03444nam a2200277Ia 4500003000400000005001700004008004100021020001500062040001000077082001000087082000800097100002200105245003300127260002600160260000900186300001400195365000900209365001100218365000600229365000600235505277900241650002503020942001203045999001503057952009403072OSt20231031123003.0181031s9999    xx            000 0 und d  a0442309082  ckrvia  a724.6  bNUT1 aNute, Kevin9530110aFrank Lloyd Wright and Japan  bVan Nostrand Reinhold  c1993  axii;244p.  b1894  cRupees  d0  e0  aIntroduction: 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  aArchitectural Design  cBK2ddc  c1110d1110  00104070aKRVIAbKRVIAcGENd2018-10-31l0o724.6 NUTp1112r2018-10-31w2018-10-31yBK