| Formatted contents note |
Introduction: The relationship between Wright's work and the traditional art and architecture of Japan as it has been variously perceived since 1900 p.1, 1. Japanism' and the Boston orientalists: Wright's perception of Japanese art and architecture viewed in the context of the Aesthetic Movement and popular nineteenth-century Japanism,' and in the light of his personal link with the Boston-based orientalists Edward Morse, Ernest Fenollosa, Arthur Dow, and Kakuzo Okakura p.9, 2. Japanese Homes: the Japanese house dissected: The influence of Edward Morse's detailed analysis of the middle-class Japanese dwelling on Wright's concept of the new American home p.35, 3. The Ho-o-den: the temple and the villa married in south Chicago: The impact on the early Prairie House of the Japanese pavilion exhibited at the 1893 World's Columbian Exposition in Chicago p.47, 4. Fenollosa and the 'organic' nature of Japanese art: The influence of Ernest Fenollosa's aesthetic interpretation of traditional Japanese pictorial art on Wright's perception of this subject p.73, 5. Composition: the picture, the plan, and the pattern, as aesthetic line-ideas: The impact of Arthur Dow's graphic interpretation of Ernest Fenollosa's aesthetic theory on Wright's general approach to design p.85, 6. The woodblock print and the geometric abstraction of natural, man-made, and social forms: The influence of the woodblock print on Wright's perception of Japan, and its role in exemplifying several of his own 'organic' design principles and as a source of architectural ideas, graphic devices, and professional Connections p.99, 7. Okakura and the social and aesthetic Ideals of the East: The influence on Wright of Kakuzo Okakura's interpretation of the social and aesthetic ideals underlying traditional Japanese art in general and the tea ceremony in particular p.121, 8. Japan itself: giving and receiving in Yedo': The role which Wright's time in Japan itself played in developing his concept of the 'organic' art-form and in providing a source of specific form-ideas p.143, 9. Japan as inspiration: analogies with Japanese built-forms: Wright's use of Japanese architectural forms examined through the analysis of specific cases p.165, 10. Japan as confirmation: the universal manifested in the particular: Wright's perception of Japanese culture as embodying universal 'organic' ideals p.177, Appendices: A Summary of events p.184, B Biographical sketches p.187, C Kakuzo Okakura's catalogue of the Ho-o-den p.191, D Peter Bonnet Wight's description of the Ho-o-den p.194, E Ernest Fenollosa's essay on "The Nature of Fine Art" p.198, F Frederick Gookin's reviews of Kakuzo Okakura's books p.207, G Glossary p.210, Bibliography p.213, Illustration acknowledgements p.234, Index p.235 |
