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Shitnso."
Typical
Woman
of
the
rhh)-ve
School
(See
TK
HARVARD FOGG
FINE
AMG
UBkARV.
ML"SEUM'
HARVARD ERNEST
COLLtGE
GIFT OF
LIBRARY
STILLMAN
GOODRICH
1940
Copyright,igo3
By
L. C.
Page
"
Company
(incorporated)
All
rights
reserved
Fourth
Impression,
April,
1907
COLONIAL
PRESS
Electrotyped
and
Printed
by C. H
U.S.A.
Simoftds
.
df
Co.
Boston,
TO
THE
MEMORY
OF
PREFACE
[N
compiling
its
this
book
for should It
is
cation, publibe
'mm
clearly
much
a
purpose
understood. and
not
so
book
much
for has
experts
been
those
connoisseurs
in
too
"
written
that
would
strain
"
but
for
persons
who
like
to
become
more
intimately
but
have of
acquainted
been book
deterred
with
Japanese doing
so
Art,
from
by
the
want
which
would them
accomplish
to turn
this,
without
obliging
specialists.
the first
This which
is
history
to
of
Japanese
the ject. sub-
Art
attempts
have
popularize
endeavoured
sincerely
all its and
and
sympathetically
phases
and
to
reproduce
characteristics,
ing lead-
to
VI
PREFACE
show
its
to
gradual
our
growth
from
the
archaic
its
to
period
modern such
a
time, bearing in
resemblance the
was
evolutions
the the
art
striking
As in
art
of
Europe.
latter, so
a
in
former,
primitive
the
religious
was
art, and
in both
feudal
period
In the
lowed fol-
by
renaissance.
the
teenth seven-
century,
of
to
the the
Fukugawa
age of Louis the
Shogunate
XV.,
while
eighteenth
followed
century
classical
by
realistic
tendency
in both
Japan
and
Europe.
The
great
to
difficultylay
Japan
was
in
knowing
what
omit. of
very the
fertile in the
famous
production
ashi's
artists
"
Haydred hun-
collection
mentions the
over
four
representatives of
alone,
space,
Ukio-ye
school of
and among
the
necessary
reasons,
limitations
made it
other
sible imposworthy
to
exhaust
the
I have
of
mention.
paid slightattention
PREFACE
VU
to
the
peculiar
their
habit
names
of
Japanese
times
artists
of
changing
their the
several
"
during
test
professional career,
too
a
as
it would
memory in
severely,
"
but
invariably,
the
name
except
few
cases,
were
mentioned best
space
by
have
which
they
known,
to
Nor
I devoted
notes
much
and
as
the
Japanese
would
titles
artists' works,
the
they
only
confuse
reader.
My
sole
aim
and
was
to
show
what
the
ing lead-
schools
their
foremost with
exponents
have
actually accomplished,
stress
on
lar particu-
those
most
of their
accomplishments
to
our
which
sense
appeal
strongly
to
ern West-
of aesthetics, and
an
also
give
the
layman
touch of
opportunity
the
of
coming
into grace
with
infinite
variety and
Japanese
I
pictorialism.
this book
in will the
hope
that
be
welcomed
of
a
by
all those
interested
culture
country
where,
apparently,
for
centuries,
Vm
PREFACE
all
worked
In
harmony,
the
pursuing
same
the methods
same
ideals
and
following
in
of
ornamentation,
art
order
of Old
to
produce
tional na-
the
art
Japan.
The
Author.
CONTENTS
CHAPTBR
tAOB
I.
Early
Religious
Painting
. .
ii
II.
The
Feudal
Period
" .
37
"
.
III.
The
Renaissance
60
IV.
The
Realistic
Movement
.
.104
"
V.
The
Influence
of
Japanese
Art
on
Western
Civilization
"
.
.154
VI.
Japanese
Architecture
and
ture Sculp-
174
VII.
The
Ornamental
Arts
.
.216
.
VIII.
Modern
Japanese
Art
. . .
253
Bibliography
279
Index
283
LIST
OF
ILLUSTRATIONS
PAOB
Shunso.
"
Typical
1 1
Woman
of
the
Ukio-ye
School
{See page
Chang
-
J)
hu
"
....
Frontispiece
or
Yueh of
Kakemonos
Wall
Sea
on
Picture
a
Bodhi-Dharma
Prince
"
Crossing
and
the
Reed
i8
Princess
...
48
"
Tosa
School
"
Orchard of the
in
Spring
Ichikawa
-53
Portrait
Actor,
Danjuro
Mokk".
"
70
A
Tiger
Portrait
....
79
KoRiN.
"
Character A
"
96
126
KuNiYOSHY.
Kiyonaga.
"
Ronin
Iris
Picking
On
131 133
Kunisada.
"
the
River
HiROSHiGB. HoKUSAi.
"
A
"
Landscape
.
.
.138
.
View
of
of
Mount
for
Fusiyama
.
149 157
Cranes
for
Decorative
Work
Embroidery Sword
Screen
. .
.158
Corner
-
-Guards
and
Pisces
167
189 196
Asakasa Vase Vase -Work 207
Dai-Butsu,
Bronze Bronze
Lacquer
Kiosai.
"
Council
Dragon
Castle
.
.257
JAPANESE
ART
CHAPTER
!"
EARLY
RELIGIOUS
PAINTING
The
Kanaoka
School
(tth-ioth
Cbntu"y)
[ODS
halos
and
goddesses,
dark
with blue
large
grounds, backing smil-
against
strange
divinities,
in
serenely,
draperies,
with seated
garbed
on
soft,
flowing
cushioned
thrones
and
lotus
flowers,
attributes
surrounded such
"
by
are
mythological
pictures
the that
the from
have
come
down
to
us
earliest
period
in
of
Japanese
art.
Just
as
Italy
to
religious
the
II
painting,
realistic
fore beart
giving
place
more
12
JAPANESE
ART
of
the
successors
of work
Masaccio,
of Fra
had
nated incarits
the
Angelico
so
mystical
in its the
tendencies,
Japan
of its and
decorative ideals
panels
of
pure
temples
native In Nara
ancient
beauty.
the
was
eighth century,
made the
seat
was
when of the
no
the
city
of
Mikado's
means
government,
an
Japan
state.
by
in of the
archaic had
power
The
authority greatly
crown
extended,
local tains chief-
the
hereditary
system
of who of
broken,
instituted
government
held the
meant
with
to
prefects,
control
in
office
subject
the
Mikado.
the
Learning, study
of
which
the had
Japan
masterpieces
made progress.
of
Chinese
Schools
antiquity,
had
been
established,
the four
and
university, history, of
of metic, arithbe
comprising
the
faculties
of
Chinese
was
This,
it
will
EARLY
RELIGIOUS
PAINTING
observed,
classes
was
for It that
the
was
benefit
not
of
the
many
official
turies cen-
only.
later
until
education
reached
were
common
people. mostly
and the
statue
There
of
art.
also
Koreans,
medicine,
The and
ing, paintcolossal
glyptic
of
bronze
Buddha,
in
some
markable re-
sculptures
still to which the be the last
seen
wood,
which the
are
at
Nara,
had
testifyto
then
skill in
Japanese
art.
acquired
named
The
down any
first written
to
us
book
which
or
has
come
in the
Japanese,
the
indeed
"
in ords Rec-
Turanian
of
tongue,
Kojiki
was
or
Ancient and
a
Matters,"
at
completed
Nara
in
712;
the
court
of
there
of
existed
"
reciters," similar
and
the
bards
of
nia Britan-
Ireland,
before
the
who
recited Mikado
on
"ancient
solemn
words*'
occasions.
Of
even
greater
importance
were
their
14
JAPANESE
ART
achievements
was
in
architecture.
with
This
art
intimately
cult which for
connected
Buddhism,
and
statelytemples
exercise. the
court
pagodas
authority
edifices and
more more
befitting
with
dignity,
the geous gor-
in
consonance
costumes
and than
were
ceremonials
the old
adopted
from
China,
which
sovereign
every in
a
palaces,
Mikado
new
only temporary,
himself
a
having locality.
built
palace
China
was
in
days
in
as
not
as
unpro-
gressive, prosaic,
and
as we
temperament,
in it to
it is Its in
a
to-day (or
be).
and,
ancient
lization, civi-
copious
many
respects,
which years,
on
remarkable
even
literature, and
went
a
history
of
then
back
thousands influence It
exercised
commanding
countries. the Eastern
the
surrounding
of
played
the
part
there
Greece
to
world,
and
EARLY
RELIGIOUS
PAINTING
is
and
no
department
of
Japanese
material
national
life
thought,
whether
civilization,
religion, morals,
literature bear
traces
art,
which
influence.
does
not
of China
an
Chinese lies
Beyond
furnished
the
India,
factor
which
in
has
ing moulddhism. Bud-
important
Japanese
character,
to
namely.
China
If,in regard
the
Japan,
Rome,
takes
place
its
of Greece
and
Buddhism,
ences, influthat of
with
softening
a
and
humanizing
similar
to
holds
position
the
Christianity
alternate powers is
in
Western
of
The
two
preponderance
an
interesting
we
feature
see
history, and
not
shall upon
been The
without
effect
its art
in
island
with the
mountaineers, mainland,
from
over
continual
ous numer-
touch
through
Korea
to
immigrations
which the extended
Japan,
received
art
centuries,
and
East
gifts of
Chinese
Indian
EARLY
REUGIOUS
PAINTING
The
isolated
of that the
situation
and
the
elongated
shape
like from of the
the
of
Japanese
a
islands, something
crescent
narrow
severed
the
a
mainland,
sun
have
to
helped
birth
to
land
rising
race,
give
all
leged priviand
fit the
for
refinements,
and
most
gifted
with
noblest
artistic
sensibility.
The
oldest
those make
art
written of
no
documents
of
the
Japanese,
centuries,
of
the
eighth
to
and
any
ninth
allusion
to
style
tury. cen-
pictorial
Modem
previous
the
fifth
investigation,however,
a
has
pronounced temple
of
Buddhistic
at
altar-piecein
Nara,
The the
most
the
cient an-
Horiuji,
pictorial relic.
mentioned of
was a
first
painter
name
Chinese,
said
to
by
have
the
come
Shinki,
who
is the
to
Japan
Yuriaku
a
during
reign
A
of
the
Emperor
later
(457-479).
of
to
little
Suki,
descendant
the
Chinese
and
emperor,
was
Wen
Ti,
came
Nippon
natu-
JAPANESE
ART
ralized.
famous in
"The
the
A.
brush
of
his
son
became
Buretsu
"
days
D.).
of
Emperor
three of
(499-506,
years
About
hundred
later, a
he is
descendant sometimes
^inki,^a"u-
riu^as
the Mikado. The of
art.
called, obtained
"
qI J[f"^" tjfU^nfj"fg^jrif^r
irom
the
city of^^y^^^ftJ^^came
It
the
centre
gathered
eaves
its
art
palace
those of
to
roofs
andtemple produced.
days
dhistic Budligious re-
It
became
home
culture, and
school known of
as
birth
the
of
painting.
the
K^kal^better
Daishi,
J.*.iUustrious apostle
Buddhism/'jpain
images
Qf..Jiigli..pxifi"te-4iiat-haveJiecom
The
historical.
and the number The three
to
painters
were
Kabenari
(853)
in
a
Minamoto-no-Nabu
employed
executed
temples,
of
and
panels
imperial palace.
chiselled
from year.
Buddhist
five
monks
thousand
images
every
Chang
Yueh
hu.
"
Kakemonos
Reed.
or
Wall
Picture
THE
of on
Bodhi-Dharma
a
Crossing
Sea
EARLY
RELIGIOUS
PAINTING
Chirography
a
was
raised
to
the
dignity
of
fine
art.
had
of
many
expert
was
exponents.
taken
up
study
astronomy
the
art
zeal, and
of
healing
Minamotos their
made
considerable
made
The
at
their
musical
gifts, and
a
writing
of
poetry
the In
became
of the
favourite
court
pastime
with
ladies the
were
ninth
century
the renowned
temples
and
palaces
both
who
pictures,
Kanaoka,
by
natives
Chinese.
the typifies
earliest
style
yrars
qf^Japanese
in-^fa"dying
about the
paiQjijagr^P^w*"
them. He In
880
Inng
became
he the
famous decorated
850screens
S$g!^
and
walls
of
Kyoto
and years
palace
other later
with
the
portraits of
Confucius
A
Chinese
philosophers.
a
few
ancient
he
painted
poets
of
of the
serial
of for
the
the
sages
and
Japan
Mikado's
audience-chamber
palace.
20
JAPANESE
ART
His in the
sacred
pictures, Japanese
attitudes
of in
divinities
beatified
on
India, clouds,
down
to
toeing tipor
waves,
wrapped
by
have
meditations,
numerous.
are
said
Very
saved,
nor
little have in of
of
it, however,
his
successors
has
been
more
been
The
successful enemy
that
respect
Japanese
preserved
and
are
by
deep
dhist Bud-
oxidation.
often
seen
Only
in the of
clear
blue,
so
pictures, consisting
lazuli^ ground
as
lapis to-day
up
into
was
pigment,
brilliant
as
it
of yore. blue of
This
most
lapis
lazuli
is
really
the The
characteristic
colour
Japan.
a
first
vivid
as
colour-impression
he
or
stranger
streets
receives
of
walks
through
the
Yeddo
Yokohama
is this
peculiar
EARLY
RELIGIOUS
PAINTING
21
blue.
are
The
top-heavy mostly
same
roofs
of
the blue
ings build-
covered colour-note
with
tiles,
in
and
the
dominates
the
the
of
popular
the
costume
and There
sign-boards
places,
and green
a
shops.
of
is, in white,
"
sprinkling
but the
light blue,
is
red;
and
remainder
almost
blue
yellow being
Of
completely
absent.
a
Kangflkals.painting, scarcely
remain. of One
can
dozen
seen
specimens
at
still be
the
temple
the
Nieinai;
another,
senting repre-
god Fudo,
wand
in his
enveloped by flames,
hand,
Also in the of
reason
with
big
at at
at
the
temple
ancient of
Dayuyi
temples
Bizen
There his
Tokyo.
Nara and
the
province
his
to
contain is
examples
no
work.
doubt
consequently
talent
great
Various
legends by
of
tell of
wonderful One of
feats
accomplished
best
one
his
these
brush.
the
known
stories,
which
reminding
were
of
Zeuxis's
grapes,
so
EARLY
RELIGIOUS
PAINTING
23
"The
horse
had
been
so
wondrously
indeed, life, that
with he
portrayed
such became
an
by Kanaoka,
appearance of
and,
real and the that the
returned fields."
can
each
night
The outside
to
only
of
Kanaoka
is at of and
be in half
seen
Japan
date
Louvre
Paris.
of the in
It bears
the
the
was
second
ninth
1
century,
brought
The
to
over
882
by
Japanese
at
amateur.
museum
authorities but
first
refused
to
consider it.
It
it,
resents rep-
finallyconsented Dsijo,
the
god body
eyes
benevolence.
With head
his
plump
his
space.
naked, closed,
that he he
his is has
shaven,
into
gazing
been and
to
It appears for
a
dreaming
that the he will
thus
never
very
long
time,
rouse
himself
This world
again
being
;
sensations
from the
of
reality.
rest
of
the
he
Nirvana.
of
art
work
manifestly primitive,
24
JAPANESE
ART
yet
not
crude,
mural
as
were,
for of
instance,
ancient
paintings
personages
seen
as
Egypt, profile
a
represented
the The eyes
were
in if from
not
sure
front
tomically ana-
view.
drawing,
correct,
is
although
marvellously
and
pure
in
its from
as
line
mere
composition.
Infinitely
empty
removed abstraction
prettiness, from
realistic
an
is in its line
exhaustless
eastern
a
languid
One
a
grace
not
deliciousness.
could hair's of
change
without whole.
single
line
by
the
breadth the
changing colouring
one
poise
The
is
of
harmonious,
faded
tones
more
reminding
and the
slightly
tapestry
of the
deep,
but of
satiated that is
the
work
Primitives;
of
time
than
the
er's paint-
brush.
It would
be of
extremely
this
difficult
art.
to
trace
the
as
origin
peculiar
Japanese;
It is not,
yet, genuinely
its
composi-
EARLY
RELIGIOUS
PAINTING
25
tion flow
is too of the
symmetrical
lines The
not
for
that, and
the
rapid
Chinese
in
a
and
enough.
Tang
pompous
painters
more
dynasty painted
manner.
rigid and
of the Benares
The
conception
In
picture
you their may
is
purely
run
Buddhistic.
similar
across
pictures, but
more
treatment
is Hindu and
is
generally
perceives
diverse, and
and
rate. elabo-
chiefly
the
everything
exaggerated,
complex
of
lack of
as
picture simple
and
Kanaoka,
the
contrary, work,
and
early Byzantine
as
soft
graceful
Persian that
were
painting.
the
It
is
therefore of
possible
art
nings beginstrongly
That
Japanese
affected there
was
by
an
Persian
influences.
of
exchange
Japan
in
ideas
remote
between
Persia
is known
and
those
days,
which
em-
from
ancient Persian
chronicles,
and
report
that
"
Japanese
26
JAPANESE
ART
bassies
met
at
the
court
of
the
Middle
Kingdom." Although
freedom of has
a
period
never-failing tenderness
and
purity, a
cheerfulness of
sincerity,a gives
who
an
elevated
pleasure
these
to
student less
approaches
than
a
relics
mood.
critical
possess
ciative appre-
They quality
a
living,selfwhich
withdrawn
of
expression
gives
not
ness
them
peculiar religious
unction,
but the
grace
"
ecclesiastical
of the The
devout-
heart.
devoted
painters
themselves
among
chiefly
to
religioussubjects,but
also
their works
of
were
occasional
and
portraits, figures
Most of
animals,
work
and
was
landscapes.
on
this
executed
screens
the
walls, ceilings,
of
more
sliding
(sAoyz)
But
the
dhistic Bud-
temples.
date vehicles
for
also
the
up-toto
pictorial expression,
EARLY
RELIGIOUS
PAINTING
27
which
we
have in
use,
become
accustomed,
kakemonos
were
already
namely,
(wall
pictures), makimonos
gakus.
The framed
on
a
(scrollpictures) and
kakemono
in
is
an
oblong piece
and
canvas
of
silk,
stripes of brocade,
narrow
mounted with
a
long
strip
The
of
wooden with
rollers.
makimono
to
a
is
scroll
rollers, intended
and
be
examined
framed
by
in
hand,
Western
the
gaku
picture
fashion.
Kanaoka
originated
for each each of its
different
style
of
technique
of these would
own.
mediums,
need He
an
fully
ual individthe many
as
realizing that
treatment
imperial pupils
is
so
school
most
of Yedoreko,
the
illustrious
case
ones
being,
often of and
the
with
Japanese
two
artists,
sons,
his
own
family, his
and
Kateda,
his
The
great-grandson,
latter
was
a
(987-1012).
as
priest
well
as
painter, and
is said
to
28
JAPANESE
ART
have
the
been
Buddhistic
on a
the
first
painter
One of
who his
hell.
large scale,
remarkable
power
of characterization, of
is still shown
visitors
the
the
temple
of Omi.
of
Tchiorakouyi,
in
province
From all the
at
over
the of
country, Hida,
particularly
artisans, who
and
penters, car-
from
were
province
once
architects,
carvers, to
came
flocking
who
to
Kyoto,
among
them artists
Suminawa,
in of of skill
surpassed
an
such called
extent
"
people
artist
Kyoto
Hida."
not
him
the
carpenter
was
Temple
less
than
after thirteen
temple
built, and
thousand
were
the
Mikado
Genwa
(859-
must
have
been
an
in
art
those
were
days.
Elsewhere,
of the else
only parts
Kyoto
scarcely anything
to
be
EARLY
RELIGIOUS
PAINTING
29
seen.
It whole
occupied
streets
thousands
were
of
turned
into
and and
workshops, images
as
the
to
population
have been
is
the
population.
at
Shiba
temple
era
Tokyo
still
gives
idea
of this
of
religioussplendour.
mind
erudition,
to
Western for
may ideas
reproduce
the which
itself the
of the
sentiments,
emotions
sequences formed
or
images
of
can
a
soul We
painter
the
created intense in every
even
architect
ine imaghave
impression
days,
of when man's
it must
those
moment
we
thought,
at
as
to-day
feel
bewildered
its
traces.
At
first
sight, one
what
seem
all these
a
forms
of
represent.
confusion
entangled
are
by
chance.
"
discernible
gods,
EARLY
REUGIOUS
PAINTING
which
is
otherwise has
set
run
so
correct
and
our
well
ordered,
habits
are
wild.
All
mental multitu-
at
naught
by
this A
dinousness
of
us
of
apparitions.
and
at
sensation
overcomes
bewilderment
as we
vertigo
endless
look
those
processions
ages, person-
of
gods,
divinities,
and
mythological
at
genii
demons,
these with
hairy,
gated eloncrani-
extravagantly shaped
arms
creatures
enormous
and
legs, with
the
ums
god
of
wealth),
at
these
dragons
or
twisting
at
and
writhing
strange
to
flames,
these
quadrupeds,
a
unknown
or
the
zoology
Cuvier
Agassiz.
demons,
Fairy castles,
rise
inhabited
by
in
wicked the
fata-morgana-like
sea-shrines the
waves,
mist, jewelin
ornamented
sparkle
the
depth
caves
of open
and
dragon-guarded
astonished eyes.
before
one's
of
The
with
a
Japanese
turn
nimble
and
apprehension, elegance
even
for
neatness
32
JAPANESE
ART
in
his
pleasures,
it matters
to
is
fond
of
listening
him whether Whether
to
stories, and
little to eye
or ear.
they
are
told
on
the
tattooed
the
back
of
or
foot-runner,
hammer
or
pounded
metal,
out
by
punch
in
in
enamelled
cloisonne
or
niello,
his eye
embroidered,
inlaid,
read the
painted,
delights
lore. The
to
familiar, fancy-tickling
artists
have for
taken
advantage
They
of have
predilection
them and
means
symbols.
a
into classified
sort
artistic
them
are
into able
to
groups,
by
a
of which
they
utmost
long story
never
with
brevity.
story in
they
same
tire of
telling the
a
way.
Benten,
female
as
personification
a
of
virtue, is represented
beautiful the
woman
playing
the
sea,
lute. sits
Kwannon,
goddess
at
of the and
among the
jagged
type
rocks of
peace
shore,
outwardly
with
rest-
EARLY
RELIGIOUS
PAINTING
33
less from
eye
the
treacherous
expanses and
rescues
of ocean,
whose
disaster
death,
the
by
her
supreme marines.
as
helpless
he
loosens
opens into
or
ever-plethoric zephyrs,
Raiden, drums,
clouds.
uncouth
same
wind-bag,
breezes,
the
setting
motion
cyclones,
thunder-god, busy
is
A
always partiallyhidden
number
names,
of
genii
with
quaint,
invariably performing
can
the the
antics,
be One of
a
recognized
of them
;
at
first
glance.
horses hollow
out
conjures
another
one
never
miniature floats
on a
gourd
a
trunk;
at
a
third
;
tires
man
of is
looking
waterfall
little old
an
persistently depicted
amuses
riding
ox
gar beg-
himself his
out
of
mouth;
tramps
erally genknown
about,
accompanied
sits
on
by
;
toad the
which best
and
of all these
personages
invariably
34
JAPANESE
ART
rises
carp.
from
river
on
the
back
of
winged
This
with
a
fairy
most
world
furnished
the
artist
to
mained re-
fascinating
repertoire,
he has
which,
with
slight deviation,
to
not
faithful
this
very
to
day.
tell of all the
In
Space
creatures
does in
permit
Japanese
mythology.
are
many
instances,
in
they
the
epitomes,
of
expressed
graphic
symbols,
and
past
myths,
the
or
of real
struggles
conquests,
in
memory but
not
of which
in
survives
tion imagina-
chronology.
to
Japan
for its
is
art
Buddhism of
symbolism
Gautama with
is
like
an
vegetation,
an
ever-increasing branches,
network of and
cable inextri-
offshoots, unrestrained,
with
all
growing
covering
vigorously
all of
men's
thoughts
its ornamental
fretwork.
Buddhism,
however,
became
in
Japan
EARLY
RELIGIOUS
PAINTING
35 rites
never
as
as
in
India.
Its
did
not
tyrannical, and
worry
and
confuse rather
more
people.
Japanese, being
passionate,
inventive
and
genious in-
than of
profound, leading
He
was
found
himself life of
incapable
the Hindu. for
the
too
languid
active
and
receptive
for
that. did
His
not
cious vora-
appetite
him in
a
knowledge
The
allow which
scenes
to
deny
was
his
ego.
incense,
to
India
certain
a
and
the
character
as
of that
dream,
in
Japan
merely
veil,
embellished
and
spiritualized
actual-
ity.
The
Nipponese
and
imbued
the
violent
tions emo-
overwhelming
with the
meditations of
of the
Buddhism
gentler spirit
of their
myth
of
and
folk-lore
which
Shintoism,
is the
creed
rev"
imaginable, teaching
little
than
36
JAPANESE
ART
erence
for
the
supernatural
the
powers of
man.
that
created
It
and
is
govern
universe
understand and
impossible
of the of
to
the
lution evo-
Japanese
their lives
art
race
the
viduality indi-
Shintoism,
in the
for
Shintoism
not
so
books,
heart
rites,
of the
or
commandments, nation,
of which
it
the
highest
all
emotional
the surface and
expression.
crop
For,
underlying
of
foreign
there
superstitions,
thrilled which
myths,
this
magic,
always
dowed en-
mighty
spiritual
with
everything
and the
subtlety taught
of
their
buoyant
Japanese
national
geniality,
to
feel
own
life
whenever
foreign
native
impact
and
threatened
to
sweep
away
idols
precedents.
CHAPTER
II.
THE
FEUDAL
PERIOD
Thb
Yamoto
and
Tosa
Schools
(1000-1400)
IEXT
the of A feudal summoned service of of and and of
to
Buddhism, patron
feudalism
was
special
the
at
stimulus
Japanese
the
arms
glance
lord
armour
of
shows
how of the
his
full fine
equipment
arts to
most
the
the
warrior
chain
caste.
harness
hide
armour,
steel,
and
brocade
lacquer;
chased
helmet
and and
breastplate
the
gold
of
cast
silver;
chiselled
dragon
the
insignia
silken
metal;
banner,
with
woven,
broidered, em-
or
painted, polished
37
the
ancestral of the
blazon;
the
triumphs
THE
FEUDAL
PERIOD
39
lecture,
in
in
the
cut
and
pattern
of
ments, gar-
literature,
world which
the
was
Japanese
distinct
was
had
from
created
which
all their
Although
to
Chinese
inspirationgave
latter
birth
the
Yamoto
school, the
developed
from it
into
something
Chinese.
a
entirely
In
different
anything
created art, touch choice in
other
words,
school
of
Nipponese
be
pictorial
to
which of of
it would
hard
as
find
as
Chinese
influence,
is in
far
the
its
subject
merit
concerned,
the faithful
for
principal
of It furious of acts fulfilled
was
lay
duction repro-
Japanese
a
feudal
life. marked
troublous and
period,
other
by
combats of
warlike
vengeance,
secretly planned
The
an
by treachery.
itself
to
spiritof
extreme
developed
and
point,
and code
during
all this
period
of
blood
dark
passions, the
40
JAPANESE
ART
of
at
honour
that
and
the
scorn
of
death
arrived
forth the
was
pitch, which
of the until
has
called and
admiration
maintained
universe,
the very
which years of
last
Old
Japan.
The
Yamoto-Tosa
these
school
has
multitudinous
the
phases of
contests
agitation,
and
bitter
mien
by
land, the
proud
of
warriors, the
warlike actions warrior of dress,
;
tournaments, of
ventures adand
heroic
the
hairbreadth
with
a
of
caste,
monials, cere-
host and
details
processions daimyo
in his
but
it
has
also
shown
to
(feudal lord)
of
peace,
to
returning applying
all the
a
times
himself
and of
castle
gardens
tender
poetic inclinations,
that had
long period
unable
to
ungovemed
from called
passion
his soul.
been
banish
been
This writers
style has
who
ornate.
The
apply
this
epithet generally
THE
FEUDAL
PERIOD
refer
to
the
peculiar monotony
of the human
in
the
resentati repNo
figures. they
are
matter
vigorously
like
drawn,
not
mere
they
like
dolls
and
automatons,
living beings.
often of
not
They
more
are
flourishes,
than
importance
which There Yamoto
are
the
courtly
all
over
honorifics the
picture.
The
to
is
excuse
for
this.
a means
was
merely
Most
glorify the
depicted
nobility.
were
of the of
personages
personages their
a
rank,
in
living daimyos,
whose have it irritating
or
ancestors,
more
delineating style
would finds
soon
actions been
realistic The
offensive. and
student
at
tiresome
to
first,but truth,
gets
accustomed
was
it.
In
such
in
entire
consonance
ceremonial,
costume, artificial time. and
imposing
else of
life of
Japanese
court
42
JAPANESE
ART
The
found
painters'contemporaries,
these
no
doubt,
stand; under-
pictures quite
since
customs to
easy
to
but
manners,
then
the have
institutions,
and
as
changed
their
so
much
not
greatly
to
obscure
meaning,
to
only
Western
students,
Piles
but of
the
Japanese by
accumulated
are
themselves. native
over
tary commen-
connoisseurs
have
been
it, and
so
their
tions interpretathat
often
date
inadequate,
found
writers
sary neces-
of
later
to
have critical
it,in turn,
almost
errors
write
up
works,
the
entirely
of their
taken
with
correcting
predecessors.
It
is almost
an
impossible
opinion
for of
foreigners
this
in
to
form
accurate
school.
pean EuroTrue
are
It is very and
imperfectly represented
American collections.
of
enough, quite
are
pictures
the for
Tosa
school
often
offered
sale, but
of
a
they
date.
invariably products
of the
later
Specimens
eleventh,
twelfth, and
THS
FEUDAL
PERIOD
43
thirteenth
even
century
if
one
can
no
longer willing
in
be
to
chased, pur-
were
pay
their
are
weight
in the and
hundredfold of
gold.
Japanese
They
ilies, famEven Tosa
possession
most
old
jealously guarded.
exponents
of the
of the
more
modem
school,
as
Mitsunobu
oky,
and
can
finallyMitsuyoshi,
seldom eleventh Minamoto be
seen.
tures pic-
In
the
century
and in
names
the
of
most
we
Motomitsu
the twelfth of Toba of
a
prominent;
encounter
century
the
Soja,
nese Japagreat
and and
the
horse
painter
and which
originator
had such
caricature,
revival
the
two
in
the
seventeenth
century,
Tamehissa
great
colourists,
In the
Nobuzane. Tsoutenaka
thirteenth
century
of
the
the
imperial
raries contempodecorated
was
were
Takatshika,
of
the
temple
Kassouga,
fin-
44
JAPANESE
ART
ished
by
his
descendants the
two
in
the
teenth four-
century,
Ono
Buddhistic
and
priests,
Sojo
of
and the
Seyin,
Soumiyoshi,
"painter
imperial
work
to
a
court"
of
Subjecting
and
one
the schools
at
once
the
Yamato
Tosa realizes
close
the
are
analysis,
Japanese
that
principles
different
of
composition
ours.
notably
from of
First
frames. lines
to
all, the
serve
Japanese
to
us as
never
uses
Frames for
a
boundary
similar ing in look-
pictorial representation
which
we are
those
at
a
to
subjected
of
an
fragment
The
of life out
ordinary
the
window.
frame
clearly
and
defines
concentrates to
interest
extent
upon
his all
canvas
even
such
are
that The
"
other
environments
artist lines
"
forgotten.
Japanese
never
uses
solid, elevated
his
boundary
on
to
isolate
to
picture, but,
his
the
contrary, tries
a
make
picture merely
note
of
superior
THE
FEUDAL
PERIOD
45
interest
of
in
perfect harmony
which,
the
uses
with
the is in
rest
the
kakemono,
with
again,
in
fect per-
harmony
placed.
He
wall
which
it is
fully beauti-
simply
cloth
to
strips of
set
patterned
and endeavours
notes
to
off
the
picture,
and the
accentuate
colour
by
the
mounting
for
our
momentary
does
environments,
not
the
nese Japaway of
understand in
hanging
He inherent
aware
pictures
inadequate
ings. surroundto
subordinates ideas of
everything
and is of form
his
harmony,
perfectly
a
all the of
accessories
room,
vases
as
screens,
the
must
of
and with
lacquer-cabinets, etc.,
the
harmonize
reveal its true
picture, in
order
to
significance.
This has
art
been is
called
"decorative."
our
"Japanese
have What
decorative,"
over
critics
repeated
a
and
I
over
again.
meaningless phrase
or
Art, whether
is deco-
Japanese, European,
American,
THE
FEUDAL
PERIOD
47
ceive
and
such
close
observers
as
the
to
to
Chinese
see,
Japanese
that
a
being
road the
unable
appears
for
instance,
as
diminish
is this ?
want
from laws
eye. of
Why
That
perspective
study,
two
even
the house
vanishing
may may
not
lines
tible percep-
of
sides
to
be
the
ignorant,
child
sees
be
a
possible, but
road
the
merest at
that
at
is
rower nar-
the
end
than
the
beginning
where the
he
stands. of
Then,
each
again, although
fish
anatomy
as
is
closely
observed distance
to
its
general
only
; and
tumes cos-
characteristics,
is indicated
by diminishing
the
armour,
the
objects depicted
detail
a
and the
as
each soldiers
much
are
of
the
of
mile
off,
as
are
painted
on
with
men
minuteness in the
that
the
who
immediate
foreground.
Another of form
striking peculiarity is
The
the
lack
knowledge.
Japanese
painters,
48
not
JAPANESE
ART
only
to
those
of
the
Yamoto-Tosa have
never
school,
drawn
we a
but
this
very
day,
face for
or
proper
human it.
body,
as
stand underor
Take,
instance,
court
lady, by
Mitsunobu. has
of its its
The
undoubtedly
despite
the of
merits.
It is,
an
frugality
most
colouring,
example
"
perfect
which for
flesh
painting,
minds re-
after
its kind,"
one
modelling
is all of the and
of
Holbein. the
There
want
the
apparent
effects of
flatness,
strange
intense
light and
of
shade,
and
individuality
expression,
as
yet
ically anatom-
the
drawing, precise
nor
it is,is neither
correct.
to
us
proportionately
more
This
as
seems
the
men
astonishing
and
women are
the
Japanese
by
no
means
shy
in
appearing
the best form. their
a
naked,
which,
for
after
all,
offers the
opportunity
It must be
studying
ever, howthe
human that
noted,
body
as
vile
of
no
worth
what-
s
Q
"
THE
FEUDAL
PERIOD
49
ever,
destined
in
to
rot
and
canons
waste
as
away.
This,
and
connection
as
with those
rigid
indisputable
which
of
the
the
ancient
Greeks,
how
to
exactly
may the
told
painter
of this of
paint,
in
or
explain
eccentric of
much
mannerism
drawing
the
a
drapery,
face. In for
the
human woman's
to
treating
of had
dress,
them
the
instance,
"
they
as
make
either
undulating
"angular
as
the
the
waves
of
of
sea,"
etc.
or
edges
rocks,"
European
went
art, both
painting
a
and
course
ture, sculpof
through
continued
I
mean
development.
as
Naturally,
ment developof
regards knowledge
of
As
anatomy,
nique. tech-
of
form,
colour,
and
of
general
regards
sentiment,
than
in
perhaps
progress, and
there
was
more
decadence
a
arriving
in
from
change
a
feeling
faith, without
corresponding
as
change
Italians,
in
subject.
The
Greeks,
the
50
JAPANESE
ART
passed
through
to
the
same
phase
of
art,
after
continuing
all faith
the
produce
had
in
subjects long
away.
in
in them
passed
Greek and
art
Hence,
the
decadence of
our
early
art
centuries the
as men
era,
in
in
seventeenth
century.
their what revived The later
our on
soon
perceived
to
error,
was
paint
art
about
them,
their
improved.
the
schools,
French and all
Spanish,
even
and
English,
show
American that
school,
In
in
respect.
Japan
to
there
The
nothing
have been
analagous changed,
remained
;
this. the
to
subjects
has
but
true
technique
certain be rules
always
and
to
regulations
state masters
and
it would the
difficult
or
whether
were
Tosa, greater
Kano,
Ukio-ye
or
the
draughtsmen
With the
colourists.
do
not
this,
wish
not
to
imply
study
that from
Japanese
artist
does
THE
FEUDAL
PERIOD
51
the contrary, he has derived all the fundamental ideas of his pictorial
nature.
On
so different from ours, from conceptions, of nature. The Japanese are a close study on
byfar more
we
with nature
than
are,
"nature
walks" have
been always
means
of the most
popular
drew
looked He merely from nature. directly absorbed all their peculiarities, at objects, and then
went
back
to
his studio to
into fashion.
equal the Chinese in the faithful reproduction of the hair of a beast, of the down of the veining of petals, or the dust feathers,
on a
learned to
Late
Tosa
School.
"
Orchard
in
Spring.
THE
FEUDAL
PERIOD
53
induced
of
them
form
to
and
texture, away
a
gradually
from
break
to
formalism* of nature,
They
tried
imbue
in
fragment
a
uninteresting
In
with itself,
of
a
poetical idea.
of
tain moun-
the
representation
for the in
basket
flowers,
to
instance,
they
ventured of
a
introduce
poetic
suggestion
mountain
the
background.
many
of
These
experiments resulted,
in with
centuries
later,
views
the
combination
panoramic
as
ostentatious
and
details,
masters, of
a
practised by
who
or
Okyo
delicate
other
used
the
as
structure
flower the it
plant
foreground,
the
and
connected
latter few
with broad
landscape
or a
behind
wilful
by
effects If
a
emptiness.
to
Japanese
an
wishes
in
scene
give
the
of
orchard
spring, he
as a
paint
the
whole
painter would
a
do, but
simply suggests
with the
by
twig
in
delicate
of
a
bloom,
moon
graceful
it.
silhouette
waning
behind
54
JAPANESE
ART
school
gave
the of
first
impulse
conciseness
a
expression,
of
characteristic
reached of in
Japanese
haikaty
a
poetry,
stanza
has
the
consisting
limit
no
seventeen
syllables,
its extreme
of
brevity.
qualities
can
Although
claimed be made for
great
be
these that
poetical forms,
the
it must have
admitted the
Japanese
slender
poets
most
of
their
resources.
It is wonderful
what have
narrow
melody managed
limits.
and
to
true
timent sen-
they
within
manner
compress
these the
a
In
the
to
same
Japanese
admirable of the
painters
effect brush.
learnt
duce pro-
truly
strokes
by
The
few
terous dex-
masters
of this the
the
Tosa
school,
however,
recognized
had
not
yet
practise
famous
The
school
has
become the
for
conscientious
details,
its lines and
elegance
touches,
for
beauty
of
THE
FEUDAL
PERIOD
55
of Persian
The
greater
to
of
colour leading
as
full of grace and are theyare at times, the natural manifestation and seem beauty of serene, contented, and happy minds. of colour, and fragile Their gift fragrant trees in bloom,is all as plum and cherry And it is this exquisite their own. gift of theirs which constitutes the principal
charm
of their work.
Fine
and
true
for beauty and flow thoughtheirfeeling of lineswill always theircompobe found, sition is somewhat
awkward.
But
in
56
colour
their
JAPANESE
ART
they
never
strike
false
note.
one
In
can
exquisite blending
read the
of in
tints,
all
easily
which their
delight
that
loveliness of
characterized
particular part
only
one
now
and in
then their
by strange
work,
when
feels
the these of
blood-stained
In
pictures
doom and
the
hung
over
feudal
time,
knowledge
them
their
delineations,
that
ing givis
strange
fascination
irresistible.
Religious painting
exist, but
It Buddhism
to
had
not
ceased
to
had
power,
greatly changed.
and
at
a
aspired
worldly
the this
three time
thousand
dotted the
monasteries
which
slopes
of
of
Hiyeisan,
were a
mountain
northeast embodiment
content
Kyoto,
of
very
material
Not the
were
Buddhist
influence.
weapons,
with of
mere
spiritual
inmates
these
establishments
THE
FEUDAL
PERIOD
57
alwaysreadyon
to don
armour
the smallest
over
provocation
of
to Kyoto,
to the streets
on
place their
the
swords
whatever
scale of
of the day seemed to them politics most to whom expedient A priesthood of war and warlike a practical knowledge ducive accomplishmentswas vital was not conto the production of important religious paintings. The Japanesenobleman, moreover, had
more
than
mere
tolerance in the
for
other
either
creeds.
a more
Although
or an
main
Buddhist
than
Shintoist,he
also took
interest in the ordinary in and even Confucian moral philosophy of vague speculation, Taoism, that mass and his disciple attributed to Laotze Chwang Chow. The primitive of Kanaoka quently consestyle Temples, of course, languished. built; all sorts of mythological creawere
"
THE
FEUDAL
PERIOD
59
could castle
work
in
perfect security
and dream with
behind
the
walls,
all and
their the
twilight
flowers
dreams,
nature
fragrant
art.
of led
art's
The
Japanese
artist for
an
ideal
existence,
simply
their
living
sake. be
Many
said
of
to
greatest
known
painters nothing
of
have
this
care,
golden
power
leisure
was
and
freedom
fold; ten-
their thus
increased
and
has
been
developed
marvellous
not
merely
in the of
patience
minute
altogether
and
not
most
complete
ing finish-
every
detail,
seldom
merely
and
technical
never
passed, sur-
excellence
but
equalled
power
of
to
delineating
decorative
life,
and the
and
sensitiveness
emotional
suggestion,
in
or
which
placed
of the
Japanese
of any
the
front
rank
artists
age
country.
CHAPTER
III.
THE
RENAISSANCE
Thb
Kano
School
(1400-1750)
[N
misty
mornings
in
spring,
the
Dai-mouji
stands
Mountain,
just
east
back side
of of
Temple exactly
The
"
at
the
Kyoto,
like
massive bears
silver
hieroglyphic.
its
mountain
artificial
upon
slope
peculiar
the Chinese
landmark,
resembling
"
character
signifying
series still of
dai,"
or
great,
in which
by
snow
excavations,
while the
lingers,
is bare. of
surface This
colossal
white
snow
might Japanese
readily
art,
taken
the
60
as
symbol
of
of the
manipulation
THE
RENAISSANCE
6 1
painter's
Japanese
brush
is
in of
strictly calligraphic.
itself
writing
Some
is
sort
of
painting.
written
the
characters the
trees
of
the
and
language
as
resemble
drawn
bridge posts
And do
not
by
certain of the
artists.
the these
gateways
Japanese
sisting con-
temples
"
quaint constructions,
support
ends
of two
a
pillarsthat
with
tally horizonand
a
lintel
"
projecting
one
tie
some
beam
remind
Chinese
involuntarily
letter, which
the
a
of
colossal
painted
against
by
sky giant
with brush
of vermilion
child, learning
to
a
write, brush,
pictorial signs
the paper,
with
ing holdin
which the
whole the
is absorbent,
arm
his
hand.
Thus,
works, motion
the
can
being got
and the
from wrist
shoulder,
One
elbow,
alike.
influence
readily
of of
a
imagine
writing
child
to
what has in
this
the of
method power
fostering
outlines
seize
the
natural
form.
62
JAPANESE
ART
It free with
same
learns hand.
a
unconsciously
Our pen children
or
to
with write
hard hard
at
pencil; they
make The
a
the first
art
point
attempts
student
drawing.
finds No its of
suddenly
in his hand. in
yielding
wonder
brush he
placed
is
that
awkward,
and
manipulation
lutely absoa
incapable
Japanese,
learnt The for
an
competing
as a
with
who value
already
of
child
has
the
touches.
calligraphic dexterity,as
in the with
cranes
displayed, Saitoshy,
is
instance,
inheritance
of
the
Japanese
artist.
as
His he
fingers work
delineates
a
almost
mechanically,
the of
flying bird,
the colours
or
vegetation
sea,
of
mountains,
the
the
of
shape
flowers. have in
was
of branches, Generations
him of
the of
spring-burst
skilled
workmen and
given
marvels
their his
cunning,
brush in
revive What
the
work. the
conscious
effort
beginning
THE
RENAISSANCE
63
became
unconscious,
in close
were
instinctive, almost
centuries.
automatic,
At
later
of
the
the
fourteenth foremost
China
century,
the of
Chinese the
still the
painters
its
Eastern
world. the
an
reached
prime during
It
Sung
era
had
been
conspicuous
for
the
development
of
great
individualities,
innovating
statesmen,
constructive and of
losophe phioriginal
inspired poets,
artists, as
civilization. No wonder that
a
that
of
any
period
European
great
the in
wave
of
Chinese
influence
passed
over
Japanese
every and
islands,
deeply
way.
affecting
Not
it
conceivable
only
laws
sciences,
most
as
but
the
the in
material
civilization, and,
of the and and
of
all,
thoughts
its
nation,
expressed
philosophy
literature, profited
by
Chinese
teaching
the
example.
artists the of
Inspired by
chow,
a new
great
Hangof
school, with
aim
tech-
64
JAPANESE
ART
nically equalling
was
the
Chinese very
soon
masters,
to
pass sur-
founded,
the former
destined
native In
schools
in
merit the
and
renown.
Kanaoka's themselves of
time,
painters
to
had the
devoted
pally princigods
and
representation
the feudal
heroes;
and
during
period
the
become and
leading
animals
landscapes
came
more
in The
evidence.
Cho the
name
figure painter,
known
Densu
(1351-
1427), also
and who Kano his in
two
by
Meitshyo,
and
pupils, Josetsou
had
two
were
Shubun,
and
turn
pupils,
the
Sotan
Massanobu,
of
principal
As each for
a
the
movement.
these
men
taught,
rivals of
there Tosa
existed
years,
as
as
the
school, almost
But,
another had if in the the
many
distinct
schools.
one
chiefs
nature
differed
of their
manner,
from
genius, they
the
same
adopted
the
same
subjects, the
THE
RENAISSANCE
6$
that
same
general principles ;
blended of of Kano. school of In the colour into The
was
so
they
"
soon
became school
one
school
the
leading
the
to
istic character-
this
absolute
ordinatio sub-
design.
school
was
beginning,
black
the and
or
voted dean
entirely to
occasional
colour
as
white, with
some
use
of bistre
other
In its
faint
uniting
half-tone.
use
later
and
development,
tried
to
of
colour,
in
a
rival
painters
brilliant in
lavish
It and colourin the
application
can
gold
said
tints.
even
be the
Yeitaku
Korin ists
Kano
as
produced
Nobuzane
almost
great
as
thirteenth
Cho
century. Densu,
a
Kyoto
of the
priest, was
Kanaoka
the
great
He
art.
revivalist
school.
sacerdotal
devoted He
was
himself
one
entirely to
of
the
few
Japanese
of
a
painters
heroic
who
attempted
His
"
pictures
of
size.
Death
Sakia,"
still
THE
RENAISSANCE
67
which
greattechnician. He abolished the use of the fine, round, brushes of the Tosa school, and pointed
prove him to be
a
and constructed brushes with broader and vital powerful, His line, rect full of personality. a ditouch, of the studyof Wutaotz, outcome of celebrated as the greatest painter China, varied with each object drawn, without losing the strength and boldness of his own He triedto sugindividuality. gest flattersurfaces. He had
a
the
of houses, line-characteristics rocks, leading marsh grass,etc. trees, Sotan and Kano Massapupils, his methods, and Saomi nobu, perfected which has wrote a hand-book on painting His
great man
of this movement,
that :
68
JAPANESE
ART
"He
did
not
in
the
footsteps
a
of
the
ancients,
to
developed
power which flowers in the and
was
style
est great-
peculiar
in
most
himself.
landscape,
in
he and
excelled
then figures,
was
birds
and of
he
oxen,
also
skilful
delineation
horses,
dragons,
and with of the this
tigers.
he
In
drawing
figures
his sketch and
animals,
a
pleted com-
single
stroke
of the he
brush,
style of working
is considered He
originator."
silk
painted
to
a
on
panels,
toned
down with
light
tinge, exclusively
work
is able remarkof his
Chinese for
ink.
leaving
portions
He
arrived
often,
of
as,
a
instance,
the
an
in
the
neck of
and
breast
bird, gave
of his
illusion
modelling
of made
a
by
means
entire
absence he
touches.
use
In
winter
landscapes,
itself
to
of
the
silk
ground
give
faithful
THE
RENAISSANCE
69
of snow,
rendering
trees
of the and
whiteness
ing cover-
roofs.
years
In
his
earlier
he
a
went
to
China,
among
and, full of
their
most
zeal, sought
renowned the
teacher
masters.
His
terity dex-
astonished found
ordered before but
to
Chinese
teach
at
artists,who
him.
He
to
was
little to
the
court
Peking
to
paint
prise sur-
the
of the of with
emperor,
and,
he
the
great
sovereign,
silk
a
produced
surrounded
piece
dragon,
or
clouds,
brush.
he had
three
four with
splashes
the
to
Disgusted
received, he
to
instruction
his native
returned in the
land, resolved
take
future
lessons
trees.
only
And and lead.
from it is
trees
the
mountains,
rivers, and
especially in mountains,
that his is the
rivers,
his
His
line
with
and force
rugged,
of the
vibrating
artist's
hand.
The
subjects preferred
by
the
Kano
70
JAPANESE
ART
masters
were
the romantic
portraits
of
legendary
soi-disant
personages,
landscapes,
and
Chinese,
endowed
and with
animals
a
plants, generally
or
symbolical
of all of
emblematic
find their
meaning.
place
but in
Saints
the works of
school,
in
instead
mystic beings,
show
to
us
throned
a sion succes-
ethereal
of round appears The
regions, they
gods, belonging
the
common
affecting asceticism
austere.
at
which
school
the
It
start
was
had
no
reformatory
meant
aspirations^
return to
simply
for
Densu
the
Cho
in
endeavoured of
to
see
paint
the
manner
the life
early through
as
Buddhistic
painters, and
eyes.
case
primitive
the
to
But
the
school,
is
generally proved
with
a
revival
movements,
be
renaissance.
fifteenth Kano
The and
century,
when
Sesshin
is
con-
Massanobu
painted,
Massanobu.
"
Portrait
of
the
Actor,
Ichikawa
Danjuro
THE
RENAISSANCE
7 classical
was one
sidered
the
of
supreme
purest,
the
art.
most
period
those
Japanese
It
of
when
brief struck
the
human
to
a
soul,
rare
raising heights
heat
period
out
of
fusion, has
the
at
white The
for
revelation
of this the
of
pure
art.
opponents
it for
school, of
course,
reproached
respect
Chinese
almost
to
superstitious
art
paid
in for
own
Chinese
But
and
general.
China
was
these
a
painters' adoration
pretext
for
merely
of in
their their
found with
a own
idealization ideals
art.
They
minds,
had
but
ready
to
their
it
necessary of
fortify
themselves
code
precise rules,
them,
and,
went
as
could
furnish
of the and
they
to
painters
Hangchow
instruction.
the
period
And Chinese that the
inspiration
is
no
there
doubt that
that, without
vigour of
influence,
lines,
reveals
spontaneity painter
more
of
touch,
which than
the
plainly
object
72
JAPANESE
ART
painted,
of one's of
which nature,
appeals
which,
the
to
the
a
manlier
side
verse
like
simple
of the
Omar,
of
knocks
gate
that take have
a
dom king-
mystery
ajar,so
and
would
dwarfed
Japanese
me now
painter.
try
the
to
initiate
my
reader of
few
of
technical
mysteries
is the The carry
a
artist's
profession, which
of
characteristic
this
school.
could in
painter
easily
goods
so
worldly
and very has
artistic done
handkerchief,
to
invariably, even
this
day.
is first which
are a
There
small
as
roll
made
of
fine
in
bamboo,
which the bowls for
serves
porte-crayon,
of
;
various three
or
sizes; then
four small
one
colours
or
are
mixed,
small
each
three of
parcels
two
containing
fresh
supplies
paint;
THE
RENAISSANCE
73
large
bowls
laid
are
of
water,
upon
plate, and
the
piece
In
of paper
out
some
floor.
of
the
parcels
and
small red
sticks
a
indigo,
and These
a
some
dye,
of
lump
quantity
colours,
small the
white
lets. pel-
with
Chinese white
is and the
ink, make
up
the
palette.
before is
The
only
mixed
just
skill
being
used,
both in
considerable
necessary
of it. The very then
mixing
first small melted
and
the
and
use
pellets are
fine with
mixed with and
a a
crushed
ground
and
with little
the
whole,
water,
into have
afterward
ground
till all The
rubbed of
thick
paste
traces
grit
thus
once
disappeared.
is
pigment
when it has, every it is it
prepared
becomes
to
quite
and
useless hard
;
dry
mixed the
care
therefore,
be
to
afresh
with its
for which
picture; prepared
but
are
due
both in the
brilliancy and
This
its permanence
picture.
durability
is
74
JAPANESE
ART
essential,
and it is
as
the
pictures
after very that
are
kept
rolled,
of
gins be-
only
many the
years white
or
rolling
to
and show
unrolling signs
power
of
perishing
ing. peelwhite,
but in the with iar familfalls duced proof
The
not
of
manipulating
colour inheritance
in
simple
is
body
an
only,
thin
washes,
from familiar
Chinese.
the oldest with from the
who
are
pictures
veil
a
will be
often
filmy
of
which
head
the
on
is wash
by
white without The in of
thinnest
over
laid
all
colours,
kind. and of
a
blur
paper
or
running
is
slightly toned,
about the
made sheet
small
pieces
If
size
are
foolscap.
are
larger pieces
with
required
It is in
they
the that
joined
rice
paste.
rapidly
absorbent artists
quality of
have
this paper
most
Japanese
found the
of
it is from
methods that
adopted
to
overcome
these
difficulties
THE
RENAISSANCE
75 characteristics The
of
most
of
the
art
essential have
Japanese
ence
sprung.
absorband done
tions correc-
is
midway
papers;
between what be
done
blotting
has
to
unglazed
must,
be
therefore,
are
quickly;
almost
impossible.
of
Also
our
washes
colour
as
executed
are
by
of the
Western But
water-colours the
out at
question.
of
Japanese
in his the be
own
gets
tions gradaThe
a
colour
way.
enable
reserve
of
to
brushes held
tone
of
water
in
at
hinge,
taken
the up for
full
at
required
The
only
of
being
a
the
point.
is
side
feather,
instance,
being
drawn.
a
Directly
pressure brush shades
the
gradation
the the
to
is wanted,
brings
into off
A
thicker
water
part
escapes,
of
play,
the
tone
the
required lightness.
in
regular
mist
trick
is used
the
moon moon.
painting
To
melting
around
get
in
this, the
circle
of
the
is
struck
76
with
a
JAPANESE
ART
compass,
one
leg
of This of
which
is the
holds
brush
of
water.
passed
moon,
around
silhouette hard
which
whereby fleecy
is
line is
prevented.
the
The
moon
obscures
obtained of
by
paper,
the
on
sheet of
water,
colour,
water
it is It methods and
quite dry.
is
obvious,
very
come
however,
that
can
with be
these
used,
light moon-
thence effects
pale, misty
we
with
are
so
miliar. fa-
quality of
the many
the
paper
compensated
are
difficulties
set
artist's
path
with
a a
in
two
to
the
lines, drawn
brush
Chinese
ink, it imparts
moreover,
certain
crispness, and,
work,
which of
it has
a
compels
rapid
a tainty cer-
necessity
touch and
produced
dexterity
of
exe-
THE
RENAISSANCE
^^
cution,
of the
wherein
motion excel
lies which in
much
of
the
secret
so
Japanese
artists
greatly
The
portraying.
are,
pictures
on
however,
for
a
invariably
work
painted
silk
over
prepared
with surface
by
being
which that The of
rubbed makes
fine
powder,
like
the paper.
very
much
the
are,
of
course,
of the
various
sizes, but
black about the and the
with
which
are
ordinary
are
pictures
of
painted
little
an
thickness
with and hair
the
finger
and ingly exceedtion construcas
at
a
hinge,
about
inch
an
quarter
long
running
This
finest
to
to
point.
the
peculiar
as
well
the the
strokes brush.
be
executed
with
now,
us
having
see
described artist
at
his work.
rials, mate-
the
The
at
lies
four
on
the
floor, with
The artist
weights
kneels
corners.
in
Mokk"
"
Tiger.
THE
RENAISSANCE
79
The but
students
did
in of
not
draw
from
out
nature,
an
devoted
day
and
day
during
to
a
apprenticeship exacting
student of
some
eight
of
years
most
study began
old
masters.
a
The
by making
a
careful
master
study
like
he copy,
picture, by
or
Chinese
after his
Mokk^
made
Bunjin
Jen,
from
which
own
several he
copies
had with made
and, when
himself
thoroughly
and
a
acquainted
stroke copy of
every
detail
every final
the
was
original, he
submitted the
same
made
to
which
the
teacher's
was
judgment
treated and
so
Then in
on.
next
picture
then
the
way;
the
next,
These
may from
can
repetitions
vain from
of
the
same
subject
be the
view-point
of accuracy
of
originality,
their method value
view-point
be has
hardly
overrated. been
This
of
out to
or
instruction
to
carefully worked
made
a
the
smallest
detail, and
line in
subject
back
rule.
For
every
bird's
8o
JAPANESE
ART
claw,
a
certain
position
of
of the
the
hand
and have
inclination
to
been
must
be
necessary,
they
bered. remem-
learnt,
curves
acquired,
and
swells way.
or
cannot
be every
a
accomplished
broad certain the
to
in in
any
other
mark
the
body
colour
wing,
point
of water
a tain cer-
intensity of
and in
a
at
of
brush
be
certain
at
quantity
the
held
pressure
reserve
hinge,
of
a
the
fingers holding
motion
or
the
brush
arm,
are
and
certain
of colour
the
entire will
not
a
necessary, off of
the
shade series
properly,
hard
and
there instead is
no
will of
be
smudges
There
mated aniway
are
feathers. of
no
other
as
getting
other
these
feathers, just
will the tell
there
lines
which
so
simply
as
of
the
bird's
flight in
to
air.
a
And
the
desired deviation
be
accuracy, of
a
which
proves the
hairbreadth's
can
line
fatal,
only
acquired by practice,
long
appren-
THE
RENAISSANCE
to
cation appliBut
brush
and
a
explains
hundred
are
these
other
membered re-
instructions
"
learnt
to
he every
has
and device
master
them become
trick
to
nature
hand
"
student
as
paint
master.
bird
cleaving
the
well
any
no
There
is
doubt off
that
such all
minute
buds and and of that far
are
ruthlessly
very
strongest,
are
artists
survive
those who
few do
between.
survive No vie
veritable
wizards
to
of the be
so
brush.
can
pean Eurowith
master,
them and with None with
sweeps
a
sure,
in
putting
into
an
much the
same
information,
space
life,
humour
so
of paper of
small of
our
expenditure
labour.
realize and
re-
water-colourists marvellous
can
few of
strokes, dabs,
such
the
brush
astonishing
82
JAPANESE
ART
suits
as
Motonobu
(the
son
of
Massa-
nobu),
known
Sauraku,
as
Yeitoku,
of three and and
Takonobu, great
the
father
ers, paint-
Tanyu,
better whose and
one
Naonobu,
as
Yasunobu, Tchiokuvan,
pure
known
Yeishi,
of any of
2-
birds, in
black
remind
gradations,
involuntarily
Motonobu
Diirer's
1
woodcuts.
was a
(145
490)
of the
most
vigorous manipulator
could
brush.
He
give
of any
the
effect
general
few
object
each
strokes
the
curve
brush,
has
but
a
tells,and
meaning.
with in melon. of fruit.
man
This very
capacity
expressing
effort is
much shown
little apparent of
a
the A
figure
few
bird
press ex-
perched
the
on
strokes and
turn
the
bird's
body,
the
shape
But
of the if any
should
ever
be with
envied
which
for
he
the
felicityand
his
precision
it is
handled
brush,
Tanyu
(1601-
THE
RENAISSANCE
83
of
1674), the
He
was
greatest
the
technician
them
all.
of
impressionistic delineator
submarine
of the
horses,
and
of
dragons,
beasts His
creatures,
various
mythological
four lions
zoology.
painted
can
masterpiece,
ink
at
on
in
Clynese
seen
wooden of
panels,
Nikko.
at
still be
his
the
temple
Also
two
coloured of
dragons
the
same
the
principal gateway
have aroused the A
temple
of many his of
a
connoisseur.
of end
cipal printhe
works,
published
fair idea
a
of his of
at
talent. His
He
can
was
virtuoso
style by
line.
be
recognized
the
first
glance
of his
the
peculiar slap-dash
suggestiveness
from breadth hairnever
quality
of his
The
line, sometimes
to
ranging
of
an
the
width
He sweeps he
inch, has
draw the
a
been in
surpassed.
or
could of
horse
;
three of
four
crane
brush
the
body
realized
in two
strokes,
THE
RENAISSANCE
85
think
wants
which
If
sets
the
mind
to
and
to
dream.
the
Japanese
cranes,
artist
he
depict
flight of
more,
draws
half-doren look
or
at
the
closer
first
glance
are
alike,
dowed en-
but
scrutiny
an
individuality of
perspective
and
own.
He
foregoes
;
other
in
expedients
clear
he in
an
simply represents
a
them
or
outlines
curve
on
diagonal
empty
upon
line
ing sweepand of
background,
the
relies
forms.
for A
at
or
his
effect
repetition
Western
a
artist
would
with
expand
a
this,
least, into
cloud
picture
as
scape landto
effect
background;
in the and would
an narrow
the
Japanese
artist, working
custom
bounds all
prescribed by
such knows
tion, tradiappear
attempts
that
more
futile ; he be
such
event
not can-
expressed
forcibly
objects
than
by only
simply
a
depicting
the in
with
slight variation
The first form
their
representation.
us
introduces
to
the
86
JAPANESE
ART
subject, its
second and
a
and
same
action;
the
accentuates
impressions
of
heightens slight
variation
feeling
its
reality by
and
bling resem-
appearance
action;
at
and the
a
every first
silhouette,
the
ceding pre-
is
simply
one;
commentary
and
upon
all
together
of
represent,
the
so
to
say,
multiplication
original
they
treat
masses,
they
often
vary
colour each
schemes, other,
varied the
which
resemble
but
in
are,
nevertheless,
and
endlessly
not
are
shade of of of
line.
And
only
elements
the law
composition
guided
the
tive crea-
by
repetition, but
the artists.
one
also As find
power
as
ible inexhaust-
it seems,
will certain
that
of
they
jects. sub-
have
always
For
treated
lines have
instance,
on a
they
painted
fir
crow
sitting
snow-covered
THE
RENAISSANCE
87
branch,
thousand
has it
a
with
the
full but
moon
behind,
times;
the
every has
painter
tried
the
to
who lend
handled
new
subject
individuality. Only
the
are same.
subject
and with
ception con-
remains
Treatment
invariably changed
of the
personality by
that
a a
artist.
They
have
never
tiring study
idea that lend
a
of variation,
remains
as a
beautiful
always
it takes
new
beautiful creative
old
idea, and
power
as
much
to
an
to to
charm
execute
theme
produce
one,
and
an
apparently
prove The of that
as an
new
which,
after
all, may
old
one.
.
year
1603
marks
the
beginning
wonderful the
political organization
known years
Takugawa
nobles,
or
Shogunate.
For
the
all
local
daimyos, defying
had
one
control in
by
the
government,
engaged
another
continual
and of
struggles
power,
with
a
and
able lamentthe
anarchy
had
been
88
JAPANESE
ART
result warrior
after the of
a
Takigawa
and
statesman
Yyeyosu,
Japan
which
the
greatest
has
seen,
sharp
of
struggle,
his
ended
in the
to
in
defeat
opponents,
battle
the
preme su-
himself
to
be
appointed
Mikado
the of of
Shogun
of the
(z. e. regent) by
the
puppet
day.
of this
By
system
organization
feudal
remarkable
"
government,
which
the nation
two
the
nasty dy1867,
Shoguns
which
lasted
until
"
under
enjoyed
a
peace
ries, centu-
and
prosperity Yyeyosu
for
half
solved
his will
day
and
country
the
problem
the
end
politicians to apportionment
At
no
time, of
and
of control
local authority.
of
previous
the
power
period
of the
Japanese
ment governin all
sential es-
history was
more
central
maintained effectively
matters,
the
although
allowed
in
a
other
respects
measure
daimyos
were
large
THE
RENAISSANCE
89
Under this
in
of
independent
Japan
action.
gime re-
increased and
amazingly
made
wealth
and in
population,
all the
As
a
great
progress
arts
and
civilization.
the
new
consequence,
rose
capital
of
Yedo
To the
(Tokyo)
rapidly
of the of
to
importance.
tury, cen-
beginning
the old
city
the
Kyoto,
had
kado Mi-
always enjoyed
and
presence
his
centre
palaces, had
of culture her fruits The
ered consid-
the
now
art, but
Yedo her
and
rival, and
of
gathered
ature, litertheir
lation regu-
unto
learning, of daimyos
and
retainers, the
to
samurai,
a
compelled
of the year
to to at
by
in
live its
part
Yedo,
a
increasing
population
least
about
bring
displacement
centre
of
the
artistic and
were
ary liter-
of and
Japan.
an
They
all fond
of
luxury
for
easy-going
of the eye and
life,
ever
hungry
delights
elegant
90
JAPANESE
ART
pleasures,
this need
and
as
it is
only
necessary
to
a
in
a
accommodating
when
world
express
means
somebody
the
new
provides
to
crowded over-
satisfy it,
city
was
soon
with
curio-shops, workshops
artists'
of
artisans, and
studios.
to
Kyoto
artistic
continued
be
place
of
an
some
activity,it
"palace
even
developed
and
all
clusive ex-
literature
to
art," but
the
attracted of of of
a
itself
rising
the
the
new
country,
form of
and
art.
became The
was
higher
rendered
degree
civilization, which
an
possible by
and
a a
improved
administration included
cation of edu-
more
settled
government,
extended
far
more
widely
the
not
system
had
were ever
than
country
known
humbler
before.
classes for
so
only
the
educated,
years the had
the
culture, which
almost
belonged
and
exclusively
class, had
knightly
the
worked
into
hum-
THE
RENAISSANCE
bier
a
huts,
and
had
created of
more
in
the
masses
appreciation
had grown in the
the
beautiful.
prosperous, of
They
and books
indulge
works
no
luxury
buying
of art. addressed
Artists
longer
to
themselves
exclusively
people
the
cultured
The
class, but
was a
generally.
form of
result
art,
vacillating between
to
and
old
ideals, trying
please
the of
mon com-
people
by
the
introduction
cratic demothe
elements,
nobler class of
without
offending
society.
to
They
popular
Cranes
us
"
began
paint
like
pictures
the
"
of
tendency,
and in
"
Hundred
Thousand every
Carps," showing
cranes
imaginable
position, eating,
"
in
and
the all
carp,
air, standing,
faultlesslydrawn,
as one
shoal
of the about
might
an
see
it
through
glass
it in
of all
aquarium,
of
floundering
kinds
posi-
THE
RENAISSANCE
93
the
followers
of
the
Tosa
and
Kano
schools.
The age of the
Takugawa
on
Shogunate
lent schools
couragement en-
could
pride
itself
to
having
distinct
one
three fourth
of
painting, and
into had
that
just
came
evidence.
no
The
Buddhistic but
to
school
were
great
men
exponent,
who
there
adhered
Kanaoka's
Densu's
Tosa
principles.
was
The
the the
school
represented
by
miniaturist
Mitsuoky,
flower
(1616-1691),
Japan
of has
greatest
painter
were
produced.
and
were
His
of
ideals
colour.
purity
flower
and
line
purity
models
His
pieces
of
elegance,
some
invariably
sentiment.
has
endowed
with
tender
The
to
austerity of
the
sweetness
mediaevalism
and
yielded
fancy
of
triumphal
of
its
nity, dig-
gaining something
of
gentleness
tranquillity.
94
JAPANESE
ART
The
Kano
was
school
was
in
its
prime.
His
Tanyu
brother,
for of
one
famous
Naonobu
to
all
over
Japan.
(1607-165
energy last
1), laboured
with
years
combine
at
delicacy
He
touch,
of
and the
succeeded.
of
is the
most
individual
His for the of
sun
all of
artists
of
his
race.
picture
is
one
monkey
the best
groping
known the
of
art.
pictures
man
Japanese
of the
women
Yeishi,
youngest
ous illustriwith
Takanobu
a
family, painted
and
a more
greater
refinement of
thorough they
had
understanding
ever
drapery
before.
than
been What
a
painted
flapping parody
of
one
"
in
comparison
is
the
grace of
Japanese
our
lady
day
in
the
canvas
of La
latter du
artists,
de la
christened Porcelaine
A
men renown
Princesse
Pays
!"
equal
to
that
of
these also
three called
was
enjoyed by Shioukada,
who
Shojo,
died
in
1639.
He
favoured
THE
RENAISSANCE
95
large compositions
His washes
were
and
pale,
flat
pure
tints.
and
a
remarkably
sometimes
expressive.
of
They
cover
face sur-
several
even,
square
feet, and
almost
yet
are
perfectly
melting
ably
have
into been
the
background.
in
two
published
Yedo,
In created
were
1804.
the
a
fifteenth
new
century
the
artists
had
style, while
classic latter
thinking
but it
they
was
imitating
before the real ideal
models,
of the
not
part
sixteenth in
a
when
the
renaissance
was
set
and
the
classical
followed
by
realistic
tendency.
The
sixteen years of the Genroku been the riod pepared com-
(1688-1703)
to
which of the
have
the
age and of
Pericles,
Venetian
art
days
were
of
Louis
the Art
XV.,
prime,
and have
were
heyday
and
Japanese
seemed way.
culture.
thing everymasters
culture
own
to
their
There
96
JAPANESE
ART
in every branch
of art.
Bashio wrote
has been
his
pared com-
poetry; Chikamitsu,who
to
had his plays Shakespeare, formed perin Yedo. was represented Pottery by Ninsei and Kenzan, architecture by the great Zingaro, sculpture by Ritsuo, and the metallurgic art by Somin. The great genius of the periodwas of the Korin (1661-1716). He was one first to break away
was
from
the
not
classical
a
ideals. There
of
about him
trace
rules or traditions. Whatever arbitrary he imaginedhe produced immediately fashion without in a wild improvisatore himself how it was done,as long troubling it producedan effect. He was a great as colourist. His sketches in black and gold certain over powder beingsprinkled (gold introduced a style parts of the drawing), ful wonderare by Sotatsu fifty years before, feats of execution. Although best he also achieved great known as a painter,
-^
" H oti O
"
u H U
on
THE
RENAISSANCE
97
triumphs
classed in
as
lacquerer.
list
of very
He those
excess
has
to
be
the
eccentric
of their
geniuses who,
by
the
to
individuality,fail
at
put
their
real
talent
equally
was
radical
but
more
cal practi-
mind
Okyo
(i732-1
795),
the
painter
little
of
morning
mists, of
and
apes.
cranes,
fish,
lished estab-
dogs, stags
the
He in
a
so-called
1750.
"natural" He
was
Shijo
ler stick-
school
for from his
about
great
truth,
resolved without
to
paint
to
directly
nature,
trying
could
not
embellish
escape and his
work.
;
But he
was
he
a
genius
poet
became His
by
nature,
his
even
interpretations against
a
poetical compositions
his
will.
sess posease,
are
charming
of
a
delicacy, a
attitude;
gracious
but
naturalness
in his the
they
;
conceived
he
nor
superficial manner
school inner
were ever
neither able
to
represent
life,
or
the
pro-
THE
RENAISSANCE
99
ing
through
of the
the
pine-needles,
waters out
and
seems
the
to
purity
wash soul.
sparkling
elements
"room
all
In
vulgar
the
of the
human
of
agriculture," he
the
painted
rice the
In
"
upon
panels
and and he
history
of in
from
to
sowing
harvest
planting
field the
on
"
the
gathering.
all his
peacock
a
room,"
lavished
under of
care
skill
trees.
pair
of
peacocks
critic
I
two
pinetion decora-
A
"
native
said
not
this how
cram
No
king,
do he
great
under
and
a crown
rich
be, could
of the
imperial
painted
two
"
airs into
and the
splendour
Okyo
of these
majestic carriage
The work
"
peacocks."
is the of
room
of
two
joint
of the
pupils
Kamaoka
Okyo,
Kirei.
Yamanato On
one
messenger
on
proaches apother
to
the
the
queen
is
audience
the
ladies
of the
lOO
JAPANESE
ART
How his
known
and
as
educated person
I conclude
in
Japan,
with which
it is
this
chapter,
and perpatience severance which Japanese artists, ticularly parhave always of this period, strated demonof their vocation : in the pursuit favourite resort favourite of the wild boars haunt of
of typical
the
The
was
also the
cave
Okyo.
The had
the stream
dug
a
its
on itself,
fine
summer
day,converted
master.
into
nature-made
cave-studio,
terns pat-
the tremulous
which
the sun,
throughthe sieving
the with
wove pine-needles,
upon
ground
and
on
mud, taking
fashion. For hours royal the sleeping and hours he watched boar, fine summer on a and, finally, twilight
his siesta in
THE
RENAISSANCE
lOI
hour,
up
he
gathered
I do many
not
his
not
courage know
and how
took many of
his
brush.
how I do
sketches,
the
"
studies, he
know how many the
made hours
boar;
at
the
was
close
of
day
when
mountain
of
silence
needles
full of the
whisperings
in
pine-
"
he
had the
spent
hunters
his
of
cave-studio.
One
were
night,
very
Hozu
to
village
a
much
surprised
around
welcome
strange
The life folks much
guest
their
evening
them love them of for
strange
of the of he the
guest mountain,
woods: envied
spoke
of he their took
to
his
told
had
At
open-air
out
a
last, he
of his
from
the paper.
saw
a
breast When
folds
he of
kimono
roll of
it, the
boar. think
boar ? said. the of
hunters
picture
"What
it? you
Is
it the
it
picture
is dead
of ?
"
Do
think
the
a
visitor
Without
word,
hunters
looked
I02
JAPANESE
ART
upon
it.
They
then
to
a
seemed bolder
common
little
puzzled
them
at
first,and
gave
"
one
among
sentiment:
voice
the I
Why,
yes,
the
guess
it is dead."
went
And every
visitor the
away.
saw
Almost the
same
day,
hunters
stranger
every of the
around
their
evening
flames and upon The
fire.
the
a
night
the
pine
hunters of
a
kindled boar.
picture
them the
dead
visitor
the
same
question
gave him in the shades
;
every
time, and
that
nor were
hunters
answers
different And
neither
words
intent.
went
sadly always,
way into he
came
visitor
of
his But
as
lonely
one
the
night.
with He
night
the
brought
a
him,
usual,
the the
answer. same
picture
old
of
boar.
asked
But
question
did
not
of the him
hunters.
the
hunters
give
wonted
"Why,
no!"
they said,
is
"this
boar
is
all."
THE
RENAISSANCE
IO3
And
light
he
of
came
into his In
eyes
all
of
the
visitor, and
the
answer
made Hozu.
was
through
the
the away of
village
cottage
him
went
was
given
the
man
same.
in
who the
from that of
village, in
one
fading
the very
hours
night,
could
an
see
picture
triumph,
And that knew Hozu
of is
exceeding
the
great
joy.
Now
story
well
they
tell.
Okyo
of taint could
at
very
that
those the
hunters thinnest
village,
without
or
of academic
culture
of and
schooling,
that, too,
whether the
a
tell
at
single glance,
of
the
distance
or
many
yard,
when that
boar
is dead of
alive.
told
a
And
him
sensus con-
opinion
of he
his
picture
he for
was
was
the
sure
picture
that the
sleeping boar,
had
quite
achieved,
the
the
and
feat
of
painting
fine
delicate
distinction
life.
between
death
sleeping
CHAPTER
IV.
THE
REALISTIC
MOVEMENT
The
Ukio-ye
School
(i 700-1867)
OWARD
the
middle the
of
the
enteenth sev-
century
traces
first
of
faint
of
an
influence
ern WestThe
pictorial
artist
of the Iwasa
art
became
palpable.
was
Matahei who of
probably
in his from
one
first
laws
got
interested
composition,
being
copper
gathered
which had
largely
the
stray
engravings
Dutch traders Also
Portuguese
with various he rich them
and
to
brought
made the
Japan.
in
Okyo
tempts at-
imitating
Dutch;
for
a
even
copied
of
several
engravings
teur ama-
Nagasaki.
104
THE
REALISTIC
MOVEMENT
IO5
Although
start
no
these
experiments
efifect
to
on
had
at
the
decided
the it
Japanese
more
style, they
more
helped
the
free
and
dition. tra-
from The
shackles
artists
were
of
Chinese
initiated
into
the
laws first
of
perspective
in
and
ing, foreshorten-
put
practice
and from
by
Kokan became
nature
of
quainted ac-
Nagasaki
(i747-1818),
with the
study
and Shi-
life
as
practised by Western
Oado,
the
most
artists.
bukohan,
became innovation.
Iwasa
and
the
lacquerer
Kenzan of this
ardent
champions
Matahei, 1640,
He
ever
who
became
his first
to
famous range of
about
only changed
was
subjects. painter
who
the
Japanese
jects subworthy un-
tried
represent
deemed of
which
predecessors
art:
of life.
rank himself One and
the
common
scenes
every-day
without threw of
of
the
people,
of blood, into
without
pride
he
whole-heartedly
the
study
THE
REALISTIC
MOVEMENT
IO7
his
colouring
more
is
for
not
of
the
than
simplest,
the
striving
of Toil
was
richness
gance ele-
monochrome. the
only
reward
for
to
his take
Without
vanity,ever
our
refusing
American
fond
seriously, like
Gustav
fun have that of
painter,
of that he be
Verbeck,
any
always
making might
wished fied. satisrow, to-mor-
ambitious
in his
dreams
sprouted
he,
and he
head,
alone,
on
might becoming
To-day
and
kept
always
as
he
to
went
on
without
or
taking
thoughts
He
was
his
food
ment. rai-
always
did
reason
satisfied cry
to
as
long
too
as
his
stomach The
to
not
him
so
loudly.
difficult
why
a
it
is
find
kakemono
because that least work lack of
with he
signature
so
upon
it, is
rarely persuade
man's his his
name
himself
"
it is worth of all
"
any
while
his
the This
to
sign
from
to
that
came
brush.
signature
I08
JAPANESE
ART
has of
been latter
an
eternal But
regret
this made that
to
the
critics of
days.
has
absence his of
nature sig-
really
than the
a
work
many has
better
recognizable
artists, and
and the
over
other told
over
at
same
time
again
ideals
very
eloquent
story
which
of he
high
ever
held
by Matahei,
to
had
made
attain,
which and
a
had
happy, un-
always
which
also grew.
a
better
artist
as
the
days
exerted
Matahei
upon his
considerable
ence influand of
succeeding
out
generations, by
two
men
principles,carried
Moronobu
genius,
busa their
(1638-1714)
both became gave
"
and famous
Hana-
Itcho, who
genre
or
by
the
paintings,
"
rise
school.
to
Ukio-ye
however,
common
This,
until
was
not
fully
established
1700,
fiftyto
the artist
sixty
years
later, about
of
by
great
sym-
contemporaries
Okyo,
not
the in
who,
although
fully
THE
REAUSTIC
MOVEMENT
IO9
pathy
the
with
the
to
Ukio-ye
the Kano
painters,
school
dealt his
death-blow
by
innovations.
About vogue.
art.
1680,
It
wood-engraving
to
came
into
greatly helped
artists, unable
popularize satisfy
the the
The
to
demand
process
for of many
kakemonos,
welcomed with
reproduction
of them of
enthusiasm,
illustrators.
never
and
turned life
on a
Many
dared be
to
phases
they
had could
represent
with the
kakemono in the
expressed
as
impunity
oribons
new
medium,
{t. e.
pictureto
books)
the
use
and
serial
classes.
middle for
nobilityhad
"
no
them unfit
to
they
be
vulgar by
a
tions," crea-
handled
lady
of
rank.
even
They to-day
do
never
bought
rank made them
a
them,
and
not
highly. specialty
that of
Moronobu,
who
illustratingthe happened
in*
historical
different
events
had and
provinces
no
JAPANESE
ART
towns,
worked He
almost
was
exclusively
the
for
the
engravers.
represented
other
actors
in
no
art.
hand,
had He
device
was a
multiply
pure
productions.
simple.
the
painter
not
He
is
remarkable which of
only
spirit and
of
a
gaiety
many
is
istic character-
great
for his
his
in
paintings,
which
use
one
but
must
also
method,
admire
the
expressive
of
the
brush. The
history
extent,
of
wood-engraving history
our
is, to
large
school of if
the
of
the
Ukio-ye
itself,and
art to
Western be very
knowledge
deficient
on
Japanese
we
would
had
depend
solely
"wall
pictures."
In the
beginning
were
only
black
and
white
single
and
sheets
produced.
Moro
were
Moronobu the
Husuyuma
of the
leading
exponents
After
Diirer-like
woodcuts.
to
awhile,
they began
colour
the
THE
REALISTIC
MOVEMENT
III
prints
them
with the
"
reddish
tan
"
orange,
and
called
prints.
Torii
Kiyonobu
made ings draw-
( 1 664-1
for
729)
this
a
Kiyamasa
of of
prints.
little later
they
with
mixed
glue,
to
called
the
nikawa,
effect
of
the
Chinese
ink,
also
give
They
them
used
gold paint,
Okumura
and
"lacquer
prints."
whose the
(1690-1768),
almost
short
possessed
purity
of
Greek
line, Nishimura
and
Shigenaga
some
(1697best the
1756),
efforts
others,
had in
1
of way.
their
In
reproduced
school, about
that 740,
Kyoto
they
tried
chrome polythe
were
prints prints
called This tints the gawa thus
"
for
the
first in
time, and
reproduced
light green
rose
prints."
combination outlines
was
of two
fragile
to
explored
best
advantage
by
Kiyonobu,
and
IchiTorii be-
Toyonobou
(i 735-1
(1711-1783),
785).
This
Koyomitsu
work
112
JAPANESE
ART
longs
has
to
the
best
Japanese
colour-printing
produced.
About
1765,
for
an
by
time
the
name
of
Kinroku which
produced
four
or
prints
passed
and Suzuki
through
five
impressions,
1770)
in this
never
and
Buntcho
have
type of prints.
been used
manner
Colour
a
probably
and
in
more
refined
more
raffine
tints colour.
one
than
were
by
these
The
at set
merely
paleness
of
to
dreaming
the
without
paying
to
picture represented.
were
And fair of
because
to
prints
and
exceedingly
the
the
attractive,
them
people
which
at
the
means
time
called
nishikie,
"brocade of the
pictures." Although
century,
artists with the
the
end
eighteenth
and
to
Nishikawa,
of
Soukenobu
were
other
cope
Kyoto
painters
not
trying
Yedo
of the
brocade
THE
REALISTIC
MOVEMENT
II
succeed time
on,
in
outshining
brocade
of
them,
and of
from Yedo
the
prints
famous
one
the
products
the
city.
The
prints
Shunsho
strove to to
of mark for
Koriusa,
a
Shighemassa
period.
but still
It
and
transition
They
hesitated
was
more
colour,
its full
use
it in
strength.
(i 752-181
to
left
Torii
Kiyonaga
He school.
5)
the
to
accomplish
of the
this.
Tosa he
returned
ideals
The
relied
upon
were
the
following:
red-brown,
silver
yellow,
orange,
white,
and
vermilion,
black,
the the wood
brown
lacquer.
their
heighten
introduced
upon
brilliancyof
device
block of
effect, he
a
passing
each
rice
paste
the
time
before
spreading
the
colour.
Other
artists
to
besides
the
painter
the
have
contributed
bring
about
perfection
THE
REALISTIC
MOVEMENT
II
smudged
sure
or
blurred. the
to
Really,
of
am
not
whether be
place
the
honour
He
should
not
given
marred
printer.
of the the
might
have
and
the the
work
engraver,
spoilt
his
effect of
painter
sought
the
for,
methods and
most
printing being
unpatentable;
he of His has his
own
marring,
mark
added
beauties,
individuality
were
print.
methods
fect, per-
perfectly simple.
the far fails faults of
In
their
chromo-xylographs,
are
register
even
very
few
and
between
to
"
the
magnifying
where
been
reason
glass
reveal has
any in
places
one
colour-block
to
printing
"
allowed
envelop
this method of
an
another
of
the
being
not
that any
printing
did To
permit
know
or
faults
register.
old
whether
print
to
a
is
authentic the
not,
if
one
has
simply only
study
breadth hair-
register;
from
it
deviates
the
space
allotted
to
it,its
Il6
JAPANESE
ART
authenticity
advise
becomes collectors
doubtful.
to
would
print
with is
an
purchase
only
prints
No
price
high,
in
as
such
prints
while
cially, commer-
will the
steadily
others
are
increase
value;
as really,artistically
unprofitable
In
contrast to
possessions.
Western the
the
on
principle
paper, the and
of
pressing obtaining
the
block
thus
impression,
the mechanical
on
Japanese,
means
dispensing
a
of and
or
press,
lays
paper
the
block, tampons
and
pats
the
paper
with
can
simple
regulate
where he
"barens." the
thus pressure
He
at
modify
and tones halfof
end
wishes,
and element
obtain that
are
the
so
gradated
important Japanese
in the and the
tone
tints
an
the When he
of colour
colour
prints.
is shaded, block it in for
one
picture
in the
shades
every
printing,
In
reproduces
of the
pressure.
prints
highest
class
THE
REALISTIC
MOVEMENT
II?
two
or
three
in for
will
often
be
found
Herein
to
use
lay
his mind
the
as
the
printer
and
to
a
his
hand,
not
prove
himself
also
artist, and
The value
so
only
these
art
workman.
colour
of
prints,
on
which
much
was
lavished,
was
entirely cheaply,
rather
underestimated.
that the
;
They
handled
sold
so
purchasers
them
less care-
roughly
about
they
were
absolutely
to
their
preservation,
of
masters
are
such
an
extent
that
prints
1
who
now
from
even
720-1 in
a
750
condition.
Sometimes
the in
single
books,
with
prints
were
preserved
they
colours
sionally occa-
emerge in
almost
more
primitive purity.
posted
screens
on
they
were
often
screens,
especially
the
too
on
small
which
sheltered
from the
hibachi
(charcoal
drafts of
a
stove)
frequent
wind,
Japanese
house.
Rain,
Il8
JAPANESE
ART
dust,
each
smoke
took
a
of
tobacco in
of
charcoal,
share
soon,
destruction.
soon placed. re-
They
perished
The
were
stock
indeed,
being
augmented
price
In
was
was
ridiculously
land
so
small. of
art
as
brimful
Japan,
that such
it
not
surprising, perhaps,
did
to not
conceptions
hold
rest
high
world,
place.
which
art
But has
the
or
of
not,
never
had,
popular
that
least
to
speak
of, it
is
to
only
us as
natural
not
the
many
art
marvels
which
Japan
The
me
are
pages
not
which
numerous
have
been
allotted
to
to
enough
the
masters
permit pupils
an
excursus
on
all
and
of
the
great
few
can
Ukiyo-ye
be may of
school.
tively Compara-
mentioned.
have
names
The the
reader
been of
astonished certain
at
similarity
artists.
THE
REALISTIC
MOVEMENT
II9
This
is, however,
for their
easily explained.
to
It
a
is
customary
of
own.
pupils
introduce
name
master's
into the
This
study
Japanese
those their who
names
as,
for
instance,
to
privileged
the
kuni
take
of
Toyokuni,
life,
" "
vigorous
mara,
as
depicter
of
stage
Kunisada,
well with
as
Kunimasa,
have
technically something
who himself of
in took
common
Toyokuni,
the
toyo^ like
Toyohami,
painter
the
night
of
festivals, and
animated haru. One
Toyoshiri,
from that
depicter
master, able
to
crowds,
is in
his way
Toyotrace
relationship
The class
Yei
"
between of artists
the who
artists.
acter charand
Yeishi,
devoted and The
Yeiri,
almost graces
Yeizan,
Yeisen
to
"
was
exclusively
of
the
charms
Japanese
of these
a
womanhood.
linear
beauties
one
representations impress
like
nautch.
I20
JAPANESE
ART
like the
some
languid
undulate vibration.
Oriental
with
an
dance,
almost
in which
bodies
Everything
of
here
it is
world
visions,
from
of the
fragile,
rest
fairy creatures,
the
separated
of
world
by mysterious
them and
a seem
garments,
to
which around
enwrap them
pure
float
like
dream. the
Amber
faces, very
and
outlines,
eyelids
dark vague
eyelashes surcharged
and the
pass
at
singularly long,
with the
eyes,
languor
same
and
passion,
and with
time
serious,
women.
of well-bred
They
days,
silken the
in
can
pine,
bamboo,
in
and
the
turtle
gold
their
silk, amusing
their Or
themselves
and of them
flowers,
fish, goldone
miniature her
gardens.
and space
takes
samisen
empty,
some
screen-encompassed
sad
and
confused
melody.
THE
REALISTIC
MOVEMENT
121
them fourteen
arranging
classic
their
hair
in
to
one
of
the
styles known
their
the
Yedo
their
belle, darkening
lips,or
of
arching
grease
eyebrows
before the And flash The
with
tiny
sticks
paint
curiously shaped
mirrors,
of
reflecting
their faces.
nonchalant
expressions
stiff and
their garments,
in
sun
cumbersome,
hues. in
woman a
and
moon-coloured artists
see
Japanese
of glorification
even
things.
natural
trees to
They
of the and
have
studied and
grace find
willow, plum,
correct
cherry
of her
expression
movements
poses. The
Shijo
in the
school latter
were
was
strongly
of the
in
dence evi-
half
eighteenth
century. Goshen,
182
1
There
the The of
to
Yosen
(i 752-1818),
Sosen known
landscapist,and
latter
became He of
(1747for
).
his his
and
pictures
whole his
monkeys.
the
are
devoted
life
study high
animals,
in
pictures
priced
England
THE
REALISTIC
MOVEMENT
23
an
expression
moods the
of
the
more
gentle
and
feminine
to
in
Buddhism,
of
"
ing correspond-
worship
the
Holy
Virgin
in
a
in
countries.
Clothed
single
her like
a
of
spotless
white,
enveloping
her
head the
thought, dominating
crown,
a
crystal
rocks
she
sits
among
jagged
of of
shore, the
great
and
overshadowing
In
spirit
this
providence."
us no
work
given
new
pictorial
repetitions.
built But
on a new
pictorialcreation,
thought.
did
human he
not
Hoyen
with
the
only
deal
and
fully success-
figure
also
serious in
religious work,
landscapes
the
realized
his
his
style.
the
The
debasement,
to
exaggeration,
the nance domideface
appeal
of
vulgar
comic,
feeling,
which of modem
the
often
accomplishments
are
Oriental
Almost
in among
Hoyen
his
he
kept
124
JAPANESE
ART
his the
eyes Tosa
fixed and
on
the Kano
spiritual heights of
masters,
while serving pre-
perfect originality.
The rather
painters
a
of the time
Ukio-ye
in
on
school
had
hard
the
meanwhile. and
a
They
were
dependent
many
publishers
of them
print-sellers,and
rather
led
precarious
whatever
existence.
They
fell into
the
cepted ac-
commission
their
hands
"
now
drawing
appeared panels
for in of off
a a
engravers
now
sketches
that the
albums,
a
decorating
mansion,
sketch
now now
temple
or
dashing
rate
rough
cents
a
colour
at
the
of
few the
sheet,
with
wandering
off
into
country
life
some
entirely
what
after
fashion,
throw in
and their
to
take
chance
The
might
reformatory by by
Moronobu
work and
been
tinued con-
begun
Miyagawa
himself
to
Chosun.
the
narrow
He
did limits
not
restrict
'
THE
REALISTIC
MOVEMENT
12$
of
the
later
Kano greens,
pigments,
but of
reds, yellows,
them all
blues, and
with
a new
enriched
scale
strange
He
browns,
drew his
grays.
figures
less
very
much in
like
Moronobu,
while his
only
grounds back-
harsh
were
outline,
treated in
the
dashy
style
was
of
an
Sesshin. age of
The
eighteenth century
in
splendid patterns
areas
garments,
as
large sweeping
from of very the Genroku fond of
so
of patterns,
guished distin-
the
finelydiapered garments
period,
and
Chosun
as
was
drawing easily
them,
to
they
lend
themselves
He where had
colour
schemes.
and there he His of dred Hunof
put
in
one
dash least of
of colour
here
expected
Korin
were
it, a
Kenzan.
trick
learned
and
favourite Yedo.
subjects
His best
street
scenes
"
known
works and
most
are
Poets,"
"Fans,"
the
"Mirror beautiful
Beauty,'* perhaps
ever
ture-boo pic-
produced.
126
JAPANESE
ART
Other
painters
move;ment Torii
who
were
greatly helped
Teisan,
and the
the
two
popular
brothers, mitsu,
Kiyonobu Toyokusi,
Torii
Kiyoand
Buntcho,
Haronobu,
Soukenobu.
Kiyonobu
for He his
(1664-
17
29)
in
two
became
rose
arrangement
these
exhausted
No
colours
to
European
balanced Buntcho life
artist these
my
edge knowlcolours
tained re-
has
so
ever
two
perfectly.
all his
(i 765-1801),
a
by
prince, indulged
and the in
in
historical
very
researches,
depiction
original both
Ever since
design
and
feeling.
had rage devoted
Chikamitsu's
there had all
become
for
actor
some
popular,
prints.
sheets
to
Nearly
this
artists
so
erto hith-
degraded
profession. (i 796-1
to
Toyokuni, i),"seemed
The
and
later
Kuniyoshy
86
particularly adapted
violence
of
this
work.
dramatic
gesture,
although
KUNIYOSHY.
"
RONIN.
THE
REALISTIC
MOVEMENT
27
exaggerated
ridiculous,
are
almost
to
the
verge
of
the
masterly
in
rendered
was
by
a
them.
Kuniyoshy,
unrestrained that His
was
particular,
an
wild,
talent, with
neither
to
imagination
nor
bend
were
to
a
break.
fantastic of
landscapes
all of
positive
lished estabtions illustrathe
rejection
the
theories
and His
rules of the
aestheticism.
"Forty-seven
of
Renins,"
and the
national
made Two him
drama
loyalty
all
over
popular
of
pupils
became
Buntcho,
very of
Totsugen
Bumpo,
numerous
popular through
caricatures.
a
albums
Soukenobu
woman,
peculiar t5rpe of
plump
girls They
with
were
round
and those
or
laughing
of any
unlike
Seated
at
other under
Japanese
flower
artist.
standing
of
or
branches,
the the
bases
graceful flowery
a
trees,
walking
bowers,
own.
in
fields
garden
of their
they
He is
always
have
grace
THE
REALISTIC
MOVEMENT
129
natural
he who
harmony
introduced
of
light.
It
was
atmosphere By
the power in in
into
of
painting.
isolation, of
concentration his
himself, of
nature
absorption
and and all
of
faculties
only,
by
the
positive rejection
rules
not
established
that had
of its
aestheticism,
motive itself to the
for
present,
swift
his
eye
refined
subtle
reflections, the
effects
at
quiverings,
in
nature.
more
fleeting
hand and and
of the
light
same
grew,
time,
of
supple
strong
in
the
unexpected
themselves
became
effects
him
;
while
ette pal-
clear,
joyous, luminous,
permeated
His
fluent
with
sunlight
of the
and
by
brightness
were
sky.
favourite
and
green,
purple,
low-toned
oranges.
Independent
worked Tchikuden
of
the
realistic
movement
and
Hoitsu.
Tchi-
130
JAPANESE
ART
kuden
became
known of natural
a
in
Europe
by
masterpiece
perched Although
one
can on
simplicity,an
eagle
sea.
rock,
overlooking
the
replete
trace
with
personal qualities,
the influence of the
in
him
Kano
school.
Hoitsu
(17 16-1828)
for but
daimyo
studied the
by birth,
in many of the
painted
studios,
Tosa
were
pleasure.
found with
to
He
that
a
ideals
school,
best his suited
few
modifications,
flower He
painting,
had The
a a
which
ented tal-
was
specialty.
in of
moon
very
pupil
Kiitsou.
morningof
glories, full
the
dew,
with
suggestion
are
waning
behind,
deliciously
rendered. In
two
their
delineations
succeeded
of in
flowers,
these
all the the
painters
of
reviving
graces almost
their
delicate
organism,
of
inexpressible
the
tenderness
their
and the
living brightness
and
even
their
colours,
KiYONAGA.
"
Picking
Iris.
THE
REAUSTIC
MOVEMENT
I3I
unsubstantial
exhalations
of
their
fumes. per-
Toward
1795,
when
sprang
Kiyonaga,
into had sudden
a
the
son
of the
Kiyomitsou Ukio-ye
fame,
school
school
become
It had
of national
importance.
proven
its
had
worth,
grown
prejudice concerning
strong.
gone with forth love with into for the
it
They
Yedo,
streets
of
their
native
city,and
were
quivering by
inspiration. They
inexhaustible
scenes,
riety va-
fascinated of her
the
and
sights
their
and
they
to
had
allowed the
vagabond
of
fancy
and of
to
sorb ab-
splendour
light
scenes
colour
lar popuat
which
pervaded
life.
They
in
a more
learned
rational had
not
look
objects
way;
knowledge
of
form did
marvellously longer
if their
they
shadows
disregard
entirely, and,
from
our
perspective
of
is incorrect
point
view, it is
132
JAPANESE
ART
wilfully
of
so,
for
the
landscapes
of that had led
on
some
their
even
lacquer trays
inferior
period
mastered the
show
that
artists
it.
Kiyonaga
to
(1752-18 height
ever
18)
Ukio-ye
greater
it had
of
technical
perfection
He
one was
than
a
reached of
before.
direct
forerunner
Hokusai,
in
a
of the
greatest
draughtsmen
were
time
when His
as
good
stroke brushshown air and
ples, tem-
draughtsmen
has in his
a
the
rule.
tremendous He
vigour,
revelled
paintings.
Picnic
in
at
action.
parties,groups
on
the
were
dances,
crowds
Human
holidays
forms brush. series
to
his
as
special forte.
alive behind One another and from him volume
to
leaped
He
if left
his
a
restless
remarkable is devoted
a
of works.
landscape,
to
flowers,
others
third in
fishes,
mated anilife. ink and
several
contain,
of in
on
very
outlines, sketches
He
was
ordinary
his
very rained
careless down
detail;
the
simply
paper,
THE
REALISTIC
MOVEMENT
33
gained
the cared
outlines of
accents
entirely by
and eye. He of
certainty only
for
hand
general
appearance
in
silhouette,
sketchy modelling.
other artists could be mentioned
Many
as
Kunisada,
Nagahura,
the
embodiment
of
elegance, Ganka,
Morofusa,
the
Shigenaga, Morinaga,
Shosizan,
Torei,
Motonaga,
and
Tsunenobu,
painter
of and
peacocks
his
giant
chrysanthemums,
and
two
pupils
Tchikonobu
and and But it is
one
Minenubo,
belated Kano
Taigado
painters,
Bunlei,
many
one
others.
must to
refrain.
mention
As them
said
before,
impossible
had
some
distinguishing
or
trait.
works,
painted
the
engraved,
of
charm
sight by
variety
can
subjects
in the
and
which of
no
be
found
tions reproduc-
other
period.
merit of the
The
greatest
Ukio-ye
134
JAPANESE
ART
school, however,
three whole
to
is
that
it has which
given
almost
art
seems
us
great
of
artists, in
the
Japanese
up
pictorial
for the
be
"
summed Outomaro
Western
world,
Kitagawa
(i 797-1868),
and
(1753Ho-
1805), Hiroshige
kusai
(1 760-1849).
is
of
Outomaro
known
women.
as
the He of
greatest
cared
painter
less than round for his
Japanese
and
severity
purity
He
expression
the
predecessors.
stumpy
disdained
of
and
figures
and the
Chinese
and he
ment. treat-
origin by Soukenobu,
sculpturesque
sacrificed
The
women
are
robust
women
of
to
Kiyonaga;
of
everything
shades
so
delicacy
of
expression
and
in
his the
transient,
so
impression
their between his
crones
of
charm
fleeting, hovering
that
even
features
their and
as
type
so
prettiness
seemed
ugliness,
if
they might
once
have
been
pretty
as
the
prettiestmaidens,
THE
REALISTIC
MOVEMENT
35
whose would He
grace
mar.
the
slightest touch
of
change
also
had He
larger conception
not
of
his
for
subject.
external
did
merely
strive
beauty.
woman
He in
represented
various
a
the
Japanese
of of her
all the
phases
keenness
on
domestic
life,and
which
with
observation
almost He
borders
psychological
her of in her her
insight.
represented
on
babyhood,
as
carried
as
the
back
mother,
the
child,
or
young
girl,
the
pla)dng
"Collection
as
samisen,
of One under
studying
Thousand
the
Leaves,"
sweetheart
wife
as
plum-tree,
the
tea
or
as
young
going
mother,
through
as
mony, cere-
adultress
turess, advenHe
to
and
finally in
as
her
it is of of
old
age.
penetrated
into He
life of the
was
far
as
possible
life.
go
feminine also
very
mode fond
depicting
and the
actresses,
of
of
geishas,
houses
of
the
green
the
Yoshi-
136
This
many
JAPANESE
ART
wara.
is
probably
have
he is
the
reason
why
a sualist. sen-
so
critics To
me
called the
him
most
ethereal
was
a man
of of
painters.
easy
True and
enough,
he
morals,
who
greatly
the
addicted
to
pleasure,
life of in
spent Yoshiwara,
largest part
and
of
the
finally died
at
constitutional
But his
art
exhaustion
he took
the
age
of
He
fifty.
seriously.
might
He
eliminated
everything
that
have
used
appeared
fleshly or
and
courtesans
more
physical.
as
geishas they
because
In
models
to
because
seemed he
graceful study
women,
him,
at
and
could
them
even
leisure.
if
his
pictures
courtesans,
they
represent
look
invariably like
with
princesses.
the drew imbued small
iEsthetically dissatisfied
of his
size
countrywomen, slenderer,
he
and finite in-
them their
tenderness
taller
and
elongated
and in
which
shapes
with
His
grace.
serial the
"Silk-worms,"
he
depicted
THE
REALISTIC
MOVEMENT
37
"
Forty-seven
most
Ronins,"
women,
as
represented by
is
the
beautiful his
career
the
piece master-
of these and
The
workmanship
the
of
pages
is of
exquisite, and
forms excelled. with the in time
over
beauty
lines
delicacy
never
and
flowing
has
been
content
Not
representation
of
figures
the
and
scenes
single engravings,
produced
several
sitions compo-
artists
of
this
spreading
Outomaro
was
leaves.
of with
particularly fond
colourist, he
ranks
His
tripthe
tychs.
best schemes of
As
the
were
Ukio-ye mostly
black,
of
a
school. conceived
colour in
a
four
tints, a deep
of the colour
tender
white,
a
pink
rose-leaves, and
sombre,
melancholy
Outomaros than any
violet.
are
oftener colour
ofifered
for
sale
paratively com-
other
prints,
but
few
very
a
are
authentic.
as
He
he
own
was
enjoyed
lifetime,
great
Hiroshige.
"t/l
"
Landscape
THE
REALISTIC
MOVEMENT
39
"Go-jiu-sen
Stations
after
Eki
Tokaido"
Tokaido
of the
published
life.
He
1845, in the
of
decline the
died
of
cholera
during
great
epidemic
1858.
Hiroshige's
scenes
favourite
subjects
and around
were
the
of
every
the
day
in
Yedo,
necting con-
and
along
Yedo
picturesque highway
Kyoto.
He
with the of
had
to
settled conquer
down the of
with beauties
determination
nature
within
the he
to
vicinity
from
most
his
native and
town.
These
knew
childhood,
they appealed
every artist but
him
strongly.
painted
tackled
Like
Nearly
the
had
already
Tokaido,
an
Hiroshige
manner.
it in Monet but in
entirely
was
novel
he
satisfied it in the
one
subject,
the all
represented
all
seasons
of in He
Two
day,
of the
conditions
of exhausted
atmosphere.
the
completely
artists
of
subject.
considerable
talent, Shunchosai
140
JAPANESE
ART
and the
Settan,
same
who,
some
years
a
later, treated
manner,
subject
new
in
similar Their
had
semble re-
nothing
to
add.
works
topographical
lack keen
handbooks;
of
they
his
Hiroshige's
observation his He who firm
was
power
invention,
and
of
traffic
and
animated instinct
for
crowds,
colour.
pencil
the
to
first his
landscape
painter figures
the
gave
as
foreground
a
almost
conspicuous
part
as
landscape
He
was an
itself. innovator
up
a
in few of
many
respects.
upon
He
had
picked
ideas
the and
ishing-points van-
European
theories
made
were use
perspective,
them. His in
constantly
of
not
always
whole
his
the
right place,
but
on
the
greatly gained
experiments.
existence
of He
in
realityby recognized
and the
also
projecting shadows,
reflections
his of
troduce in-
moon
pictures, an
accom-
THE
REALISTIC
MOVEMENT
I4I
plishment
the
He older also but His
which
was
sternly
tabooed
by
artists.
drew
tures, carica-
they
mediocre
revealed His
"
productions.
itself in his tions Sta-
originality only
works.
landscape
of and in his twelve
Fifty-three
in of
the
"
Tokaido,"
printed
colours,
Yedo,"
of and the
Pictorial
Description
and in
"
volumes,
both
Views black
Tokaido," blue,
are
printed
pale
of
of
value. and
The
wind,
streets
frigidity
fields, the
of
snow-laden
colours of
vague
more
night,
have
rarely
been
faithfully represented.
fills his
It is life, in
fact, which
picture
them
with
a new
virile and
spirit,and
breathes
into
astonishing vitality.
air, of the
the
water,
It is the and
life of the
of odours,
and
of
life
lights;
of the
ungraspable
invisible with
an
spheres, synthesized
boldness and
an
admirable
eloquent
au-
THE
REALISTIC
MOVEMENT
43
colours
which
are
are
very the
at
noticeable green of
in
his
landscapes
metal,
as
oxidized
seen
old the
weather-beaten
temple
gates, and
deep
little
crimson difficult
of
to
lacquer.
reproduce
I
am
They
with
our
are
colours,
green
but
informed
renders with
tone
the
former,
blood
madder, shadow,
the
dragon's
of
the
the The
lacquer
greatest
is
almost
exactly.
of the
of
exponent
a
realistic
school
Hokusai,
at
pupil
age of of
Shunsho,
who,
dying
the
eighty-nine,
and
left behind
hundreds
kakemonos,
five
eighty
volumes.
All
serial
works
in
over
hundred
the
sterling qualities
seem
of
his
ecessors predin
a
to
have The
concentrated
"
this
fertile
genius.
Mangwa,"
volumes,
of
collection
and the
in fourteen
Views his
name
Fusi-
yama,** which
made
familiar
144
JAPANESE
ART
to
the
Western
world, fail
of his
to
give They
plete com-
idea
witness the
to
genius.
bear
his
marvellous his
versatility,to
and
to
virilityof
of his
line-work,
but
the
not
harmony
compare those and The sai's
colours,
his
they
do
with which
paintings, especially
the of human form life. Hokuhas talized immorabout room-shaped mushsandals: burned with
represent
scenes
the
tranquil
visitor
to
popular
Japan
step.
encounters
types
his
at
every
He
countrymen,
and and
walking
immense
straw
in
straw
rain-coats
hats,
bareheaded
wind and bald
sun
peasants,
;
deeply
mothers
by
ing smil-
patient
upon
babies
their
their
wooden
backs,
toddling
and
by
robed their
upon
high
clogs;
and
squatting pipes
among
smoking
the
less count-
riddles
The
"
of their
"
shops.
is
a
Mangwa
universal and
scope, kaleidoevery
where
everything
type
THE
REALISTIC
MOVEMENT
45
of
being
jostle
each
an
in
esque picturin
confusion,
which of
set
a
panorama
nothing
artist
fat
escapes
keen
There of
analysis
are a
the of
and
observer.
and
a
people,
of
men
set
lean
people,
and
procession
of old
drunkards,
and
beggars,
studies
women,
heroes,
fabulous
He
animals,
has
demons
apparitions.
curious acrobats the No masks antics
are
sketched
the
and
of
which
He
gymnasts
has
capable.
of the
reproduced
the
ancient
with
religious, exaggerated
or
dances,
masks
masks
pressions, ex-
of
demons,
We
animals
see
try coun-
and
grotesque
folks
at
personages. their
us
daily
the
avocations.
He
of
introduced
artisans
"
into
-
workshops
smiths,
wood
carvers,
metal
workers,
pass
dyers,
weavers,
and
embroiderers
aloof from
He the
only
held
the
Yoshiwara. the
Notwithstanding
directness,
some^
146
JAPANESE
ART
times
little rude,
of his
the
method,
character
no
one
has
analyzed
of of
nature,
and
details
things,
the
more
living
ease,
figures, with
penetration.
great artists, he
his
work. these He
was
never
isfied satat
wrote
the and
seventy-five
words mania
"
heartfelt
a
From of
year
sorts
on
peculiar
took
drawing
of
of my
a
things
fiftieth number
possession
I
At
year of
had
published
of
every
to
quite
works
none
possible
my
me
scriptio de-
were
tion. satisfac-
work
began
year.
with Now
only
in
at
seventywakens
that
a
appreciation
I
of nature
within
hope
at
at
eighty
power
may
certain
of
intuition,
my
one
will year,
I
can
develop
so
further
at
until age of
ninetieth hundred
that
the
proudly
THE
REALISTIC
MOVEMENT
47
assert
that
my
intuition
should it be and
true ten
is
thoroughly
to
me
artistic.
to
And,
granted
years,
live
a
one
hope
of my
that
nature
vital may
comprehension
every
one
from
of
lines
and
(You
some
see,
our
Hokusai
Western
was as
is
more
modest
than
of
artists
!)
in of scapes landEleven and of
;
spect re-
Hokusai
as
proficient
His serial
in
figures.
shows his The of
Waterfalls for
fidelity to
movement
nature.
the
water,
colour
are
the and
outline
the
rocks
the
local
scene,
particular details
rendered.
not
of each
marvellously Study,
it
matters
what
see
picture
even
of
Hokusai's smallest
are
and
you
will which
that
the
posed com-
details
of
they
are
logically in sympathy
that
even
with blade
one
another,
grass
on
the
smallest
are
of
and
slenderest
and
branch
dependent
composi-
the
width
length
of the
148
tion. The
JAPANESE
ART
exquisite grace
the force
we
by
which
we
are
charmed,
construction
the with
feel, the
strength
before
our
of
us,
which
they bring
which stirs
from in the
scent
splendid
poetry
souls
admiration,
We of these
proceed
seem,
truly
tion contemplathe
pictures, to
to
odour
of the from
earth, and
heaven.
to
lightestbreath
from
the
sea
The
ears
brings
wide
of
one's
or
sonority
of
the
waves,
on
the
the and
softlymurmured
beaches blue. banks and
sound and
ripples
of
of We
of all
creeks
see
gulfs
silver
appear
successively Tokyo
fields
at
the
seasons
the
bay
all
hours:
joyous
the
same
with
the
gaiety
of
the
fields, sad
under
and
cold
desolate,
gray
with
of
sun
naked
trees
on
the
sky
the
a
winter;
into
of
irradiated
by
the
splendour fogs,
thick
in
of
dust
diamonds;
the
and
waves
heavy,
where
vapour
expands
HoKUSAi.
"
View
of
Mount
Fusiyama.
THE
REALISTIC
MOVEMENT
49
which
In
are
visible
and
trees
veritably moving.
upon
a
the
the
blossoming
stream
one
the
banks
of
finds
beauty
up
truly
ice
rent, cur-
Japanesque.
in
His
breaking
driven
of
the the
the
stream, it is
where,
up
by
piled
dismal
against
is at
its banks
once
in
quaint
and
and
forms,
tender
tragic.
But, above
all else, he the and
was
the
painter
of
"of
the
Fusiyama,
all
sacred
women
mountain of the
which
poets
It
island
ten
dream."
appears
in
nine
out
of
No
landscape compositions.
his
matter
theme,
appears
the
snow-covered in
us
Fuji
He
somewhere
it to
has hours
shown
of the
at
different and We
day, through
the
ever-changing phenomena
see
of
light.
in
a
it reveal
its
rough
lines out-
cloudless
sky, through
rays of
the meshes
the
of
sun,
netted in rain
sail, in the
and
snow
setting
storms,
through reedy
ISO
JAPANESE
ART
shores
a
where
the
wild
geese
cackle, and
the nocturnal
"
as
ghostly
silhouette
"
against
sky.
"
Monet's
"
Rouen
cathedrals
child's
and in
Haystacks
are
merely
play
comparison
A
to
these
profound
has
studies.
his
manner
satility ver-
Japanese
in the
writer
described
following charming
my
seat at
"
rose
from
the
window,
"
where
had
idled Then
the
I
whole
was
day long
up
softly, softly.
I
saw
and
the the
;
countless
green
leaves
in
trees
densely
I
embowered the
tops
clouds
watched
flaky
blue
sky,
torn
collecting
and
fantastically
I
shapes
here
multiform.
sauntered aim
or
and
there, carelessly,without
Now
I
volition.
crossed
as
the
echo
I
Bridge
of
Apes
the
and cry
loitered
cranes.
the Now
repeated
was
of wild grove
in
the the
cherry
mists,
of
Owari.
Through
coast
shifting
the
across
the
of
Miho,
I descried
famous
ponies
of
Suminoye.
THE
REALISTIC
MOVEMENT
151
Now
stood and
trembling
looked
upon
the in
bridge
of
Kameji
at
down Fuki
ment astonishThe
sounded re-
the the
in
gigantic
dizzy
my It
plants.
of Ono
roar
of
waterfall
ear.
shudder
a
ran
through
I
me.
was
only
bed
near
dream my the
which
dreamed,
this
lying
book
of
in
window,
master
with
as a
pictures by
my
same
cushion is
beneath the
head."
It
always
thought
these
that
guides
aspects
Hokusai of
nature.
through
He
a
multiplied
upon
seizes
a
the of the
characteristics
ocean,
of
field, of
tree,
a
bit
or
of
most
rock,
flower
figure,
in its of
in
its
individual
of motion
expression,
and
passing
colour.
charm
harmony
Study
and
these
kakemonos,
in the
prints,
their that
sketch-books,
and you will
of
see
dates,
the
each
painter's
methods
improve,
of
that
his
sensibilityto
more
the
mysteries
that
nature
becomes
developed,
his
eye
dis-
152
JAPANESE
ART
covers
new
and
you
unknown do
in
not
forms
and
eflfects; but
work
any
feel
from
tainty uncer-
his
hesitation
a
his
art, any
of
mind
seduced
yesterday by by
in
one
ideal, and
His
to-day
troubled
another. the
same
unwavering urged
of
might
some
say
that
he
was
forward
so
by
irresistible
and him
force
nature,
which
regular
carries Ever
up
even
powerful along.
the
for
was
is the
impulse
since
brush he
day
the
not
when first
Hokusai
took he
the
time,
felt,
sure
when
yet perfectly
to
own,
of
himself, what
it
he
wanted of his
do, and
he
did
by
a
processes
travelling
conquest,
from in
along
without route,
of
toward
instant himself
his
suit pur-
and
without
losing
or
vague Endowed
ideals
confused
a
tions. aspiramoral
with
robust
nature
and
by
THE
REALISTIC
MOVEMENT
53
life of
was
constant
intimacy
no
with
nature,
porary contem-
there
in him
so
trace to
of that
malady
and contentions
fatal
artistic
development,
of of
opposing
caprices
upon
nervous,
aestheticism
sion impres-
his
and
mind
bronze,
vibrantly
to
delicately impressionable
as
all emotions
one
it
was.
He and
was
all
of
piece
in of
the
his
subtle
complicated
stituted con-
mechanism
to
genius, admirably
the
most most
receive
create
diflferent
sations, sen-
to
the
opposite forms.
of
was some
He
was
the
contemporary yet
there
mighty
be found
names,
scarcely
all
a
to
more
among
them and
spirit
thoroughly
petty
rest
original ;
of
surely, when
taste
are
the
at
conflicts
for ever, written
passing
laid this
man
it will his
be found
that
has
one
signature, indelibly,on
of the
of the
principal pages
universal
history
of art.
CHAPTER
V.
THE
INFLUENCE
OF
JAPANESE
ART
ON
WESTERN
CIVILIZATION
pHIRTY
art
to
forty
almost
years
ago
nese Japato
was
unknown Previous
Exhibition
the
Western
world.
to
the
London
the Land
International
of the
of
1862,
Rising
in the
Sun
was
absolutely
museums
unrepresented
and
art
European
at
galleries.
a
Only
The
of
Hague
natural
there
was
small
collection
and
industrial aflForded
but
products,
little
which,
tion. informa-
however,
The
first
appreciator
Louis
of
Japanese
In
art
was
probably
XIV.
his
old
age,
'54
THE
INFLUENCE
OF
JAPANESE
ART
55
he
IS
said
to
taken
fancy
with
to
"
idols,
pagodas,
that
came
and
to
painted
court
flowers,"
from
of Versailles of
the
Far
East,
chests
cedarwood.
as
They
did the The
probably
Dresden
reached
Trianon,
via Maceo. in
they
court,
Portugese
century,
missionaries and
a
the
teenth sixthe
a
century
to
later occupy
Dutch
merchants
at
allowed
were
factory
Nagasaki,
a
in for
the
habit
of
shipping
lacquer
order
few
articles and
Europe,
sets
chiefly
made
were
cabinets
dinner models.
in
to
after
European
and sold
They
and
met
exhibited
and old in The Hitzen and
can
shops
be
bazaars,
with in
still
occasionally
houses
and
country
curiosity shops
and
England,
Holland,
France,
Spain.
workmanship
ware,
of these in
articles, mostly
or
painted
blue, red,
blue
as
gold,
the
was
exceedingly
native
rough,
work
as
and
can
unlike
well
superior
The
be
imagined.
Portuguese
mission-
,^
i-
-.-^"^
^iKC^:r^
iN
iA^S^j^i^
Sketches
of
Cranes
for
Decorative
Work.
THE
INFLUENCE
OF
JAPANESE
ART
57
the
to
which
Prince
Satsuma of
sent
Exposition
the
1867.
few of
later
magnificent
and
collection
bronzes,
wood-carvings
M. H.
pottery,
formed
by
in
Cernuschi
during
his
and
art
travels
Japan,
a
China,
Java, Ceylon
and
India,
treasures most
created
of
sensation,
were
the
Japan
pronounced
the
perfect.
were
They
in the
regarded
arts.
as
new
revelation
of able
decorative
and
number
"
writers
energetic
France,
and
scholars
America,
seemed
out
England, suddenly
ists
one
"
to
compete
to
in
Japonof
began
or
make
studies art,
the
other whole
branch
of
to
often
devoting
their
The
lifetime
the
Japanese
government
matchless selected
on a
collections,
to
carefully
Vienna whole
large scale,
of
a
the the
Weltausstellung
nation,
seized
1875,
fever
^^d for
with
European
158
material
ancient
was
JAPANESE
ART
accomplishments,
treasures
yielded
readiness
up
its
with
which
afterward The
repented
was a
of.
rare
occasion
one,
and
the
tinental Con-
London
importers,
capital, did
as
those
of
every
not
fail to
profit by
it
Everywhere
bronzes,
wood and
art
Japanese
pottery,
silks, embroideries,
lacquer,
and
carved in the of
ivory,
were
displayed
shop
windows.
Large
arrived
consignments
almost
Japanese
in the
goods
various sales
were
monthly
European
the these
"
ports;
of
large
day.
special
In
order
the
"
twenty
years
promoters
away and all
drained
Japan,
hands
taking
upon,
to
they
lay
their
sending
to
treasures to
pell-mell
or
Paris,
York.
Hamburg,
London,
to
New
Everybody
and
even
seemed of
surprised
these
"
at
the
riety va"
richness
faults in the
novelties and
as
the
perspective
enthusiasts,
ling modela
enchanted
pro-
Silk
Embroidery
for
Screen
THE
INFLUENCE
OF
JAPANESE
ART
59
test
against
Western
the
art
too
rigid
A
rules
exacted
furor for pean Euro-
in
perfect
swept
in
over
everything
countries mad
a
Japanese
;
Paris
particular went
was
Japomania,
in the
not
There
hardly
district,
rooms
Monceau furnished
Park
some
which with
Japanese
lacquer-work, bronzes,
and
tapestries.
Edmond
its
and
Jules
de
Goncourt invested
champions,
in
Zola
of francs
Japanese
who
curios.
among
the
one
artists
appeared
celebrities
the
sales,
Alfred
encountered
like
Tis-
Stevens,
sot,
Alphonse
and
Legros,
the
Whistler,
Carolus
Duran,
and
engravers
Bracquemont
Jules Jacquemart.
The artists East artistic
realized
had
a
that
this
nation and
at
of
nected con-
the
Far
complete
development, history, it
that,
had
tain cer-
periods
of its
produced
l6o
JAPANESE
ART
works
in
art
which
were
none
of and
was
the
elements
of
great
lacking,
art
that
even
in certain
respects
to
Japanese
own.
superior
their
European Japanese
action,
form and
in
artists
clever of
have
equalled
the
grouping,
vigorous
for
force
expression,
even
passion
colour, and
without
in the
never
sketchy figure
appliance
reached
of
delineation
shadows,
unlimited
most
but
they
have
that
suggestiveness
which
even
the
insignificantJapanese
This modern
picture-book
had
quered con-
contains.
suggestiveness
art.
It
came
at
the
right
time.
Too in
much
;
philosophy everything,
to
had from
been the
written
most
Europe
commonplace
been upon,
the
most
sublime,
commented the It dust sake
now
had
collected,
raked
up up
catalogued, merely
for
of
raking
barren
to
knowledge.
remove
necessary
the
that
had
THE
INFLUENCE
OF
JAPANESE
ART
l6l
settled
on
it, and
new
life
fying, by purithat
complish ac-
remodelling
heap
of
developing
what could
knowledge.
this better
was
Japanese
felt. short
art? It
Its called
influence
everywhere
instance,
the
forth, for
story
literature, in which
Andersen,
French
"
Turgenjew,
and
a
Verga,
and
the
modern
are
dinavian Scan-
writers toward
masters, conciseness
a
tendency
of
sion, expresmore
brevity
which
and
suggests
good
of
deal
than with
poems,
it
actually tells.
we
Its law
can
repetition
in Poe's
slight variation,
the above work all
trace
of the
French the
symbolists, writings
nation combiof
and,
Maurice
else, in
Maeterlinck,
of
that
quaint
and
Greek,
mediaeval,
Japanese
art
palpable
in the
in
the
position com-
descriptive
of
to-day,
Neo-Wagnerian impressions
school,
to
which
prefers tonal
theo-
1 62
JAPANESE
ART
retic
and development,
does
away
with
conscientious treatment
codas dying graceful away
or
of
counterpoint,
in clear sounds,
harmony. The affecting composers, younger growhich is natural to the Japanese, tesqueness, their listeners endeavour to surprise interval when a dissonant by introducing interval is most expected, consonant or a a phrase which is supposedto breaking end in an easily cadence, in the eligible midst of a bar. Polyphony calls attention
notes correct to four
or
pedal
with
an
dozen
simultaneously. The Japanese influence is naturally evident in painting; in the nocmost turnes
of Whistler; in Manet's
to
see
ambition
in thingsflat;
the
peculiar space
THE
INFLUENCE
OF
JAPANESE
ART
63
composition
of
Degas, Skarbina,
the
the
man Ger-
secessionists, and
in the
poster painters ;
lines
as
parallelism
of vertical
tised prac-
by
Puvis of
de
Chavannes,
lines the of
and in D.
the
W.
parallelism
Tryon's
school-like
Bias
horizontal in
landscapes; colouring
frugal
Steinlen's
Kano-
Gil
a
illustrations, which
in for modern
have
caused
revolution
illustration; in
the of
disregard
the
symmetrical
; in
composition
eccentric in of the
impressionists
of the
the and
ing drawserial
as
symbolists;
of
one
treatment
phase
nature,
practised by
Monet. of all
Nearly
have become
two-thirds
painters
the
who last
prominent
have from the
during
one
twenty
or
years
learnt, in
instance
another,
It is
a
Japanese.
that
in modern
strange
coincidence
painting, just
itself from had barred the
its
after
succeeding
of
freeing
that many
fetters
classicism
for
so
development
64
should
JAPANESE
ART
decades,
reached
renic
embrace,
and
scarcely having
sithe the and
a new
maturity
charms of of
self-reliance, the
art.
Japanese
and
In
landscapes
artists natural and
Hiroshige
not
Hokusai
a new
discovered
only
choice
of
also
natural
treatment
learnt
nature
to
understand
to
the
to
modesty
and
dare
represent
the
it with
the
simplest
noted of the
means.
For
they
values
of space, the
and of
force
houette, sil-
unframed of
composition,
impressions,
at
beauty
impressionism by
a
the
same
time,
scientific
of unmixed
I
am
colours.
convinced borrowed that their all the pre-
also
Raphaelites
of
have
method
perspective, which
as
landscapes
from
look
an
if
they
"
had
painted
elevation
the
one
towering
and teaches
up
behind
another
"
THE
INFLUENCE
OF
JAPANESE
ART
65
them
to
avoid
of clouds
difficulties
in all
by
sorts
the of
places,
of
from
the
Japanese.
have
a
(Some strange
DeverShunof
Kiyonaga's compositions
to
resemblance
those
of
as
Strudwick,
Takehasa
a
ell, Burne-Jones,
chosai
the
seems
just
have
to
been
forerunner
Tachists.)
Some critics
at
will
no
doubt
to
shake my
their
this, and
art
was
refer
not
statement
Japanese
the
; true
known
in
Europe
their
pre-Raphaelites
began
not
as
enough,
but way
to
a
it
was
popular
had
it
is
now,
few
rare
pieces
and,
found
their the
England,
these
falling
into
hands had
more
of
dreamy
them
painters,
undoubtedly
a
impressed
than
deeply,
would
can
good
deal
they
do be
now,
when in
Japanese
every
bric-^-brac
house.
has
I
the
variety stage
movement.
profited by
realized it
Japanese
Bronze
Sword
-Guards
and
Corner
Pieces.
THE
INFLUENCE
OF
JAPANESE
ART
67
appear;
are
the
reason
being
used,
of
a
that that
the
scarcely
bed is consists
ever
the
futan quilt
away
or
thick,
and
soft,
which in
a
always
rolled
up
stored
cupboard
during
the
day,
while
in
a
the
wash-stand
superfluous
country
often die times for other the of
where
takes shame five
commonest
a
day,
less
if he
bathed it is
daily. Ewers,
hands,
true, bed
but, like
are
the
furniture,
so
concealed
that
room
the
general
appearance
Japanese
The
Japanese,
woodwork
nail under
in
the bronze
shields
exquisite
us
workmanship,
in
taught
plicity sim-
domestic shown
surroundings.
us
They
not
have
as
that
as a
room
need in
be
overcrowded make
an
museum
order
to
artistic
impression;
68
JAPANESE
ART
that
true
a
elegance
wall with after fitted
a
lies
out
in in
simplicity, and
green
or
or
that
gray
burlap,
few
etchings
or
graphs, photoold
ters, mas-
Botticelli,
and
more
other
is beautiful
dignified
or
than
yards
leather floor
of
imitation
gobelins, hung
from in
repousse
tapestry,
with
ceiling
to
paintings
heavy
golden
frames.
We have
outgrown
and
the tired in
our
beauty
of
of
Rogers Romney
and
statuettes,
seeing
backgrounds
portraits
photographs.
The elaborate way and
to
patterns
of of
Morris
one
have uniform
given
colour,
wall-paper
modern the and
furniture
is of
slowly
former into which
freeing
historic
a
itself from
influence
periods,
of
trying
based
on
to
evolve
style
its own,
lines
nature
dictates.
Whistler
same
and in
Alexander
the in ground backtheir
have
taught
of
the
lesson
portraits. Everywhere
THE
INFLUENCE
OF
JAPANESE
ART
69
pictures
of the
we
encounter
the which
thin
black such
line
an
oblong
part
frame,
in
plays
important
of
the
decoration
to-day, and
which,
a
kakemono,
of
invariably conveys
space.
A
delightful division
lady artist,interested
remarked
to
me
in interior
ration, decoa
one
day,
in
most
nonchalant
"
manner
I think
it is of It is
a
entirely wrong
to
the
walls
public building
be way. and done And like
with the
figures.
bra that
; that
might
one
my
a
studio
is another," about
she
made
sweeping
gesture
I
gazed
as
silent
der won-
to
hostess
There with
a an
were
four
walls,
stained gray,
couch
a
gold,
tasteful
screen,
few
ornate
"
Why,
Japanese
style of
fur-
I70
JAPANESE
ART
nishing thought;
I
was
room
"
"
to
leave
can
it
empty!"
For
everybody
that
an
do, that."
friend
the of
aware
artist
mine
of
had
selected
the
colour in
for
staining
and taken
various
studios
the
next
the
building,
have if I had
that
a
I,
at
time, could
which,
studio the
applied
of like
elegance
would
suggestiveness
looked
an
ness, emptihers,
and
as
exactly
expert
It
and
made
also
in
not
mural
interior
easy
as
decoration.
all
is
quite
was
that,
and know
however.
one
It that
lady's merit,
underrated,
walls
room
cannot to
to
enough
not to
leave
bare with
and
overcrowd and
unnecessary
furniture
simplicity
yet
an
is
dignified
room
and
ful, beautibe
empty
work of of
can
hardly
not
panied accom-
considered
art
if
by
smallest
luxury
refinement
in
the
details.
THE
INFLUENCE
OF
JAPANESE
ART
I71
Experiments helping
has how
a
of this
sort
are
valuable
Her
in
the
a
cause,
however.
to
me
studio
me
been
lesson
it has
shown of
easily the
house
Japanese
could be with
style
ing furnishand
Americanized,
have
watched
in that this
pleasure
is
how
good
taste
direction
rapidly spreading.
the tion innova-
In
particular respect,
a
has Less
art.
done
vast,
deal
of
good.
on
fortunate If it
were
is its influence
ern West-
simply
means
the
endeavour research
of and
our
artists, by
comparison,
laws of
to
tal fundamencould
care
Japanese
But
art,
no
criticism
be
made.
artists
a
apparently
for of
are
nothing
both
less
than and
critical
knowledge
art.
Eastern with
Western
They
satisfied
It
imitating
that these
surface
qualities.
are tremely ex-
is
true
qualities
interesting,that
to
they
have
helped
esting. inter-
make
our
modern very
art
extremely gained
But
little is
thereby.
THE
INFLUENCE
OF
JAPANESE
ART
73
construction,
as
which
those such of
are
as
rigid
art.
and
futable irre-
Greek
we
And
more
for
reasons,
can
derive
tle litfrom
than
an
aesthetic
enjoyment
of their it
an
occasional
As ideal
to
contemplation
the
our
Japanese
art.
adopting
Western
of
style
seems
as
the
of
art,
to
me
hopelessly
who
sees
talented
native,
see
the the
Japanese suggestive
racial
them,
has
and almost
whom become
trait,
something
foreigner,
and how
no
original along
matter
how his
his
could
mind
never
dexterous the
hand,
surpass excellent
own
valueless He
production
of
an
imitation.
might
certain
faculties is
enrich
his
style by borrowing
he will
waste
qualities,
in
but
to
his
trying
adopt
it, for
tion adop-
utterly impossible.
CHAPTER
VI.
JAPANESE
ARCHITECTURE
AND
SCULPTURE
|N
of
opening
book
in
on
the
history
of
ten
architecture,
one
nine find
with
out
cases
will
not
more
than the
three
of
or
four
pages
dealing
land
chrysanthemums.
In
certain
branches
still the
of fashion
knowledge,
for
one
it half
is
of
apparently
the world of And the
to
ignore
half.
absolutely
the
ence exist-
other
yet
a
Japanese
field It is
for
architecture
affords
such
vast
interesting
only
to
a
study
and
analysis.
that artistic
the
timber
monumental
ture architecand
has
risen
importance.
is wider in
Its
architectural
guage lan-
its
174
range,
more
complex
ARCHITECTURE
AND
SCULPTURE
75
and
varied
than
that in
of
Norway
to
and
Switzerland,
and than The grace, that of
and,
more
regard
seemliness
adequately
nation in the
to
equipped
Far have effort. East.
any
Japanese
without
style
any
seems
inated origIt
painful
so
was
natural
growth,
it could
and
individual
and
powerful
that
utilize, with
nity, impuwhich
angles, curves,
elsewhere and
projections
appeared
be
might
and
have
even
awkward in
hideous,
them
successful
making
beautiful.
Japanese
be
or
architecture,
rather
however,
from the
must
contemplated
painter's
than It power form is
landscape-gardener's
the
standpoint
of
from
architect's
point
view.
its in
more
in
colour
effects
than
outline. To
gaze
at
a
temple
at
its grotesque
shape against
starry
illumi-
strangely
176
nated
JAPANESE
ART
by
its
rows
of
paper
eaves,
lanterns is
a
hung
never
all
to
along
be
curving
sight
forgotten.
A
temple
is
never
designed
as a
as
an
lated iso-
always
feature thus of
of the it
pears ap-
landscape,
like great
and
splashes
a
crimson,
lacquer,
than
a
and
gold
down
mountainside of
umns, col-
symmetrical
windows,
and this
picturesqueness
which
a
conception,
whole
however,
as
utilizes
landscape
to
our
canvas,
and
appeals
it is in
most
purely
detail
visual
the
apprehension,
architect like
a
that
Japanese
conceives
like
a
excels, for
if he
giant, he
invariably
detail,
dull
to
finishes
the very
jeweller. Every
are
nails, which
not
surfaces, but
is
a
rendered of and
art.
exquisite
ments, orna-
work
Everywhere
in
we
encounter
friezes
carvings
colour
relief,
representing- in quaint
harmonies,
ARCHITECTURE
AND
SCULPTURE
77
flowers
upon The
and
birds,
flutes
or
and is
pavement
the
coloured
from of
slabs, and
to
pillars are
Even the
gilded
stairs
of
top
some
bottom.
are
temples
Gold is
fashioned
gold
of
lacquer.
the
neutral
colour
Japanese
decoration.
Some of
of
a
the
temple
interiors
and One
are
like
visions
the
Thousand
Nights. ceiling
is
Imagine
as
sanctuary
as
where
the
magnificent
and
precious
a
make
it,representing
dark
blue
in
which
at
golden
intervals,
and
dragons by
are
sporting, pierced
columns,
embossed
gold-lacquered
bronze, and
capped
walls
forest
where
as
in a
ceiling
in
the
are
reflected,
floor of
pool,
black
polished
lacquer. Nearly
built every
building, large
As
or
small, is
of wood.
the
islands
are
exposed
178
almost
JAPANESE
ART
to
incessant it has
shocks
the
most
from
quakes, earthof
proved
as
materials, Oberland,
of
and,
and
no
in
Tyrol,
the brick
mountainous
or
districts is introduced
Norway,
as
stone
except
not
This,
however,
did from
hinder
architects
grappling
in size. Colossal
in
gravest
even
mechanical
of
ficultie dif-
structures
stupendous
structures
are
common
enough
great
hundred
Japan,
The
rests
on
porch
of
the
temple
feet
; to
of in and
Todaji
pillars one
feet in
height by
this
twelve
circumference
access
porch porch
simply
of
equal size,
itself,of
idea
a
which size
we
the form
temple
some
from
fact, that
of with the
a
within
it contains
colossal in
image height,
Buddha,
nimbus
feet
fifty-threefeet surrounding
the Not
head
less
eighty-three
vast
are
in
diameter.
the
ARCHITECTURE
AND
SCULPTURE
79
proportions
Nara,
in is where
of each
the
great
a
sanctuary
hundred
stem.
at
column,
of learn and
a
feet It
tures, struc-
height,
consists
to
single
that
astonishing
vast
these
in of
splendid
of and
in
the
decoration
part
their
bay
as
work,
gorgeous
blazing
now
gold
a
colours,
of
a
lapse
at
sand thouto
years
an
as
they
to
were
first,belong
remoteness
age
compared
cathedrals
whose
must
the
called
European
modern. The
almost
be
Temple
old
of when
Nara Edward
stone
was
nearly
the
three
centuries
laid the
Confessor of
sive mas-
of
his church
the
Westminster,
Harold of who
reared Waltham.
wrote
piers
Christopher
arches
Dr.
very
Dresser,
and
teresti in-
instructively on
asked
can
Japanese
:
architecture,
"
very
we
appropriately
show the in
What
buildings
have existed
England
cen-
which
since
eighth
ARCHITECTURE
AND
SCULPTURE
l8l
enough
in his
not
to
support
that
the
central central
block block
was
and
was
replying
the the
supported
top, and
central of and
a
by
there
mass
sides, he
to
see
led
that
to
the
made
was
this
huge
suspended
like the
to
clapper
bottom,
see,
bell.
On
on
descending
the
the
lying
that
ground,
was
an
he
could
of and far
further,
there
between
inch
space
intervening mighty
the
which of the
soil
goes
this toward
pendulum,
the
insuring
safety
building
during earthquakes.
For
centuries,
at
least, this
centre
of
gravity has, by
within
be of
on
its and
swinging,
it would
been
kept
the
base;
to
assuredly
evidence
impossible
scientific
the
adduce
stronger
and in
forethought
of
calculation
part
of
architects
dealing
with
problem Japanese
into
extreme
difficulty.
may be
buildings
domestic
broadly
vided di-
dwellings, palaces,
and
ecclesiastical
edifices.
l82
JAPANESE
ART
Of
these,
dwellings directly
consist for
upon
are
the
simplest, being
hut of the
from the
the
most
Aino,
part of vertical
mortised
a
beams
(resting
beams,
stones)
ing carryor
to
horizontal
and
heavy
roof, thatched,
are
shingled,
more
They
really nothing
on a
than
standing
a
series
no
of
legs.
walls,
of
rule
there
are
permanent
in
sides
or
being
wooden folded
composed
winter
amadoy
of and in
sliding
up and
or
screens,
being
summer
packed
oiled
of
shcyiy
but
slides, Thus,
the
translucent,
in
warm
not
transparent.
the sides
the of
weather,
be
to
all
house
may
removed
and
whole
Nor rior; inte-
thrown do
open
air and
ventilation.
cut
permanent
paper
partitions
screens,
up
the
sliding
to
in the
divide of is
rooms
the
space
according
A
required.
to
particular
structures
lent
these
delicate
by
ARCHITECTURE
AND
SCULPTURE
83
leaving
without,
the
woodwork,
within
as
well
as
unpainted.
of
This
elegance
the
and
quisite ex-
simplicity
trimming,
of the
revealing
grain
resembles fine
camphor-tree,
silk, wins
which the
watered
miration ad-
of every The
stranger.
of the
court
palaces
the
save
nobles in
semble re-
domestic
dwellings
they
are
struction, con-
that
and of
contain
more
permanent
walls,
usually
more
mounted sur-
by
type.
borrowed As
roofs
elaborate
regards
from the
decoration,
resources
they
of
have
architecture,
forms of
and such
many
as
ornaments,
have found
temples,
abodes
were
their
way
of
the
nobility.
surrounded such
Their
residences extensive
Lafcadio in his
generally
by
as
landscape
Hearn has
gardens,
so
lovingly
Unfamiliar of the
described
"Glimpses
The
of
Japan."
Mikado
are
palaces
natu-
184
JAPANESE
ART
rally the
kind.
said
to
most
elaborate
structures
of
this
was
In
primitive
but little
"
times
his
to
palace
that
be
superior
the
no
of the
humblest of
to
villager
emperor,
being
pomp his of
divine
origin, needed
him In
earthly
eyes
give
dignity
later
set
in
the the
of
subjects.
luxurious
had their the in In the
or
years
examples
living
by
the
Shoguns
at
are
have
effect,
Mikado's
so
that,
the
present
orate elab-
day,
palaces
and
quite
extent
decoration. the
screens
were
old
palaces
embroidered
painted copies
are
exquisite
friezes
sionally, occa-
of
the gems
old of the
masters.
often
as
glyptic
and the
in
Nijo palace, by
while
the
hand
are
of
Hidari
Zingaro,
in black
ceilings gold
coffered
lacquer
with
richments. en-
In
screens
the
new
palace
of in
at
Tokyo,
the
sliding
sive expen-
are
plate glass, a
a
rather
to
luxury
land
so
prone
earth-
ARCHITECTURE
AND
SCULPTURE
85
quakes,
and
the in
furniture,
having
seems
been
out
manufactured
Germany,
home.
of
place
Some of
feudal
in
a
castles, several
state
which
still exist
of in
perfect
a
preservation, were
to
proportioned grandeur
are
way
reveal
certain
and
dignity
of
appearance.
structures.
They
lofty,dignified
story is placed
the tiles
wooden
a
Each
one
little within
the
below,
with
portion being
of of the
roofed
eleventh
is increased in
century).
by
a
The
height
stone
ment, embank-
which
mediaeval
times
sufficient
protection
The
against
of these immense
civil
facing
out
embankments
is fashioned without
of and
rocks, fitted
corners
cement,
curve
the
have lends
the date
some
an
parabolic
air Most of of
outward,
which
to
solidity
now
whole.
from
extant
the
sixteenth
century,
though
have
86
JAPANESE
ART
been the
completed
castle
of
at
later
built
date,
about held
to
such
1610
as
Nagoya,
by
the
twenty
finest
Also
feudal
lords, and
of its kind
be
example
the
"
in
or
Japan.
Yashiki,
the former
"spread
of
houses," -out-
homes fast
"
the
torial terrior
nobility, now
turned into
disappearing,
rather
are
shops,
are
esque pictursaid
to
They
from
evolution of former
the
military
in which among
a
encampments
the the
days,
stood
general's pavilion
other
of
tents.
high
was
The
Yashiki square
buildings, a
the
lined the
with
for of the
soldiery, while
surrounded the middle.
residence
daimyo,
rose
by
The
spacious
whole and tiles and The
a
gardens,
was
in
a
girt by
broad,
deep
moat,
with
mud-plastered
set
wall, roofed
a
high
upon
stone
residence
differed
but but
the
tles cas-
just described,
barracks
had
ARCHITECTURE
AND
SCULPTURE
87
certain
individualityof
of
their
own.
They
ings, builddows, winstone
consist
long
rows
of
two-story
barred
with
projecting
bays,
eaves,
hanging
foundations,
the
tiled
roofs, and
a
frequently forming
wall. is
part
of
enclosing
The
roof
always
the
most
artistic
and
characteristic With
feature
of
Japanese
buildings.
eaves,
its
in
broad
centre
at
overhanging
and the of bent
festooned and
the
upward
backward
a
corners,
vision
complicated
lends
peculiar,picturesque
any
structure.
to
It is difficult
divide
the
ecclesiastical
into The distinct
buildings
classes,
as
conscientiously
is
generally
done.
simple
from the
ples, tem-
style
the
most
of
Shinto
temples, developed
huts of the the
primeval
elaborate
an
Ainos,
Buddhist
and
style of
of
offshoot
Korean
architecture,
and affected
have
constantly
influenced
ARCHITECTURE
AND
SCULPTURE
89
emphasized
the
by
the
presence of
of
the
toriiy
Japanese
form
propylaea, invariably
enclosures devoted
standing
to
before
temple
An
most
the
the
Shinto
cult.
of
amazing
Shinto
the the
plainness
shrines.
walls
is
attribute
are
no
There remain
or
idols, and
wooden
untouched
by
painter's brush
Its sole
ments orna-
the
lacquerer's devices.
are
the of the
symbolical
sun,"
mirror,
"the
emblem
transparent
notched
crystal strips
of
globes,
paper Since
and
"prayers,"
upon
hung
wands. Shintoism
was
1868,
as
when
state
stalled reincertain
but
as
the
religion,
has
been
effort
the
at
enrichment
of Ize and
essayed,
still stand
of the
shrines
most
Izumo
the
complete style.
Buddhist
of the had
examples
nal origi-
native In
the
temples,
Japanese
full
the
for
lous marvel-
instinct
and colour in
grouping
The
has
a
sway. shrine
first which
building
Buddhist
igO
JAPANESE
ART
asserts
itself
is
the
"
Sammon,"
in the in
or
two-
storied
gateway,
of its
resembling
upper
the
"
bution distriof
story
etc.,
gates
extensive
wisdom,"
the The
noble
official residences
of the
as
of Korea.
framing
so
lower form of of
story
however,
^
is
arranged
stand
to
niches,
and
in the
which Wind
the
God
face green,
as
Thunder
one
deity, the
a
being
of the
always painted
other
a
livid
that
deep vermilion,
though Passing
or
congested. through
the finds
sammon
the in
encounter
itor visthe
worshipper
terraced
himself
to
first another
court,
more
only
gateway,
to
a
imposing
court,
than and
so
the
on
last, leading
to
a
second
third, until
he
at
by traversing
reaches the
terrace
after and
terrace
last
oratory
are
chapel.
filled of the
These
all the
courtyards
concomitant
usually buildings
as
with
Buddhist
of bronze
cult,
and
as
well
with
number
stone
lanterns
pre-
ARCHITECTURE
AND
SCULPTURE
IQI
sented
by
the
daimyos
past
sins.
or
in
token
of
pentance re-
for
Belfries, priests'
apartments, kitchen,
a
rinzo,
revolving library,a
a
treasure-house,
pavilion
taining con-
holy
water
cistern, and
das pagoall
either
hand
throughout,
festooned
roofs, beautifully
embellished
with
ornaments
lacquered,
covered and
with
statuary,
in
wood,
bronze,
ivory, representing
tapers,
corns, uniand
to
gods, dragons,
birds, lions,
elephants, plants,
the in
fact, every
whether Chinese
Japanese,
from the the
original,
or
rowed bor-
Koreans.
of these the
Among
most
imposing
are
plementar sup-
buildings
which Korea.
are
pagodas,
tiose
invariably
square,
like
of
They
seven
are
usually
divided
a
into
five
or
set
little within
with
the
one
girt
about
balconies
19?
JAPANESE
ART
and
overhanging
is lowest of
eaves
as
in
China.
The
save
whole
the
mass
usually lacquered
story,
on
in dull
a
red,
which
bewildering
the eye, of
painted carvings
above all
a
distracts twisted
and
high
forms
spire
bronze
One
the
to
longs
the
men
something
erected all of
of
the
life of
these
And
large
yet
The records
we
and
know
magnificent
little
archives the
more
structures.
than
are
nothing.
The
temple
of
silent death
birth
nay,
and
even
of their
their
very
great
names,
architects,
are
often still
wanting.
add is
a
All
I
to
can
chronological
and
list
as
when
were
the
principal buildings
I
am
temples
to
constructed. the
indebted
Louis
Gonse,
French
expert,
for
this valuable
Seventh kura
at at
information.
century.
The the
palace
of
of
Assa-
Siga, and
temple
Horiuyi
Nara.
ARCHITECTURE
AND
SCULPTURE
93
Eighth
(of which
the Butsu Ninth
century.
the
ruins and
at
The
are
castle still
of
Taga
and Dai-
existing)
of
gateway
sanctuary
Nara.
the
temple
century.
and the
The
of
Gosho Obaku
palace
at
at
Kyoto,
temple
Oyi.
the
The
temples
and
Kamakura.
Thirteenth
century.
at
The
temple
of
Tokufudji
Kyoto.
century.
Kinkakudi
of other
The
at
palace Kyoto,
and and
and
a
number
temples
tial pala-
residences.
Sixteenth
century.
The
castle the
of Osaka,
ple tem-
the
Himkahu
at
palace, and
Shinto
Kyoto.
century.
Nikko and built The the
Seventeenth
great
Tchoin
Shinto
temple
at
at
temple
Kyoto,
the and
both
by
Hidari of
Zingaro,
Nikko,
and
five-story pagodas
Osaka,
Kyoto.
ARCHITECTURE
AND
SCULPTURE
95
Architectural
the
features
which
had
entered
country
or
uncompromisingly
Indian in
Chinese,
lost
Korean,
character,
their
original appearance,
took
new on a
and
being assimilated,
and
A
refinement
elegance quite
steady
ment advancefollowed. teristics. characas
and
individual.
toward Colour
purity
one
of the
were
style
became
of
leading
Buildings
colour with gray bronze
a
conceived
and in
schemes,
dash of
in
emerald
or
silver,
crimson,
with
a
yellowish
reddish
and
as
black,
dark
The
love
to
for the
highly
extreme,
finished
and
carried
ornamentation,
steadily
increasing
swallowed This until in
at 16
picturesque
the form. with the
efifect, almost
continued
1
slight modifications
climax and
was
6, when
of
reached
the
temple
the
Shiba,
the of
Tokugawa
the
Nikko,
masterpieces
art
ese Japan-
builder's
196
Such,
in
JAPANESE
ART
brief, is the
From
architecture classic
of
Nippon.
of view,
the
form
purely
and
point
in which
a
outline
not
play
so
important high
in the
part, it may
scale
; but
rank
eyes of
very the
in
the
Oriental
The
curve
it meets roofs
and
are
all
requirements.
as
certainly
as
graceful
in
sweep
any
in
the
as
regards picturesqueness,
external
and
colour
the
and
enrichment,
Nikko the
East. stand
temples
Shiba
preeminent
throughout
The modem
railway
and
stations, hotels,
club-houses,
erected since
government
which and afifect
buildings,
an
1868,
gamation amal-
of native and
foreign
ornaments
forms,
The
are
land
language,
have,
of the
foreign
jargons place
temporarily
natural
at
least, taken
the
speech.
in
our
Sculpture,
Western
sense,
is
Pagoda.
ARCHITECTURE
AND
SCULPTURE
I97
It fection per-
comparatively
never
unknown
the
or even
in
Japan.
approaches
of
calm,
stately
Greek,
were
Egyptian,
statues
art,
of
except Buddha,
in
it
in other the
the
colossal
and
colossal
figures carved
the
at
wood,
horses
like
and
Deva
Kings, guardians
nal origiNara. of
temple
With
the
exception
which
of
the be
even
Dai-Butsu discussed
as
Kamakura,
on,
as
will
not
later
they
the
are,
to
me,
imposing
rins manda-
giant
statues
of
camels
to
and the
in the of
avenue
sepulchre
Ming,
The
near
Daishi centuries
in
the
authors
eighth
of
and
ninth of
the
many real
these
Dai-Butsus.
of
They
In
were
the
sculptors
miniature
the
Japan.
became
later
more
centuries
and
more
carving
fashion.
Even for
a
native
it is difficult
of and those
to
an
accurate
estimate
huge
figures of gods
goddesses,
198
deities
and
JAPANESE
ART
seven
of
happiness
and
other
bolical symThe
mythological
them
narrow
characters.
in
majority
in
of and
a
are
hidden
high
from
sanctuaries,
The all
only
often
into
thirty
the of
high, loom,
which
darkness, form,
is too it be
art
to
judge
The
"
whether
one
not.
only
of
impression
receives,
our
is
smile
gold
of the
far
above
head
"
in the
obscurity
Lafcadio colossal
to
"
roof.
describes in his
one
Hearn
of
those
golden images
"
Pilgrimage
Enoshima."
I
follow
the
old
priest cautiously,
whatever then
we
discerning
flicker
of
nothing
the
but halt
lantern;
which
something
and
to
gleams.
more
moment,
my the
eyes,
becoming begin
accustomed
lines; out-
darkness,
the
to
distinguish
defines
gleaming
as a
object
an
itself
gradually
foot,
immense
golden
ARCHITECTURE
AND
SCULPTURE
99
foot, and
robe
perceive
over
the
hem the
of
golden
Now is
tainly cer-
undulating
other foot
instep.
the
appears I
can
the
figure
standing.
are
perceive
very
that
we
in that
narrow, out
but
some
lofty,chamber,
blackness
down into the
and
of ropes
mysterious dangling
overhead,
the
are
circle
of lantern The
light,illuminating
priest lights
them
two
golden
feet. and
to
a
more
lanterns,
attached
a
suspends pair
Then More the way
;
upon ropes up
of
pendent
he of
pulls
the
golden
robe
is revealed
on
as
ascend,
outlines
their
mighty
knees;
curving
thighs
and,
the
ever
as
chiselled
drapery,
ascent towers
with
still
waving
vision
of
lanterns,
golden
the
higher
through
There
gloom,
is
no
tion expectabut
over-
intensifies.
the sound of
sound
the
invisible
pulleys
ARCHITECTURE
AND
SCULPTURE
20I
oflFers
striking
In
and
rather
unexpected
of
us
peculiarity.
the
all other
branches
art
an
Japanese
of
carefully avoids
the
giving
illusion
materiality of things;
makes
it his the main in
in
sculpture
He
not
he
object.
a
only
manner
colours
statues
most
(carved
be the
and
painted
wood of all
to
commencement
productions
to
in
Japan),
as
but
to
at
times
give
to
them,
of
waxwork,
ducing intro-
actual
appearance
reality, by
glass Very
in
eyes,
and
real hair.
of
are
characteristic
this
Japanese
the
to
respect
images
tenth
foxes, many
eleventh
dating
century,
back
the
in
grayish
tourist
green
stone,
so
which
the
modern before
encounters
frequently
the
as
Shinto
The fox
shrines
was
and
in
cemeteries.
the
worshipped always
artists.
but been The
deity
of
rice, and
with
has the
favourite
subject
is
stone
carving
very
primitive,
the
202
JAPANESE
ART
form
of
the
as
animals
that of
of
rare
elegance, as
They
graceful
have and eyes
are
greyhounds.
gray
of green
or
crystal quartz,
the
moss
mostly They
covered
create
with
a
of
centuries.
of have each
own.
strange
sion impresthey
;
mythological conceptions;
ghostly
an
something image
Some has of their
ears;
about
them
and its
individuality
laugh
;
of
them
or ironically,
slyly wink
cocked-up
with The
eyes
while
others others
watch
with
again sleep
their
mouths
agape. the
skill
of
Chinese
the
painter
in of
faithfully reproducing
birds, the
of
plumage
ing markto
wings
of
butterflies, the
never
shells, has
appealed
it should
of
the
spired in-
Japanese
the
painter. Why
sculptor
which
at
have
is
one
those
curious
to
problems
In
the
a
art
statue
critic has
the
solve.
sciousness con-
looking
optical
be
or
cannot
readily
to
divided.
it
attracts
Either
it
attracts
form
ARCHITECTURE
AND
SCULPTURE
203
to
hue,
rarely
And
and
imperfectly
should
to
both
gether. toto
sculpture
appeal
lines
form,
delicate
as
revealed
by
flowing
The
modelling.
in his
Japanese,
of
deficient
and the
appreciation
had form of every colour
no
light
for
a
shade,
apparently
;
sense
statuesque
to
him
is
merely
emotional
curved
surface,
He from
void
feeling.
attention
introduces
the
to
distract
monotony
a
of form,
in
and,
relief. Even it
not
unconsciously, paints
Form in his
painting
to
alone
is
no
ideal
him.
okimonos,
to
ivory
idea. the
He
statuettes,
He does is
is subordinated share
our
opinion
when
body
most
a
beautiful female
than
naked.
in
considers
more
figure
without
is
holiday
attire
lovely
drapery. exactly
the in
reason
This
why
ture sculpThe
no
has
Land of
remained the
or
its
Sun
incipiency.
has
Rising
Luca
produced
Donatello
della
Robbia.
204
JAPANESE
ART
Hidari
it is
Zingaro
was a
(seventeenth
century),
bination com-
true,
of
highly interesting
and
architect, carpenter,
his
are
woodflowers of
carver,
and
friezes
of
carved in
and
birds
unsurpassed
He
was an
delicacy
execution.
in
architectural
word.
tor sculp-
the
the
true
sense
of the in
Also
his
works
hammered
bronze whose
to
of
lossal co-
contemporary,
"
Hiroshima,
cat
"
sleeping
to
is
even
this
day
known
every
child, I
I would
rank
not
very
high
but artistically,
take
any
it upon
more
myself
than and
I
to
call
him
sculptor,
term to
I would
apply
the
the
silver
goldsmiths
of the
middle
that
gladly acknowledge
vases
made
no
incense-burners
ever
American would
not
dream the
of. turtles
the of the
Yet
compare of
of
Seimen,
of
the
quails
and
Kamejo, dragons
of
birds
Taoun
Chokichi
the
(four great
metal-workers
eigh-
ARCHITECTURE
AND
SCULPTURE
205
teenth
century)
were
to
Cellini's
work,
unfit
as
they
for
jewelry
with
a
It is dififerent
Ogawa
samurai,
as a
Ritsuo
teenth (sevenafter
century),
who,
tinguish dis-
himself the
career
soldier, renounced
become in
an
of
arms
to
art
workman,
and He all his the
equally
work.
in had and
successful
statuettes
lacquer
carved work
wood the
en
miniature^
of of
but of
effect
bigness,
the
strength
of
grandeur
eleventh His
antique
that
models
the
century
fluence inare
him.
portrait
statues
grace,
revealing
study
of
careful
and
His
fairly
truthful
drapery.
like of
strange and
the
fantastic
types,
the
the
Shoki,
legendary
manifest of
a
persecutor
wonderful
daimyos,
and
vigour
spontaneity
are
expression.
but
The
the
outlines
always exaggerated,
very skilful and
modelling
He
is
almost
accurate.
never
preserved
the
origi-
206
JAPANESE
ART
nal face
colour and
of wood,
but
invariablycoloured
latter
drapery;
with
a
the
generally
touches
of
brown,
few
delicate
gold.
But
we
even
Ritsuo
the
is
not
sculptor
as
understand
word.
a
According
of
to
Western
must
aesthetics be
piece
It of
sculpture
be
sary unnecesa
"statuesque."
must
vigorous
self-abnegation
all
embellishment.
is almost
Japanese
ornamental
a
sculpture
and
always
(Who
but
esque. picturthink
Japanese
scene
would
of
carving
Somewhere
moonlit the
I think
?)
line
must
dividing
I A
as am
be
drawn,
as
and
in doing justified
cat
a
I have
done.
not
sleeping high,
as
rily necessa-
does art, is
as an
rank
work
And
statement
of it
Apollo
of
to
Belvedere. hear
the
very the
annoying
Japanese
ours
that
of art
course,
have
another
standard
than
continually repeated.
have
Of of
they
another
standard
Asakasa. Dai-Butsu,
ARCHITECTURE
AND
SCULPTURE
207
art, and
their
work
as
is, in
certain
of their
way, oki-
just as
monos
great
and
ours.
Many
as
netsukfe,
are
the
various
little
ivory
life
than
ornaments
and
humour,
**
reveal
"
true
our
art
the
work
is
not
of
a
average
sculptors.
about Both
this
discussion
terms.
are
merit,
Donatello
merely
well
as
about Hiroshima
great
that
artists, the
Donatello
an
only
a
difference and
being
shima Hiro-
is
sculptor
artisan.
now
Let
us
return
on
to
those
giant
statues,
a
who,
smile
seated frozen of
lotus
flowers, with
plate lips,contem-
serene
on
their
the
vanity
endeavours
all and
discussions,
of
all of
human
existence The
aspirations,
itself.
most
one
is at
can
Kamakura,
be
found The
completed
at
Others other
Nara,
of
Asakasa,
the
places.
is
height
Kamakura
idol
forty-nine
208
JAPANESE
ART
feet
seven
seven
inches,
circumference
of face
ninetyfeet feet
feet, length
width
of
eight
"ree
to
five
two
inches,
mouth
are
inches, and
and of which
there
said
upon
be the
eight
dred hun-
thirty curls
is nine
head, each
inches
long.
of
It is made
of sheets
upright layers
and
of
bronze,
brazed
together
They
enables
of in
are,
finished
course, to
as
with
file work.
and into
as a
of
hollow,
ascend
ladder
the
the the
pilgrim
colossus,
interior
high
the
shoulders,
which,
a
generally, two
wide
little windows
command
prospect
of the
The
surrounding
Dai-Butsu of
grounds.
of Nara and other is
higher
than
that
to
Kamakura,
of the
totally dissimilar
ones.
the
most
The and
black
face, with
nostrils
an
puffed
cast
cheeks, suggests
countenance;
African be
of
to
but from
this the
may
owing
model
are
departures
while
original
we
undergoing
repairs,for
told
ARCHITECTURE
AND
SCULPTURE
209
that
between
was
the
first
year
750,
and off
the the
to
image
head
the
completed,
times
burnt the
was
three
fell
ground.
both of Nara with
While
hands
Kamakura
upon
arm
figure
the
shows that
resting
the
knees,
has the
right
of
extended hand
to
upward,
front.
On
are
palm
the
the
the
right and
left of
the feet in
Dai-Butsu
high,
their the
in
times, and
placed
with
positions, doubtless,
idea that
shrewd
tive diminuthe
to
tral cen-
their
known in
height, yet
contrast
appearance
with
figure,
main
would
lend
enormity
the
attraction.
most
Although
centuries
recent
of
are
the
Dai-Butsus
some
are
old, there
date,
built
also
the in
of
more
notably
Dai-Butsu
1800.
of It is
Kyoto,
by Hideyary entirely
As of
a
constructed
wood,
and it is
nearly
mam-
carving
2IO
JAPANESE
ART
moth,
kura it is
ones.
but
idol
not
the is
to
pleasant smile
and
as
of the
a
Kamaof
art
missing,
be
work the
compared
with
older
The
to
Dai-Butsus
tourists. the pen has
are
great
attraction
who
can
the
Every
written
traveller his of
wield about
appreciation
wonderful
them,
particularly
of Kamakura. says
:
the
giant figure
Chamberlain
"No other
or
gives
so
such
an
impression
the
of
majesty,
idea which the of
truly symbolizes
the
Buddhism,
of
intellectual
comes
perfected knowledge
of all
subjugation
William Elliot
passion."
one
Griffis,
on
of
our
authorities
the
statue
Japanese
with
art,
the
following
enthusiastic
"
words: could of of
One
scarcely imagine
the the calm work repose of the
interpretation
than that
metal-
ARCHITECTURE
AND
SCULPTURE
211
lurgist,Ono. surviving
of
Cast
six
centuries
ago, tidal
to
and
the
destruction
by
reared under
waves
the
massive
temples
stands
out
it, the
canopy
at
figure
of the
sky,
and
in sunshine
and
cloud,
in
dawn-light
and
even-glow,
in
sublime
conception
Lafcadio
superb
who is
achievement."
is
at
Hearn,
much
a as
times
poet
as
he
an
authority, has
of the
to
given
kura full:
"
us
charming
account
Kama-
idol, which
deserves
be
quoted
in
You the
do
not
see
the
of
Dai-Butsu the
as
you
enter
grounds
proceed
of
long
a
vanished
temple,
across
and
along
;
paved
trees
a
path
hide
he No
lossus co-
lawn
great
at
him.
comes
suddenly,
and
turn,
!
you
start
matter
photographs
have
of
the
already
an
seen,
this
first
vision
Then
reality is
ment. astonishyou
are
imagine
that
212
JAPANESE
ART
already
least
me,
one
too
near,
though yards
the
image
As
is
at
hundred
at
a
away.
or
for
I retire
to
man
once
thirty
view,
me,
forty yards
and the
back
get
better after
jinand the
rikisha
runs
laughing
I
that
imagine
afraid
of it.
the
shape
alive
none
afraid
of it.
The
of of and
gentleness, the
these the features
dreamy
"
passionlessness
immense
are
the
"
repose
whole
ure figAnd,
you
full of
to
beauty
charm.
the
nearer
contrary
all the
approach
the charm
the look
"
greater
up
becomes. beautiful
that
into
the you
the
half
solemnly
closed
eyes,
face,
to
into
watch
as
seem
through
as
their of
a
eyelids of
child
; and
bronze you
gently
that and the emn solyou
those
feel
that of
is tender
East.
the
Yet,
also
could
ARCHITECTURE
AND
SCULPTURE
213
have its of
created
Its
beauty,
the
its
dignity,
life
perfect
the
race
reflect
higher
imagined by
of
some
it,and, though
Indian
inspired
as
doubtless
model,
various
the
treatment
his
hair
art
and is is fail
symbolic
"So that the you
marks
reveal, the
and for
some
Japanese.
the
to
mighty
will
beautiful
time
work notice
magnificent
feet
lotus
plants
of
bronze,
the
high, planted
side
rods of of of
are
before
another incense
the
great
tripod
burning."
is of
to
me
The
an
Dai-Butsu
Kamakura
embodiment and
Old in
Japan,
that
all
that
is noble of all
elevating
most
artistic
races.
Creeds
race
may
pass
and
reappear, them
never
and
the
;
created will
may
vanish
cease
but smile
to
smile
which
has years.
been
How
upon
his
lips for
life
seems
hundred
at
peaceful
the
feet
of
the
great tranquil
ARCHITECTURE
AND
SCULPTURE
215
to
be
of
rock,
believe
of
is these
shifting ships,
these
if one's what it
sand. loaded
say
goods,
distance,
to
of
trains
as
were
any
consequence
change
all,
place
would which
another? of
But,
the
in
above
you
say
meagre
philosophy
clime,
in your where isles
vegetates
is
less ?
yonder
than
nature
bountiful
of
flowers
This,
make would
and
no
at
least,
is
certain.
You them.
would You
attempt
leave them
to
enlighten
to
their
busy
of
goings
action;
you tary soli-
comings, slowly,
return
to
their
pride
and,
would
with with
half-closed
eyes,
to
delight
your eternal
your
dreams,
of
to
tranquillizing
and motionless.
templation con-
the
CHAPTER
VIL
THE
ORNAMENTAL
ARTS
PomuiT
AND
Porcelain
"
Metals
and
Beonzbs
"
Lacquse
Wars
In
of
the
libraries
of
some
Japanese
old edition
curios,
of
one
can
an
the
"
Bampo
of
ten
Shio"
"
"complete
a
collection
of fourteen of
sand thou-
jewels," printed
1698.
aside
falls
book the
volumes,
Aboshi in
under
It from is its
care
one
priceless
possession,
interests,
an
as,
bibliographical
of
it
nothing
of the
short
being
exhaustive
arts.
resume
Japanese
industrial
and seals
There
are
signatures
;
of
brated cele-
painters
Japanese;
minute
of
kakemonos,
Chinese of
or
descriptions
216
curious
THE
ORNAMENTAI.
ARTS
217
and
ancient
of
vases,
coins iron
of blades
of
illustrious
katanas^
flower
kettles, incense
and
vessels,
lacquers
of
or
fabrics; potters,
of the
data
celebrated
Korean,
celebrated of
native;
in the
Gotos,
artificers
etc.
vases
ornamentation
sabres,
to
Two of old of
entire
volumes
are
devoted of
Japanese
and the is
are new
earth,
cups,
signs deand
teapots,
vessels
Chinese
The
Temmoku
epoch. by goldare
information
the
accompanied
indicated in
prices
dimensions
as
of the
each
object
and
a
given,
thickness
well of the
as
colour
It is
a
the
enamels. for
able remark-
book,
of the
princes
written and
public consisting
collectors.
;
millionaire
To
layman
and
bewildering
many
days
of and the
will
master
contents,
understand charms of
appreciate
art.
decorative
will
Japanese
He
realize
2l8
JAPANESE
ART
that
one
of the
lies in
principal
its
merits
of
nese Japaand
art
purely
decorative
ideal
industrial
we
qualities,that
Westerners
do At Rococo
to
they present
not
something
do
not
even
possess,
understand. Gothic
never
certain
we
ods peri-
in
the
it
as
and
touched whole
it, but
belonged
Japan.
The it of
art
a
the
people,
in
as
Japanese
possible,
have
Walt
realized,
Whitman's
far dream
as
is
democratic
be
art, for
only
If would
an
industrial
can
democratic. art,
we
we
understood endeavour
eat
to
Japanese
live in
different
houses,
in
from
different
dishes,
our
sleep
entire
different
beds,
and
change
discard
our
surroundings,
costume.
present
In
me
order cite
to two
exemplify
instances:
the We
difference, let
all know
are
what
the is
now
clumsy
same
things
our
alarm-clocks
for
alarm-clock,
fabricated in
the
but
same
price,
to
Japan,
is made
THE
ORNAMENTAL
ARTS
219
represent
Then sisters'
frog holding
what do
our
the
time-table.
wives' look whereas
a
again,
and like: in
pin-cushions
little
square
generally
cushions,
merely
Japan
flower,
they
or a
take
the
or
form
a
of
beautiful
And
so
fruit,
from
fish.
everything,
kitchen
their
to
buttons,
hand-made
baskets,
broideries, em-
utensils,
their
their of
plates
Ritsuo
Ninsei,
and
their
a
Kenzan
and of
lacquer
trays, is
thing
beauty.
confess
vase
I must
I could
look
at
any
a
ancient
of and
porcelain
more
for than
longer time,
at
pleasure,
in
our
the
majority
pictures
average
exhibitions.
Our artists
as
have
not
the
same
tunities oppor-
the
Japanese.
were,
The
Japanese
artist-artisans of
to
until
lately, the
the
resume,
heritor inso
trade
secrets,
say,
over
of accumulated
experience,
ing extend-
centuries;
working
with
ample
220
JAPANESE
ART
leisure
a
for
some
patron
who
gave and
generous, them
permanent
with could work of
to
income,
best of each
material,
of their
so
that
they
a
productions
The the old
art
devotion
Japanese
his
artist
and
of his
regime
work,
intense
and
appreciation
of much that and the
of is
all that
ful is beautiwere
grand,
alike
the
unquestionable;
of
its
generally
country,
favoured
cumstanc cir-
throughout
the
history, greatly
these
of
growth
the
of
dispositions.
division
of
to
Although
labour,
be the
which very
was
nowadays
of unknown artisan his work
supposed
Western among
civilization, them,
been the Western
artistto
had
always
disposed
every
were one
carry of its of
himself whether
in
through
his
or
stages,
task
that
working
woven
metal
or
lacquer, of preparing
of
fabrics,
pottery
in
any
of
THE
ORNAMENTAL
ARTS
221
its branches.
on
Each while he
workman it
was
thus
looked
on,
as
his
a
work,
that
in
going
He
was
on
child
loved.
striving
not
after money
a
beauty
;
every had
shape,
his
cause
and
after in
and
he
compensation
some
way the
would
surprise Japanese
to
artist.
no
The
merchant he
were
status
as
whatever,
though
alone
was
rich
Croesus. and
a
Money prince
with
bought willing
no
position, spend
many the
to
hours
an
artist-artisan, while
would Each in have been had
richest
his studio
was
artisan his
home,
assisted
;
by
or
wife, children,
he
at went
pupils,
to
apprentices
or
off
spend
weeks
the
monasteries,
orders filling
was
temples,
for of
or
mansions,
artist
himself
an
often
for much
exclusive
and
audience, refinement,
people
he
was
leisure
THE
ORNAMENTAL
ARTS
223
resident
for he is The any
sure
of
Japan
of
can
escape
; sooner
'
this
or
length
to
time
to
the
curio artisan
high
an
Japanese
displays
such
the
can
variety
of any
and
satility ver-
in that
manufacture
article,
of
or
nobody
a
resist
the of
temptation
one
becoming
another.
oneself is
to
specialist
that is truth
kind
to
All
necessary of this of
vince con-
of the
a
statement
study
collection
as
teapots,
for
instance,
Howard,
wife of
Mrs.
Nellie Mme. de
at
Hopper
Struve,
artist, and
Russian have
minister
Tokyo
(1 870-1 882),
These
accumulated.
contain hundreds and
collections
of
hundreds
tiny teapots,
and
each
differing in
There
and
are
form,
colour,
decoration.
with
little teapots,
moulded square,
shining
into
glaze
ing, gild"
every
possible shape
round,
flat,
224
JAPANESE
ART
and
full bodied
squatty,
with and in
perch-Hke, tapering,
wide,
and
top-heavy;
narrow,
pointed,
teapots tubs,
shape
lanterns,
of
boxes,
buckets,
boats, melons,
pears,
pumpkins,
cats,
apples,
frogs, turtles,
cows,
women.
storks, ducks,
girls,men
has
in
and
escaped
Japanese
From every from
workmen
fashioning teapots.
brass, and
gold, silver,
combination
iron, bronze,
and
clay
of
and
cuit, bis-
of
trees,
joints
bamboo,
even
from orange
body
of
rinds,
is
lacquer,
hollow handle. and inlaid
ivory, body,
There iron
and
with
are
straw,
a
evolved
cover,
spout,
and
kettles,
in the form
simmer
on
every of
as
kibachi
empire,
and
masterpieces
graceful
well
as
pleasing decoration,
tiny
THE
ORNAMENTAL
ARTS
22$
silver
even
pots, that
to
by strange
with and
combinations,
become ship. workman-
inlaying
of
iron, have
minute
miracles
patient
The
manufacture been of
one
of of
ceramic
ware
always
the
The
proudest
Japan. Kaga,
best the
productions
and
Arita, Kyoto,
rank with the Of of Satsuma that
ever
Satsuma,
of
art
Owari,
facturers. manu-
European
pottery
and
ware stone-
and better
Arita in the
it may
be
said
has
nothing
been
material
produced.
pottery
Japanese
of the the
impresses
and the its the
by
the
dom freeof
colouring
It retains
character
of apparent
design.
forms
rusticity,and
adheres
the
to
in
ornamentation
the
academic
conceptions
It is futile
to
pare com-
of
Chinese it with
masters.
the
classic
of Greek
designs
and
and
metrical sym-
forms
vases,
as
Etruscan
the
art
conception
of
the
Japa-
226
JAPANESE
ART
nese
is
totally different
Greek,
who
from
that
of
the
regarded
symmetry
human
correct
draughtsmanship
their the Greek
of the
as
principal accomplishments.
Japanese
is have in
common
that the
their
refinement
and
power.
The
principal
charm
of
Japanese
for
tery pot-
Take,
at
instance,
the
Paris
Expoto
1878.
It
was
made and
not
according
to
classical
traditions,
tastes.
please
clusively ex-
European
It with
almost of
more
of and less
cups
jars
ivory,
or
mouths outlines
widened,
with There
whose
were
indented
fantastically arranged
was
marks. fingershape
but
nothing
Parisian
in their
to
interest
the
collectors,
vivid
their
colouring
It
made the
most
sion. impresthe
revealed
deepest
with
black,
most
brilliant
white,
innumerable
THE
ORNAMENTAL
ARTS
227
other
tints, from
crimson. The often
cream
colour lends
commonest
to
a
ful wonder-
colour
to
beauty piece
and
value
the
need
to
be which
to
an
expert
the
art to
to
experience
the
the is
pleasure
of the
potter
always
The
able
give
sensitive
to
connoisseur of the
is in
apt
his
forget
in
beauty
ardour and
to
object
its
hand,
determine
ful right-
data, maker,
and
to
place
of
production,
either
I
identify it beyond
or
doubt,
by
figures, marks,
never come
descriptions.
with
have
noisseurs, con-
in contact
or
Japanese
over
spent
some
days poring
musty
kura.
the have
treasures
never
in
sat
down
with
the
amiable
the the
Rokubei,
the
dignified Dohachi,
and
never
good-natured opportunity
from
Yeiraku,
of
had of
gathering
of
words
wisdom
the
lips
Maida,
Kohitsu,
Machida,
and other
Tanemura,
Ninagawa,
experts.
228
JAPANESE
ART
I rather of
a
would
a
consider
to
experiences passing
hindrance
proper
art
correct
judgment,
matter
appreciation
of
"
feeling.
may
opinion, shrug
"
which
elicit
from
disdainful
of the
shoulders
the
experts,
Japanese
in
pottery
those
reached
its
highest perfection
forms,
whose
simple
very
rugged
much colour
glaze, containing
lustre, and
like the
lead, is without
resembles
riki
wares
whose
charcoal,
of
the
Showo-Shigaof
at
at
latter
Not
part
the
the
teenth sixfirst
century.
dazzling
a
reveal
charm,
more
closer than
is
something
their dull
a
Through
with
a
black
lead shimmer
glaze
of
to
light, one
which
all
seem
discerns
is strong These
a
enough
pieces
of
despise
pottery
own,
adjectives.
to
of
have
a
soul-life
their of
and
by
curious
association
thought
THE
ORNAMENTAL
ARTS
229
up
before
me
lacquer
and
armoun
originality
their
vigorous
in
simplicity
shapes
without and
laugh,
their
at
superiority, proudly
all the of the faultless
curves
conceit,
studied
graces
Ming
Blue. whose
Chosuke,
magic manipulation
this
to
ware,
of
clay only
the
and
two
fire
created
allowed
forth into
hundred
"
pieces
tantalize
go
world
to
the
critical
ment judg-
of The
posterity." Japanese
nature
became of
potters
by
the
peculiar
The in
their
environment.
are
rich them
which
carry
with with
mixed
clay. by
of
the with
nation
has
been
furnished varieties
the
are
numberless essential
for
paste which
The
a
good pottery.
of
first authentic
potter
the
name
Japan
of
was
Buddhistic
priest by
Giyoji.
THE
ORNAMENTAL
ARTS
23
To
the from
ceramic
China,
kilns, established
provinces,
particularly
Kyoto,
as,
in
neighbourhood
of
added for
beauty
the
their
Timba
ucts, prodkiln,
instance,
brown
at
with
its
heavy
and the
yellow glazes.
end after of
tea
Then,
suddenly,
century,
the
the
shortly
had
and
national
tea
beverage
had marvellous
art
the into
elaborate vogue, of
ceremonies
came
a
come
there
outburst
a
colour,
the
ceramic and
underwent
complete
pottery skill,as
ware
revolution,
of remarkable the
the
results
were
ingenuity, Kiyomidzu,
of coffee
taste, and
Omura
Awata,
colour
and and in
of
the with
milk,
covered
classic
and
decoration red
was
starchy
coral.
the founder the of
(f 1660)
kilns.
He
was
originator
style of pottery,
and
of all decorated
232
JAPANESE
ART
pottery.
rare.
Authentic
a
specimens
"
are
Many
are
bit of
old
Kyoto,"
to
as
wares
called, supposed
years
a
be
at
three
hundred
old, shows
made of
in
cracklin
ground
mark
by
some
unscrupulous
Like
tradesman
to-day.
was
potters,
brush. of
a
Ninsei His
very
skilful
as
his those of
decorations,
well
his
contemporaries,
There touch
were
were
worthy
of
on
painter.
with
a
storks
pure
white
of
milion ver-
the
head,
chrysanthemums
each
with
petals overlapping
with half
a
other, landscapes
of
dozen
strokes
court
the
brush,
etc.
were
figures in
Two Kenzan and Imado. and his of bold ceramic archaic of
elaborate his
dresses,
foremost
a
disciples
brother the massive tried
to
(1663- 1743),
Yeiraku,
Kenzan who
of
Korin,
kiln forms of
founded
preferred
He
decorations.
give
productions
heaviness
and
the
appearance awkwardness.
THE
ORNAMENTAL
ARTS
233
They
lustre
are
remarkably
subdued who
beautiful
in
their
and
colouring.
lived
in
Yeiraku,
the his
the
was
latter
a
part
of in
virtuoso **le
calls He
of
him
plus
form
etonnant
pasticheur."
in
a
neglected
colour and
somewhat He
was
favour
schemes.
perfect technician,
in
equally
successful
surface
lent
a
with
crystalline shimmer
ethereal
were
peculiar
tea-sets
charm
to
His
particularly in
Other
demand. work
were
potters,
whose
is
highly
who
ettes; statu-
esteemed
by collectors,
in the
Shioukai,
of
excelled
modelling
and Mokubei
little
and
to
Dohatchi
Roku-
bei, who
devoted
themselves
miniature
of animals. followers
shape
and
pottery
of
Ninsei
his Their
truly
native
product
glazes.
234
JAPANESE
ART
composition
work is
of
colours,
crackle, and
them.
laceIt is
trast con-
invariably picturesque
to
severe
effect, in
and
the
academic of
conceptions,
Chinese the
the
formalism
can
ceramics.
recognize
most
origin
of
pottery
that
easily by greenish
know
to
soft Sanda
peculiar
grays that and and Somaw
the
Seiji kiln,
to
delicate
salmon
are
shades excels
Oki
the
Haji style;
grays
in in
speckled
lustrous
are
a
browns,
that
and
opaque
yellow
browns;
inglazes
acteristic charthat
Shigariki school,
have made
a
and
potters
effects.
of
specialty
splashed
The
secrets
porcelain
into
manufacture
were
Japan
by
Shonsoi of
in
was
Arita, in the
the
province
is still
Hizen,
start, and
to-day, the
town
of
called
Imari, simply
THE
ORNAMENTAL
ARTS
235
because of
Imari,
is
at
the
head
of
the
gulf
Omura,
the
for Arita's
products.
street
shop
to
in the
the
main
of
Arita the
clay-
grinding
and
pulverizing
the
town ear,
a
machines
on
ually continside of
haunts
the the
narrow
for
either
watercourse
supplies kept
in action
power
by
which
they
are
night
The
and
day.
of the
larger part
is the
pottery
blue Arita
produced
and white
here
underglazed
which
was
combination
made
famous,
in is
and
the
which Delft
no means
successfully
But the
to
imitated
ware.
manufacture that
by
confined
class; the
at
Koransha
the and
factory, so
well
represented
Chicago
table
sets
jars,vases,
of rich brown.
as
dark
green, The
as
chocolate
is almost
Kaga
of
porcelain
famous
that
Arita.
About
1650, Saitchiso,
236
after
JAPANESE
ART
serving
went
long apprenticeship
to
with
Shonsai,
those
Koutani,
known
and
as
choice
ware,
are
specimens
masked
not
by
enamels. but
His full of
ucts prodenergy
numerous,
in
their
colouring
of
manganese, and
myrtle
white, and
green, enriched
faded in
yellow, black,
the of
more
valuable
and silver. is
specimens
The
parency trans-
by coatings
of
ware
gold
the
glaze
as
exquisite.
as
The
as
is
very
rare,
Shonsai,
a
well of
his
Kano
successor,
Morikaghe,
could
never
painter
be
the
to
school,
for the
induced
work
Most is
seems
ordinary
of
ware.
trade.
popular
Satsuma
to
all
Japanese
The
porcelains
idea
the
general
were
be
that
products
rather
case.
large
The
in
size, but
vases
opposite is the
we
large
see
so
often for
at
auction
sales
were
specially made
The
ware
the
European
for its
market.
is known tones,
which
soft, cream-coloured
THE
ORNAMENTAL
ARTS
237
have
almost
the
effect
of
old
ivory, with
with
delicate
colour
decoration
broken
pale gold By
Bizen far
ware,
tints.
more
original, however,
at
is
the
in
the
nineteenth
century,
the
with
leaden
blues,
and
and the
ware,
metallic
brown,
Banko
quaint intrinsicallyoriginal
worked
out
of
sheets
of thin in
clay,pressed,
white
patterned
with
mosaic,
in low
as
embellished
glazed figures
so
relief,and
bits of
over a
resembling nothing
gray
or
much stretched
soft hidden
white
crepe
frame.
Very
made
has artistically,
manufacture
are
been
in
porcelain
manufacturers
since
1800,
"
apparently
handed
satisfied down
copying
the
the
models the
from
past,
"
while
process
purely
been and
mechanical
parts of the
have
steadily improved.
Arita
can
Banko,
Kyoto,
to
still be
bought
advantage
Bronze
Vase.
THE
ORNAMENTAL
ARTS
239
produce
far
picture
the
of
variegated
and
colours
"
beyond
reach
skill of Western
artisans.
Braziers,
flower
vases,
incense-holders,
water-tanks,
memorial bronze
to
standing lanterns,
tomb doors of in gave
tablets, and
workers show in
the
abundance
opportunity
metal
their
skill
handling
The
also of feet
larger
dimensions.
feet
big by
bell
Kyoto,
two
fourteen in
high
inches
diameter,
initiated
proves into
they
were
thoroughly
bronze The
secrets
of
casting. casting
for
some
of
memorial
lantern,
was
or
column
temple,
usually
with
public
festive
and
outdoor
hilarities.
bellows,
ing-pots, cast-
tools,
appliances
at
were
brought
the
to
or
prepared
the
process
the
were
spot, and
watched
details
of
by holiday
Their
crowds. of bronze
methods
casting,
and
240
JAPANESE
ART
their
jealously guarded
metallic work
or
secrets
seem
of
to
alloy,
be of
At
Persian,
is the
Indian
origin.
opinion
of old in
a
of experts.
The
shapes
vases, to
temple
my
ornaments
unmistakably
There in and their is
a
Persian grace
peculiar despite
details. them
in
work,
its manifold
delicate
with
Nobody
can
pete com-
representing,
Unes
most
even
for
instance,
leaf. The
the
undulating fidelity in
of
lotus
the
minute
to
on
markings
motion
of and
leaf colour
and of
flower,
the their it is
rain-drops
cup-shaped
inimitable.
and
so
surfaces, is amazing
Their
seem
as
bronze
to
birds,
with
fishes, life,
insects
true
are
be
instinct
In
they
and
to
nature.
expressing
and
the
and
atdtudes
the
motions grace
of fish of
fowl,
sportive
and
domestic
animals
little forest
creatures,
they
THE
ORNAMENTAL
ARTS
24
have also
never
been
surpassed.
of
to
is
their
knowledge
in
of
reflected
light
relation their
It endows
work
pictorialquality.
In
the
fifteenth
century, the
in
was
Goto
Sojo
The age time
excelled
metal the
century
work. The
metal
a
bronzes of form,
a
certain
severity
and
great
black the
vigour
colour. forms the
the
In
modelling,
the
more
dull
following
graceful
was
century
in
became
line, and
colour and
effect
heightened
of metals.
by
the This in
inlaying
age
cire
overlaying
the
also
produced
greatest workers
The Seimin
period
were
Taoun,
of
both their
incomparable
material,
in
the
mastery
Tiyo,
Keisai,
and
Jiogioko, Somin,
The
Seifu, Tokusai,
of
any
Nakoshi.
signature
of
242
JAPANESE
ART
these
men
on
piece
of work
guarantees
its artistic
Although
up
to
does
the The
not
come
the very
standard beautiful.
which
old, it is bronzes,
such
a
at
times with
set
jewels,
at
created
tion sensa-
the
Exposition
the
at
adelphia, Phil-
metal
workers
some
originality.
bronzes and from
jewel-incrusted
On the
have
bard scabtwo
story.
of
to
hilt, handle,
swords
were
the
samurai's
ornaments
twenty
in
embedded,
wrought
the
metal,
with After
highest
issue
use
art
of
an
metallurgist.
edict in
of
imperial
was
1868,
of
swords
suddenly abolished,
as
the
were
samurais,
impoverished
they
were,
practical
weapons.
enough
The with
to
dispose
of their
feudal
was
market,
an
consequently,
stock
of these
glutted
jewels.
of
art
amazing
sword
gems
By
happy
thought
Bronze
Vase.
THE
ORNAMENTAL
ARTS
243
were
applied
those like
to
bronzes,
vases
and and
the
results
were
quaint
the
jars, which
of
some
"Holy
Grails"
legend.
noblest in of
Japanese
crafts, purely
is that
as
origin
and
In
development,
same
of
has has
the
to to
to
way
China
all
porcelain, Japan
its
name
all
lacquer
ware,
first
introduced of The
the in
knowledge
the
and
admiration
Europe
seventeenth
century.
beauty
and
excellence
and
of
Japanese
lacquer,
has
its mirror-like
never
proof rain-
surface,
not
even
been
matched,
in
China.
^
The
materials
for
writing,
household
cups
furnishings, and
and
saucers,
personal adornment,
sake
trays and
and
boxes civic
dishes, with
and warlike
ceremony and
armour,
helmets,
the of its
shields,
furnished
cipal prinfinest
fields
for
the
display
244
JAPANESE
ART
artistic
achievements,
such
as
though
large
faces, sur-
doors,
staircases,
ceilings,
even
frames
and
were
and
ships,
The
Japanese
from the
a
is
ered gathit is of
to
urushi-tree,
finer
gum
which,
than
said, supplies
any other
that
species.
It
is
subjected
various
manipulations
before it
can
and
refining
mixed
first
cesses pro-
safely be
From the
with
colouring
to
as
matter.
ing gathercare
the the
last
application, increasing
or
to
dryness
the
moisture of every
are
of
the
mosphere at-
exclusion
particle
essential.
of secret with up
to
are
other
are
conditions,
"
in
must
possession
be
processes," knowing
and
we
satisfied
that
"
layer
of the
after
layer
"
fifty coats
laid
on
lacquer
at
varnish
the
basic and
material
that
a
intervals
it has
of
days
or
weeks,
dried
"
after
oughly thor-
and, by
strange
paradox.
THE
ORNAMENTAL
ARTS
245
it must
or
dry
in
dampness,
with the of
same
well
moistened,
else it will cess progers, fin-
even
saturated stick
"
water,
run
or
smoothing
and the
with after
lumps
all
charcoal
most
the is
perfect polishing
instruments,
The made
repeated.
to
articles
of
be
lacquered
are
carefully
not
seasoned
smoothed,
of But used.
so
the
slightest inequality
of
surface also
In
edge
remains.
are
silk,
the their and
nor
tortoise-shell
older
specimens, bringing
the
weight
immune
gold,
that
varnish
is
so
hard
water
neither
afifect
boiling
its
boiling
The from
oil
art
will of
surface.
lacquering
dates
historically
tion tradiwhen
not
the
seventh its
century,
birth
and the
now
though
ages had
assigns
almanacs, yet
Not arrived
a
to
the
clocks,
from
writings
Asian
in
mainland. national
or
few
articles,
246
JAPANESE
ART
private
evidence,
"
museums,
over a
are,
by
documentary
years Griffis had his
thousand
old.
In
old
feudal every
days," daimyo
relates,
court
"
when
nearly
set
lacquerer, a
toilet
a
of household
was
furniture of the of
a
and of
utensils
part
the
for
dowry
noble
was
lady.
common
On
birth
daughter,
artist
to
it
the of
lacquer
a
begin washing
or a
the
-
making
a
mirror-case,
a
bowl,
of
to
cabinet,
clothes-rack,
chest
one
drawers,
whole
or
often years
occupying
on a
from
five
single
quire re-
article.
An
inro,
years
to
pill-box, might
for go
perfection, though
a
enough
the of young
into
was
fob.
By
the her
lady
was
marriageable,
lacquer
first
superb."
of from the existence the the ninth
information
ware
lacquer
In
century.
published by
and
losophe phi-
Shihei,
are
golden
At
lacquer
the be-
incidentally
mentioned.
THE
ORNAMENTAL
ARTS
247
ginning lacquer,
of the
tenth
century,
the
Nashidji
colour,
of
yellowish
gold,
was
orange
sprinkled
The
with
invented.
of whom tic authenwas
oldest
lacquerer,
can
still be
procured,
His soft of
Koyetsu
assumed
to
a
(i556-1637).
an
black
brown oured col-
agreeable
tint, owing
red
lacquer.
sou,
later, SoyetKorin
became of the
Koma
Kiuhaka,
With sugar
were
prominent.
hue of
them,
came
lacquer
into
maple
fashion.
Their
designs
for bravura
pieces vigour.
pewter,
His soft
were
almost
was
repellent
the tin red
by
their
He
first
in
to
introduce work.
lead,
of
a
and
lacquer
gold
in
rich
an
tone,
"
apposition
and
the
tomary cus-
brownish
yellowish gold,
but
never
"
has
often
been
imitated,
celled. ex-
248
The streams,
and Chinese the
JAPANESE
ART
favourite
subjects
and
sea
of
crane
rock
waves,
petrels,
cloud
and
dragon,
or
poetry,
of and
idealized
landscapes, designs,
The his
were
repertoire
over
graphic
over
repeated
knew in them
again.
;
artist
by
and
they
were
stock
with many
trade,
public,
familiar for
these
standards
symbols
and in
generations,
them. borders floral and Also
or
understood
appreciated
the form of with
pet
patterns,
in
diapers
other
combination
were
designs,
used
with
excellent Of
the
effect.
twenty
of
-eight
Japan,
where
most
famous
lacquer
flourished
artists
in
the
the
majority
and
Yedo,
beauty
its
delicacy
of
execution
reached
highest
perfection. Ogawa
in the
Ritsuo, whom
I have
as
mentioned
one
preceding
sculptors
chapter
of
of
the
foremost
Japan,
is
probably
THE
ORNAMENTAL
ARTS
249
the
ever
most
skilful
lacquerer
His
the is
world
has
known.
style
considered
in the of
classic.
Nobody
excelled and of
him
decoration
composition,
of the
and
profound
knowledge
that
rare
craft.
gold,
novel
like and
a
of
the
great
Korin,
of
full
of
effects, capable
gamut
of
running
yet
green,
through
brilliant would His
whole of
a
sober
tones
deserve
special study.
cabinets,
to
miniature
jewel
most
can
and
ing writ-
boxes
belong
decoration have
the
beautiful
pieces
But in
of
which
very
turn
be
seen.
they
Japan
He
grown
scarce,
even
and itself,
was
a
rarely
great
did
up
in
any of
sale.
manipulator
not
materials;
he
lac
alone and
satisfy him:
into
inserted
ivory
agates
his
positions, com-
tortoise-shell,coral, and
motheras
of-pearl, and
well
as
pieces
and
of
ancient in
pottery,
gold
silver
rich
profusion.
250
He
JAPANESE
ART
incrusted,
he
he
modelled,
and His his
he
scened, damawith
was
soldered
riveted
treatment
marvellous
precision.
sculpturesque, rugged,
many
always
bold He
zan, next
outlines
were
and had
and
his
followers,
Zeshin,
to
and
master
Kenya.
as a
his of him
certain
celled ex-
effects
great
in
was
brilliancy,and
combinations of
even
lac of
pearl.
He fish
particularlyfond
and
a
shells rich
in
their
natural of
a
upon
background
who
had in
rich wild
gold.
Zeshin,
fancy, imitated
of
lacquer
of and the of
material.
like
Some
pieces
lac
look
pottery
all
carvings,
and
others
reproduce
and
lustre
an
golden
bronze,
less than
browns
yellows
by
ancient
had
discoloured
age. and
was
Kenya
vigour, invention,
the other
originality
two,
but
THE
ORNAMENTAL
ARTS
25
almost
materials effect. The school
a
their and
equal
in
in
the
combination
of
of
richness
pictorial
last of
faithful
adherent
was
of
the
old
lacquering
of the
Watanobe who of
at
a
Tosu,
still lived last
tury, cen-
contemporary
Zeshin,
in
Tokyo
in
the
working
ten
for and
tobacco-box
by eight
order The
inches
in
dimensions,
by
of the old
empress.
artisans, who
made
beautiful the
as
and of
to
nest eara
ingenious daimyo,
and
things
to
to
please
fancy
be
presented
put
gifts
and
;
neighbouring
work
now
daimyo,
good
everything they
workmen unmercenary
made have
but
that
average old
to
doned aban-
standard
and
cater
foreign
same
taste,
stock
continually
of ideas and have
to
reproducing
set
the
of
symbols,
their bad
productions
in
taste
become
exceedingly
the
connoisseur.
252
JAPANESE
ART
And
yet,
to
being
any
of
after
all
good
deal
superior
their faint
our
factory
still
bric-^-brac,
to
productions
idea
of
are
able
give
us
the
the
remarkable
able imperishold
qualities
of
art
of
Japan.
CHAPTER
VIII.
MODERN
JAPANESE
ART
fHE
taken
political
place
of the in
changes
Japan
to
"
which the
had
islands
the
foreign
in between the
1859,
inevitable
struggle
and fall downt^^ lishment estabits
decrepit
vassals,
Shogunate
the
recalcitrant
of the of
complete
^^^
former
in
1867,
new
political
the of
organization,
presided
the
the
over
by
Mikado,
its
not
affecting
life the
to
expressions
very
core,
national
did
leave
arts
untouched.
For
decade
with
or
so,
when
the
nation
for
was
seized
sudden
passion sadly
Western
ideas,
art
was
neglected,
"S3
MODERN
JAPANESE
ART
255
establish had
The been
art
academies,
which
hitherto
results It has
were
fold. two-
created,
the
school, West,
in
entirely on
European
been
of the
art
of
the
methods
to
and
material^
sion excluit has
adopted
the
complete
Japanese.
into the
Secondly,
of
new
penetrated
art to
recesses
Japanese
school
the old
yet another
it works old
while the
in
lines, and
the virtues
materials, ideas,
them
so
admits
deavours en-
Western
and far of
as
assimilate
the three
art
it is
able. is
Thus,
into their of carried the
world
Japan
split
in
views,
the
defined
which
in
the views
results
are
work
these
out.
They
may
fittingly
ate Moder-
be
termed
Conservatives,
and the
the
Conservatives,
The Conservatives
Radicals.
naturally represent
256
the there whose
JAPANESE
ART
old
is
name
traditional
among could artists
"
school.
no
Although
master
on
them be who
put
have
the
the
are
great
many
been,"
lack
who,
whilst
they
inventive skill of
a
power,
still possess
executive
are
high
order,
and
able
to
preserve, of
at least, technically,
the
traditions
their
predecessors.
Kikuchi Matsumato traditions and Isen
Yosai, Fuko,
and
tried
to
later
his
up
pupil,
the old
keep
by painting
and their
historical
pictures,
inventive with ing copy-
Shosen,
own,
were
lacking busy
Imao
spirit of
ancient
masterpieces,
his
Keinen,
of birds
cessfully suc-
noted
and
for
graphic
and
delineation worked
flowers,
in
Giokusen
the
a
Okyo
most
style.
The
artist
produced
in his
remarkable
"Ghost,"
black
floating
shock of
up
of
space,
the
head,
most
hair, and
on
shoulders
minutely painted
the
KiosAi.
"
Council
in
the
Dragon
Castle.
MODERN
JAPANESE
ART
257
border,
away sai's
while the
the
silken
rest
of
the
body
Also Hokkei
were
fades
into
two
canvas.
Hoku*
and still who
pupils,
Kawanobe
(i831-1889),
living.
followed
master manner,
regards
that the
subjects
and
they
which
fail in made
mysterious
works of
creative
Hokusai Yosai
alive.
Kikuchi
a
(i 787-1878)
He
as
reallyneeds
is in his way
or
chapter
by
himself.
an
as
remarkable
He and
artist
Hiroshige
famous when
use as
Hokusai.
historian
up
was
already
an
literaryman
and he
new
he of
painting,
in
made
learning
the
the
profession.
of
He
delineator
"
historical
"
ages. person-
His
Kanoaka
painting
Like Alma
is
good
example
he made
of his work.
Tadema,
the
most
scrupulous
it is the
are more
cal archaeologiastonishing
itself.
studies, and
that his
compositions
simplicity
258
He is
JAPANESE
ART
even
disdained
with in
a
the
use
of colour. what
as
He he
as
satisfied
knows,
yet
far
drawing
have
been
is concerned. his of
line the
superior.
historical
causeur
anecdotes,
to to
his
even
kakemonos
more
appeal strongly
than
one's one's is
intellect eyes.
The Western.
work
of
the found
Radicals the
entirely styles
new
They
to
classical
of the
a
unequal
ideas, and
the
expression
largely unintelligibleto
and
public,
frankly adopted
In their
the
style of painting.
themes,
in the in the mediums
choice
of and
employed,
differ realize has
to
treatment, artists.
this
they hardly
In order
to
from how
sider con-
European
remarkable
how
complete
under the
transformation
it is
of conditions
It is not
which
produced.
watercanvas
merely
to
transition
from of
colour
oil, the
substitution
MODERN
JAPANESE
ART
259
for the
absorbent
paper,
but the
the
whole
method,
and the the doned. aban-
composition,
have also ways Their
principles
ideas
been have
transformed;
been
ancestral
entirely
pictures
but
at
denote
enthusiasm
same
and
eager lack
study,
of
the
time
painful
individuality.
if it
were
doubtful and
possible
to
individual
to
artists
change
old
the
new.
The
sou
Radical Kwai
school,
called
(founded
of young
1889),
men
composed
women, amateurs.
exclusively
many of
them
being
merely
but
Being
really nothing
had
some
students,
to
they
the
invariably
methods
his Their
attached Western
themselves
of
artist, caught
on
style,and
first in
formed
themselves of
not
him.
at
exhibition
was
pictures,
numerous,
Tokyo,
but
1890,
very in every
it reflected
manner,
almost
instance
the
the
subject, the
composition,
MODERN
JAPANESE
ART
26
neither
the
nor
pictures story-telling
the
of
Kouies stud-
roda,
of
impressionisticfigure
Wada had any
Eisaku
in
striking
merit
a
themselves.
measure
They
of
large
public
attention,
and between
gave
rise
to
lively controversy
of the old and
new
the
adherents
styles.
The
are
even
sculptors
less
of
the
new
movement
original
than
the
up
painters.
in
The
are
monuments
recently put
bad
as some
Japan
bronze
fully
as
of
the
our
statuary
squares. General
which
disgraces
the
public
statue
Only
Kusunoke Takamura
equestrian
of the of
Masashige,
Korin,
is
by
sculptor
some
worthy
consideration.
The
Radicals
never
convince
us
when
they
attempt
most
elaborate
compositions. picture,
of
"An
Kouroda's Old
and
important
a
Story,"depicting
young
men
number
geishas
in
262
JAPANESE
ART
ing
is
to not
the
even
flute-playingof
as
an
old
Alma
priest,
Taand
interesting
views
of
as
dema,
river of
while
scenes,
his
Fusiyama
bearing
all the
characteristics
are
Japanese
composition,
exquisite
with
creations. and of
They
and the
are
vibrant
light
warmth,
nature
keen
observation
in Radical It
sense.
seems
to
have
no
will
become
national.
to
exponents
have
at
nothing
say
to
countrymen,
value.
They
no
will
always
whether
or
be
ered considhave
aliens,
their studios
matter
they
New
in
a
Tokyo
very York
York.
Genjiro
has has made
Yeto,
New
talented his
artist, who
and the who ideals
home,
all
to
deliberately
countrymen
statement
to
abandoned
in
of his this
regard
a
art, proves
It
to
be
true
one.
is
impossible
artist,
as
as
Japanese
with
he
has
common
MODERN
JAPANESE
ART
263
will
never
his
be has
country, and
I fear
an
that
he
regarded
remained
as
American
artist, as
Oriental
he in
thoroughly
else but of his
art.
everything
The
which nation
process has
absorbing
occupied
last
new
ideas,
mainly
the
the
Japanese
would,
without did
during
have
however,
this
been It the
innovation.
it enabled with numbers many
one
undoubtedly
Japanese
art to
good;
touch the how
now
get But,
it
in of up,
Western who
ideas.
taken
have
will
remain
assert
faithful? that
it
was
Even
might
to
an
only
of of
means
end.
Innovations
amount
this
kind
do
rouse
an
immense
good;
make
they
them
people
out
of
sleep ; they
and
earnest, and
no
enthusiastic,
the
"new
ful, thoughtwere
doubt
a
Radicals art."
right
every
in
true to
preaching
lover of
Yet,
to to
art
will all
rejoice
hear, that
assimilate
this very
day,
attempts
264
their
as
JAPANESE
ART
art
to
ours
have
been
unsuccessful,
to
the
world
cannot
afford
so
lose in
an
art
which
is
so
unique,
no
perfect
its
can
own
line, and
which
other
country
cessfully suc-
emulate.
Meanwhile
up
a
lucrative
trade
had
sprung and
art
in
the
exportation
wares.
of
antiques
Japanese
modern had
decorated become
a craze
in
the which
West,
had
and done
the
so
Japanese
much
to
government,
meet
as
the
to
general
the of
demand
for
information
learning,
customs,
laws, and
found
institutions
at
foreign countries,
to
it,
for
do
thing some-
the
of
its native
of
art.
It
flower
its
civilization
sadly
of the
neglected.
tradition
and
Nearly
had
all
artists
old
died
without
leaving heirs,
of
the
plundered
was
stock
antique
At
art
treasures
well-nigh
year
1888
exhausted. the
the of
close Educa-
of
the
Department
MODERN
JAPANESE
ART
265
of
tion
Fine
opened
Arts
at
as
the
first native
Academy
Kakuzo selection
Tokyo.
It selected the
Okakura
director, and
be
a
proved
to
no
very
adequate
he is who
a
one.
Although
of
see
artist
art
himself,
man
considerable the
knowledge,
in
can
good
art, is and
both the
Eastern touch of
and his
Western
wise felt.
advice
He
everywhere
around
gathered
the few
himself
as
tors instrucwho
"progressive"
in the
arts
masters
still
survived metal
of bronze the
painting,
casting,
younger tions tradidied still
ment. move-
sculpture,
chasing, enabUng
the
lacquering, generation
before
out.
etc.,
to
learn
respective
they
had
completely
Zeshin
was
The
lacquerer
induced
to
living,and
The
join
the under
new
government,
entrusted
to
imperial
for of the and
patronage,
commissions
public
works
and
the
professors
to
academy,
granted
students
266
JAPANESE
ART
artists
titles.
museum
pecuniary
It also for the relics
prizes
a
with
new
honorary
national and
founded
preservation
in
to
study
granted
desirous with Nara the the of
of
important
Tokyo,
art
and
special privileges
of the
students
becoming
collections The of
intimately acquainted
of the old
two
Kyoto
are
and imder
museums.
latter
direction old
Yamataka,
has made
an
expert
a
of
style, who
annual
specialty
of
arranging
art
loan contained
exhibitions
in the
the
treasures
monasteries islands.
of
on
and
temples
Our
throughout
in
a
hopes
renaissance fixed
Japanese
the
on
art
must
inevitably be
Conservatives.
erate Modthe
Working
the old
to
old
lines, and
with
materials,
the
they
endeavour,
of Western
by
yielding
to
influences
methods,
What
enlarge
are
their
own
limitations.
they
at
capable
of,
they
Fair.
have
shown
at
the
Chicago
World's
While
all
previous
expositions
MODERN
JAPANESE
ART
267
at
Vienna,
art
at
Paris, and
at
were
Philadelphia, largely
due
or
Japan's
to
triumphs
collections
her
loan
of
antiques
for has
to
modern
replica, at
modern dared
to
Chicago,
art
the
first
time,
Japanese
be
ately deliber-
original,and
her
ask
the
art
world's
on
favour
own
for
contemporary
its
The
merits.
that
fact
treatment
Western
art
demands
fuller
of subordinate the
involved
Japanese
unexpected
instances
Let
me
difficulties, which
he did
not
succeed
in
one
mastering.
bition Exhihave it.
exemplify
pictures.
this
by
of the who
My
Fair
readers may
visited Two
one
the
Chicago
geese,
still recall
to
wild
of them
drawn
out
perfection,
the
a
coming
you,
are
of
picture
ing heav-
straight at
with of the
flying over
waves.
sea,
impossible
geese
The
incident
a
flying
no
artist
so
but
ese Japan-
could
have
portrayed
deftly, nor
MODERN
JAPANESE
ART
269
achieved
remarkable
in and the
success
with He
large landscape
has scheme conceived of
a
Exhibition.
a
achieved the in
perfect
of old his
art.
picture,
It
was a
landscape
a
rocks
The
mapleof it
trees,
was
with
waterfall.
light of day,
its
turn
which
glittered
wash of
in
sky
which of
traditional
scintillated
gold,
the
through
leaves,
from river
as
glow
crimson cloud of in
maple
spray the
illuminated
the it
waterfall, and
sparkled
sight.
away Yet
passed
not
tear
out
of
even
Gaho rocks
;
could treated
were
himself old
from
manner
in
the
traditional and
they
crudely outlined,
washed of
cut-out
the the
surfaces
simply
simile about
in,
so
that of
irreverent
was
pieces
cardboard
justified.
Other which the works of
special remark,
choice
with dis-
small, but
Chicago
270
JAPANESE
ART
play
made
us
acquainted,
were
summer
Naokiko
very
"Procession/*
of
by
Gekko;
group
snow,
fowl
against
background
;
of
head
by
a
Watanabe
marvel
Seitei
of
and
the
of
tigress,a
Japanese
realism
and Kishi
a
technical
complishme ac-
by grandson painter.
an
Chikudo,
the
animal
of
In
Ganku,
celebrated
ape
sculpture, the
Takamaru
of
watching
the the
ing leadette statu-
eagle, by
Kowun,
professor
of the
wood-carving;
the
Buddhist
divinity Kwannon,
ever
made,
and
the
by
the
famous
Komei;
of
did splenBenten,
bronze
relief
for the
the
goddess
and of the
remarkable
of
richness
caster
elegance
new
art
school,
honours.
Sessei,
carried
off
the
Ernest
the
most
F.
Fenellosa
considers
notably
contribution
MODERN
JAPANESE
ART
27
to
Japanese
sculpture
years.
:
He
praises
following simpler
of the
"Taking
the
as
reliefs
of
Nara his
a
century
them
he starting-point,
invested
with
wealth
Tosa
of
line
structure
suggested
of
by
the
the
a
thirteenth,
into the
'
dess Godwith
Music,'
of low the
so
perfectly in
in bronze
accord
as
relief
to
make
of the
Japanese
of
analogue
purest
period
the
corresponding
art"
a
teenthfif-
Italian
Among
executed
a
the
book-shelf
tracted at-
by good
be the and
Fukumatsu attention.
It the
was
said
to
finest
product
of
a
of
last
forty years,
bestowed
suo
worthy
it. Even
the
adulations
or
upon
Korin
of its
Rit-
might
have
been
proud
ship. author-
272
JAPANESE
ART
It
can
nevertheless
art
not
be
a
denied rather
of
our
that
ductive unprotime deur gran-
Japanese
has
entered
period.
that the
monuments to
It is outside
of
true
artistic
have
All the have
be
sought
of rules
to
constraint
been mind it
was
and
tions tradithe
required
produce
the
make
Japanese
of and value.
artistic these
beauty
rules
which
capable.
have
Now
traditions The
a new
considerably
have
lost
their
in
Japanese
China,
the
now
found
as
Europe
and,
of
formerly
Celestial
they
imitated
art
the of
Kingdom,
Western But
they
art.
dream
adapting
it is the and
introduction
of
the
ever-
prevailing
all-pervading spirit of
has
art.
mercialism com-
which
harm
to
done When
to
the
the
most
Japanese
is
whole
population
for
to
given
up
the
small
voice
the
of
roar
worker wheels
be
heard
above
the
MODERN
JAPANESE
ART
273
of
Mammon's
Art
car,
as
it has
heavily grinds
ceased, and
it of
along.
artists resist dealers
patronage
artisans
the
to
and the
find
impossible
tempting
are
offers
unscrupulous
the
duction repro-
who
content
with and
of
traditional
as
conventional
or even
ideas,
with
little
matter
as
invention,
of
ingenuity
in the
conception
well in
be. this
and
workmanship,
what
is
to
might
concern
And
matter
is of fact
special
that any
the make
the
true
artist, unwilling
finds it
concessions,
compete
with every
possible im-
to
factory
other
Surely
the
artist, like
to
is entitled
for his
adequate
the
remuneration
labour.
Under
the
present
to
tion condi-
of
as
things,
and
artist, forced
as
work
quickly
his
to
cheaply
possible,
cannot
bring
individuality into
compromise
an
play.
transform
He
is his
obliged
studio
and
into
ordinary workshop.
has
John
LaFarge
sized
up
the
situa-
274
JAPANESE
ART
tion
in
rather
manner.
vague, He
but
sincere
in
one
and
of
sympathetic
his
" *"
said
"
Letters sadness
some
from
comes
Japan
upon modem with
no
us
when
we
go
to
see
of
the
workers.
more
From
It
them is like
to
on an
we
depart
some
hope.
puzzle,
which
like you
having
know
cannot
listened
argument
is based
at
some
inaccuracy
detect
that
you about
the
moment
This
better,
it perfect,
the
new
perfect work,
means
if I
can
only high
the
finish
equal
less
prise. sur-
care.
But
individual
;
pieces
is
no
and
less individual
The
means
there
or
more
methods
are
being
one
carried asks
at
further
*
and
beyond^ why
this
so
that
one's
*
self, Then
The
these finer
methods
modern
all ?
style of
no
work
the
is poorer,
longer
as
connected
with
was
greater
into
design,
method
this is
if
ambition
of
us
going
and
value
to
material.
I cannot
Just how
far
owing
MODERN
JAPANESE
ART
275
tell,but
and of
our
the
market
has
is
a
largely European,
vague
of appearance
what
looking
works,
less
less out
as
place
among
has,
I said
before, less
None
and
suggestion
ever
of
individuality.
it the
of it would
an
give
none
slight shock
have
of
we our
of
the
own
exception,
of
we
appearance best
which the
more
work,
to to
see
feeling
of
are
not
going
it
statement
more mon com-
applies
the
best
work
a
the
work
is
some
merely
part it, and
of
degradation,
the
the
using enough
defined
saw
of
to
methods;
some
just easily
I
can
sell
to
meet
immediate
commercial
years
our
the
beginnings
one
ago,
of
on
great
marking
most
were
his
samples buyers,
the
the who
pleased
of his
to
again
Oshkosh colours
or or
place
Avenue.
were
goods
All
Third
other in his
patterns
tabooed
MODERN
JAPANESE
ART
277
who
carried
would and
the
borders for in
of
Greece
second
to
India,
become
create
time
possible,
a
both
hemispheres
than
either
far
more
rounded
known. her
civilization
has
ever
Through
her of the
temperament,
uality, individsecrets
deeper
her
insight ready
East,
of
designing
and
more
of than
powers
the
the of
West,
fact that
through privilege
been
she
enjoys
it may
being
in
pioneer,
secret
decreed of
the
that the
council
her
art
bers chamshall
shall the
next
destiny
created
on
shores
be
first
new
which
for
prevail
thousand
throughout
years.
the
world
THE
END.
BIBLIOGRAPHY
^r
Dr.
C.
in
Dresser:
Art
of
Decorative from
in
Design.
the
Unity
World.
Variety,
and
Art
as
Deduced Industries
Vegetable
Art
Japan.
Art
*-"
J. J. Jarvis
Messrs.
Glimpsej"
and
at
the
of
Japan,
Art
1876.
of
Audsley
Bowen
Keramic
Japan,
1875-80.
r
Thomas
Cutter
Grammar
of
Japanese
Ornament
and
Design,
M.
^
1881.
Art
Franks:
Handbook
for
the
Collection
in
the
South
Kensington
zur
Museum.
Katalog
,
Austellung
der
japanischen
1882.
Malerei
im
liner Ber-
Kunstgewerbemuseum,
Alcock:
^
Art
and
Art
Industries
in
Japan,
London,
1878.
L.
y
L'Art
Japonais,
:
Paris,
Arts
1883.
of
W.
"
The
Pictorial
Japan,
London,
Brinckman
V
Kunst
and
Kunsthandwerk
in
Japan,
Berlin,
1889.
J79
28o
BIBLIOGRAPHY
"
W.
E.
Griffis
The
of
Mikado's Old
Empire, London,
in
N.
Y., 1870-74.
Mitford:
Miss
.
Tales
Japan,
Tracks
1871.
London,
1880.
Bird:
Unbeaten
:
Japan, Day,
N.
"
Bayard
Taylor
Rein
:
Japan
nach
in
Our
und
Y., 1872.
in
"
J. J.
Japan
Reisen
Studien
Auftrage
der 1881.
"^E.
K.
'
Preussishen
'
Reg^erung
'
dargestellt, Leipsic,
^y
Satow
and
in
A.
S.
S.
Hawes:
Handbook
for
ellers Trav-
Japan.
:
Heinrich
Schliemann
Le
Chine
et
le
Japon,
Paris,
1867.
"/
Adams
History
Present
of
Japan
from
the
Earliest
Time
to
the
^
Day,
London,
1875. 1892.
Bowsk:
/Black:
Appert:
V
Japanese Young
Ancien
:
Metchnikew
V
Japonais,
Geneva,
1881.
S.
V
Bing
Artistic
:
Japan. Japon
de des
nos
BousQUET
Rosny: Chamberlain:
La
Le
Religion
The
Japonais,
Language,
of
Mythology,
Japan,
viewed
graphical Geothe
Nomenclature
light
of
Aino
studies,
Tokyo,
1887.
Things
Japanese,
V
London, Japanese
1892.
Houses and their Surrounds
E.
S.
Morse:
ings.
^
Gilbertson
E.
DE
Japanese
:
Lacquer.
et
Goncourt
:
Outomaro Illustration.
HokusaL
Strange
V
Japanese
BIBLIOGRAPHY
28
C.
Nbtto
and
G.
Wagener:
Japanischer
Humor,
Leipsic,
y
1901. and
M. Tomkinson
G.
A.
AuDSLEY
The
Art
Carvings
of
Japan,
Hearn
Ivory
:
and
Wood.
"^
Lafcadk)
Glimpses
of
Unfamiliar
Japan,
Boston,
Annales de
89
1.
Pextr^me
Orient,
Deutschen
Paris.
"
Mittheilungen
und
der
Gesellschaft
fur
Natur
Vdlkerkunde
Ostasiens,
the Asiatic
Yokohama
and
Berlin.
Transactions
V
of
Society
des Etudes
of
Japan. Japonaises,
Chi-
/Annuaires
de
la
Socidt^
noises,
Various
etc.
Edited
by
Em.
Burnouf. MalL
Articles
in
the
Japanese
Weekly
INDEX
Aboshi,
216.
of Fine
Chikamitsu, Arts,
96,
Kishi,
126.
270.
Academy
Tokyo,
188.
Chikudo,
Chinese
265,
Ainos, Andersen,
Architecture Huts
268.
Art,
20,
Influence
of,
57.
12^
of,
161.
and
187,
39-45.
71,
61,
62,
etseq,^
84.
93.
Sculpture,
Cho
Densu,
Death of
64,
174-215Arita, Assakura,
192. 225. Palace
SaJda,
65-66.
Chokichi, of,
204. 229.
Siga,
Chosuke, Chosun,
Hundred
Miyagawa,
Poets,
125.
of
124.
Atima,
Awata
27.
125.
Ware,
231.
Fans,
Mirror
Beauty,
57. 260. Difference
125.
Bampo
Barrison
Sen
Shio,
The,
216. 166.
Chwang,
Collins,
Chow,
Sisters,
The,
Raphael,
Bashio,
Botticelli,
96.
168. 159.
12, 14, 29,
Composition,
44-50.
in,
83.
seq-
Bracquemont,
Buddhism,
25, 37"
74,
15-19,
30,
et
et
Dai-Butsus,
Of Of
193,
207-215.
26,
44.
Nara,
193,
208-209.
197,
207-
56* 189,
57. 229.
Kamakura, 208,
210,
187,
213.
207.
Bunlei,
133.
112,
Of
Asakasa,
Buntcho, Buretsu,
Bume-
126,
Of
Kyoto,
(Apostle
18.
209-210.
of
Emperor,
Jones,
Buddhism),
165. Dayuyi,
Temple
21.
of,
Tokyo,
Caricature, of,
Cellini,
see
Japanese, Soja,
Taba.
Origin Degas,
De
163.
Mme., Nara,
223. 197.
205.
Struve,
Chavannes,
Puvisde,
163,
166.
Deva
Kings,
283
INDEX
285
Kohitsu,
227.
Music,
161-162.
105.
Ichikawa,
270.
Architecture,
194.
187, 191,
249, 261.
Kaga
Ware,
122.
225,
27.
235.
96-97,
113.
232,
Kaikatei, Kakemonos,
Kamakura.
Yingo,
Ware,
270.
194.
Temples
193Dai-Butsu
and
Pagoda
of,
Koutani
236.
247-248.
Kameiaan,
Temple
204.
of, 98-99.
57, 64, 93.
of
Kamejo,
Kanaoka,
Daishi.
19-28,
Palace, Poets,
19.
119. 119.
119,
Decoration
Kyoto Sages
and
133.
Serial, Ancient
20. 21.
127.
God
Fudo,
Living
God Kano
Pictures,
23-24. 50,
22-23.
Kwannon,
200,
Dsijo,
School,
122,
en.
60,
et
seq.y
Kyoto,
18,
28,
29-30,
90,
56,
139, 239,
69-72,
109,
124-125,
225,
111-118.
231,
Kassoaga,
Kateda, Kavenaka, Keinen, Keisai,
Temple
27. 18.
of, 43-44.
Kyoto 256.
School,
Imao,
241.
Kenya,
Kenzan,
250.
96,
193-
105,
Palace
219,
Legros,
Lenzan,
Louis Louis
Alphonse,
122.
159.
Kinkakudi,
Kinroku, Kioko, Kiosai,
122. 112.
of, Kyoto,
XIV.,^
XV.
I 154-155-
,VL,95.
227.
Kawanobe,
iii.
257.
Machida,
Maida, Makimono, Masaccio,
Kiyamasa,
Maeterlinck,
331. 131-133,
126. I34"
227.
Maurice,
161.
27.
12.
Masashige, noke,
General Statue
Kusu-
of, 261.
286
INDEX
Massanoba,
71.
Kano,
Ninsei,
96,
219^ 43.
231-232.
Nobuzane,
Okumura,
Massanobu,
Massanobu, Matahei,
Sotan,
Iwasa,
Kwai
Oado, Obaku,
Old
105.
at
104-109.
Meiji Bijutson
School), 64. Mdtshyo,
Metal
Oyi,
193.
259-261.
Okyo,
Omura One
97-103,
172.
Ware,
Ware,
Thousand
231.
Minamoto,
lection Col-
133.
Oriba
Ware,
Castle
234.
Ware,
43, 43.
229.
Ornamental
Arts,
216-252.
Mitsnnobu,
46, 48.
Osaka,
of, 193.
Mitsunoki,
Outomaro, Art,
134-139.
136.
137.
Japanese
277.
Forty-seven
Owari,
225, 230.
Ronins,
233.
163.
Goddess
122.
Pottery, 224-238.
Kwan-
Raku
Ware,
230.
Morinaga,
Moro, Morofusa, Moronubu, Motomitsu,
133.
no.
Realistic
Movement
(Ukio-ye
Husuyuma,
133.
School),
Religious
109-111, 43.
124. 74-
108,
38,
133.
Renaissance, Ritsuo,
Motonaga,
Motonnbu,
82-84. Robbia,
Rokubei,
della, 203.
233.
Nagahnra, Nagasaki,
Nakoshi, Naokiko, Naonobn, Nara,
12,
133. 105.
241.
Saitchiso, 236.
270.
Kumagaye,
82, 94.
13, 17,
266.
21,
234.
179,
Satsuma, Sauraku,
197,
157, 82.
225,
236-237.
Temple
in.
of, Kyoto,
21.
Segin,
Seifu,
Seimin,
Pagoda
193-
of, 18"-183,
241.
Seisen,
of, 83.
227.
Temple Ninogawa,
Seitei, Watanabe,
270.
Sekighara,
Battle
of, 88.
INDEX
287
Stmdwick,
Sessd,
Okasaki,
relief
270. of
165.
28.
Bronze
Goddess
see
Suki,
17.
271,
Taga,
of, Nikko, of, Tokyo, 195.
29.
Castle
of, 193.
Taigado,
Takatshika,
133. 43.
Shiba, Temple
Temple
Takanobu,
Tamehissa, Tanemura,
82, 94.
43.
227.
Shibukohan,
105.
Shigenaga, 133. Shighemassa, 113. Nishimura, Shigenaga, also see Shijo School,
97, Shinto
121.
11
1.
Okyo,
Tchikuden,
Architecture
Temples,
Tchiokuvan,
of, 187-189.
At At
Tchiorakouyi,
Omi,
Tchoin 126.
Temple
28.
at
of,
Kyoto,
Nikko,
193. 193.
Temple
194.
Kyoto,
193.
Shioukada, Shioukai,
94-95. 233.
122.
Shohizan,
Jimmu,
122.
194.
Shojo,
Shosen,
see
Shioukada. 234.
Shonsoi,
Shosizan,
159.
256.
133. 228.
of,
see
Shunchosai, Shunsho,
Silver
139-140, 113.
165.
Kyoto,
195.
Temple,
60.
The,
Tokyo, 163.
Torei,
Tosa
89,
103,
Skarbina,
137, 133.
133, 266.
Soja, Taba, 43, 92. (Bronze Sojo Family Workers), 241. Sojo, Ono, 44.
Somaw
School,
Tosa
Yamoto-
School.
Toshiro, Tosu,
230.
Ware,
234.
Watanobe,
127.
251.
Somin, Sosen,
96,
121.
241.
Totsugen,
112,
Soukenobu, 126,
Nishikawa, 127-128,
134.
Toyohami, 119. Toyoharu, 119. Toyohiro, 138. Toyokuni, 119. Toyokusi, 126. 11 1. Toyonabou,
288
INDEX
Toyoshiri,
Tsoutenaka,
seq^
48,
93"
50,
"3"
51,
et
seq.^
see
64-67,
Motoxnitsu.
124.
Tsnnenobu,
Yashiki,
The,
see
W.,
163.
etseq,^
HO-
Yasunobu, Yedo,
89,
141.
103,
School,
I32" 153i33"
50,
^^
109,
^^^^
Yedoreko,
of, Yeiraku,
27. 227,
Imperial
School
232-233.
Verga,
Wada, Wakai,
161.
119. 119.
82,
119.
82.
94,
119.
Pottery, Weltausstellung,
226-227.
Vienna,
158.
Western Pictorial
Genjiro,
Kikuchi,
121.
262-263. 256,
257-259.
Art,
104, 172.
et
fluence Inseq.
of, Whistler,
Wood 159,
162,
1
136,
Emperor, Takigawa,
145.
17.
Engraving,
see
10,
et
seq,,
Ukio^e
Fair,
School. 266-
Yyeyosu,
88.
World's
271.
Chicago,
Zaitu,
122.
Wutaotz,
67.
Zeshin,
250,
251,
265.
96,
184,
193,
Zingaro,
Yamataka,
Yamoto-Tosa
Hidari,
204.
266.
School,
38,
et
Zola,
159.
fffV
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