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In the Azuchi-Momoyama period not only sukiya style but the contrasting shoin-zukuri (書院造) of residences of the warrior class developed. While sukiya was a small space, simple and austere, shoin-zukuri style was that of large, magnificent reception areas, the setting for the pomp and ceremony of the feudal lords.
A tea room may have a floor area as small as 1.75 tatami mats (one full tatami mat for the guests plus a tatami mat called a daime (台目), about 3/4 the length of a full tatami mat, for the portable brazier (furo) or sunken hearth (ro) to be situated and the host to sit and prepare the tea); or as large as 10 tatami mats or more; 4.5 mats is ...
Some tea rooms may have a special type of built-in recessed mizuya cabinet called mizuya dōko (水屋洞庫). It is built into the wall of the tea room, at floor level, on the side where the host's mat is situated, and has sliding doors so that it can be closed from view of the guests.
Construction of traditional wooden Chinese furniture is based primarily of solid wood pieces connected solely using woodworking joints, and rarely using glue or metallic nails. The reason was that the nails and glues used did not stand up well to the vastly fluctuating temperatures and humid weather conditions in most of Central and Southeast ...
The basic idea is to capture a 'floating' panel within a sturdy frame, as opposed to techniques used in making a slab solid wood cabinet door or drawer front, the door is constructed of several solid wood pieces running in a vertical or horizontal direction [1] with exposed endgrains. Usually, the panel is not glued to the frame but is left to ...
Thomas Chippendale's mahogany tea tables and china cabinets, especially, were embellished with fretwork glazing and railings, c. 1753–70, but sober homages to early Qing scholars' furnishings were also naturalized, as the tang evolved into a mid-Georgian side table and squared slat-back armchairs suited English gentlemen as well as Chinese ...
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