Ornament based on natural objects more or less realistically depicted probably had a magical connotation; animals, for instance, are intended to promote success in hunting. Even the most abstract and geometric of motifs have a symbolic meaning, which can be interpreted by those who know the key, and this meaning is almost always magical. There are few objects or motifs that do not have some meaning, and the making of objects that have no other purpose than the pleasure taken by their creator in executing them is very rare. Origins in Western antiquity
Excavations in ancient Mesopotamia and Egypt suggest that the earliest equivalent of furniture consisted of platforms of bricks, which served as chairs, tables, and beds, no doubt spread with textiles or animal skins. There is also good reason to think that walls were painted and, in the case of more important buildings, decorated with mural paintings. Movable furniture first occurred only in the most important residences, such as palaces, and in public buildings. Furniture is of considerable antiquity, though it is known, for the most part, only from wall paintings, sculpture, and vase paintings. Some furniture survives from ancient Egyptian tombs from about 3000 bc in the form of beds, chairs, tables, and storage chests. It is in such furniture that decoration is first seen—in the leg of the bull and the lion employed as a furniture support, especially for beds. It is from this point in the ancient past that the development of interior design can be traced historically. Interior design in the West Ancient world Egypt
In contrast with the monumental tombs and temples of stone, many of which remained intact to the 20th century, Egyptian houses were built of perishable materials, and, therefore, few remains have survived. Sun-dried or kiln-burnt mud bricks were used for the walls; floors consisted of beaten earth, and a thin coat of smooth mud plaster was often used as an internal wall finish.
In its simplest form the applied decoration was a plain white or coloured wash, but, in larger houses, patterns in varying degrees of elaboration were painted on the plaster. Rush matting was hung across most internal door openings and used as screening inside the small, high windows. It is probable that decorative wall hangings and floor coverings were made of rushes or palmetto woven into a pattern, since painted representations of such hangings have survived from 5th-dynasty tombs at Saqqārah. In the workmen’s village of Kahun, built in the 12th dynasty (c. 1900 bc), some of the more well-to-do houses contained rooms decorated with brown-painted skirting, one foot (0.3 metre) high, then a four-foot (1.2-metre) dado (the lower portion of wall that is decorated differently from that above it) striped vertically in red, black, and white. Above this the walls were buff coloured with brightly painted decorative panels in the more important rooms, and ceilings were also often of painted wood. It may be assumed that the lavish tomb decoration of all periods was basically derived from the domestic interiors of their time.
Many Egyptian decorative motifs are stylized from natural forms associated with the life-giving Nile. The lotus bud and flower, the papyrus, and the palm appear constantly with borders of checkered patterns or coiled, ropelike spirals, giving an air of space and elegance. The palace of the pharaoh Akhenaton and other large houses at Tell el-Amarna (c. 1365 bc) reflect a tendency toward naturalism in their ornamentations. Akhenaton, his queen Nefertiti, and their daughters are frequently represented, usually grouped affectionately together. Other painted panels show animals and birds with twining borders of vegetation. Molded, coloured, glazed ware was introduced to give a brilliant inlay of grapes, poppies, cornflowers, and daisies, all in natural colours. The use of square ceramic tiles as a wall surfacing was uncommon but not unknown. Primary colours were the most common, a brilliant yellow being among the most frequently used, but terra-cotta, gray, black, and white were all added to give contrast. Even floors were delicately painted to represent gardens or pools. One of these at Tell el-Amarna shows a rectangular tank with swimming fish and waterfowl, bordered with lotus and papyrus marshland, with an outer band showing more birds and young cattle in the meadows beyond. Furniture ranged from the simplest benches and ceramic pots to beautifully designed chairs, small tables, and beds in the homes of the rich, where many vases, urns, ceramic, wood, and metal utensils evince a fastidious, luxurious way of life.
lotuses; grapesGlazed faience frieze representing lotuses and grapes, Tall al-Yahūdiyyah, Egypt, c. 1184–53 bce; in the Brooklyn Museum, New York.Photograph by Katie Chao. Brooklyn Museum, New York, Charles Edwin Wilbour Fund, 55.182a-i
Mesopotamia
Very little furniture survives from ancient Mesopotamia, principally because climatic conditions are not conducive to the preservation of wood. What is known has been learned principally from reliefs and cylinder seals. Furniture mounts of bronze and ivory have been excavated, however, and fragments of furniture were uncovered in the royal tombs at the city of Ur, in ancient Sumer. In quality of craftsmanship and decoration, Mesopotamian furniture was comparable to that of Egypt.
The mud-brick houses of the Sumerian and Old Babylonian periods in the Tigris-Euphrates valley resembled their modern counterparts in their rectangular outline and the groupings of rooms about a central court, which was either roofed or open. In most houses, decoration probably was confined to a wide black or dark-coloured skirting painted in diluted pitch with a band of some lighter colour above. Door frames were sometimes painted red, probably as a protection against evil influences, and where doors were used they may have been of palm wood. The poorer houses were simply whitewashed.
In the most elaborate Assyrian palaces the main decorative features were panels of alabaster and limestone carved in relief, the principal subjects being hunting, ceremonial, and war, as in the palace of the warrior king Sargon II at Khorsabad (705 bc). Panels and friezes of ceramic tiles in vivid colours decorated the walls inside and out, and it is evident that this brilliance of colour was a feature of much Assyrian and Babylonian decoration (see photograph). Carved stone slabs were used as flooring, with typical Mesopotamian rosette and palmette (stylized palm leaf) borders. Occasionally, Egyptian lotus motifs also appear.
Brilliantly coloured glazed brick decoration, facade of the throne room, palace of Nebuchadrezzar II, Babylon, c. 600 bc.Encyclopædia Britannica, Inc. with permission of the Staatliche Museum zu Berlin
Vigorous and warlike figures characterize both Assyrian and Babylonian work, and the standard of execution was extremely high. Naturalistic detail was often engraved on the surface of the figures and animals, which themselves were in relief. After the Persian conquest (539–331 bc) this vigour declined. The palaces built by the Persian kings Darius and Xerxes I at Persepolis show a lighter use of animal figures. Glazed and enamelled tiles were used on the walls, while timber roof beams and ceilings were painted in vivid colours. Crete
The most important buildings of the pre-Hellenic Minoan and Mycenaean periods were the citadel complexes, housing the entire court of the ruler. The palace of King Minos at Knossos in Crete (c. 1700–1400 bc) gives evidence of a small but sophisticated society with a taste for luxury and entertainment and a corresponding skill in applied decoration. Frescoes (paintings executed with water soluble pigments on wet plaster) and some panels of painted relief decorated the walls of living rooms and ceremonial rooms, which were grouped asymmetrically round a series of courtyards (see photograph). Many aspects of Cretan life were depicted, the recurring theme being the acrobatic bullfighting on which a religious cult was probably centred. Even the backgrounds of friezes and panels, which depicted many-coloured painted birds, animals, and flowers, were given an effect of movement, being divided into light and dark areas. Plain dadoes and borders provided an effective foil and gave articulation to the interiors.