the island of Java. Over time Cirebon, a port city about 250 km east of Jakarta, Indonesia's capital city, established itself as the rattan trade center and subsequent rattan manufacturing center. It was probably Cirebon' s proximity to the island of Borneo that made it more favorable for rattan shipments than the bigger harbors of Jakarta and Surabaya.

Until 1987, almost all rattan was exported as a raw material to overseas markets and only a small portion of lower quality rattan remained in Cirebon. This was turned into furniture and house-hold products by small home-industries. During that time Indonesia only exported finished rattan goods, with relatively simple designs, on a small scale

When in 1987 Indonesia's government decided to stop exporting raw rattan, demand for finished rattan furniture soared and gave an impetus to Cirebon's rattan Industry. It was some while before larger factories were established and even today many rattan furniture exporters outsource their production to home industries and act only as intermediaries.

As a consequence, rattan furniture from Cirebon is sometimes considered to be inferior to rattan furniture from other regions in South East Asia, such as Thailand and the Philippines. Only few factories currently do their entire production in-house. Even fewer factories exist that employ their own designers, who are often highly skilled expatriates from all corners of the world.

Biology and Processing

Rattan is a member of the palm family ( the genus clamu). Several hundred species flourish in the rattan plantation of India, Southeast Asia, China and Indonesia. Rattan grows as a long slender stem, similar to a vine, up to 200 meters in length according to the species. Yet it maintains an almost uniform diameter throughout its length. It has an inner core and is not hollow like bamboo.

It is one of nature's strongest materials. The outer portion of the stem is extremely hard and durable, while the inner portion of the stem is softer and somewhat porous and not hollow like bamboo. It will not splinter or break, is extremely resilient and is ideal for the making of furniture.

There is no harvesting season for rattan as it grows year round. Harvesting can be difficult due to the topography and inaccessibility of the jungle. The harvested rattan is cut into 12-15 foot lengths and tied into large bundles to make the journey from the jungle to a processing area.

There the workers remove the bark and cut the lengths into thin strips to be used in cane seats and chair backs. The pithy interior is then cut into reed for use in wickerwork. Because rattan is extremely strong and can be fastened as securely as wood, the entire pole is used to make furniture. This looks like bamboo but is much stronger.

When heated with steam or a blowtorch, rattan becomes very pliable and can be bent into a variety of shapes without cracking.

Finished rattan furniture is as strong as steel and is nearly indestructible. It requires no particular maintenance and is extremely durable. Having been fumigated at the factory, it is also virtually immune against rodents, unlike bamboo which deteriorates relatively quickly.

Even if the condition of the furniture is in disrepair, most items can be restored to their original condition.

Comparison between Rattan and Bamboo

Bamboo is a member of the grass family, with stalks that grow up to 100 feet. Like rattan, bamboo has a tough outer coat that is stripped off to make cane, and is sometimes used as framing for wickerwork.

The stalks are also used to make furniture. However, because bamboo is hollow, it isn't as strong as its solid cousin. And, unlike rattan, the joints of the bamboo stalk are susceptible to moisture and need to be sealed.

How to care for your rattan furniture

Rattan and wicker frames require very little maintenance. Dusting with a soft damp cloth or vacuuming with a brush attachment will keep your furniture looking good. Spills should be taken care of immediately before they harden or stain, by wiping with a damp sponge and a little detergent.

Rattan poles can easily be touched up with premium wood stains, gloss lacquers or furniture touch up pens available from local home improvement centers.

suorce : www.balagi-rattan.com

Furniture History (Part 9) : Robert Adam style furniture 1728 -1792

Robert Adam (3 July 1728 . 3 March 1792) was a Scottish neoclassical architect, interior designer and furniture designer. He developed the "Adam Style", and his theory of "movement" in architecture, based on his studies of antiquity, by contrasting room sizes and decorative schemes.
He replaced the ornate curvature of the Chippendale designs with the straight lines of Roman columns. The chair back usually has the classical motif like the shape of a Greek lyre.
Furniture at this time was often made of mahogany and satinwood.

Furniture History (Part 8) : Thomas Chippendale style furniture 1718 - 1779

The designs of Thomas Chippendale cover a wide range of styles, from Rococo to Gothic and oriental style. He died in 1779 and his business in London was carried on by his son, also named Thomas.
Thomas Chippendale became the first cabinet-maker to publish a book of his designs in 1754, titled :
"The Gentlemen and Cabinet-Maker's Director"

Chippendale's designs were widely copied, and his "Gentleman and Cabinet-Maker's Director" was used heavily by other cabinet makers.
Many Chippendale pieces have cabriole legs, shell motifs, claw-and-ball foot.
Chippendale style pieces were crafted from mahogany, walnut, cherry or maple.

Chair

 

Table

Bed

Mirror

Jepara Carving is a High Quality Handmade Product

Visiting Indonesia not satisfied if you have not visited the area in the region precisely Jepara. You will see various kinds of furniture with the quality and value of high art. All beautiful furniture product are all done by hand. Wood became the main option, so that the furniture made in Jepara can survive tens of years. Terms of the price of furniture Jepara furniture made to compete with other nations.

Jepara is well-known as producer of the best handcrafted wooden carving furniture in Indonesia and became a cluster industry in wooden carving products for decades, its the one and only place in Indonesia you can find any kind of wooden carving products from furniture to statues and any other wooden handicraft all around Jepara.
The activity of Jepara Carving was started since the 7th century when Queen Shima Rule the Kalingga Kingdom in Jepara. Their main subject is making the Traditional Ship and Traditonal House. And then on the 16th century, when Jepara is lead by Queen Kalinyamat, there are so many improving and development on the carving design. It's because the original style of wooden carving get influence from Chinesse, India, Arab, and Europe style. So, the wooden carving have the change of it design.

On the 19th century, the development of Jepara Furniture Industry is become famous in many countries all over the world after R.A Kartini, the daughter of Jepara Head Residence introduce the wood carving products from Jepara to the Queen Wilhelmina on her marriage then R.A. Kartini also introduce Jepara wood carving through Oost en West organisation that help on the market place. Another way how R.A Kartini introduce the wood carving is by sending it to her friends in Holland.

On the 20th century when Soeharto become a President of Indonesia, Jepara Furniture Home Industry get a support from the President's Wife to get the investor to expand their business and as a result, many foreign investor interested to expand their business to Jepara. Then the Europe design is dominate the production of Jepara Carving Furniture up to now.

The characteristic of Jepara carving is very thick with a complex structure. Jepara carving product only use high quality legal materials in the production and supported by the very talented, profesional and well management local craftsmen.

The Gentleman and Cabinet-maker's Directo (Chapter 3) : Cabinets

By Thomas Chippendale

Plate XCI.
Is a plain Cabinet intended for Japan, the mouldings are all at large, and the sizes fixed to the design.
Chippendale cabinet

Plate XCII.(no 92)
Is a Cabinet with two different feet, and only one door; the other without the door fhews the defign of the infide; the mouldings are at large, and the dimenfions fixed to the Cabinet; the work that is upon the door, is to be carv'd neatly out of thin ftuff, and glued upon the pannel.
Chippendale cabinet

Plate XCIII.
Is a Chinese Cabinet with drawers in the middle part, and two different forts of doors at each end. The bottom drawer is intended to be all in one; the dimenfions and mouldings are all fixed to the defign. This Cabinet, finifhed according to the drawing, and by a good workman, will, I am confident, be very genteel.
Chippendale Chinese cabinet
 

Plate XCIV. (XCIIII)
Is a Gothic Cabinet without doors; the fretwork at the bottom of the cabinet is intended for a drawer; the upper forms a fort of Gothic arches, fupported by whole terms in the middle, and half-ones at the ends, and drawers betwixt. The fhaded parts BBB are intended to be open, and fretwork on the edge of the fhelves; the upper fretwork is cut through; the mouldings are at large on the right hand, and a fcale to take off the particulars.
Chippendale Chinese cabinet
 

Plate XCV.
A Gothic Cabinet upon term feet; the middle is a door with columns glued to it; the doors and columns open together, and intended for glafs. The ornaments and feftoons upon the glafs will look very well; the bottom drawer D is to be all in one, with two drawers above it; the other opening will hold Chinefe figures, or any thing elfe that may be thought agreeable. CBA are mouldings at large, with a fcale to take off the particulars. The whole, if juftly finifhed, will make a handfome and elegant piece of furniture.
Chippendale Gothic cabinet
 

The Gentleman and Cabinet-maker's Director (Chapter 2) : Bookcases

By Thomas Chippendale

Plate LX, LXI, LXII.
Are three Library Book-Cases of different forts, with their dimensions and mouldings all fixed to the designs. If you have occafion to alter their sizes, it would be well to keep as nigh the fame proportion as possible; otherwise the upper doors may have but an ill appearance. It would be needless to fay any thing more about them, as their forms are fo easy.
Those Book-cases are all intended for glass doors.














































Plate LXIII.
Plate LXIII is a library Book-Case with all its dimensions.

















Plate LXV.
Plate LXV is a library Book-Case. The dimensions are all fixed to the design.

Plate LXVII.
Plate LXVII is a library Book-Case, with its profile and scale.

















Plate LXIX.
Plate LXIX is a Library Book-Case in Perspective; the dimensions are all fixed to the design.
Chippendale bookcase

Plate LXXI.
Plate LXXI is a neat Gothic Library Book-Case, with a frofile and fcale. This book-case, made by an ingenious workman, will have the different effect.

Plate LXXIII.
Plate LXXIII is a Gothic Library Book-Case, no way inferior to the foregoingone; the profile and fcale is on the right hand.

















Plate LXXV.
Plate LXXV is a rich Gothic Library Book-Case, with Gothic columns fix'd upon the doors, to open with them; the doors are different, but may be made alike if required. This defign is perhaps one of the best of its kind, and would give me great pleafure to fee it executed, as I doubt not of its making an exceeding genteel and grand appearance; the upper doors are to be glazed.
Chippendale Gothic bookcase

The Gentleman and Cabinet-maker's Director (Chapter 1) : Beds

By Thomas Chippendale

Plate XXVII.
Is a Bed with its proper dimenfions, which needs but a little explanation. B is a different cornice to be covered with the fame as the curtains; aaa, c. is the lath with pullies fixed to draw the curtains up with.
Chippendale bed

Plate XXVIII.
Is a Gothic Bed with a drapery Curtain; the pofts are made into eight cants, and indented: B is one fourth part of the tefter; aa is the frame length as AA, whith muft go from corner to corner of the bedftead, to form the roof; this done, you have the corners or hips form'd. Divide the length AA as you fee it, and then raife two perpendiculars up to B, and divide that length into the fame number of divifions as AA below, that gives the fweep of the ribs ccc, c. The curtain is drawn up by one line on each fide, as you fee the pullies fixed at the corner. The other parts need no explanation.
Chippendale Gothic bed

Plate XXIX.
Is a Gothic Bed the same as the former, except the tefter, which is flat. This cornice will look extremely well, if properly work'd. A is the tefter lath; ccc, c. are the pullies where the lines are fixed; B is an ornament to be made of the lace or binding of the furniture.
Chippendale Gothic bed

Plate XXX.

Is a Canopy-Bed with drapery curtains and vallens, and head-board. The dimenfions are all fix'd to the defign. A is one-fourth of the tefter; C is a fmall oval dome in the infide, which begins at B; D is the outfide canopy; HH are frets or ornaments to decorate the infide; ee are the double laths; f is the bed-poft; g is the fide of the bedftead; kkk, c. is the place where the pullies are to be fixed to draw the curtains up with.
Chippendale bed

Plate XXXI.

Is a Dome-Bed, the fides of the dome and the cornice I have form'd into an elliptical form, to take off the feeming weight which a bed of this kind has. when the cornice runs ftraight. There are four dragons going up from each corner; the curtains and vallens are all in drapery. The head-board has an fmall Chinefe Temple, with a jofs, or Chinefe God; on each fide is a Chinese man at worfhip; the outfide of the dome is intended to be japan'd, and Mosaic work drawn upon it; the other ornaments to be gilt; but that is left to the will of thofe, who fhall pleafe to have it executed. AA is one quarter of the tefter, or plan with the ribs that are to form the dome; the diftance AA in the plan, is the diftance AA in the profile above, which divided in the manner you fee, will ferve to make all the other ribs. Take the diftance A bbb, C. and fet off at aa; its rife is taken from the middle of the cornice to the greateft height or pitch of the dome, and divided into the fame number of divifions; and then obferving where they interfect in the upper profile of the rib, or hip, make them interfect in the fame divifion as below, which method ferves to make all the reft.
Chippendale doom bed

Plate XXXII.

Is a Chinese Bed, the curtains and the vallens are tied up in drapery, the tefter is canted at each corner, which makes a fort of an elliptical ornament or arch, and if well executed will look very well.
F is a quarter of the tefter, with frets cut through, and the covering feen betwixt. G is one-fourth of the oval dome, and E is the profile of it. D is the outfide canopy, and the cant of the corner in the plan F is continued up the corner of the canopy, B is the lath and ornament below it; A is the profele of the cant of the corner of the tefter, which terminates into a point upon the poft; C is the bed-poft.
Chippendale Chinese bed