ENDNOTES

Preface

1 From Lafcadio Hearn, Glimpses of Unfamiliar Japan, Boston: Houghton, Mifflin & Company, 1894, pp. 8–9. For a moving and sensitive biography of Hearn, see Jonathan Cott, Wandering Ghost: The Odyssey of Lafcadio Hearn, New York: Alfred A. Knopf, 1991.

2 “Craftsmanship in Japanese Arts,” in Paul Kocot Nietupski, Joan O’Mara, and Karil J. Kucera (ed.), Reading Asian Art and Artifacts: Windows to Asia on American College Campuses, Bethlehem, Pennsylvania: Lehigh University Press, 2011, pp. 123–48.

Chapter One

1 See Kathyrn B. Hiesinger and Felice Fischer, Japanese Design: A Survey Since 1950, Philadelphia: Philadelphia Museum of Art, 1994; and Chiaki Ajioka, “Aspects of Twentieth-Century Crafts: The New Craft and Mingei Movements,” in J. Thomas Rimer (ed.), Since Meiji: Perspectives on the Japanese Visual Arts, 1868–2000, Honolulu: University of Hawaii Press, 2012, pp. 408–44.

2 Information from the International House of Japan website http://www.i-house.or.jp/en/ index.html <accessed December 12, 2012>

3 Mori Masahiro, Kenji Kaneko, Masanori Moroyama, and Hitomi Kitamura, Mori Masahiro: tōjiki dezain no kakushin (Masahiro Mori, a reformer of ceramic design), Tokyo: Kokuritsu Kindai Bijutsukan, 2002.

4 Tange Kenzo et al., Katsura: Tradition and Creation in Japanese Architecture, New Haven: Yale University Press, 1960. Prior to this publication, Japanese modernist architect Sutemi Horiguchi had authored a monograph on Katsura, released only in a Japanese language edition, so it had more limited impact. See Katsura rikyū, Tōkyō:Mainichi Shinbunsha, 1952.

5 See Yasufumi Nakamori, Katsura: Picturing Modernism in Japanese Architecture, Houston: Museum of Fine Arts, 2010.

6 Isozaki Arata and Ishimoto Yasuhiro, Katsura Villa: Space and Form, New York: Rizzoli, 1987; translation of their Japanese language edition, 1983.

7 Isozaki Arata and Virginia Ponciroli, Katsura Imperial Villa, Milan: Electa Architecture, 2004.

8 Ibid, pp. 17–18.

9 Ibid, p. 30.

10 House Beautiful, 102/8, 1960, p. 4, quotation from caption to the cover image of Katsura, written by Gordon.

11 See Monica Michelle Penick, “The Pace Setter Houses: Livable Modernism in Postwar America,” Ph.D. Dissertation, University of Texas at Austin, 2007.

12 John Kenneth Galbraith, The Affluent Society, Boston, Houghton Mifflin, 1958. For a discussion of Gordon’s and others’ responses to this book, see Robert Hobbs, “Affluence, Taste, and the Brokering of Knowledge: Notes on the Social Context of Early Conceptual Art,” in Michael Corris (ed.), Conceptual Art: Theory Myth, and Practice, Cambridge: Cambridge University Press, 2004, pp. 200–2.

13 As quoted in Hobbs, “Affluence, Taste, and the Brokering of Knowledge,” p. 205.

14 Ibid, p. 207.

15 Gordon’s papers relating to these issues are now part of the repository of the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery of the Smithsonian Institution.

16 Elizabeth Gordon, “The Profits of a Long Experience with Beauty,” House Beautiful, 102/8, p. 87.

17 Elizabeth Gordon, “The Four Kinds of Japanese Beauty,” House Beautiful, 102/8, p. 120.

18 Elizabeth Gordon, from a caption to an illustration for the article “What Japan Can Contribute to Your Way of Life, House Beautiful, 102/8, p. 55.

19 Anthony West, “What Japan Has That We May Profitably Borrow,” House Beautiful, 102/8, 1960, p. 75.

20 Seizō Hayashiya, Chanoyu: Japanese Tea Ceremony, New York: Japan Society, 1979. See also H. Paul Varley and Isao Kumakura, Tea in Japan: Essays on the History of Chanoyu, Honolulu: University of Hawaii Press, 1989, especially pp. 238–41.

21 See Teiji Itō, Ikkō Tanaka, and Tsune Sesoko, Wabi, Sabi, Suki: The Essence of Japanese Beauty, Hiroshima: Mazda Motor Co., 1993.

22 D. T. Suzuki, Zen and Japanese Culture, New York: Pantheon, and London: Routledge and Kegan Paul, 1959, pp. 23–4.

23 Yanagi Sōetsu and Bernard Leach, The Unknown Craftsman: A Japanese Insight into Beauty, Tokyo: Kodansha International, 1972, p. 123.

24 Elizabeth Gordon, “The Bloom of Time Called Wabi and Sabi,” House Beautiful, 102/8, 1960, pp. 96–7.

25 Ibid, p. 97.

26 Leonard Koren, Wabi-Sabi for Artists, Designers, Poets and Philosophers, Berkeley, California: Stone Bridge Press, 1994.

27 Penelope Green, “At Home With Leonard Koren: An Idiosyncratic Designer, a Serene New Home,” The New York Times, September 23, 2010.

28 See, for example, Robyn Griggs Lawrence, The Wabi-Sabi House: The Japanese Art of Imperfect Beauty, New York: Clarkson Potter, 2004; Mark Reibstein and Ed Young, Wabi Sabi, New York: Little, Brown, 2008, a children’s book featuring a cat living in Kyoto named Wabi Sabi who embarks on a quest to discover the meaning of its name; and Arielle Ford, Wabi Sabi Love: The Ancient Art of Finding Perfect Love in Imperfect Relationships, New York: HarperOne, 2012.

29 As quoted in Gordon, “The Bloom of Time Called Wabi and Sabi,” p. 123.

30 Ibid, p. 94.

31 Hiroshi Nara, The Structure of Detachment: The Aesthetic Vision of Kuki Shūzō, with a translation of Iki no kōzō, Honolulu: University of Hawaii Press, 2004, p. 1.

32 Ibid, pp. 30–2.

33 Quotation from Doris Croissant, “Icons of Feminity: Japanese National Painting and the Paradox of Modernity,” in Joshua S. Mostow, Norman Bryson, and Maribeth Graybill (ed.), Gender and Power in the Japanese Visual Field, Honolulu: University of Hawai’i Press, 2003, p. 135.

34 Nara, The Structure of Detachment, p. 41.

35 Ibid, p. 50.

36 See the discussion of fūryū in Nobuo Tsuji, “Ornament (Kazari): An Approach to Japanese Culture,” Archives of Asian Art, 47, 1994, pp. 36–9.

37 See Patricia J. Graham, Tea of the Sages: The Art of Sencha, Honolulu: University of Hawai’i Press, 1998.

38 As defined by John T. Carpenter in “‘Twisted’ Poses: The Kabuku Aesthetic in Early Edo Genre Painting,” in Nicole Coolidge Rousmaniere (ed.), Kazari: Decoration and Display in Japan 15th–19th Centuries, London: The British Museum, 2002, pp. 42–4, and Carpenter’s introduction to section two of this volume, “Swagger of the New Military Elite: First Half of the 17th Century,” pp. 114–15.

39 Ibid, p. 43.

40 Professor Tsuji’s extensive publications on this subject include Kisō no keifu: Matabe– Kuniyoshi, originally published in Japanese in 1970 and translated into English as Lineage of Eccentrics: Matabei to Kuniyoshi, Tokyo: Kaikai Kiki Co., 2012; and Playfulness in Japanese Art, The Franklin Murphy Lectures VII, Lawrence, Kansas: Spencer Museum of Art, University of Kansas, 1986.

41 Tenmyouya Hisashi, Basara: Japanese Art Theory Crossing Borders, From Jomon Pottery to Decorated Trunks, Tokyo: Bijutsu Shuppansha, 2010, p. 11.

42 Kumakura Isao, “Keys to the Japanese Mind: The Culture of MA,” Japan Echo, 34/1, 2007.

43 Isozaki Arata et al., Ma: Space-Time in Japan, New York: Cooper-Hewitt Museum, 1979. The exhibition also traveled to Paris.

44 See Isozaki’s more recent writing on ma in Isozaki Arata, Japan-ness in Architecture, Cambridge, Masachusetts: MIT Press, 2006, especially “Ma (Interstice) and Rubble,” pp. 81–100.

45 Ibid, p. 12.

46 Gian Carlo Calza, Japan Style, London: Phaidon Press, 2007, p. 110.

47 Ibid.

48 Koike Kazuo (ed.) (trans. Ken Frankel and Yumiko Ide), Issey Miyake: East Meets West (Miyake Issei no hasso to tankan), Tokyo: Heibonsha, 1978.

49 Arthur C. Danto, “Dialogues with Clay and Color,” in Susan Peterson, Jun Kaneko, London: Laurence King Publishing, 2001, p. 11.

50 Tanizaki Jun’ichirō (trans. Thomas J. Harper and Edward G. Seidensticker), In Praise of Shadows, New Haven: Leete’s Island Books, 1977, p. 14.

51 Ibid, p. 19.

52 Dorr Bothwell and Marlys Mayfield, Notan: The Dark–Light Principle of Design, New York: Reinhold Book Corp., 1968; reprinted New York: Dover, 1991.

53 Ibid, Dover reprint, pp. 6–7.

54 Ibid, p. 78.

55 As correctly explained by Joseph Masheck in his essay, “Dow’s ‘Way’ to Modernity for Everybody,” in Arthur W. Dow and Joseph Masheck, Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers, Berkeley: University of California Press, 1997, p. 21. This book is a reprint of Dow’s original book on the subject, with a slightly different title, Composition: A Series of Exercises Selected from a New System of Art Education, Part I, Boston: J. M. Bowles, 1899.

56 Sharon Himes, “Notan: Design in Light and Dark,” ArtCafe, March 9, 2011 http://artcafe.net/?p=117 <accessed December 12, 2012>

57 See Yūzō Yamane, “The Formation and Development of Rimpa Art,” in Yūzō Yamane, Masato Naitō, and Timothy Clark, Rimpa Art From the Idemitsu Collection, Tokyo, London: British Museum Press, 1998, pp. 13–14.

58 John T. Carpenter, Designing Nature: The Rinpa Aesthetic in Japanese Art, New York: Metropolitan Museum of Art, 2012, p. 11.

59 Sherman E. Lee, Japanese Decorative Style, Cleveland: Cleveland Museum of Art, 1961, p. 7.

60 Ibid, p. 8.

61 Sherman E. Lee, The Genius of Japanese Design, Tokyo: Kodansha International, 1981.

62 Michael Dunn et al., Traditional Japanese Design: Five Tastes, New York: Harry N. Abrams, 2001.

63 Michael Dunn, Inspired Design: Japan’s Traditional Arts, Milan: 5 Continents Editions, 2005.

64 Nicole Coolidge Rousmaniere, “Arts of Kazari: Japan on Display,” in Nicole Coolidge Rousmaniere (ed.), Kazari: Decoration and Display in Japan 15th–19th Centuries, London: The British Museum, 2002, pp. 20–1.

65 Calza, Japan Style, p. 9.

66 Ibid, p. 109.

Chapter Two

1 Langdon Warner, The Enduring Art of Japan, Cambridge: Harvard University Press, 1952; reprint New York: Grove Press, 1978, pp. 18–19.

2 See Shinji Turner-Yamamoto, Patricia Graham, and Justine Ludwig, Shinji Turner-Yamamoto Global Tree Project, Bologna: Damiani Editore, 2012.

3 See Jacquelynn Baas and Mary Jane Jacob (eds.), Buddha Mind in Contemporary Art, Berkeley: University of California Press, 2004, p. 265.

4 Gian Carlo Calza, Japan Style, London: Phaidon Press, 2007, p. 33.

5 On mono no aware, see Shuji Takashina, “The Japanese Sense of Beauty,” in Alexandra Munroe (ed.), From the Suntory Museum of Art, Autumn Grasses and Water: Motifs in Japanese Art, New York: Japan Society, 1983, pp. 10–11. See also Haruo Shirane, Japan and the Culture of the Four Seasons: Nature, Literature, and the Arts, New York: Columbia University Press, 2012.

6 On yūgen, see Richard B. Pilgrim, Buddhism and the Arts of Japan, New York: Columbia University Press, 1993, second revised edition, pp. 35–8; Stephen Addiss, Gerald Groemer, and J. Thomas Rimer, Traditional Japanese Arts and Culture: An Illustrated Sourcebook, Honolulu: University of Hawai’i Press, 2006, pp. 93–5; and Graham Parkes, “Japanese Aesthetics,” The Stanford Encyclopedia of Philosophy (ed. Edward N. Zalta), 2011 edition, <http://plato.stanford.edu/archives/win2011/entries/japanese-aesthetics/ <accessed December 15, 2012>

7 Dōshin Satō, Modern Japanese Art and The Meiji State: The Politics of Beauty, Los Angeles: Getty Research Institute, 2011, pp. 70–8; originally published as Meiji kokka to kindai bijutsu: bi no seijigaku, Tokyo: Yoshikawa Kōbunkan, 1999.

8 Ibid, p. 78.

9 Rupert Faulkner, Japanese Studio Crafts: Tradition and the Avant-Garde, London: The Victoria and Albert Museum, 1995, p. 12.

10 On crafts makers designated as Living National Treasures and others, see Nicole Rousmaniere (ed.), Crafting Beauty in Modern Japan: Celebrating Fifty Years of the Japan Traditional Art Crafts Exhibition, Seattle: University of Washington Press, 2007. See also Masataka Ogawa et al., The Enduring Crafts of Japan: 33 Living National Treasures, New York: Walker/ Weatherhill, 1968. For a survey of traditional crafts made in Japan today, see Diane Durston, Japan Crafts Sourcebook: A Guide to Today’s Traditional Handmade Objects, Tokyo: Kodansha International, 1996.

11 Uchiyama Takao, “The Japan Traditional Art Crafts Exhibition: Its History and Spirit,” in Nicole Rousmaniere (ed.), Crafting Beauty in Modern Japan: Celebrating Fifty Years of the Japan Traditional Art Crafts Exhibition, Seattle: University of Washington Press, 2007, p. 32.

12 Rupert Faulkner, “Sōdeisha: Engine Room of the Japanese Avant-garde,” in Joan B. Mirviss Ltd (ed.), Birds of Dawn: Pioneers of Japan’s Sōdeisha Ceramic Movement, New York: Joan B. Mirviss Ltd, 2011, pp. 11–17.

13 O-Young Lee, The Compact Culture: The Japanese Tradition of Smaller Is Better, Tokyo: Kodansha International, 1984, p. 19. Lee (b. 1934) is a well respected cultural critic who has spent time as a researcher and professor in Japan and served as Korea’s first Minister of Culture.

14 Ibid, p. 22. This point is also made by Shuji Takashina in “The Japanese Sense of Beauty,” in Alexandra Munroe (ed.), From the Suntory Museum of Art, Autumn Grasses and Water, New York: Japan Society, 1983, p. 10.

15 See Isabella Stewart Gardner Museum (ed.), “Competition and Collaboration: Hereditary Schools in Japanese Culture,” Fenway Court, Boston: Isabella Stewart Gardner Museum, 1992; and P. G. O’Neill, “Organization and Authority in the Traditional Arts,” Modern Asian Studies, 8/4, 1984, pp. 631–45.

16 See Roger S. Keyes, Ehon: The Artist of the Book in Japan, New York: The New York Public Library, 2006.

17 Morgan Pitelka, Handmade Culture: Raku Potters, Patrons, and Tea Practitioners in Japan, Honolulu: University of Hawai’i Press, 2005, p. 141.

18 See Haruo Shirani, Japan and the Culture of the Four Seasons.

19 See, for example, Conrad Totman, The Green Archipelago: Forestry in Preindustrial Japan, Berkeley: University of California Press, 1989; and Ian Jared Miller, Julia Adeney Thomas, and Brett L. Walker, Japan at Nature’s Edge: The Environmental Context of a Global Power, Honolulu: University of Hawai’i Press, 2013. For a scathing critique of land abuse in contemporary Japan, see Alex Kerr, Dogs and Demons: Tales from the Dark Side of Japan, New York: Hill and Wang, 2001.

20 On Ōnmyōdō, see “Onmyōdō in Japanese History,” Japanese Journal of Religious Studies, 40/1, 2013.

21 Merrily Baird, Symbols of Japan: Thematic Motifs in Art and Design, New York: Rizolli International, 2001, pp. 9–25.

22 On sekku, see U. A. Casal, The Five Sacred Festivals of Ancient Japan: Their Symbolism and Historical Development, Tokyo: Sophia University and Charles E. Tuttle, Co., 1967.

23 See Nobuo Tsuji, Playfulness in Japanese Art, Lawrence, Kansas: Spencer Museum of Art, University of Kansas, 1986; and Christine Guth, Asobi: Play in the Arts of Japan, Katonah, New York: Katonah Museum of Art, 1992.

24 On samurai taste, see Andreas Marks, Rhiannon Paget, and Sabine Schenk, Lethal Beauty: Samurai Weapons and Armor, Washington, DC: International Arts and Artists, 2012.

Chapter Three

1 Rutherford Alcock, Art and Art Industries in Japan, London: Virtue and Co., 1878.

2 Thomas J. Cutler, A Grammar of Japanese Ornament and Design, London: B. T. Batsford, 1880; and George Ashdown Audsley, The Ornamental Arts of Japan, London: Sampson Low, Marston, Searle & Rivington, 1882.

3 See Olive Checkland, Japan and Britain after 1859: Creating Cultural Bridges, London: RoutledgeCurzon, 2003, pp. 87–8.

4 For examples of what arts Japan displayed at the fairs, see Los Angeles County Museum of Art, Tokyo Kokuritsu Hakubutsukan, Nihon Hōsō Kyōkai, NHK Puromōshon, Ōsaka Shiritsu Bijutsukan, and Nagoya-shi Hakubutsukan, Japan Goes to the World’s Fairs: Japanese Art at the Great Expositions in Europe and the United States, 1867–1904, Los Angeles, California: LACMA, Tokyo National Museum, NHK, and NHK Promotions Co., 2005. See also Ellen P. Conant, “Refractions of the Rising Sun: Japan’s Participation at International Exhibitions 1862–1910,” in Tomoko Sato and Toshio Watanabe (eds.), Japan and Britain: An Aesthetic Dialogue 1850–1930, London: Lund Humphries in association with the Barbican Art Gallery and the Setagaya Art Museum, 1991, pp. 79–92.

5 On the Boston exhibition, see Museum of Fine Arts, Boston (ed.), Illustrated Catalogue of a Special Loan Exhibition of Art Treasures from Japan, Held in Conjunction with the Tercentenary Celebration of Harvard University, September–October, 1936, Boston: Museum of Fine Arts, 1936. On the San Francisco exhibition, see Kokusai Bunka Shinkokai (ed.), Catalogue of Japanese Art in the Palace of Fine and Decorative Arts at the Golden Gate International Exposition on Treasure Island, San Francisco, California, 1939, Tokyo: Kokusai Bunka Shinkokai, 1939; Langdon Warner, “Arts of the Pacific Basin: Golden Gate International Exposition,” Magazine of Art, 32/3, 1939; and Pacific Cultures, Department of Fine Arts, Division of Pacific Cultures, San Francisco: Golden Gate International Exposition, 1939.

6 The Society for International Cultural Relations (KBS) was created soon after Japan withdrew from the League of Nations in 1933 as a way to independently continue the aims of that organization through furthering international understanding about Japanese art, history, and culture. It produced numerous English language publications by both Japanese and foreign authors and sponsored lecture series and art exhibitions abroad. It was succeeded by the Japan Foundation in 1972.

7 John La Farge, “Japanese Art,” in Raphael Pumpelly, John La Farge, W. J. Linton, and Julius Bien, Across America and Asia: Notes of a Five Years’ Journey Around the World, and of Residence in Arizona, Japan, and China, New York: Leypoldt & Holt, 1870, pp. 195–202.

8 For a discussion of this point, see Henry Adams, “John La Farge’s Discovery of Japanese Art: New Perspectives on the Origins of Japonisme,” Art Bulletin, 67, 1985, pp. 475–6.

9 Ibid, p. 478.

10 On La Farge and Buddhism, see Christine M. E. Guth, “The Cult of Kannon Among Nineteenth Century American Japanophiles,” Orientations, 26/11, 1995, pp. 28–34.

11 See Christopher Benfey, The Great Wave: Gilded Age Misfits, Japanese Eccentrics, and the Opening of Old Japan, New York: Random House, 2003, pp. 141–68.

12 John La Farge, An Artist’s Letters from Japan, New York: The Century Co., 1897.

13 Biographical information based on Theodore Bowie, “Portrait of a Japanologist,” in Jack Ronald Hillier and Matthi Forrer (ed.), Essays on Japanese Art Presented to Jack Hillier, London: R. G. Sawers Publishing, 1982, pp. 27–31.

14 Henry P. Bowie, On the Laws of Japanese Painting: An Introduction to the Study of the Art of Japan, San Francisco: P. Elder and Company, 1911.

15 Denman Waldo Ross, A Theory of Pure Design: Harmony, Balance, Rhythm, With Illustrations and Diagrams, Boston: Houghton Mifflin, 1907.

16 Ibid, p. 194.

17 For a discussion of this issue, see Marie Frank, Denman Ross and American Design Theory, Lebanon, New Hampshire: University Press of New England, 2011, pp. 68–72.

18 Thomas S. Michie, “Western Collecting of Japanese Stencils and Their Impact in America,” in Susanna Kuo, Richard L. Wilson, and Thomas S. Michie, Carved Paper: The Art of the Japanese Stencil, Santa Barbara, California: Santa Barbara Museum of Art, 1998, p. 163.

19 Ibid, p. 158.

20 Kevin Nute, Frank Lloyd Wright and Japan: The Role of Traditional Japanese Art and Architecture in the Work of Frank Lloyd Wright, New York: Van Nostrand Reinhold, 1993, p. 86.

21 Arthur Wesley Dow, “A Note on Japanese Art and on What the American Artist May Learn There-From,” The Knight Errant, 1/4, 1893, pp. 114–17. This article preceded his influential book on the subject, Composition: A Series of Exercises Selected from a New System of Art Education, Part I, Boston: J. M. Bowles, 1899.

22 Dow, “A Note on Japanese Art,” p. 113.

23 Ibid, p. 115.

24 Joseph Masheck, “Dow’s ‘Way’ to Modernity for Everybody,” in Arthur W. Dow and Joseph Masheck, Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers, Berkeley: University of California Press, 1997, p. 21.

25 Gabriel P. Weisberg, Edwin Becker, and Evelyne Possémé, The Origins of L’art Nouveau: The Bing Empire, Amsterdam: Van Gogh Museum, 2004.

26 See Michie, “Western Collecting of Japanese Stencils,” p. 156; and Mabuchi Akiko, Takagi Yoko, Nagasaki Iwao, and Ikeda Yuko, Katagami Style, exhibition catalogue (in Japanese with a separate English text supplement), Mitsubishi Ichigokan Museum, Tokyo: Nikkei, 2012.

27 Basic biographical information from Anne Helmreich, “Marcus Huish (1843–1921),” Victorian Review, 37/1, 2011, pp. 26–30.

28 Marcus Bourne Huish, Japan and Its Art, London: B. T. Batsford, third edition, 1912, p. 342.

29 Ibid, p. 5.

30 Ken Vos, “The Composition of the Siebold Collection in the National Museum of Ethnology in Leiden,” Senri Ethnological Studies, 54, 2001, pp. 39–48.

31 Siebold never published the 700–800 paintings he collected, but his handwritten notes described them as “scientific objects” and he categorized them according to thematic topics. See W. R. van Gulik, “Scroll Paintings in the Von Siebold Collection,” in Matthi Forrer, Willem R. van Gulik, Jack Ronald Hillier, and H. M. Kaempfer (eds.), A Sheaf of Japanese Papers, The Hague: Society for Japanese Arts and Crafts, 1979, p. 59.

32 Philipp Franz von Siebold, Nippon. Archiv zur beschreibung von Japan und dessen nebenund schutzländern Jezo mit den südlichen Kurilen, Sachalin, Korea und den Liukiu-inseln. Originally published beginning in 1832; a complete posthumous enlarged edition was published by Würzburg: L. Woerl, 1897.

33 Frank, Denman Ross and American Design Theory, p. 239.

34 Museum of Fine Arts Boston and Edward Sylvester Morse, Catalogue of the Morse Collection of Japanese Pottery, Cambridge: Riverside Press, 1900.

35 Edward Sylvester Morse, Japan Day by Day, 1877, 1878–79, 1882–83, two volumes, Boston: Houghton Mifflin Company, 1917.

36 Ibid, vol. 1, pp. 252–3.

37 Percival Lowell, Occult Japan, or, The Way of the Gods: An Esoteric Study of Japanese Personality and Possession, Boston: Houghton Mifflin and Co., 1894.

38 Percival Lowell, The Soul of the Far East, Boston: Houghton, Mifflin and Co., 1888.

39 Ibid, pp. 110–11.

40 Ibid, pp. 131–2.

41 Information on Dresser and Japan comes from Widar Halén, “Dresser and Japan,” in Michael Whiteway (ed.), Shock of the Old: Christopher Dresser’s Design Revolution, London: Victoria and Albert Museum Publications, 2004, pp. 127–39.

42 He first wrote about Japanese art in his book, The Art of Decorative Design, London: Day and Son, 1862.

43 Christopher Dresser, Japan: Its Architecture, Art and Art Manufactures, London: Longmans, Green, and Co., 1882; reprinted London: Kegan Paul International, 2001; reprinted New York: Dover as Traditional Arts and Crafts of Japan, 1994.

44 Ibid (Kegan Paul edition), p. vi.

45 Ibid, p. 114.

46 Halén, “Dresser and Japan,” p. 134.

47 Biographical information comes from Fujimori Terunobu, “Afterword: Josiah Conder and Japan,” in J. Conder, Landscape Gardening in Japan: With the Author’s 1912 Supplement to Landscape Gardening in Japan, Foreword by Azby Brown, Tokyo: Kodansha International, 2002, pp. 230–40. Terunobu’s essay was originally published in the exhibition catalogue: Kawanabe Kusumi et al. (eds.), Josaia Kondoru ten: Rokumeikan no kenchikuka/Josiah Conder: A Victorian Architect in Japan, Tokyo: Higashi Nihon Tetsudō Bunka Zaidan, 1997, and also included in the enlarged reprint of that catalogue, Suzuki Hiroyuki et al., Josiah Conder, Tokyo: Kenchiku Gahōsha, 2009.

48 See Yamaguchi Seiichi, “Josiah Conder on Japanese Studies,” in Hiroyuki Suzuki et al., Josiah Conder, pp. 49–52.

49 Josiah Conder, The Flowers of Japan and the Art of Floral Arrangement, Tokyo: Hakubunsha, Ginza, 1891.

50 Ibid, p. 2.

51 Ibid, p. 41.

52 J. Conder and K. Ogawa, Supplement to Landscape Gardening in Japan, vol. 2, Tokyo: Kelly and Walsh, 1893, description to plate XXII.

53 Josiah Conder, Landscape Gardening in Japan, Tokyo: Kelly and Walsh, 1893; and Conder and Ogawa, Supplement to Landscape Gardening in Japan. In 1912, Conder published an expanded and revised version of the supplement that was reprinted by Kodansha in 2002 (see fn. 47).

54 Nute, Frank Lloyd Wright and Japan, p. 86.

55 Frank Lloyd Wright, Hiroshige: An Exhibition of Colour Prints from the Collection of Frank Lloyd Wright, Chicago: Art Institute of Chicago, 1906.

56 Frank Lloyd Wright, The Japanese Print, An Interpretation, Chicago: Ralph Fletcher Seymour Co., 1912.

57 Julia Meech, Frank Lloyd Wright and the Art of Japan: The Architect’s Other Passion, New York: Harry N. Abrams, 2000, p. 267.

58 Ibid, p. 270.

59 Fundamentals of Japanese Architecture, Tokyo: Kokusai Bunka Shinkōkai, 1936; and Houses and Peoples of Japan, Tokyo: Sanseidō, 1937.

60 See Jonathan M. Reynolds, “Ise Shrine and a Modernist Construction of Japanese Tradition,” The Art Bulletin, 83/2, 2001, pp. 316–41.

61 For a critical biography, see Ellen P. Conant, “Captain Frank Brinkley Resurrected,” in Oliver R. Impey and Malcolm Fairley (eds.), The Nasser D. Khalili Collection of Japanese Art, Umi o watatta Nihon no bijutsu. Dai 1-kan, Ronbun hen (Decorative arts of the Meiji period from the Nasser D. Khalili Collection, vol .1, Essays), London: Kibo Foundation, 1995, pp. 124–50.

62 Atlantic Monthly, 0/417, 1892, pp. 14–33.

63 As discussed in John T. Carpenter, Designing Nature: The Rinpa Aesthetic in Japanese Art, New York: Metropolitan Museum of Art, 2012, pp. 20–21. The painting is reproduced in Ernest Fenollosa, Epochs of Chinese and Japanese Art: An Outline History of East Asiatic Design, London: William Heineman, 1912, vol. 2, opposite p. 132 and discussed on p. 134.

64 Fenollosa, Epochs of Chinese and Japanese Art, vol. 2, p. 129.

65 Ibid.

66 See Timothy Clark, “‘The Intuition and the Genius of Decoration:’ Critical Reactions to Rinpa Art in Europe and the USA During the Late Nineteenth and Early Twentieth Centuries,” in Yūzō Yamane, Masato Naitō, and Timothy Clark, Rinpa Art: From the Idemitsu Collection, Tokyo, London: British Museum Press, 1998, pp. 72–3.

67 John Clark, “Okakura Tenshin and Aesthetic Nationalism,” in J. Thomas Rimer (ed.), Since Meiji: Perspectives on the Japanese Visual Arts, 1868–2000, Honolulu: University of Hawaii Press, 2012, p. 212.

68 Ibid, pp. 236–8. For perceptive reassessments of Okakura by numerous scholars, see also “Beyond Tenshin: Okakura Kakuzo’s Multiple Legacies,” Review of Japanese Culture and Society, Josai University Journal, vol. 24, 2012.

69 Kakuzō Okakura, The Book of Tea, New York: Putnam’s Sons, 1906, p. 1.

70 D. T. Suzuki, Zen and Japanese Culture, 2010 reprint, Princeton: Princeton University Press, p. 27.

71 Daisetz Teitaro Suzuki, Zen Buddhism and Its Influence on Japanese Culture, Kyoto: Eastern Buddhist Society, 1938.

72 See Richard Jaffe’s introduction to the 2010 edition.

73 See Jane Naomi Iwamura, “Zen’s Personality: D. T. Suzuki,” Virtual Orientalism: Asian Religions and American Popular Culture, New York: Oxford University Press, 2011, pp. 23–62.

74 Muneyoshi Yanagi and Bernard Leach, The Unknown Craftsman: A Japanese Insight into Beauty, Tokyo: Kodansha International, 1972.

75 For critiques of Yanagi, see Yuko Kikuchi, Japanese Modernisation and Mingei Theory: Cultural Nationalism and Oriental Orientalism, London: RoutledgeCurzon, 2004; and Kim Brandt, Kingdom of Beauty: Mingei and the Politics of Folk Art in Imperial Japan, Durham: Duke University Press, 2007. See also Chiaki Ajioka, “Aspects of Twentieth-Century Crafts: The New Craft and Mingei Movements,” in J. Thomas Rimer (ed.), Since Meiji: Perspectives on the Japanese Visual Arts, 1868–2000, Honolulu: University of Hawaii Press, 2012, pp. 424–31.

76 Langdon Warner, The Enduring Art of Japan, Cambridge: Harvard University Press, 1952, p. 83.

77 Theodore Sizer, “James Jackson Jarves: A Forgotten New Englander,” New England Quarterly, 6/2, 1933, p. 328.

78 James Jackson Jarves, A Glimpse at the Art of Japan, New York: Hurd & Houghton, 1876; reprinted Rutland, Vermont: Tuttle Publishing, 1984, p. 155 (Tuttle edition).

79 Ibid, p. 136.

80 Ibid, p. 139.

81 Gabriel P. Weisberg, “Buhot’s Japonisme Portfolio Revisited,” Cantor Arts Center Journal, 6, 2008/9, pp. 35–45.

82 Théodore Duret, Voyage En Asie, Paris: Michel Lévy, 1874, p. 23. English translation from Jacquelynn Baas, Smile of the Buddha: Eastern Philosophy and Western Art from Monet to Today, Berkeley: University of California Press, 2005, p. 22.

83 Sadakichi Hartmann, Japanese Art, Boston: L. C. Page, 1903, pp. 248–9.

84 Ernest Hart, “Ritsuō and His School,” Artistic Japan, 2/12, pp. 142–3. For further discussion and additional photos of these statues, see Paul Moss, One Hundred Years of Beatitude: A Centenary Exhibition of Japanese Art, London: Sydney L. Moss, 2011, pp. 192–8.

85 Gabriel P. Weisberg, The Independent Critic: Philippe Burty and the Visual Arts of Mid-Nineteenth Century France, New York: P. Lang, 1993.

86 Théodore Duret, L’art Japonais: Les Livres Illustrés, Les Albums Imprimés: Hokousai, Paris: Quantin, 1882.

87 Théodore Duret, Voyage En Asie, Paris: Michel Lévy, 1874.

88 Louis Gonse, L’art Japonais, Paris: Librairiesimprimeries réunies, 1886. English edition, Japanese Art, Chicago: Morrill, Higgins and Co., 1891.

89 Timothy Clark, “The Intuition and the Genius of Decoration,” in Yūzō Yamane, Masato Naitō, and Timothy Clark, Rimpa Art From the Idemitsu Collection, Tokyo, London: British Museum Press, 1998, pp. 68–9.

90 Ibid, pp. 72–3, for a discussion of Gonse’s assessment of Rinpa in relation to Fenollosa.

91 As discussed in Cary Nelson, “Contemporary Portraits of Sadakichi Hartmann,” Modern American Poetry. http://www.english.illinois.edu/maps/poets/g_l/hartmann/portraits.htm <accessed September 5, 2012>

92 David Ewick, “Hartmann, Sadakichi. Works 1898?–1915?” Japonisme, Orientalism, Modernism: A Critical Bibliography of Japan in English-language Verse of the Early 20th Century, 2003. http://themargins.net/bib/B/BC/bc24.html#bc24a <accessed September 4, 2012>

93 Biographical information is drawn from George Knox, “Introduction,” The Life and Times of Sadakichi Hartmann, 1867–1944, catalogue of an exhibition at the University Library and the Riverside Press-Enterprise Co., University of California, Riverside, May 1–May 31, 1970; University of California, Riverside, John Batchelor, Clifford Wurfel, and Harry W. Lawton, The Sadakichi Hartmann Papers: A Descriptive Inventory of the Collection in the University of California, Riverside, Library, Riverside, California: The Library, 1980. See also Jane Calhoun Weaver, Sadakichi Hartmann: Critical Modernist: Collected Art Writings, Berkeley: University of California Press, 1991.

94 Sadakichi Hartmann, A History of American Art, 2 volumes, Boston: L. C. Page, 1902; reprinted London: Hutchinson, 1903; revised edition, 1932.

95 Sadakichi Hartmann, Japanese Art, Boston: L. C. Page, 1903; reprinted New York: Horizon Press, 1971, and Albequerque: American Classical College Press as The Illustrated Guidebook of Japanese Painting, 1978.

96 David Ewick, “Laurence Binyon, Matushima (1932),” Japonisme, Orientalism, Modernism: A Critical Bibliography of Japan in English-language Verse of the Early 20th Century, 2003. http://themargins.net/anth/1930–1939/binyonmatsushima.html <accessed September 4, 2012> Originally published in Laurence Binyon, Koya San: Four Poems from Japan, London: Red Lion, 1932. Three poems were reprinted in The North Star and Other Poems, 1941.

97 See Ewick, “Laurence Binyon, Matsushima (1932).”

98 Laurence Binyon, Painting in the Far East: An Introduction to the History of Pictorial Art in Asia, Especially China and Japan, London: E. Arnold, 1908.

99 Ibid, third edition, 1923, p. 215.

100 Laurence Binyon, The Flight of the Dragon: An Essay on the Theory and Practice of Art in China and Japan, Based on Original Sources, London: John Murray, 1911.

101 Laurence Binyon, The Spirit of Man in Asian Art: Being the Charles Eliot Norton Lectures Delivered in Harvard University, 1933–34, Cambridge, Massachusetts: Harvard University Press, 1935.

102 Museum of Fine Arts Bulletin, 8/47, 1910, p. 39.

103 Warner, The Enduring Art of Japan.

104 Ibid, p. 7.

105 Ibid, p. 17.

106 Ibid, p. 80.

107 See John Rosenfield, “Dedication: Langdon Warner (1881–1955),” in Kurata Bunsaku, Horyū-ji, Temple of the Exalted Law: Early Buddhist Art from Japan, New York: Japan Society, 1981.

108 Among his better known publications that have been reprinted in the post-war period are The Gardens of Japan, London: The Studio Publications, 1928, and The Lesson of Japanese Architecture, London: The Studio Publications, 1936. On how his perspective about gardens differed from that of earlier writer Josiah Conder, see Toshio Watanabe, “The Modern Japanese Garden,” in J. Thomas Rimer (ed.), Since Meiji: Perspectives on the Japanese Visual Arts, 1868–2000, Honolulu: University of Hawaii Press, 2012, p. 350.

109 Jirō Harada, A Glimpse of Japanese Ideals; Lectures on Japanese Art and Culture, Tokyo: Kokusai Bunka Shinkōkai, 1937.

110 Ibid, p. 6.

111 Ibid, p. 8.

112 Ibid, p. 9.

113. Ibid, p. 207.

114 Ibid.

115 Noritake Tsuda, Handbook of Japanese Art, Tokyo: Sanseidō, 1935; reprinted Rutland, Vermont: Tuttle Publishing as A History of Japanese Art: From Prehistory to the Taisho Period with a Foreword by Patricia Graham, 2009.

116 Andrew W. Tuer, The Book of Delightful and Strange Designs Being One Hundred Facsimile Illustrations of the Art of the Japanese Stencil-Cutter &c., London: Leadenhall Press, 1892; reprinted New York: Dover as Traditional Japanese Patterns, 1967.