ADIBAH BINTI ROSBI

1719310

APPRECIATION OF ASIAN ART AND DESIGN (AAD 1131)

ASST. PROF. DR. ZUMAHIRAN KAMARUDDIN

SEMESTER 1 17/18

ASSIGNMENT 1

2 NOVEMBER 2017
EBELLISHMENT IN INDIAN AND CHINESE HOUSES

Literally, embellishment is a form of ornament and decoration. Webster's Revised

Unabridged Dictionary define embellishment as something that which adds beauty or

elegance. Meanwhile, A. M. Macdonald. Chambers define embellishment as an act of

embellishing or adorning which simply called ornament and decoration. A. M. Macdonald.

Chambers, (1972) On the whole understanding, embellishment is any decoration, ornament

or additional value to one particular part of things that enhance it value and aesthetical view.

To be compared, Indian houses is more variation in implementing house

embellishment. Indian houses usually use extremely lavish embelishment as decoration

especially the higher rank of people as thy practice caste system. Back then before 1750, the

character of Chinese interiors has been influenced strongly by the system of roof construction,

which is internally exposed and it at the same time act as a decoration. John F. Pile. (2005)

During this time, Chinese typical traditional houses mainly focus on the layout of the house

design (Refer Figure 1). Since ceilings were rarely used, the visible constructional grid is the

major element in the character of the interior space. John F. Pile. (2005) They designed

houses symmetrical about a central passage. Gardens open to the sky or known as courtyard

are placed between front and rear rooms is widely implemented in traditional Chinese houses.

Figure 1: Photograph of Chinese Roof Construction

 Source: depts.washington.edu

Chinese design ideas then were sometimes change after the fourtheenth century where

Islamicism was Introduced in China. John F. Pile. (2005) The next part of Chinese houses

embellishment start when they combined Chinese structural techniques with an overlay of

decoration using the abstract forms. The abstract design was influenced through the

Islamization process and also introduced calligraphic inscriptions of Muslim design. One of

decoration item applied abstract design from Islamization is rugs. On the early stages, the

chinese rugs does not last long because it is made of fragile material which is silk. During the

time of Ming dynasty, rugs was produced for wealthy citizens and start to survive as the result

of their increasing use of cotton fibers (Refer Figure 2). Before Islam introduced in China,

rugs usually incorporate symbolic religious element and Chinese believe like myth of the

dragon by depicting figure of the dragon. As the design evolved through Islamization, the

design interpretation become more universal even though they applied nature motifs before

like what can be seen from figure 2. Usage of more nature motifs like palnts to make it non-

figurative.

Figure 2: Ming dynasty rug.

Source: pinterest.com
On the whole, Chinese decoration and ornament basically focus on the structural stiffness that

depent on the joinery of harizontals and verticals obtained through carefully interlocked joints

at the connecting barackets.

Moving to Indian ornament that is well known in applying heavy and lavish

decoration. Ornament in Indian houses have greater deal of wodden-based architecture. One

of the famous ornament is Gujarat Ornamentation that produced by wood carving. It evolved

organically portraying a complex picture of various lifestyle under influences of different

rulers and religions. J. Thakkar. (2004) “The traditional art of wood carving of Gujarat

encompassed in itself – the historical profiles, cultural varieties, mythological fables, religious

beliefs, social sensitivities, inherited tradition, proficient techniques, man’s interpretation and

expression of nature and much much more”. (J. Thakkar, 2004) From the list of items that a

Gujarat Ornamentation covered, we can know that how valueable this wood-carved

ornamentation to Indian people as it hold story of important things in life; history, social,

religion and tradition. Hence, this meaningful ornament is one of the major art form of

Gujarat.
 Figure 3: Map of India showing Gujarat.

Source: Book of The Art of Wood Carving in Traditional Houses of Gujarat, a Focus on

Ornamentation

On the other side, the Gujarat ornamentation became an integral part of the life of

people of Gujarat whereby it convey a messege that among these there existed a community

solely dedicated to art pursuit. J. Thakkar. (2004) This community of artist is important as

they convey all those story of the citizen into awesome inspiring form.
 Figure 4: Balcony window facade

Source: Book of The Art of Wood Carving in Traditional Houses of Gujarat, a Focus on

Ornamentation

Indian ornamentation consisted of a wide variety of symbolic motifs involved from

flora to fauna, to the depiction of lagenda, myth and things happend around. “Gujarat though

not rich in structural timber, is unique and magnificent in the scale and quality of its wood

carving”. (J. Thakkar, 2004) The statment of the book author show great the wood carving

work in Gujarat is as can be view in figure 4. Tha figure show how detail and smooth the

carving work result. From the figure, we can see ho lavish the ornament is as Indian

embellishment is popular of its extremely lavish ornament and decoration.

 Half-timbering construction technique was applied to built the traditional houses in

Gujarat to resist earth quakes forceand this construction technique also used for multistoreyed

building. A research on wooden architecture of Gujarat made by V.S. Pramar proves that

Gujarat has borrowed this construction technique from West Asia through trade contact. The

other technique the borrowed was applied on at the corner of the door frame named saddle

piece or called todla or tolla. The upper part of tolla is carved in the form of bird (probably

peacock) or it can be makara (gargoyle)

Figure 5: todla or tolla

Source: Book of The Art of Wood Carving in Traditional Houses of Gujarat, a Focus on

Ornamentation

To summarize the writing, both Indian and Chinese have specific houses

embellishment. Chinese houses mainly use the house structure as the embellishment and they

have decorative items like rugs to enrich the decoration and embellishment in their houses.

Chinese usually apply grid pattern as they use the structure as an embellishment item for the

interiorpart of the house. Other than that, we can observe how religion influence the design of

an embellishment as it play big role that guide an artist or designer in designing. Every
embellishment usually hold story or even stories and secret of a particular culture. Doubtless,

every embellishment is precious to the citizen and and the culture. Moreover, the

embellishment f a house not only concern on its aesthetical value but it was designed as what

it is to ensure it is functioning well to handle and adapt the physical obstacle and protecting

the safety of the occupant of the house. All these specification of how an embellishment

evolve give lesson to Muslims designer and crafter to give attention on how an art work like

an embellishment functioning towards culture, social, religion, safety, and self attachment to

the history and culture that may relate to ones belief. Hence, as a Muslims designer or crafter,

we should try to understand a particular culture and apply Islamic teaching from al-Quran and

As-Sunnah (as highlighted in surah Al-Maidah verse 16) in any artwork to give benefit to

everyone and attain Allah pleasure.

“By which Allah guides those who pursue his pleasure to the ways of peace and brings them

out from darknesses into the light, by His permission, and guides them to straight path”

[Al-Maidah 5:16]
REFERENCE

Embellishment Definitions retrived October 30,2017 from http://www.finedictionary.com

J. Thakkar. (2004). Naqsh: The Art of Wood Carving in Traditional Houses of Gujarat, a
Focus on Ornamentation. Research Cell.

John F. Pile. (2005). A History of Interior Design. Laurence King Publishing.

V.S. Pramar. (1989). Haveli: Wooden Houses & Mansions of Gujarat. University of
Washington Press. ISBN 978-0-295-96818-6