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On March 31, 1854 the ports of Japan opened to the world as Commodore Perry of the United States Army arrived at Uraga’s port as the first foreign boat on Japanese shores for over 200 years. Who could have predicted the extent of the tidal wave to follow, how vast and infinite this encounter would prove to be as Europe wakes to the depth and uniqueness of Japanese visual language and Japan, exposed to Western ideas and methodologies, transforms in a few decades what historically had taken centuries. The magnitude of the “opening” of Japan, like a drop of dye on white cloth, absorbed, spread and then blurred the distinctions between design in the West and the Far East, creating in its wake was a new beauty. This paper will examine the evolution of design in Japan as it is transformed by exposure to Europe and the United States, first in the Meiji era(1868-1912) and later following Japan’s defeat in World War II as it comes under heavy influence by America. By examining the history of Japanese design, from architecture to package design, this paper will demonstrate Japan‘s incredible ability to synthesize and refine, to borrow and interpret, to cultivate from a myriad of sources a piecing together of strengths to create the duality of what simply is the complexity of Japanese design. ...
The Japanese also began to emulate Western architecture. ... Apparent in the Kyoto Museum is the Japanese mastering of Victorian architectural style.
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Its construction in 1895 stands testament to Japan’s rapid assimilation of Western design. ... This event would make the Japanese conscious of Western methods and techniques of production. ... Gottfried Wagener, a foreign advisor to the Japanese government, the Japanese displayed high-quality traditional crafts. ...
In the latter half of the Meiji period a conservative reaction started as the excitement over changes in Japan wore off and the effects of Westernization began to weigh on the Japanese. Fears developed that traditional crafts were in danger and foreign intellects like
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the American teacher Ernest Fenollosa (1853-1908) strongly urged the preservation of
Japanese traditional art. By the Chicago World’s Columbian Exhibition in 1893 many of the schools founded to teach Western methods following the Vienna Exhibition were closed and new schools opened to teach traditional Japanese methods. ... (figure 3) Following the exhibition, Mataichi Fuduchi, founder of the Japan Design Association, and first senior professor of design at the Tokyo School of Fine Arts, along with other artists and craftsmen whom had studied in Paris brought to Japan the total design movement of Art Nouveau with an exhibition they organized in Japan in 1902.
Approximate Word count = 2112
Approximate Pages = 8.4
(250 words per page double spaced)
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