Lighting plays an important role in creating the right atmosphere around the table. Our collection rattan pendant lamps above the dining table is a popular choice because it brings warmth, texture, and a natural look to the space.

The woven structure of rattan softens the light and creates a gentle play of shadows on the walls and ceiling. But choosing the right lamp is about more than just style. The size, height, and placement of the lamp all influence how the space feels.

In this guide, we’ll show you how to choose the right rattan pendant light for your dining table so that it looks balanced and feels comfortable in the room.

Why a rattan pendant lamp works so well above a dining table

Rattan has a naturally warm and relaxed appearance. Because it’s made from a natural material, it pairs beautifully with wood, linen, ceramics, and other organic textures.

When light shines through the woven structure, the result is soft and atmospheric. Instead of harsh direct light, you get a warm glow that feels inviting and calm — exactly the kind of lighting you want around a dining table.

That’s why rattan pendant lighting has become so popular in interiors ranging from Scandinavian and Japandi to bohemian and modern spaces.

A well-chosen rattan pendant lamp can also act as a focal point in the room, especially when the lamp has a strong shape or a larger diameter.

Choosing the right size rattan pendant lamp

One of the most important aspects of dining table lighting is proportion. A lamp that is too small can disappear visually, while a lamp that is too large can dominate the space.

A common rule used by interior designers is that the diameter of the lamp should be roughly half to two-thirds of the width of the table.

As a rough guideline:

• Dining table 140–160 cm → lamp around 50–70 cm diameter
• Dining table 180–200 cm → lamp around 70–90 cm diameter
• Large dining table 220 cm or more → lamp 90 cm or larger

For a medium-sized dining table, an open woven lamp such as the Maze rattan pendant lamp works beautifully. Its open structure keeps the design light and airy while still adding character.

If you have a large dining table or high ceilings, a statement piece such as the Stella pendant lamp can become the visual centre of the room.

How high should a pendant lamp hang above a dining table?

The height of the lamp is just as important as its size.

Most lighting experts recommend hanging a pendant lamp around 60 to 75 cm above the table surface.

At this height:

• the table is well illuminated
• the lamp does not block the view across the table
• the lighting feels intimate and comfortable

In rooms with higher ceilings you can hang the lamp slightly higher, but it should still visually anchor the dining area.

One large rattan pendant or multiple lamps?

For smaller or round tables, one larger rattan hanging lamp often works best. A single lamp can create a strong focal point above the table.

For longer dining tables, many people prefer using two or three pendant lights in a row. This distributes the light more evenly and creates a beautiful rhythm above the table.

Organic shapes such as the lamps from the Wave collection work particularly well when used in pairs, as their soft forms create a calm and balanced composition.

Rattan pendant lamps in different interior styles

One of the reasons rattan lighting is so versatile is that it fits effortlessly into many interior styles.

Scandinavian interiors
Rattan adds warmth and texture to minimalist spaces with light wood and neutral colours.

Japandi interiors
The combination of Scandinavian simplicity and Japanese calm works perfectly with natural materials like rattan.

Bohemian interiors
In more eclectic spaces, rattan lighting enhances the relaxed and layered look created by textiles, plants, and handmade objects.

Discover rattan pendant lamps from Raw Materials

At Raw Materials we have been working with rattan for many years. What attracts us to the material is not only its natural beauty, but also the craftsmanship behind it.

Our lamps are handmade by artisans in Indonesia, where rattan weaving has been passed down through generations. Each piece is woven by hand, which means every lamp has its own subtle character.

From sculptural statement lamps to more subtle designs, the collection offers a variety of shapes and sizes that work beautifully above a dining table.

Explore the full collection of rattan pendant lamps from Raw Materials:
https://rawmaterials.eu/materials/rattan/

Final thoughts

A rattan pendant light above the dining table does more than illuminate the space. It creates atmosphere and becomes part of the character of the room.

By choosing the right size, height, and shape, the lamp naturally draws the eye and brings warmth to the dining area.

And perhaps that is the real appeal of rattan: it feels natural, timeless, and quietly unique.

Het bericht The right height above your table verscheen eerst op Raw Materials.

At Raw Materials, we have been fans of rattan for years. Not only because of its beautiful appearance, but also because of the story behind the material. Our rattan lamps are handmade by skilled artisans in Indonesia. Each piece is unique and carries a part of that craftsmanship.

View our full collection of rattan lamps here:
https://rawmaterials.eu/materials/rattan/

Why rattan lamps create such a special atmosphere

Anyone who has ever seen a rattan lamp when it’s turned on immediately understands why they are so loved. The woven material allows the light to pass through softly, creating a subtle play of shadows on the walls and ceiling.

That effect instantly makes a space feel warmer and more inviting.

Rattan also has a calm, natural look. It combines effortlessly with other materials such as wood, linen, or ceramic. This makes a rattan lamp suitable for many different interior styles—from Scandinavian and modern to bohemian or rustic.

And perhaps that is the strength of rattan: it always feels natural, without ever becoming boring.

A craft that is passed down from generation to generation

The rattan lamps from Raw Materials are made in Indonesia, where weaving rattan has been an important craft for centuries.

Many of the artisans who produce our lamps learned the craft from their parents or grandparents. Working with rattan requires patience and experience. Each stem must be bent and woven in the right way to eventually create a strong and beautiful shape.

Because everything is done by hand, no lamp is exactly the same. Small variations in the weaving give each lamp its own character.

That is precisely what makes handmade products so special.

Our travels to the places where the lamps are made

At Raw Materials, it is important for us to know where our products come from. That is why we regularly travel to the places where we source our products.

During these trips, we visit the ateliers and workshops where our lamps are made. We speak with the makers, see how the products are created, and build relationships with the companies we work with.

For us, it is essential to work with partners who treat their people fairly and provide good working conditions. By visiting regularly ourselves, we can truly ensure that this is the case.

It also gives us the opportunity to discover new designs and work together with the makers on new collections.

The rattan lamp collection from Raw Materials

Within our rattan collection, you will find different types of lamps, each with its own look.

Maze collection

The Maze lamps have an open structure where the weaving is clearly visible. When light shines through this structure, beautiful patterns appear in the space.

These types of lamps work particularly well as a statement piece above a dining table or in a living room with high ceilings.

Wave collection

The Wave collection has a softer and more organic shape. The flowing lines give the lamp a calm look that fits well in a minimalist or Scandinavian interior.

Because of the natural color of the rattan, the lamp remains subtly present while still adding character to the space.

Luna collection

The Luna lamps have round, sculptural shapes that create a playful effect. They combine beautifully with other natural materials and bring an airy atmosphere to a space.

Stella hanging lamp

The Stella pendant lamp is one of those lamps that immediately stands out. Its wide shape and strong design quickly make it a focal point in a room.

It works particularly well above a dining table.

Where rattan lamps look their best

Rattan lamps are surprisingly versatile and can be used in different spaces.

Above the dining table
A large rattan pendant lamp above the dining table creates a warm and inviting atmosphere. The filtered light instantly makes dinners feel more cozy.

In the living room
In the living room, a rattan lamp can be a real eye-catcher. Especially in spaces with high ceilings, a larger lamp works very well.

In the bedroom
The soft light that shines through the weaving also makes rattan lamps suitable for bedrooms. They create a calm and relaxing atmosphere.

A material that never goes out of style

Although interior trends continue to change, rattan never really seems to disappear. That is probably because the material is so closely connected to nature.

It feels warm, honest, and timeless.

In a modern interior, rattan creates a soft contrast with clean lines. In a bohemian interior, it enhances the natural atmosphere.

That versatility makes rattan a material you can enjoy in your home for many years.

More than just a lamp

When you bring a rattan lamp from Raw Materials into your home, you are actually bringing in much more than just lighting.

You are bringing a product that:

• is handmade
• is made from natural materials
• represents a traditional craft
• is connected to the makers in Indonesia

Each lamp carries a small part of that story with it.

Discover our rattan collection

Are you looking for a lamp that adds warmth and character to your interior?

Then take a look at our rattan collection and discover the different shapes, sizes, and designs. From subtle lamps to real statement pieces—each lamp is handmade and brings a touch of traditional craftsmanship into your home.

View all rattan lamps from Raw Materials here:
https://rawmaterials.eu/materials/rattan/

Het bericht Rattan lamps – craftsmanship verscheen eerst op Raw Materials.

Our buyers travel the world to find furniture and accessories to enhance your home. With each journey, they bring back items with an interesting background story.

In this story, we want to tell you more about our original Bullock cart display cabinets. Once the backbone of India’s transport system, bullock carts have long symbolized rural life and urban connectivity, dating back to the Indus Valley Civilization. Read more below.

Essential

Bullock carts have played a crucial role in transporting agricultural and domestic goods in Indian villages. Adapted to different regions and needs, they evolved over time, but the rise of motorized vehicles gradually replaced them in daily life.

Design and functionality

A bullock cart, also known as an ox cart, can have either two or four wheels and is pulled by oxen. Used for centuries worldwide, they remain in use where modern vehicles are impractical or too expensive.

Traditional use in farming and trade

Primarily used for carrying goods, these carts are pulled by one or more oxen and attached via chains or ropes to yokes. The driver and passengers sit at the front, while goods—often agrarian products or lumber—are loaded at the back.

From utility to unique furniture

Antique bullock carts are now repurposed into stunning furniture pieces, such as coffee tables and bookshelves. Our latest design features a reclaimed bullock cart turned into a stylish bookshelf with a lime-wash finish. Retaining its original brass, metal, and copper details, it stands as a true heritage collector’s item!

All our unique items are available on our B2B portal at: b2b.rawmaterials.eu. Please note that you need a login to browse the B2B website and to see all the prices. Please request a login by using the button below.

Het bericht Bullock cart display cabinets verscheen eerst op Raw Materials.

Firstly I would like to thank all of you who are buying unique items. However current & past situations are raising my concerns where the future for unique is taking us. For past years many of us have been struggling to make ends meet. Economically it has been tough. There is no confidence in politics, inflation is high, gas prices, rent & employee costs are considerably up. In general, the cost of living has gone up for everyone and consumers are spending less.

Old stock has been sold to pay the bills, without buying new stock. Customers entering a shop did not see anything new & walked out. This supported the downfall in turnover. A popular economist solution would be to invest against this cycle…

Keep on buying fresh & new goods, make your shop beautiful, give the customer a good experience when they do walk into your shop. Realistically this could work for a few months or seasonally but this downfall is lasting already for last 3 years. Above all online shopping is taking over & growing day by day. Buying famous brand names which attracts customers is for sure not the answer. Those brand names are the most visible and price competitive in the online market.

Solution

My suggestion is, to buy more unique items! You will stand out from the rest, there is no competition & the customers get their positive experience in your shop. Just mix in the old with the new. Even a modern home decorated with only brand names, looks better and special with that unique cabinet. Unique items tell their own story & stand out from the rest. House guests will acknowledge those items, a lot more then those mass produced items.

Importance

My request is also to think a bit more deep about the importance of uniqueness. If we stop buying unique items, we break an age old cycle. We as wholesalers will stop buying them as well, due to no sales. Local wholesalers in faraway countries stop collecting them. The runners, whom are going to the small villages stop buying and so it all falls apart.

Soon on my visits what I get offered is less quality and what is available is selected and demanding high-end prices. As a result, we have to raise our prices and for sure I do not want to be a gallery, nor a high-end antique dealer. The short end of it is, no more heritage items, no more stories, no more cultural exchanges, and next step is to close all our museums.

New year’s resolution

At Raw Materials we want to continue to offer clients good & special unique pieces for affordable prices in 2025. This is my personal new year’s resolution! We will be investing against the economical cycle.

A container full of nice unique items just arrived in our warehouse. End of Januari a new container comes and mid Feb again and March and April. Every few weeks we will be posting online new unique items. If you want that unique buying experience, do visit our warehouse.

For those who want to stand out and mix in the old with the new and offer unique items to their customers and improve their turnover: We are ready!

Unique items for sale

All our unique items are available on our B2B portal at: b2b.rawmaterials.eu. Please note that you need a login to browse the B2B website and to see all the prices. Please request a login by using the button below.

Het bericht The importance of uniqueness verscheen eerst op Raw Materials.

Our buyers travel the world to find furniture and accessories to enhance your home. With each journey, they bring back items with an interesting background story.

In this month’s ‘Story Of..’, we want to tell you more about our Grinding Bowls. Read more below.

Origin

Fabulously decorative and useful Indian grinding bowl, originally used to grind flour to make traditional Indian breads such as naan or chapatti. Superb as a coffee table, magazine tray, or indoor planter.

The grinding table or Chakki is made from wood with hand-carved detailing around the sides. It will bring an ethnic and authentic touch to your interior.

The word Chakki derives from traditional Indian grinding wheat between two stone plates. This is still used in some parts of rural India.

These tables are commonplace in Indian village households and are used for grinding spices and flour.

History

In the old times, almost every house in several parts of India had a flour mill or an atta chakki. Grains like wheat, maize, and pearl millet would be ground fresh each day. All women in the family would take part in this daily ritual to ensure that healthy rotis could be served to everyone. The graining was fixed on a slightly raised platform in an airy but windowless room at the back of the house.

How does a flour mill work?

The top stone had a rectangular piece of wood (galua) fixed at the center in which a metal rod (attached to the stone at the bottom) was adjusted to provide the pivot for stones to move over each other. Grains would be poured from the top and a fancy wood-carved handle — placed on the top — was used to turn the top stone clockwise to make flour.

The bigger the stone, the faster the process and the finer the flour. However, the fact that it has to be turned by hand is a limiting factor. Usually, the diameter of the stone is less than the length of a person’s arm. Two persons can sit facing each other and move the chakki handle together to ease the work. The processed atta falls off the lower stone into the bhir — a circular receptacle below the chakki, which is made of mud and coated with multani mitti (Fuller’s earth).

The flour prepared through this method is healthier, unlike machine-ground flour and it does not heat up during the grinding process.

Small grinding tables – the usage

A smaller version of the chakki, which could be moved around the house, is called chakula and is used to prepare daliya from a variety of grains and for splitting the whole pulse into the dal. The smaller diameter of the stones ensured the grain was only broken, not turned to flour. It was religiously washed before the fasting season to grind kuttu (buckwheat) and sendha namak (Himalayan pink salt).

These semi-processed products are part of Uttar Pradesh’s cuisine. While wheat daliya is quite common, daliya can also be prepared from makki (maize), bajra (pearl millet), and jowar (sorghum).

The chakula can be adjusted to process pulses so that each grain breaks into two pieces, but the manual process is crude and sometimes the seed shatters into many pieces, and sometimes, it passes through unharmed. It all depends on the expertise of the person who adjusts the chakula and it is not good to get too much of either.

The shattered pieces are called chuni and have pieces of the seed coats which add to the nutrition. Chuni is soaked in water and then wheat flour is added to make it into a dough from which nutritious rotis or crisp parathas can be prepared (see recipe). Just like split pulses, chuni can be stored to be used later.

The home-processed dals are unpolished and though unpolished dals are easily available in the market now at a premium price, these are processed by machines only.

Health benefits

Daliya and chuni provide healthy choices along with some wholesome exercise. Working the chakki is often prescribed to pregnant women to ease childbirth. Chakki chalanasana is part of yoga with improves spine health and reduces backache. It also helps reduce belly fat and is a good alternative to going to the gym.

Unfortunately, chakki has now become synonymous with serving a jail term as prisoners are mandated to make flour.

Grinders for sale

We have obtained several old original grinders which are now up for sale.

See this selection.

Also we have two grinders in our permanent collection, see below.

Het bericht Indian Grinding Bowls (Chakki) verscheen eerst op Raw Materials.

Our buyers travel the world to find furniture and accessories to enhance your home. With each journey, they bring back items with an interesting background story.

In this month’s ‘Story Of..’, we want to tell you more about our Martavan jars. Read more below.

History

The Mon people of Lower Burma established states in Pegu and Martaban. In Martaban, they established large pottery kilns to produce storage vessels such as this example which were used across Southeast Asia and even India and the Middle East to transport commodities such as dried fish, oil, grains, dried chills, and dried mango. It is likely that the jars were used again and again and were strapped into the holds of small trading vessels in the manner that the Romans transported wine and olive oil in amphorae around the Roman empire, or much like containers are used and re-used to ship goods on containers ships today.

Martaban jar is a generic term for large heavy stoneware jars shipped out of the port of Martaban. It doesn’t identify the origin where these jars were made as many jars exported from the port were made in China, Thailand, and Vietnam instead of from local kilns, which the different materials and styling could distinguish. During the Ming dynasty, this busy port was under the jurisdiction of Thailand. These jars were documented from the 14th century and the export lasted until Martaban ceased to be an important international port after the Burmese attack in 1613.

According to Fraser-Lu (1994, p. 201), Martaban jars were first mentioned in 1350 by the Moroccan traveler Ibn Battuta, who visited the port of Martaban.

Due to this trade, jars produced in Martaban were found in Thailand, Indonesia, the Philippines, Borneo, and India.

When not used for transporting goods, the jars were then re-purposed locally as storage jars often for rice or drinking water.

The various designs and functions of martaban jars demonstrate the dynamism that emerged with the expansion of maritime voyages during the early modern period of Southeast Asia.

Colonial times

Through 17th-century shipwrecks, it was discovered that martaban jars were a major trade for the Dutch East India Company (VOC) as they could effectively store items such as salted pork, opium, ginger, wine, gunpowder, and other items while being shipped from Coromandel to Batavia.

Differences in origin

The origins of martaban jars can be determined by their features such as their glaze, colour, decorations, size, and lugs

The general description for martaban jars is “large, brown to almost black, glazed jars”. They usually have broad shoulders and “thick-lipped narrow mouths”. The glaze conventionally has a “poured effect” that results in the natural clay at the bottom remaining exposed

While most of the martaban jars in the collection of museums were made in Guangdong province, southern China, the color and chemical composition of glazes reveal the exchanges in pottery traditions in Asia. The technique of glazing the jars is said to have been introduced to Burma by Dvavarati traditions, as confirmed through an examination of glazed pottery in U-Thong, Thailand. Other styles of glazing include the ash-colored natural glaze, known in Japan as “dragonfly eye”, found in jars from the Tang dynasty (618-907), leather-textured glazes claimed to be of Manchu origin under the Yuan dynasty (1279-1368) and lead glaze which was a predominant style in Burma.

Other cultures

These jars do not just have great commercial and aesthetic value, they have also become imbued with memories of ancestry, love, life, and death as heirloom items (peska or pusaka) to indigenous cultures in Borneo, otherwise known today as East Malaysia, Indonesia and Brunei

An example of a martaban jar that demonstrates such hybrid qualities would be a large storage jar.

This particular jar once belonged to Lawai Jau, the chief of Kenyah people in Sarawak. In terms of shape and the glaze’s “poured effect”, this jar remains conventional. However, its exquisite relief of tigers and blossoms as well as handles in the shape of tigers are characteristic of the Ming dynasty period. Due to its light brown glaze, this type of jar is more likely to be made in Go-sanh, Vietnam

In Borneo, large amounts of jars were brought into the region through Santubong, a port along the Sarawak River since the Song dynasty. By the 14th century, the Kelabit would have access to jars from China, Vietnam and Thailand.

Among Dayak groups in Borneo, there are two types of pusaka jars. The first are ordinary heirloom jars which are used for storage purposes, brewing rice beer and marriage payment. The second are extraordinary heirloom jars which are deemed to be sacred, mostly reserved as ossuaries or trophies from headhunting. The extraordinary heirloom jars are a reflection of the incredible dynamism that is consequent of maritime trade across the Indian Ocean in the early modern era. Their sacrality is said to originate from indigenous mythology of being  ‘conceived by dragons, have fallen from the sky or be born as a Man at the heart of the forest’

Examples

Beautiful examples of the Martaban jar locally made that were cherished by ancient people across the globe.

Period: 16th – 17th century
Region: Myanmar
Material: Glazed Stoneware Ceramic
Size: 55 x 43 x 43 cm

A large antique Southeast Asian pottery Martaban jar with a Henan style glaze and moulded ribbed details. These jars were used to carry Mango and pickles on the silk route.

Period: 19th Century
Material: Glazed stoneware ceramic
Size: 53 x 61 cm
Color: aged brown

A true Burmese jar from a local kiln. Classic form made from a reddish brown paste in contrast to the grayish of the Thai counterpart. The black lead glaze exhibited beautiful oxidated patina and wear that only comes with age. The distinctive Burmese characteristic is also evident in surface ornamentation including the horizontally positioned lugs on the shoulder and applied lines or dots in relief. The interior of the jar was also thinly glazed in order to be impermeable for liquid dictated by its function.

Chinese Martaban Storage Jar
Period: Ming dynasty (1368–1644)
Material: Stoneware with relief decoration and brown glazes

This large Martaban jar is one of the most beautifully proportioned examples we have seen, It is in essentially perfect condition. It is also beautifully glazed in browns and yellows which have developed a lovely patina.

It is heavily-potted, large, short-necked, wide-shouldered, and tapers to a small flat foot. The top two thirds are decorated in a brown glaze with thin, horizontal and vertical bands of yellow bosses. The bottom third has been left un-glazed.

The shoulder has four small, equi-distant handles. This might have been used to strap the jar for carrying but also to secure it with raffia when it was being transported by shop.

Het bericht Martavan jar (Martaban) verscheen eerst op Raw Materials.

“Do not judge a book by the look of its cover.” – George Elliot, 1860

The backsides of cabinets are often forgotten and overlooked. Most people are less interested in the backside compared to the front. However, for buyers, it is essential always to check the backside of a cabinet.

The backside tells a complete story. Here you can find clues about where it was used for, which region it came from & tell-tale signs of quality and age!

It has a certain attraction; the more you look, the more you will appreciate it. Below you can find some examples of different styles I picked out. What is most common and I reckon it is worth having a closer look.

Every month, we’d like to share some ‘tips & tricks’ for your own business, inspired by our CEO’s expertise in purchasing and restoring wooden furniture. 

Kitchen cabinets

It all has to do with the purpose of the cabinet, its quality, its position in the house, and if it was cared for. Simple colorful kitchen cabinets were used inside the kitchen for storage purposes.

They were placed in the vicinity of the door against the wall where a bit of air would come through. Here they kept homemade yogurts and fermented cheeses.

Instead of glass, they nailed an iron mesh, this was to let the air go through but keep the flies out. They would be placed against a wall and in wet monsoon periods the wall would become damp. The dampness of the wall seeps into the wood and the wood would rot away. To protect the cabinet they would hammer a sheet of iron or whatever was available on the backside. I have bought several kitchen cabinets with flattened oil cans on the backside hammered for example.

Here are some more examples of what I find hammered on the backside.

As a buyer, this is the decision time, the internal discussion of beauty combined with originality & functionality. So do I leave the iron on or should I take it off? I have some rules, when the backside iron is a thin sheet of iron or too rusty, I take it off. If it is a nice thick sheet of iron, weathered, painted, or colored then I prefer originality.

Advertisements

Sometimes there is a big surprise on the backside…

Raw & Tribal

“Beauty is in the eye of the beholder.” – Margaret Wolfe Hungerford, 1878

Subjectivity… One can decide for themselves what is true beauty. Weathered, raw, rusty, hacked and axed, rough, patinated, smokey. In tribal areas & villages, where money is not affluent, the locals do not import precious wood and have cabinets commissioned. One takes an axe and wanders into the wild. They look for the right tree and make use of whatever nature is supplying to them.

When time stood still 50-80 years back, artistic brute cabinets were made. In the evening hours after their work is done in the fields, people sit around the fire. The women are cooking and the men hack and chisel away, chatting freely. Children are running around and playing with self-made toys.

These pieces have a true soul and one can see this on the backside.

Fine quality pieces

Paneled, sophisticated, fine wood, craftmanship, commissioned pieces. Cabinets from museums, churches, marine & army, institutions, and administrative offices. Made with Rosewood, Burmese teak, Mahogany, Ebony, and Cane. These types of cabinets breed quality in their veins.

British Colonialism in India
In 1757, Britain increased its control of India through the East India Company. From 1757 – 1858 it controlled much of India. From 1858 onwards, the British government directly ruled India, and it became known as the British Raj. The British Raj had a significant impact on people living in India.

Besides the British, The Dutch, Spanish, Danish, German & Portuguese had forts and strongholds for trading purposes. They all affected India & its culture, and this is reflected in the style of cabinets.

Final words

India is such a big country with so many faces and places. From tribal interiors, mountainous regions, hillsides, jungles to coastal land. We have built up 25 years of good connections. Special objects & commissioned pieces, projects for bars, restaurants & hotels. With our years of experience & contacts, we can find or manufacture it all for our customers.

Het bericht The backside of cabinets verscheen eerst op Raw Materials.

Our buyers travel the world to find furniture and accessories to enhance your home. With each journey, they bring back items with an interesting background story.

In this month’s ‘Story Of..’, we want to tell you more about our authentic Nandis. Read more below.

Nandi is the sacred bull, gatekeeper, and vehicle (Vahana) of the Hindu god Shiva. Sculptures of Nandi are a common sight at Hindu temples dedicated to its master. In fact, Nandi is partly responsible for the Hindu reverence for living bulls even today, especially in the state of Uttar Pradesh.

Nandi’s role

According to the Vayu Purana, Nandi is the son of Kasyapa and Surabhi. In the Saura Purana Nandi, his role as Shiva’s gatekeeper is described as, ‘adorned with all ornaments, glowing like a thousand suns, holding a trident in his hand, three-eyed, adorned with a sliver of the moon, a thunderbolt in his hand, four-armed, like a second Sankara [Shiva]’.

Besides being Shiva’s vehicle, Nandi is also the chief of the god’s team of ganas or attendants, and consequently, he often carries a golden staff of office. His other duties include being the guardian of all quadrupeds and the provider of music as Shiva dances the tandava, the cosmic dance of creation.

History: Nandi Battles Indra

In the Brhaddharma Purana, it is Nandi who, at the command of Shiva, kills the elephant demon Airavata, who belongs to the god Indra. Nandi had been given the task of finding a replacement head for the god Ganesha who had lost him in an unfortunate accident involving his father Shiva. Naturally, Indra was not best pleased with this plan and so hurled various projectiles at Nandi to stop him. However, Nandi easily swept aside Indra’s mace, trident, and thunderbolt. Indra next gathered his huge army together and subjected Nandi to a fearsome rain of arrows. Nandi, whose body is as hard as a rock, was untroubled by this salvo and, laughing nonchalantly, proceeded to lop off Airavata’s head anyway. The head was soon added to Ganesha’s body, and Shiva was delighted with Nandi’s handiwork.

Representation in art

A statue of Nandi is present as a bull sitting on a plinth in front of most Hindu temples dedicated to Shiva, especially Dravida (Southern) temples. He sits in a dedicated columned pavilion known as a nandi mandapa and is positioned so that he gazes in adoration at Shiva’s linga within the main temple. The bull is often dressed by worshippers with bells, clappers, and a necklace of flowers.

Nandi in family life

This bull/cow also protects your house and gives joy & pleasure.

His white color symbolizes purity and justice.

Inside the house & village shrines, they are worshipped frequently with holy water, oil, milk, and ritual powder.

Over time this gives the Nandi a nice patina.

Many children use them also as toys, they make wheels under the cow and run around all over the street.

Hence the result is that many cows are missing ears and their tails.

Women often go to the temple bringing floral offerings, touching the stone statue of the Nandi, and praying for good luck, more money and even getting pregnant…

How to buy a good quality Nandi

• The original position of a Nandi is reclined, these are the real old ones. Approximately 80-120 years old. Often found in teakwood brown color or faded blue & green colors.
• The next quality is where the Nandi is put on a base. Some with or without wheels. Age of these are around 50-80 years. Often carved from hardwood in blue/red/green/pink or teak color. Also, they can be overpainted so the old paint comes out.
• Then comes the 20-50-year-old Nandi’s. Less nice carvings and details, but depending on the owner there is some quality. Now this is a very mixed lot.
• Anything less than 20 years old and even made yesterday is pretty much the same. Only very light easily carved wood is used. There is no real patina. White is the most used color, often adorned with fake decorations.

Our buying

The last category, although they are offered to me, I would not buy these. Unless a catalog buyer wants them and it is described as new. These are the Nandis without a soul.

The oldest & most original and reclined version is often smaller in height. Somehow these are less attractive and less wanted as well. The real pleasure goes into the 50-80-year-old Nandi’s. Hard to find and nowadays collection items.

Where I was able to buy them 15-20 years ago in quantity, it is now collecting them one by one. Prices have gone up and up, but I keep on buying them. We regard them as a nice collection object, like a painting or statue. In any case, a good Nandi does give you pleasure when you look at him.

50-80 years old Nandi’s

We always have several Nandi’s up for sale. They are kept in our upstairs gallery. So when you do visit us in Amsterdam, keep them in your mind. Take one home for your collection or give it to a special friend!

Het bericht Nandi – Holy cow verscheen eerst op Raw Materials.

In this section, we’d like to share some ‘tips & tricks’ for your own business. Inspired by our CEO’s expertise in buying & restoring wooden furniture. Find out about an unwelcomed guest, you might sooner or later experience this if you deal with wooden furniture: woodwurm. It’s better we read up on this, recognize it, and know how to deal with it.

Larva

A woodworm is the wood-eating larva of many species of beetle. These larvae also give a generic description of the infestation of a wooden item.

Manifestation

Signs of woodworms usually consist of holes in the wooden item, with live infestations showing powder around the holes. The size of the holes varies, but they are typically 1 to 1.5 mm in diameter for the most common household species, although they can be much larger in the case of the house longhorn beetle.

Typically the adult beetles lay eggs on or just under the surface of a wooden item. The resulting grubs feed on the wooden item, causing structural and cosmetic damage. They then pupate and hatch as beetles that breed, lay eggs, and repeat the process, causing further damage.

As these beetles are accustomed to consuming decaying wood in forests, most grubs will prefer wooden items that contain a higher moisture content than typical household items.

What causes woodworm?

Woodworm is caused by having moisture within the timber, when there is high moisture content within the timber, the female adult beetles during the summer months of the year will hatch their eggs. The woodworm beetle will then burrow through the timber and once finished, leave behind exit holes.

Wood-boring beetles look for untreated wood with a high moisture content to lay their eggs. Moist wood is soft, which makes it easier to bore into. Moist wood is also easier for woodworms to eat and digest.

Lifecycle

There is an incubation period where it will take two weeks for the eggs to hatch into a woodworm larvae. The lifecycle of the woodworm takes 2-5 years for it to journey its way through the wood and exit. Once the beetle has exited the wood, it will look for a mate to lay more eggs and once the beetle has mated, the lifecycle starts again and spreads onto pieces of timber.

Signs of woodworm

Identifying a woodworm problem in its early stages is the most important stage in treating a woodworm problem. In many cases, you may not even be aware that you have a woodworm problem until the damage has been done and you can see the evidence that a wood-boring beetle has been at work. Left untreated woodworms will continue to feed on the timber resulting ultimately in the structural failure of the timber.

Exit holes in timber

When identifying if you have active woodworms in your object one very visual sign is the holes created by the woodworms as they exit the wood. The size of the holes varies depending on the species of woodworm but typically they are between 1 mm and 1,5 mm.

Presence of bore dust

An easy sign that you have a live woodworm infestation in your object is the presence of dust being left by the beetle when it chews its way through the wood. Woodworm dust is light in color and looks almost like very fine wood shavings.

Tunnels within the wood

Although this is an obvious sign that you have a woodworm problem it is also one of the least visible. The tunnels are created by the woodworm as it makes its way through the timber.

Damaged wood

Damaged wood could range from weakened floorboards to crumbling skirting boards. It is important not to confuse woodworm damage with the damage caused by dry rot or wet rot.

Actual beetles (dead or alive)

Dead woodworm beetles may be seen near timbers that are infected. Likewise, during the beetle ‘flight season’ between May and October, you could see live beetles as they emerge from the timbers. Although quite a broad time scale, this is when woodworms are most likely to leave the timber in an attempt to mate.

One of the first places you will notice them is near the proximity of your window and window sills. It is there you will be able to see the woodworm beetle crawling looking to find a mate.

How to prevent woodworm

Though it’s difficult to keep woodworms out completely, you can definitely do something.

Keeping all wood dry – The wetter the wood becomes, the easier it will be for larvae to bore through and live in it. Heating and ventilation will reduce the chance of moisture buildup and saturation of wood.

Buying furniture made from good quality hardwood – Hardwood is known for being most resistant to woodworm infestation due to its density and lack of nutrients for woodworm larvae to live off.

Sealing wood with varnish – Varnish makes it harder for wood-boring insects to penetrate a wooden surface. It is also toxic. Try to re-varnish or seal any surfaces that have worn away over time.

Carefully check for signs of woodworm when purchasing antique or second-hand furniture –

Removing infected wood from your home – If you find out that a piece of timber is infested, remove it at once if possible. Be sure to replace it with new timber that is suitably prepared with a protective finish and treated.

Treat the timber with a woodworm treatment – take the proactive step to prevent infestation and treat the timber with a woodworm killer.

Using flytraps – Flytraps can be used as a preventative strategy to catch and contain adult wood-boring beetles before they have a chance to mate.

Treatment

Woodworm infestation is generally controlled with insecticides. Only active infestations require treatment, so it is important to ascertain whether an infestation is still active before treatment is carried out.

In principle, treating a woodworm infestation is fairly simple. So simple in fact, that countless remedies are available online. Some suggest using vinegar; others are ammonia solution or petroleum. Though these products may well solve your infestation problem, they will also leave your wood stained and odorous.

Freezing

Freezing treatments are quite effective but are generally useful for smaller items. This can be done without chemicals by popping the item in the freezer. Just wrap the object in a plastic bag and freeze it for a week. Then allow the object to completely thaw out. Then re-freeze for another week. The first freeze kills the adult larvae, and the first thaw prompts any eggs to hatch, which are then killed in the second freeze.

Chemical treatments

Chemical treatments should be localized: for example, if there is active woodworm in one beam, treat just the affected area, rather than treating every timber in the house.

The best woodworm treatment product:

•    Contains an effective biocide active ingredient;
•    Can penetrate deep into the material
•    Is easily applicable;
•    Does not give off unpleasant odors;
•    Does not grease;
•    Does not affect paints, pigments, coatings, glues, and hardware.

Local DIY stores will have a range of easy-to-use chemical woodworm killers designed to kill the insects on contact. For example;

• SoluGuard Woodworm Treatment is applied by brush or spray. This woodworm killer will effectively deal with all stages of the wood-boring beetle lifecycle.
• Permagard Woodworm Killer (Ready to use) is perfect for treating woodworms caused by Common Furniture beetles. It contains Permethrin, which is effective against all the life stages of wood-boring insects.
• Perfacs is a strong insecticide with Permethrin.

When using chemical woodworm killers yourself make sure there is good ventilation!

Our prevention methods

Please be sure that as a responsible company, we do whatever is necessary. One common mistake is to buy raw wood from an area that has a lot of rainfall or is moist by nature (jungle areas). We buy our wood from areas which are on higher ground and the soil is dry. All wood must have certifications of origin.

When we buy our wood we will buy only from dealers with a good reputation and are checked by institutions. They need to provide us with the right documentation.

The wood will then go into a kiln (huge oven) where it is properly dried for days and injected with chemicals.

Since the woodworm can settle deep into the planks we have added an extra step in this process. After manufacturing the items, we place them in our own air-tight container and again use special bottles of gas to kill them.

The final step is inside the container. After closing the doors of the container, Indian customs are inserting as well a gas. During the 4-5 weeks on a ship towards our warehouse, this keeps on working.

Does that mean that we guarantee 100% security against woodworms… unfortunately not. We do more than any other company for prevention but nature is a strong opponent. We minimize the risk of woodworms and with this article, we hope to have informed you properly.

Het bericht Woodworm verscheen eerst op Raw Materials.

Our buyers travel the world to find furniture and accessories to enhance your home. With each journey, they bring back items with an interesting background story.

In this month’s ‘Story Of..’, we want to tell you more about our authentic urulis (urli, charakku or varpu). Read more below.

South India cooking vessels

An uruli, is made of bell-metal and is one of the largest cooking vessels. The surface of the vessel is made up of old gold tint which maintains its original colour and luster. Urulis do not require any kind of polishing or tinning. These vessels are used on ceremonial occasions to prepare payasam (a sweet dish made out of coconut milk) in large quantities. Also used in temples for cooking dhal and rice over open fires for temple festivals and for pilgrims. They were lifted into the hot coals of the fire with ropes that went through the side handles. The urulis traveled with the tribe from place to place.

Cauldron Casting of Kerala

The Moosari community of traditional metal casters of the Kammalan caste in Kerala have perfected the complex technique of casting large cauldrons in one single piece, using the lost-wax process (cire perdue). The charakku and the uruli are the two important vessels made by the Musaris. The preferred metal for casting is bronze.

The process

So arduous is the process of preparing the clay mould, the wax replica, and the final casting, that elaborate ritual prescriptions are observed by the Musaris for a faultless casting.

Using the cire perdue or lost wax method of casting, elaborate rituals, and the propitiation

Of the gods traditionally accompany the casting. The process starts with the invocation to lord Ganapati (Ganesh) and ritual blessings.

The core is made using a variety of clays, each of which is selected for its plasticity, bonding properties, strength, or surface finish. The process of making the clay mould is a very detailed and laborious job. A mixture of pure beeswax, tree resin, and castor oil, prepared according to traditional means, is pinched onto the core in rolls or beaten into sheets and applied. Gauges for resin thickness are affixed to ensure an even rim and a constancy of the body. A heater tool is used to remove the access wax while the core is turned and surface motifs made of wax rolls that are carved out of wax plates are attached. Wax runners made broad at the top and narrow at the joint and distributed so as to ensure a convenient and balanced inflow of metal are placed at intervals.

The outcome of the solid metal mould depends on the precise and careful handling of both the mould and molten metal special prayers and rituals are conducted throughout the process to ensure a perfect result.

Usability

The uruli can be found in many traditional South Indian homes. There are several sizes for different functions:

• Small ones are used in family homes and have a more decorative function.
• Very large ones “varpul” are used for cooking on occasions that require a big amount of food.

With its shallow circular shape, the uruli is also used to display flower decor in traditional homes for the New Year. Flower petals and candles float in them to honor deities or welcome guests to a home.

These days many resorts and hotels use them at the entrance, filled with water, and inside flowers or lights floating for a natural peaceful feeling. It would also make a lovely garden feature as a planter or water feature as a small pond.

Age

All our Urulis are selected pieces, they are in a beautiful and original condition. The bronze urulis display a great used and aged patina. Approximately is the age of our urulis 100 to 150 years old.

Design

A stark simplicity: its smooth spatial contours lend a resolute solemnity to its size and utility as a ritual cooking vessel. The basin has a flattened bottom, and curved sides leading to a broad lip. The handles are decorative with scrolling motifs but are also thick and robust. Bamboo rods or ropes were inserted in the basins, so their contents could be carried. Each uruli is unique in size, function, patina & design. Often there are names, markings, or designs visible on the sides. The quality is unrivalled and you will appreciate them for life.

Het bericht Urulis verscheen eerst op Raw Materials.