[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-152594-en":3,"doc-seo-152594-105":30,"detail-sidebar-cat-0-en-105":92},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},152594,1099513958762,"Logic","https://ap-avatar.wpscdn.com/avatar/1000023916a998db790?x-image-process=image/resize,m_fixed,w_180,h_180&k=1784791008015729253",8,"Research & Report","Japanese and Chinese Influences on Art Deco - Paper","The paper analyzes how Oriental art shaped Art Deco furniture through both direct borrowings—materials, techniques, forms, and motifs used from the Far East—and indirect borrowings, where French makers interpreted Eastern elements as design concepts and then transformed them into new Western styles. It highlights seven key artists linked to the 1925 International Exposition of Modern Decorative and Industrial Arts and explains how the Societé des Artistes Décorateurs developed principles for a modern French decorative arts identity.","# Japanese and Chinese Influences on Art Deco\n\nJennifer L.Maatta  \nThis paper examines the major role that Oriental art played inArt Deco furniture.This influence took two forms:materials,techniques,forms,and motifs that were borrowed from theFar East were either used directly or indirectly.Art Deco fur-niture which exemplifies direct borrowings are those workswhich specifically incorporate Oriental forms and motifs.In-direct borrowings are Far Eastern elements which becameunderstood by French furniture makers as concepts and prin-ciples;such indirect borrowings were then used to create newWestern styles,not simply imitations or copies of Orientalobjects.  \nTo demonstrate this I will focus on seven artists—JeanDunand,Pierre Legrain,Jacques-Emile Ruhlmann,LeonJallot,René Joubert,Philippe Petit,and Eileen Gray.The firstsix of these artists were represented at the 1925 InternationalExposition of Modern Decorative and Industrial Arts.EileenGray,who did not exhibit in the exposition,was,however,working in Paris in close connection with these six artists.  \nThe Societé des Artistes Décorateurs was a professionalassociation of architects,artisans,and designers founded inthe aftermath of the Universal Exposition of 1900.It was theartists from this society who created the artistic principleswhich led to the production of the Art Deco style.The societyattempted to solve a broad range of problems experienced byFrench art industries when the machine and the division oflabor had been introduced into the artistic process in themid-19th century.The issues they addressed included coop-eration between artists,craftsmen and commercial manufac-turers,and the increasing international competition in theluxury goods trade of which France had been,traditionally,the leader.These issues led to a concentrated effort on the partof French designers to define and develop a modern Frenchstyle of decorative arts,and were the motivation behind the1925 Exposition.The works discussed in this presentation spana period of years surrounding the 1925 Exposition from 1910to 1930.  \nArt Deco was influenced by Art Nouveau which flour-ished during the late 19th to early 20th centuries.Exploitingthe organic forms found in nature,Art Nouveau from Bel-gium and France relied on the twisting,curving lines of flow-  \n1 Yvonne Brunhammer and Suzanne Tise,The Decorative Arts in France:La Société Des Artistes Décorateurs,1900-1942(New York:Rizzoli,1990)7.2 Anthony Weller,“Antiques:Classic Accent of Art Deco:Sleekly Styled  \ners and plants.After the 1900 Exposition,the floralism of ArtNouveau began to fall out of favor;however,its Austrian andGerman counterparts known as Jugendstil and the WienerWerkstätte continued to develop into more geometric formsafter 1902.  \nArt Deco has more in common,both stylistically and inprinciple,with this later vein of Art Nouveau.The underlyingprinciple of Jugendstil and the Werkstätte was the desire to bedecorative and functional,a principle endangered by the ex-cessive ornament of the organic Art Nouveau as it developedin Belgium and France.In contrast,the German and Austrianstyles were both symmetrical and geometric.It is a style thatlooked forward to modernism and the requirements of indus-trial production.Its association between art and industry ac-tually determined the program of the Art Deco movement tocome.  \nThe general appearance Art Deco employs solid rectilin-ear forms,a simplification of lines,and bright color schemes.These appearances come from the underlying principles ofArt Deco.For instance,the form of Art Deco objects mustderive from function,and decoration must be an integral partof structure.Objects must also suit the conditions of modernlife,which meant simple and functional furnishings with easyupkeep.In keeping with these principles,concepts from theFar East became appealing to Art Deco artists because theyprovided an approach to design which allows the form itselfto become the decoration,especially in appreciation for the","cbCaisaOQfcDjRKF","https://ap.wps.com/l/cbCaisaOQfcDjRKF","pdf",232175,1,7,"English","en",105,"# Introduction\n## Direct and indirect Oriental influence on Art Deco\n# Key artists and the 1925 exposition\n## Jean Dunand through Eileen Gray\n# Institutional background: Societé des Artistes Décorateurs\n## Problems of French art industries and goals for modern decorative arts\n# Stylistic foundations and related movements\n## From Art Nouveau to Jugendstil and the Werkstätte\n## Core design principles of Art Deco","[{\"question\":\"What is the paper’s main explanation of Oriental influence on Art Deco furniture?\",\"answer\":\"It distinguishes direct borrowings, where Far Eastern forms and motifs are incorporated, from indirect borrowings, where French designers adopt Eastern concepts and reinterpret them to create new Western styles.\"},{\"question\":\"Which event and organization are central to the discussion?\",\"answer\":\"The paper emphasizes the 1925 International Exposition of Modern Decorative and Industrial Arts and the Societé des Artistes Décorateurs, credited with forming the artistic principles behind Art Deco.\"},{\"question\":\"How does the paper connect Art Deco to earlier art movements?\",\"answer\":\"It links Art Deco to Art Nouveau, then explains that Jugendstil and the Wiener Werkstätte helped shift designs toward more geometric, functional forms that supported industrial modernism.\"}]","Japanese and Chinese Influences on Art Deco - Paper | 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is the paper’s main explanation of Oriental influence on Art Deco furniture?","Question",{"text":76,"@type":77},"It distinguishes direct borrowings, where Far Eastern forms and motifs are incorporated, from indirect borrowings, where French designers adopt Eastern concepts and reinterpret them to create new Western styles.","Answer",{"name":79,"@type":74,"acceptedAnswer":80},"Which event and organization are central to the discussion?",{"text":81,"@type":77},"The paper emphasizes the 1925 International Exposition of Modern Decorative and Industrial Arts and the Societé des Artistes Décorateurs, credited with forming the artistic principles behind Art Deco.",{"name":83,"@type":74,"acceptedAnswer":84},"How does the paper connect Art Deco to earlier art movements?",{"text":85,"@type":77},"It links Art Deco to Art Nouveau, then explains that Jugendstil and the Wiener Werkstätte helped shift designs toward more geometric, functional forms that supported industrial 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