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Within twenty years there has gradually appeared in our country a variety of Japanese objects conspicuous for their novelty and beauty,-lacquers, pottery and porcelain, forms in wood and metal, curious shaped boxes, quaint ivory carvings, fabrics in cloth and paper, and a number of other objects as perplexing in their purpose as the inscriptions which they often bore. Most of these presented technicalities in their work as enigmatical as were their designs, strange caprices in their ornamentation which, though violating our hitherto recognized proprieties of decoration, surprised and yet…mehr

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Produktbeschreibung
Within twenty years there has gradually appeared in our country a variety of Japanese objects conspicuous for their novelty and beauty,-lacquers, pottery and porcelain, forms in wood and metal, curious shaped boxes, quaint ivory carvings, fabrics in cloth and paper, and a number of other objects as perplexing in their purpose as the inscriptions which they often bore. Most of these presented technicalities in their work as enigmatical as were their designs, strange caprices in their ornamentation which, though violating our hitherto recognized proprieties of decoration, surprised and yet delighted us. The utility of many of the objects we were at loss to understand; yet somehow they gradually found lodgment in our rooms, even displacing certain other objects which we had been wont to regard as decorative, and our rooms looked all the prettier for their substitution. We found it difficult to formulate the principles upon which such art was based, and yet were compelled to recognize its merit. Violations of perspective, and colors in juxtaposition or coalescing that before we had regarded as inharmonious, were continually reminding us of Japan and her curious people. Slowly our methods of decoration became imbued with these ways so new to us, and yet so many centuries old to the people among whom these arts had originated. Gradually yet surely, these arts, at first so little understood, modified our own methods of ornamentation, until frescos wall-papers, wood-work and carpets, dishes and table-cloth metal work and book-covers, Christmas cards and even railroad advertisements were decorated, modelled, and designed after Japanese style. It was not to be wondered at that many of our best artists,-men like Coleman, Vedder, Lafarge, and others,-had long fore recognized the transcendent merit of Japanese decorative art. It was however somewhat remarkable that the public at large should come so universally to recognize it, and in so short a time.

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Autorenporträt
Edward S. Morse ( 1838-1925), American zoologist, academic, author, museum curator, and imaginative inventor was born in Portland, Maine, the son of a Christian preacher. After an early start as a mechanical draftsman, where he developed a talent for making detailed drawings, he embarked on an academic career in zoology, attracting the attention of Charles Darwin for his discovery that brachiopods are worms rather than mollusks. A visit to Japan in 1877 in search of coastal brachiopods led to an appointment at the newly opened Tokyo Imperial University, where he taught zoology and biology. He opened the study of archaeology and anthropology in Japan with his discovery of the Omori Shell Mounds near Tokyo, and his research on material culture. While in Japan, he authored Japanese Homes and Their Surroundings, illustrated with his own line drawings, and assembled a collection of over 5,000 pieces of Japanese pottery. He also helped develop the Japanese Imperial Museum. On his return to the US in 1880, he took up his life's work as director of the prestigious Peabody Museum in Salem, Massachusetts, and as Keeper of Pottery at the Museum of Fine Arts in Boston. Towards the end of his long career, he was awarded the Second Degree Order of the Sacred Treasure and the Order of the Rising Sun by the Japanese government. David and Michiko Young have conducted research on Japanese aesthetics for many years. David Young was born in the United States and spent his childhood in Sierra Leone, West Africa. After obtaining his Ph.D. from Stanford University, he taught anthropology at the University of Alberta in Canada before moving to Japan to continue teaching. Michiko (Kimura) Young was born in China and raised in Japan. After graduating from Kyoto Gaidai University, she moved to the United States and then to Canada, where she worked for many years in the international affairs office at the University of Alberta. The Youngs are now retired in the Rocky Mountains of British Columbia. Together they have authored An Introduction to Japanese Architecture (Periplus Editions, 2004), The Art of the Japanese Garden (Tuttle Publishing, 2005), and The Art of Japanese Architecture (Tuttle Publishing, 2007).