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BRAGDON, Claude: AN INTRODUCTION TO YOGA.
London, Kegan Paul, Trench, Trubner & Co. Ltd, 1933.
8°, 101 pp. Original publisher's all-cloth binding.
Binding with signs of mild use by normal manipulation and in very good condition. Book block nearly intact and intact. - Author's signature, with date 1933, on title page. Collector's condition. - Language: English.
Bibliografický popis v českém jazyce:
8°, 101 str. Vazba původní nakladatelská celoplátěná.
Vazba se znaky mírného použití běžnou manipulací a ve velmi dobrém stavu. Knižní blok téměř intaktní a intaktní. - Podpis autora, s datem 1933, na titulní straně. - Sběratelský stav. - Jazyk: anglický.
<ID:FN88260> Cena: 3600,- Kč
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Second Edition of Bragdon’s first exposition of Yoga, based on his own learning experience and friendship with Hindus, whom he speaks of as being full of a “coiled power, which shone from their eyes and betrayed itself not alone in their every moment, but in their stillness as well. All this they attributed to the practice of Yoga.” Thus Bragdon determined to learn the art himself.
Claude Fayette Bragdon (August 1, 1866, Oberlin, Lorain County, Ohio, United States - September 17, 1946, New York, United States).
American architect, ornamentalist, set designer, and mystic. Influenced by Harvey Ellis and Louis Sullivan, he practiced architecture in Rochester from 1891 to 1923, designing railroad stations throughout the United States and Canada. The New York Central station in Rochester (demolished in 1965) was considered a model building of its type. In 1923 he became associated with the actor Walter Hampden and for many years designed the scenic productions for the actor’s plays. He was praised for his attention to lighting effects and the development of an art of mobile color. For three successive summers he was the “Master of Light” on the occasion of the Song and Light festivals in Central Park.
A fascination with magic squares led to a technique for generating ornamentation and through his study of Theosophy, Bragdon saw in design and ornament a metaphor for human evolution. His early pamphlet on the mystical elements of design, Man the Square, 1913, was seen by Malevitch and El Lissitsky and was a major force in propelling them into their modernistic geometric simplifications. Bragdon occupies a unique position among the arts, standing for an all-inclusive culture and a mastery of many arts as did the architects of the Renaissance.
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