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+The Project Gutenberg EBook of On the Laws of Japanese Painting by Henry
+P. Bowie
+
+
+
+This eBook is for the use of anyone anywhere at no cost and with almost no
+restrictions whatsoever. You may copy it, give it away or re-use it under
+the terms of the Project Gutenberg License included with this eBook or
+online at http://www.gutenberg.org/license
+
+
+
+Title: On the Laws of Japanese Painting
+
+
+Author: Henry P. Bowie
+
+Release Date: March 16, 2011 [Ebook #35580]
+
+Language: English
+
+Character set encoding: UTF‐8
+
+
+***START OF THE PROJECT GUTENBERG EBOOK ON THE LAWS OF JAPANESE PAINTING
+***
+
+
+
+
+
+                  [Fujiyama, by Murata Tanryu. Plate I.]
+
+                   Fujiyama, by Murata Tanryu. Plate I.
+
+
+                    On the Laws of Japanese Painting
+
+            An Introduction to the study of the Art of Japan
+
+
+                             Henry P. Bowie
+
+
+
+      [Title-page design: Butterflies and Birds, known as Cho Tori]
+Paul Elder and Company Publishers
+1911
+
+
+
+
+
+CONTENTS
+
+
+Introduction by Iwaya Sazanami
+Introduction by Hirai Kinza
+Preface
+CHAPTER ONE.  PERSONAL EXPERIENCES
+CHAPTER TWO. ART IN JAPAN
+CHAPTER THREE. LAWS FOR THE USE OF BRUSH AND MATERIALS
+CHAPTER FOUR.  LAWS GOVERNING THE CONCEPTION AND EXECUTION OF A PAINTING
+CHAPTER FIVE. CANONS OF THE AESTHETICS OF JAPANESE PAINTING
+CHAPTER SIX. SUBJECTS FOR JAPANESE PAINTING
+CHAPTER SEVEN. SIGNATURES AND SEALS
+EXPLANATION OF HEAD-BANDS
+PLATES EXPLANATORY OF THE FOREGOING TEXT ON THE LAWS OF JAPANESE PAINTING
+Footnotes
+
+
+
+
+
+ILLUSTRATIONS
+
+
+Fujiyama, by Murata Tanryu. Plate I.
+The Tea Ceremony, by Miss Uyemura Shoen. Plate II.
+Chickens in Spring, by Mori Tessan. Plate III.
+Snow Scene in Kaga, by Kubota Beisen.  Plate IV.
+Tree Squirrel, by Mochizuki Kimpo.  Plate V.
+Tiger, by Kishi Chikudo.  Plate VI.
+Bamboo, Sparrow and Rain.  Plate VII.
+Fujiyama from Tago no Ura, by Yamamoto Baietsu.  Plate VIII.
+Most Careful Method of Laying on Color.  Plate VIIII.
+The Next Best Method. Plate X.
+The Light Water-Color Method. Plate XI.
+Color With Outlines Suppressed. Plate XII.
+Color Over Lines. Plate XIII.
+Light Reddish-Brown Method. Plate XIV.
+The White Pattern. Plate XV.
+The Black or Sumi Method. Plate XVI.
+The Rule of Proportion in Landscapes. Plate XVII.
+Heaven, Earth, Man. Plate XVIII.
+Pine Tree Branches. Plate XIX.
+Winding Streams. Plate XX.
+A Tree and Its Parts. Plate XXI.
+Bird and Its Subdivisions. Plate XXII.
+Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b).
+Plate XXIII.
+Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.
+Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.
+Scattered Hemp Leaves (a). Wrinkles on the Cow’s Neck (b). Plate XXVI.
+The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4).
+Plate XXVII.
+Theory of Tree Growth (1). Practical Application (2). Grass Growth in
+Theory (3). In Practice (4). Plate XXVIII.
+Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in
+structure (3). Plate XXIX.
+Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2).  Rock
+Construction as Practiced in Art (3 and 4). Plate XXX.
+Different Ways of Painting Rocks and Ledges. Plate XXXI.
+Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.
+Wheel-Spoke Dot (a). KAI JI Dot (b). Plate XXXIII.
+Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.
+Serrated Dot (a). ICHI JI dot (b). Plate XXXV.
+Heart Dot (a). HITSU JI Dot (b). Plate XXXVI.
+Rice Dot (a). HAKU YO Dot (b). Plate XXXVII.
+Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.
+Sea Waves (a). Brook Waves (b). Plate XXXIX.
+Storm Waves. Plate XL.
+Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.
+Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.
+Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.
+Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.
+Rusty-Nail and Old-Post Line (upper).   Date-Seed Line (lower). Plate XLV.
+Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.
+Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.
+Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.
+Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.
+The Plum Tree and Blossom. Plate L.
+The Chrysanthemum Flower and Leaves. Plate LI.
+The Orchid Plant and Flower. Plate LII.
+The Bamboo Plant and Leaves. Plate LIII.
+Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4,
+5). Plate LIV.
+Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and
+Shimenawa (4). Rice Cakes (5). Plate LV.
+Sun and Waves (1).  Rice Grains(2). Cotton Plant (3). Battledoor (4).
+Treasure Ship (5). Plate LVI.
+Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow
+(3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.
+Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon
+and Cuckoo (6). Plate LVIII.
+Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5).
+Autumn Grasses (6). Plate LIX.
+Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist
+Showers (4). Water Grasses (5). Joga (6). Plate LX.
+Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the
+Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.
+Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku
+(4). First Snow (5). Oharame (6). Plate LXII.
+Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow
+Scene (5). Snow Daruma (6). Plate LXIII.
+Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi
+(4). Plate LXIV.
+Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.
+Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.
+
+
+
+
+
+DEDICATED TO THE MEMORY OF KUBOTA BEISEN A GREAT ARTIST AND A KINDLY MAN,
+WHOSE HAPPINESS WAS IN HELPING OTHERS AND WHOSE TRIUMPHANT CAREER HAS SHED
+ENDURING LUSTRE UPON THE ART OF JAPANESE PAINTING
+
+
+
+
+
+_ __ __ _
+
+
+_INTRODUCTION BY IWAYA SAZANAMI_(_1_)
+
+
+_ __ _
+
+_ First of all, I should state that in the year 1909 I accompanied the
+Honorable Japanese Commercial Commissioners in their visit to the various
+American capitals and other cities of the United states, where we were met
+with the heartiest welcome, and for which we all felt the most profound
+gratitude.  We were all so happy, but I was especially so; indeed, it
+would be impossible to be more happy than I felt, and particularly was
+this true of one day, namely, the twenty-seventh of November of the year
+named, when Henry P. Bowie, Esq., invited us to his residence in San
+Mateo, where we found erected by him a Memorial Gate to commemorate our
+victories in the Japanese-Russian War; and its dedication had been
+reserved for this day of our visit.  Suspended above the portals was a
+bronze tablet inscribed with letters written by my late father, Ichi Roku.
+The evening of that same day we were invited by our host to a reception
+extended to us in San Francisco by the Japan Society of America, where I
+had the honor of delivering a short address on Japanese folk-lore.  In
+adjoining halls was exhibited a large collection of Japanese writings and
+paintings, the latter chiefly the work of the artist, Kubota Beisen, while
+the writings were from the brush of my deceased father, between whom and
+Mr. Bowie there existed the relations of the warmest friendship and mutual
+esteem. _
+
+_ _
+
+_ Two years or more have passed and I am now in receipt of information
+from Mr. Shimada Sekko that Mr. Bowie is about to publish a work upon the
+laws of Japanese painting and I am requested to write a preface to the
+same.  I am well aware how unfitted I am for such an undertaking, but in
+view of all I have here related I feel I am not permitted to refuse. _
+
+_ _
+
+_ Indeed, it seems to me that the art of our country has for many years
+past been introduced to the public of Europe and America in all sorts of
+ways, and hundreds of books about Japanese art have appeared in several
+foreign languages; but I have been privately alarmed for the reason that a
+great many such books contain either superficial observations made during
+sightseeing sojourns of six months or a year in our country or are but
+hasty commentaries, compilations, extracts or references, chosen here and
+there from other __ volumes.  All work of this kind must be considered
+extremely superficial.  But Mr. Bowie has resided many years in Japan.  He
+thoroughly understands our institutions and national life; he is
+accustomed to our ways, and is fully conversant with our language and
+literature, and he understands both our arts of writing and painting.
+Indeed, I feel he knows about such matters more than many of my own
+countrymen; added to this, his taste is instinctively well adapted to the
+Oriental atmosphere of thought and is in harmony with Japanese ideals.
+And it is he who is the author of the present volume.  To others a labor
+of the kind would be very great; to Mr. Bowie it is a work of no such
+difficulty, and it must surely prove a source of priceless instruction not
+only to Europeans and Americans, but to my own countrymen, who will learn
+not a little from it.  Ah, how fortunate do we feel it to be that such a
+book will appear in lands so far removed from our native shores.  Now that
+I learn that Mr. Bowie has written this book the happiness of two years
+ago is again renewed, and from this far-off country I offer him my warmest
+congratulations, with the confident hope that his work will prove
+fruitfully effective. _
+
+                                                 _ _ _ _ _ Iwaya Sho Ha, _
+_ _ _ Tokyo, Japan,_
+_August 17, 1911 _
+_ _
+_ _
+
+
+
+
+
+_ __ __ _
+
+
+_INTRODUCTION BY HIRAI KINZA_(_2_)_ _
+
+
+_ __ _
+
+_ Seventeen years ago, at a time when China and Japan were crossing
+swords, Mr. Henry P. Bowie came to me in Kyoto requesting that I instruct
+him in the Japanese language and in the Chinese written characters.  I
+consented and began his instruction.  I was soon astonished by his
+extraordinary progress and could hardly believe his language and writing
+were not those of a native Japanese.  As for the Chinese written
+characters, we learn them only to know their meaning and are not
+accustomed to investigate their hidden significance; but Mr. Bowie went so
+thoroughly into the analysis of their forms, strokes and pictorial values
+that his knowledge of the same often astounded and silenced my own
+countrymen.  In addition to this, having undertaken to study Japanese
+painting, he placed himself under one of our most celebrated artists and,
+daily working with unabated zeal, in a comparatively short time made
+marvelous progress in that art.  At one of our public art expositions he
+exhibited a painting of pigeons flying across a bamboo grove which was
+greatly admired and praised by everyone, but no one could believe that
+this was the work of a foreigner.  At the conclusion of the exposition he
+was awarded a diploma attesting his merit.  Many were the persons who
+coveted the painting, but as it had been originally offered to me, I still
+possess it.  From time to time I refresh my eyes with the work and with
+much pleasure exhibit it to my friends.  Frequently after this Mr. Bowie,
+always engaged in painting remarkable pictures in the Japanese manner,
+would exhibit them at the various art exhibitions of Japan, and was on two
+occasions specially honored by our Emperor and Empress, both of whom
+expressed the wish to possess his work, and Mr. Bowie had the honor of
+offering the same to our Imperial Majesties. _
+
+_ _
+
+_ His reputation soon spread far and wide and requests for his paintings
+came in such numerous quantities that to comply his time was occupied
+continuously. _
+
+_ _
+
+_ Now he is about to publish a work on Japanese painting to enlighten and
+instruct the people of Western nations upon our art.  As I believe such a
+book must have great influence in promoting sentiments of kindliness
+between Japan and America, by causing the __ feelings of our people and
+the conditions of our national life to be widely known, I venture to offer
+a few words concerning the circumstances under which I first became
+acquainted with the author. _
+
+                                                  _ _ _ _ _ Hirai Kinza, _
+_ _ _ NIHON AZUMA NO MIYAKO,_
+_ Meiji-Yosa Amari Yotose-Hazuke. _
+_ _
+_ _
+
+
+
+
+
+_ __ __ _
+
+
+_PREFACE_
+
+
+_ _
+
+_ This volume contains the substance of lectures on on the laws and canons
+of Japanese painting delivered before the Japan Society of America, the
+Sketch Club of San Francisco, the Art students of stanford University, the
+Saturday Afternoon Club of Santa Cruz, the Arts and Crafts Guild of San
+Francisco, and the Art Institute of the University of California. _
+
+_ _
+
+_ The interest the subject awakened encourages the belief that a wider
+acquaintance with essential principles underlying the art of painting in
+Japan will result in a sound appreciation of the artist work of that
+country. _
+
+_ _
+
+_ Japanese art terms and other words deemed important have been purposely
+retained and translated for the benefit of students who may desire to
+seriously pursue Japanese painting under native masters.  Those terms
+printed in small capitals are Chinese in origin; all others in italics are
+Japanese. _
+
+_ _
+
+_ All of the drawings illustrative of the text have been specially
+prepared by Mr. Shimada Sekko, an artist of research and ability, who,
+under David starr Jordan, has long been engaged on scientific
+illustrations in connection with the Smithsonian Institution. _
+
+_ _
+
+_ The author apologizes for all references herein to personal experiences,
+which he certainly would have omitted could he regard the following pages
+as anything more than an informal introduction of the reader to the study
+of Japanese painting. _
+
+_ _
+
+
+
+
+
+_KEN WAN CHOKU HITSU_
+
+A firm arm and a perpendicular brush
+
+
+
+
+
+
+   [Chapter 1 Head-Band: The flower and leaves of the peony (Botan), as
+                conventionalized on ancient armor (yoroi)]
+
+
+CHAPTER ONE.  PERSONAL EXPERIENCES
+
+
+In the year 1893 I went on a short visit to Japan, and becoming interested
+in much I saw there, the following year I made a second journey to that
+country.  Taking up my residence in Kyoto, I determined to study and
+master, if possible, the Japanese language, in order to thoroughly
+understand the people, their institutions, and civilization.  My studies
+began at daybreak and lasted till midday.  The afternoons being
+unoccupied, it occurred to me that I might, with profit, look into the
+subject of Japanese painting.  The city of Kyoto has always been the
+hotbed of Japanese art.  At that time the great artist, Ko No Bairei, was
+still living there, and one of his distinguished pupils, Torei Nishigawa,
+was highly recommended to me as an art instructor. Bairei had declared
+Torei’s ability was so great that at the age of eighteen he had learned
+all he could teach him.  Torei was now over thirty years of age and a
+perfect type of his kind, overflowing with skill, learning, and humor.  He
+gave me my first lesson and I was simply entranced.
+
+It was as though the skies had opened to disclose a new kingdom of art.
+Taking his brush in hand, with a few strokes he had executed a
+masterpiece, a loquot _(biwa)_ branch, with leaves clustering round the
+ripe fruit.  Instinct with life and beauty, it seemed to have actually
+grown before my eyes.  From that moment dated my enthusiasm for Japanese
+painting.  I remained under Nishigawa for two years or more, working
+assiduously on my knees daily from noon till nightfall, painting on silk
+or paper spread out flat before me, according to the Japanese method.
+
+Japanese painters are generally classed according to what they confine
+themselves to producing. Some are known as painters of figures (JIM BUTSU)
+or animals (DO BUTSU), others as painters of landscapes (SAN SUI), others
+still as painters of flowers and birds (KA CHO), others as painters of
+religious subjects (BUTSU GWA),  and so on.  Torei was a painter of
+flowers and birds, and these executed by him are really as beautiful as
+their prototypes in nature.  On _plate VII_  is given a specimen of his
+work.  He is now a leading artist of Osaka, where he has done much to
+revive painting in that commercial city.
+
+As I desired to get some knowledge of Japanese landscape painting, I was
+fortunate in next obtaining instruction from the distinguished Kubota
+Beisen, one of the most popular and gifted artists in the empire.
+
+In company with several of his friends and former pupils I called upon
+him.  After the usual words of ceremony he was asked if he would kindly
+paint something for our delight.  Without hesitation he spread a large
+sheet of Chinese paper (TOSHI) him and in a few moments we beheld a crow
+clinging to the branches of a persimmon tree and trying to peck at the
+fruit, which was just a trifle out of reach.  The work seemed that of a
+magician.  I begged him then and there to give me instruction.  He
+consented, and thus began an acquaintance and friendship which lasted
+until his death a few years ago. I worked faithfully under his guidance
+during five years, every day of the week, including Sundays.  I never
+tired; in fact, I never wanted to stop.  Every stroke of his brush seemed
+to have magic in it.  _(Plate IV.)_ In many ways he was one of the
+cleverest artists Japan has ever produced.  He was an author as well as a
+painter, and wrote much on art.  At the summit of his renown he was
+stricken hopelessly blind and died of chagrin,—he could paint no more.
+
+While living in Tokio for a number of years I painted constantly under two
+other artists—Shimada Sekko, now distinguished for fishes; and Shimada
+Bokusen, a pupil of Gaho, and noted for landscape in the Kano style; so
+that, after nine years in all of devotion and labor given to Japanese
+painting, I was able to get a fairly good understanding of its theory and
+practice.
+
+It may seem strange that one not an Oriental should become thus interested
+in Japanese painting and devote so much time and hard work to it; but the
+fact is, if one seriously investigates that art he readily comes under the
+sway of its fascination. As the people of Japan love art in all its
+manifestations, the foreigner who paints in their manner finds a double
+welcome among them; thus, ideal conditions are supplied under which the
+study there of art can be pursued.
+
+My memory records nothing but kindness in that particular.  During my long
+residence in Kyoto there were constantly sent to me for my enjoyment and
+instruction precious paintings by the old masters, to be replaced after a
+short time by other works of the various schools.  For such attention I
+was largely indebted to the late Mr. Kumagai, one of Kyoto’s most highly
+esteemed citizens and art patrons.  Without multiplying instances of the
+generous nature of the Japanese and their interest in the endeavors of a
+foreigner to study their art, I will mention the gift from the Abbot of
+Ikegami of two original dragon paintings, executed for that temple by Kano
+Tanyu.  In Tokio my dwelling was the frequent rendezvous of many of the
+leading artists of that city and GASSAKU painting was invariably our
+principal pastime. The great poet, Fukuha Bisei, now gone, would
+frequently join us, and to every painting executed he would add the
+embellishment of his charming inspirations in verse, written thereon in
+his inimitable _kana_ script.  This nobleman had taught the art of poetry
+to H. I. M. Mutsu Hito, to the preceding Emperor, and to the present Crown
+Prince.
+
+
+
+
+
+      [Chapter 2 Head-Band: Fan-shaped leaves of the icho or gin nan
+(Salisburiana), placed in books in China and Japan to prevent the ravages
+                            of the bookworm.]
+
+
+CHAPTER TWO. ART IN JAPAN
+
+
+In approaching a brief exposition of the laws of Japanese painting it is
+not my purpose to claim for that art superiority over every other kind of
+painting; nor will I admit that it is inferior to other schools of
+painting.  Rather would I say that it is a waste of time to institute
+comparisons.  Let it be remembered only that no Japanese painting can be
+properly understood, much less appreciated, unless we possess some
+acquaintance with the laws which control its production.  Without such
+knowledge, criticism—praising or condemning a Japanese work of art—is
+without weight or value.
+
+Japanese painters smile wearily when informed that foreigners consider
+their work to be flat, and at best merely decorative; that their pictures
+have no middle distance or perspective, and contain no shadows; in fact,
+that the art of painting in Japan is still in its infancy.  In answer to
+all this suffice it to say that whatever a Japanese painting fails to
+contain has been purposely omitted.  With Japanese artists it is a
+question of judgment and taste as to what shall be painted and what best
+left out.  They never aim at photographic accuracy or distracting detail.
+They paint what they feel rather than what they see, but they first see
+very distinctly.  It is the artistic impression (SHA I)  which they strive
+to perpetuate in their work.  So far as perspective is concerned, in the
+great treatise of Chu Kaishu entitled, “The Poppy-Garden Art
+Conversations,” a work laying down the fundamental laws of landscape
+painting, artists are specially warned against disregarding the principle
+of perspective called EN KIN, meaning what is far and what is near.  The
+frontispiece to the present volume illustrates how cleverly perspective is
+produced in Japanese art _(Plate I)._
+
+Japanese artists are ardent lovers of nature; they closely observe her
+changing moods, and evolve every law of their art from such incessant,
+patient, and careful study.
+
+These laws (in all there are seventy-two of them recognized as important)
+are a sealed book to the uninitiated.  I once requested a learned Japanese
+to translate and explain some art terms in a work on Japanese painting.
+He frankly declared he could not do it, as he had never studied painting.
+
+The Japanese are unconsciously an art-loving people.  Their very education
+and surroundings tend to make them so. When the Japanese child of tender
+age first takes his little bowl of rice, a pair of tiny chop-sticks is put
+into his right hand.  He grasps them as we would a dirk.  His mother then
+shows him how he should manipulate them. He has taken a first lesson in
+the use of the brush.  With practice he becomes skilful, and one of his
+earliest pastimes is using the chop-sticks to pick up single grains of
+rice and other minute objects, which is no easy thing to do.  It requires
+great dexterity. He is insensibly learning how to handle the double brush
+(NI HON _fude)_ with which an artist will, among other things, lay on
+color with one brush and dilute or shade off _(kumadori)_ the color with
+another, both brushes being held at the same time in the same hand, but
+with different fingers.
+
+At the age of six the child is sent to school and taught to write with a
+brush the phonetic signs Japanese (forty-seven in number) which constitute
+the Japanese syllabary. These signs represent the forty-seven pure sounds
+of the Japanese language and are used for writing.  They are known as
+_katakana_ and are simplified Chinese characters, consisting of two or
+three strokes each.  With them any word in Japanese can be written.  It
+takes a year for a child to learn all these signs and to write them from
+memory, but they are an excellent training for both the eye and the hand.
+
+His next step in education is to learn to write these same sounds in a
+different script, called _hiragana._ These characters are cursive or
+rounded in form, while the _katakana_ are more or less square. The
+_hiragana_ are more graceful and can be written more rapidly, but they are
+more complicated.
+
+From daily practice considerable training in the use of the brush and the
+free movement of the right arm and wrist is secured, and the eye is taught
+insensibly the many differences between the square and the cursive form.
+Before the child is eight years old he has become quite skilful in writing
+with the brush both kinds of _kana._
+
+He is next taught the easier Chinese characters,—Chinese KANJI  and
+ideographs.  These are most ingeniously constructed and are of great
+importance in the further training of the eye and hand.
+
+So greatly do these wonderfully conceived written forms appeal to the
+artistic sense that a taste for them thus early acquired leads many a
+Japanese scholar to devote his entire life to their study and cultivation.
+Such writers become professionals and are called SHOKA. Probably the most
+renowned in all China was Ogishi.  Japan has produced many such famous
+men, but none greater than Iwaya Ichi Roku, who has left an immortal name.
+
+From what has been said about writing with the brush, it will be
+understood how the youth who may determine to follow art as a career is
+already well prepared for rapid strides therein.  His hand and arm have
+acquired great freedom of movement.  His eye has been trained to observe
+the varying lines and intricacies of the strokes and characters, and his
+sentiments of balance, of proportion, of accent and of stroke order, have
+been insensibly developed according to subtle principles, all aiming at
+artistic results.
+
+The knowledge of Chinese characters and the their ability to write them
+properly are considered of prime importance in Japanese art.  A first
+counsel given me by Kubota Beisen was to commence that study, and he
+personally introduced me to Ichiroku who, from that time, kindly
+supervised my many years of work in Chinese writing, a pursuit truly
+engrossing and captivating.
+
+In all Japanese schools the rudiments of art are taught, and children are
+trained to perceive, feel, and enjoy what is beautiful in nature.  There
+is no city, village, or hamlet in all Japan that does not contain its
+plantations of plum and cherry blossoms in spring, its peonies and lotus
+ponds in summer, its chrysanthemums in autumn, and camelias, mountain
+roses and red berries in winter.  The school children are taken time and
+again to see these, and revel amongst them.  It is a part of their
+education.  Excursions, called UNDOKAI, are organized at stated intervals
+during the school term and the scholars gaily tramp to distant parts of
+the country, singing patriotic and other songs the while and enjoying the
+view of waterfalls, broad and winding rivers, autumn maples, or
+snow-capped mountains.  In addition to this, trips are taken to all famous
+temples and historical places including, where conveniently near, the
+three great views of Japan,—Matsushima, Ama No Hashi Date, and Myajima.
+Thus a taste for landscape is inculcated and becomes second nature.
+Furthermore, the scholars are encouraged to closely watch every form of
+life, including butterflies, crickets, beetles, birds, goldfish,
+shell-fish, and the like; and I have seen miniature landscape gardens made
+by Japanese children, most cleverly reproducing charming views and
+contained in a shallow box or tray.  This gentle little art is called
+BONSAI or _hako niwa._
+
+           [The Tea Ceremony, by Miss Uyemura Shoen. Plate II.]
+
+            The Tea Ceremony, by Miss Uyemura Shoen. Plate II.
+
+
+My purpose in alluding to all this is to indicate that a boy on leaving
+school has absorbed already much artistic education and is fairly well
+equipped for beginning a special course in the art schools of the empire.
+
+These schools differ in their methods of instruction, and many changes
+have been introduced in them during the present reign, or Meiji period,
+but substantially the course takes from three to four years and embraces
+copying (ISHA  _mitori_), tracing (MOSHA, _tsuki-utsushi)_, reducing
+(SHUKUZU,  _chijime-ru)_, and composing (SHIKO, _tsukuri kata)._
+
+In copying, the teacher usually first paints the particular subject and
+the student reproduces it under his supervision. Kubota’s invariable
+method was to require the pupil on the following day to reproduce from
+memory (AN KI) the subject thus copied. This engenders confidence.  In
+tracing, thin paper is placed over the picture and the outlines (RIN KAKU)
+are traced according to the _exact order_ in which the original subject
+was executed, an order which is established by rule; thus a proper style
+and brush habit are acquired. The correct sequence of the lines and parts
+of a painting is of the highest importance to its artistic effect.
+
+In reducing the size of what is studied, the laws of proportion are
+insensibly learned. This is of great use afterwards in sketching
+(SHASSEI). I believe that in the habit of reproducing, as taught in the
+schools, lies the secret of the extraordinary skill of the Japanese
+artisan who can produce marvelous effects in compressing scenery and other
+subjects course within the very smallest dimensions and yet preserve
+correct proportions and balance.  Nothing can excel in masterly reduction
+the miniature landscape work of the renowned Kaneiye, as exhibited in his
+priceless sword guards _(tsuba)._
+
+Sketching comes later in the course and is taught only after facility has
+been acquired in the other three departments.  It embraces everything
+within doors and without—everything in the universe which has form or
+shape goes into the artist’s sketch-book (KEN KON _no uchi_ KEI SHO
+_arumono mina_  FUN PON _to nasu)—_and forms part of the course in
+composition, which is intended to develop the imaginative faculties
+(SOZO).  Kubota was so skilful in sketching that while traveling rapidly
+through a country he could faithfully reproduce the salient features of an
+extended landscape, conformable to the general rule in sketching, that
+what first attracts the eye is to be painted first, all else becoming
+subordinate to it in the scheme.  Again, he could paint the scenery and
+personages of any historical song _(joruri)_ as it was being sung to him,
+reproducing everything therein described and finishing his work in exact
+time with the last bar of the music.  His arm and wrist were so free and
+flexible that his brush skipped about with the velocity of a dragon-fly.
+As an offhand painter (SEKIJO), or as a contributor to an impromptu
+picture in which several artists will in turn participate, such joint
+composition being known as GASSAKU, Kubota stood _facile princeps_ among
+modern Japanese artists.  The Kyoto painters have always been most gifted
+in that kind of accomplishment.  In their day Watanabe Nangaku, a pupil of
+Okyo, Bairei, and Hyakunen, all of Kyoto, were famous as SEKIJO painters.
+
+The art student having completed his course is now qualified to attach
+himself to some of the great artists, into whose household he will be
+admitted and whose _deshi_ or art disciple he becomes from that time on.
+The relation between such master (SENSEI) and his pupil _(deshi)_ is the
+most kindly imaginable.  Indeed, _deshi_ is a very beautiful word, meaning
+a younger brother, and was first applied to the Buddhist disciples of
+Shakka.  The master treats him as one of his family and the pupil reveres
+the master as his divinity.  Greater mutual regard and affection exist
+nowhere and many pupils remain more or less attached to the master’s
+household until his death.  To the most faithful and skilful of these the
+master bestows or bequeaths his name or a part of it, or his nom de plume
+(GO); and thus it is that the celebrated schools (RYUGI or HA or FU) of
+Japanese painting have been formed and perpetuated, beginning with
+Kanaoka, Tosa, Kano, and Okyo, and brought down to posterity through the
+devoted, and I might say sacred efforts of their pupils, to preserve the
+methods and traditions of those great men.  Pupils of the earlier painters
+took their masters’ family names, which accounts for so many Tosas and
+Kanos.
+
+Great painters have always been held in high esteem in Japan, not only by
+their pupils, but also by the whole nation.  Chikudo, the distinguished
+tiger painter, Bairei, one of the most renowned of the SHIJO HA or
+Maruyama school, Hashimoto Gaho, a pupil of Kano Massano and a leading
+exponent of the Kano style (Kano HA), and Katei, a Nangwa artist, all only
+recently deceased, were glorified in their lifetime.  Strange to say, no
+one ever saw Gaho with brush in hand.  He never would paint before his
+pupils or in any one’s presence.  His instructions were oral.  On the
+other hand, Kubota Beisen was always at his best when painting before
+crowds of admirers.
+
+Prior to the Meiji period the great painters attached to the household of
+a Daimyo were called _O Eshi._ Painters who sold their paintings were
+styled _E kaki._ Now all painters are called GWA KA. Engravers, sculptors,
+print makers and the like were and still are denominated SHOKUNIN, meaning
+artisans.  The comprehensive term “fine arts” (BIJUTSU) is of quite recent
+creation in Japan.
+
+To say a few words about the different schools of painting in Japan, there
+were great artists there, many centuries before Italy had produced Michael
+Angelo or Raphael.  The art of painting began more than fifteen hundred
+years ago and has continued in uninterrupted descent from that remote time
+down to this forty-fourth year of Meiji, the present emperor’s reign.  No
+other country in the civilized world can produce such an art record.  One
+thousand years before America was discovered, five hundred years before
+England had a name, and long before civilization had any meaning in
+Europe, there were artists in Japan following the profession of painting
+with the same ardor and the same intelligence they are now bestowing upon
+their art in this twentieth century of our era.
+
+When Buddhism was introduced there in the sixth century, a great school of
+Buddhist artists began its long career.  Among  the names that stand out
+from behind the mist of ages is that of Kudara no Kawanari, who came from
+Corea.
+
+In the ninth century lived the celebrated Kose Kanaoka.  He painted in
+what was called the pure Japanese style, _yamato e,_ _yamato_ being the
+earliest name by which Japan was designated.  He painted portraits and
+landscapes, and his school having a great following, lasted through five
+centuries.  Kose Kimi Mochi, his pupil, Kimitada and Hirotaka were
+distinguished disciples of Kanaoka.
+
+The Tosa school came next, beginning with Tosa Motomitsu, followed by
+Mitsunaga, Nobuzane and Mitsunobu.  It dates back to the period of the
+Kamakura Shogunate eight hundred years ago.  Its artists confined
+themselves principally to painting court scenes, court nobles, and the
+various ceremonies of court life.  This school always used color in its
+paintings.
+
+After Tosa came the schools of Sumiyoshi, Takuma, Kassuga, and Sesshu.
+Sesshu was a genius of towering proportions and an indefatigable artist of
+the very highest rank as a landscape painter.  He had a famous pupil named
+Sesson.
+
+Following Sesshu came the celebrated school of Kano artists, founded in
+the sixteenth century by Kano Masanobu.  It took Japan captive.  It had a
+tremendous vogue and following, and has come down to the present day
+through a succession of great painters.  There were two branches, one in
+Edo (Tokyo), which included Kano Masanobu, Motonobu, his son, Eitoku,
+Motonobu’s pupil, and later, Tanyu (Morinobu) Tanshin, his pupil, Koetsu,
+Naonobu, Tsunenobu, Morikage, Itcho, and finally Hashimoto Gaho, its
+latest distinguished representative, who is but recently deceased.  The
+other branch, known as the Kyoto Kano, included the famous San Raku, Eino,
+San Setsu, and others. By some critics San Raku is placed at the head of
+all the Kano artists.
+
+The Kano painters are remarkable for the boldness and living strength of
+the brush strokes _(fude no chicara_ or _fude no ikioi)_, as well as for
+the brilliancy or sheen _(tsuya)_ and shading of the _sumi._ This latter
+effect—the play of light and shade in the stroke, considered almost a
+divine gift—is called BOKUSHOKU, and recalls somewhat the term
+_chiaroscuru._ The range of subjects of the Kano painters was originally
+limited to classic Chinese scenery, treated with simplicity and
+refinement, and to Chinese personages, sages and philosophers; color was
+used sparingly.
+
+Other schools, more or less offshoots of the Kano style (RYU) of painting,
+came next—e. g., Korin and his imitator, Hoitsu, the DAIMYO of Sakai, who
+was said to use powdered gold and precious stones in his pigments.  Korin
+has never had his equal as a painter on lacquer. His work is said to be
+_le regal des delicats._
+
+Another disciple of the Kano school, and a pupil of Yutei, was Maruyama
+Okyo, who founded in turn a school of art which is the most widely spread
+and flourishing in Japan today.  Maruyama, not Okyo, was the family name
+of that artist.  The name Okyo originated thus: Maruyama, much admiring an
+ancient painter named Shun Kyo, took the latter half of that name, Kyo,
+and prefixing an “O” to it, made it Okyo, which he then adopted.  His
+style is called SHI JO FU, SHI JO being the name of that part of Kyoto
+where he resided, and FU meaning style or manner, and its characteristic
+is artistic fidelity to the objects represented.  By some it is called the
+realistic school, and includes such well-known household names as Goshun,
+pupil of Busson, Sosen, the great monkey painter, Tessan _(Plate III.)_
+and his son, Morikwansai, Bairei, Chi-kudo, the tiger painter, Hyakunen
+and his three pupils, Keinen, Shonen and Beisen, Kawabata Gyokusho, Torei,
+Shoen, and Takeuchi Seiho.
+
+There are still other schools (RYUGI) which might be mentioned, including
+that of the NANGWA, or Chinese southern painters, of Chinese origin and
+remarkable for the gracefulness of the brush stroke, the effective
+treatment of the masses and for the play of light and shade throughout the
+composition. Among the great NANGWA painters are Taigado, Chikuden,
+Baietsu _(Plate VIII)_ and Katei.   To this school is referred a style of
+painting affected exclusively by the professional writers of Chinese
+characters, and called BUNJINGWA. To these I will allude further on.  The
+versatile artist, Tani Buncho, created a school which had many adherents,
+including the distinguished Watanabe Kwazan and Eiko of Tokyo, lately
+deceased, one of its best exponents.
+
+The art of painting is enthusiastically pursued at the present time in
+Kyoto, Tokyo, Nagoya and Osaka.  In Tokyo, Hashi Moto Gaho was generally
+conceded to be, up to the time of his death in 1908, the foremost artist
+in Japan.  Although of the Kano school, he greatly admired European art,
+and the treatment of the human figure in some of his latest paintings
+recalls the manner of the early Flemish artists.
+
+My first meeting with Gaho was at his home.  While waiting for him, I
+observed suspended in the _tokonoma,_ or alcove, a narrow little
+_kakemono_ by Kano Moto Nobu, representing an old man upon a donkey
+crossing a bridge.  A small bronze vase containing a single flower spray
+was the sole ornament in the room.  This gave the keynote to Gaho’s
+character—classic simplicity, ever reflected in his work.  He had many
+followers.  His method of instruction with advanced pupils was to give
+them subjects such as “A Day in Spring,” “Solitude,” “An Autumn Morning,”
+or the like, and he was most insistent upon all the essentials to the
+proper effect being introduced.  His criticisms were always luminous and
+sympathetic.  He advised his students to copy everything good, but to
+imitate no-one,—to develop individuality.   He left three very
+distinguished and able pupils—Gyokudo, Kan Zan and Boku Sen.
+
+             [Chickens in Spring, by Mori Tessan. Plate III.]
+
+              Chickens in Spring, by Mori Tessan. Plate III.
+
+
+Since Gaho’s death, Kawabata Gyokusho, an Okyo artist, is the recognized
+leader of the capital.  In Kyoto, Takeuchi Seiho, an early pupil of
+Bairei, now occupies the foremost place, although Shonen and Keinen,
+pupils of Hyakunen, still hold a high rank.
+
+Recurring to the time of Tosa, there is another school beginning under
+Matahei and perpetuated through many generations of popular artists,
+including Utamaro, Yeisen and Hokusai, and coming down to the present
+date.  This is the _Ukiyo e_ or floating-world-picture school.  It is far
+better known through its prints than its paintings.  The great painters of
+Japan have never held this school in any favor.  At one time or another I
+have visited nearly every distinguished artist’s studio in Japan, and I
+know personally most of the leading artists of that country.  I have never
+seen a Japanese print in the possession of any of them, and I know their
+sentiments about all such work.  A print is a lifeless production, and it
+would be quite impossible for a Japanese artist to take prints into any
+serious consideration.  They rank no higher than cut velvet scenery or
+embroidered screens.  I am aware that such prints are in great favor with
+many enthusiasts and that collectors highly value them; but they do not
+exemplify art as the Japanese understand that term.  It must be admitted,
+however, that the prints have been of service in several ways.  They first
+attracted the world’s attention to the subject of Japanese art in general.
+Commencing with an exhibition of them in London a half century ago, the
+prints of Ukiyo or genre subjects came rapidly into favor and ever since
+have commanded the notice and admiration of collectors in Europe and
+America.  Many people are even under the impression that the prints
+represent Japanese painting, which, of course, is a great mistake.  There
+have been artists in Japan who, in the _Ukiyo e_ manner, have painted
+_kakemono_, BYOBU and _makimono_. The word _kakemono_ is applied to a
+painting on silk or paper, wound upon a wooden roller and unrolled and
+hung up to be seen. _Kakeru_ means to suspend and _mono_ means an object,
+hence _kakemono_, a suspended object. BYOBU signifies wind protector or
+screen; _makimono_, meaning a wound thing, is a painting in scroll form.
+It is not suspended, but simply unrolled for inspection. Such original
+work by Matahei and others is extant. But most of the _Ukiyo e_, or
+pictures in the popular style, are prints struck from wood blocks and are
+the joint production of the artist, the wood engraver, the color smearer
+and the printer, all of whom have contributed to and are more or less
+entitled to credit for the result; and that is one reason why the
+artist-world of Japan objects to or ignores them; they are not the
+spontaneous, living, palpitating production of the artist’s brush.  It is
+well known that artists of the _Ukiyo e_ school frequently indicated only
+by written instructions how their outline drawings for the prints should
+be colored, leaving the detail of such work to the color smearer.  Apart
+from the fact that the colors employed were the cheapest the market
+afforded, and are found often to be awkwardly applied, there is too much
+about the prints that is measured, mechanical and calculated to satisfy
+Japanese art in its highest sense.  Frequently more than one engraver was
+employed upon a single print.  The engravers had their specialties; some
+were engaged for the coiffure or head-dress _(mage),_ other for the lines
+of the face, others for the dress _(kimono),_ others still for pattern
+(MOYO), et cetera.  The most skilful engravers in Yedo were called
+_kashira bori_ and were always employed on Utamaro and Hokusai prints.
+Many of the colors of these prints in their soft, neutral shades, are
+rapturously extolled by foreign connoisseurs as evidence of the marvelous
+taste of the Japanese painter.  But, really, time more than art is to be
+credited with toning down such tints to their present delicate hues.  In
+this respect, like Persian rugs, they improve with age and exposure.  An
+additional objection to most of the prints is that they reproduce trivial,
+ordinary, every-day occurrences in the life of the mass of the people as
+it moves on.  They are more or less plebian.  The prints being intended
+for sale to the common people, the subjects of them, however skilfully
+handled, had to be commonplace.  They were not purchased by the nobility
+or higher classes.  Soldiers, farmers, and others bought them as presents
+_(miage)_ for their wives and children, and they were generally sold for a
+penny apiece, so that in Japan prints were a cheap substitute for art with
+the lower classes, just as Raspail says garlic has always been the camphor
+of the poor in France.  The practice of issuing _Ukiyo e_ prints at very
+low prices still continues in Tokyo, where every week or two such colored
+publications are sprung up in front of the book-stalls and are still as
+eagerly purchased by the common people as they were in Tokugawa days.
+
+The prices the old prints now bring are out of all proportion to their
+intrinsic value, yet, such is the crescendo craze to acquire them that
+Japan has been almost drained of the supply, the number of prints of the
+best kind being limited, like that of Cremona violins of the good makers.
+
+Prints are genuine originals of a first or subsequent issue, called
+respectively, SHO HAN and SAI HAN, or they are reproductions more or less
+cleverly copied upon new blocks, or they are fraudulent imitations
+(GANBUTSU) of the original issues, often difficult to detect.  The very
+wormholes are burnt into them with SENKO or perfume sticks and clever
+workmen are employed to make such and other trickery successful.  A long
+chapter could be written about their dishonest devices.  Copies of genuine
+prints (HON KOKU), made from new blocks after the manner of the ancient
+ones, abound, and were not intended to pass for originals.  Yedo, where
+the print industry was chiefly carried on, has had so many destructive
+conflagrations that most of the old _Ukiyo e_ blocks have been destroyed.
+At Nagoya the house of To Heki Do still preserves the original blocks of
+the MANGWA or miscellaneous drawings of Hokusai, but they are  much  worn.
+Prints are known by various names, such as _ezoshi_ (illustrations),
+_nishiki e_, _edo e_ (Yedo pictures), _sunmono_ and INSATSU. It may be of
+interest to know that the print blocks, when so worn as to be no longer
+serviceable for prints, are sometimes converted into fire-boxes
+_(hibachi)_ and tobacco trays _(tobacco bon)_ which, when highly polished,
+are decorative and unique.
+
+Perhaps a useful purpose prints have served is to record the manners and
+customs of the people of the periods when they were struck off.  They show
+not only prevailing styles of dress and headdress, but also the pursuits
+and amusements of the common folk.  They are excellent depositaries of
+dress pattern (MOYO) or decoration, upon which fertile subject Japan has
+always been a leading authority.  In the early Meiji period print painters
+frequently delegated such minute pattern work to their best pupils, whose
+seals (IN) will be found upon the prints thus elaborated.  The prints
+preserve the ruling fashions of different periods in combs and other hair
+ornaments, fans, foot-gear, single and multiple screens, fire-boxes and
+other household ornaments and utensils.  They also furnish specimens of
+temple and house architecture, garden plans, flower arrangements _(ike
+bana),_ bamboo, twig and other fences.  Again, they reproduce the stage,
+with its famous actors in historical dramas; battle scenes, with warriors
+and heroes; characters in folk-lore and other stories, and wrestling
+matches, with the popular champions; and we will often find upon the face
+of the print good reproductions of Chinese and Japanese writing, in poems
+and descriptive prose pieces.  Hokusai illustrated much of the classic
+poetry of China and Japan, as well as the SENJIMON, or Thousand Character
+Chinese classic, a work formerly universally taught in the Japanese
+schools.  The original characters for this remarkable compilation were
+taken from the writings of Ogishi.  The prints have aided in teaching
+elementary history to the young; the knowledge of Japanese children in
+this connection is often remarkable and may be attributed to the
+educational influence of the _Ukiyo e_ publications.
+
+So there are certainly good words to be said for the prints, but they are
+not Japanese art in its best sense, however interesting as a subordinate
+phase of it, and in no sense are they Japanese painting.
+
+If limited to a choice of one artist of the _Ukiyo e_ school, no mistake
+would be made, I think, in selecting Hiroshige, whose landscapes fairly
+reproduce the sentiment of Japanese scenery, although the prints bearing
+his name fall far short of reproducing that artist’s color schemes.
+Hokusai’s reputation with foreigners is greater than Hiroshige’s, but
+Japanese artists do not take Hokusai seriously.  His pictures, they
+declare, reflect the restlessness of his disposition; his peaks of Fuji
+are all too pointed, and his manner generally is exaggerated and
+theatrical.  Utamaro’s women of the Yoshiwara are certainly careful
+studies in graceful line drawing,—as correct as Greek drapery in marble.
+
+Iwasa Matahei, the founder of the popular school, was a pupil of
+Mitsunori, a Kyoto artist and follower of Tosa.  Matahei disliked Tosa
+subjects and preferred to depict the fleeting usages of the people, so he
+was nicknamed Fleeting World or _Ukiyo_ Matahei, and thus originated the
+name _Ukiyo e_ or pictures of every-day life.  There are no genuine
+Matahei prints.  He dates back to the seventeenth century.  Profile faces
+in original screen paintings by him have an Assyrian cast of countenance,
+the eye being painted as though seen in full face.
+
+Hishikawa Moronobu was his follower and admirer.  He was an artist of
+Yedo.  Nishikawa Sukenobu belonged to the Kano school and was a pupil of
+Kano Eiko.  He adopted the _Ukiyo e_ style and depicted the pastimes of
+women and the portraits of actors.  He lived two hundred and twenty years
+ago and in his time prints came greatly into vogue.  Torii Kyonobu painted
+women and actors and invented the kind of pictured theatrical powers which
+are still in fashion, placarded at the entrance to theaters and showing
+striking incidents in the play.
+
+Suzuki Harunobu never painted actors, preferring to reproduce the feminine
+beauties of his time.  It was to his careful work that was first applied
+the term _nishiki e_ or brocade pictures, on account of the charm of his
+decorative manner.  He lived one hundred and thirty years ago.
+
+Among the many able foreign writers on Japanese prints Fenollosa stands
+prominent. He resided for a long time in Japan, understood and spoke the
+language, and lived the life of the people.  He was in great sympathy with
+them and with their art and enjoyed exceptional opportunities for seeing
+and studying the best treasures of that country.  Had he possessed the
+training necessary to paint in the Japanese style I do not think he would
+have devoted so much time to Japanese woodcuts.  Visiting me at Kyoto,
+where I was busily engaged in painting, “Ah!” he cried, “that is what I
+have always longed to do.  Sooner or later I shall follow your example.”
+But he never did.  Instead, he issued a large work on Japanese prints.
+His death was a real loss to the art literature of Japan.  During eight
+years he was in the service of the Japanese government ransacking,
+cataloguing and photographing the multitudinous art treasures, paintings,
+_kakemono_, _makimono,_ and BYOBU (pictures, scrolls and screens), to be
+found in the various Buddhist and other temples and monasteries scattered
+throughout the empire.  The last time we met, he remarked, “How can one
+willingly leave this land of light?  Japan, to my mind, stands for
+whatever is beautiful in nature and true in art; here I hope to pass the
+remaining years of my life.”  Such was his genuine enthusiasm, engendered
+by a long acquaintance with art and everything else beautiful in that
+country.  Japan impresses in this way all who see it under proper
+conditions, but unfortunately the ordinary traveler, pushed for time, and
+whose acquaintance is limited to professional guides, never gets much
+beyond the sights, the shops and the curio dealers.
+
+            [Snow Scene in Kaga, by Kubota Beisen.  Plate IV.]
+
+             Snow Scene in Kaga, by Kubota Beisen.  Plate IV.
+
+
+The question is often asked, “Is there any good book on Japanese
+painting?”  I know of none in any language except Japanese.  The following
+are among the best works on the subject:
+
+      A History of Japanese Painting (HON CHO GASHI), by Kano Eno.
+      A Treasure Volume (BAMPO ZEN SHO), by Ki Moto Ka Ho.
+      The Painter’s Convenient Reference (GOKO BEN RAN), by Arai Haku
+      Seki.
+      A Collection of Celebrated Japanese  Paintings (KO CHO MEIGA SHU E),
+      by Hiyama Gi Shin.
+      Ideas on Design in Painting (TO GA KO), by Saito Heko Maro.
+      A Discourse on Japanese Painting (HONCHO GWA SAN), by Tani Buncho.
+      Important Reflections on All Kinds of Painting (GWA JO YO RYAKU), by
+      Arai Kayo.
+      A Treatise on Famous Japanese Paintings (FU SO MEI GWA DEN), by Hori
+      Nao Kaku.
+      Observations on Ancient Pictures (KO GWA BI KO), by Asa Oka Kotei.
+      A Treatise on Famous Painters (FU SO GWA JIN), by Ko Shitsu Ryo Chu.
+      A Treatise on Japanese Painting (YAMATO NISHIKI KEM BUN SHO), by
+      Kuro Kama Shun Son.
+      A Treatise on the Laws of Painting (GWAFU), by Ran Sai, a pupil of
+      Chinanpin.  The work is voluminous and is both of great use and
+      authority.
+      CHO CHU GWA FU, by Chiku To.
+      SHA ZAN GAKUGWA HEN, by Buncho.
+
+Translations of all these works into English are greatly to be desired.
+
+There is much that has been sympathetically written and published about
+Japanese paintings both in Europe and America, but however laudatory, it
+might be all summed up under the title, “Impressions of an Outsider.”
+Such writings lack the authority which only constant labor in the field of
+practical art can confer.  A Japanese artist, by which I mean a painter,
+is long in making.  From ten to fifteen years of continuous study and
+application are required before much skill is attained.  During that time
+he gradually absorbs a knowledge of the many principles, precepts, maxims
+and methods, which together constitute the corpus or body of art doctrine
+handed down from a remote antiquity and preserved either in books or
+perpetuated by tradition.  Along with these are innumerable art secrets
+called _hiji_ or _himitsu,_ never published, but orally imparted by the
+masters to their pupils—not secrets in a trick sense, but methods of
+execution discovered after laborious effort and treasured as valued
+possessions.  It is obvious, then, how incapable of writing technically
+upon the subject must anyone be who has not gone through such curriculum
+and had drilled into him all that varied instruction which makes up the
+body of rules applicable to that art.
+
+I have read many seriously written appreciations of Japanese paintings
+published in various modern languages, and even some amiable imaginings
+penned for foreigners by Japanese who fancy they know by instinct what
+only can be acquired after long study and practice with brush in hand.
+All such writers are characterized in Japan by a very polite term,
+_shiroto_—which means amateur.  It also has a secondary signification of
+emptiness.
+
+
+
+
+
+[Chapter 3 Head-Band: The design called “Dew on the Grass and Butterflies”
+                          (tsuyu, kusa ni cho).]
+
+
+CHAPTER THREE. LAWS FOR THE USE OF BRUSH AND MATERIALS
+
+
+Upon a subject as technical as that of Japanese painting, to endeavor to
+impart correct information in a way that shall be both instructive and
+entertaining is an undertaking of no little difficulty.  The rules and
+canons of any art when enumerated, classified and explained, are likely to
+prove trying, if not wearisome reading.  Yet, if our object be to acquire
+accurate knowledge, we must consent to make some sacrifice to attain it,
+and there is no royal road to a knowledge of Japanese painting.
+
+We have little or no opportunity in America, excepting in one or two
+cities, to see good specimens of the work of the great painters of Japan.
+Furthermore, such work in _kakemono_ form is seen to much disadvantage
+when exhibited in numbers strung along the walls of a museum.  Japanese
+_kakemono_ (hanging paintings) are best viewed singly, suspended in the
+recess of the _tokonoma,_ or alcove.  A certain seclusion is essential to
+the enjoyment of their delicate and subtle effects; the surroundings
+should be suggestive of leisure and repose, which the Japanese word
+_shidzuka,_ often employed in art language, well describes.
+
+The Japanese technique, by which I understand the established manner in
+which their effects in painting are produced, differs widely from that of
+European art.  The Japanese brushes _(Jude_ and _hake),_ colors and
+materials influence largely the method of painting.  The canons or
+standards by which Japanese art is to be judged are quite special to Japan
+and are scarcely understood outside of it.  Since the subject is
+technical, to treat it in a popular way is to risk the omission of much
+that is essential.  I will endeavor, at any rate, to give an outline of
+its fundamental principles, first saying a word or two about the tools and
+materials.
+
+In Japanese painting no oils are used. _Sumi_ (a black color in cake form)
+and water-colors only are employed, while Chinese and Japanese paper and
+specially prepared silk take the place of canvas or other material.
+
+Japanese artists do not paint on easels; while at work they sit on their
+heels and knees, with the paper or silk spread before them on a soft
+material, called _mosen,_ which lies upon the matting or floor covering.
+After one becomes accustomed to this position, he finds it gives, among
+other things, a very free use of the right arm and wrist.
+
+Silk _(e ginu)_ is prepared for painting by first attaching it with boiled
+rice mucilage to a stretching frame.  A sizing of alum and light glue
+(called _dosa)_ is next applied, care being taken not to wet the edges of
+the silk attached to the frame, which would loosen the silk.
+
+It has been found that paper lasts much longer than silk, and also can be
+more easily restored when cracked with age.
+
+The  artists  of the  Tosa  school  used a paper various kinds called
+_tori no ko,_ into the composition of which egg-shells entered.  This
+paper was a special product of Ichi Zen.
+
+The Kano artists used both _tori no ko_ and a paper made from the mulberry
+plant, also a product of Ichi Zen, and known as _hosho._  For ordinary
+tracing a paper called TENGU JO is used. In Okyo’s time, Chinese paper
+made from rice-plant leaves came into vogue.  It is manufactured in large
+sheets and is called TOSHI. It is a light straw color, and is very
+responsive to the brush stroke, except when it “catches cold,” as the
+Japanese say.  It should be kept in a dry place.
+
+The Tosa artists used paper almost to the exclusion of silk.  The Kano
+school largely employed silk for their paintings.  Okyo also usually
+painted on silk.
+
+Japanese artists seldom outline their work.  In painting on silk, a rough
+sketch in _sumi_ is sometimes placed under the silk for guidance.
+Outlining on paper is done with straight willow twigs of charcoal, called
+_yaki sumi,_ easily erased by brushing with a feather.
+
+There are strict, and when once understood, reasonable and helpful laws
+for the use of the brush (YOHITSU), the use of _sumi_ (YOBOKU) and the use
+of water-colors (SESSHOKU). These laws reach from what seems merely the
+mechanics of painting into the highest ethics of Japanese art.
+
+The law of YO HITSU requires a free and skilful handling of the brush,
+always with strict attention to the stroke, whether dot, line or mass is
+to be made; the brush must not touch the silk or paper before reflection
+has determined what the stroke or dot is to express.  Neither negligence
+nor indifference is tolerated.
+
+An artist, be he ever so skilful, is cautioned not to feel entirely
+satisfied with his use of the brush, as it is never perfect and is always
+susceptible of improvement.  The brush is the handmaid of the artist’s
+soul and must be responsive to his inspiration.  The student is warned to
+be as much on his guard against carelessness when handling the brush as if
+he were a swordsman standing ready to attack his enemy or to defend his
+own life; and this is the reason: Everything in art conspires to prevent
+success.  The softness of the brush requires the stroke to be light and
+rapid and the touch delicate.  The brush, when dipped first into the
+water, may absorb too much or not enough, and the _sumi_ or ink taken on
+the brush may blot or refuse to spread or flow upon the material, or it
+may spread in the wrong direction.  The Chinese paper (TOSHI) which is
+employed in ordinary art work may be so affected by the atmosphere as to
+refuse to respond, and the brush stroke must be regulated accordingly.
+All such matters have to be considered when the brush is being used, and
+if the spirit of the artist be not alert, the result is failure. (IT TEN
+ICHI BOKU  _ni_  CHIU _o su beki.)_
+
+Vehicle of the subtle sentiment to be expressed in form, the brush must be
+so fashioned as to receive and transmit the vibrations of the artist’s
+inner self.  Much care, much thought and skill have been expended in the
+manufacture of the brush.
+
+In China, the art of writing preceded painting, and the first brushes made
+were writing brushes, and the more writing developed into a wonderful art,
+the more attention was bestowed upon the materials composing the writing
+brush.  Such brushes were originally made with rabbit hair, round which
+was wrapped the hair of deer and sheep, and the handles were mulberry
+stems.  Later on, as Chinese characters became more complex and writing
+more scientific, the brushes were most carefully made of fox and rabbit
+hair, with handles of ivory, and they were kept in gold and jeweled boxes.
+Officials were enjoined to write all public documents with brushes having
+red lacquer handles, red being a positive or male (YO) color.  Ogishi, the
+greatest of the Chinese writers, used for his brushes the feelers from
+around the rat’s nose and hairs taken from the beak of the kingfisher.
+
+In Japan, hair of the deer, badger, rabbit, sheep, squirrel, and wild
+horse all enter into the manufacture of the artist’s brush, which is made
+to order, long or short, soft or strong, stiff or pliable.  For laying on
+color, the hair of the badger is preferred.  The sizes and shapes of
+brushes used differ according to the subject to be painted. There are
+brushes for flowers and birds, human beings, landscapes, lines of the
+garments, lines of the face, for laying on color, for shading, et cetera.
+
+A distinguishing feature in Japanese painting is the strength of the brush
+stroke, technically called _fude no chikara_ or _fude no ikioi._ When
+representing an object suggesting strength, such, for instance, as a rocky
+cliff, the beak or talons of a bird, the tiger’s claws, or the limbs and
+branches of a tree, the moment the brush is applied the sentiment of
+strength must be invoked and felt throughout the artist’s system and
+imparted through his arm and hand to the brush, and so transmitted into
+the object painted; and this nervous current must be continuous and of
+equal intensity  while the work proceeds.  If the tree’s limbs or branches
+in a painting by a Kano artist be examined, it will astonish any one to
+perceive the vital force that has been infused into them.  Even the
+smallest twigs appear filled with the power of growth—all the result of
+_fude no chikara._  Indeed, when this principle is understood, and in the
+light of it the trees of many of the Italian and French artists are
+critically viewed, they appear flabby, lifeless, and as though they had
+been done with a feather.  They lack that vigor which is attained only by
+_fude no chikara,_ or brush strength.
+
+In writing Chinese characters in the REI SHO manner this same principle is
+carefully inculcated.  The characters must be executed with the feeling of
+their being carved on stone or engraved on steel—such must be the force
+transmitted through the arm and hand to the brush.   Thus executed the
+writings seem imbued with living strength.
+
+It is related of Chinanpin, the great Chinese painter, that an art student
+having applied to him for instruction, he painted an orchid plant and told
+the student to copy it.  The student did so to his own satisfaction, but
+the master told him he was far away from what was most essential.  Again
+and again, during several months, the orchid was reproduced, each time an
+improvement on the previous effort, but never meeting with the master’s
+approval.  Finally Chinanpin explained as follows: The long, blade-like
+leaves of the orchid may droop toward the earth but they all long to point
+to the sky, and this tendency is called cloud-longing (BO UN) in art.
+When, therefore, the tip of the long slender leaf is reached by the brush
+the artist must feel that the same is longing to point to the clouds.
+Thus painted, the true spirit and living force _(kokoromochi)_ of the
+plant are preserved.
+
+Kubota recommended to art students and artists to a practice with lines
+which is excellent for acquiring and retaining firmness and freedom of the
+arm, with steady and continuous strength in the stroke.  With a brush held
+strictly perpendicular to the paper horizontal lines are painted, first
+from right to left, the entire width of the TOSHI or other paper, each
+line with equal thickness and unwavering intensity of power throughout its
+entire length.  The thickness of the line will depend upon the amount of
+hair in the brush that is allowed to touch the paper; if only the tip of
+the brush be used, the line will be slender or thin; but, whether a broad
+band or a delicate tracing, it must be uniform throughout and filled with
+living force.  Next, the lines are painted from left to right in the same
+way and with the same close attention to uniform thickness and continuous
+flow of nervous strength from start to finish.   Then, the increasingly
+difficult task is to paint them from top to bottom of the TOSHI, and
+finally, most difficult and most important of all these exercises, the
+parallel lines are traced from bottom to top of the paper.  The thinner
+the line the more difficult it is to execute, because of the tendency of
+the hand to tremble. Indeed, the difficulty is supreme.   Let any one who
+is interested try this; it is an exercise for the most expert.  Such lines
+resemble the _sons filés_ on the violin, where a continuous sustained tone
+of equal intensity is produced by drawing the bow from heel to tip so
+slowly over the strings that it hardly moves.  Practicing lines in the way
+indicated gives steadiness and strength, qualities in demand at every
+instant in Japanese art.  Observe a Japanese artist paint the young branch
+of a plum tree shooting from the trunk.  The new year’s growth starting,
+it may be, from the bottom of the TOSHI will be projected to the top.
+Examine it carefully and it will be found to conform to that principle of
+_jude no chikara_ which transfers a living force into the branch.  I have
+seen European artists in Japan vainly try offhand to produce such effects;
+but these depend on long and patient practice.
+
+A Japanese artist will frequently ignore the boundaries of the paper upon
+which he paints by beginning his stroke upon the MOSEN and continuing it
+upon the paper—or beginning it upon the paper and projecting it upon the
+MOSEN.  This produces the sentiment or impression of great strength of
+stroke.  It animates the work.  And in this energetic kind of painting, if
+drops of _sumi_ accidentally fall from the brush upon the painting they
+are regarded as giving additional energy to it.  Similarly, if the stroke
+on the trunk or branch of a tree shows many thin hair lines where the
+intention was that the line should be solid, this also is regarded as an
+additional evidence of stroke energy and is always highly prized.
+
+The same principle applies in the art of Chinese writing; but this effect
+must not be the result of calculation—it must be what in art is called SHI
+ZEN,  meaning spontaneous.
+
+In painting the hair of monkeys, bears and the like, the pointed brush is
+flattened and spread out _(wari fude)_ so that each stroke of the same
+will reproduce numberless thin lines, corresponding to the hairs of the
+animal.  Sosen thus painted.  In modern times Kimpo _(Plate V)_ is justly
+renowned for such work.
+
+Many artists become wonderfully expert in the use of the flat brush, from
+one to four inches wide, called _hake,_ by means of which instantaneous
+effects such as rain, rocks, mountain chains and snow scenes are secured.
+Some artists acquire a special reputation for skill in the use of the
+_hake._
+
+The brush should be often and thoroughly rinsed during the time that it is
+used and washed and dried when not employed.  In Kyoto, Osaka and Tokyo
+there are famous manufacturers of artists’ brushes, and names of makers
+such as Nishimura, Sugiyama, Hakkado, Onkyodo and Kiukyodo are familiar to
+all the artists of the country.
+
+The use of _sumi_ (YOBOKU) is the really distinguishing feature of
+Japanese painting.  Not only is this black color _(sumi)_ used in all
+water color work, but it is frequently the only color employed; and a
+painting thus executed, according to the laws of Japanese art, is called
+_sumi e_ and is regarded as the highest test of the artist’s skill.
+Colors can cheat the eye _(damakasu)_ but _sumi_ never can; it proclaims
+the master and exposes the tyro.
+
+The terms “study in black and white,” “India ink drawing” and the like,
+since all are only makeshift translations, are misleading.  The Chinese
+term “BOKUGWA” is the exact equivalent of _sumi e_ and both mean and
+describe the same production.  _Sumi e_ is not an “ink picture,” since no
+ink is used in its production.  Ink is the very opposite of _sumi_ both in
+its composition and effect.  Ink is an acid and fluid.  _Sumi_ is a solid
+made from the soot obtained by burning certain plants (for the best
+results _juncus communis,_ bull rush, or the _sessamen orientalis),_
+combined with glue from deer horn.  This is molded into a black cake
+which, drying thoroughly if kept in ashes, improves with age. In much of
+the good _sumi_ crimson _(beni)_ is added for the sheen, and musk perfume
+_(Jako)_ is introduced for antiseptic purposes.  When a dead finish or
+surface _(tsuya o keshi)_ is desired, as, for instance, where the female
+coiffure is to be painted and a lusterless ground is needed for contrast
+with the shining strands of the hair, a little white pulverized oyster
+shell, called GO FUN, is mixed, with the _sumi._  Commercial India ink
+resembles _sumi_ in appearance, but is very inferior to it in quality.
+The methods of _sumi_ manufacture are carefully guarded secrets.  China
+during the Ming dynasty, three centuries ago, produced the best _sumi,_
+although China _sumi_ (TOBOKU) employed twelve centuries past shows both
+in writing and in painting as distinctly and brilliantly today as though
+it were but recently manufactured.  Nara, near Kyoto, was the birthplace
+of Japanese _sumi,_ and the house of Kumagai _(Kyukyodo)_ for centuries
+has had its manufacturers in that city.  In Tokyo a distinguished maker,
+whose _sumi_ many of the artists there prefer, is Baisen.  He has devoted
+fifty years of his life to the study and compounding of this precious
+article.  He possesses some great secrets of manufacture which may die
+with him.  In Okyo’s time there was a dark blue _sumi_ called AI EN BOKU
+but the art and secret of its manufacture are lost.
+
+In using _sumi_ the cake is moistened and rubbed on a slab called
+_suzuri,_ producing a semi-fluid.  The well-cleaned brush is dipped first
+into clear water and then into the prepared _sumi._ When the _sumi_ is
+taken on the brush it should be used without delay; otherwise it will
+mingle with the water of the brush and destroy the desired balance between
+the water and the _sumi._  For careful work the _sumi_ is first
+transferred on the brush from the _suzuri_ to a white saucer, where it is
+tested.  It is a singular fact that the color of _sumi_ will differ
+according to the manner in which it is rubbed upon the stone.  The best
+results are obtained when a young maiden is employed for the purpose, her
+strength being just suitable.
+
+It is very important while painting with _sumi_ to renew its strength
+frequently by fresh applications of the cake to the slab.  The color and
+richness of _sumi_ left upon the slab soon fade; and though when used this
+may not be apparent, when the _sumi_ dries on the paper or silk its
+weakness is speedily perceived.
+
+By the dexterous use of _sumi_ colors may be successfully suggested,
+materials apparently reproduced and by what is termed BOKUSHOKU, or the
+brush-stroke play of light and shade, the very rays of the sun may be
+imprisoned within the four corners of a picture.  Artists are readily
+recognized in their work by their manner of using or laying on _sumi._
+The color, the sheen, the shadings and the flow of the ink enable us even
+to determine the disposition or state of mind of the artist at the time of
+painting, so sensitive, so responsive is _sumi_ to the mood of the artist
+using it.  There is much of engaging interest in connection with this
+subject.  Artists become most difficult to satisfy on the subject of the
+various kinds of _sumi,_ which differ as much in their special qualities
+as the tones of celebrated violins. It is interesting to observe how
+different the color or richness of the same _sumi_ becomes according to
+the varying skill with which it is applied.
+
+The mineral character of the _suzuri_ has also much to do with the
+production of the best and richest black tones.
+
+The most valuable stone for _suzuri_ is known throughout the entire
+oriental world as TAN KEI and is found in the mountain of Fuka in China.
+This stone has gold streaks through it, with small dots called bird’s
+eyes.  The water which flows from Fuka mountain is blue.  The color of the
+rock is violet.  A favorite color for the _suzuri_ (in Chinese called KEN)
+is lion’s liver.  Formerly much ceremony was observed in mining for this
+stone and sheep and cattle were offered in sacrifice, else it was believed
+that the stone would be struck by a thunderbolt and reduced to ashes in
+the hands of its possessor.  The _suzuri_ is also made in China from river
+sediment fashioned and baked.  Still another method is to make the
+_suzuri_ from paper and the varnish of the lacquer tree.  Such are called
+paper _suzuri_ (SHI KEN).  In Thibet _suzuri_ are made from the bamboo
+root.  In Japan the best stones for _suzuri_ are found near Hiroshima in
+Kiushu, the grain being hard and fine.
+
+The skilful use of water colors is called SESSHOKU. It is more difficult
+to paint with _sumi_ alone than use of water to paint with the aid of
+colors, which can hide defects never to be concealed in a _sumi e,_ where
+painting  over _sumi_ a second time is disastrous. Japanese painters as a
+rule are sparing of colors, the slightest amount used discreetly and with
+restraint generally sufficing.  Many artists have not the color sense or
+dislike color and seldom use it.  Kubota often declared he hoped to live
+until he might feel justified in discarding color and employing _sumi_
+alone for any and all effects in painting.
+
+There are eight different ways of painting in color.  I will enumerate
+them, with their technical, descriptive terms:
+
+In the best form of color painting (GOKU ZAI SHIKI) _(Plate IX)_ the color
+is most carefully laid on, being applied three times or oftener if
+necessary.  On account of these repeated coats this form is called TAI
+CHAKU SHOKU.  This style of painting is reserved for temples, gold
+screens, palace ceilings and the like.  Tosa and _Yamato e_ painters
+generally followed this manner.
+
+The next best method of coloring (CHU ZAI SHIKI) _(Plate X)_ is termed
+CHAKU SHOKU, or the ordinary application of color.  The Kano and Shijo
+schools use this method extensively, as did also the _Ukiyo e_ painters.
+
+The light water-color method, called TAN SAI _(Plate XI)_, is employed in
+the ordinary style of painting _kakemono_ and is much used by the Okyo
+school.
+
+The most interesting form of painting, technically called BOKKOTSU _(Plate
+XII)_, is that in which all outlines are suppressed and _sumi_ or color is
+used for the masses.  Another Japanese term for the same is _tsuketate._
+
+              [Tree Squirrel, by Mochizuki Kimpo.  Plate V.]
+
+               Tree Squirrel, by Mochizuki Kimpo.  Plate V.
+
+
+The method of shading, called GOSO _(Plate XIII)_, invented by a Chinese
+artist, Godoshi, who lived one thousand years ago, consists in applying
+dark brown color or light _sumi_ wash over the _sumi_ lines. This style
+was much employed by Kano painters and for art printing.
+
+The light reddish-brown color, technically called SENPO SHOKU _(Plate
+XIV)_, is mostly used in printing pictures in book form.
+
+Another form similarly used is called HAKUBYO _(Plate XV)_ or white
+pattern, no color being employed.
+
+Lastly, there is the _sumi_ picture or _sumi e_ _(Plate XVI)_, technically
+called SUIBOKU,—to which reference has already been made—where _sumi_ only
+is employed, black being regarded as a color by Japanese artists.
+
+A well-known method by which the autumnal tints of forest leaves are
+produced is to take up with the brush one after another and in the
+following order these colors: Yellow-green _(ki iro),_ brown (TAI SHA),
+red (SHU), crimson _(beni),_ and last, and on the very tip of the brush,
+_sumi._  The brush thus charged and dexterously applied gives a charming
+autumn effect, the colors shading into each other as in nature.
+
+There are five parent colors in Japanese art: parent colors Blue (SEI),
+yellow (AU), black (koku), white (BYAKU), combinations and red (SEKI).
+These in combination (CHO GO) originate other colors as follows:  Blue and
+yellow produce green _(midori);_ blue and black, dark blue _(ai nezumi);_
+blue and white, sky-blue _(sora iro);_ blue and red, purple _(murasaki)_;
+yellow and black, dark green _(unguisu cha)_; yellow and red, orange
+_(kaba);_ black and red, brown _(tobiiro);_ black and combinations white,
+gray _(nezumiiro)._  These secondary colors in combination produce other
+tones and shades required.  Powdered gold and silver, and crimson made
+from the saffron plant are also employed.  The colors, excepting yellow,
+are prepared for use by mixing them with light glue upon a saucer.  With
+yellow, water alone is used.  In addition to all the foregoing there are
+other expensive colors used in careful work and known as mineral earths
+_(iwamono)._  They are blue (GUNJO), dark or Prussian blue (KONJO), light
+bluish-green (GUNROKU), green (ROKUSHO), light green (BYAKUGUN), pea green
+(CHA-ROKU SHO) and light red (SANGO MATSU).
+
+The use of primary colors in a painting in proximity to secondary ones
+originated by them is color to be avoided, as both lose by such contrast;
+and when a color-scheme fails to give satisfaction it will usually be
+found that this cardinal principle of harmony, called _iro no kubari,_ has
+been disregarded by the artist.  Color in art is the dress, the apparel in
+which the work is clad.  It must be suitably combined, restrained, and
+attract no undue attention _(medatsunai)._  True color sense is a special
+gift.
+
+
+
+
+
+[Chapter 4 Head-Band: The pattern (moyo) known as bamboo and the swelling
+   sparrow (take nifukura susume).  The parts of the bird are amusingly
+ conventionalized—in the Korin manner. The word fukura written in Chinese
+             contains the lucky character fuku (happiness).]
+
+
+CHAPTER FOUR.  LAWS GOVERNING THE CONCEPTION AND EXECUTION OF A PAINTING
+
+
+When a Japanese artist is preparing to paint a picture he considers first
+the space the picture is to occupy and its shape, whether square, oblong,
+round or otherwise; next, the distribution of light and shade, and then
+the placing of the objects in the composition so as to secure harmony and
+effective contrasts.  In settling these questions he relies largely on the
+laws of proportion and design.
+
+The principles of proportion (ICHI) and design (ISHO) are closely allied.
+They aim to supply and express with sobriety what is essential to the
+composition, proportion determining the just arrangement and distribution
+of the component parts, and design the manner in which the same shall be
+handled.  In a landscape, proportion may require the balancing effect of
+buildings and trees, while design will determine how the same may be
+picturesquely presented; for instance, by making the trees partially hide
+the buildings, thus provoking a desire to see more than is shown.  Such
+suggestion or stimulation of the imagination is called YUKASHI. The
+Japanese painter is early taught the value of suppression in design—_l’art
+d’ennuyer est de tout dire_.
+
+A well-known rule of proportion, quaintly expressed in the original
+Chinese and which is more or less adhered to in practice, requires in a
+landscape painting that if the mountain be, for example, ten feet high the
+trees should be one foot, a horse one inch and a man the size of a bean.
+JO SAN SEKI JU, SUN BA TO JIN _(Plate XVII)_.
+
+Design, called in art ISHO ZUAN or _takumi,_ is largely the personal
+equation of the artist.  It is his power of presenting and expressing what
+he treats in an original manner.  The subject may not be new, but its
+treatment must be fresh and attractive.  Much will depend upon the
+learning and the technical ability of the artist.  In the matter of design
+the artists of Tokyo have always differed from those of Kyoto, the former
+aiming at lively and even startling effects, while the latter seek to
+produce a quieter or more subdued _(otonashi)_ result.
+
+Where landscapes or trees are to be painted upon a single panel, panels on
+each side of it may be conveniently placed and the painting designed upon
+the central panel in connection with the two additional ones used for
+elaboration.  In this way, when the side panels are withdrawn the effect
+is as though such landscape or trees were seen through an open window, and
+all cramped or forced appearance is avoided.  The _Ukiyo e_ artists
+practiced a similar method in their _hashirakake_ or long, narrow,
+panel-like prints of men and women used for decorating upright beams in a
+room.
+
+The literature of art abounds in instances illustrative of correct
+proportion and design.
+
+The artist Buncho being requested to paint a crow flying across a _fusuma_
+or four sliding door-like panels, after much reflection painted the bird
+in the act of disappearing from the last of these subdivisions, the space
+of the other three suggesting the rapid flight which the crow had already
+accomplished, and the law of proportion (ICHI) or orderly arrangement thus
+observed was universally applauded.
+
+In the wooded graveyard of the temple at Ike-gami, where the tombs of so
+many of the Kano artists (including Tanyu) are to be found, is a stone
+marking the grave of a Kano painter who, having executed an order for a
+picture and his patron observing that it was lacking in design and that he
+must add a certain gold effect in the color scheme, rather than violate
+his own convictions of what he considered proper design, first refused to
+comply and then committed _hara kiri._
+
+A canon of Japanese art which is at the base of one of the peculiar charms
+of Japanese pictures, not merely in the whole composition but also in
+minute details that might escape the attention at first glance, requires
+that there should be in every painting the sentiment of active and
+passive, light and shade.  This is called IN YO and is based upon the
+principle of contrast for heightening effects.  The term IN YO originated
+in the earliest doctrines of Chinese philosophy and has always existed in
+the art language of the Orient.  It signifies darkness (IN) and light
+(YO), negative and positive, female and male, passive and active, lower
+and upper, even and odd.  This term is of constant application in
+painting.  A picture with its lights and shades properly distributed
+conforms to the law of IN YO.  Two flying crows, one with its beak closed,
+the other with its beak open; two tigers in their lair, one with the mouth
+shut, the other with the teeth showing; or two dragons, one ascending to
+the sky and the other descending to the ocean, illustrate phases of IN YO.
+Mountains, waves, the petals of a flower, the eyeball of a bird, rocks,
+trees—all have their negative and positive aspects, their IN and their YO.
+The observance of this canon secures not only the effective contrast of
+light and shade in a picture but also an equally striking contrast between
+the component parts of each object composing it.
+
+The law of form, in art called KEISHO or KAKKO, is widely applied for
+determining not only the correct shape of things but also their suitable
+or proper presentation according to circumstances.  It has to do with all
+kinds of attitudes and dress.  It determines what is suitable for the
+prince and for the beggar, for the courtier and for the peasant.  It
+regulates the shape that objects should take according to conditions
+surrounding them, whether seen near or far off, in mist or in rain or
+snow, in motion or in repose. The exact shape of objects in motion (as an
+animal running, a bird flying or a fish swimming) no one can see, but the
+painter who has observed, studied and knows by heart the form or shape of
+these objects in repose can, by virtue of his skill, reproduce them in
+motion, foreshortened or otherwise; that is KEISHO; and he is taught and
+well understands that if in executing such work his memory of essential
+details fails him hesitancy is apt to cause the picture to perish as a
+work of art.
+
+KEISHO literally means shape, but in oriental art it signifies also the
+proprieties; it is a law which enforces among other things canons of good
+taste and suppresses all exaggerations, inartistic peculiarities and
+_grimaces._
+
+The law touching historical subjects and the manner of painting them is
+called KO JUTSU.  Special principles apply to this department of Japanese
+art.  The historical painter must know all the historical details of the
+period to which his painting relates, including a knowledge of the arms,
+accoutrements, costumes, ornaments, customs and the like.  This subject
+covers too vast a field and is too important to be summarily treated here.
+Suffice it to say that there have been many celebrated historical painters
+in Japan.  I recall, on the other hand, a picture once exhibited by a
+distinguished Tokyo artist which was superbly executed but wholly ignored
+by the jury because it violated some canon applicable to historical
+painting.
+
+The term YU SHOKU refers to the laws governing the practices of the
+Imperial household, Buddhist and Shinto rites.  Before attempting any work
+of art in which these may figure the painter must be thoroughly versed in
+the appointments of palace interiors, the rules of etiquette, the
+occupations and pastimes of the Emperor, court nobles _(Kuge),_ _daimyo_
+and their military attendants _(samurai),_ the costumes of the females
+_(tsubone)_ of the Imperial household and their duties and
+accomplishments.  The Tosa school made a thorough familiarity with such
+details its specialty.  All Buddhist paintings come under the law of YU
+SHOKU.
+
+Let us next consider briefly some of the principles applicable to Japanese
+landscape painting.  Landscapes are known in art by the term SAN SUI,
+which means mountain and water.  This Chinese term would indicate that the
+artists of China considered both mountains and water to be essential to
+landscape subjects, and the tendency in a Japanese artist to introduce
+both into his painting is ever noticeable.  If he cannot find the water
+elsewhere he takes it from the heavens in the shape of rain.  Indeed, rain
+and wind subjects are much in favor and wonderful effects are produced in
+their pictures suggesting the coming slorm, where the wind makes the
+bamboos and trees take on new, weird and fantastic shapes.
+
+The landscape _(Plate XVIII)_ contains a lofty mountain, rocks, river,
+road, trees, bridge, man, animal, et cetera.  The first requisite in such,
+a composition is that the picture respond to the law of TEN CHI JIN, or
+heaven, earth and man.  This wonderful law of Buddhism is said to pervade
+the universe and is of widest application to all the art of man.  TEN CHI
+JIN means that whatever is worthy of contemplation must contain a
+principal subject, its complimentary adjunct, and auxiliary details.  Thus
+is the work rounded out to its perfection.
+
+                  [Tiger, by Kishi Chikudo.  Plate VI.]
+
+                   Tiger, by Kishi Chikudo.  Plate VI.
+
+
+This law of TEN CHI JIN applies not only to painting but to poetry (its
+elder sister), to architecture, to garden plans, as well as to flower
+arrangement; in fact, it is a universal, fundamental law of correct
+construction.  In _Plate XVIII_ the mountain is the dominant or principal
+feature.  It commands our first attention.  Everything is subservient to
+it.  It, therefore, is called TEN, or heaven.  Next in importance,
+complimentary to the mountain, are the rocks.  These, therefore, are CHI,
+or earth; while all that contributes to the movement or life of the
+picture, to wit, the trees, man, animal, bridge and river, are styled JIN,
+or man, so that the picture satisfies the first law of composition,
+namely, the unity in variety required by TEN CHI JIN.
+
+There is another law which determines the general character to be given a
+landscape according to the season, and is thus expressed:  Mountains in
+spring should suggest joyousness; in summer, green and moisture; in
+autumn, abundance; in winter, drowsiness.   The formula runs as follows:
+SHUN-ZAN, _warau gotoshi;_ KAZAN, _arau gotoshi;_ SHUZAN, _yoso gotoshi;_
+TOZAN, _nemurugotoku._
+
+Similarly, according to the season, there are four principal ways of
+painting bamboo (CHIKU).  In fair-weather bamboo (SEI CHIKU) the leaves
+are spread out joyously; in rainy-weather bamboo (UCHIKU) the leaves hang
+down despondently; in windy-weather bamboo (FUCHIKU) the leaves cross each
+other confusedly, and in the dew of early morning (ROCHIKU) the bamboo
+leaves all point upwards vigorously _(Plate LIII a 1 to a 4)_.
+
+The Kano artists differ from the Shijo painters in their manner of
+combining _(kasaneru)_ the leaves and branches of the bamboo.  Speaking
+generally, the Shijo artists point the leaves downward, while the former
+point them upward, which is more effective.
+
+Again, in snow scenery the Kano artists first paint the bottom of the
+snow-line and then by shading _(kumadori)_ above the same with very light
+ink _(usui sumi)_ produce the effect of accumulated snow.  The Okyo school
+secures the same result in a much more brilliant manner, using but a
+single dexterous stroke of the well-watered brush, the point only of which
+is tipped with _sumi._
+
+Some artisls, notably Kubota Beisen and his followers, employ both
+methods, the former for near and the latter for distant snow landscapes.
+
+Low mountains in a landscape suggest great distance.  Fujiyama, the
+favorite subject of all artists, should not be painted too high, else it
+loses in dignity by appearing too near.  In an art work written by Oishi
+Shuga, Fuji is reproduced as it appears at every season of the year,
+whether clad in snow, partly concealed by clouds, or plainly visible in
+unobstructed outline.  The book is a safe guide for artists to consult.
+
+We may next consider some laws applicable to mountains, rocks and ledges.
+It has long since been observed by the great writers on art in China that
+mountains, rocks, ledges and peaks have certain characteristics which
+distinguish them.  These differ not only with their geological formations
+but also vary with the seasons on account of the different grasses and
+growths which may more or less alter or conceal them.  To attempt to
+reproduce them as seen were a hopeless task, there being too much
+confusing detail; hence, salient features only are noted, studied and
+painted according to what is called SHUN PO, or the law of ledges or
+stratifications.  There are eight different ways in which rocks, ledges
+and the like may be represented:
+
+The peeled hemp-bark method, called HI MA SHUN _(Plate XXIII a)_.
+
+The large and small axe strokes on a tree, called DAI SHO FU HEKI SHUN
+_(Plate XXIII b)_.
+
+The lines of the lotus leaf, called KA YO SHUN _(Plate XXIV a)._
+
+Alum crystals, called HAN TO SHUN _(Plate XXIV b)_.
+
+The loose rice leaves, called KAI SAKU SHUN _(Plate XXV a)_.
+
+Withered kindling twigs, called RAN SHI SHUN _(Plate XXV b)_.
+
+Scattered hemp leaves, termed RAMMA SHUN _(Plate XXVI a)_.
+
+The wrinkles on a cow’s neck, called GYU MO SHUN _(Plate XXVI b)_.
+
+These eight laws are not only available guides to desired effects; they
+also abbreviate labor and save the artist’s attempting the impossible task
+of exactly reproducing physical conditions of the earth in a landscape
+painting.  They are symbols or substitutes for the truth felt.  Nothing is
+more interesting than such art resources whereby the sentiment of a
+landscape is reproduced by thus suggesting or symbolizing many of its
+essential features.
+
+It was a theory of the great Chinese teacher, Chinanpin, and particularly
+enforced by him, that trees, plants and grasses take the form of a circle,
+called in art RIN KAN (see _Plate XXVII_), No. 1; or a semi-circle (HAN
+KAN) _(Plate XXVII)_, No. 2; or an aggregation of half-circles, called
+fish scales (GYO RIN) _(Plate XXVII)_, No. 3; or a modification of these
+latter, called moving fish scales (GYO RIN KATSU HO) _(Plate XXVII)_, No
+4. Developing this principle on _Plate XXVIII_, No. 1, we have
+theoretically the first shape of tree growth and on _Plate XXVIII_, No. 2,
+the same practically interpreted. In Nos. 3 and 4, same plate, we have the
+growth of grass illustrated theoretically and practically.  In _Plate
+XXIX_, according to this method, is constructed the entire skeleton of a
+forest tree.  In Nos. 1 and 2 on this plate numerous small circles are
+indicated.  These show where each stroke of the brush begins, the points
+of commencement being of prime importance to correct effect.  In No. 3,
+same plate, we have the foundation work of a tree in a Japanese painting.
+It is needless to point out the marvelous vigor apparent in work
+constructed according to the above principles.
+
+In the painting of rocks, ledges, and the like, Chinanpin taught that the
+curved lines of the fish scales are to be changed into straight lines,
+three in number, of different lengths, two being near together and the
+third line slightly separated, and all either perpendicular or horizontal,
+as in _Plate XXX_, Nos. 1 and 2.  In the same plate, Nos. 3 and 4, we have
+the principle of rock construction illustrated.  In _Plate XXXI_, Nos. 1,
+2 and 3, is seen the practical application of this theory to _kakemono_
+work.  In executing these lines for rocks much stress is laid upon the
+principle of IN YO; on the elevated portions the brush must be used
+lightly (IN) and on the lower portions it must be applied with strength
+(YO).  At the bottom, where grass, mould, and moss accumulate, a rather
+dry brush (KWAPPITSU) is applied with a firm stroke.
+
+Next, there are laws for near and distant tree, shrubbery and grass
+effects, corresponding to the season of the year.  These are known as the
+laws of dots (TEN PO); the saying TEN TAI SAN NEN indicates that it takes
+three years to make them correctly.
+
+They are as follows:
+
+The drooping wistaria dot (SUI TO TEN) _(Plate XXXII a)_ for spring
+effects.
+
+The chrysanthemum dot (KIKU KWA TEN) _(Plate XXXII b)_ used in summer
+foliage.
+
+The wheel spoke dot (SHA RIN SHIN) _(Plate XXXIII a)_, being the
+pine-needle stroke and used for pine trees.
+
+The Chinese character for the verb “to save” (KAI JI TEN) _(Plate XXXIII
+b)_, used for both trees and shrubbery.
+
+The pepper dot (KOSHOTEN) _(Plate XXXIV a)_.  This dot requires great
+dexterity and free wrist movement.  It will be observed that the dots are
+made to vary in size but are all given the same direction.
+
+The mouse footprints (SO SOKU TEN) _(Plate XXXIV b)_, used for cryptomeria
+and other like trees.
+
+The serrated or sawtooth dot (KYO SHI SHIN) _(Plate XXXV a)_, much used
+for distant pine-tree effects.
+
+The Chinese character for “one” (ICHI JI TEN) _(Plate XXXV b)_. The effect
+produced by this character is very remarkable in representing maple and
+other trees whose foliage at a distance appears to be in layers.
+
+The Chinese character for “heart” (SHIN), called SHIN JI TEN _(Plate XXXVI
+a)_. This is used most effectively for both foliage and grasses.
+
+The Chinese character for “positively” (HITSU), called HITSU JI TEN
+_(Plate XXXVI b)_. This dot or stroke is successfully employed in
+reproducing the foliage of the willow tree in spring.
+
+The rice dot, called BEI TEN _(Plate XXXVIII a)_.
+
+The dot called HAKU YO TEN _(Plate XXXVII b)_, being smaller than the
+pepper dot, with the clove dot (SHO JI TEN) surrounding it.
+
+It is a strictly observed rule that none of these dots should interfere
+with or hide the branches of the trees of which they form part.
+
+The term _chobo chobo_ is applied to the practice of always finishing a
+landscape painting, rocks, trees or flowers, with certain dots judiciously
+added to enliven and heighten the general effect.  These dots, done with a
+springing wrist movement, serve to enliven the work and give it freshness,
+just as a rain shower affects vegetation.  The Kano artists were most
+insistent upon _chobo chobo._
+
+There are many quaint aids to artistic effects from time immemorial well
+known to and favored by the old Chinese painters and still successfully
+practiced in Japan.  Probably the larger number of these are employed in
+the technical construction of the Four Paragons (p. 66 _et seq.)._  There
+are still others: as, for instance, the fish-scale pattern _(Plate XIX)_,
+used in painting the clustered needles of the pine tree or the bending
+branches of the willow; the stork’s leg for pine tree branches _(Plate
+XIX)_; the gourd for the head and elongated jaws of the dragon; the egg
+for the body of a bird (_Plate XXII_; the stag horn for all sorts of
+interlacing branches; the turtle back pattern or the dragon’s scales for
+the pine tree bark.  In addition to these, the general shapes of certain
+of the Chinese written characters are invoked for reproducing winding
+streams _(Plate XX)_, groupings of rocks, meadow, swamp, and other grasses
+and the like.
+
+Of course the exact shape of the various Chinese characters here referred
+to must not be actually painted into the composition but merely the
+sentiment of their respective forms recalled.  They are simply practical
+memory aids to desired effects.
+
+It is the spirit of the character rather than its exact shape which should
+control; the order of the painted strokes being that of the written
+character, its sentiment or general shape is thus reproduced.
+
+In this connection I would allude to criticisms or judgments upon Japanese
+painting in which particular stress is laid upon its calligraphic quality.
+If any Japanese artist was seriously informed that his method of painting
+was calligraphic, he would explode with mirth.  There are several ways to
+account for this rather wide-spread error.  Much that is written about
+Japanese painting and its calligraphy is but the repetition by one author
+of what he has taken on trust from another, an effective way sometimes of
+spreading misinformation.  It is quite true that the assiduous study of
+Chinese writing (SHO) is an essential part of thorough art education in
+Japan, not, however, for the purpose of learning to paint as one writes,
+or of introducing written characters more or less transformed into a
+painting (if that be what is meant by “calligraphic”), but simply to give
+the artist freedom, confidence, and grace in the handling of the brush and
+to train his eye to form and balance and to acquire both strength of
+stroke and a knowledge of the sequence of strokes.  To write in Chinese
+after the manner of professionals (SHO KA) is truly a great art, esteemed
+even higher than painting; it requires thirty years of constant practice
+to become expert therein, and it has many laws and profound principles
+which, if mastered by artists, will enable them to be all the greater in
+their painting, and many Japanese artists have justly prided themselves
+upon being expert writers of the Chinese characters.  Okyo practiced daily
+for three years the writing of two intricate characters standing for his
+name, until he was satisfied with their forms, but there is nothing
+calligraphic about any of Okyo’s painting.
+
+Possibly what has misled foreign critics and even some Japanese writers is
+that there exists a class of men in Japan given to learning, to writing,
+and also to painting in a particular way.
+
+These men are called BUN JIN (literati) and their style of painting is
+called BUN JIN FU.  They are not artists, but are known as Confucius’
+scholars (JU SHA), and being professional or trained writers in the
+difficult art of Chinese calligraphy they have a manner of painting
+strictly _sui generis._  It is known as the NAN GWA or southern literary
+way of painting.  Their subjects are the bamboo, the plum, the orchid and
+the chrysanthemum, called the four paragons (SHI KUN SHI).  These and
+landscapes they paint with their writing brush and more or less in what is
+called the grass character (SO SHO) manner of writing.  In fact, they
+often aim to make their painting look like writing and they rarely use any
+color except light-brown (TAI SHA).  They suppress line as distinguished
+from mass.  This method is called _bokkotsu_ (see _Plate XII_). Such
+painting of the NAN GWA school is, in a sense, calligraphic, but that is
+not the kind of painting which Japanese artists are taught, practice and
+profess, nor is it even recognized as an art, but simply as an eccentric
+development of the literary man with a taste for painting.   At one time
+or another well-known artists, especially at the beginning of the Meiji
+era, have affected this BUN JIN calligraphy style simply as a passing
+fashion.
+
+One other possible explanation of the critics pronouncing all Japanese
+paintings calligraphic is that various Chinese characters are, as we have
+seen, invoked and employed by Japanese artists as memory aids to producing
+certain effects; but were these characters introduced calligraphically,
+the result would be laughable.  It should be plain then that Japanese
+painting is not calligraphic; as well apply the term calligraphy to one of
+Turner’s water colors.  On the other hand, Chinese writing is built up on
+word pictures. There are between five and six hundred mother characters,
+all imitating the shapes of objects; these, with their later combinations,
+constitute the Chinese written system, so that while there is nothing
+calligraphic about Japanese painting, there is much that is pictorial
+about Chinese calligraphy.
+
+Other landscape laws applicable to things seen at a distance in a painting
+require that distant trees should show no branches nor leaves; people at a
+distance, no features; distant mountains, no ledges; distant seas or
+rivers, no waves.  Again, clouds should indicate whence they come; running
+water the direction of its source; mountains, their chains; and roads,
+whither they lead.
+
+In regard to painting moving waters, whether of deep or shallow, in rivers
+or brooks, bays or oceans, Chinanpin declared it was impossible for the
+eye to seize their exact forms because they are ever changing and have no
+fixed, definite shape, therefore they can not be sketched satisfactorily;
+yet, as moving water must be represented in painting, it should be long
+and minutely contemplated by the artist, and its general character—whether
+leaping in the brook, flowing in the river, roaring in the cataract,
+surging in the ocean or lapping the shore—observed and reflected upon, and
+after the eye and memory are both sufficiently trained and the very soul
+of the artist is saturated, as it were, with this one subject and he feels
+his whole being calm and composed, he should retire to the privacy of his
+studio and with the early morning sun to gladden his spirit there attempt
+to reproduce the movement of the flow; not by copying what he has seen,
+for the effect would be stiff and wooden, but by symbolizing according to
+certain laws what he feels and remembers.
+
+In work of this kind there are certain directions for the employment of
+the brush which can only be learned from oral instruction and
+demonstration by the master.
+
+In _Plate XXXVIII_ a, 1, the method by which waves are reproduced is
+shown, the circles indicating where the brush is turned upon itself before
+again curving.  On the same plate (b) waveless water, shallow water, and
+river water with current are indicated at the top, middle and bottom,
+respectively.  In _Plate XXXIX_ a, we have the moving waters of an inland
+sea; in b, the bounding waters of a brook; in _Plate XL_, the stormy waves
+of the ocean.
+
+We will now consider another unique department of Japanese painting in
+connection with the garments of human beings.  The lines and folds of the
+garment may be painted in eighteen different ways according to what are
+known as the eighteen laws for the dress (EMON JU HACHI BYO).  I will
+mention each of these laws in its order and refer to the plate
+illustrations of the same.
+
+The floating silk thread line (KOU KO YU SHI BYOU) (_Plate XLI_ upper).
+This line was introduced by the Tosa school of artists eight hundred years
+ago and has been in favor ever since.  It is the purest or standard line
+and is reserved for the robes of elevated personages.  The brush is held
+firmly and the lines, made to resemble silk threads drawn from the cocoon,
+are executed with a free and uninterrupted movement of the arm.
+
+The Koto string line (KIN SHI BYOU) (_Plate XLI_ lower).  This is a line
+of much dignity and of uniform roundness from start to finish.  It is
+produced by using a little more of the tip of the brush than in the silk
+thread line and there must be no break or pause in it until completed.
+This line is used for dignified subjects.
+
+Chasing clouds and running water lines (KOU UN RYU SUI BYOU) (_Plate XLII_
+upper).  These are produced with a wave-like, continuous movement of the
+brush—breathing, as it were.  Such lines are generally reserved for the
+garments of saints, young men and women.
+
+The stretched iron wire line (TETSU SEN BYOU) (_Plate XLII_ lower). This
+is a very important line, much employed by Tosa artists and used for the
+formal, stiffly searched garments of court nobles, _samurai,_ NO dancers,
+and umpires of wrestling matches.  When this line is painted the artist
+must have the feeling of carving upon metal.
+
+The nail-head and rat-tail line (TEI TOU SOBI BYOU) (_Plate XLIII_ upper).
+In making this, the stroke is begun with the feeling of painting and
+reproducing the hard nature of a tack and then continued to depict a rat’s
+tail, which grows small by degrees and beautifully less.
+
+The line of the female court noble or _tsubone_ (SOU I BYOU) (_Plate
+XLIII_ lower).  This line and the preceding are much used for the soft and
+graceful garments of young men and women and have always been favorites
+with the _Ukiyo e_ painters.
+
+The willow-leaf line (RYU YOU BYOU) (_Plate XLIV_ upper).  This line has
+always been in great favor with all the schools, and especially with the
+Kano painters, and is used indiscriminately for goddesses, angels, and
+devils.  It is intended to reproduce the sentiment of the willow leaf,
+commencing with a fine point, swelling a little and again diminishing.
+
+The angleworm line (KYU EN BYOU) (_Plate XLIV_ lower).  The angleworm is
+of uniform roundness throughout its length and it is with that sentiment
+or _kokoromochi_ that it must be painted, care being taken to conceal the
+point of the brush along the line.  This is a most important line in all
+color painting. Indeed, where much pains are to be taken with the picture,
+and the colors are to be most carefully laid on, it is the best and
+favorite line.
+
+The rusty nail and old post line (KETSU TOU TEI BYOU) (_Plate XLV_ upper).
+This line is painted with a brush, the point of which is broken off.  The
+Kano school of artists particularly affect this method of line painting in
+depicting beggars, hermits, and other such characters.
+
+The date seed line (SAU GAI BYOU) (_Plate XLV_ lower).  This line,
+intended to represent a continuous succession of date seeds, is made with
+a throbbing brush and generally used in the garments of sages and famous
+men of learning.
+
+The broken reed line (SETSU RO BYOU) (_Plate XLVI_ upper) is made with a
+rather dry brush and, as its name indicates, should be painted with the
+feeling of reproducing broken reeds.  It is a line intended to inspire
+terror, awe, consternation, and is used for war gods, FUDO _sama,_ and
+other divinities.
+
+The gnarled knot line (KAN RAN BYOU) (_Plate XLVI_ lower).  In this kind
+of painting the brush is stopped from time to time and turned upon itself
+with a feeling of producing the gnarled knots of a tree.  The line is much
+used for ghosts, dream pictures, and the like.
+
+The whirling water line (SEN PITSU SUI MON BYOU) (_Plate XLVII_ upper) is
+used for rapid work and reproduces the swirl of the stream.  It was a
+favorite line with Kyosai.
+
+The suppression line (GEN PITSU BYOU) (_Plate XLVII_ lower) is suitable
+where but few lines enter into the painting of the dress.  Any of the
+other seventeen lines can be employed in this way.  The Kano artists used
+it a great deal.
+
+Dry twig or old firewood line (KO SHI BYOU) (_Plate XLVIII_ upper) is
+generally used in the robes of old men and produced by what is called the
+dry brush; that is, a brush with very little water mixed with  the _sumi._
+The stroke must be bold and free to be effective.
+
+The orchid leaf line (RAN YAU BYOU) (_Plate XLVIII_ lower). This is a very
+beautiful method of painting whereby the graceful shape of the orchid leaf
+is recalled; the line is used for the dresses of _geishas_ and beauties
+_(bijin)_ generally.
+
+The bamboo leaf line (CHIKU YAU BYOU) (_Plate XLIX_ upper).  This style of
+painting, which aims at suggesting the leaf of the bamboo, was much in
+favor formerly in China.  Japanese artists seldom employ it.
+
+The mixed style (KON BYOU) (_Plate XLIX_ lower), in which any of the
+foregoing seventeen styles can be employed provided the body of the
+garment be laid on first in mass and the lines painted in afterward while
+the _sumi_ or paint is still damp.  This gives a satiny effect.
+
+There are many other ways of painting the lines of the garment but the
+preceding eighteen laws give the strictly classic methods known to
+oriental art.
+
+The orchid, bamboo, plum, and chrysanthemum paragons (RAN CHIKU BAI KIKU)
+are called in art the Four Paragons.  Although these may be the first
+studies taught they are generally the last subjects mastered.  Much
+learning and research have been expended upon them in China and Japan. An
+artist who can paint SHI KUN SHI is a master of the brush.  I will
+indicate some of the laws applicable to each of these subjects.
+
+The orchid grows in the deepest mountain recesses, exhaling its perfume
+and unfolding its beauty in silence and solitude, unheralded and unseen;
+thus, regardless of its surroundings and fulfilling the law of its being,
+fifteen hundred years ago it was proclaimed by the poet and painter San
+Koku to typify true nobility and hence was a paragon.  In poetry it is
+called the maiden’s mirror.  Many great Chinese writers have taken the
+orchid (RAN) for their nom de plume, as Ran Ya, Ran Tei, Ran Kiku, and Ran
+Ryo.
+
+_Plate LII_ shows an orchid plant in flower.  The established order of the
+brush strokes for the leaves of is indicated at the tips by numerals one
+to eleven; that of the flower stalk and flower by numbers twelve to
+twenty-one.  Various forms are invoked in painting both the plant and the
+flower and are more or less graphically suggested.  These forms are
+indicated by numbers, as follows:
+
+Leaf blade No. 1 reproduces twice the stomach of the mantis (22), the tail
+of the rat (23), with the cloud longing (BO UN) of the tip (24).  Leaf No.
+2 is similarly constructed but is painted to intersect leaf No. 1, leaving
+between them a space (No. 25) called the elephant’s eye.  Leaf No. 3 is
+intersected by leaf No. 4, enclosing another space between them, known as
+the eye of the phoenix.  Adding leaves Nos. 5 and 6, called SEKI or
+_kazari,_ meaning ornament, we have the most essential parts of the orchid
+plant.  Leaf No. 7 is known as the rat’s tail and leaf No. 8 as the body
+of a young carp.  Nos. 9,10 and 11 are called nail heads, from their
+fancied resemblance to such objects.  With these the plant is structurally
+complete.
+
+                 [Bamboo, Sparrow and Rain.  Plate VII.]
+
+                  Bamboo, Sparrow and Rain.  Plate VII.
+
+
+The flower stalk is divided into four parts (Nos. 12 to 15), called rice
+sheaths.  The flower is made with six strokes (16 to 21), called the
+flying bee (26).  The three dots in the flower reproduce the sentiment of
+the Chinese character for heart (23).
+
+The orchid is variously painted rising from the ground, issuing from the
+banks of a brook, or clinging with its roots to a rocky cliff.  In
+allusion to the lonely places where it grows it is called _I shiri no
+kusa_ or the plant which the wild boar knows.  The orchid is credited with
+medicinal properties, and the flower steeped in wine makes a potion which
+secures perpetual health.  The charm of friendship is likened unto the
+orchid’s perfume and the flowers are worn by the ladies of the court to
+ward off maladies.
+
+The leaves of the bamboo are green at all seasons.  The stems are straight
+and point upwards.  The plant is beautiful under all conditions—struggling
+beneath the winter snow or fanned by the spring breeze, swaying with the
+storm or bending under showers—its grace challenges admiration.  Typifying
+constancy and upright conduct, it was claimed over a thousand years ago by
+Shumo Shiku to be a paragon.
+
+Nothing is more difficult to paint correctly than this plant.  _Plate
+LIII_ shows the bamboo with its essentially component parts and forms
+indicated as follows: The upright stalk is in five subdivisions (1 to 5),
+each differing in length but all suggesting the Chinese character for one
+(ICHI) painted upright.  These are separated from each other by strokes
+reproducing the Chinese characters for positively (22), for heart (23),
+for second (24), for one (25), and for eight (26).  The stem (6 to 10) is
+composed of rats’ tails.  The manner of painting and combining the leaves
+of the bamboo is called _take no ha no kumitata_ and is minutely described
+and illustrated in Ransai’s great work, _Gwa Fu._  The essentials are: The
+five-leaf arrangement (GO YO) (11 to 15) with the ornament (16), called
+_kazari._ The three-leaf arrangement (17 to 19) called KO JI, from its
+resemblance to the Chinese character KO (32).  The two-leaf arrangement
+(20 and 21) called JIN JI, from its resemblance to the character JIN (33),
+a man.  In further development of the plant the following imitative
+arrangements of the leaves are used: The fish tail (GYO BI) (27), the
+goldfish triple tail (KINGYO BI) (28), the swallow tail (EN BI) (29), the
+Chinese character for bamboo (CHIKU JI) (30), and the seven-leaf
+arrangement (SHICHI YO) (31).  It will be observed how the odd or positive
+numbers (YO) are favored.  The foregoing method is used by the Okyo
+painters.
+
+The Kano artists have another system for combining and elaborating the
+leaf growth, but it does not differ radically from that here given.  The
+leaf of the bamboo reproduces the shape of a carp’s body (34).  It also
+resembles the tail feathers of the phoenix.  An oil is made from the
+bamboo and is said to be good for people with quick tempers.  Many artists
+adopt the name of bamboo for their nom de plume; witness, Chiku Jo, Chiku
+Do, Chiku Sho, Chiku Den and the like.
+
+It is said that the full moon casts the shadow of the bamboo in a way no
+other light approaches.  The learned Okubu Shibutsu first observed this
+and the discovery led to his becoming the greatest of all bamboo painters.
+Nightly he used to trace with _sumi_ such bamboo shadows on his paper
+window.  Sho Hin, a lady artist of Tokyo, enjoys a well-earned reputation
+for painting bamboo.  She was a pupil of Tai Zan, a Kyoto representative
+of the Chinese school.  The Kano painters much favored the subject of the
+seven sages in the bamboo grove.  Bamboo grass (SASSA) is much painted by
+all the schools.  It is very decorative.  There is a male and a female
+bamboo; from the latter _(medake)_ arrows are made.  The uses to which man
+puts the bamboo are surprisingly numerous, thus fortifying its claims to
+be regarded a paragon.
+
+The plum is the first tree of the year to bloom.  It has a dejicate
+perfume.  Though the trunk of the tree grows old it renews its youth and
+beauty every spring with vigorous fresh branches crowded with buds and
+blossoms.  In old age the tree takes on the shape of a sleeping dragon.
+With no other flower or tree are associated more beautiful and pathetic
+folk-lore and historical facts.  For these and other reasons Rennasei
+assigned to the plum its place as a paragon centuries and centuries ago.
+
+The tree branches with their interlacings reproduce the spirit of the
+Chinese character for woman, called JO JI (_Plate L_, No. 1).  The blossom
+(2) is painted on the principle of IN YO, the upper portion of the petal
+line being the positive or YO and the lower being the negative or IN side.
+This is repeated five times for the five petals of the blossom (3). The
+stamens (4) and pistils are reproductions of the Chinese character SHO,
+meaning small.  For the calyx (5) the Chinese character for clove (CHO) is
+invoked.
+
+The great scholar and nobleman, Sugewara Michizane, particularly loved the
+plum tree. Banished from his home, as he was leaving his grounds he
+addressed that silent sentinel of his garden in the following verse, which
+has earned immortality:
+
+Do thou, dear plum tree, send out thy perfume when the east wind blows;
+And, though thy master be no longer here,
+Forget not to blossom always when the springtime comes.
+
+In Japan the plum, though not eaten raw, when salted has wonderful
+strength sustaining properties, and in wartime supplies as _ume boshi_ a
+valuable concentrated food.
+
+The chrysanthemum has been cultivated in China for four thousand years and
+its fame was sung by the poet and scholar, To En Mei, who prized it above
+all else under heaven and assigned it the rank of paragon.
+
+When all Nature is preparing for the long sleep of winter and the red,
+brown and golden forest leaves are dropping, spiritless, to the ground,
+the chrysanthemum comes forth from the earth in fresh and radiant colors.
+It gladdens the heart in the sad season of autumn.  Its clustered petals,
+all united and never scattering, typify the family, the state, and the
+Empire.  For the last six hundred years the sixteen-petaled chrysanthemum
+has been the emblem of Imperial sovereignty in Japan.  With artists it has
+always been a favorite flower subject.  There are innumerable ways of
+painting it.
+
+_Plate LI_ shows the chrysanthemum flower and leaves painted in the Okyo
+manner.  There is an established order in which the leaves must be
+executed. Viewed from the front (Nos. 1 and 2) the order of the brush
+stroke is as indicated on the plate; viewed from the side the brush is
+applied in the order indicated in Nos. 4 and 5.  The flower (6 and 7) is
+built up from the bud (5), petals being added according to the effect
+sought.  The flower half opened is shown in No. 6, and wholly opened in
+No. 7.  The calyx somewhat reproduces the Chinese written character CHO.
+The Kano painters have a different way of painting the chrysanthemum
+leaves and flowers, but the foregoing illustrates the general principles
+obtaining in all the schools.  Korin painted the KIKU in a manner quite
+different from that of any other artist.  The word KIKU is Chinese, the
+Japanese word for the flower being _kawara yomogi._  The Nagoya artists
+have always been particularly skilful in painting the chrysanthemum in an
+exceptionally engaging way.  The little marguerite-like blossom is called
+_mame-giku,_ and is a universal favorite among all artists.
+
+The impression produced on one who for the first time hears enumerated
+these various laws may possibly be that all such methods for securing
+artistic effects are arbitrary, mechanical and unnatural.  But in
+practice, the artist who invokes their aid finds they produce invariably
+pleasing and satisfactory results.  It must not be supposed that such laws
+are exclusive of all other methods of painting in the Japanese style.  On
+the contrary the artist is at liberty to use any other method he may
+select provided the result is artistically correct.  Many painters have
+invented methods of their own which are not included in the foregoing
+enumeration of these laws of lines, dots and ledges, which, it must always
+be borne in mind, are only to assist the artist who may be in doubt or
+difficulty as to how he shall best express the effect he aims at.  It is
+such second nature for him to employ them that he does so as unconsciously
+as one in writing will invoke the rules of grammar.  It is related that a
+great statesman, being asked if it were necessary for a diplomat to know
+Latin and Greek, replied that it was quite sufficient for him to have
+forgotten them.  And so with these laws.  A knowledge of them is a
+necessary part of the education of every Japanese artist, for they lie at
+the very foundation of the art of oriental painting.  Chinese writing
+abounds with similar principles; it is a law applicable to one kind of
+such writing, called REI SHO, that in each character there shall be one
+stroke which begins with the head of a silkworm and terminates with a
+goose’s tail.  This also may sound odd and seem forced, yet this law gives
+a special and wonderful _cachet_ to the character so written.
+
+Some acquaintance with these principles and methods invoked by artists
+adds much to our keen enjoyment of their work, just as an analysis of the
+chords in a musical composition increases our pleasure in the harmonies
+they produce.  Ruskin has discovered in the very earliest art the frequent
+use of simple forms suggested by the slightly curved and springing profile
+of the leaf bud which, he declares, is of enormous importance even in
+mountain ranges, when not vital but falling force is suggested.  “This
+abstract conclusion the great thirteenth century artists were the first to
+arrive at” (Ruskin’s Mod. Painters, Vol. III), and even in the
+architecture of the best cathedrals that author detects the observance of
+the law determining in an ivy leaf the arrangement of its parts about a
+center.
+
+In Japanese art simple forms supplied by nature are often used for
+suggesting other forms as, for instance, the stork’s legs for the pine
+tree branches, the turtle’s back for the pine bark lines, the fish tail
+for bamboo leafage, the elephant’s eye in the orchid plant, the shape of
+Fujiyama for the forehead of a beautiful woman, and various Chinese
+characters, originally pictorial, adumbrated in trees, flowers and other
+subjects.  The universality of such underlying type forms recognized and
+applied by oriental artists is confirmatory of the principle that in both
+nature and art all is united by a common chain or _commune vinculum_
+attesting the harmony between created things.  A Japanese painting
+executed with the aid of such resources teems with vital force and
+suggestion, and to the eye of a connoisseur _(kuroto)_ becomes a breathing
+microcosm.
+
+To give some idea of the order in which the component parts of an object
+are painted according to Japanese rules, which are always stringently
+insisted upon, flowers like the chrysanthemum and peony are begun at their
+central point and built up from within outwardly, the petals being added
+to increase the size as the flower opens.  In a flower subject the
+blossoms are painted first; the buds come next; then the stem, stalks,
+leaves and their veinings, and lastly the dots called _chobo chobo._
+
+The established order for the human figure is as follows: Nose and
+eyebrows, eyes, mouth, ears, sides of the face, chin, forehead, head,
+neck, hands, feet, and finally the appareled body.  In Japanese art the
+nude figure is never painted.
+
+In a tree the order is trunk, central and side limbs _(Plate XXI)_,
+branches and their subdivisions, leaves and their veinings, and dots.
+
+In birds: The beak in three strokes (TEN, CHI, JIN), the eye, the head,
+the throat and breast, the back, the wings, the body, the tail, the legs,
+claws, nails and eyeball _(Plate XXII)_.
+
+In landscape work the general rule is to paint what is nearest first and
+what is farthest last.  Kubota’s method was to do all this rapidly and, if
+possible, with one dip of the well-watered brush into the _sumi,_ so that
+as the _sumi_ becomes gradually diluted and exhausted the proper effect of
+foreground, middle distance and remote perspective is obtained.
+
+In painting mountain ranges that recede one behind the other the same
+process is followed, and mountains as they disappear to the right or left
+of the picture should tend to rise.  This principle is called BO UN or
+cloud longing.
+
+It is useless here to enumerate the many faults which art students are
+warned against committing.  Suffice it to say the number is enormous.  Out
+of many of the Chinese formulas I will give only one, which is known as
+SHI BYO or the four faults, and is as follows:
+
+JA, KAN, ZOKU, RAI.  JA refers to attempted originality in a painting
+without the ability to give it character, departing from all law to
+produce something not reducible to any law or principle.  KAN is producing
+only superficial, pleasing effect without any _power_ in the brush
+stroke—a characterless painting to charm only the ignorant. ZOKU refers to
+the fault of painting from a mercenary motive only,—thinking of money
+instead of art.  RAI is the base imitation of or copying or cribbing from
+others.
+
+
+
+
+
+ [Chapter 5 Head-Band: Maple leaves are associated with Ten Jin (Sugiwara
+Michizane), patron of learning.  Children in invoking his aid in a little
+ prayer count the points of the maple leaf, saying, “yoku te agar”—assist
+   us to be clever. In Japanese the maple leaf is called kaide, meaning
+                              frog’s hand.]
+
+
+CHAPTER FIVE. CANONS OF THE AESTHETICS OF JAPANESE PAINTING
+
+
+One of the most important principles in the art of Japanese
+painting—indeed, a fundamental and entirely distinctive characteristic—is
+that called living movement, SEI DO, or _kokoro mochi,_ it being, so to
+say, the transfusion into the work of the felt nature of the thing to be
+painted by the artist.  Whatever the subject to be translated—whether
+river or tree, rock or mountain, bird or flower, fish or animal—the artist
+at the moment of painting it must feel its very nature, which, by the
+magic of his art, he transfers into his work to remain forever, affecting
+all who see it with the same sensations he experienced when executing it.
+
+This is not an imaginary principle but a strictly enforced law of Japanese
+painting.  The student is incessantly admonished to observe it.  Should
+his subject be a tree, he is urged when painting it to feel the strength
+which shoots through the branches and sustains the limbs.  Or if a flower,
+to try to feel the grace with which it expands or bows its blossoms.
+Indeed, nothing is more constantly urged upon his attention than this
+great underlying principle, that it is impossible to express in art what
+one does not first feel.  The Romans taught their actors that they must
+first weep if they would move others to tears.  The Greeks certainly
+understood the principle, else how did they successfully invest with
+imperishable life their creations in marble?
+
+In Japan the highest compliment to an artist is to say he paints with his
+soul, his brush following the dictates of his spirit.  Japanese painters
+frequently repeat the precept:
+
+_Waga kokoro waga te wo yaku_
+_Waga te waga kokoro ni ozuru._
+
+Our spirit must make our hand its servitor;
+Our hand must respond to each behest of our spirit.
+
+The Japanese artist is taught that even to the placing of a dot in the
+eyeball of a tiger he must first feel the savage, cruel, feline character
+of the beast, and only under such influence should he apply the brush.  If
+he paint a storm, he must at the moment realize passing over him the very
+tornado which tears up trees from their roots and houses from their
+foundations.  Should he depict the seacoast with its cliffs and moving
+waters, at the moment of putting the wave-bound rocks into the picture he
+must feel that they are being placed there to resist the fiercest movement
+of the ocean, while to the waves in turn he must give an irresistible
+power to carry all before them; thus, by this sentiment, called living
+movement (SEI DO), reality is imparted to the inanimate object.  This is
+one of the marvelous secrets of Japanese painting, handed down from the
+great Chinese painters and based on psychological principles—matter
+responsive to mind.  Chikudo, the celebrated tiger painter _(Plate VI)_,
+studied and pondered so long over the savage expression in the eye of the
+tiger in order to reproduce its fierceness that, it is related, he became
+at one time mentally unbalanced, but his paintings of tigers are
+inimitable.  They exemplify SEI DO.
+
+From what has been said it will be appreciated why, in a Japanese
+painting, so much value is attached to the strength with which the brush
+strokes are executed _(fude no chicara),_ to the varying lights and shades
+of the _sumi_ (BOKU SHOKU), to their play and sheen _(tsuya),_ and to the
+manifestation of the artist’s power according to the principle of living
+movement (SEI DO).  In a European painting such considerations have no
+place.
+
+An oil painting can be rubbed out and done over time and again until the
+artist is satisfied.  A _sumi e_ or ink painting must be executed once and
+for all time and without hesitation, and no corrections are permissible or
+possible.  Any brush stroke on paper or silk painted over a second time
+results in a smudge; the life has left it.  All corrections show when the
+ink dries.
+
+Japanese artists are not bound down to the literal  presentation  of
+things  seen.  They  have  a canon, called _esoragoto,_ which means
+literally an invented picture, or a picture into which certain invention
+fictions are painted.
+
+Every painting to be effective must be _esoragoto;_ that is, there must
+enter therein certain artistic liberties.  It should aim not so much to
+reproduce the exact thing as its sentiment, called _kokoro mochi,_ which
+is the moving spirit of the scene.  It must not be a facsimile.
+
+When we look at a painting which pleases us what is the cause or source of
+our satisfaction?  Why does such painting give us oftentimes more
+satisfaction than the scene itself which it recalls?  It is largely
+because of _esoragoto_ or the admixture of invention (the artistic
+unreality) with the unartistic reality; the poetic handling or treatment
+of what in the original may in some respects be commonplace.
+
+A correctly executed Japanese painting in _sumi_ called _sumi e,_ is
+essentially a false picture so far as color goes, where anything in it not
+black is represented.  Hence, _sumi_ paintings of landscapes, flowers and
+trees, are untrue as to color, and the art lies in making things thus
+represented seem the opposite of what they appear and cause the sentiment
+of color to be felt through a medium which contains no color.  This is
+_esoragoto._
+
+It is related that Okubo Shibutsu, famous for painting bamboo, was
+requested to execute a _kakemono_ representing a bamboo forest.
+Consenting, he painted with all his known skill a picture in which the
+entire bamboo grove was in red. The patron upon its receipt marveled at
+the extraordinary skill with which the painting had been executed, and,
+repairing to the artist’s residence, he said: “Master, I have come to
+thank you for the picture; but, excuse me, you have painted the bamboo
+red.”  “Well,” cried the master, “in what color would you desire it?”  “In
+black, of course,” replied the patron.  “And who,” answered the artist,
+“ever saw a black-leaved bamboo?”  This story well illustrates
+_esoragoto._  The Japanese are so accustomed to associate true color with
+what the _sumi_ stands for that not only is fiction in this respect
+permissible but actually missed when not employed.  In a landscape
+painting effects are frequently introduced which are not to be found in
+the scene sketched.  The false or fictitious is added to heighten the
+effect.  This is _esoragoto—_ the privileged departure, the false made to
+seem true.  In a landscape a tree is often found to occupy an unfortunate
+place or there is no tree where its presence would heighten the effect.
+Here the artist will either suppress or add it, according to the
+necessities of treatment.  Not every landscape is improved by trees or
+plantations; nor, indeed, is every view containing trees a type scene for
+landscape treatment.  Hence, certain liberties are conceded the artist
+provided only the effect is pleasing and satisfactory and that no
+probabilities seem violated.  This is _esoragoto._  Horace understood this
+and lays it down as a fundamental principle in art: “_Quid libet
+audendi_”.  The artist will oftentimes see from a point of view impossible
+in nature, but if the result is pleasing the liberty is accorded.  Sesshu,
+one of the greatest landscape painters of Japan, on returning to his own
+country after having studied some years in China, made a painting of his
+native village with its temple and temple groves, winding river and pagoda
+or five-roofed tower.  His attention being subsequently called to the fact
+that in this village there was no tower or pagoda, he exclaimed that there
+ought to be one to make the landscape perfect, and thereupon he had the
+tower constructed at his own expense.  He had painted in the pagoda
+unconsciously.  This was _esoragoto._
+
+There are no people in the world who have a higher idea of the dignity of
+art than the Japanese and it is a principle with them that every painting
+worthy of the name should reflect that dignity, should testify to its own
+worth and thus justly impress with sentiments of admiration those to whom
+it may be shown.  This intrinsic loftiness, elevation or worth is known in
+their art by the term KI IN.  Without this quality the painting,
+artistically considered and critically judged, must be pronounced a
+failure.  Such picture may be perfect; in proportion and design, correct
+in brush force and faultless in color scheme; it may have complied with
+the principles of IN YO, and TEN, CHI, JIN or heaven, earth and man; it
+may have scrupulously observed all the rules of lines, dots and ledges and
+yet if KI IN be wanting the painting has failed as a work of true art.
+What is this subtle something called KI IN?
+
+In our varied experiences of life we all have met with noble men and women
+whose beautiful and elevating characters have impressed us the moment we
+have been brought into relation with them.  The same quality which thus
+affects us in persons is what the Japanese understand by KI IN in a
+painting.  It is that indefinable something which in every great work
+suggests elevation of sentiment, nobility of soul.  From the earliest
+times the great art writers of China and Japan have declared that this
+quality, this manifestation of the spirit, can neither be imparted nor
+acquired.  It must be innate.  It is, so to say, a divine seed implanted
+in the soul by the Creator, there to unfold, expand and blossom,
+testifying its hidden residence with greater or lesser charm according to
+the life spent, great principles adhered to and ideals realized.  Such is
+what the Japanese understand by KI IN.  It is, I think, akin to what the
+Romans meant by _divinus afflatus—_that divine and vital breath, that
+emanation of the soul, which vivifies and ennobles the work and renders it
+immortal.  And it is a striking commentary upon artist life in Japan that
+many of the great artists of the Tosa and Kano schools, in the middle
+years of their active lives, retired from the world, shaved their heads,
+and, taking the titular rank of HOGEN, HOIN or HOKYO, became Buddhist
+priests and entered monasteries, there to pass their remaining days,
+dividing their time between meditation and inspired work that they might
+leave in dying not only spotless names but imperishable monuments raised
+to the honor and glory of Japanese art.
+
+
+
+
+
+            [Chapter 6 Head-Band: The chrysanthemum pattern.]
+
+
+CHAPTER SIX. SUBJECTS FOR JAPANESE PAINTING
+
+
+                                (GWA DAI)
+
+
+A Japanese artist will never of his own accord paint a flower out of
+season or a spring landscape in autumn; the fitness of things insensibly
+influences him.  From ancient times certain principles have determined his
+choice of subjects, according either to the period of the year or to the
+festivals, ceremonies, entertainments or other events he may be required
+to commemorate.  All such subjects are called GWA DAI.  As one without
+some knowledge of these cannot appreciate much that is interesting about
+art customs in Japan, a brief reference to them will be made, beginning
+with those subjects suitable to the different months of the year:
+
+January—For New Year’s  day  (SHO GWATSU GWAN JITSU) favorite subjects are
+“the sun rising above the ocean,” called _hi no de ni nami_ (_Plate LIV_
+No.  1); “Mount  Horai” (2), “the sun with storks and tortoises” (3, 4,
+5); or “Fukurokuju,” a god of good luck.  Many meanings are associated
+with these subjects.  The sun never changes and the ocean is ever
+changing, hence IN YO is symbolized.  The sun, the ocean and the
+circumambient air symbolize TEN CHI JIN or the universe.  Horai (SAN) is a
+symbol for Japan.  It is the lofty mountain on a fabled island in the
+distant sea, referred to in early Chinese writings, inhabited by sages
+(SEN NIN), and containing the pine, bamboo and plum (known in art as SHO,
+CHIKU, BAI), the pine standing for longevity, the bamboo for rectitude and
+the plum blossom for fragrance and grace.  The stork and the tortoise,
+whose back is covered with seaweed, both typify long life, the ancient
+saying being that the stork lives for one thousand and the tortoise for
+ten thousand years _(tsuru wa_ SEN NEN, _kame wa_ MAN NEN).  Fukurokuju is
+one of the seven gods of good luck, whose name means happiness, wealth and
+long life.  On New Year’s day are suspended on either side of his picture
+bamboo and plum subjects (_Plate LV_, 1, 2, 3).  This jovial god’s name is
+sometimes happily interpreted by a triple _kakemono_ (SAN BUKU TSUI): The
+middle one is the sun and waves, for long life (JU); on the right, rice
+grains, for wealth (ROKU), and on the left the flower of the cotton plant,
+for happiness (FUKU), because its corolla is golden and its fruit silvery,
+the gold and silver suggesting felicity (_Plate LVI_, 1, 2, 3).  This
+makes a charming combination.  An excursion into the fields of Chinese
+philology in connection with the name of this god of good luck would
+unfold some wonderful word picturing. Traced to their hieroglyphical
+beginnings, FUKU signifies blessings from heaven; ROKU, rank, commemorated
+in  carving,  and (JU), agricultural pursuits, associated with white hair.
+
+An especially appropriate picture for this season of great festivity is
+called “the pine at the gate” _(kado matsu)._  It commemorates the custom
+on the first day of the year of planting pine trees at the entrance to
+Japanese public buildings and private residences.  From the rope
+_(shimenawa)_ (_Plate LV_, 4) are suspended strips of white paper
+_(gohei)_ typifying purity of the soul; these hang in groups of three,
+five and seven, the odd or lucky number series associated with the
+positive or male principle (YO) of IN YO.  Another appropriate subject for
+this early season of the year is rice cakes _(mochi)_ in the shapes of the
+sun and full moon (_Plate LV_, 5).  In the picture the fruit called _dai
+dai_ is placed on the top of the rice cakes, the word DAI meaning ages,
+hence associated with longevity.  At the base of the stand is a prawn
+_(ebi)._  This equally suggests old age because the prawn is bent in two.
+The leaf of the _yuzuri_ is introduced because it is an auspicious word
+and means succession.  The picture of a battledoor and shuttlecock
+_(hagoita)_ is also appropriate for New Year as  it commemorates the
+ancient practice of the Japanese indulging in that pastime on that day
+(_Plate LVI_, 4).
+
+During January a very popular picture for the alcove _(tokonoma)_ is the
+treasureship, called _taka-rabune_ (_Plate LVI_, 5). The vessel as it
+sails into port is heavily laden with all of the various tools and
+utensils typifying great wealth to be found in the capacious bag of Dai
+Koku, a Japanese god of good luck.  These are a ball, a hammer, weights,
+cloves, silver bronze, and the god’s raincoat and hat.  On the evening of
+the second of January if the painting of a treasureship be put under the
+pillow and one dreams of either Fujisan, a falcon or an eggplant, the year
+long he will be fortunate.  It will be observed that on the sail of the
+treasure boat is inscribed the Chinese character for TAKARA, meaning
+treasure.  On the seventh day of January occurs the first of the five
+holidays, called _go sekku,_ and vegetable subjects are painted.  These
+are called the seven grasses _(hotoke za_ or _nana kusa)_ and consist of
+parsley, shepherd’s purse, chickweed, saint’s seat, wild turnip and
+radish.  They are susceptible of most artistic treatment and ingenious,
+original designs are often evolved (_Plate LVII_, 6).
+
+February—The cock and the hen, with the budding plum branch, are now
+appropriate.  The subject is known as the “plum and chickens” _(ume ni
+tori)_ (_Plate LVII_, 1).  The chicken figures in the earliest history of
+Japan.  When the cock crows the Japanese hear the words KOKKA KOO, which,
+phonetically rendered into Chinese characters, read “happiness to our
+entire land.”  The Chinese hear differently.  To them the cock crows TOTEN
+KO, meaning “the eastern heavens are reddening,” so to them the cock
+heralds the early morn.  Famous paintings of chickens have come from the
+brushes of Okyo, Tessan (_Plate III_), and others of the Maruyama school.
+During February, the month of the plum, the appropriate paintings are of
+that flower and the Japanese warbler _(ume ni uguisu)_ (_Plate LVII_, 2).
+This singing bird announces the spring with its melodious notes (HOHO
+KEKYO), which, rendered by the Buddhist into Chinese characters, give the
+name of the principal book of the eighteen volumes of Shaka, entitled,
+“the marvelous law of the lotus.”  Another picture suitable to February is
+known as “the last of the snow” _(zan setsu)_ (_Plate LVII_, 3).
+
+March—This month is associated with the peach blossom, and _kakemono_ of
+gardens containing peach trees, called _momo no_ EN (_Plate LVII_, 4), are
+in favor.  Toba Saku is related to have lived eight thousand years
+subsisting upon the fruit of the peach; hence, the peach blossom is a
+symbol for longevity, and _sake_ made from the fruit is drunk throughout
+Japan in March.  One of the most famous prose writings in Chinese
+literature is RAN-TEI KIOKA SUI.  It commemorates a pastime of the
+learned, called “the _sake_ cup.”  A favorite way of interpreting this
+subject is to paint a garden of blossoming peach trees and spreading
+banana palms bordering a flowing stream, with a nobleman attaching to a
+peach branch a narrow paper (TANJAKU) upon which he has written a poem.
+Another famous Chinese prose composition, “the peach and apricot garden
+festival,” written by Ri Tai Haku at the age of fourteen years, is
+interpreted by depicting Toba Saku in a garden seated before a table, with
+three Chinese beauties attendant upon him, with celebrated scholars and
+sages circulating midst the flowers and blossoms.  Five principal
+festivals of the year, known as _go sekku,_ occur respectively on the
+seventh day of January, the third day of March, the fifth day of May, the
+seventh day of July and the ninth day of September—all being on the odd
+days of the odd months (the YO of IN YO).  On the third day of the third
+month is the _hina matsuri_ festival for young girls, and the appropriate
+painting for the occasion is called _kami bina,_ meaning paper dolls
+(_Plate LVII_, 5).  The greatest Japanese artists of the past have vied to
+make their treatment of this subject superb.  When a female child is born
+a _kami bina_ painting is presented to the family to contribute to the
+festivities.  The month of March is the month of the cherry blossom
+_(sakura bana),_ and the picture on _Plate LVIII_, 1, illustrates one
+method of painting cherry trees ornamenting the mountainside of a canyon,
+through which flows a river.  During March picnic parties go upon the
+beach at low tide to gather shell-fish. The subject illustrated on _Plate
+LVIII_, 2, called ebb-tide _(shio hi),_ is appropriate.  The picture of
+the maiden Saohime (_Plate LVIII_, 3) is also painted in March.
+
+April—The wistaria flower _(Juji)_ is associated with the fourth month and
+all April landscapes represent the trees covered with much foliage.  A
+small bird called _sudachi dori,_ hatched in this month, is often painted
+on the wistaria branch (_Plate LVIII_, 4). The picture typifies parental
+affection, on account of the known solicitude of the mother bird for its
+young.
+
+May—There are many subjects appropriate for May.  The iris _(shobu)_
+(_Plate LVIII_, 5) now makes its appearance.  Its long-bladed leaves are
+sword shaped, therefore the plant symbolizes the warrior spirit _(bushi)._
+The iris is often planted upon the roof of a house to indicate that there
+are male children in the family.  The cuckoo and the moon subject _(tsuki
+ni hototogisu)_ (_Plate LVIII_, 6) is special to this month.  The fifth of
+May is the boys’ festival, and the carp _(koi)_ (_Plate LIX_, 1) is the
+favorite subject for painting.  May is the rainy month in Japan.  It is
+related that a carp during this month ascended to the top of the waterfall
+RYU MON in China and became a dragon.  The carp thus typifies the triumph
+of perseverance—the conquering of obstacles—and symbolizes the military
+spirit.  When this fish is caught and about to be cut up alive for
+_sasshimi,_ a Japanese delicacy, once the carver has passed the flat side
+of the knife blade over the body of the fish the _koi_ becomes motionless,
+and with heroic fortitude submits to being sliced to the backbone.  Served
+in a dish, a few drops of _soy_ being placed in its eye it leaps upward in
+a last struggle, to fall apart in many pieces.  When a male child is born
+a proper present to the family is a carp _kakemono._  The fifth day of the
+fifth month is the anniversary of the great victory of the Japanese over
+Kublai Khan, who, with an enormous fleet of Chinese vessels, attempted to
+invade Japan in the thirteenth century.
+
+June—In this warm month the GWA DAI or picture subject is waterfalls
+(_Plate LIX_, 2), although it is quite allowable on account of the heat of
+summer to suggest cool feelings by painting snow scenes with crows (SETCHU
+_ni karasu)_ for a color contrast (_Plate LIX_, 3).  All pictures painted
+during the month of June should suggest shady, refreshing sensations.  A
+charming and favorite subject is water flowing through an open bamboo pipe
+and falling amid luxuriant vegetation into a pool below, where a little
+bird is bathing.  This picture is technically known as _kakehi_ (_Plate
+LIX_, 4).
+
+July—During this month appropriate among flower subjects is that of the
+seven grasses of autumn _(aki no nana kusa)_ (_Plate LIX_, 6), consisting
+of the bush clover, the wild pink, the morning glory, et cetera.  This is
+most difficult to paint on account of the extreme delicacy requisite in
+the handling of the brush, but a skilful artist can produce most
+interesting effects.  All sorts of wonderfully shaped insects as well as
+birds of brilliant plumage are permitted in the picture.  The seventh day
+of July is known as the festival of the stars, and _Kengyu,_ the swain,
+and _Orihime,_ the maiden, are painted.  July is a month devoted to
+Buddhist ceremonies.  Saints, sages, the five hundred rakkan disciples of
+Shaka and the sixteen rakkans are painted.  There are two other subjects
+appropriate, known as _Tanabata_ (_Plate LIX_, 5) and _Nazunauchi_ (_Plate
+LXIV_, 4).
+
+August—The first grain of the year is now offered to the gods.  A charming
+way of commemorating this is by the painting called stacked rice and
+sparrows _(inamura ni suzume)_ (_Plate LX_, 1).  The rabbit and the moon,
+called _tsuki ni usagi_ (_Plate LX_, 2), because the rabbit is seen in the
+moon making rice cakes, and the picture known as _meggetsu_ (_Plate LX_,
+3) also commemorate the offering of the products of the soil to the moon
+divinity.  As mist abounds during August, landscapes half concealed in
+mist are painted.  The Kano artist, Tanyu, leaned much to such scenes,
+which suggest the tranquility of eventide.  Such subjects are known as
+mist showers _(ugiri)_ (_Plate LX_, 4).  The Japanese have their woman in
+the moon, named Joga.  This lovely creature having procured and drunk of
+the ambrosia of hermits _(sennin)_ is said to have entered that planet.
+The picture is an engaging one (_Plate LX_, 6), the upper portion of
+Joga’s body being in the moon’s disc and the lower portion in fleecy
+clouds.
+
+September—The ninth day of the ninth month is the festival of the
+chrysanthemum (KIKU NO SEKKU), when _sake_ made from the chrysanthemum is
+drunk.  Kiku Jido, a court youth, having inadvertently touched with his
+foot the pillow of the emperor, was banished to a distant isle where, it
+is said, he was nourished by the dew of the chrysanthemum which abounded
+there.  Becoming a hermit, he lived one thousand years.  Seasonal pictures
+for this month commemorate this event, or reproduce the yellow and white
+chrysanthemum.  (_Plate LXI_, 1).  Appropriate for September are water
+grasses and the dragon-fly _(mizukusa ni tombo)_ (_Plate LXI_, 5).
+Tatsuta hime (_Plate LXI_, 2) is also painted.  She is the autumn
+divinity, associated with the brilliant, warm and resplendent colors of
+the autumn season, and is always represented in gorgeous hues.  Pictures
+of the deer and the early maples _(hatsu momiji ni shika)_ (_Plate LXI_,
+3) are now appropriate.  A favorite autumn picture is called _Kinuta
+uchi,_ or the beating, on a block, of homespun cotton to give it lustre.
+A poor peasant woman and her child are both occupied at the task under the
+rays of the full moon (_Plate LXIV_, 4).  The sound of the blows on the
+block is said to suggest sad feelings.  It is a law for painting such
+moonlight scenes that no red color be introduced, as red does not show in
+the moonlight (GEKKA _no_ KO SHOKU _nashi)._
+
+      [Fujiyama from Tago no Ura, by Yamamoto Baietsu.  Plate VIII.]
+
+       Fujiyama from Tago no Ura, by Yamamoto Baietsu.  Plate VIII.
+
+
+October—In this month geese coming from the cold regions and crossing at
+night the face of the moon are a favorite subject, known as _tsuki ni_ GAN
+(_Plate LXI_, 4).  Other subjects are “autumn fruits” _(aki no mi)_
+(_Plate LXI_, 5), chestnuts, persimmons, grapes and mushrooms; monkeys and
+persimmons _(saru ni kaki)_ (_Plate LXI_, 6); squirrel and grapes (RISU
+_ni_ BUDO) (_Plate LXII_, 1); and the evergreen pine _(kayenu matsu),_
+suggesting constancy (_Plate LXII_, 2)
+
+November—A month sacred to Evesco, one of the jovial gods of good luck
+(_Plate LXII_, 3).  He was the first trader, his stock being the TAI fish.
+He is the favorite god of the merchants who, during this month, celebrate
+his festival.  Evesama is usually represented returning from fishing with
+a TAI under his arm.  The Kano artists particularly favored this subject.
+Another charming picture, known as “the last of the chrysanthemums” (ZAN
+KIKU) (_Plate LXII_, 4), suggests the approaching close of the year. The
+classic way to represent this subject is with small, yellow chrysanthemums
+clinging to a straggling bamboo fence, with a few of their leaves which
+have begun to turn crimson.  Another November picture is “the first snow”
+_(hatsu yuki)_ (_Plate LXII_, 5).  Two puppies are frollicking in the
+snow, which is falling for the first time.  It is said that no animal
+rejoices like the dog when it sees the first snowfall of winter.  Snow,
+says a proverb, is the dog’s grandmother _(yuki wa inu no obasan)._  Okyo
+and Hokusai frequently painted this subject.  _Hatsu yuki_ is sometimes
+represented by a little snow upon the pine tree or the bamboo in a
+landscape.  This produces a very lonely _(samushii)_ scene.  The Kyoto
+artists are extremely fond of painting in the month of November the
+subject of a peasant girl descending from the mountain village of Ohara
+carrying upon her head a bundle of firewood twigs, into which she has
+coquettishly inserted a branch of red maple leaves.     This picture is
+called _Oharame_ (_Plate LXII_, 6).  Landscapes representing fitful rain
+showers are appropriate for November and are called _shigure._  This is
+the month for the _oshi dori_ (_Plate LXIII_, 1).  These mandarin ducks,
+male and female, on account of the contrast in their shape and plumage,
+make a very striking and favorite picture.  Their devotion to each other
+is so great that they die if separated.  Hence, such paintings not only
+symbolize conjugal fidelity but are also appropriate as wedding presents.
+There are two other kinds of birds painted in November: The beach birds,
+known as _chi dori_ (_Plate LXIII_, 2), and the wild duck flying over the
+marsh grasses _(kamo ni ashi)_ (_Plate LXIII_, 3). Okyo and the artists of
+his school excel in their vivid treatment of these last three subjects.
+
+December—The cold weather chrysanthemum (KAN KIKU), the narcissus or
+hermit of the stream (SUI SEN), and the snow shelter of rice straw _(yuki
+kakoi)_ (_Plate LXIII_, 4) are three favorites for December.  In this
+latter lovely subject the white chrysanthemums are huddling below the
+protecting snow shelter of rice straw, one or two of the flowers peeping
+out, their leaves being reddish on the rim and light green within.  The
+narcissus is much painted during December.  There are many ways and laws
+for painting this flower.  Another winter subject is called _joji_ BAI,
+consisting of the plum tree with snow on the branches and small birds
+perched thereon.  Kyoto artists much favor it.  December landscapes are
+all snow scenes _(yuki no_ SAN SUI) (_Plate LXIII_, 5) and countless are
+the ways in which they are treated.  Another subject is _nukume dori—_a
+falcon perched upon a tree covered with snow, holding in its claws a
+little bird (_Plate LXIV_, 3).  The falcon does not tear its victim to
+pieces but simply uses it to warm its own feet; this accomplished, it lets
+its prisoner escape and during twenty-four hours refrains from flying in
+the direction the little bird has fled. _Noblesse oblige._
+
+The snow man or snow _daruma (yuki daruma)_ (_Plate LXIII_, 6) is painted
+this month by artists of all the schools.
+
+The four seasons (SHI KI) form a series susceptible of the most varied and
+engaging treatment and presentation. The seasons are sometimes symbolized
+by flowers, occasionally by birds, again by the products of the earth, and
+often by landscapes.
+
+Sometimes human figures are used for the purpose.  In spring _(haru)_ a
+young daughter _(musume)_ may be represented looking at the cherry
+blossoms (_Plate LXV_, 1); in summer _(natsu)_ she will be crossing a
+bridge or enjoying the cool of the riverside (_Plate LXV_, 2); in autumn
+_(aki)_ she is seen in the fields, probably gathering mushrooms (_Plate
+LXV_, 3), and in winter _(fuyu)_ she will be seated indoors playing a
+musical instrument (_Plate LXV_, 4).  While the other _kakemono_ is always
+to be changed in the _tokonoma_ or alcove according to the seasons,
+ceremonies or festivals, there are certain pictures appropriate to any
+season, _e. g.,_ rocks and waves _(iwa ni nami);_ pine and bamboo _(matsu
+take);_ or the Okyo double subject called _shikuzu ni fuku tsui_ (pendant
+paintings): The end of spring, a crow and the plum tree (_Plate LXIV_, 1);
+the end of autumn, the bird _hyo dori_ and the persimmon tree (_Plate
+LXIV_, 2). The reason is that all such subjects are in harmony with
+conditions the year round.
+
+Historical subjects (REKISHI GWA DAI) suitable for Japanese painting are
+extremely numerous subjects and are divided into categories corresponding
+to the following periods: The Nara, the Heian or Kyoto, the Kamakura
+Yoritomo shogunate, the Higashiyama shogunate, the Yoshimasa shogunate,
+the Momoyama or Taiko Hideyoshi, and the Tokugawa Iyeyasu shogunate
+brought down to the present Meiji period.  These with their numerous
+subdivisions supply an infinite number of subjects for pictorial
+treatment.  Special favorites are “Benkei and Yoshitsune at the Go Jo
+bridge,” or “passing through the Hakone barrier,” and “Kusanoki Masashige
+at Minatogawa.”
+
+When Shaka was born he stood erect, with one Buddhist hand pointing upward
+and the other downward and exclaimed: “Behold, between heaven and earth I
+am the most precious creation.”  His birthday is the subject of the
+picture (_Plate LXVI_, 3) called KAN BUTSU YE.  It represents the Buddha
+as a bronze statue erect in a tub of sweet liquid.  This the faithful
+worshippers pour over his head and subsequently drink for good luck.
+Shaka’s death is commemorated in the picture called NEHAN, nirvana.  The
+lord, Buddha, is stretched upon a bier tranquilly dying, an angelic smile
+lighting his countenance, while around are gathered his disciples, Rakkan
+and Bosatsu, and the different animals of creation, all weeping.  A rat
+having gone to call Mayabunin, mother of Buddha, has been pounced upon by
+a cat and torn to pieces.  For this reason in paintings of this moving
+scene of Shaka’s death no cat is to be found among the mourning animals.
+The artist Cho Densu, however, in his great painting of NEHAN (still
+preserved in the Temple To Fuku Ji at Kyoto) introduces the portrait of a
+cat.  It is related that, while Cho Densu was painting, the cat came daily
+to his side and continually mewing and expressing its grief, would not
+leave him.  Finally Cho Densu, out of pity, painted the cat into the
+picture and thereupon the animal out of joy fell over dead.
+
+The lotus _(hasu)_ symbolizes the heart of a saint _(hotoke)._  It rises
+untarnished out of the mud of the pond, nor can it be stained by any
+impurity, the leaves always shedding whatever may fall upon them.  It is
+painted usually as a religious subject.
+
+The principal _matsuri_ or Shinto festivals occur at different seasons of
+the year in different parts of the empire.  The summer months, however,
+claim most of them.  The _Kamo no aoi matsuri_ takes place at Kyoto and
+consists of a procession, a NO dance and a horse race.  The picture
+appropriate for this festival is “the _Kamo_ race course” _(Kamo no kei
+ba)._ The _matsuri_ at Nikko is a great procession, with three _mikoshi_
+or shrines carried on the shoulders of multitudes of men.  There are three
+Nikko _matsuri_ connected with the Tokugawa shogunate.
+
+_Inari,_ being the god of agriculture _(ine,_ rice), the picture of a fox
+(_Plate LXVI_, 4), that god’s messenger, is appropriate.  Another
+festival, the GYON _matsuri,_ of Kyoto, is celebrated with a great
+procession in which enter all sorts of amusing floats and every kind of
+amusing practice.  These are variously reproduced in commemorative
+paintings.
+
+I will only refer in passing to the many subjects supplied by the
+beautiful poetry (HOKKU and _uta)_ and celebrated romances _(monogatari)_
+of Japan.  Enough has been said to show that the Japanese artist has an
+unlimited range of classic subjects from which to select.
+
+Other subjects unassociated with any special time of the year represent,
+_e.g.,_ various utensils of the tea ceremony _(cha no yu)_ (_Plate LXVI_,
+1) when _macha,_ a thickened tea, is used.  The tea ceremony (_Plate II_)
+is performed in a small room fitted with four and a half mats.  Were the
+mats only four (SHI) in number they would suggest death _(shi)._
+Furthermore, an even number being considered negative (IN) is not favored.
+Mats are three by six feet in size and must always be so laid as not to
+form crosses, which are unlucky.  In the alcove of this room no _kakemono_
+is permitted but one in the pure Japanese style.  The subject of the
+painting will depend upon the season, while all red colors are proscribed
+and _sumi_ pictures of the Kano school are most appropriate.  The
+treatment must be simple (TAN PAKU); for instance, a single flower spray,
+a branch of the plum, a hermit, or a solitary mountain peak.  In the
+ceremony of SEN CHA (_Plate LXVI_, 2), which is the Chinese way of making
+tea, these strict rules of _cha no yu_ are relaxed.
+
+
+
+
+
+               [The water-fowl design, called midsu tori.]
+
+
+CHAPTER SEVEN. SIGNATURES AND SEALS
+
+
+There are many books upon the subject of signing and authenticating a
+painting.  Two well-known works are “GWA JO YO RYAKU” and “DAI GA SHI
+SAN.”  In China literary men often add descriptive matter to their
+paintings, writing prominently thereon: “In a dream last night I witnessed
+the scene I here attempt to reproduce,” or “On a boating excursion we saw
+this pine tree shading the banks of the river.”  Such additions to the
+picture enable the artist to exhibit his skill as an expert writer and are
+considered to heighten the general effect.  Often original poetry takes
+the place of prose.  The year, month and day will be added, followed by
+the signature of the writer, with some self-depreciatory term, such as
+“fisherman of the North Sea,” “mountain wood-chopper” or “hermit dwelling
+amid the clouds and rocks.”  Such signature, with one or more seals
+scattered over the face of the work, is in art called RAKKWAN, signifying
+“completed.”
+
+In Japan a somewhat different way of signing prevails. The artist’s
+signature with his seal under it is appended to the painting, not in a
+conspicuous but in the least prominent part of it.
+
+Painters of the Tosa, Fujiwara, Sumiyoshi and Kasuga schools in signing
+their work first wrote above their signatures their office and rank, _e.
+g.,_ Unemi no Kami or Shikibu Gondai no Kami in the square or round
+Chinese characters.
+
+The Kano artists signed their names in round characters (GYO SHO) and did
+not add their secular rank or office but wrote before their signatures
+their Buddhist titles; thus, HOGAN Motonobu, HO KYO Naganobu, HOIN
+Tsunenobu.  In the Maruyama period all titles and rank were omitted and
+simply the name _(namae)_ or the _nom de plume_ (GO) was written,—thus,
+Okyo, Goshun, Tessan, Bun Cho—strict attention being paid, however, to
+executing the Chinese characters for such signatures in both an artistic
+and strikingly attractive way, whether written in one or another of the
+three usual forms technically called SHIN, SO, GYO.
+
+The date, NEN GO, preceding the signature upon a painting is often
+indicated by the use of one of the twelve horary characters (JU NI SHI)
+along with one of the ten calendar signs (JU RAN).  These, in orderly
+arrangement, comprehend a cycle of sixty years; in other words, they are
+never united the same way or coincide but once during that period.  No
+artist under sixty should, in signing his work, allude to his age, much
+less state his years.  For him to be able to write seventy-seven before
+his name is most auspicious—one way of writing _kotobuki,_ the luckiest
+word in Japanese, being to employ two sevens which, thus compounded, is
+said to be the SO SHO character for that word.  Very young persons are
+permitted in signing their paintings or writings to add their exact ages
+up to thirteen.
+
+Where Chinese literary artists add poems to their paintings as many as
+eight seals may be observed thereon.  In Japanese paintings never more
+than two seals are used and these follow and authenticate the signature.
+
+The correct distance at which a _kakemono_ is to be viewed is the width of
+a mat _(tatami)_ from the alcove where the picture is hung.  It is bad
+form to look at it standing.  Before critically examining the work a
+Japanese will scrutinize the artist’s signature and seal.  It is a
+cardinal rule in Japan that the signature be affixed so as not to
+interfere with the scheme of the picture or attract the eye.  If the
+picture looks to the right the signature and seal should be placed on the
+left, and _vice versa;_ if the principal interest is in the upper part of
+a picture these should be placed lower down, and _vice versa._  As every
+painting has its division into IN and YO the RAKKWAN is placed in IN.
+Some artists partially cover their signatures with their seal impression.
+Lady artists add to their signatures the character JO, meaning woman.
+Veteran painters will sometimes write before their signatures the
+character for old man _(okina)._
+
+The artist’s seal is often a work of art and his family name (MYOJI) or
+his artist name (GO) is usually engraved thereon with the Chinese seal
+characters called TEN SHO. Where two seals are affixed below the signature
+one may contain a classic aphorism, like TAI BI FU GEN (the truly
+beautiful is indescribable) or CHU YO (keep the middle path).  Before
+seals were used writings were authenticated by scrolls called _kaki_ HAN.
+Even now such scrolls are used.  The principles on which they are shaped
+are derived from astrological lore (EKI).  Seal engravers deservedly enjoy
+renown for learning and skill.  To carve a seal is the recognized
+accomplishment of a gentleman, and the most famous living seal engraver in
+Japan is an amateur.  Seals are of jade, rock crystal, precious woods,
+Formosa bamboo root, gold, silver or ivory.  The best hard stone for seals
+comes from China and is known as the cock’s comb (KEI KETSU SEKI).
+
+An artist during his career will collect numbers of valuable seals for his
+own use.  These at his death may be given to favorite pupils or kept as
+house treasures.  Bairei left instructions to have many of his seals
+destroyed.
+
+The seal paste (NIKU) is made of Diana weed _(mogusa)_ dried for three
+years, or of a plant called _yomogi,_ or with soft, finely chopped rabbit
+hair boiled in castor oil for one hundred hours with white wax and then
+colored red, brown, blue or tea color.  The seal should be carefully wiped
+after it is used, otherwise this paste hardens upon it.
+
+Japanese paintings are seldom framed, as frames take too much room.
+Frames are used chiefly for Chinese writings, hung high in public places
+or about the dwelling, and are called GAKU, meaning “forehead,” in
+allusion to raising the head to read what the frame contains.  It is
+etiquette that such framed writings be signed with the real name rather
+than the _nom de plume._
+
+Two kinds of seals are affixed to the frame: One, on the right, at the
+beginning of the writing, and called YU IN, containing some precept or
+maxim; and one or two, on the left, after the signature, bearing the
+artist’s name and any other appropriate designation.  All writings in
+Chinese or Japanese read from right to left, and frequently are the sole
+ornament of a pair of screens.
+
+For the guidance of experts who pass on the genuineness of Japanese
+paintings there is a well-known publication, “GWA KA RAKKWAN IN SHIN,” by
+Kano Jushin, which contains reproductions in fac simile of the signatures
+and seals of all the celebrated artists of the remote and recent past.
+
+In concluding this work, which I am conscious is but an imperfect survey
+of a vast and intricate subject, I would call attention to the fact that
+in both Europe and America there is a wonderful awakening to the dignity,
+simplicity and beauty of Japanese art.  This is largely to be attributed
+to the careful and scholarly writings and publications of Messrs.
+Anderson, Binyon, Morrison and Strange in England, Fenollosa in the United
+states, DeGoncourt, Gonse and Bing in France, Seidlitz in Germany, and
+Brinkley and Okakura in Japan; and all students of art must render to them
+the homage of their sincere admiration.
+
+The object of all art, as Cicero has truly said, is to soften the manners,
+by training the heart and mind to right thoughts and worthy sentiments.
+To such end nothing will more surely contribute than a faithful study of
+the painting art of Japan, and the further we investigate and appreciate
+its principles the more we will multiply those hours which the sun-dial
+registers,—the serene and cheerful moments of existence.
+
+
+
+
+
+EXPLANATION OF HEAD-BANDS
+
+
+DESIGN OF TITLE PAGE. Butterflies and birds, known as _cho tori_.
+
+_CHAPTER ONE_. The flower and leaves of the peony (BOTAN), as
+conventionalized on ancient armor (_yoroi_).
+
+_CHAPTER TWO_. Fan-shaped leaves of the _icho_ or GIN NAN
+(_Salisburiana_), placed in books in China and Japan to prevent the
+ravages of the bookworm.
+
+_CHAPTER THREE_. The design called “Dew on the Grass and Butterflies”
+(_tsuyu, kusa ni cho_).
+
+_CHAPTER FOUR_. The pattern (_moyo_) known as bamboo and the swelling
+sparrow (_take nifukura susume_). The parts of the bird are amusingly
+conventionalized—in the Korin manner. The word FUKURA written in Chinese
+contains the lucky character FUKU (happiness).
+
+_CHAPTER FIVE_. Maple leaves are associated with Ten Jin (Sugiwara
+Michizane), patron of learning. Children in invoking his aid in a little
+prayer count the points of the maple leaf, saying, “_yoku te
+agaru_”—assist us to be clever. In Japanese the maple leaf is called
+_kaide_, meaning frog’s hand.
+
+_CHAPTER SIX_. The chrysanthemum pattern.
+
+_CHAPTER SEVEN_. The water-fowl design, called _midsu tori_.
+
+
+
+
+
+PLATES EXPLANATORY OF THE FOREGOING TEXT ON THE LAWS OF JAPANESE PAINTING
+
+
+
+
+     The Eight Ways of Painting in Color, Called the Laws of Coloring
+
+
+       (3) [Most Careful Method of Laying on Color.  Plate VIIII.]
+
+          Most Careful Method of Laying on Color.  Plate VIIII.
+
+
+                     [The Next Best Method. Plate X.]
+
+                      The Next Best Method. Plate X.
+
+
+                [The Light Water-Color Method. Plate XI.]
+
+                 The Light Water-Color Method. Plate XI.
+
+
+               [Color With Outlines Suppressed. Plate XII.]
+
+                Color With Outlines Suppressed. Plate XII.
+
+
+                     [Color Over Lines. Plate XIII.]
+
+                      Color Over Lines. Plate XIII.
+
+
+                 [Light Reddish-Brown Method. Plate XIV.]
+
+                  Light Reddish-Brown Method. Plate XIV.
+
+
+                      [The White Pattern. Plate XV.]
+
+                       The White Pattern. Plate XV.
+
+
+                  [The Black or Sumi Method. Plate XVI.]
+
+                   The Black or Sumi Method. Plate XVI.
+
+
+
+
+                   Landscapes, Birds, Trees and Streams
+
+
+           [The Rule of Proportion in Landscapes. Plate XVII.]
+
+            The Rule of Proportion in Landscapes. Plate XVII.
+
+
+                    [Heaven, Earth, Man. Plate XVIII.]
+
+                     Heaven, Earth, Man. Plate XVIII.
+
+
+                     [Pine Tree Branches. Plate XIX.]
+
+                      Pine Tree Branches. Plate XIX.
+
+
+                       [Winding Streams. Plate XX.]
+
+                        Winding Streams. Plate XX.
+
+
+                    [A Tree and Its Parts. Plate XXI.]
+
+                     A Tree and Its Parts. Plate XXI.
+
+
+                 [Bird and Its Subdivisions. Plate XXII.]
+
+                  Bird and Its Subdivisions. Plate XXII.
+
+
+
+
+                              Laws of Ledges
+
+
+  [Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b).
+                              Plate XXIII.]
+
+  Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b).
+                               Plate XXIII.
+
+
+    [Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.]
+
+     Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.
+
+
+    [Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV. ]
+
+      Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.
+
+
+ [Scattered Hemp Leaves (a). Wrinkles on the Cow’s Neck (b). Plate XXVI.]
+
+  Scattered Hemp Leaves (a). Wrinkles on the Cow’s Neck (b). Plate XXVI.
+
+
+
+
+                         Laws of Trees and Rocks
+
+
+[The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4).
+                              Plate XXVII.]
+
+The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4).
+                               Plate XXVII.
+
+
+  [Theory of Tree Growth (1). Practical Application (2). Grass Growth in
+               Theory (3). In Practice (4). Plate XXVIII.]
+
+  Theory of Tree Growth (1). Practical Application (2). Grass Growth in
+                Theory (3). In Practice (4). Plate XXVIII.
+
+
+   [Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in
+                       structure (3). Plate XXIX.]
+
+   Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in
+                        structure (3). Plate XXIX.
+
+
+[Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2).  Rock
+         Construction as Practiced in Art (3 and 4). Plate XXX. ]
+
+ Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2).  Rock
+          Construction as Practiced in Art (3 and 4). Plate XXX.
+
+
+        [Different Ways of Painting Rocks and Ledges. Plate XXXI.]
+
+         Different Ways of Painting Rocks and Ledges. Plate XXXI.
+
+
+
+
+                               Laws of Dots
+
+
+         [Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.]
+
+          Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.
+
+
+          [Wheel-Spoke Dot (a). KAI JI Dot (b). Plate XXXIII. ]
+
+            Wheel-Spoke Dot (a). KAI JI Dot (b). Plate XXXIII.
+
+
+       [Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.]
+
+        Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.
+
+
+             [Serrated Dot (a). ICHI JI dot (b). Plate XXXV.]
+
+              Serrated Dot (a). ICHI JI dot (b). Plate XXXV.
+
+
+             [Heart Dot (a). HITSU JI Dot (b). Plate XXXVI.]
+
+              Heart Dot (a). HITSU JI Dot (b). Plate XXXVI.
+
+
+             [Rice Dot (a). HAKU YO Dot (b). Plate XXXVII. ]
+
+               Rice Dot (a). HAKU YO Dot (b). Plate XXXVII.
+
+
+
+
+                     Laws of Waves and Moving Waters
+
+
+    [Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII. ]
+
+     Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.
+
+
+             [Sea Waves (a). Brook Waves (b). Plate XXXIX. ]
+
+               Sea Waves (a). Brook Waves (b). Plate XXXIX.
+
+
+                        [Storm Waves. Plate XL. ]
+
+                          Storm Waves. Plate XL.
+
+
+
+
+                       Laws of Lines of the Garment
+
+
+    [Silk-Thread Line (upper). Koto string Line (lower). Plate XLI. ]
+
+      Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.
+
+
+   [Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII. ]
+
+     Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.
+
+
+  [Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.]
+
+   Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.
+
+
+    [Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV. ]
+
+      Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.
+
+
+  [Rusty-Nail and Old-Post Line (upper).   Date-Seed Line (lower). Plate
+                                  XLV.]
+
+Rusty-Nail and Old-Post Line (upper).   Date-Seed Line (lower). Plate XLV.
+
+
+    [Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.]
+
+     Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.
+
+
+  [Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII. ]
+
+   Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.
+
+
+    [Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII. ]
+
+      Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.
+
+
+       [Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.]
+
+        Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.
+
+
+
+
+                        Laws of the Four Paragons
+
+
+                  [The Plum Tree and Blossom. Plate L.]
+
+                   The Plum Tree and Blossom. Plate L.
+
+
+            [The Chrysanthemum Flower and Leaves. Plate LI. ]
+
+              The Chrysanthemum Flower and Leaves. Plate LI.
+
+
+                [The Orchid Plant and Flower. Plate LII.]
+
+                 The Orchid Plant and Flower. Plate LII.
+
+
+                [The Bamboo Plant and Leaves. Plate LIII.]
+
+                 The Bamboo Plant and Leaves. Plate LIII.
+
+
+
+
+                            Painting Subjects
+
+
+ [Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3,
+                           4, 5). Plate LIV. ]
+
+Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4,
+                              5). Plate LIV.
+
+
+[Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and
+                Shimenawa (4). Rice Cakes (5). Plate LV. ]
+
+ Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and
+                 Shimenawa (4). Rice Cakes (5). Plate LV.
+
+
+  [Sun and Waves (1).  Rice Grains(2). Cotton Plant (3). Battledoor (4).
+                     Treasure Ship (5). Plate LVI. ]
+
+  Sun and Waves (1).  Rice Grains(2). Cotton Plant (3). Battledoor (4).
+                      Treasure Ship (5). Plate LVI.
+
+
+[Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow
+  (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII. ]
+
+ Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow
+   (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.
+
+
+[Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon
+                      and Cuckoo (6). Plate LVIII. ]
+
+Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon
+                       and Cuckoo (6). Plate LVIII.
+
+
+  [Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5).
+                     Autumn Grasses (6). Plate LIX. ]
+
+  Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5).
+                      Autumn Grasses (6). Plate LIX.
+
+
+[Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist
+          Showers (4). Water Grasses (5). Joga (6). Plate LX. ]
+
+ Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist
+           Showers (4). Water Grasses (5). Joga (6). Plate LX.
+
+
+ [Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the
+ Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI. ]
+
+  Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the
+  Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.
+
+
+[Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku
+             (4). First Snow (5). Oharame (6). Plate LXII. ]
+
+ Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku
+              (4). First Snow (5). Oharame (6). Plate LXII.
+
+
+[Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow
+                Scene (5). Snow Daruma (6). Plate LXIII. ]
+
+Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow
+                 Scene (5). Snow Daruma (6). Plate LXIII.
+
+
+ [Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi
+                            (4). Plate LXIV. ]
+
+ Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi
+                             (4). Plate LXIV.
+
+
+      [Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV. ]
+
+        Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.
+
+
+[Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI. ]
+
+ Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.
+
+
+
+
+
+
+FOOTNOTES
+
+
+    1 This is a translation from the original manuscript of IWAYA SHO HA,
+      or Iwaya Sazanami, one of the most widely known and popular writers
+      on Japanese folk-lore.
+
+    2 Translated from the original manuscript of Hirai Kinza, noted
+      scholar, lecturer and author.
+
+    3 Preparer’s Note: The only editions available to me have these plates
+      in black-and-white.
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK ON THE LAWS OF JAPANESE PAINTING
+***
+
+
+
+CREDITS
+
+
+March 16, 2011
+
+            Project Gutenberg Edition
+            Martin Schub
+
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+***FINIS***
+
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+The Project Gutenberg EBook of On the Laws of Japanese Painting by Henry
+P. Bowie
+
+
+
+This eBook is for the use of anyone anywhere at no cost and with almost no
+restrictions whatsoever. You may copy it, give it away or re-use it under
+the terms of the Project Gutenberg License included with this eBook or
+online at http://www.gutenberg.org/license
+
+
+
+Title: On the Laws of Japanese Painting
+
+
+Author: Henry P. Bowie
+
+Release Date: March 16, 2011 [Ebook #35580]
+
+Language: English
+
+Character set encoding: ISO 8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK ON THE LAWS OF JAPANESE PAINTING
+***
+
+
+
+
+
+                  [Fujiyama, by Murata Tanryu. Plate I.]
+
+                   Fujiyama, by Murata Tanryu. Plate I.
+
+
+                    On the Laws of Japanese Painting
+
+            An Introduction to the study of the Art of Japan
+
+
+                             Henry P. Bowie
+
+
+
+      [Title-page design: Butterflies and Birds, known as Cho Tori]
+Paul Elder and Company Publishers
+1911
+
+
+
+
+
+CONTENTS
+
+
+Introduction by Iwaya Sazanami
+Introduction by Hirai Kinza
+Preface
+CHAPTER ONE.  PERSONAL EXPERIENCES
+CHAPTER TWO. ART IN JAPAN
+CHAPTER THREE. LAWS FOR THE USE OF BRUSH AND MATERIALS
+CHAPTER FOUR.  LAWS GOVERNING THE CONCEPTION AND EXECUTION OF A PAINTING
+CHAPTER FIVE. CANONS OF THE AESTHETICS OF JAPANESE PAINTING
+CHAPTER SIX. SUBJECTS FOR JAPANESE PAINTING
+CHAPTER SEVEN. SIGNATURES AND SEALS
+EXPLANATION OF HEAD-BANDS
+PLATES EXPLANATORY OF THE FOREGOING TEXT ON THE LAWS OF JAPANESE PAINTING
+Footnotes
+
+
+
+
+
+ILLUSTRATIONS
+
+
+Fujiyama, by Murata Tanryu. Plate I.
+The Tea Ceremony, by Miss Uyemura Shoen. Plate II.
+Chickens in Spring, by Mori Tessan. Plate III.
+Snow Scene in Kaga, by Kubota Beisen.  Plate IV.
+Tree Squirrel, by Mochizuki Kimpo.  Plate V.
+Tiger, by Kishi Chikudo.  Plate VI.
+Bamboo, Sparrow and Rain.  Plate VII.
+Fujiyama from Tago no Ura, by Yamamoto Baietsu.  Plate VIII.
+Most Careful Method of Laying on Color.  Plate VIIII.
+The Next Best Method. Plate X.
+The Light Water-Color Method. Plate XI.
+Color With Outlines Suppressed. Plate XII.
+Color Over Lines. Plate XIII.
+Light Reddish-Brown Method. Plate XIV.
+The White Pattern. Plate XV.
+The Black or Sumi Method. Plate XVI.
+The Rule of Proportion in Landscapes. Plate XVII.
+Heaven, Earth, Man. Plate XVIII.
+Pine Tree Branches. Plate XIX.
+Winding Streams. Plate XX.
+A Tree and Its Parts. Plate XXI.
+Bird and Its Subdivisions. Plate XXII.
+Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b).
+Plate XXIII.
+Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.
+Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.
+Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.
+The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4).
+Plate XXVII.
+Theory of Tree Growth (1). Practical Application (2). Grass Growth in
+Theory (3). In Practice (4). Plate XXVIII.
+Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in
+structure (3). Plate XXIX.
+Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2).  Rock
+Construction as Practiced in Art (3 and 4). Plate XXX.
+Different Ways of Painting Rocks and Ledges. Plate XXXI.
+Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.
+Wheel-Spoke Dot (a). KAI JI Dot (b). Plate XXXIII.
+Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.
+Serrated Dot (a). ICHI JI dot (b). Plate XXXV.
+Heart Dot (a). HITSU JI Dot (b). Plate XXXVI.
+Rice Dot (a). HAKU YO Dot (b). Plate XXXVII.
+Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.
+Sea Waves (a). Brook Waves (b). Plate XXXIX.
+Storm Waves. Plate XL.
+Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.
+Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.
+Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.
+Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.
+Rusty-Nail and Old-Post Line (upper).   Date-Seed Line (lower). Plate XLV.
+Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.
+Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.
+Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.
+Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.
+The Plum Tree and Blossom. Plate L.
+The Chrysanthemum Flower and Leaves. Plate LI.
+The Orchid Plant and Flower. Plate LII.
+The Bamboo Plant and Leaves. Plate LIII.
+Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4,
+5). Plate LIV.
+Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and
+Shimenawa (4). Rice Cakes (5). Plate LV.
+Sun and Waves (1).  Rice Grains(2). Cotton Plant (3). Battledoor (4).
+Treasure Ship (5). Plate LVI.
+Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow
+(3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.
+Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon
+and Cuckoo (6). Plate LVIII.
+Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5).
+Autumn Grasses (6). Plate LIX.
+Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist
+Showers (4). Water Grasses (5). Joga (6). Plate LX.
+Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the
+Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.
+Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku
+(4). First Snow (5). Oharame (6). Plate LXII.
+Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow
+Scene (5). Snow Daruma (6). Plate LXIII.
+Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi
+(4). Plate LXIV.
+Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.
+Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.
+
+
+
+
+
+DEDICATED TO THE MEMORY OF KUBOTA BEISEN A GREAT ARTIST AND A KINDLY MAN,
+WHOSE HAPPINESS WAS IN HELPING OTHERS AND WHOSE TRIUMPHANT CAREER HAS SHED
+ENDURING LUSTRE UPON THE ART OF JAPANESE PAINTING
+
+
+
+
+
+_ __ __ _
+
+
+_INTRODUCTION BY IWAYA SAZANAMI_(_1_)
+
+
+_ __ _
+
+_ First of all, I should state that in the year 1909 I accompanied the
+Honorable Japanese Commercial Commissioners in their visit to the various
+American capitals and other cities of the United states, where we were met
+with the heartiest welcome, and for which we all felt the most profound
+gratitude.  We were all so happy, but I was especially so; indeed, it
+would be impossible to be more happy than I felt, and particularly was
+this true of one day, namely, the twenty-seventh of November of the year
+named, when Henry P. Bowie, Esq., invited us to his residence in San
+Mateo, where we found erected by him a Memorial Gate to commemorate our
+victories in the Japanese-Russian War; and its dedication had been
+reserved for this day of our visit.  Suspended above the portals was a
+bronze tablet inscribed with letters written by my late father, Ichi Roku.
+The evening of that same day we were invited by our host to a reception
+extended to us in San Francisco by the Japan Society of America, where I
+had the honor of delivering a short address on Japanese folk-lore.  In
+adjoining halls was exhibited a large collection of Japanese writings and
+paintings, the latter chiefly the work of the artist, Kubota Beisen, while
+the writings were from the brush of my deceased father, between whom and
+Mr. Bowie there existed the relations of the warmest friendship and mutual
+esteem. _
+
+_ _
+
+_ Two years or more have passed and I am now in receipt of information
+from Mr. Shimada Sekko that Mr. Bowie is about to publish a work upon the
+laws of Japanese painting and I am requested to write a preface to the
+same.  I am well aware how unfitted I am for such an undertaking, but in
+view of all I have here related I feel I am not permitted to refuse. _
+
+_ _
+
+_ Indeed, it seems to me that the art of our country has for many years
+past been introduced to the public of Europe and America in all sorts of
+ways, and hundreds of books about Japanese art have appeared in several
+foreign languages; but I have been privately alarmed for the reason that a
+great many such books contain either superficial observations made during
+sightseeing sojourns of six months or a year in our country or are but
+hasty commentaries, compilations, extracts or references, chosen here and
+there from other __ volumes.  All work of this kind must be considered
+extremely superficial.  But Mr. Bowie has resided many years in Japan.  He
+thoroughly understands our institutions and national life; he is
+accustomed to our ways, and is fully conversant with our language and
+literature, and he understands both our arts of writing and painting.
+Indeed, I feel he knows about such matters more than many of my own
+countrymen; added to this, his taste is instinctively well adapted to the
+Oriental atmosphere of thought and is in harmony with Japanese ideals.
+And it is he who is the author of the present volume.  To others a labor
+of the kind would be very great; to Mr. Bowie it is a work of no such
+difficulty, and it must surely prove a source of priceless instruction not
+only to Europeans and Americans, but to my own countrymen, who will learn
+not a little from it.  Ah, how fortunate do we feel it to be that such a
+book will appear in lands so far removed from our native shores.  Now that
+I learn that Mr. Bowie has written this book the happiness of two years
+ago is again renewed, and from this far-off country I offer him my warmest
+congratulations, with the confident hope that his work will prove
+fruitfully effective. _
+
+                                                 _ _ _ _ _ Iwaya Sho Ha, _
+_ _ _ Tokyo, Japan,_
+_August 17, 1911 _
+_ _
+_ _
+
+
+
+
+
+_ __ __ _
+
+
+_INTRODUCTION BY HIRAI KINZA_(_2_)_ _
+
+
+_ __ _
+
+_ Seventeen years ago, at a time when China and Japan were crossing
+swords, Mr. Henry P. Bowie came to me in Kyoto requesting that I instruct
+him in the Japanese language and in the Chinese written characters.  I
+consented and began his instruction.  I was soon astonished by his
+extraordinary progress and could hardly believe his language and writing
+were not those of a native Japanese.  As for the Chinese written
+characters, we learn them only to know their meaning and are not
+accustomed to investigate their hidden significance; but Mr. Bowie went so
+thoroughly into the analysis of their forms, strokes and pictorial values
+that his knowledge of the same often astounded and silenced my own
+countrymen.  In addition to this, having undertaken to study Japanese
+painting, he placed himself under one of our most celebrated artists and,
+daily working with unabated zeal, in a comparatively short time made
+marvelous progress in that art.  At one of our public art expositions he
+exhibited a painting of pigeons flying across a bamboo grove which was
+greatly admired and praised by everyone, but no one could believe that
+this was the work of a foreigner.  At the conclusion of the exposition he
+was awarded a diploma attesting his merit.  Many were the persons who
+coveted the painting, but as it had been originally offered to me, I still
+possess it.  From time to time I refresh my eyes with the work and with
+much pleasure exhibit it to my friends.  Frequently after this Mr. Bowie,
+always engaged in painting remarkable pictures in the Japanese manner,
+would exhibit them at the various art exhibitions of Japan, and was on two
+occasions specially honored by our Emperor and Empress, both of whom
+expressed the wish to possess his work, and Mr. Bowie had the honor of
+offering the same to our Imperial Majesties. _
+
+_ _
+
+_ His reputation soon spread far and wide and requests for his paintings
+came in such numerous quantities that to comply his time was occupied
+continuously. _
+
+_ _
+
+_ Now he is about to publish a work on Japanese painting to enlighten and
+instruct the people of Western nations upon our art.  As I believe such a
+book must have great influence in promoting sentiments of kindliness
+between Japan and America, by causing the __ feelings of our people and
+the conditions of our national life to be widely known, I venture to offer
+a few words concerning the circumstances under which I first became
+acquainted with the author. _
+
+                                                  _ _ _ _ _ Hirai Kinza, _
+_ _ _ NIHON AZUMA NO MIYAKO,_
+_ Meiji-Yosa Amari Yotose-Hazuke. _
+_ _
+_ _
+
+
+
+
+
+_ __ __ _
+
+
+_PREFACE_
+
+
+_ _
+
+_ This volume contains the substance of lectures on on the laws and canons
+of Japanese painting delivered before the Japan Society of America, the
+Sketch Club of San Francisco, the Art students of stanford University, the
+Saturday Afternoon Club of Santa Cruz, the Arts and Crafts Guild of San
+Francisco, and the Art Institute of the University of California. _
+
+_ _
+
+_ The interest the subject awakened encourages the belief that a wider
+acquaintance with essential principles underlying the art of painting in
+Japan will result in a sound appreciation of the artist work of that
+country. _
+
+_ _
+
+_ Japanese art terms and other words deemed important have been purposely
+retained and translated for the benefit of students who may desire to
+seriously pursue Japanese painting under native masters.  Those terms
+printed in small capitals are Chinese in origin; all others in italics are
+Japanese. _
+
+_ _
+
+_ All of the drawings illustrative of the text have been specially
+prepared by Mr. Shimada Sekko, an artist of research and ability, who,
+under David starr Jordan, has long been engaged on scientific
+illustrations in connection with the Smithsonian Institution. _
+
+_ _
+
+_ The author apologizes for all references herein to personal experiences,
+which he certainly would have omitted could he regard the following pages
+as anything more than an informal introduction of the reader to the study
+of Japanese painting. _
+
+_ _
+
+
+
+
+
+_KEN WAN CHOKU HITSU_
+
+A firm arm and a perpendicular brush
+
+
+
+
+
+
+   [Chapter 1 Head-Band: The flower and leaves of the peony (Botan), as
+                conventionalized on ancient armor (yoroi)]
+
+
+CHAPTER ONE.  PERSONAL EXPERIENCES
+
+
+In the year 1893 I went on a short visit to Japan, and becoming interested
+in much I saw there, the following year I made a second journey to that
+country.  Taking up my residence in Kyoto, I determined to study and
+master, if possible, the Japanese language, in order to thoroughly
+understand the people, their institutions, and civilization.  My studies
+began at daybreak and lasted till midday.  The afternoons being
+unoccupied, it occurred to me that I might, with profit, look into the
+subject of Japanese painting.  The city of Kyoto has always been the
+hotbed of Japanese art.  At that time the great artist, Ko No Bairei, was
+still living there, and one of his distinguished pupils, Torei Nishigawa,
+was highly recommended to me as an art instructor. Bairei had declared
+Torei's ability was so great that at the age of eighteen he had learned
+all he could teach him.  Torei was now over thirty years of age and a
+perfect type of his kind, overflowing with skill, learning, and humor.  He
+gave me my first lesson and I was simply entranced.
+
+It was as though the skies had opened to disclose a new kingdom of art.
+Taking his brush in hand, with a few strokes he had executed a
+masterpiece, a loquot _(biwa)_ branch, with leaves clustering round the
+ripe fruit.  Instinct with life and beauty, it seemed to have actually
+grown before my eyes.  From that moment dated my enthusiasm for Japanese
+painting.  I remained under Nishigawa for two years or more, working
+assiduously on my knees daily from noon till nightfall, painting on silk
+or paper spread out flat before me, according to the Japanese method.
+
+Japanese painters are generally classed according to what they confine
+themselves to producing. Some are known as painters of figures (JIM BUTSU)
+or animals (DO BUTSU), others as painters of landscapes (SAN SUI), others
+still as painters of flowers and birds (KA CHO), others as painters of
+religious subjects (BUTSU GWA),  and so on.  Torei was a painter of
+flowers and birds, and these executed by him are really as beautiful as
+their prototypes in nature.  On _plate VII_  is given a specimen of his
+work.  He is now a leading artist of Osaka, where he has done much to
+revive painting in that commercial city.
+
+As I desired to get some knowledge of Japanese landscape painting, I was
+fortunate in next obtaining instruction from the distinguished Kubota
+Beisen, one of the most popular and gifted artists in the empire.
+
+In company with several of his friends and former pupils I called upon
+him.  After the usual words of ceremony he was asked if he would kindly
+paint something for our delight.  Without hesitation he spread a large
+sheet of Chinese paper (TOSHI) him and in a few moments we beheld a crow
+clinging to the branches of a persimmon tree and trying to peck at the
+fruit, which was just a trifle out of reach.  The work seemed that of a
+magician.  I begged him then and there to give me instruction.  He
+consented, and thus began an acquaintance and friendship which lasted
+until his death a few years ago. I worked faithfully under his guidance
+during five years, every day of the week, including Sundays.  I never
+tired; in fact, I never wanted to stop.  Every stroke of his brush seemed
+to have magic in it.  _(Plate IV.)_ In many ways he was one of the
+cleverest artists Japan has ever produced.  He was an author as well as a
+painter, and wrote much on art.  At the summit of his renown he was
+stricken hopelessly blind and died of chagrin,--he could paint no more.
+
+While living in Tokio for a number of years I painted constantly under two
+other artists--Shimada Sekko, now distinguished for fishes; and Shimada
+Bokusen, a pupil of Gaho, and noted for landscape in the Kano style; so
+that, after nine years in all of devotion and labor given to Japanese
+painting, I was able to get a fairly good understanding of its theory and
+practice.
+
+It may seem strange that one not an Oriental should become thus interested
+in Japanese painting and devote so much time and hard work to it; but the
+fact is, if one seriously investigates that art he readily comes under the
+sway of its fascination. As the people of Japan love art in all its
+manifestations, the foreigner who paints in their manner finds a double
+welcome among them; thus, ideal conditions are supplied under which the
+study there of art can be pursued.
+
+My memory records nothing but kindness in that particular.  During my long
+residence in Kyoto there were constantly sent to me for my enjoyment and
+instruction precious paintings by the old masters, to be replaced after a
+short time by other works of the various schools.  For such attention I
+was largely indebted to the late Mr. Kumagai, one of Kyoto's most highly
+esteemed citizens and art patrons.  Without multiplying instances of the
+generous nature of the Japanese and their interest in the endeavors of a
+foreigner to study their art, I will mention the gift from the Abbot of
+Ikegami of two original dragon paintings, executed for that temple by Kano
+Tanyu.  In Tokio my dwelling was the frequent rendezvous of many of the
+leading artists of that city and GASSAKU painting was invariably our
+principal pastime. The great poet, Fukuha Bisei, now gone, would
+frequently join us, and to every painting executed he would add the
+embellishment of his charming inspirations in verse, written thereon in
+his inimitable _kana_ script.  This nobleman had taught the art of poetry
+to H. I. M. Mutsu Hito, to the preceding Emperor, and to the present Crown
+Prince.
+
+
+
+
+
+      [Chapter 2 Head-Band: Fan-shaped leaves of the icho or gin nan
+(Salisburiana), placed in books in China and Japan to prevent the ravages
+                            of the bookworm.]
+
+
+CHAPTER TWO. ART IN JAPAN
+
+
+In approaching a brief exposition of the laws of Japanese painting it is
+not my purpose to claim for that art superiority over every other kind of
+painting; nor will I admit that it is inferior to other schools of
+painting.  Rather would I say that it is a waste of time to institute
+comparisons.  Let it be remembered only that no Japanese painting can be
+properly understood, much less appreciated, unless we possess some
+acquaintance with the laws which control its production.  Without such
+knowledge, criticism--praising or condemning a Japanese work of art--is
+without weight or value.
+
+Japanese painters smile wearily when informed that foreigners consider
+their work to be flat, and at best merely decorative; that their pictures
+have no middle distance or perspective, and contain no shadows; in fact,
+that the art of painting in Japan is still in its infancy.  In answer to
+all this suffice it to say that whatever a Japanese painting fails to
+contain has been purposely omitted.  With Japanese artists it is a
+question of judgment and taste as to what shall be painted and what best
+left out.  They never aim at photographic accuracy or distracting detail.
+They paint what they feel rather than what they see, but they first see
+very distinctly.  It is the artistic impression (SHA I)  which they strive
+to perpetuate in their work.  So far as perspective is concerned, in the
+great treatise of Chu Kaishu entitled, "The Poppy-Garden Art
+Conversations," a work laying down the fundamental laws of landscape
+painting, artists are specially warned against disregarding the principle
+of perspective called EN KIN, meaning what is far and what is near.  The
+frontispiece to the present volume illustrates how cleverly perspective is
+produced in Japanese art _(Plate I)._
+
+Japanese artists are ardent lovers of nature; they closely observe her
+changing moods, and evolve every law of their art from such incessant,
+patient, and careful study.
+
+These laws (in all there are seventy-two of them recognized as important)
+are a sealed book to the uninitiated.  I once requested a learned Japanese
+to translate and explain some art terms in a work on Japanese painting.
+He frankly declared he could not do it, as he had never studied painting.
+
+The Japanese are unconsciously an art-loving people.  Their very education
+and surroundings tend to make them so. When the Japanese child of tender
+age first takes his little bowl of rice, a pair of tiny chop-sticks is put
+into his right hand.  He grasps them as we would a dirk.  His mother then
+shows him how he should manipulate them. He has taken a first lesson in
+the use of the brush.  With practice he becomes skilful, and one of his
+earliest pastimes is using the chop-sticks to pick up single grains of
+rice and other minute objects, which is no easy thing to do.  It requires
+great dexterity. He is insensibly learning how to handle the double brush
+(NI HON _fude)_ with which an artist will, among other things, lay on
+color with one brush and dilute or shade off _(kumadori)_ the color with
+another, both brushes being held at the same time in the same hand, but
+with different fingers.
+
+At the age of six the child is sent to school and taught to write with a
+brush the phonetic signs Japanese (forty-seven in number) which constitute
+the Japanese syllabary. These signs represent the forty-seven pure sounds
+of the Japanese language and are used for writing.  They are known as
+_katakana_ and are simplified Chinese characters, consisting of two or
+three strokes each.  With them any word in Japanese can be written.  It
+takes a year for a child to learn all these signs and to write them from
+memory, but they are an excellent training for both the eye and the hand.
+
+His next step in education is to learn to write these same sounds in a
+different script, called _hiragana._ These characters are cursive or
+rounded in form, while the _katakana_ are more or less square. The
+_hiragana_ are more graceful and can be written more rapidly, but they are
+more complicated.
+
+From daily practice considerable training in the use of the brush and the
+free movement of the right arm and wrist is secured, and the eye is taught
+insensibly the many differences between the square and the cursive form.
+Before the child is eight years old he has become quite skilful in writing
+with the brush both kinds of _kana._
+
+He is next taught the easier Chinese characters,--Chinese KANJI  and
+ideographs.  These are most ingeniously constructed and are of great
+importance in the further training of the eye and hand.
+
+So greatly do these wonderfully conceived written forms appeal to the
+artistic sense that a taste for them thus early acquired leads many a
+Japanese scholar to devote his entire life to their study and cultivation.
+Such writers become professionals and are called SHOKA. Probably the most
+renowned in all China was Ogishi.  Japan has produced many such famous
+men, but none greater than Iwaya Ichi Roku, who has left an immortal name.
+
+From what has been said about writing with the brush, it will be
+understood how the youth who may determine to follow art as a career is
+already well prepared for rapid strides therein.  His hand and arm have
+acquired great freedom of movement.  His eye has been trained to observe
+the varying lines and intricacies of the strokes and characters, and his
+sentiments of balance, of proportion, of accent and of stroke order, have
+been insensibly developed according to subtle principles, all aiming at
+artistic results.
+
+The knowledge of Chinese characters and the their ability to write them
+properly are considered of prime importance in Japanese art.  A first
+counsel given me by Kubota Beisen was to commence that study, and he
+personally introduced me to Ichiroku who, from that time, kindly
+supervised my many years of work in Chinese writing, a pursuit truly
+engrossing and captivating.
+
+In all Japanese schools the rudiments of art are taught, and children are
+trained to perceive, feel, and enjoy what is beautiful in nature.  There
+is no city, village, or hamlet in all Japan that does not contain its
+plantations of plum and cherry blossoms in spring, its peonies and lotus
+ponds in summer, its chrysanthemums in autumn, and camelias, mountain
+roses and red berries in winter.  The school children are taken time and
+again to see these, and revel amongst them.  It is a part of their
+education.  Excursions, called UNDOKAI, are organized at stated intervals
+during the school term and the scholars gaily tramp to distant parts of
+the country, singing patriotic and other songs the while and enjoying the
+view of waterfalls, broad and winding rivers, autumn maples, or
+snow-capped mountains.  In addition to this, trips are taken to all famous
+temples and historical places including, where conveniently near, the
+three great views of Japan,--Matsushima, Ama No Hashi Date, and Myajima.
+Thus a taste for landscape is inculcated and becomes second nature.
+Furthermore, the scholars are encouraged to closely watch every form of
+life, including butterflies, crickets, beetles, birds, goldfish,
+shell-fish, and the like; and I have seen miniature landscape gardens made
+by Japanese children, most cleverly reproducing charming views and
+contained in a shallow box or tray.  This gentle little art is called
+BONSAI or _hako niwa._
+
+           [The Tea Ceremony, by Miss Uyemura Shoen. Plate II.]
+
+            The Tea Ceremony, by Miss Uyemura Shoen. Plate II.
+
+
+My purpose in alluding to all this is to indicate that a boy on leaving
+school has absorbed already much artistic education and is fairly well
+equipped for beginning a special course in the art schools of the empire.
+
+These schools differ in their methods of instruction, and many changes
+have been introduced in them during the present reign, or Meiji period,
+but substantially the course takes from three to four years and embraces
+copying (ISHA  _mitori_), tracing (MOSHA, _tsuki-utsushi)_, reducing
+(SHUKUZU,  _chijime-ru)_, and composing (SHIKO, _tsukuri kata)._
+
+In copying, the teacher usually first paints the particular subject and
+the student reproduces it under his supervision. Kubota's invariable
+method was to require the pupil on the following day to reproduce from
+memory (AN KI) the subject thus copied. This engenders confidence.  In
+tracing, thin paper is placed over the picture and the outlines (RIN KAKU)
+are traced according to the _exact order_ in which the original subject
+was executed, an order which is established by rule; thus a proper style
+and brush habit are acquired. The correct sequence of the lines and parts
+of a painting is of the highest importance to its artistic effect.
+
+In reducing the size of what is studied, the laws of proportion are
+insensibly learned. This is of great use afterwards in sketching
+(SHASSEI). I believe that in the habit of reproducing, as taught in the
+schools, lies the secret of the extraordinary skill of the Japanese
+artisan who can produce marvelous effects in compressing scenery and other
+subjects course within the very smallest dimensions and yet preserve
+correct proportions and balance.  Nothing can excel in masterly reduction
+the miniature landscape work of the renowned Kaneiye, as exhibited in his
+priceless sword guards _(tsuba)._
+
+Sketching comes later in the course and is taught only after facility has
+been acquired in the other three departments.  It embraces everything
+within doors and without--everything in the universe which has form or
+shape goes into the artist's sketch-book (KEN KON _no uchi_ KEI SHO
+_arumono mina_  FUN PON _to nasu)--_and forms part of the course in
+composition, which is intended to develop the imaginative faculties
+(SOZO).  Kubota was so skilful in sketching that while traveling rapidly
+through a country he could faithfully reproduce the salient features of an
+extended landscape, conformable to the general rule in sketching, that
+what first attracts the eye is to be painted first, all else becoming
+subordinate to it in the scheme.  Again, he could paint the scenery and
+personages of any historical song _(joruri)_ as it was being sung to him,
+reproducing everything therein described and finishing his work in exact
+time with the last bar of the music.  His arm and wrist were so free and
+flexible that his brush skipped about with the velocity of a dragon-fly.
+As an offhand painter (SEKIJO), or as a contributor to an impromptu
+picture in which several artists will in turn participate, such joint
+composition being known as GASSAKU, Kubota stood _facile princeps_ among
+modern Japanese artists.  The Kyoto painters have always been most gifted
+in that kind of accomplishment.  In their day Watanabe Nangaku, a pupil of
+Okyo, Bairei, and Hyakunen, all of Kyoto, were famous as SEKIJO painters.
+
+The art student having completed his course is now qualified to attach
+himself to some of the great artists, into whose household he will be
+admitted and whose _deshi_ or art disciple he becomes from that time on.
+The relation between such master (SENSEI) and his pupil _(deshi)_ is the
+most kindly imaginable.  Indeed, _deshi_ is a very beautiful word, meaning
+a younger brother, and was first applied to the Buddhist disciples of
+Shakka.  The master treats him as one of his family and the pupil reveres
+the master as his divinity.  Greater mutual regard and affection exist
+nowhere and many pupils remain more or less attached to the master's
+household until his death.  To the most faithful and skilful of these the
+master bestows or bequeaths his name or a part of it, or his nom de plume
+(GO); and thus it is that the celebrated schools (RYUGI or HA or FU) of
+Japanese painting have been formed and perpetuated, beginning with
+Kanaoka, Tosa, Kano, and Okyo, and brought down to posterity through the
+devoted, and I might say sacred efforts of their pupils, to preserve the
+methods and traditions of those great men.  Pupils of the earlier painters
+took their masters' family names, which accounts for so many Tosas and
+Kanos.
+
+Great painters have always been held in high esteem in Japan, not only by
+their pupils, but also by the whole nation.  Chikudo, the distinguished
+tiger painter, Bairei, one of the most renowned of the SHIJO HA or
+Maruyama school, Hashimoto Gaho, a pupil of Kano Massano and a leading
+exponent of the Kano style (Kano HA), and Katei, a Nangwa artist, all only
+recently deceased, were glorified in their lifetime.  Strange to say, no
+one ever saw Gaho with brush in hand.  He never would paint before his
+pupils or in any one's presence.  His instructions were oral.  On the
+other hand, Kubota Beisen was always at his best when painting before
+crowds of admirers.
+
+Prior to the Meiji period the great painters attached to the household of
+a Daimyo were called _O Eshi._ Painters who sold their paintings were
+styled _E kaki._ Now all painters are called GWA KA. Engravers, sculptors,
+print makers and the like were and still are denominated SHOKUNIN, meaning
+artisans.  The comprehensive term "fine arts" (BIJUTSU) is of quite recent
+creation in Japan.
+
+To say a few words about the different schools of painting in Japan, there
+were great artists there, many centuries before Italy had produced Michael
+Angelo or Raphael.  The art of painting began more than fifteen hundred
+years ago and has continued in uninterrupted descent from that remote time
+down to this forty-fourth year of Meiji, the present emperor's reign.  No
+other country in the civilized world can produce such an art record.  One
+thousand years before America was discovered, five hundred years before
+England had a name, and long before civilization had any meaning in
+Europe, there were artists in Japan following the profession of painting
+with the same ardor and the same intelligence they are now bestowing upon
+their art in this twentieth century of our era.
+
+When Buddhism was introduced there in the sixth century, a great school of
+Buddhist artists began its long career.  Among  the names that stand out
+from behind the mist of ages is that of Kudara no Kawanari, who came from
+Corea.
+
+In the ninth century lived the celebrated Kose Kanaoka.  He painted in
+what was called the pure Japanese style, _yamato e,_ _yamato_ being the
+earliest name by which Japan was designated.  He painted portraits and
+landscapes, and his school having a great following, lasted through five
+centuries.  Kose Kimi Mochi, his pupil, Kimitada and Hirotaka were
+distinguished disciples of Kanaoka.
+
+The Tosa school came next, beginning with Tosa Motomitsu, followed by
+Mitsunaga, Nobuzane and Mitsunobu.  It dates back to the period of the
+Kamakura Shogunate eight hundred years ago.  Its artists confined
+themselves principally to painting court scenes, court nobles, and the
+various ceremonies of court life.  This school always used color in its
+paintings.
+
+After Tosa came the schools of Sumiyoshi, Takuma, Kassuga, and Sesshu.
+Sesshu was a genius of towering proportions and an indefatigable artist of
+the very highest rank as a landscape painter.  He had a famous pupil named
+Sesson.
+
+Following Sesshu came the celebrated school of Kano artists, founded in
+the sixteenth century by Kano Masanobu.  It took Japan captive.  It had a
+tremendous vogue and following, and has come down to the present day
+through a succession of great painters.  There were two branches, one in
+Edo (Tokyo), which included Kano Masanobu, Motonobu, his son, Eitoku,
+Motonobu's pupil, and later, Tanyu (Morinobu) Tanshin, his pupil, Koetsu,
+Naonobu, Tsunenobu, Morikage, Itcho, and finally Hashimoto Gaho, its
+latest distinguished representative, who is but recently deceased.  The
+other branch, known as the Kyoto Kano, included the famous San Raku, Eino,
+San Setsu, and others. By some critics San Raku is placed at the head of
+all the Kano artists.
+
+The Kano painters are remarkable for the boldness and living strength of
+the brush strokes _(fude no chicara_ or _fude no ikioi)_, as well as for
+the brilliancy or sheen _(tsuya)_ and shading of the _sumi._ This latter
+effect--the play of light and shade in the stroke, considered almost a
+divine gift--is called BOKUSHOKU, and recalls somewhat the term
+_chiaroscuru._ The range of subjects of the Kano painters was originally
+limited to classic Chinese scenery, treated with simplicity and
+refinement, and to Chinese personages, sages and philosophers; color was
+used sparingly.
+
+Other schools, more or less offshoots of the Kano style (RYU) of painting,
+came next--e. g., Korin and his imitator, Hoitsu, the DAIMYO of Sakai, who
+was said to use powdered gold and precious stones in his pigments.  Korin
+has never had his equal as a painter on lacquer. His work is said to be
+_le regal des delicats._
+
+Another disciple of the Kano school, and a pupil of Yutei, was Maruyama
+Okyo, who founded in turn a school of art which is the most widely spread
+and flourishing in Japan today.  Maruyama, not Okyo, was the family name
+of that artist.  The name Okyo originated thus: Maruyama, much admiring an
+ancient painter named Shun Kyo, took the latter half of that name, Kyo,
+and prefixing an "O" to it, made it Okyo, which he then adopted.  His
+style is called SHI JO FU, SHI JO being the name of that part of Kyoto
+where he resided, and FU meaning style or manner, and its characteristic
+is artistic fidelity to the objects represented.  By some it is called the
+realistic school, and includes such well-known household names as Goshun,
+pupil of Busson, Sosen, the great monkey painter, Tessan _(Plate III.)_
+and his son, Morikwansai, Bairei, Chi-kudo, the tiger painter, Hyakunen
+and his three pupils, Keinen, Shonen and Beisen, Kawabata Gyokusho, Torei,
+Shoen, and Takeuchi Seiho.
+
+There are still other schools (RYUGI) which might be mentioned, including
+that of the NANGWA, or Chinese southern painters, of Chinese origin and
+remarkable for the gracefulness of the brush stroke, the effective
+treatment of the masses and for the play of light and shade throughout the
+composition. Among the great NANGWA painters are Taigado, Chikuden,
+Baietsu _(Plate VIII)_ and Katei.   To this school is referred a style of
+painting affected exclusively by the professional writers of Chinese
+characters, and called BUNJINGWA. To these I will allude further on.  The
+versatile artist, Tani Buncho, created a school which had many adherents,
+including the distinguished Watanabe Kwazan and Eiko of Tokyo, lately
+deceased, one of its best exponents.
+
+The art of painting is enthusiastically pursued at the present time in
+Kyoto, Tokyo, Nagoya and Osaka.  In Tokyo, Hashi Moto Gaho was generally
+conceded to be, up to the time of his death in 1908, the foremost artist
+in Japan.  Although of the Kano school, he greatly admired European art,
+and the treatment of the human figure in some of his latest paintings
+recalls the manner of the early Flemish artists.
+
+My first meeting with Gaho was at his home.  While waiting for him, I
+observed suspended in the _tokonoma,_ or alcove, a narrow little
+_kakemono_ by Kano Moto Nobu, representing an old man upon a donkey
+crossing a bridge.  A small bronze vase containing a single flower spray
+was the sole ornament in the room.  This gave the keynote to Gaho's
+character--classic simplicity, ever reflected in his work.  He had many
+followers.  His method of instruction with advanced pupils was to give
+them subjects such as "A Day in Spring," "Solitude," "An Autumn Morning,"
+or the like, and he was most insistent upon all the essentials to the
+proper effect being introduced.  His criticisms were always luminous and
+sympathetic.  He advised his students to copy everything good, but to
+imitate no-one,--to develop individuality.   He left three very
+distinguished and able pupils--Gyokudo, Kan Zan and Boku Sen.
+
+             [Chickens in Spring, by Mori Tessan. Plate III.]
+
+              Chickens in Spring, by Mori Tessan. Plate III.
+
+
+Since Gaho's death, Kawabata Gyokusho, an Okyo artist, is the recognized
+leader of the capital.  In Kyoto, Takeuchi Seiho, an early pupil of
+Bairei, now occupies the foremost place, although Shonen and Keinen,
+pupils of Hyakunen, still hold a high rank.
+
+Recurring to the time of Tosa, there is another school beginning under
+Matahei and perpetuated through many generations of popular artists,
+including Utamaro, Yeisen and Hokusai, and coming down to the present
+date.  This is the _Ukiyo e_ or floating-world-picture school.  It is far
+better known through its prints than its paintings.  The great painters of
+Japan have never held this school in any favor.  At one time or another I
+have visited nearly every distinguished artist's studio in Japan, and I
+know personally most of the leading artists of that country.  I have never
+seen a Japanese print in the possession of any of them, and I know their
+sentiments about all such work.  A print is a lifeless production, and it
+would be quite impossible for a Japanese artist to take prints into any
+serious consideration.  They rank no higher than cut velvet scenery or
+embroidered screens.  I am aware that such prints are in great favor with
+many enthusiasts and that collectors highly value them; but they do not
+exemplify art as the Japanese understand that term.  It must be admitted,
+however, that the prints have been of service in several ways.  They first
+attracted the world's attention to the subject of Japanese art in general.
+Commencing with an exhibition of them in London a half century ago, the
+prints of Ukiyo or genre subjects came rapidly into favor and ever since
+have commanded the notice and admiration of collectors in Europe and
+America.  Many people are even under the impression that the prints
+represent Japanese painting, which, of course, is a great mistake.  There
+have been artists in Japan who, in the _Ukiyo e_ manner, have painted
+_kakemono_, BYOBU and _makimono_. The word _kakemono_ is applied to a
+painting on silk or paper, wound upon a wooden roller and unrolled and
+hung up to be seen. _Kakeru_ means to suspend and _mono_ means an object,
+hence _kakemono_, a suspended object. BYOBU signifies wind protector or
+screen; _makimono_, meaning a wound thing, is a painting in scroll form.
+It is not suspended, but simply unrolled for inspection. Such original
+work by Matahei and others is extant. But most of the _Ukiyo e_, or
+pictures in the popular style, are prints struck from wood blocks and are
+the joint production of the artist, the wood engraver, the color smearer
+and the printer, all of whom have contributed to and are more or less
+entitled to credit for the result; and that is one reason why the
+artist-world of Japan objects to or ignores them; they are not the
+spontaneous, living, palpitating production of the artist's brush.  It is
+well known that artists of the _Ukiyo e_ school frequently indicated only
+by written instructions how their outline drawings for the prints should
+be colored, leaving the detail of such work to the color smearer.  Apart
+from the fact that the colors employed were the cheapest the market
+afforded, and are found often to be awkwardly applied, there is too much
+about the prints that is measured, mechanical and calculated to satisfy
+Japanese art in its highest sense.  Frequently more than one engraver was
+employed upon a single print.  The engravers had their specialties; some
+were engaged for the coiffure or head-dress _(mage),_ other for the lines
+of the face, others for the dress _(kimono),_ others still for pattern
+(MOYO), et cetera.  The most skilful engravers in Yedo were called
+_kashira bori_ and were always employed on Utamaro and Hokusai prints.
+Many of the colors of these prints in their soft, neutral shades, are
+rapturously extolled by foreign connoisseurs as evidence of the marvelous
+taste of the Japanese painter.  But, really, time more than art is to be
+credited with toning down such tints to their present delicate hues.  In
+this respect, like Persian rugs, they improve with age and exposure.  An
+additional objection to most of the prints is that they reproduce trivial,
+ordinary, every-day occurrences in the life of the mass of the people as
+it moves on.  They are more or less plebian.  The prints being intended
+for sale to the common people, the subjects of them, however skilfully
+handled, had to be commonplace.  They were not purchased by the nobility
+or higher classes.  Soldiers, farmers, and others bought them as presents
+_(miage)_ for their wives and children, and they were generally sold for a
+penny apiece, so that in Japan prints were a cheap substitute for art with
+the lower classes, just as Raspail says garlic has always been the camphor
+of the poor in France.  The practice of issuing _Ukiyo e_ prints at very
+low prices still continues in Tokyo, where every week or two such colored
+publications are sprung up in front of the book-stalls and are still as
+eagerly purchased by the common people as they were in Tokugawa days.
+
+The prices the old prints now bring are out of all proportion to their
+intrinsic value, yet, such is the crescendo craze to acquire them that
+Japan has been almost drained of the supply, the number of prints of the
+best kind being limited, like that of Cremona violins of the good makers.
+
+Prints are genuine originals of a first or subsequent issue, called
+respectively, SHO HAN and SAI HAN, or they are reproductions more or less
+cleverly copied upon new blocks, or they are fraudulent imitations
+(GANBUTSU) of the original issues, often difficult to detect.  The very
+wormholes are burnt into them with SENKO or perfume sticks and clever
+workmen are employed to make such and other trickery successful.  A long
+chapter could be written about their dishonest devices.  Copies of genuine
+prints (HON KOKU), made from new blocks after the manner of the ancient
+ones, abound, and were not intended to pass for originals.  Yedo, where
+the print industry was chiefly carried on, has had so many destructive
+conflagrations that most of the old _Ukiyo e_ blocks have been destroyed.
+At Nagoya the house of To Heki Do still preserves the original blocks of
+the MANGWA or miscellaneous drawings of Hokusai, but they are  much  worn.
+Prints are known by various names, such as _ezoshi_ (illustrations),
+_nishiki e_, _edo e_ (Yedo pictures), _sunmono_ and INSATSU. It may be of
+interest to know that the print blocks, when so worn as to be no longer
+serviceable for prints, are sometimes converted into fire-boxes
+_(hibachi)_ and tobacco trays _(tobacco bon)_ which, when highly polished,
+are decorative and unique.
+
+Perhaps a useful purpose prints have served is to record the manners and
+customs of the people of the periods when they were struck off.  They show
+not only prevailing styles of dress and headdress, but also the pursuits
+and amusements of the common folk.  They are excellent depositaries of
+dress pattern (MOYO) or decoration, upon which fertile subject Japan has
+always been a leading authority.  In the early Meiji period print painters
+frequently delegated such minute pattern work to their best pupils, whose
+seals (IN) will be found upon the prints thus elaborated.  The prints
+preserve the ruling fashions of different periods in combs and other hair
+ornaments, fans, foot-gear, single and multiple screens, fire-boxes and
+other household ornaments and utensils.  They also furnish specimens of
+temple and house architecture, garden plans, flower arrangements _(ike
+bana),_ bamboo, twig and other fences.  Again, they reproduce the stage,
+with its famous actors in historical dramas; battle scenes, with warriors
+and heroes; characters in folk-lore and other stories, and wrestling
+matches, with the popular champions; and we will often find upon the face
+of the print good reproductions of Chinese and Japanese writing, in poems
+and descriptive prose pieces.  Hokusai illustrated much of the classic
+poetry of China and Japan, as well as the SENJIMON, or Thousand Character
+Chinese classic, a work formerly universally taught in the Japanese
+schools.  The original characters for this remarkable compilation were
+taken from the writings of Ogishi.  The prints have aided in teaching
+elementary history to the young; the knowledge of Japanese children in
+this connection is often remarkable and may be attributed to the
+educational influence of the _Ukiyo e_ publications.
+
+So there are certainly good words to be said for the prints, but they are
+not Japanese art in its best sense, however interesting as a subordinate
+phase of it, and in no sense are they Japanese painting.
+
+If limited to a choice of one artist of the _Ukiyo e_ school, no mistake
+would be made, I think, in selecting Hiroshige, whose landscapes fairly
+reproduce the sentiment of Japanese scenery, although the prints bearing
+his name fall far short of reproducing that artist's color schemes.
+Hokusai's reputation with foreigners is greater than Hiroshige's, but
+Japanese artists do not take Hokusai seriously.  His pictures, they
+declare, reflect the restlessness of his disposition; his peaks of Fuji
+are all too pointed, and his manner generally is exaggerated and
+theatrical.  Utamaro's women of the Yoshiwara are certainly careful
+studies in graceful line drawing,--as correct as Greek drapery in marble.
+
+Iwasa Matahei, the founder of the popular school, was a pupil of
+Mitsunori, a Kyoto artist and follower of Tosa.  Matahei disliked Tosa
+subjects and preferred to depict the fleeting usages of the people, so he
+was nicknamed Fleeting World or _Ukiyo_ Matahei, and thus originated the
+name _Ukiyo e_ or pictures of every-day life.  There are no genuine
+Matahei prints.  He dates back to the seventeenth century.  Profile faces
+in original screen paintings by him have an Assyrian cast of countenance,
+the eye being painted as though seen in full face.
+
+Hishikawa Moronobu was his follower and admirer.  He was an artist of
+Yedo.  Nishikawa Sukenobu belonged to the Kano school and was a pupil of
+Kano Eiko.  He adopted the _Ukiyo e_ style and depicted the pastimes of
+women and the portraits of actors.  He lived two hundred and twenty years
+ago and in his time prints came greatly into vogue.  Torii Kyonobu painted
+women and actors and invented the kind of pictured theatrical powers which
+are still in fashion, placarded at the entrance to theaters and showing
+striking incidents in the play.
+
+Suzuki Harunobu never painted actors, preferring to reproduce the feminine
+beauties of his time.  It was to his careful work that was first applied
+the term _nishiki e_ or brocade pictures, on account of the charm of his
+decorative manner.  He lived one hundred and thirty years ago.
+
+Among the many able foreign writers on Japanese prints Fenollosa stands
+prominent. He resided for a long time in Japan, understood and spoke the
+language, and lived the life of the people.  He was in great sympathy with
+them and with their art and enjoyed exceptional opportunities for seeing
+and studying the best treasures of that country.  Had he possessed the
+training necessary to paint in the Japanese style I do not think he would
+have devoted so much time to Japanese woodcuts.  Visiting me at Kyoto,
+where I was busily engaged in painting, "Ah!" he cried, "that is what I
+have always longed to do.  Sooner or later I shall follow your example."
+But he never did.  Instead, he issued a large work on Japanese prints.
+His death was a real loss to the art literature of Japan.  During eight
+years he was in the service of the Japanese government ransacking,
+cataloguing and photographing the multitudinous art treasures, paintings,
+_kakemono_, _makimono,_ and BYOBU (pictures, scrolls and screens), to be
+found in the various Buddhist and other temples and monasteries scattered
+throughout the empire.  The last time we met, he remarked, "How can one
+willingly leave this land of light?  Japan, to my mind, stands for
+whatever is beautiful in nature and true in art; here I hope to pass the
+remaining years of my life."  Such was his genuine enthusiasm, engendered
+by a long acquaintance with art and everything else beautiful in that
+country.  Japan impresses in this way all who see it under proper
+conditions, but unfortunately the ordinary traveler, pushed for time, and
+whose acquaintance is limited to professional guides, never gets much
+beyond the sights, the shops and the curio dealers.
+
+            [Snow Scene in Kaga, by Kubota Beisen.  Plate IV.]
+
+             Snow Scene in Kaga, by Kubota Beisen.  Plate IV.
+
+
+The question is often asked, "Is there any good book on Japanese
+painting?"  I know of none in any language except Japanese.  The following
+are among the best works on the subject:
+
+      A History of Japanese Painting (HON CHO GASHI), by Kano Eno.
+      A Treasure Volume (BAMPO ZEN SHO), by Ki Moto Ka Ho.
+      The Painter's Convenient Reference (GOKO BEN RAN), by Arai Haku
+      Seki.
+      A Collection of Celebrated Japanese  Paintings (KO CHO MEIGA SHU E),
+      by Hiyama Gi Shin.
+      Ideas on Design in Painting (TO GA KO), by Saito Heko Maro.
+      A Discourse on Japanese Painting (HONCHO GWA SAN), by Tani Buncho.
+      Important Reflections on All Kinds of Painting (GWA JO YO RYAKU), by
+      Arai Kayo.
+      A Treatise on Famous Japanese Paintings (FU SO MEI GWA DEN), by Hori
+      Nao Kaku.
+      Observations on Ancient Pictures (KO GWA BI KO), by Asa Oka Kotei.
+      A Treatise on Famous Painters (FU SO GWA JIN), by Ko Shitsu Ryo Chu.
+      A Treatise on Japanese Painting (YAMATO NISHIKI KEM BUN SHO), by
+      Kuro Kama Shun Son.
+      A Treatise on the Laws of Painting (GWAFU), by Ran Sai, a pupil of
+      Chinanpin.  The work is voluminous and is both of great use and
+      authority.
+      CHO CHU GWA FU, by Chiku To.
+      SHA ZAN GAKUGWA HEN, by Buncho.
+
+Translations of all these works into English are greatly to be desired.
+
+There is much that has been sympathetically written and published about
+Japanese paintings both in Europe and America, but however laudatory, it
+might be all summed up under the title, "Impressions of an Outsider."
+Such writings lack the authority which only constant labor in the field of
+practical art can confer.  A Japanese artist, by which I mean a painter,
+is long in making.  From ten to fifteen years of continuous study and
+application are required before much skill is attained.  During that time
+he gradually absorbs a knowledge of the many principles, precepts, maxims
+and methods, which together constitute the corpus or body of art doctrine
+handed down from a remote antiquity and preserved either in books or
+perpetuated by tradition.  Along with these are innumerable art secrets
+called _hiji_ or _himitsu,_ never published, but orally imparted by the
+masters to their pupils--not secrets in a trick sense, but methods of
+execution discovered after laborious effort and treasured as valued
+possessions.  It is obvious, then, how incapable of writing technically
+upon the subject must anyone be who has not gone through such curriculum
+and had drilled into him all that varied instruction which makes up the
+body of rules applicable to that art.
+
+I have read many seriously written appreciations of Japanese paintings
+published in various modern languages, and even some amiable imaginings
+penned for foreigners by Japanese who fancy they know by instinct what
+only can be acquired after long study and practice with brush in hand.
+All such writers are characterized in Japan by a very polite term,
+_shiroto_--which means amateur.  It also has a secondary signification of
+emptiness.
+
+
+
+
+
+[Chapter 3 Head-Band: The design called "Dew on the Grass and Butterflies"
+                          (tsuyu, kusa ni cho).]
+
+
+CHAPTER THREE. LAWS FOR THE USE OF BRUSH AND MATERIALS
+
+
+Upon a subject as technical as that of Japanese painting, to endeavor to
+impart correct information in a way that shall be both instructive and
+entertaining is an undertaking of no little difficulty.  The rules and
+canons of any art when enumerated, classified and explained, are likely to
+prove trying, if not wearisome reading.  Yet, if our object be to acquire
+accurate knowledge, we must consent to make some sacrifice to attain it,
+and there is no royal road to a knowledge of Japanese painting.
+
+We have little or no opportunity in America, excepting in one or two
+cities, to see good specimens of the work of the great painters of Japan.
+Furthermore, such work in _kakemono_ form is seen to much disadvantage
+when exhibited in numbers strung along the walls of a museum.  Japanese
+_kakemono_ (hanging paintings) are best viewed singly, suspended in the
+recess of the _tokonoma,_ or alcove.  A certain seclusion is essential to
+the enjoyment of their delicate and subtle effects; the surroundings
+should be suggestive of leisure and repose, which the Japanese word
+_shidzuka,_ often employed in art language, well describes.
+
+The Japanese technique, by which I understand the established manner in
+which their effects in painting are produced, differs widely from that of
+European art.  The Japanese brushes _(Jude_ and _hake),_ colors and
+materials influence largely the method of painting.  The canons or
+standards by which Japanese art is to be judged are quite special to Japan
+and are scarcely understood outside of it.  Since the subject is
+technical, to treat it in a popular way is to risk the omission of much
+that is essential.  I will endeavor, at any rate, to give an outline of
+its fundamental principles, first saying a word or two about the tools and
+materials.
+
+In Japanese painting no oils are used. _Sumi_ (a black color in cake form)
+and water-colors only are employed, while Chinese and Japanese paper and
+specially prepared silk take the place of canvas or other material.
+
+Japanese artists do not paint on easels; while at work they sit on their
+heels and knees, with the paper or silk spread before them on a soft
+material, called _mosen,_ which lies upon the matting or floor covering.
+After one becomes accustomed to this position, he finds it gives, among
+other things, a very free use of the right arm and wrist.
+
+Silk _(e ginu)_ is prepared for painting by first attaching it with boiled
+rice mucilage to a stretching frame.  A sizing of alum and light glue
+(called _dosa)_ is next applied, care being taken not to wet the edges of
+the silk attached to the frame, which would loosen the silk.
+
+It has been found that paper lasts much longer than silk, and also can be
+more easily restored when cracked with age.
+
+The  artists  of the  Tosa  school  used a paper various kinds called
+_tori no ko,_ into the composition of which egg-shells entered.  This
+paper was a special product of Ichi Zen.
+
+The Kano artists used both _tori no ko_ and a paper made from the mulberry
+plant, also a product of Ichi Zen, and known as _hosho._  For ordinary
+tracing a paper called TENGU JO is used. In Okyo's time, Chinese paper
+made from rice-plant leaves came into vogue.  It is manufactured in large
+sheets and is called TOSHI. It is a light straw color, and is very
+responsive to the brush stroke, except when it "catches cold," as the
+Japanese say.  It should be kept in a dry place.
+
+The Tosa artists used paper almost to the exclusion of silk.  The Kano
+school largely employed silk for their paintings.  Okyo also usually
+painted on silk.
+
+Japanese artists seldom outline their work.  In painting on silk, a rough
+sketch in _sumi_ is sometimes placed under the silk for guidance.
+Outlining on paper is done with straight willow twigs of charcoal, called
+_yaki sumi,_ easily erased by brushing with a feather.
+
+There are strict, and when once understood, reasonable and helpful laws
+for the use of the brush (YOHITSU), the use of _sumi_ (YOBOKU) and the use
+of water-colors (SESSHOKU). These laws reach from what seems merely the
+mechanics of painting into the highest ethics of Japanese art.
+
+The law of YO HITSU requires a free and skilful handling of the brush,
+always with strict attention to the stroke, whether dot, line or mass is
+to be made; the brush must not touch the silk or paper before reflection
+has determined what the stroke or dot is to express.  Neither negligence
+nor indifference is tolerated.
+
+An artist, be he ever so skilful, is cautioned not to feel entirely
+satisfied with his use of the brush, as it is never perfect and is always
+susceptible of improvement.  The brush is the handmaid of the artist's
+soul and must be responsive to his inspiration.  The student is warned to
+be as much on his guard against carelessness when handling the brush as if
+he were a swordsman standing ready to attack his enemy or to defend his
+own life; and this is the reason: Everything in art conspires to prevent
+success.  The softness of the brush requires the stroke to be light and
+rapid and the touch delicate.  The brush, when dipped first into the
+water, may absorb too much or not enough, and the _sumi_ or ink taken on
+the brush may blot or refuse to spread or flow upon the material, or it
+may spread in the wrong direction.  The Chinese paper (TOSHI) which is
+employed in ordinary art work may be so affected by the atmosphere as to
+refuse to respond, and the brush stroke must be regulated accordingly.
+All such matters have to be considered when the brush is being used, and
+if the spirit of the artist be not alert, the result is failure. (IT TEN
+ICHI BOKU  _ni_  CHIU _o su beki.)_
+
+Vehicle of the subtle sentiment to be expressed in form, the brush must be
+so fashioned as to receive and transmit the vibrations of the artist's
+inner self.  Much care, much thought and skill have been expended in the
+manufacture of the brush.
+
+In China, the art of writing preceded painting, and the first brushes made
+were writing brushes, and the more writing developed into a wonderful art,
+the more attention was bestowed upon the materials composing the writing
+brush.  Such brushes were originally made with rabbit hair, round which
+was wrapped the hair of deer and sheep, and the handles were mulberry
+stems.  Later on, as Chinese characters became more complex and writing
+more scientific, the brushes were most carefully made of fox and rabbit
+hair, with handles of ivory, and they were kept in gold and jeweled boxes.
+Officials were enjoined to write all public documents with brushes having
+red lacquer handles, red being a positive or male (YO) color.  Ogishi, the
+greatest of the Chinese writers, used for his brushes the feelers from
+around the rat's nose and hairs taken from the beak of the kingfisher.
+
+In Japan, hair of the deer, badger, rabbit, sheep, squirrel, and wild
+horse all enter into the manufacture of the artist's brush, which is made
+to order, long or short, soft or strong, stiff or pliable.  For laying on
+color, the hair of the badger is preferred.  The sizes and shapes of
+brushes used differ according to the subject to be painted. There are
+brushes for flowers and birds, human beings, landscapes, lines of the
+garments, lines of the face, for laying on color, for shading, et cetera.
+
+A distinguishing feature in Japanese painting is the strength of the brush
+stroke, technically called _fude no chikara_ or _fude no ikioi._ When
+representing an object suggesting strength, such, for instance, as a rocky
+cliff, the beak or talons of a bird, the tiger's claws, or the limbs and
+branches of a tree, the moment the brush is applied the sentiment of
+strength must be invoked and felt throughout the artist's system and
+imparted through his arm and hand to the brush, and so transmitted into
+the object painted; and this nervous current must be continuous and of
+equal intensity  while the work proceeds.  If the tree's limbs or branches
+in a painting by a Kano artist be examined, it will astonish any one to
+perceive the vital force that has been infused into them.  Even the
+smallest twigs appear filled with the power of growth--all the result of
+_fude no chikara._  Indeed, when this principle is understood, and in the
+light of it the trees of many of the Italian and French artists are
+critically viewed, they appear flabby, lifeless, and as though they had
+been done with a feather.  They lack that vigor which is attained only by
+_fude no chikara,_ or brush strength.
+
+In writing Chinese characters in the REI SHO manner this same principle is
+carefully inculcated.  The characters must be executed with the feeling of
+their being carved on stone or engraved on steel--such must be the force
+transmitted through the arm and hand to the brush.   Thus executed the
+writings seem imbued with living strength.
+
+It is related of Chinanpin, the great Chinese painter, that an art student
+having applied to him for instruction, he painted an orchid plant and told
+the student to copy it.  The student did so to his own satisfaction, but
+the master told him he was far away from what was most essential.  Again
+and again, during several months, the orchid was reproduced, each time an
+improvement on the previous effort, but never meeting with the master's
+approval.  Finally Chinanpin explained as follows: The long, blade-like
+leaves of the orchid may droop toward the earth but they all long to point
+to the sky, and this tendency is called cloud-longing (BO UN) in art.
+When, therefore, the tip of the long slender leaf is reached by the brush
+the artist must feel that the same is longing to point to the clouds.
+Thus painted, the true spirit and living force _(kokoromochi)_ of the
+plant are preserved.
+
+Kubota recommended to art students and artists to a practice with lines
+which is excellent for acquiring and retaining firmness and freedom of the
+arm, with steady and continuous strength in the stroke.  With a brush held
+strictly perpendicular to the paper horizontal lines are painted, first
+from right to left, the entire width of the TOSHI or other paper, each
+line with equal thickness and unwavering intensity of power throughout its
+entire length.  The thickness of the line will depend upon the amount of
+hair in the brush that is allowed to touch the paper; if only the tip of
+the brush be used, the line will be slender or thin; but, whether a broad
+band or a delicate tracing, it must be uniform throughout and filled with
+living force.  Next, the lines are painted from left to right in the same
+way and with the same close attention to uniform thickness and continuous
+flow of nervous strength from start to finish.   Then, the increasingly
+difficult task is to paint them from top to bottom of the TOSHI, and
+finally, most difficult and most important of all these exercises, the
+parallel lines are traced from bottom to top of the paper.  The thinner
+the line the more difficult it is to execute, because of the tendency of
+the hand to tremble. Indeed, the difficulty is supreme.   Let any one who
+is interested try this; it is an exercise for the most expert.  Such lines
+resemble the _sons fil�s_ on the violin, where a continuous sustained tone
+of equal intensity is produced by drawing the bow from heel to tip so
+slowly over the strings that it hardly moves.  Practicing lines in the way
+indicated gives steadiness and strength, qualities in demand at every
+instant in Japanese art.  Observe a Japanese artist paint the young branch
+of a plum tree shooting from the trunk.  The new year's growth starting,
+it may be, from the bottom of the TOSHI will be projected to the top.
+Examine it carefully and it will be found to conform to that principle of
+_jude no chikara_ which transfers a living force into the branch.  I have
+seen European artists in Japan vainly try offhand to produce such effects;
+but these depend on long and patient practice.
+
+A Japanese artist will frequently ignore the boundaries of the paper upon
+which he paints by beginning his stroke upon the MOSEN and continuing it
+upon the paper--or beginning it upon the paper and projecting it upon the
+MOSEN.  This produces the sentiment or impression of great strength of
+stroke.  It animates the work.  And in this energetic kind of painting, if
+drops of _sumi_ accidentally fall from the brush upon the painting they
+are regarded as giving additional energy to it.  Similarly, if the stroke
+on the trunk or branch of a tree shows many thin hair lines where the
+intention was that the line should be solid, this also is regarded as an
+additional evidence of stroke energy and is always highly prized.
+
+The same principle applies in the art of Chinese writing; but this effect
+must not be the result of calculation--it must be what in art is called SHI
+ZEN,  meaning spontaneous.
+
+In painting the hair of monkeys, bears and the like, the pointed brush is
+flattened and spread out _(wari fude)_ so that each stroke of the same
+will reproduce numberless thin lines, corresponding to the hairs of the
+animal.  Sosen thus painted.  In modern times Kimpo _(Plate V)_ is justly
+renowned for such work.
+
+Many artists become wonderfully expert in the use of the flat brush, from
+one to four inches wide, called _hake,_ by means of which instantaneous
+effects such as rain, rocks, mountain chains and snow scenes are secured.
+Some artists acquire a special reputation for skill in the use of the
+_hake._
+
+The brush should be often and thoroughly rinsed during the time that it is
+used and washed and dried when not employed.  In Kyoto, Osaka and Tokyo
+there are famous manufacturers of artists' brushes, and names of makers
+such as Nishimura, Sugiyama, Hakkado, Onkyodo and Kiukyodo are familiar to
+all the artists of the country.
+
+The use of _sumi_ (YOBOKU) is the really distinguishing feature of
+Japanese painting.  Not only is this black color _(sumi)_ used in all
+water color work, but it is frequently the only color employed; and a
+painting thus executed, according to the laws of Japanese art, is called
+_sumi e_ and is regarded as the highest test of the artist's skill.
+Colors can cheat the eye _(damakasu)_ but _sumi_ never can; it proclaims
+the master and exposes the tyro.
+
+The terms "study in black and white," "India ink drawing" and the like,
+since all are only makeshift translations, are misleading.  The Chinese
+term "BOKUGWA" is the exact equivalent of _sumi e_ and both mean and
+describe the same production.  _Sumi e_ is not an "ink picture," since no
+ink is used in its production.  Ink is the very opposite of _sumi_ both in
+its composition and effect.  Ink is an acid and fluid.  _Sumi_ is a solid
+made from the soot obtained by burning certain plants (for the best
+results _juncus communis,_ bull rush, or the _sessamen orientalis),_
+combined with glue from deer horn.  This is molded into a black cake
+which, drying thoroughly if kept in ashes, improves with age. In much of
+the good _sumi_ crimson _(beni)_ is added for the sheen, and musk perfume
+_(Jako)_ is introduced for antiseptic purposes.  When a dead finish or
+surface _(tsuya o keshi)_ is desired, as, for instance, where the female
+coiffure is to be painted and a lusterless ground is needed for contrast
+with the shining strands of the hair, a little white pulverized oyster
+shell, called GO FUN, is mixed, with the _sumi._  Commercial India ink
+resembles _sumi_ in appearance, but is very inferior to it in quality.
+The methods of _sumi_ manufacture are carefully guarded secrets.  China
+during the Ming dynasty, three centuries ago, produced the best _sumi,_
+although China _sumi_ (TOBOKU) employed twelve centuries past shows both
+in writing and in painting as distinctly and brilliantly today as though
+it were but recently manufactured.  Nara, near Kyoto, was the birthplace
+of Japanese _sumi,_ and the house of Kumagai _(Kyukyodo)_ for centuries
+has had its manufacturers in that city.  In Tokyo a distinguished maker,
+whose _sumi_ many of the artists there prefer, is Baisen.  He has devoted
+fifty years of his life to the study and compounding of this precious
+article.  He possesses some great secrets of manufacture which may die
+with him.  In Okyo's time there was a dark blue _sumi_ called AI EN BOKU
+but the art and secret of its manufacture are lost.
+
+In using _sumi_ the cake is moistened and rubbed on a slab called
+_suzuri,_ producing a semi-fluid.  The well-cleaned brush is dipped first
+into clear water and then into the prepared _sumi._ When the _sumi_ is
+taken on the brush it should be used without delay; otherwise it will
+mingle with the water of the brush and destroy the desired balance between
+the water and the _sumi._  For careful work the _sumi_ is first
+transferred on the brush from the _suzuri_ to a white saucer, where it is
+tested.  It is a singular fact that the color of _sumi_ will differ
+according to the manner in which it is rubbed upon the stone.  The best
+results are obtained when a young maiden is employed for the purpose, her
+strength being just suitable.
+
+It is very important while painting with _sumi_ to renew its strength
+frequently by fresh applications of the cake to the slab.  The color and
+richness of _sumi_ left upon the slab soon fade; and though when used this
+may not be apparent, when the _sumi_ dries on the paper or silk its
+weakness is speedily perceived.
+
+By the dexterous use of _sumi_ colors may be successfully suggested,
+materials apparently reproduced and by what is termed BOKUSHOKU, or the
+brush-stroke play of light and shade, the very rays of the sun may be
+imprisoned within the four corners of a picture.  Artists are readily
+recognized in their work by their manner of using or laying on _sumi._
+The color, the sheen, the shadings and the flow of the ink enable us even
+to determine the disposition or state of mind of the artist at the time of
+painting, so sensitive, so responsive is _sumi_ to the mood of the artist
+using it.  There is much of engaging interest in connection with this
+subject.  Artists become most difficult to satisfy on the subject of the
+various kinds of _sumi,_ which differ as much in their special qualities
+as the tones of celebrated violins. It is interesting to observe how
+different the color or richness of the same _sumi_ becomes according to
+the varying skill with which it is applied.
+
+The mineral character of the _suzuri_ has also much to do with the
+production of the best and richest black tones.
+
+The most valuable stone for _suzuri_ is known throughout the entire
+oriental world as TAN KEI and is found in the mountain of Fuka in China.
+This stone has gold streaks through it, with small dots called bird's
+eyes.  The water which flows from Fuka mountain is blue.  The color of the
+rock is violet.  A favorite color for the _suzuri_ (in Chinese called KEN)
+is lion's liver.  Formerly much ceremony was observed in mining for this
+stone and sheep and cattle were offered in sacrifice, else it was believed
+that the stone would be struck by a thunderbolt and reduced to ashes in
+the hands of its possessor.  The _suzuri_ is also made in China from river
+sediment fashioned and baked.  Still another method is to make the
+_suzuri_ from paper and the varnish of the lacquer tree.  Such are called
+paper _suzuri_ (SHI KEN).  In Thibet _suzuri_ are made from the bamboo
+root.  In Japan the best stones for _suzuri_ are found near Hiroshima in
+Kiushu, the grain being hard and fine.
+
+The skilful use of water colors is called SESSHOKU. It is more difficult
+to paint with _sumi_ alone than use of water to paint with the aid of
+colors, which can hide defects never to be concealed in a _sumi e,_ where
+painting  over _sumi_ a second time is disastrous. Japanese painters as a
+rule are sparing of colors, the slightest amount used discreetly and with
+restraint generally sufficing.  Many artists have not the color sense or
+dislike color and seldom use it.  Kubota often declared he hoped to live
+until he might feel justified in discarding color and employing _sumi_
+alone for any and all effects in painting.
+
+There are eight different ways of painting in color.  I will enumerate
+them, with their technical, descriptive terms:
+
+In the best form of color painting (GOKU ZAI SHIKI) _(Plate IX)_ the color
+is most carefully laid on, being applied three times or oftener if
+necessary.  On account of these repeated coats this form is called TAI
+CHAKU SHOKU.  This style of painting is reserved for temples, gold
+screens, palace ceilings and the like.  Tosa and _Yamato e_ painters
+generally followed this manner.
+
+The next best method of coloring (CHU ZAI SHIKI) _(Plate X)_ is termed
+CHAKU SHOKU, or the ordinary application of color.  The Kano and Shijo
+schools use this method extensively, as did also the _Ukiyo e_ painters.
+
+The light water-color method, called TAN SAI _(Plate XI)_, is employed in
+the ordinary style of painting _kakemono_ and is much used by the Okyo
+school.
+
+The most interesting form of painting, technically called BOKKOTSU _(Plate
+XII)_, is that in which all outlines are suppressed and _sumi_ or color is
+used for the masses.  Another Japanese term for the same is _tsuketate._
+
+              [Tree Squirrel, by Mochizuki Kimpo.  Plate V.]
+
+               Tree Squirrel, by Mochizuki Kimpo.  Plate V.
+
+
+The method of shading, called GOSO _(Plate XIII)_, invented by a Chinese
+artist, Godoshi, who lived one thousand years ago, consists in applying
+dark brown color or light _sumi_ wash over the _sumi_ lines. This style
+was much employed by Kano painters and for art printing.
+
+The light reddish-brown color, technically called SENPO SHOKU _(Plate
+XIV)_, is mostly used in printing pictures in book form.
+
+Another form similarly used is called HAKUBYO _(Plate XV)_ or white
+pattern, no color being employed.
+
+Lastly, there is the _sumi_ picture or _sumi e_ _(Plate XVI)_, technically
+called SUIBOKU,--to which reference has already been made--where _sumi_ only
+is employed, black being regarded as a color by Japanese artists.
+
+A well-known method by which the autumnal tints of forest leaves are
+produced is to take up with the brush one after another and in the
+following order these colors: Yellow-green _(ki iro),_ brown (TAI SHA),
+red (SHU), crimson _(beni),_ and last, and on the very tip of the brush,
+_sumi._  The brush thus charged and dexterously applied gives a charming
+autumn effect, the colors shading into each other as in nature.
+
+There are five parent colors in Japanese art: parent colors Blue (SEI),
+yellow (AU), black (koku), white (BYAKU), combinations and red (SEKI).
+These in combination (CHO GO) originate other colors as follows:  Blue and
+yellow produce green _(midori);_ blue and black, dark blue _(ai nezumi);_
+blue and white, sky-blue _(sora iro);_ blue and red, purple _(murasaki)_;
+yellow and black, dark green _(unguisu cha)_; yellow and red, orange
+_(kaba);_ black and red, brown _(tobiiro);_ black and combinations white,
+gray _(nezumiiro)._  These secondary colors in combination produce other
+tones and shades required.  Powdered gold and silver, and crimson made
+from the saffron plant are also employed.  The colors, excepting yellow,
+are prepared for use by mixing them with light glue upon a saucer.  With
+yellow, water alone is used.  In addition to all the foregoing there are
+other expensive colors used in careful work and known as mineral earths
+_(iwamono)._  They are blue (GUNJO), dark or Prussian blue (KONJO), light
+bluish-green (GUNROKU), green (ROKUSHO), light green (BYAKUGUN), pea green
+(CHA-ROKU SHO) and light red (SANGO MATSU).
+
+The use of primary colors in a painting in proximity to secondary ones
+originated by them is color to be avoided, as both lose by such contrast;
+and when a color-scheme fails to give satisfaction it will usually be
+found that this cardinal principle of harmony, called _iro no kubari,_ has
+been disregarded by the artist.  Color in art is the dress, the apparel in
+which the work is clad.  It must be suitably combined, restrained, and
+attract no undue attention _(medatsunai)._  True color sense is a special
+gift.
+
+
+
+
+
+[Chapter 4 Head-Band: The pattern (moyo) known as bamboo and the swelling
+   sparrow (take nifukura susume).  The parts of the bird are amusingly
+ conventionalized--in the Korin manner. The word fukura written in Chinese
+             contains the lucky character fuku (happiness).]
+
+
+CHAPTER FOUR.  LAWS GOVERNING THE CONCEPTION AND EXECUTION OF A PAINTING
+
+
+When a Japanese artist is preparing to paint a picture he considers first
+the space the picture is to occupy and its shape, whether square, oblong,
+round or otherwise; next, the distribution of light and shade, and then
+the placing of the objects in the composition so as to secure harmony and
+effective contrasts.  In settling these questions he relies largely on the
+laws of proportion and design.
+
+The principles of proportion (ICHI) and design (ISHO) are closely allied.
+They aim to supply and express with sobriety what is essential to the
+composition, proportion determining the just arrangement and distribution
+of the component parts, and design the manner in which the same shall be
+handled.  In a landscape, proportion may require the balancing effect of
+buildings and trees, while design will determine how the same may be
+picturesquely presented; for instance, by making the trees partially hide
+the buildings, thus provoking a desire to see more than is shown.  Such
+suggestion or stimulation of the imagination is called YUKASHI. The
+Japanese painter is early taught the value of suppression in design--_l'art
+d'ennuyer est de tout dire_.
+
+A well-known rule of proportion, quaintly expressed in the original
+Chinese and which is more or less adhered to in practice, requires in a
+landscape painting that if the mountain be, for example, ten feet high the
+trees should be one foot, a horse one inch and a man the size of a bean.
+JO SAN SEKI JU, SUN BA TO JIN _(Plate XVII)_.
+
+Design, called in art ISHO ZUAN or _takumi,_ is largely the personal
+equation of the artist.  It is his power of presenting and expressing what
+he treats in an original manner.  The subject may not be new, but its
+treatment must be fresh and attractive.  Much will depend upon the
+learning and the technical ability of the artist.  In the matter of design
+the artists of Tokyo have always differed from those of Kyoto, the former
+aiming at lively and even startling effects, while the latter seek to
+produce a quieter or more subdued _(otonashi)_ result.
+
+Where landscapes or trees are to be painted upon a single panel, panels on
+each side of it may be conveniently placed and the painting designed upon
+the central panel in connection with the two additional ones used for
+elaboration.  In this way, when the side panels are withdrawn the effect
+is as though such landscape or trees were seen through an open window, and
+all cramped or forced appearance is avoided.  The _Ukiyo e_ artists
+practiced a similar method in their _hashirakake_ or long, narrow,
+panel-like prints of men and women used for decorating upright beams in a
+room.
+
+The literature of art abounds in instances illustrative of correct
+proportion and design.
+
+The artist Buncho being requested to paint a crow flying across a _fusuma_
+or four sliding door-like panels, after much reflection painted the bird
+in the act of disappearing from the last of these subdivisions, the space
+of the other three suggesting the rapid flight which the crow had already
+accomplished, and the law of proportion (ICHI) or orderly arrangement thus
+observed was universally applauded.
+
+In the wooded graveyard of the temple at Ike-gami, where the tombs of so
+many of the Kano artists (including Tanyu) are to be found, is a stone
+marking the grave of a Kano painter who, having executed an order for a
+picture and his patron observing that it was lacking in design and that he
+must add a certain gold effect in the color scheme, rather than violate
+his own convictions of what he considered proper design, first refused to
+comply and then committed _hara kiri._
+
+A canon of Japanese art which is at the base of one of the peculiar charms
+of Japanese pictures, not merely in the whole composition but also in
+minute details that might escape the attention at first glance, requires
+that there should be in every painting the sentiment of active and
+passive, light and shade.  This is called IN YO and is based upon the
+principle of contrast for heightening effects.  The term IN YO originated
+in the earliest doctrines of Chinese philosophy and has always existed in
+the art language of the Orient.  It signifies darkness (IN) and light
+(YO), negative and positive, female and male, passive and active, lower
+and upper, even and odd.  This term is of constant application in
+painting.  A picture with its lights and shades properly distributed
+conforms to the law of IN YO.  Two flying crows, one with its beak closed,
+the other with its beak open; two tigers in their lair, one with the mouth
+shut, the other with the teeth showing; or two dragons, one ascending to
+the sky and the other descending to the ocean, illustrate phases of IN YO.
+Mountains, waves, the petals of a flower, the eyeball of a bird, rocks,
+trees--all have their negative and positive aspects, their IN and their YO.
+The observance of this canon secures not only the effective contrast of
+light and shade in a picture but also an equally striking contrast between
+the component parts of each object composing it.
+
+The law of form, in art called KEISHO or KAKKO, is widely applied for
+determining not only the correct shape of things but also their suitable
+or proper presentation according to circumstances.  It has to do with all
+kinds of attitudes and dress.  It determines what is suitable for the
+prince and for the beggar, for the courtier and for the peasant.  It
+regulates the shape that objects should take according to conditions
+surrounding them, whether seen near or far off, in mist or in rain or
+snow, in motion or in repose. The exact shape of objects in motion (as an
+animal running, a bird flying or a fish swimming) no one can see, but the
+painter who has observed, studied and knows by heart the form or shape of
+these objects in repose can, by virtue of his skill, reproduce them in
+motion, foreshortened or otherwise; that is KEISHO; and he is taught and
+well understands that if in executing such work his memory of essential
+details fails him hesitancy is apt to cause the picture to perish as a
+work of art.
+
+KEISHO literally means shape, but in oriental art it signifies also the
+proprieties; it is a law which enforces among other things canons of good
+taste and suppresses all exaggerations, inartistic peculiarities and
+_grimaces._
+
+The law touching historical subjects and the manner of painting them is
+called KO JUTSU.  Special principles apply to this department of Japanese
+art.  The historical painter must know all the historical details of the
+period to which his painting relates, including a knowledge of the arms,
+accoutrements, costumes, ornaments, customs and the like.  This subject
+covers too vast a field and is too important to be summarily treated here.
+Suffice it to say that there have been many celebrated historical painters
+in Japan.  I recall, on the other hand, a picture once exhibited by a
+distinguished Tokyo artist which was superbly executed but wholly ignored
+by the jury because it violated some canon applicable to historical
+painting.
+
+The term YU SHOKU refers to the laws governing the practices of the
+Imperial household, Buddhist and Shinto rites.  Before attempting any work
+of art in which these may figure the painter must be thoroughly versed in
+the appointments of palace interiors, the rules of etiquette, the
+occupations and pastimes of the Emperor, court nobles _(Kuge),_ _daimyo_
+and their military attendants _(samurai),_ the costumes of the females
+_(tsubone)_ of the Imperial household and their duties and
+accomplishments.  The Tosa school made a thorough familiarity with such
+details its specialty.  All Buddhist paintings come under the law of YU
+SHOKU.
+
+Let us next consider briefly some of the principles applicable to Japanese
+landscape painting.  Landscapes are known in art by the term SAN SUI,
+which means mountain and water.  This Chinese term would indicate that the
+artists of China considered both mountains and water to be essential to
+landscape subjects, and the tendency in a Japanese artist to introduce
+both into his painting is ever noticeable.  If he cannot find the water
+elsewhere he takes it from the heavens in the shape of rain.  Indeed, rain
+and wind subjects are much in favor and wonderful effects are produced in
+their pictures suggesting the coming slorm, where the wind makes the
+bamboos and trees take on new, weird and fantastic shapes.
+
+The landscape _(Plate XVIII)_ contains a lofty mountain, rocks, river,
+road, trees, bridge, man, animal, et cetera.  The first requisite in such,
+a composition is that the picture respond to the law of TEN CHI JIN, or
+heaven, earth and man.  This wonderful law of Buddhism is said to pervade
+the universe and is of widest application to all the art of man.  TEN CHI
+JIN means that whatever is worthy of contemplation must contain a
+principal subject, its complimentary adjunct, and auxiliary details.  Thus
+is the work rounded out to its perfection.
+
+                  [Tiger, by Kishi Chikudo.  Plate VI.]
+
+                   Tiger, by Kishi Chikudo.  Plate VI.
+
+
+This law of TEN CHI JIN applies not only to painting but to poetry (its
+elder sister), to architecture, to garden plans, as well as to flower
+arrangement; in fact, it is a universal, fundamental law of correct
+construction.  In _Plate XVIII_ the mountain is the dominant or principal
+feature.  It commands our first attention.  Everything is subservient to
+it.  It, therefore, is called TEN, or heaven.  Next in importance,
+complimentary to the mountain, are the rocks.  These, therefore, are CHI,
+or earth; while all that contributes to the movement or life of the
+picture, to wit, the trees, man, animal, bridge and river, are styled JIN,
+or man, so that the picture satisfies the first law of composition,
+namely, the unity in variety required by TEN CHI JIN.
+
+There is another law which determines the general character to be given a
+landscape according to the season, and is thus expressed:  Mountains in
+spring should suggest joyousness; in summer, green and moisture; in
+autumn, abundance; in winter, drowsiness.   The formula runs as follows:
+SHUN-ZAN, _warau gotoshi;_ KAZAN, _arau gotoshi;_ SHUZAN, _yoso gotoshi;_
+TOZAN, _nemurugotoku._
+
+Similarly, according to the season, there are four principal ways of
+painting bamboo (CHIKU).  In fair-weather bamboo (SEI CHIKU) the leaves
+are spread out joyously; in rainy-weather bamboo (UCHIKU) the leaves hang
+down despondently; in windy-weather bamboo (FUCHIKU) the leaves cross each
+other confusedly, and in the dew of early morning (ROCHIKU) the bamboo
+leaves all point upwards vigorously _(Plate LIII a 1 to a 4)_.
+
+The Kano artists differ from the Shijo painters in their manner of
+combining _(kasaneru)_ the leaves and branches of the bamboo.  Speaking
+generally, the Shijo artists point the leaves downward, while the former
+point them upward, which is more effective.
+
+Again, in snow scenery the Kano artists first paint the bottom of the
+snow-line and then by shading _(kumadori)_ above the same with very light
+ink _(usui sumi)_ produce the effect of accumulated snow.  The Okyo school
+secures the same result in a much more brilliant manner, using but a
+single dexterous stroke of the well-watered brush, the point only of which
+is tipped with _sumi._
+
+Some artisls, notably Kubota Beisen and his followers, employ both
+methods, the former for near and the latter for distant snow landscapes.
+
+Low mountains in a landscape suggest great distance.  Fujiyama, the
+favorite subject of all artists, should not be painted too high, else it
+loses in dignity by appearing too near.  In an art work written by Oishi
+Shuga, Fuji is reproduced as it appears at every season of the year,
+whether clad in snow, partly concealed by clouds, or plainly visible in
+unobstructed outline.  The book is a safe guide for artists to consult.
+
+We may next consider some laws applicable to mountains, rocks and ledges.
+It has long since been observed by the great writers on art in China that
+mountains, rocks, ledges and peaks have certain characteristics which
+distinguish them.  These differ not only with their geological formations
+but also vary with the seasons on account of the different grasses and
+growths which may more or less alter or conceal them.  To attempt to
+reproduce them as seen were a hopeless task, there being too much
+confusing detail; hence, salient features only are noted, studied and
+painted according to what is called SHUN PO, or the law of ledges or
+stratifications.  There are eight different ways in which rocks, ledges
+and the like may be represented:
+
+The peeled hemp-bark method, called HI MA SHUN _(Plate XXIII a)_.
+
+The large and small axe strokes on a tree, called DAI SHO FU HEKI SHUN
+_(Plate XXIII b)_.
+
+The lines of the lotus leaf, called KA YO SHUN _(Plate XXIV a)._
+
+Alum crystals, called HAN TO SHUN _(Plate XXIV b)_.
+
+The loose rice leaves, called KAI SAKU SHUN _(Plate XXV a)_.
+
+Withered kindling twigs, called RAN SHI SHUN _(Plate XXV b)_.
+
+Scattered hemp leaves, termed RAMMA SHUN _(Plate XXVI a)_.
+
+The wrinkles on a cow's neck, called GYU MO SHUN _(Plate XXVI b)_.
+
+These eight laws are not only available guides to desired effects; they
+also abbreviate labor and save the artist's attempting the impossible task
+of exactly reproducing physical conditions of the earth in a landscape
+painting.  They are symbols or substitutes for the truth felt.  Nothing is
+more interesting than such art resources whereby the sentiment of a
+landscape is reproduced by thus suggesting or symbolizing many of its
+essential features.
+
+It was a theory of the great Chinese teacher, Chinanpin, and particularly
+enforced by him, that trees, plants and grasses take the form of a circle,
+called in art RIN KAN (see _Plate XXVII_), No. 1; or a semi-circle (HAN
+KAN) _(Plate XXVII)_, No. 2; or an aggregation of half-circles, called
+fish scales (GYO RIN) _(Plate XXVII)_, No. 3; or a modification of these
+latter, called moving fish scales (GYO RIN KATSU HO) _(Plate XXVII)_, No
+4. Developing this principle on _Plate XXVIII_, No. 1, we have
+theoretically the first shape of tree growth and on _Plate XXVIII_, No. 2,
+the same practically interpreted. In Nos. 3 and 4, same plate, we have the
+growth of grass illustrated theoretically and practically.  In _Plate
+XXIX_, according to this method, is constructed the entire skeleton of a
+forest tree.  In Nos. 1 and 2 on this plate numerous small circles are
+indicated.  These show where each stroke of the brush begins, the points
+of commencement being of prime importance to correct effect.  In No. 3,
+same plate, we have the foundation work of a tree in a Japanese painting.
+It is needless to point out the marvelous vigor apparent in work
+constructed according to the above principles.
+
+In the painting of rocks, ledges, and the like, Chinanpin taught that the
+curved lines of the fish scales are to be changed into straight lines,
+three in number, of different lengths, two being near together and the
+third line slightly separated, and all either perpendicular or horizontal,
+as in _Plate XXX_, Nos. 1 and 2.  In the same plate, Nos. 3 and 4, we have
+the principle of rock construction illustrated.  In _Plate XXXI_, Nos. 1,
+2 and 3, is seen the practical application of this theory to _kakemono_
+work.  In executing these lines for rocks much stress is laid upon the
+principle of IN YO; on the elevated portions the brush must be used
+lightly (IN) and on the lower portions it must be applied with strength
+(YO).  At the bottom, where grass, mould, and moss accumulate, a rather
+dry brush (KWAPPITSU) is applied with a firm stroke.
+
+Next, there are laws for near and distant tree, shrubbery and grass
+effects, corresponding to the season of the year.  These are known as the
+laws of dots (TEN PO); the saying TEN TAI SAN NEN indicates that it takes
+three years to make them correctly.
+
+They are as follows:
+
+The drooping wistaria dot (SUI TO TEN) _(Plate XXXII a)_ for spring
+effects.
+
+The chrysanthemum dot (KIKU KWA TEN) _(Plate XXXII b)_ used in summer
+foliage.
+
+The wheel spoke dot (SHA RIN SHIN) _(Plate XXXIII a)_, being the
+pine-needle stroke and used for pine trees.
+
+The Chinese character for the verb "to save" (KAI JI TEN) _(Plate XXXIII
+b)_, used for both trees and shrubbery.
+
+The pepper dot (KOSHOTEN) _(Plate XXXIV a)_.  This dot requires great
+dexterity and free wrist movement.  It will be observed that the dots are
+made to vary in size but are all given the same direction.
+
+The mouse footprints (SO SOKU TEN) _(Plate XXXIV b)_, used for cryptomeria
+and other like trees.
+
+The serrated or sawtooth dot (KYO SHI SHIN) _(Plate XXXV a)_, much used
+for distant pine-tree effects.
+
+The Chinese character for "one" (ICHI JI TEN) _(Plate XXXV b)_. The effect
+produced by this character is very remarkable in representing maple and
+other trees whose foliage at a distance appears to be in layers.
+
+The Chinese character for "heart" (SHIN), called SHIN JI TEN _(Plate XXXVI
+a)_. This is used most effectively for both foliage and grasses.
+
+The Chinese character for "positively" (HITSU), called HITSU JI TEN
+_(Plate XXXVI b)_. This dot or stroke is successfully employed in
+reproducing the foliage of the willow tree in spring.
+
+The rice dot, called BEI TEN _(Plate XXXVIII a)_.
+
+The dot called HAKU YO TEN _(Plate XXXVII b)_, being smaller than the
+pepper dot, with the clove dot (SHO JI TEN) surrounding it.
+
+It is a strictly observed rule that none of these dots should interfere
+with or hide the branches of the trees of which they form part.
+
+The term _chobo chobo_ is applied to the practice of always finishing a
+landscape painting, rocks, trees or flowers, with certain dots judiciously
+added to enliven and heighten the general effect.  These dots, done with a
+springing wrist movement, serve to enliven the work and give it freshness,
+just as a rain shower affects vegetation.  The Kano artists were most
+insistent upon _chobo chobo._
+
+There are many quaint aids to artistic effects from time immemorial well
+known to and favored by the old Chinese painters and still successfully
+practiced in Japan.  Probably the larger number of these are employed in
+the technical construction of the Four Paragons (p. 66 _et seq.)._  There
+are still others: as, for instance, the fish-scale pattern _(Plate XIX)_,
+used in painting the clustered needles of the pine tree or the bending
+branches of the willow; the stork's leg for pine tree branches _(Plate
+XIX)_; the gourd for the head and elongated jaws of the dragon; the egg
+for the body of a bird (_Plate XXII_; the stag horn for all sorts of
+interlacing branches; the turtle back pattern or the dragon's scales for
+the pine tree bark.  In addition to these, the general shapes of certain
+of the Chinese written characters are invoked for reproducing winding
+streams _(Plate XX)_, groupings of rocks, meadow, swamp, and other grasses
+and the like.
+
+Of course the exact shape of the various Chinese characters here referred
+to must not be actually painted into the composition but merely the
+sentiment of their respective forms recalled.  They are simply practical
+memory aids to desired effects.
+
+It is the spirit of the character rather than its exact shape which should
+control; the order of the painted strokes being that of the written
+character, its sentiment or general shape is thus reproduced.
+
+In this connection I would allude to criticisms or judgments upon Japanese
+painting in which particular stress is laid upon its calligraphic quality.
+If any Japanese artist was seriously informed that his method of painting
+was calligraphic, he would explode with mirth.  There are several ways to
+account for this rather wide-spread error.  Much that is written about
+Japanese painting and its calligraphy is but the repetition by one author
+of what he has taken on trust from another, an effective way sometimes of
+spreading misinformation.  It is quite true that the assiduous study of
+Chinese writing (SHO) is an essential part of thorough art education in
+Japan, not, however, for the purpose of learning to paint as one writes,
+or of introducing written characters more or less transformed into a
+painting (if that be what is meant by "calligraphic"), but simply to give
+the artist freedom, confidence, and grace in the handling of the brush and
+to train his eye to form and balance and to acquire both strength of
+stroke and a knowledge of the sequence of strokes.  To write in Chinese
+after the manner of professionals (SHO KA) is truly a great art, esteemed
+even higher than painting; it requires thirty years of constant practice
+to become expert therein, and it has many laws and profound principles
+which, if mastered by artists, will enable them to be all the greater in
+their painting, and many Japanese artists have justly prided themselves
+upon being expert writers of the Chinese characters.  Okyo practiced daily
+for three years the writing of two intricate characters standing for his
+name, until he was satisfied with their forms, but there is nothing
+calligraphic about any of Okyo's painting.
+
+Possibly what has misled foreign critics and even some Japanese writers is
+that there exists a class of men in Japan given to learning, to writing,
+and also to painting in a particular way.
+
+These men are called BUN JIN (literati) and their style of painting is
+called BUN JIN FU.  They are not artists, but are known as Confucius'
+scholars (JU SHA), and being professional or trained writers in the
+difficult art of Chinese calligraphy they have a manner of painting
+strictly _sui generis._  It is known as the NAN GWA or southern literary
+way of painting.  Their subjects are the bamboo, the plum, the orchid and
+the chrysanthemum, called the four paragons (SHI KUN SHI).  These and
+landscapes they paint with their writing brush and more or less in what is
+called the grass character (SO SHO) manner of writing.  In fact, they
+often aim to make their painting look like writing and they rarely use any
+color except light-brown (TAI SHA).  They suppress line as distinguished
+from mass.  This method is called _bokkotsu_ (see _Plate XII_). Such
+painting of the NAN GWA school is, in a sense, calligraphic, but that is
+not the kind of painting which Japanese artists are taught, practice and
+profess, nor is it even recognized as an art, but simply as an eccentric
+development of the literary man with a taste for painting.   At one time
+or another well-known artists, especially at the beginning of the Meiji
+era, have affected this BUN JIN calligraphy style simply as a passing
+fashion.
+
+One other possible explanation of the critics pronouncing all Japanese
+paintings calligraphic is that various Chinese characters are, as we have
+seen, invoked and employed by Japanese artists as memory aids to producing
+certain effects; but were these characters introduced calligraphically,
+the result would be laughable.  It should be plain then that Japanese
+painting is not calligraphic; as well apply the term calligraphy to one of
+Turner's water colors.  On the other hand, Chinese writing is built up on
+word pictures. There are between five and six hundred mother characters,
+all imitating the shapes of objects; these, with their later combinations,
+constitute the Chinese written system, so that while there is nothing
+calligraphic about Japanese painting, there is much that is pictorial
+about Chinese calligraphy.
+
+Other landscape laws applicable to things seen at a distance in a painting
+require that distant trees should show no branches nor leaves; people at a
+distance, no features; distant mountains, no ledges; distant seas or
+rivers, no waves.  Again, clouds should indicate whence they come; running
+water the direction of its source; mountains, their chains; and roads,
+whither they lead.
+
+In regard to painting moving waters, whether of deep or shallow, in rivers
+or brooks, bays or oceans, Chinanpin declared it was impossible for the
+eye to seize their exact forms because they are ever changing and have no
+fixed, definite shape, therefore they can not be sketched satisfactorily;
+yet, as moving water must be represented in painting, it should be long
+and minutely contemplated by the artist, and its general character--whether
+leaping in the brook, flowing in the river, roaring in the cataract,
+surging in the ocean or lapping the shore--observed and reflected upon, and
+after the eye and memory are both sufficiently trained and the very soul
+of the artist is saturated, as it were, with this one subject and he feels
+his whole being calm and composed, he should retire to the privacy of his
+studio and with the early morning sun to gladden his spirit there attempt
+to reproduce the movement of the flow; not by copying what he has seen,
+for the effect would be stiff and wooden, but by symbolizing according to
+certain laws what he feels and remembers.
+
+In work of this kind there are certain directions for the employment of
+the brush which can only be learned from oral instruction and
+demonstration by the master.
+
+In _Plate XXXVIII_ a, 1, the method by which waves are reproduced is
+shown, the circles indicating where the brush is turned upon itself before
+again curving.  On the same plate (b) waveless water, shallow water, and
+river water with current are indicated at the top, middle and bottom,
+respectively.  In _Plate XXXIX_ a, we have the moving waters of an inland
+sea; in b, the bounding waters of a brook; in _Plate XL_, the stormy waves
+of the ocean.
+
+We will now consider another unique department of Japanese painting in
+connection with the garments of human beings.  The lines and folds of the
+garment may be painted in eighteen different ways according to what are
+known as the eighteen laws for the dress (EMON JU HACHI BYO).  I will
+mention each of these laws in its order and refer to the plate
+illustrations of the same.
+
+The floating silk thread line (KOU KO YU SHI BYOU) (_Plate XLI_ upper).
+This line was introduced by the Tosa school of artists eight hundred years
+ago and has been in favor ever since.  It is the purest or standard line
+and is reserved for the robes of elevated personages.  The brush is held
+firmly and the lines, made to resemble silk threads drawn from the cocoon,
+are executed with a free and uninterrupted movement of the arm.
+
+The Koto string line (KIN SHI BYOU) (_Plate XLI_ lower).  This is a line
+of much dignity and of uniform roundness from start to finish.  It is
+produced by using a little more of the tip of the brush than in the silk
+thread line and there must be no break or pause in it until completed.
+This line is used for dignified subjects.
+
+Chasing clouds and running water lines (KOU UN RYU SUI BYOU) (_Plate XLII_
+upper).  These are produced with a wave-like, continuous movement of the
+brush--breathing, as it were.  Such lines are generally reserved for the
+garments of saints, young men and women.
+
+The stretched iron wire line (TETSU SEN BYOU) (_Plate XLII_ lower). This
+is a very important line, much employed by Tosa artists and used for the
+formal, stiffly searched garments of court nobles, _samurai,_ NO dancers,
+and umpires of wrestling matches.  When this line is painted the artist
+must have the feeling of carving upon metal.
+
+The nail-head and rat-tail line (TEI TOU SOBI BYOU) (_Plate XLIII_ upper).
+In making this, the stroke is begun with the feeling of painting and
+reproducing the hard nature of a tack and then continued to depict a rat's
+tail, which grows small by degrees and beautifully less.
+
+The line of the female court noble or _tsubone_ (SOU I BYOU) (_Plate
+XLIII_ lower).  This line and the preceding are much used for the soft and
+graceful garments of young men and women and have always been favorites
+with the _Ukiyo e_ painters.
+
+The willow-leaf line (RYU YOU BYOU) (_Plate XLIV_ upper).  This line has
+always been in great favor with all the schools, and especially with the
+Kano painters, and is used indiscriminately for goddesses, angels, and
+devils.  It is intended to reproduce the sentiment of the willow leaf,
+commencing with a fine point, swelling a little and again diminishing.
+
+The angleworm line (KYU EN BYOU) (_Plate XLIV_ lower).  The angleworm is
+of uniform roundness throughout its length and it is with that sentiment
+or _kokoromochi_ that it must be painted, care being taken to conceal the
+point of the brush along the line.  This is a most important line in all
+color painting. Indeed, where much pains are to be taken with the picture,
+and the colors are to be most carefully laid on, it is the best and
+favorite line.
+
+The rusty nail and old post line (KETSU TOU TEI BYOU) (_Plate XLV_ upper).
+This line is painted with a brush, the point of which is broken off.  The
+Kano school of artists particularly affect this method of line painting in
+depicting beggars, hermits, and other such characters.
+
+The date seed line (SAU GAI BYOU) (_Plate XLV_ lower).  This line,
+intended to represent a continuous succession of date seeds, is made with
+a throbbing brush and generally used in the garments of sages and famous
+men of learning.
+
+The broken reed line (SETSU RO BYOU) (_Plate XLVI_ upper) is made with a
+rather dry brush and, as its name indicates, should be painted with the
+feeling of reproducing broken reeds.  It is a line intended to inspire
+terror, awe, consternation, and is used for war gods, FUDO _sama,_ and
+other divinities.
+
+The gnarled knot line (KAN RAN BYOU) (_Plate XLVI_ lower).  In this kind
+of painting the brush is stopped from time to time and turned upon itself
+with a feeling of producing the gnarled knots of a tree.  The line is much
+used for ghosts, dream pictures, and the like.
+
+The whirling water line (SEN PITSU SUI MON BYOU) (_Plate XLVII_ upper) is
+used for rapid work and reproduces the swirl of the stream.  It was a
+favorite line with Kyosai.
+
+The suppression line (GEN PITSU BYOU) (_Plate XLVII_ lower) is suitable
+where but few lines enter into the painting of the dress.  Any of the
+other seventeen lines can be employed in this way.  The Kano artists used
+it a great deal.
+
+Dry twig or old firewood line (KO SHI BYOU) (_Plate XLVIII_ upper) is
+generally used in the robes of old men and produced by what is called the
+dry brush; that is, a brush with very little water mixed with  the _sumi._
+The stroke must be bold and free to be effective.
+
+The orchid leaf line (RAN YAU BYOU) (_Plate XLVIII_ lower). This is a very
+beautiful method of painting whereby the graceful shape of the orchid leaf
+is recalled; the line is used for the dresses of _geishas_ and beauties
+_(bijin)_ generally.
+
+The bamboo leaf line (CHIKU YAU BYOU) (_Plate XLIX_ upper).  This style of
+painting, which aims at suggesting the leaf of the bamboo, was much in
+favor formerly in China.  Japanese artists seldom employ it.
+
+The mixed style (KON BYOU) (_Plate XLIX_ lower), in which any of the
+foregoing seventeen styles can be employed provided the body of the
+garment be laid on first in mass and the lines painted in afterward while
+the _sumi_ or paint is still damp.  This gives a satiny effect.
+
+There are many other ways of painting the lines of the garment but the
+preceding eighteen laws give the strictly classic methods known to
+oriental art.
+
+The orchid, bamboo, plum, and chrysanthemum paragons (RAN CHIKU BAI KIKU)
+are called in art the Four Paragons.  Although these may be the first
+studies taught they are generally the last subjects mastered.  Much
+learning and research have been expended upon them in China and Japan. An
+artist who can paint SHI KUN SHI is a master of the brush.  I will
+indicate some of the laws applicable to each of these subjects.
+
+The orchid grows in the deepest mountain recesses, exhaling its perfume
+and unfolding its beauty in silence and solitude, unheralded and unseen;
+thus, regardless of its surroundings and fulfilling the law of its being,
+fifteen hundred years ago it was proclaimed by the poet and painter San
+Koku to typify true nobility and hence was a paragon.  In poetry it is
+called the maiden's mirror.  Many great Chinese writers have taken the
+orchid (RAN) for their nom de plume, as Ran Ya, Ran Tei, Ran Kiku, and Ran
+Ryo.
+
+_Plate LII_ shows an orchid plant in flower.  The established order of the
+brush strokes for the leaves of is indicated at the tips by numerals one
+to eleven; that of the flower stalk and flower by numbers twelve to
+twenty-one.  Various forms are invoked in painting both the plant and the
+flower and are more or less graphically suggested.  These forms are
+indicated by numbers, as follows:
+
+Leaf blade No. 1 reproduces twice the stomach of the mantis (22), the tail
+of the rat (23), with the cloud longing (BO UN) of the tip (24).  Leaf No.
+2 is similarly constructed but is painted to intersect leaf No. 1, leaving
+between them a space (No. 25) called the elephant's eye.  Leaf No. 3 is
+intersected by leaf No. 4, enclosing another space between them, known as
+the eye of the phoenix.  Adding leaves Nos. 5 and 6, called SEKI or
+_kazari,_ meaning ornament, we have the most essential parts of the orchid
+plant.  Leaf No. 7 is known as the rat's tail and leaf No. 8 as the body
+of a young carp.  Nos. 9,10 and 11 are called nail heads, from their
+fancied resemblance to such objects.  With these the plant is structurally
+complete.
+
+                 [Bamboo, Sparrow and Rain.  Plate VII.]
+
+                  Bamboo, Sparrow and Rain.  Plate VII.
+
+
+The flower stalk is divided into four parts (Nos. 12 to 15), called rice
+sheaths.  The flower is made with six strokes (16 to 21), called the
+flying bee (26).  The three dots in the flower reproduce the sentiment of
+the Chinese character for heart (23).
+
+The orchid is variously painted rising from the ground, issuing from the
+banks of a brook, or clinging with its roots to a rocky cliff.  In
+allusion to the lonely places where it grows it is called _I shiri no
+kusa_ or the plant which the wild boar knows.  The orchid is credited with
+medicinal properties, and the flower steeped in wine makes a potion which
+secures perpetual health.  The charm of friendship is likened unto the
+orchid's perfume and the flowers are worn by the ladies of the court to
+ward off maladies.
+
+The leaves of the bamboo are green at all seasons.  The stems are straight
+and point upwards.  The plant is beautiful under all conditions--struggling
+beneath the winter snow or fanned by the spring breeze, swaying with the
+storm or bending under showers--its grace challenges admiration.  Typifying
+constancy and upright conduct, it was claimed over a thousand years ago by
+Shumo Shiku to be a paragon.
+
+Nothing is more difficult to paint correctly than this plant.  _Plate
+LIII_ shows the bamboo with its essentially component parts and forms
+indicated as follows: The upright stalk is in five subdivisions (1 to 5),
+each differing in length but all suggesting the Chinese character for one
+(ICHI) painted upright.  These are separated from each other by strokes
+reproducing the Chinese characters for positively (22), for heart (23),
+for second (24), for one (25), and for eight (26).  The stem (6 to 10) is
+composed of rats' tails.  The manner of painting and combining the leaves
+of the bamboo is called _take no ha no kumitata_ and is minutely described
+and illustrated in Ransai's great work, _Gwa Fu._  The essentials are: The
+five-leaf arrangement (GO YO) (11 to 15) with the ornament (16), called
+_kazari._ The three-leaf arrangement (17 to 19) called KO JI, from its
+resemblance to the Chinese character KO (32).  The two-leaf arrangement
+(20 and 21) called JIN JI, from its resemblance to the character JIN (33),
+a man.  In further development of the plant the following imitative
+arrangements of the leaves are used: The fish tail (GYO BI) (27), the
+goldfish triple tail (KINGYO BI) (28), the swallow tail (EN BI) (29), the
+Chinese character for bamboo (CHIKU JI) (30), and the seven-leaf
+arrangement (SHICHI YO) (31).  It will be observed how the odd or positive
+numbers (YO) are favored.  The foregoing method is used by the Okyo
+painters.
+
+The Kano artists have another system for combining and elaborating the
+leaf growth, but it does not differ radically from that here given.  The
+leaf of the bamboo reproduces the shape of a carp's body (34).  It also
+resembles the tail feathers of the phoenix.  An oil is made from the
+bamboo and is said to be good for people with quick tempers.  Many artists
+adopt the name of bamboo for their nom de plume; witness, Chiku Jo, Chiku
+Do, Chiku Sho, Chiku Den and the like.
+
+It is said that the full moon casts the shadow of the bamboo in a way no
+other light approaches.  The learned Okubu Shibutsu first observed this
+and the discovery led to his becoming the greatest of all bamboo painters.
+Nightly he used to trace with _sumi_ such bamboo shadows on his paper
+window.  Sho Hin, a lady artist of Tokyo, enjoys a well-earned reputation
+for painting bamboo.  She was a pupil of Tai Zan, a Kyoto representative
+of the Chinese school.  The Kano painters much favored the subject of the
+seven sages in the bamboo grove.  Bamboo grass (SASSA) is much painted by
+all the schools.  It is very decorative.  There is a male and a female
+bamboo; from the latter _(medake)_ arrows are made.  The uses to which man
+puts the bamboo are surprisingly numerous, thus fortifying its claims to
+be regarded a paragon.
+
+The plum is the first tree of the year to bloom.  It has a dejicate
+perfume.  Though the trunk of the tree grows old it renews its youth and
+beauty every spring with vigorous fresh branches crowded with buds and
+blossoms.  In old age the tree takes on the shape of a sleeping dragon.
+With no other flower or tree are associated more beautiful and pathetic
+folk-lore and historical facts.  For these and other reasons Rennasei
+assigned to the plum its place as a paragon centuries and centuries ago.
+
+The tree branches with their interlacings reproduce the spirit of the
+Chinese character for woman, called JO JI (_Plate L_, No. 1).  The blossom
+(2) is painted on the principle of IN YO, the upper portion of the petal
+line being the positive or YO and the lower being the negative or IN side.
+This is repeated five times for the five petals of the blossom (3). The
+stamens (4) and pistils are reproductions of the Chinese character SHO,
+meaning small.  For the calyx (5) the Chinese character for clove (CHO) is
+invoked.
+
+The great scholar and nobleman, Sugewara Michizane, particularly loved the
+plum tree. Banished from his home, as he was leaving his grounds he
+addressed that silent sentinel of his garden in the following verse, which
+has earned immortality:
+
+Do thou, dear plum tree, send out thy perfume when the east wind blows;
+And, though thy master be no longer here,
+Forget not to blossom always when the springtime comes.
+
+In Japan the plum, though not eaten raw, when salted has wonderful
+strength sustaining properties, and in wartime supplies as _ume boshi_ a
+valuable concentrated food.
+
+The chrysanthemum has been cultivated in China for four thousand years and
+its fame was sung by the poet and scholar, To En Mei, who prized it above
+all else under heaven and assigned it the rank of paragon.
+
+When all Nature is preparing for the long sleep of winter and the red,
+brown and golden forest leaves are dropping, spiritless, to the ground,
+the chrysanthemum comes forth from the earth in fresh and radiant colors.
+It gladdens the heart in the sad season of autumn.  Its clustered petals,
+all united and never scattering, typify the family, the state, and the
+Empire.  For the last six hundred years the sixteen-petaled chrysanthemum
+has been the emblem of Imperial sovereignty in Japan.  With artists it has
+always been a favorite flower subject.  There are innumerable ways of
+painting it.
+
+_Plate LI_ shows the chrysanthemum flower and leaves painted in the Okyo
+manner.  There is an established order in which the leaves must be
+executed. Viewed from the front (Nos. 1 and 2) the order of the brush
+stroke is as indicated on the plate; viewed from the side the brush is
+applied in the order indicated in Nos. 4 and 5.  The flower (6 and 7) is
+built up from the bud (5), petals being added according to the effect
+sought.  The flower half opened is shown in No. 6, and wholly opened in
+No. 7.  The calyx somewhat reproduces the Chinese written character CHO.
+The Kano painters have a different way of painting the chrysanthemum
+leaves and flowers, but the foregoing illustrates the general principles
+obtaining in all the schools.  Korin painted the KIKU in a manner quite
+different from that of any other artist.  The word KIKU is Chinese, the
+Japanese word for the flower being _kawara yomogi._  The Nagoya artists
+have always been particularly skilful in painting the chrysanthemum in an
+exceptionally engaging way.  The little marguerite-like blossom is called
+_mame-giku,_ and is a universal favorite among all artists.
+
+The impression produced on one who for the first time hears enumerated
+these various laws may possibly be that all such methods for securing
+artistic effects are arbitrary, mechanical and unnatural.  But in
+practice, the artist who invokes their aid finds they produce invariably
+pleasing and satisfactory results.  It must not be supposed that such laws
+are exclusive of all other methods of painting in the Japanese style.  On
+the contrary the artist is at liberty to use any other method he may
+select provided the result is artistically correct.  Many painters have
+invented methods of their own which are not included in the foregoing
+enumeration of these laws of lines, dots and ledges, which, it must always
+be borne in mind, are only to assist the artist who may be in doubt or
+difficulty as to how he shall best express the effect he aims at.  It is
+such second nature for him to employ them that he does so as unconsciously
+as one in writing will invoke the rules of grammar.  It is related that a
+great statesman, being asked if it were necessary for a diplomat to know
+Latin and Greek, replied that it was quite sufficient for him to have
+forgotten them.  And so with these laws.  A knowledge of them is a
+necessary part of the education of every Japanese artist, for they lie at
+the very foundation of the art of oriental painting.  Chinese writing
+abounds with similar principles; it is a law applicable to one kind of
+such writing, called REI SHO, that in each character there shall be one
+stroke which begins with the head of a silkworm and terminates with a
+goose's tail.  This also may sound odd and seem forced, yet this law gives
+a special and wonderful _cachet_ to the character so written.
+
+Some acquaintance with these principles and methods invoked by artists
+adds much to our keen enjoyment of their work, just as an analysis of the
+chords in a musical composition increases our pleasure in the harmonies
+they produce.  Ruskin has discovered in the very earliest art the frequent
+use of simple forms suggested by the slightly curved and springing profile
+of the leaf bud which, he declares, is of enormous importance even in
+mountain ranges, when not vital but falling force is suggested.  "This
+abstract conclusion the great thirteenth century artists were the first to
+arrive at" (Ruskin's Mod. Painters, Vol. III), and even in the
+architecture of the best cathedrals that author detects the observance of
+the law determining in an ivy leaf the arrangement of its parts about a
+center.
+
+In Japanese art simple forms supplied by nature are often used for
+suggesting other forms as, for instance, the stork's legs for the pine
+tree branches, the turtle's back for the pine bark lines, the fish tail
+for bamboo leafage, the elephant's eye in the orchid plant, the shape of
+Fujiyama for the forehead of a beautiful woman, and various Chinese
+characters, originally pictorial, adumbrated in trees, flowers and other
+subjects.  The universality of such underlying type forms recognized and
+applied by oriental artists is confirmatory of the principle that in both
+nature and art all is united by a common chain or _commune vinculum_
+attesting the harmony between created things.  A Japanese painting
+executed with the aid of such resources teems with vital force and
+suggestion, and to the eye of a connoisseur _(kuroto)_ becomes a breathing
+microcosm.
+
+To give some idea of the order in which the component parts of an object
+are painted according to Japanese rules, which are always stringently
+insisted upon, flowers like the chrysanthemum and peony are begun at their
+central point and built up from within outwardly, the petals being added
+to increase the size as the flower opens.  In a flower subject the
+blossoms are painted first; the buds come next; then the stem, stalks,
+leaves and their veinings, and lastly the dots called _chobo chobo._
+
+The established order for the human figure is as follows: Nose and
+eyebrows, eyes, mouth, ears, sides of the face, chin, forehead, head,
+neck, hands, feet, and finally the appareled body.  In Japanese art the
+nude figure is never painted.
+
+In a tree the order is trunk, central and side limbs _(Plate XXI)_,
+branches and their subdivisions, leaves and their veinings, and dots.
+
+In birds: The beak in three strokes (TEN, CHI, JIN), the eye, the head,
+the throat and breast, the back, the wings, the body, the tail, the legs,
+claws, nails and eyeball _(Plate XXII)_.
+
+In landscape work the general rule is to paint what is nearest first and
+what is farthest last.  Kubota's method was to do all this rapidly and, if
+possible, with one dip of the well-watered brush into the _sumi,_ so that
+as the _sumi_ becomes gradually diluted and exhausted the proper effect of
+foreground, middle distance and remote perspective is obtained.
+
+In painting mountain ranges that recede one behind the other the same
+process is followed, and mountains as they disappear to the right or left
+of the picture should tend to rise.  This principle is called BO UN or
+cloud longing.
+
+It is useless here to enumerate the many faults which art students are
+warned against committing.  Suffice it to say the number is enormous.  Out
+of many of the Chinese formulas I will give only one, which is known as
+SHI BYO or the four faults, and is as follows:
+
+JA, KAN, ZOKU, RAI.  JA refers to attempted originality in a painting
+without the ability to give it character, departing from all law to
+produce something not reducible to any law or principle.  KAN is producing
+only superficial, pleasing effect without any _power_ in the brush
+stroke--a characterless painting to charm only the ignorant. ZOKU refers to
+the fault of painting from a mercenary motive only,--thinking of money
+instead of art.  RAI is the base imitation of or copying or cribbing from
+others.
+
+
+
+
+
+ [Chapter 5 Head-Band: Maple leaves are associated with Ten Jin (Sugiwara
+Michizane), patron of learning.  Children in invoking his aid in a little
+ prayer count the points of the maple leaf, saying, "yoku te agar"--assist
+   us to be clever. In Japanese the maple leaf is called kaide, meaning
+                              frog's hand.]
+
+
+CHAPTER FIVE. CANONS OF THE AESTHETICS OF JAPANESE PAINTING
+
+
+One of the most important principles in the art of Japanese
+painting--indeed, a fundamental and entirely distinctive characteristic--is
+that called living movement, SEI DO, or _kokoro mochi,_ it being, so to
+say, the transfusion into the work of the felt nature of the thing to be
+painted by the artist.  Whatever the subject to be translated--whether
+river or tree, rock or mountain, bird or flower, fish or animal--the artist
+at the moment of painting it must feel its very nature, which, by the
+magic of his art, he transfers into his work to remain forever, affecting
+all who see it with the same sensations he experienced when executing it.
+
+This is not an imaginary principle but a strictly enforced law of Japanese
+painting.  The student is incessantly admonished to observe it.  Should
+his subject be a tree, he is urged when painting it to feel the strength
+which shoots through the branches and sustains the limbs.  Or if a flower,
+to try to feel the grace with which it expands or bows its blossoms.
+Indeed, nothing is more constantly urged upon his attention than this
+great underlying principle, that it is impossible to express in art what
+one does not first feel.  The Romans taught their actors that they must
+first weep if they would move others to tears.  The Greeks certainly
+understood the principle, else how did they successfully invest with
+imperishable life their creations in marble?
+
+In Japan the highest compliment to an artist is to say he paints with his
+soul, his brush following the dictates of his spirit.  Japanese painters
+frequently repeat the precept:
+
+_Waga kokoro waga te wo yaku_
+_Waga te waga kokoro ni ozuru._
+
+Our spirit must make our hand its servitor;
+Our hand must respond to each behest of our spirit.
+
+The Japanese artist is taught that even to the placing of a dot in the
+eyeball of a tiger he must first feel the savage, cruel, feline character
+of the beast, and only under such influence should he apply the brush.  If
+he paint a storm, he must at the moment realize passing over him the very
+tornado which tears up trees from their roots and houses from their
+foundations.  Should he depict the seacoast with its cliffs and moving
+waters, at the moment of putting the wave-bound rocks into the picture he
+must feel that they are being placed there to resist the fiercest movement
+of the ocean, while to the waves in turn he must give an irresistible
+power to carry all before them; thus, by this sentiment, called living
+movement (SEI DO), reality is imparted to the inanimate object.  This is
+one of the marvelous secrets of Japanese painting, handed down from the
+great Chinese painters and based on psychological principles--matter
+responsive to mind.  Chikudo, the celebrated tiger painter _(Plate VI)_,
+studied and pondered so long over the savage expression in the eye of the
+tiger in order to reproduce its fierceness that, it is related, he became
+at one time mentally unbalanced, but his paintings of tigers are
+inimitable.  They exemplify SEI DO.
+
+From what has been said it will be appreciated why, in a Japanese
+painting, so much value is attached to the strength with which the brush
+strokes are executed _(fude no chicara),_ to the varying lights and shades
+of the _sumi_ (BOKU SHOKU), to their play and sheen _(tsuya),_ and to the
+manifestation of the artist's power according to the principle of living
+movement (SEI DO).  In a European painting such considerations have no
+place.
+
+An oil painting can be rubbed out and done over time and again until the
+artist is satisfied.  A _sumi e_ or ink painting must be executed once and
+for all time and without hesitation, and no corrections are permissible or
+possible.  Any brush stroke on paper or silk painted over a second time
+results in a smudge; the life has left it.  All corrections show when the
+ink dries.
+
+Japanese artists are not bound down to the literal  presentation  of
+things  seen.  They  have  a canon, called _esoragoto,_ which means
+literally an invented picture, or a picture into which certain invention
+fictions are painted.
+
+Every painting to be effective must be _esoragoto;_ that is, there must
+enter therein certain artistic liberties.  It should aim not so much to
+reproduce the exact thing as its sentiment, called _kokoro mochi,_ which
+is the moving spirit of the scene.  It must not be a facsimile.
+
+When we look at a painting which pleases us what is the cause or source of
+our satisfaction?  Why does such painting give us oftentimes more
+satisfaction than the scene itself which it recalls?  It is largely
+because of _esoragoto_ or the admixture of invention (the artistic
+unreality) with the unartistic reality; the poetic handling or treatment
+of what in the original may in some respects be commonplace.
+
+A correctly executed Japanese painting in _sumi_ called _sumi e,_ is
+essentially a false picture so far as color goes, where anything in it not
+black is represented.  Hence, _sumi_ paintings of landscapes, flowers and
+trees, are untrue as to color, and the art lies in making things thus
+represented seem the opposite of what they appear and cause the sentiment
+of color to be felt through a medium which contains no color.  This is
+_esoragoto._
+
+It is related that Okubo Shibutsu, famous for painting bamboo, was
+requested to execute a _kakemono_ representing a bamboo forest.
+Consenting, he painted with all his known skill a picture in which the
+entire bamboo grove was in red. The patron upon its receipt marveled at
+the extraordinary skill with which the painting had been executed, and,
+repairing to the artist's residence, he said: "Master, I have come to
+thank you for the picture; but, excuse me, you have painted the bamboo
+red."  "Well," cried the master, "in what color would you desire it?"  "In
+black, of course," replied the patron.  "And who," answered the artist,
+"ever saw a black-leaved bamboo?"  This story well illustrates
+_esoragoto._  The Japanese are so accustomed to associate true color with
+what the _sumi_ stands for that not only is fiction in this respect
+permissible but actually missed when not employed.  In a landscape
+painting effects are frequently introduced which are not to be found in
+the scene sketched.  The false or fictitious is added to heighten the
+effect.  This is _esoragoto--_ the privileged departure, the false made to
+seem true.  In a landscape a tree is often found to occupy an unfortunate
+place or there is no tree where its presence would heighten the effect.
+Here the artist will either suppress or add it, according to the
+necessities of treatment.  Not every landscape is improved by trees or
+plantations; nor, indeed, is every view containing trees a type scene for
+landscape treatment.  Hence, certain liberties are conceded the artist
+provided only the effect is pleasing and satisfactory and that no
+probabilities seem violated.  This is _esoragoto._  Horace understood this
+and lays it down as a fundamental principle in art: "_Quid libet
+audendi_".  The artist will oftentimes see from a point of view impossible
+in nature, but if the result is pleasing the liberty is accorded.  Sesshu,
+one of the greatest landscape painters of Japan, on returning to his own
+country after having studied some years in China, made a painting of his
+native village with its temple and temple groves, winding river and pagoda
+or five-roofed tower.  His attention being subsequently called to the fact
+that in this village there was no tower or pagoda, he exclaimed that there
+ought to be one to make the landscape perfect, and thereupon he had the
+tower constructed at his own expense.  He had painted in the pagoda
+unconsciously.  This was _esoragoto._
+
+There are no people in the world who have a higher idea of the dignity of
+art than the Japanese and it is a principle with them that every painting
+worthy of the name should reflect that dignity, should testify to its own
+worth and thus justly impress with sentiments of admiration those to whom
+it may be shown.  This intrinsic loftiness, elevation or worth is known in
+their art by the term KI IN.  Without this quality the painting,
+artistically considered and critically judged, must be pronounced a
+failure.  Such picture may be perfect; in proportion and design, correct
+in brush force and faultless in color scheme; it may have complied with
+the principles of IN YO, and TEN, CHI, JIN or heaven, earth and man; it
+may have scrupulously observed all the rules of lines, dots and ledges and
+yet if KI IN be wanting the painting has failed as a work of true art.
+What is this subtle something called KI IN?
+
+In our varied experiences of life we all have met with noble men and women
+whose beautiful and elevating characters have impressed us the moment we
+have been brought into relation with them.  The same quality which thus
+affects us in persons is what the Japanese understand by KI IN in a
+painting.  It is that indefinable something which in every great work
+suggests elevation of sentiment, nobility of soul.  From the earliest
+times the great art writers of China and Japan have declared that this
+quality, this manifestation of the spirit, can neither be imparted nor
+acquired.  It must be innate.  It is, so to say, a divine seed implanted
+in the soul by the Creator, there to unfold, expand and blossom,
+testifying its hidden residence with greater or lesser charm according to
+the life spent, great principles adhered to and ideals realized.  Such is
+what the Japanese understand by KI IN.  It is, I think, akin to what the
+Romans meant by _divinus afflatus--_that divine and vital breath, that
+emanation of the soul, which vivifies and ennobles the work and renders it
+immortal.  And it is a striking commentary upon artist life in Japan that
+many of the great artists of the Tosa and Kano schools, in the middle
+years of their active lives, retired from the world, shaved their heads,
+and, taking the titular rank of HOGEN, HOIN or HOKYO, became Buddhist
+priests and entered monasteries, there to pass their remaining days,
+dividing their time between meditation and inspired work that they might
+leave in dying not only spotless names but imperishable monuments raised
+to the honor and glory of Japanese art.
+
+
+
+
+
+            [Chapter 6 Head-Band: The chrysanthemum pattern.]
+
+
+CHAPTER SIX. SUBJECTS FOR JAPANESE PAINTING
+
+
+                                (GWA DAI)
+
+
+A Japanese artist will never of his own accord paint a flower out of
+season or a spring landscape in autumn; the fitness of things insensibly
+influences him.  From ancient times certain principles have determined his
+choice of subjects, according either to the period of the year or to the
+festivals, ceremonies, entertainments or other events he may be required
+to commemorate.  All such subjects are called GWA DAI.  As one without
+some knowledge of these cannot appreciate much that is interesting about
+art customs in Japan, a brief reference to them will be made, beginning
+with those subjects suitable to the different months of the year:
+
+January--For New Year's  day  (SHO GWATSU GWAN JITSU) favorite subjects are
+"the sun rising above the ocean," called _hi no de ni nami_ (_Plate LIV_
+No.  1); "Mount  Horai" (2), "the sun with storks and tortoises" (3, 4,
+5); or "Fukurokuju," a god of good luck.  Many meanings are associated
+with these subjects.  The sun never changes and the ocean is ever
+changing, hence IN YO is symbolized.  The sun, the ocean and the
+circumambient air symbolize TEN CHI JIN or the universe.  Horai (SAN) is a
+symbol for Japan.  It is the lofty mountain on a fabled island in the
+distant sea, referred to in early Chinese writings, inhabited by sages
+(SEN NIN), and containing the pine, bamboo and plum (known in art as SHO,
+CHIKU, BAI), the pine standing for longevity, the bamboo for rectitude and
+the plum blossom for fragrance and grace.  The stork and the tortoise,
+whose back is covered with seaweed, both typify long life, the ancient
+saying being that the stork lives for one thousand and the tortoise for
+ten thousand years _(tsuru wa_ SEN NEN, _kame wa_ MAN NEN).  Fukurokuju is
+one of the seven gods of good luck, whose name means happiness, wealth and
+long life.  On New Year's day are suspended on either side of his picture
+bamboo and plum subjects (_Plate LV_, 1, 2, 3).  This jovial god's name is
+sometimes happily interpreted by a triple _kakemono_ (SAN BUKU TSUI): The
+middle one is the sun and waves, for long life (JU); on the right, rice
+grains, for wealth (ROKU), and on the left the flower of the cotton plant,
+for happiness (FUKU), because its corolla is golden and its fruit silvery,
+the gold and silver suggesting felicity (_Plate LVI_, 1, 2, 3).  This
+makes a charming combination.  An excursion into the fields of Chinese
+philology in connection with the name of this god of good luck would
+unfold some wonderful word picturing. Traced to their hieroglyphical
+beginnings, FUKU signifies blessings from heaven; ROKU, rank, commemorated
+in  carving,  and (JU), agricultural pursuits, associated with white hair.
+
+An especially appropriate picture for this season of great festivity is
+called "the pine at the gate" _(kado matsu)._  It commemorates the custom
+on the first day of the year of planting pine trees at the entrance to
+Japanese public buildings and private residences.  From the rope
+_(shimenawa)_ (_Plate LV_, 4) are suspended strips of white paper
+_(gohei)_ typifying purity of the soul; these hang in groups of three,
+five and seven, the odd or lucky number series associated with the
+positive or male principle (YO) of IN YO.  Another appropriate subject for
+this early season of the year is rice cakes _(mochi)_ in the shapes of the
+sun and full moon (_Plate LV_, 5).  In the picture the fruit called _dai
+dai_ is placed on the top of the rice cakes, the word DAI meaning ages,
+hence associated with longevity.  At the base of the stand is a prawn
+_(ebi)._  This equally suggests old age because the prawn is bent in two.
+The leaf of the _yuzuri_ is introduced because it is an auspicious word
+and means succession.  The picture of a battledoor and shuttlecock
+_(hagoita)_ is also appropriate for New Year as  it commemorates the
+ancient practice of the Japanese indulging in that pastime on that day
+(_Plate LVI_, 4).
+
+During January a very popular picture for the alcove _(tokonoma)_ is the
+treasureship, called _taka-rabune_ (_Plate LVI_, 5). The vessel as it
+sails into port is heavily laden with all of the various tools and
+utensils typifying great wealth to be found in the capacious bag of Dai
+Koku, a Japanese god of good luck.  These are a ball, a hammer, weights,
+cloves, silver bronze, and the god's raincoat and hat.  On the evening of
+the second of January if the painting of a treasureship be put under the
+pillow and one dreams of either Fujisan, a falcon or an eggplant, the year
+long he will be fortunate.  It will be observed that on the sail of the
+treasure boat is inscribed the Chinese character for TAKARA, meaning
+treasure.  On the seventh day of January occurs the first of the five
+holidays, called _go sekku,_ and vegetable subjects are painted.  These
+are called the seven grasses _(hotoke za_ or _nana kusa)_ and consist of
+parsley, shepherd's purse, chickweed, saint's seat, wild turnip and
+radish.  They are susceptible of most artistic treatment and ingenious,
+original designs are often evolved (_Plate LVII_, 6).
+
+February--The cock and the hen, with the budding plum branch, are now
+appropriate.  The subject is known as the "plum and chickens" _(ume ni
+tori)_ (_Plate LVII_, 1).  The chicken figures in the earliest history of
+Japan.  When the cock crows the Japanese hear the words KOKKA KOO, which,
+phonetically rendered into Chinese characters, read "happiness to our
+entire land."  The Chinese hear differently.  To them the cock crows TOTEN
+KO, meaning "the eastern heavens are reddening," so to them the cock
+heralds the early morn.  Famous paintings of chickens have come from the
+brushes of Okyo, Tessan (_Plate III_), and others of the Maruyama school.
+During February, the month of the plum, the appropriate paintings are of
+that flower and the Japanese warbler _(ume ni uguisu)_ (_Plate LVII_, 2).
+This singing bird announces the spring with its melodious notes (HOHO
+KEKYO), which, rendered by the Buddhist into Chinese characters, give the
+name of the principal book of the eighteen volumes of Shaka, entitled,
+"the marvelous law of the lotus."  Another picture suitable to February is
+known as "the last of the snow" _(zan setsu)_ (_Plate LVII_, 3).
+
+March--This month is associated with the peach blossom, and _kakemono_ of
+gardens containing peach trees, called _momo no_ EN (_Plate LVII_, 4), are
+in favor.  Toba Saku is related to have lived eight thousand years
+subsisting upon the fruit of the peach; hence, the peach blossom is a
+symbol for longevity, and _sake_ made from the fruit is drunk throughout
+Japan in March.  One of the most famous prose writings in Chinese
+literature is RAN-TEI KIOKA SUI.  It commemorates a pastime of the
+learned, called "the _sake_ cup."  A favorite way of interpreting this
+subject is to paint a garden of blossoming peach trees and spreading
+banana palms bordering a flowing stream, with a nobleman attaching to a
+peach branch a narrow paper (TANJAKU) upon which he has written a poem.
+Another famous Chinese prose composition, "the peach and apricot garden
+festival," written by Ri Tai Haku at the age of fourteen years, is
+interpreted by depicting Toba Saku in a garden seated before a table, with
+three Chinese beauties attendant upon him, with celebrated scholars and
+sages circulating midst the flowers and blossoms.  Five principal
+festivals of the year, known as _go sekku,_ occur respectively on the
+seventh day of January, the third day of March, the fifth day of May, the
+seventh day of July and the ninth day of September--all being on the odd
+days of the odd months (the YO of IN YO).  On the third day of the third
+month is the _hina matsuri_ festival for young girls, and the appropriate
+painting for the occasion is called _kami bina,_ meaning paper dolls
+(_Plate LVII_, 5).  The greatest Japanese artists of the past have vied to
+make their treatment of this subject superb.  When a female child is born
+a _kami bina_ painting is presented to the family to contribute to the
+festivities.  The month of March is the month of the cherry blossom
+_(sakura bana),_ and the picture on _Plate LVIII_, 1, illustrates one
+method of painting cherry trees ornamenting the mountainside of a canyon,
+through which flows a river.  During March picnic parties go upon the
+beach at low tide to gather shell-fish. The subject illustrated on _Plate
+LVIII_, 2, called ebb-tide _(shio hi),_ is appropriate.  The picture of
+the maiden Saohime (_Plate LVIII_, 3) is also painted in March.
+
+April--The wistaria flower _(Juji)_ is associated with the fourth month and
+all April landscapes represent the trees covered with much foliage.  A
+small bird called _sudachi dori,_ hatched in this month, is often painted
+on the wistaria branch (_Plate LVIII_, 4). The picture typifies parental
+affection, on account of the known solicitude of the mother bird for its
+young.
+
+May--There are many subjects appropriate for May.  The iris _(shobu)_
+(_Plate LVIII_, 5) now makes its appearance.  Its long-bladed leaves are
+sword shaped, therefore the plant symbolizes the warrior spirit _(bushi)._
+The iris is often planted upon the roof of a house to indicate that there
+are male children in the family.  The cuckoo and the moon subject _(tsuki
+ni hototogisu)_ (_Plate LVIII_, 6) is special to this month.  The fifth of
+May is the boys' festival, and the carp _(koi)_ (_Plate LIX_, 1) is the
+favorite subject for painting.  May is the rainy month in Japan.  It is
+related that a carp during this month ascended to the top of the waterfall
+RYU MON in China and became a dragon.  The carp thus typifies the triumph
+of perseverance--the conquering of obstacles--and symbolizes the military
+spirit.  When this fish is caught and about to be cut up alive for
+_sasshimi,_ a Japanese delicacy, once the carver has passed the flat side
+of the knife blade over the body of the fish the _koi_ becomes motionless,
+and with heroic fortitude submits to being sliced to the backbone.  Served
+in a dish, a few drops of _soy_ being placed in its eye it leaps upward in
+a last struggle, to fall apart in many pieces.  When a male child is born
+a proper present to the family is a carp _kakemono._  The fifth day of the
+fifth month is the anniversary of the great victory of the Japanese over
+Kublai Khan, who, with an enormous fleet of Chinese vessels, attempted to
+invade Japan in the thirteenth century.
+
+June--In this warm month the GWA DAI or picture subject is waterfalls
+(_Plate LIX_, 2), although it is quite allowable on account of the heat of
+summer to suggest cool feelings by painting snow scenes with crows (SETCHU
+_ni karasu)_ for a color contrast (_Plate LIX_, 3).  All pictures painted
+during the month of June should suggest shady, refreshing sensations.  A
+charming and favorite subject is water flowing through an open bamboo pipe
+and falling amid luxuriant vegetation into a pool below, where a little
+bird is bathing.  This picture is technically known as _kakehi_ (_Plate
+LIX_, 4).
+
+July--During this month appropriate among flower subjects is that of the
+seven grasses of autumn _(aki no nana kusa)_ (_Plate LIX_, 6), consisting
+of the bush clover, the wild pink, the morning glory, et cetera.  This is
+most difficult to paint on account of the extreme delicacy requisite in
+the handling of the brush, but a skilful artist can produce most
+interesting effects.  All sorts of wonderfully shaped insects as well as
+birds of brilliant plumage are permitted in the picture.  The seventh day
+of July is known as the festival of the stars, and _Kengyu,_ the swain,
+and _Orihime,_ the maiden, are painted.  July is a month devoted to
+Buddhist ceremonies.  Saints, sages, the five hundred rakkan disciples of
+Shaka and the sixteen rakkans are painted.  There are two other subjects
+appropriate, known as _Tanabata_ (_Plate LIX_, 5) and _Nazunauchi_ (_Plate
+LXIV_, 4).
+
+August--The first grain of the year is now offered to the gods.  A charming
+way of commemorating this is by the painting called stacked rice and
+sparrows _(inamura ni suzume)_ (_Plate LX_, 1).  The rabbit and the moon,
+called _tsuki ni usagi_ (_Plate LX_, 2), because the rabbit is seen in the
+moon making rice cakes, and the picture known as _meggetsu_ (_Plate LX_,
+3) also commemorate the offering of the products of the soil to the moon
+divinity.  As mist abounds during August, landscapes half concealed in
+mist are painted.  The Kano artist, Tanyu, leaned much to such scenes,
+which suggest the tranquility of eventide.  Such subjects are known as
+mist showers _(ugiri)_ (_Plate LX_, 4).  The Japanese have their woman in
+the moon, named Joga.  This lovely creature having procured and drunk of
+the ambrosia of hermits _(sennin)_ is said to have entered that planet.
+The picture is an engaging one (_Plate LX_, 6), the upper portion of
+Joga's body being in the moon's disc and the lower portion in fleecy
+clouds.
+
+September--The ninth day of the ninth month is the festival of the
+chrysanthemum (KIKU NO SEKKU), when _sake_ made from the chrysanthemum is
+drunk.  Kiku Jido, a court youth, having inadvertently touched with his
+foot the pillow of the emperor, was banished to a distant isle where, it
+is said, he was nourished by the dew of the chrysanthemum which abounded
+there.  Becoming a hermit, he lived one thousand years.  Seasonal pictures
+for this month commemorate this event, or reproduce the yellow and white
+chrysanthemum.  (_Plate LXI_, 1).  Appropriate for September are water
+grasses and the dragon-fly _(mizukusa ni tombo)_ (_Plate LXI_, 5).
+Tatsuta hime (_Plate LXI_, 2) is also painted.  She is the autumn
+divinity, associated with the brilliant, warm and resplendent colors of
+the autumn season, and is always represented in gorgeous hues.  Pictures
+of the deer and the early maples _(hatsu momiji ni shika)_ (_Plate LXI_,
+3) are now appropriate.  A favorite autumn picture is called _Kinuta
+uchi,_ or the beating, on a block, of homespun cotton to give it lustre.
+A poor peasant woman and her child are both occupied at the task under the
+rays of the full moon (_Plate LXIV_, 4).  The sound of the blows on the
+block is said to suggest sad feelings.  It is a law for painting such
+moonlight scenes that no red color be introduced, as red does not show in
+the moonlight (GEKKA _no_ KO SHOKU _nashi)._
+
+      [Fujiyama from Tago no Ura, by Yamamoto Baietsu.  Plate VIII.]
+
+       Fujiyama from Tago no Ura, by Yamamoto Baietsu.  Plate VIII.
+
+
+October--In this month geese coming from the cold regions and crossing at
+night the face of the moon are a favorite subject, known as _tsuki ni_ GAN
+(_Plate LXI_, 4).  Other subjects are "autumn fruits" _(aki no mi)_
+(_Plate LXI_, 5), chestnuts, persimmons, grapes and mushrooms; monkeys and
+persimmons _(saru ni kaki)_ (_Plate LXI_, 6); squirrel and grapes (RISU
+_ni_ BUDO) (_Plate LXII_, 1); and the evergreen pine _(kayenu matsu),_
+suggesting constancy (_Plate LXII_, 2)
+
+November--A month sacred to Evesco, one of the jovial gods of good luck
+(_Plate LXII_, 3).  He was the first trader, his stock being the TAI fish.
+He is the favorite god of the merchants who, during this month, celebrate
+his festival.  Evesama is usually represented returning from fishing with
+a TAI under his arm.  The Kano artists particularly favored this subject.
+Another charming picture, known as "the last of the chrysanthemums" (ZAN
+KIKU) (_Plate LXII_, 4), suggests the approaching close of the year. The
+classic way to represent this subject is with small, yellow chrysanthemums
+clinging to a straggling bamboo fence, with a few of their leaves which
+have begun to turn crimson.  Another November picture is "the first snow"
+_(hatsu yuki)_ (_Plate LXII_, 5).  Two puppies are frollicking in the
+snow, which is falling for the first time.  It is said that no animal
+rejoices like the dog when it sees the first snowfall of winter.  Snow,
+says a proverb, is the dog's grandmother _(yuki wa inu no obasan)._  Okyo
+and Hokusai frequently painted this subject.  _Hatsu yuki_ is sometimes
+represented by a little snow upon the pine tree or the bamboo in a
+landscape.  This produces a very lonely _(samushii)_ scene.  The Kyoto
+artists are extremely fond of painting in the month of November the
+subject of a peasant girl descending from the mountain village of Ohara
+carrying upon her head a bundle of firewood twigs, into which she has
+coquettishly inserted a branch of red maple leaves.     This picture is
+called _Oharame_ (_Plate LXII_, 6).  Landscapes representing fitful rain
+showers are appropriate for November and are called _shigure._  This is
+the month for the _oshi dori_ (_Plate LXIII_, 1).  These mandarin ducks,
+male and female, on account of the contrast in their shape and plumage,
+make a very striking and favorite picture.  Their devotion to each other
+is so great that they die if separated.  Hence, such paintings not only
+symbolize conjugal fidelity but are also appropriate as wedding presents.
+There are two other kinds of birds painted in November: The beach birds,
+known as _chi dori_ (_Plate LXIII_, 2), and the wild duck flying over the
+marsh grasses _(kamo ni ashi)_ (_Plate LXIII_, 3). Okyo and the artists of
+his school excel in their vivid treatment of these last three subjects.
+
+December--The cold weather chrysanthemum (KAN KIKU), the narcissus or
+hermit of the stream (SUI SEN), and the snow shelter of rice straw _(yuki
+kakoi)_ (_Plate LXIII_, 4) are three favorites for December.  In this
+latter lovely subject the white chrysanthemums are huddling below the
+protecting snow shelter of rice straw, one or two of the flowers peeping
+out, their leaves being reddish on the rim and light green within.  The
+narcissus is much painted during December.  There are many ways and laws
+for painting this flower.  Another winter subject is called _joji_ BAI,
+consisting of the plum tree with snow on the branches and small birds
+perched thereon.  Kyoto artists much favor it.  December landscapes are
+all snow scenes _(yuki no_ SAN SUI) (_Plate LXIII_, 5) and countless are
+the ways in which they are treated.  Another subject is _nukume dori--_a
+falcon perched upon a tree covered with snow, holding in its claws a
+little bird (_Plate LXIV_, 3).  The falcon does not tear its victim to
+pieces but simply uses it to warm its own feet; this accomplished, it lets
+its prisoner escape and during twenty-four hours refrains from flying in
+the direction the little bird has fled. _Noblesse oblige._
+
+The snow man or snow _daruma (yuki daruma)_ (_Plate LXIII_, 6) is painted
+this month by artists of all the schools.
+
+The four seasons (SHI KI) form a series susceptible of the most varied and
+engaging treatment and presentation. The seasons are sometimes symbolized
+by flowers, occasionally by birds, again by the products of the earth, and
+often by landscapes.
+
+Sometimes human figures are used for the purpose.  In spring _(haru)_ a
+young daughter _(musume)_ may be represented looking at the cherry
+blossoms (_Plate LXV_, 1); in summer _(natsu)_ she will be crossing a
+bridge or enjoying the cool of the riverside (_Plate LXV_, 2); in autumn
+_(aki)_ she is seen in the fields, probably gathering mushrooms (_Plate
+LXV_, 3), and in winter _(fuyu)_ she will be seated indoors playing a
+musical instrument (_Plate LXV_, 4).  While the other _kakemono_ is always
+to be changed in the _tokonoma_ or alcove according to the seasons,
+ceremonies or festivals, there are certain pictures appropriate to any
+season, _e. g.,_ rocks and waves _(iwa ni nami);_ pine and bamboo _(matsu
+take);_ or the Okyo double subject called _shikuzu ni fuku tsui_ (pendant
+paintings): The end of spring, a crow and the plum tree (_Plate LXIV_, 1);
+the end of autumn, the bird _hyo dori_ and the persimmon tree (_Plate
+LXIV_, 2). The reason is that all such subjects are in harmony with
+conditions the year round.
+
+Historical subjects (REKISHI GWA DAI) suitable for Japanese painting are
+extremely numerous subjects and are divided into categories corresponding
+to the following periods: The Nara, the Heian or Kyoto, the Kamakura
+Yoritomo shogunate, the Higashiyama shogunate, the Yoshimasa shogunate,
+the Momoyama or Taiko Hideyoshi, and the Tokugawa Iyeyasu shogunate
+brought down to the present Meiji period.  These with their numerous
+subdivisions supply an infinite number of subjects for pictorial
+treatment.  Special favorites are "Benkei and Yoshitsune at the Go Jo
+bridge," or "passing through the Hakone barrier," and "Kusanoki Masashige
+at Minatogawa."
+
+When Shaka was born he stood erect, with one Buddhist hand pointing upward
+and the other downward and exclaimed: "Behold, between heaven and earth I
+am the most precious creation."  His birthday is the subject of the
+picture (_Plate LXVI_, 3) called KAN BUTSU YE.  It represents the Buddha
+as a bronze statue erect in a tub of sweet liquid.  This the faithful
+worshippers pour over his head and subsequently drink for good luck.
+Shaka's death is commemorated in the picture called NEHAN, nirvana.  The
+lord, Buddha, is stretched upon a bier tranquilly dying, an angelic smile
+lighting his countenance, while around are gathered his disciples, Rakkan
+and Bosatsu, and the different animals of creation, all weeping.  A rat
+having gone to call Mayabunin, mother of Buddha, has been pounced upon by
+a cat and torn to pieces.  For this reason in paintings of this moving
+scene of Shaka's death no cat is to be found among the mourning animals.
+The artist Cho Densu, however, in his great painting of NEHAN (still
+preserved in the Temple To Fuku Ji at Kyoto) introduces the portrait of a
+cat.  It is related that, while Cho Densu was painting, the cat came daily
+to his side and continually mewing and expressing its grief, would not
+leave him.  Finally Cho Densu, out of pity, painted the cat into the
+picture and thereupon the animal out of joy fell over dead.
+
+The lotus _(hasu)_ symbolizes the heart of a saint _(hotoke)._  It rises
+untarnished out of the mud of the pond, nor can it be stained by any
+impurity, the leaves always shedding whatever may fall upon them.  It is
+painted usually as a religious subject.
+
+The principal _matsuri_ or Shinto festivals occur at different seasons of
+the year in different parts of the empire.  The summer months, however,
+claim most of them.  The _Kamo no aoi matsuri_ takes place at Kyoto and
+consists of a procession, a NO dance and a horse race.  The picture
+appropriate for this festival is "the _Kamo_ race course" _(Kamo no kei
+ba)._ The _matsuri_ at Nikko is a great procession, with three _mikoshi_
+or shrines carried on the shoulders of multitudes of men.  There are three
+Nikko _matsuri_ connected with the Tokugawa shogunate.
+
+_Inari,_ being the god of agriculture _(ine,_ rice), the picture of a fox
+(_Plate LXVI_, 4), that god's messenger, is appropriate.  Another
+festival, the GYON _matsuri,_ of Kyoto, is celebrated with a great
+procession in which enter all sorts of amusing floats and every kind of
+amusing practice.  These are variously reproduced in commemorative
+paintings.
+
+I will only refer in passing to the many subjects supplied by the
+beautiful poetry (HOKKU and _uta)_ and celebrated romances _(monogatari)_
+of Japan.  Enough has been said to show that the Japanese artist has an
+unlimited range of classic subjects from which to select.
+
+Other subjects unassociated with any special time of the year represent,
+_e.g.,_ various utensils of the tea ceremony _(cha no yu)_ (_Plate LXVI_,
+1) when _macha,_ a thickened tea, is used.  The tea ceremony (_Plate II_)
+is performed in a small room fitted with four and a half mats.  Were the
+mats only four (SHI) in number they would suggest death _(shi)._
+Furthermore, an even number being considered negative (IN) is not favored.
+Mats are three by six feet in size and must always be so laid as not to
+form crosses, which are unlucky.  In the alcove of this room no _kakemono_
+is permitted but one in the pure Japanese style.  The subject of the
+painting will depend upon the season, while all red colors are proscribed
+and _sumi_ pictures of the Kano school are most appropriate.  The
+treatment must be simple (TAN PAKU); for instance, a single flower spray,
+a branch of the plum, a hermit, or a solitary mountain peak.  In the
+ceremony of SEN CHA (_Plate LXVI_, 2), which is the Chinese way of making
+tea, these strict rules of _cha no yu_ are relaxed.
+
+
+
+
+
+               [The water-fowl design, called midsu tori.]
+
+
+CHAPTER SEVEN. SIGNATURES AND SEALS
+
+
+There are many books upon the subject of signing and authenticating a
+painting.  Two well-known works are "GWA JO YO RYAKU" and "DAI GA SHI
+SAN."  In China literary men often add descriptive matter to their
+paintings, writing prominently thereon: "In a dream last night I witnessed
+the scene I here attempt to reproduce," or "On a boating excursion we saw
+this pine tree shading the banks of the river."  Such additions to the
+picture enable the artist to exhibit his skill as an expert writer and are
+considered to heighten the general effect.  Often original poetry takes
+the place of prose.  The year, month and day will be added, followed by
+the signature of the writer, with some self-depreciatory term, such as
+"fisherman of the North Sea," "mountain wood-chopper" or "hermit dwelling
+amid the clouds and rocks."  Such signature, with one or more seals
+scattered over the face of the work, is in art called RAKKWAN, signifying
+"completed."
+
+In Japan a somewhat different way of signing prevails. The artist's
+signature with his seal under it is appended to the painting, not in a
+conspicuous but in the least prominent part of it.
+
+Painters of the Tosa, Fujiwara, Sumiyoshi and Kasuga schools in signing
+their work first wrote above their signatures their office and rank, _e.
+g.,_ Unemi no Kami or Shikibu Gondai no Kami in the square or round
+Chinese characters.
+
+The Kano artists signed their names in round characters (GYO SHO) and did
+not add their secular rank or office but wrote before their signatures
+their Buddhist titles; thus, HOGAN Motonobu, HO KYO Naganobu, HOIN
+Tsunenobu.  In the Maruyama period all titles and rank were omitted and
+simply the name _(namae)_ or the _nom de plume_ (GO) was written,--thus,
+Okyo, Goshun, Tessan, Bun Cho--strict attention being paid, however, to
+executing the Chinese characters for such signatures in both an artistic
+and strikingly attractive way, whether written in one or another of the
+three usual forms technically called SHIN, SO, GYO.
+
+The date, NEN GO, preceding the signature upon a painting is often
+indicated by the use of one of the twelve horary characters (JU NI SHI)
+along with one of the ten calendar signs (JU RAN).  These, in orderly
+arrangement, comprehend a cycle of sixty years; in other words, they are
+never united the same way or coincide but once during that period.  No
+artist under sixty should, in signing his work, allude to his age, much
+less state his years.  For him to be able to write seventy-seven before
+his name is most auspicious--one way of writing _kotobuki,_ the luckiest
+word in Japanese, being to employ two sevens which, thus compounded, is
+said to be the SO SHO character for that word.  Very young persons are
+permitted in signing their paintings or writings to add their exact ages
+up to thirteen.
+
+Where Chinese literary artists add poems to their paintings as many as
+eight seals may be observed thereon.  In Japanese paintings never more
+than two seals are used and these follow and authenticate the signature.
+
+The correct distance at which a _kakemono_ is to be viewed is the width of
+a mat _(tatami)_ from the alcove where the picture is hung.  It is bad
+form to look at it standing.  Before critically examining the work a
+Japanese will scrutinize the artist's signature and seal.  It is a
+cardinal rule in Japan that the signature be affixed so as not to
+interfere with the scheme of the picture or attract the eye.  If the
+picture looks to the right the signature and seal should be placed on the
+left, and _vice versa;_ if the principal interest is in the upper part of
+a picture these should be placed lower down, and _vice versa._  As every
+painting has its division into IN and YO the RAKKWAN is placed in IN.
+Some artists partially cover their signatures with their seal impression.
+Lady artists add to their signatures the character JO, meaning woman.
+Veteran painters will sometimes write before their signatures the
+character for old man _(okina)._
+
+The artist's seal is often a work of art and his family name (MYOJI) or
+his artist name (GO) is usually engraved thereon with the Chinese seal
+characters called TEN SHO. Where two seals are affixed below the signature
+one may contain a classic aphorism, like TAI BI FU GEN (the truly
+beautiful is indescribable) or CHU YO (keep the middle path).  Before
+seals were used writings were authenticated by scrolls called _kaki_ HAN.
+Even now such scrolls are used.  The principles on which they are shaped
+are derived from astrological lore (EKI).  Seal engravers deservedly enjoy
+renown for learning and skill.  To carve a seal is the recognized
+accomplishment of a gentleman, and the most famous living seal engraver in
+Japan is an amateur.  Seals are of jade, rock crystal, precious woods,
+Formosa bamboo root, gold, silver or ivory.  The best hard stone for seals
+comes from China and is known as the cock's comb (KEI KETSU SEKI).
+
+An artist during his career will collect numbers of valuable seals for his
+own use.  These at his death may be given to favorite pupils or kept as
+house treasures.  Bairei left instructions to have many of his seals
+destroyed.
+
+The seal paste (NIKU) is made of Diana weed _(mogusa)_ dried for three
+years, or of a plant called _yomogi,_ or with soft, finely chopped rabbit
+hair boiled in castor oil for one hundred hours with white wax and then
+colored red, brown, blue or tea color.  The seal should be carefully wiped
+after it is used, otherwise this paste hardens upon it.
+
+Japanese paintings are seldom framed, as frames take too much room.
+Frames are used chiefly for Chinese writings, hung high in public places
+or about the dwelling, and are called GAKU, meaning "forehead," in
+allusion to raising the head to read what the frame contains.  It is
+etiquette that such framed writings be signed with the real name rather
+than the _nom de plume._
+
+Two kinds of seals are affixed to the frame: One, on the right, at the
+beginning of the writing, and called YU IN, containing some precept or
+maxim; and one or two, on the left, after the signature, bearing the
+artist's name and any other appropriate designation.  All writings in
+Chinese or Japanese read from right to left, and frequently are the sole
+ornament of a pair of screens.
+
+For the guidance of experts who pass on the genuineness of Japanese
+paintings there is a well-known publication, "GWA KA RAKKWAN IN SHIN," by
+Kano Jushin, which contains reproductions in fac simile of the signatures
+and seals of all the celebrated artists of the remote and recent past.
+
+In concluding this work, which I am conscious is but an imperfect survey
+of a vast and intricate subject, I would call attention to the fact that
+in both Europe and America there is a wonderful awakening to the dignity,
+simplicity and beauty of Japanese art.  This is largely to be attributed
+to the careful and scholarly writings and publications of Messrs.
+Anderson, Binyon, Morrison and Strange in England, Fenollosa in the United
+states, DeGoncourt, Gonse and Bing in France, Seidlitz in Germany, and
+Brinkley and Okakura in Japan; and all students of art must render to them
+the homage of their sincere admiration.
+
+The object of all art, as Cicero has truly said, is to soften the manners,
+by training the heart and mind to right thoughts and worthy sentiments.
+To such end nothing will more surely contribute than a faithful study of
+the painting art of Japan, and the further we investigate and appreciate
+its principles the more we will multiply those hours which the sun-dial
+registers,--the serene and cheerful moments of existence.
+
+
+
+
+
+EXPLANATION OF HEAD-BANDS
+
+
+DESIGN OF TITLE PAGE. Butterflies and birds, known as _cho tori_.
+
+_CHAPTER ONE_. The flower and leaves of the peony (BOTAN), as
+conventionalized on ancient armor (_yoroi_).
+
+_CHAPTER TWO_. Fan-shaped leaves of the _icho_ or GIN NAN
+(_Salisburiana_), placed in books in China and Japan to prevent the
+ravages of the bookworm.
+
+_CHAPTER THREE_. The design called "Dew on the Grass and Butterflies"
+(_tsuyu, kusa ni cho_).
+
+_CHAPTER FOUR_. The pattern (_moyo_) known as bamboo and the swelling
+sparrow (_take nifukura susume_). The parts of the bird are amusingly
+conventionalized--in the Korin manner. The word FUKURA written in Chinese
+contains the lucky character FUKU (happiness).
+
+_CHAPTER FIVE_. Maple leaves are associated with Ten Jin (Sugiwara
+Michizane), patron of learning. Children in invoking his aid in a little
+prayer count the points of the maple leaf, saying, "_yoku te
+agaru_"--assist us to be clever. In Japanese the maple leaf is called
+_kaide_, meaning frog's hand.
+
+_CHAPTER SIX_. The chrysanthemum pattern.
+
+_CHAPTER SEVEN_. The water-fowl design, called _midsu tori_.
+
+
+
+
+
+PLATES EXPLANATORY OF THE FOREGOING TEXT ON THE LAWS OF JAPANESE PAINTING
+
+
+
+
+     The Eight Ways of Painting in Color, Called the Laws of Coloring
+
+
+       (3) [Most Careful Method of Laying on Color.  Plate VIIII.]
+
+          Most Careful Method of Laying on Color.  Plate VIIII.
+
+
+                     [The Next Best Method. Plate X.]
+
+                      The Next Best Method. Plate X.
+
+
+                [The Light Water-Color Method. Plate XI.]
+
+                 The Light Water-Color Method. Plate XI.
+
+
+               [Color With Outlines Suppressed. Plate XII.]
+
+                Color With Outlines Suppressed. Plate XII.
+
+
+                     [Color Over Lines. Plate XIII.]
+
+                      Color Over Lines. Plate XIII.
+
+
+                 [Light Reddish-Brown Method. Plate XIV.]
+
+                  Light Reddish-Brown Method. Plate XIV.
+
+
+                      [The White Pattern. Plate XV.]
+
+                       The White Pattern. Plate XV.
+
+
+                  [The Black or Sumi Method. Plate XVI.]
+
+                   The Black or Sumi Method. Plate XVI.
+
+
+
+
+                   Landscapes, Birds, Trees and Streams
+
+
+           [The Rule of Proportion in Landscapes. Plate XVII.]
+
+            The Rule of Proportion in Landscapes. Plate XVII.
+
+
+                    [Heaven, Earth, Man. Plate XVIII.]
+
+                     Heaven, Earth, Man. Plate XVIII.
+
+
+                     [Pine Tree Branches. Plate XIX.]
+
+                      Pine Tree Branches. Plate XIX.
+
+
+                       [Winding Streams. Plate XX.]
+
+                        Winding Streams. Plate XX.
+
+
+                    [A Tree and Its Parts. Plate XXI.]
+
+                     A Tree and Its Parts. Plate XXI.
+
+
+                 [Bird and Its Subdivisions. Plate XXII.]
+
+                  Bird and Its Subdivisions. Plate XXII.
+
+
+
+
+                              Laws of Ledges
+
+
+  [Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b).
+                              Plate XXIII.]
+
+  Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b).
+                               Plate XXIII.
+
+
+    [Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.]
+
+     Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.
+
+
+    [Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV. ]
+
+      Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.
+
+
+ [Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.]
+
+  Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.
+
+
+
+
+                         Laws of Trees and Rocks
+
+
+[The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4).
+                              Plate XXVII.]
+
+The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4).
+                               Plate XXVII.
+
+
+  [Theory of Tree Growth (1). Practical Application (2). Grass Growth in
+               Theory (3). In Practice (4). Plate XXVIII.]
+
+  Theory of Tree Growth (1). Practical Application (2). Grass Growth in
+                Theory (3). In Practice (4). Plate XXVIII.
+
+
+   [Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in
+                       structure (3). Plate XXIX.]
+
+   Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in
+                        structure (3). Plate XXIX.
+
+
+[Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2).  Rock
+         Construction as Practiced in Art (3 and 4). Plate XXX. ]
+
+ Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2).  Rock
+          Construction as Practiced in Art (3 and 4). Plate XXX.
+
+
+        [Different Ways of Painting Rocks and Ledges. Plate XXXI.]
+
+         Different Ways of Painting Rocks and Ledges. Plate XXXI.
+
+
+
+
+                               Laws of Dots
+
+
+         [Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.]
+
+          Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.
+
+
+          [Wheel-Spoke Dot (a). KAI JI Dot (b). Plate XXXIII. ]
+
+            Wheel-Spoke Dot (a). KAI JI Dot (b). Plate XXXIII.
+
+
+       [Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.]
+
+        Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.
+
+
+             [Serrated Dot (a). ICHI JI dot (b). Plate XXXV.]
+
+              Serrated Dot (a). ICHI JI dot (b). Plate XXXV.
+
+
+             [Heart Dot (a). HITSU JI Dot (b). Plate XXXVI.]
+
+              Heart Dot (a). HITSU JI Dot (b). Plate XXXVI.
+
+
+             [Rice Dot (a). HAKU YO Dot (b). Plate XXXVII. ]
+
+               Rice Dot (a). HAKU YO Dot (b). Plate XXXVII.
+
+
+
+
+                     Laws of Waves and Moving Waters
+
+
+    [Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII. ]
+
+     Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.
+
+
+             [Sea Waves (a). Brook Waves (b). Plate XXXIX. ]
+
+               Sea Waves (a). Brook Waves (b). Plate XXXIX.
+
+
+                        [Storm Waves. Plate XL. ]
+
+                          Storm Waves. Plate XL.
+
+
+
+
+                       Laws of Lines of the Garment
+
+
+    [Silk-Thread Line (upper). Koto string Line (lower). Plate XLI. ]
+
+      Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.
+
+
+   [Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII. ]
+
+     Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.
+
+
+  [Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.]
+
+   Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.
+
+
+    [Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV. ]
+
+      Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.
+
+
+  [Rusty-Nail and Old-Post Line (upper).   Date-Seed Line (lower). Plate
+                                  XLV.]
+
+Rusty-Nail and Old-Post Line (upper).   Date-Seed Line (lower). Plate XLV.
+
+
+    [Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.]
+
+     Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.
+
+
+  [Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII. ]
+
+   Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.
+
+
+    [Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII. ]
+
+      Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.
+
+
+       [Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.]
+
+        Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.
+
+
+
+
+                        Laws of the Four Paragons
+
+
+                  [The Plum Tree and Blossom. Plate L.]
+
+                   The Plum Tree and Blossom. Plate L.
+
+
+            [The Chrysanthemum Flower and Leaves. Plate LI. ]
+
+              The Chrysanthemum Flower and Leaves. Plate LI.
+
+
+                [The Orchid Plant and Flower. Plate LII.]
+
+                 The Orchid Plant and Flower. Plate LII.
+
+
+                [The Bamboo Plant and Leaves. Plate LIII.]
+
+                 The Bamboo Plant and Leaves. Plate LIII.
+
+
+
+
+                            Painting Subjects
+
+
+ [Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3,
+                           4, 5). Plate LIV. ]
+
+Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4,
+                              5). Plate LIV.
+
+
+[Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and
+                Shimenawa (4). Rice Cakes (5). Plate LV. ]
+
+ Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and
+                 Shimenawa (4). Rice Cakes (5). Plate LV.
+
+
+  [Sun and Waves (1).  Rice Grains(2). Cotton Plant (3). Battledoor (4).
+                     Treasure Ship (5). Plate LVI. ]
+
+  Sun and Waves (1).  Rice Grains(2). Cotton Plant (3). Battledoor (4).
+                      Treasure Ship (5). Plate LVI.
+
+
+[Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow
+  (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII. ]
+
+ Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow
+   (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.
+
+
+[Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon
+                      and Cuckoo (6). Plate LVIII. ]
+
+Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon
+                       and Cuckoo (6). Plate LVIII.
+
+
+  [Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5).
+                     Autumn Grasses (6). Plate LIX. ]
+
+  Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5).
+                      Autumn Grasses (6). Plate LIX.
+
+
+[Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist
+          Showers (4). Water Grasses (5). Joga (6). Plate LX. ]
+
+ Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist
+           Showers (4). Water Grasses (5). Joga (6). Plate LX.
+
+
+ [Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the
+ Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI. ]
+
+  Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the
+  Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.
+
+
+[Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku
+             (4). First Snow (5). Oharame (6). Plate LXII. ]
+
+ Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku
+              (4). First Snow (5). Oharame (6). Plate LXII.
+
+
+[Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow
+                Scene (5). Snow Daruma (6). Plate LXIII. ]
+
+Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow
+                 Scene (5). Snow Daruma (6). Plate LXIII.
+
+
+ [Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi
+                            (4). Plate LXIV. ]
+
+ Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi
+                             (4). Plate LXIV.
+
+
+      [Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV. ]
+
+        Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.
+
+
+[Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI. ]
+
+ Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.
+
+
+
+
+
+
+FOOTNOTES
+
+
+    1 This is a translation from the original manuscript of IWAYA SHO HA,
+      or Iwaya Sazanami, one of the most widely known and popular writers
+      on Japanese folk-lore.
+
+    2 Translated from the original manuscript of Hirai Kinza, noted
+      scholar, lecturer and author.
+
+    3 Preparer's Note: The only editions available to me have these plates
+      in black-and-white.
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK ON THE LAWS OF JAPANESE PAINTING
+***
+
+
+
+CREDITS
+
+
+March 16, 2011
+
+            Project Gutenberg Edition
+            Martin Schub
+
+
+
+A WORD FROM PROJECT GUTENBERG
+
+
+This file should be named 35580-8.txt or 35580-8.zip.
+
+This and all associated files of various formats will be found in:
+
+
+    http://www.gutenberg.org/dirs/3/5/5/8/35580/
+
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+<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<div id="pgheader" class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><p class="tei tei-p" style="margin-bottom: 2.00em">The Project Gutenberg EBook of On the Laws of Japanese Painting
+ by Henry P. Bowie</p></div><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><p class="tei tei-p" style="margin-bottom: 1.00em">This eBook is for the use of anyone anywhere at no cost
+          and with almost no restrictions whatsoever. You may copy it,
+          give it away or re-use it under the terms of the Project
+          Gutenberg License <a href="#pglicense" class="tei tei-ref">included with this
+          eBook</a> or online at <a href="http://www.gutenberg.org/license" class="tei tei-xref">http://www.gutenberg.org/license</a></p></div><pre class="pre tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">Title: On the Laws of Japanese Painting
+
+
+Author: Henry P. Bowie
+
+Release Date: March 16, 2011 [Ebook #35580]
+
+Language: English
+
+Character set encoding: UTF-8
+
+
+***START OF THE PROJECT GUTENBERG EBOOK ON THE LAWS OF JAPANESE PAINTING
+***
+</pre></div>
+</div>
+<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  
+</div>
+
+<a name="plate01" id="plate01" class="tei tei-anchor" style="text-align: center"></a><a name="fig1" id="fig1"></a><div class="tei tei-figure" style="text-align: center"><img src="images/frontisp.jpg" alt="Fujiyama, by Murata Tanryu. Plate I." title="Fujiyama, by Murata Tanryu. Plate I." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Fujiyama, by Murata Tanryu. Plate I.</div></div>
+
+<hr class="doublepage" /><div class="tei tei-titlePage" style="text-align: center">
+ <span class="tei tei-docTitle" style="text-align: center"><span class="tei tei-titlePart" style="text-align: center"><span style="font-size: 144%">On the Laws of Japanese Painting</span></span><br /><br />
+  <span class="tei tei-titlePart" style="text-align: center">An Introduction to the study of the Art of Japan</span>
+</span>
+ <div class="tei tei-byline" style="text-align: center"><br /><br /><br /><span class="tei tei-docAuthor" style="text-align: center">Henry P. Bowie</span><br /><br /><br /><br /></div>
+
+<div class="tei tei-figure" style="text-align: center"><img src="images/colloph.jpg" alt="Title-page design: Butterflies and Birds, known as Cho Tori" /></div>
+
+<span class="tei tei-docImprint" style="text-align: center">Paul Elder and Company Publishers</span><br />
+<span class="tei tei-docDate" style="text-align: center">1911</span>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<a name="pdf2" id="pdf2"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Contents</span></h1>
+<ul class="tei tei-index tei-index-toc"><li><a href="#toc3">Introduction by Iwaya Sazanami</a></li><li><a href="#toc5">Introduction by Hirai Kinza
+</a></li><li><a href="#toc7">Preface</a></li><li><a href="#toc9">CHAPTER ONE.  PERSONAL EXPERIENCES</a></li><li><a href="#toc11">CHAPTER TWO. ART IN JAPAN</a></li><li><a href="#toc16">CHAPTER THREE. LAWS FOR THE USE OF BRUSH AND MATERIALS</a></li><li><a href="#toc19">CHAPTER FOUR.  LAWS GOVERNING THE CONCEPTION AND EXECUTION OF A PAINTING</a></li><li><a href="#toc23">CHAPTER FIVE. CANONS OF THE AESTHETICS OF JAPANESE PAINTING</a></li><li><a href="#toc25">CHAPTER SIX. SUBJECTS FOR JAPANESE PAINTING</a></li><li><a href="#toc28">CHAPTER SEVEN. SIGNATURES AND SEALS</a></li><li><a href="#toc30">EXPLANATION OF HEAD-BANDS</a></li><li><a href="#toc32">PLATES EXPLANATORY OF THE FOREGOING TEXT ON THE LAWS OF JAPANESE PAINTING</a></li><li><a href="#toc92">Footnotes</a></li></ul>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Illustrations</span></h1>
+<ul class="tei tei-index tei-index-fig"><li><a href="#fig1">Fujiyama, by Murata Tanryu. Plate I.</a></li><li><a href="#fig13">The Tea Ceremony, by Miss Uyemura Shoen. Plate II.</a></li><li><a href="#fig14">Chickens in Spring, by Mori Tessan. Plate III.</a></li><li><a href="#fig15">Snow Scene in Kaga, by Kubota Beisen.  Plate IV.</a></li><li><a href="#fig18">Tree Squirrel, by Mochizuki Kimpo.  Plate V.</a></li><li><a href="#fig21">Tiger, by Kishi Chikudo.  Plate VI.</a></li><li><a href="#fig22">Bamboo, Sparrow and Rain.  Plate VII.</a></li><li><a href="#fig27">Fujiyama from Tago no Ura, by Yamamoto Baietsu.  Plate VIII.</a></li><li><a href="#fig34">Most Careful Method of Laying on Color.  Plate VIIII.</a></li><li><a href="#fig35">The Next Best Method. Plate X.</a></li><li><a href="#fig36">The Light Water-Color Method. Plate XI.</a></li><li><a href="#fig37">Color With Outlines Suppressed. Plate XII.</a></li><li><a href="#fig38">Color Over Lines. Plate XIII.</a></li><li><a href="#fig39">Light Reddish-Brown Method. Plate XIV.</a></li><li><a href="#fig40">The White Pattern. Plate XV.</a></li><li><a href="#fig41">The Black or Sumi Method. Plate XVI.</a></li><li><a href="#fig42">The Rule of Proportion in Landscapes. Plate XVII.</a></li><li><a href="#fig43">Heaven, Earth, Man. Plate XVIII.</a></li><li><a href="#fig44">Pine Tree Branches. Plate XIX.</a></li><li><a href="#fig45">Winding Streams. Plate XX.</a></li><li><a href="#fig46">A Tree and Its Parts. Plate XXI.</a></li><li><a href="#fig47">Bird and Its Subdivisions. Plate XXII.</a></li><li><a href="#fig48">Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII.</a></li><li><a href="#fig49">Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.</a></li><li><a href="#fig50">Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.</a></li><li><a href="#fig51">Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.</a></li><li><a href="#fig52">The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII.</a></li><li><a href="#fig53">Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII.</a></li><li><a href="#fig54">Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX.</a></li><li><a href="#fig55">Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2).  Rock Construction as Practiced in Art (3 and 4). Plate XXX.</a></li><li><a href="#fig56">Different Ways of Painting Rocks and Ledges. Plate XXXI.</a></li><li><a href="#fig57">Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.</a></li><li><a href="#fig58">Wheel-Spoke Dot (a). <span style="font-variant: small-caps">Kai Ji</span> Dot (b). Plate XXXIII.</a></li><li><a href="#fig59">Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.</a></li><li><a href="#fig60">Serrated Dot (a). <span style="font-variant: small-caps">Ichi Ji</span> dot (b). Plate XXXV.</a></li><li><a href="#fig61">Heart Dot (a). <span style="font-variant: small-caps">Hitsu Ji</span> Dot (b). Plate XXXVI.</a></li><li><a href="#fig62">Rice Dot (a). <span style="font-variant: small-caps">Haku Yo</span> Dot (b). Plate XXXVII.</a></li><li><a href="#fig63">Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.</a></li><li><a href="#fig64">Sea Waves (a). Brook Waves (b). Plate XXXIX.</a></li><li><a href="#fig65">Storm Waves. Plate XL.</a></li><li><a href="#fig66">Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.</a></li><li><a href="#fig67">Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.</a></li><li><a href="#fig68">Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.</a></li><li><a href="#fig69">Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.</a></li><li><a href="#fig70">Rusty-Nail and Old-Post Line (upper).   Date-Seed Line (lower). Plate XLV.</a></li><li><a href="#fig71">Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.</a></li><li><a href="#fig72">Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.</a></li><li><a href="#fig73">Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.</a></li><li><a href="#fig74">Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.</a></li><li><a href="#fig75">The Plum Tree and Blossom. Plate L.</a></li><li><a href="#fig76">The Chrysanthemum Flower and Leaves. Plate LI.</a></li><li><a href="#fig77">The Orchid Plant and Flower. Plate LII.</a></li><li><a href="#fig78">The Bamboo Plant and Leaves. Plate LIII.</a></li><li><a href="#fig79">Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV.</a></li><li><a href="#fig80">Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV.</a></li><li><a href="#fig81">Sun and Waves (1).  Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI.</a></li><li><a href="#fig82">Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.</a></li><li><a href="#fig83">Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII.</a></li><li><a href="#fig84">Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX.</a></li><li><a href="#fig85">Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX.</a></li><li><a href="#fig86">Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.</a></li><li><a href="#fig87">Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII.</a></li><li><a href="#fig88">Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII.</a></li><li><a href="#fig89">Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV.</a></li><li><a href="#fig90">Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.</a></li><li><a href="#fig91">Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.</a></li></ul>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<p class="tei tei-p" style="margin-bottom: 1.00em"><span style="font-variant: small-caps">
+DEDICATED TO THE MEMORY OF KUBOTA BEISEN A GREAT ARTIST AND A KINDLY MAN, WHOSE HAPPINESS WAS IN HELPING OTHERS AND WHOSE TRIUMPHANT CAREER HAS SHED ENDURING LUSTRE UPON THE ART OF JAPANESE PAINTING
+</span></p>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc3" id="toc3"></a>
+  <a name="pdf4" id="pdf4"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%; font-style: italic">Introduction by Iwaya Sazanami</span><a id="noteref_1" name="noteref_1" href="#note_1"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; font-style: italic; vertical-align: super">1</span></span></a></h1>
+
+<span class="tei tei-pb" id="pagev">[pg v]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em"><span style="font-style: italic">
+First of all, I should state that in the year 1909 I accompanied the Honorable Japanese Commercial Commissioners in their visit to the various American capitals and other cities of the United states, where we were met with the heartiest welcome, and for which we all felt the most profound gratitude.  We were all so happy, but I was especially so; indeed, it would be impossible to be more happy than I felt, and particularly was this true of one day, namely, the twenty-seventh of November of the year named, when Henry P. Bowie, Esq., invited us to his residence in San Mateo, where we found erected by him a Memorial Gate to commemorate our victories in the Japanese-Russian War; and its dedication had been reserved for this day of our visit.  Suspended above the portals was a bronze tablet inscribed with letters written by my late father, Ichi Roku.  The evening of that same day we were invited by our host to a reception extended to us in San Francisco by the Japan Society of America, where I had the honor of delivering a short address on Japanese folk-lore.  In adjoining halls was exhibited a large collection of Japanese writings and paintings, the latter chiefly the work of the artist, Kubota Beisen, while the writings were from the brush of my deceased father, between whom and Mr. Bowie there existed the relations of the warmest friendship and mutual esteem.
+</span></p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"><span style="font-style: italic">
+Two years or more have passed and I am now in receipt of information from Mr. Shimada Sekko that Mr. Bowie is about to publish a work upon the laws of Japanese painting and I am requested to write a preface to the same.  I am well aware how unfitted I am for such an undertaking, but in view of all I have here related I feel I am not permitted to refuse.
+</span></p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"><span style="font-style: italic">
+Indeed, it seems to me that the art of our country has for many years past been introduced to the public of Europe and America in all sorts of ways, and hundreds of books about Japanese art have appeared in several foreign languages; but I have been privately alarmed for the reason that a great many such books contain either superficial observations made during sightseeing sojourns of six months or a year in our country or are but hasty commentaries, compilations, extracts or references, chosen here and there from other
+</span><span class="tei tei-pb" id="pagevi">[pg vi]</span><span style="font-style: italic">
+ volumes.  All work of this kind must be considered extremely superficial.  But Mr. Bowie has resided many years in Japan.  He thoroughly understands our institutions and national life; he is accustomed to our ways, and is fully conversant with our language and literature, and he understands both our arts of writing and painting.  Indeed, I feel he knows about such matters more than many of my own countrymen; added to this, his taste is instinctively well adapted to the Oriental atmosphere of thought and is in harmony with Japanese ideals.  And it is he who is the author of the present volume.  To others a labor of the kind would be very great; to Mr. Bowie it is a work of no such difficulty, and it must surely prove a source of priceless instruction not only to Europeans and Americans, but to my own countrymen, who will learn not a little from it.  Ah, how fortunate do we feel it to be that such a book will appear in lands so far removed from our native shores.  Now that I learn that Mr. Bowie has written this book the happiness of two years ago is again renewed, and from this far-off country I offer him my warmest congratulations, with the confident hope that his work will prove fruitfully effective.
+</span></p>
+<div class="tei tei-closer">
+<div class="tei tei-signed" style="text-align: right"><span style="font-style: italic">
+Iwaya Sho Ha,
+</span></div>
+<div class="tei tei-dateline"><span style="font-style: italic">
+Tokyo, Japan,</span><br /><span style="font-style: italic">August 17, 1911
+</span></div>
+</div>
+</div>
+
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc5" id="toc5"></a>
+  <a name="pdf6" id="pdf6"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%; font-style: italic">Introduction by Hirai Kinza</span><a id="noteref_2" name="noteref_2" href="#note_2"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; font-style: italic; vertical-align: super">2</span></span></a>
+</h1>
+<span class="tei tei-pb" id="pagevii">[pg vii]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em"><span style="font-style: italic">
+Seventeen years ago, at a time when China and Japan were crossing swords, Mr. Henry P. Bowie came to me in Kyoto requesting that I instruct him in the Japanese language and in the Chinese written characters.  I consented and began his instruction.  I was soon astonished by his extraordinary progress and could hardly believe his language and writing were not those of a native Japanese.  As for the Chinese written characters, we learn them only to know their meaning and are not accustomed to investigate their hidden significance; but Mr. Bowie went so thoroughly into the analysis of their forms, strokes and pictorial values that his knowledge of the same often astounded and silenced my own countrymen.  In addition to this, having undertaken to study Japanese painting, he placed himself under one of our most celebrated artists and, daily working with unabated zeal, in a comparatively short time made marvelous progress in that art.  At one of our public art expositions he exhibited a painting of pigeons flying across a bamboo grove which was greatly admired and praised by everyone, but no one could believe that this was the work of a foreigner.  At the conclusion of the exposition he was awarded a diploma attesting his merit.  Many were the persons who coveted the painting, but as it had been originally offered to me, I still possess it.  From time to time I refresh my eyes with the work and with much pleasure exhibit it to my friends.  Frequently after this Mr. Bowie, always engaged in painting remarkable pictures in the Japanese manner, would exhibit them at the various art exhibitions of Japan, and was on two occasions specially honored by our Emperor and Empress, both of whom expressed the wish to possess his work, and Mr. Bowie had the honor of offering the same to our Imperial Majesties.
+</span></p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"><span style="font-style: italic">
+His reputation soon spread far and wide and requests for his paintings came in such numerous quantities that to comply his time was occupied continuously.
+</span></p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"><span style="font-style: italic">
+Now he is about to publish a work on Japanese painting to enlighten and instruct the people of Western nations upon our art.  As I believe such a book must have great influence in promoting sentiments of kindliness between Japan and America, by causing the
+</span><span class="tei tei-pb" id="pageviii">[pg viii]</span><span style="font-style: italic">
+feelings of our people and the conditions of our national life to be widely known, I venture to offer a few words concerning the circumstances under which I first became acquainted with the author.
+</span></p>
+<div class="tei tei-closer">
+<div class="tei tei-signed" style="text-align: right"><span style="font-style: italic">
+Hirai Kinza,
+</span></div>
+<div class="tei tei-dateline"><span style="font-style: italic">
+NIHON AZUMA NO MIYAKO,</span><br /><span style="font-style: italic">
+Meiji-Yosa Amari Yotose-Hazuke.
+</span></div>
+</div>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc7" id="toc7"></a>
+  <a name="pdf8" id="pdf8"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%; font-style: italic">Preface</span></h1>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em"><span style="font-style: italic">
+This volume contains the substance of lectures on on the laws and canons of Japanese painting delivered before the Japan Society of America, the Sketch Club of San Francisco, the Art students of stanford University, the Saturday Afternoon Club of Santa Cruz, the Arts and Crafts Guild of San Francisco, and the Art Institute of the University of California.
+</span></p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"><span style="font-style: italic">
+The interest the subject awakened encourages the belief that a wider acquaintance with essential principles underlying the art of painting in Japan will result in a sound appreciation of the artist work of that country.
+</span></p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"><span style="font-style: italic">
+Japanese art terms and other words deemed important have been purposely retained and translated for the benefit of students who may desire to seriously pursue Japanese painting under native masters.  Those terms printed in small capitals are Chinese in origin; all others in italics are Japanese.
+</span></p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"><span style="font-style: italic">
+All of the drawings illustrative of the text have been specially prepared by Mr. Shimada Sekko, an artist of research and ability, who, under David starr Jordan, has long been engaged on scientific illustrations in connection with the Smithsonian Institution.
+</span></p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"><span style="font-style: italic">
+The author apologizes for all references herein to personal experiences, which he certainly would have omitted could he regard the following pages as anything more than an informal introduction of the reader to the study of Japanese painting.
+</span></p>
+</div>
+<span class="tei tei-pb" id="pagexi">[pg xi]</span>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span class="tei tei-hi"><span style="font-style: italic">KEN WAN CHOKU HITSU</span></span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A firm arm and a perpendicular brush
+</p>
+</div>
+
+</div>
+
+<hr class="doublepage" /><div class="tei tei-body" style="margin-bottom: 6.00em; margin-top: 6.00em">
+
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc9" id="toc9"></a>
+  <a name="pdf10" id="pdf10"></a>
+
+<a name="hbandc01" id="hbandc01" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/hbandc01.jpg" alt="Chapter 1 Head-Band: The flower and leaves of the peony (Botan), as conventionalized on ancient armor (yoroi)" /></div>
+
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER ONE.  PERSONAL EXPERIENCES</span></h1>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In the year 1893 I went on a short visit to Japan, and becoming interested in much I saw there, the following year I made a second journey to
+that country.  Taking up my residence in Kyoto, I determined to study and master, if possible, the Japanese language, in order to thoroughly understand the people, their institutions, and civilization.  My studies began at daybreak and lasted till midday.  The afternoons being unoccupied, it occurred to me that I might, with profit, look into the subject of Japanese painting.  The city of Kyoto has always been the hotbed of Japanese art.  At that time the great artist, Ko No Bairei, was still living there, and one of his distinguished pupils, Torei Nishigawa, was highly recommended to me as an art instructor. Bairei had declared Torei's ability was so great that at the age of eighteen he had learned all he could teach him.  Torei was now over thirty years of age and a perfect type of his kind, overflowing with skill, learning, and humor.  He gave me my first lesson and I was simply entranced.
+</p>
+<span class="tei tei-pb" id="page4">[pg 4]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It was as though the skies had opened to disclose a new kingdom of art.  Taking his brush in hand, with a few strokes he had executed a masterpiece, a loquot <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(biwa)</span></span> branch, with leaves clustering round the ripe fruit.  Instinct with life and beauty, it seemed to have actually grown before my eyes.  From that moment dated my enthusiasm for Japanese painting.  I remained under Nishigawa for two years or more, working assiduously on my knees daily from noon till nightfall, painting on silk or paper spread out flat before me, according to the Japanese method.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Japanese painters are generally classed according to what they confine themselves to producing. Some are known as painters of figures <em class="tei tei-emph"><span style="font-variant: small-caps">(jim butsu)</span></em> or animals <em class="tei tei-emph"><span style="font-variant: small-caps">(do butsu)</span></em>, others as painters of landscapes <em class="tei tei-emph"><span style="font-variant: small-caps">(san sui)</span></em>, others still as painters of flowers and birds <em class="tei tei-emph"><span style="font-variant: small-caps">(ka cho)</span></em>, others as painters of religious subjects <em class="tei tei-emph"><span style="font-variant: small-caps">(butsu gwa),</span></em>  and so on.  Torei was a painter of flowers and birds, and these executed by him are really as beautiful as their prototypes in nature.  On <a href="#plate07" class="tei tei-ref"><span style="color: blue">plate VII</span></a>  is given a specimen of his work.  He is now a leading artist of Osaka, where he has done much to revive painting in that commercial city.
+</p>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+As I desired to get some knowledge of Japanese landscape painting, I was fortunate in next obtaining instruction from the distinguished Kubota Beisen, one of the most popular and gifted artists in the empire.
+</p>
+
+
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In company with several of his friends and former pupils I called upon him.  After the usual words of
+<span class="tei tei-pb" id="page5">[pg 5]</span>
+ceremony he was asked if he would kindly paint something for our delight.  Without hesitation he spread a large sheet of Chinese paper <em class="tei tei-emph"><span style="font-variant: small-caps">(toshi)</span></em>
+him and in a few moments we beheld a crow clinging to the branches of a persimmon tree and trying to peck at the fruit, which was just a trifle out of reach.  The work seemed that of a magician.  I begged him then and there to give me instruction.  He consented, and thus began an acquaintance and friendship which lasted until his death a few years ago. I worked faithfully under his guidance during five years, every day of the week, including Sundays.  I never tired; in fact, I never wanted to stop.  Every stroke of his brush seemed to have magic in it.  <a href="#plate04" class="tei tei-ref"><span style="color: blue">(Plate IV.)</span></a> In many ways he was one of the cleverest artists Japan has ever produced.  He was an author as well as a painter, and wrote much on art.  At the summit of his renown he was stricken hopelessly blind and died of chagrin,—he could paint no more.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+While living in Tokio for a number of years I painted constantly under two other artists—Shimada Sekko, now distinguished for fishes; and Shimada Bokusen, a pupil of Gaho, and noted for landscape in the Kano style; so that, after nine years in all of devotion and labor given to Japanese painting, I was able to get a fairly good understanding of its theory and practice.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It may seem strange that one not an Oriental should become thus interested in Japanese painting and devote so much time and hard work to it; but the fact is, if one seriously investigates that art
+<span class="tei tei-pb" id="page6">[pg 6]</span>
+he readily comes under the sway of its fascination.
+As the people of Japan love art in all its manifestations, the foreigner who paints in their manner finds a double welcome among them; thus, ideal conditions are supplied under which the study there of art can be pursued.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+My memory records nothing but kindness in that particular.  During my long residence in Kyoto there were constantly sent to me for my enjoyment and instruction precious paintings by the old masters, to be replaced after a short time by other works of the various schools.  For such attention I was largely indebted to the late Mr. Kumagai, one of Kyoto's most highly esteemed citizens and art patrons.  Without multiplying instances of the generous nature of the Japanese and their interest in the endeavors of a foreigner to study their art, I will mention the gift from the Abbot of Ikegami of two original dragon paintings, executed for that temple by Kano Tanyu.  In Tokio my dwelling was the frequent rendezvous of many of the leading artists of that city and <em class="tei tei-emph"><span style="font-variant: small-caps">gassaku</span></em> painting was invariably our principal pastime. The great poet, Fukuha Bisei, now gone, would frequently join us, and to every painting executed he would add the embellishment of his charming inspirations in verse, written thereon in his inimitable <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kana</span></span> script.  This nobleman had taught the art of poetry to H. I. M. Mutsu Hito, to the preceding Emperor, and to the present Crown Prince.
+</p>
+
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc11" id="toc11"></a>
+  <a name="pdf12" id="pdf12"></a>
+
+<a name="hbandc02" id="hbandc02" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/hbandc02.jpg" alt="Chapter 2 Head-Band: Fan-shaped leaves of the icho or gin nan (Salisburiana), placed in books in China and Japan to prevent the ravages of the bookworm." /></div>
+
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER TWO. ART IN JAPAN</span></h1>
+<span class="tei tei-pb" id="page7">[pg 7]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In approaching a brief exposition of the laws of Japanese painting it is not my purpose to claim for that art superiority over every other kind of painting; nor will I admit that it is inferior to other schools of painting.  Rather would I say that it is a waste of time to institute comparisons.  Let it be remembered only that no Japanese painting can be properly understood, much less appreciated, unless we possess some acquaintance with the laws which control its production.  Without such knowledge, criticism—praising or condemning a Japanese work of art—is without weight or value.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Japanese painters smile wearily when informed that foreigners consider their work to be flat, and at best merely decorative; that their pictures have no middle distance or perspective, and contain no shadows; in fact, that the art of painting in Japan is still in its infancy.  In answer to all this suffice it to say that whatever a Japanese painting fails to contain has been purposely omitted.  With Japanese artists it is a question of judgment and taste
+<span class="tei tei-pb" id="page8">[pg 8]</span>
+as to what shall be painted and what best left out.  They never aim at photographic accuracy or distracting detail.  They paint what they feel rather than what they see, but they first see very distinctly.  It is the artistic impression <em class="tei tei-emph"><span style="font-variant: small-caps">(sha i)</span></em>  which they strive to perpetuate in their work.  So far as perspective is concerned, in the great treatise of Chu Kaishu entitled, <span class="tei tei-q">“The Poppy-Garden Art Conversations,”</span> a work laying down the fundamental laws of landscape painting, artists are specially warned against disregarding the principle of perspective called <em class="tei tei-emph"><span style="font-variant: small-caps">en kin,</span></em> meaning what is far and what is near.  The frontispiece to the present volume illustrates how cleverly perspective is produced in Japanese art <a href="#plate01" class="tei tei-ref"><span style="color: blue">(Plate I).</span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Japanese artists are ardent lovers of nature; they closely observe her changing moods, and evolve every law of their art from such incessant, patient, and careful study.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+These laws (in all there are seventy-two of them recognized as important) are a sealed book to the uninitiated.  I once requested a learned Japanese to translate and explain some art terms in a work on Japanese painting.  He frankly declared he could not do it, as he had never studied painting.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Japanese are unconsciously an art-loving people.  Their very education and surroundings tend to make them so. When the Japanese child of tender age first takes his little bowl of rice, a pair of tiny chop-sticks is put into his right hand.  He grasps them as we would a dirk.  His mother then shows him how he should manipulate them.
+<span class="tei tei-pb" id="page9">[pg 9]</span>
+He has taken a first lesson in the use of the brush.  With practice he becomes skilful, and one of his earliest pastimes is using the chop-sticks to pick up single grains of rice and other minute objects, which is no easy thing to do.  It requires great dexterity.
+He is insensibly learning how to handle the double brush <em class="tei tei-emph"><span style="font-variant: small-caps">(ni hon</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">fude)</span></span> with which an artist will,
+among other things, lay on color with one brush and dilute or shade off <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(kumadori)</span></span> the color with another, both brushes being held at the same time
+in the same hand, but with different fingers.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+At the age of six the child is sent to school and taught to write with a brush the phonetic signs Japanese (forty-seven in number) which constitute the Japanese syllabary. These signs represent the forty-seven pure sounds of the Japanese language and are used for writing.  They are known as <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">katakana</span></span> and are simplified Chinese characters, consisting of two or three strokes each.  With them any word in Japanese can be written.  It takes a year for a child to learn all these signs and to write them from memory, but they are an excellent training for both the eye and the hand.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+His next step in education is to learn to write these same sounds in a different script, called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">hiragana.</span></span> These characters are cursive or rounded in form, while the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">katakana</span></span> are more or less square. The <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">hiragana</span></span> are more graceful and can be written more rapidly, but they are more complicated.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+From daily practice considerable training in the use of the brush and the free movement of the right arm and wrist is secured, and the eye is taught
+<span class="tei tei-pb" id="page10">[pg 10]</span>
+insensibly the many differences between the square and the cursive form.  Before the child is eight years old he has become quite skilful in writing with the brush both kinds of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kana.</span></span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+He is next taught the easier Chinese characters,—Chinese <em class="tei tei-emph"><span style="font-variant: small-caps">kanji</span></em>  and ideographs.  These are most ingeniously constructed and are of great importance in the further training of the eye and hand.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+So greatly do these wonderfully conceived written forms appeal to the artistic sense that a taste for them thus early acquired leads many a Japanese scholar to devote his entire life to their study and cultivation.  Such writers become professionals and are called <em class="tei tei-emph"><span style="font-variant: small-caps">shoka.</span></em> Probably the most renowned in all China was Ogishi.  Japan has produced many such famous men, but none greater than Iwaya Ichi Roku, who has left an immortal name.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+From what has been said about writing with the brush, it will be understood how the youth who may determine to follow art as a career is already well prepared for rapid strides therein.  His hand and arm have acquired great freedom of movement.  His eye has been trained to observe the varying lines and intricacies of the strokes and characters, and his sentiments of balance, of proportion, of accent and of stroke order, have been insensibly developed according to subtle principles, all aiming at artistic results.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The knowledge of Chinese characters and the their ability to write them properly are considered of prime importance in Japanese art.  A first counsel given me by Kubota Beisen was to commence that
+<span class="tei tei-pb" id="page11">[pg 11]</span>
+study, and he personally introduced me to Ichiroku who, from that time, kindly supervised my many years of work in Chinese writing, a pursuit truly engrossing and captivating.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In all Japanese schools the rudiments of art are taught, and children are trained to perceive, feel, and enjoy what is beautiful in nature.  There is no city, village, or hamlet in all Japan that does not contain its plantations of plum and cherry blossoms in spring, its peonies and lotus ponds in summer, its chrysanthemums in autumn, and camelias, mountain roses and red berries in winter.  The school children are taken time and again to see these, and revel amongst them.  It is a part of their education.  Excursions, called <em class="tei tei-emph"><span style="font-variant: small-caps">undokai,</span></em> are organized at stated intervals during the school term and the scholars gaily tramp to distant parts of the country, singing patriotic and other songs the while and enjoying the view of waterfalls, broad and winding rivers, autumn maples, or snow-capped mountains.  In addition to this, trips are taken to all famous temples and historical places including, where conveniently near, the three great views of Japan,—Matsushima, Ama No Hashi Date, and Myajima.  Thus a taste for landscape is inculcated and becomes second nature.  Furthermore, the scholars are encouraged to closely watch every form of life, including butterflies, crickets, beetles, birds, goldfish, shell-fish, and the like; and I have seen miniature landscape gardens made by Japanese children, most cleverly reproducing charming views
+<span class="tei tei-pb" id="page12">[pg 12]</span>
+and contained in a shallow box or tray.  This gentle little art is called <em class="tei tei-emph"><span style="font-variant: small-caps">bonsai</span></em> or <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">hako niwa.</span></span>
+</p>
+
+<a name="plate02" id="plate02" class="tei tei-anchor" style="text-align: center"></a><a name="fig13" id="fig13"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_02.jpg" alt="The Tea Ceremony, by Miss Uyemura Shoen. Plate II." title="The Tea Ceremony, by Miss Uyemura Shoen. Plate II." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">The Tea Ceremony, by Miss Uyemura Shoen. Plate II.</div></div>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+My purpose in alluding to all this is to indicate that a boy on leaving school has absorbed already much artistic education and is fairly well equipped for beginning a special course in the art schools of the empire.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+These schools differ in their methods of instruction,
+and many changes have been introduced in
+them during the present reign, or Meiji period, but
+substantially the course takes from three to four
+years and embraces copying (<em class="tei tei-emph"><span style="font-variant: small-caps">isha </span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">mitori</span></span>), tracing
+<em class="tei tei-emph"><span style="font-variant: small-caps">(mosha,</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">tsuki-utsushi)</span></span>, reducing <em class="tei tei-emph"><span style="font-variant: small-caps">(shukuzu,</span></em>  <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">chijime-ru)</span></span>,
+and composing <em class="tei tei-emph"><span style="font-variant: small-caps">(shiko,</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">tsukuri kata).</span></span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In copying, the teacher usually first paints the particular subject and the student reproduces it under his supervision. Kubota's invariable method was to require the pupil on the following day to reproduce from memory <em class="tei tei-emph"><span style="font-variant: small-caps">(an ki)</span></em> the subject thus copied. This engenders confidence.  In tracing, thin paper is placed over the picture and the outlines <em class="tei tei-emph"><span style="font-variant: small-caps">(rin kaku)</span></em> are traced according to the <em class="tei tei-emph"><span style="font-style: italic">exact order</span></em> in which the original subject was executed, an order which is established by rule; thus a proper style and brush habit are acquired. The correct sequence of the lines and parts of a painting is of the highest importance to its artistic effect.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In reducing the size of what is studied, the laws of proportion are insensibly learned. This is of great use afterwards in sketching <em class="tei tei-emph"><span style="font-variant: small-caps">(shassei).</span></em> I believe that in the habit of reproducing, as taught in
+<span class="tei tei-pb" id="page13">[pg 13]</span>
+the schools, lies the secret of the extraordinary skill
+of the Japanese artisan who can produce marvelous
+effects in compressing scenery and other subjects course within the very smallest dimensions and yet preserve correct proportions and balance.  Nothing can excel in masterly reduction the miniature landscape work of the renowned Kaneiye, as exhibited in his priceless sword guards <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(tsuba).</span></span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Sketching comes later in the course and is taught only after facility has been acquired in the other three departments.  It embraces everything within doors and without—everything in the universe which has form or shape goes into the artist's sketch-book <em class="tei tei-emph"><span style="font-variant: small-caps">(ken kon</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">no uchi</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">kei sho</span></em>  <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">arumono mina</span></span>  <em class="tei tei-emph"><span style="font-variant: small-caps">fun pon</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">to nasu)—</span></span>and forms part of the course in composition, which is intended to develop the imaginative faculties <em class="tei tei-emph"><span style="font-variant: small-caps">(sozo)</span></em>.  Kubota was so skilful in sketching that while traveling rapidly through a country he could faithfully reproduce the salient features of an extended landscape, conformable to the general rule in sketching, that what first attracts the eye is to be painted first, all else becoming subordinate to it in the scheme.  Again, he could paint the scenery and personages of any historical song <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(joruri)</span></span> as it was being sung to him, reproducing everything therein described and finishing his work in exact time with the last bar of the music.  His arm and wrist were so free and flexible that his brush skipped about with the velocity of a dragon-fly.  As an offhand painter <em class="tei tei-emph"><span style="font-variant: small-caps">(sekijo),</span></em> or as a contributor to an impromptu picture in which several artists will in turn participate,
+<span class="tei tei-pb" id="page14">[pg 14]</span>
+such joint composition being known as <em class="tei tei-emph"><span style="font-variant: small-caps">gassaku,</span></em> Kubota stood <span lang="la" class="tei tei-foreign" xml:lang="la"><span style="font-style: italic">facile princeps</span></span> among modern Japanese artists.  The Kyoto painters have always been most gifted in that kind of accomplishment.  In their day Watanabe Nangaku, a pupil of Okyo, Bairei, and Hyakunen, all of Kyoto, were famous as <em class="tei tei-emph"><span style="font-variant: small-caps">sekijo</span></em> painters.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The art student having completed his course is now qualified to attach himself to some of the great artists, into whose household he will be admitted and whose <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">deshi</span></span> or art disciple he becomes from that time on.  The relation between such master <em class="tei tei-emph"><span style="font-variant: small-caps">(sensei)</span></em> and his pupil <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(deshi)</span></span> is the most kindly imaginable.  Indeed, <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">deshi</span></span> is a very beautiful word, meaning a younger brother, and was first applied to the Buddhist disciples of Shakka.  The master treats him as one of his family and the pupil reveres the master as his divinity.  Greater mutual regard and affection exist nowhere and many pupils remain more or less attached to the master's household until his death.  To the most faithful and skilful of these the master bestows or bequeaths his name or a part of it, or his nom de plume <em class="tei tei-emph"><span style="font-variant: small-caps">(go);</span></em> and thus it is that the celebrated schools <em class="tei tei-emph"><span style="font-variant: small-caps">(ryugi</span></em> or <em class="tei tei-emph"><span style="font-variant: small-caps">ha</span></em> or <em class="tei tei-emph"><span style="font-variant: small-caps">fu)</span></em> of Japanese painting have been formed and perpetuated, beginning with Kanaoka, Tosa, Kano, and Okyo, and brought down to posterity through the devoted, and I might say sacred efforts of their pupils, to preserve the methods and traditions of those great men.  Pupils of the earlier painters took their masters' family names, which accounts for so many Tosas and Kanos.
+</p>
+<span class="tei tei-pb" id="page15">[pg 15]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Great painters have always been held in high esteem in Japan, not only by their pupils, but also by the whole nation.  Chikudo, the distinguished tiger painter, Bairei, one of the most renowned of the <em class="tei tei-emph"><span style="font-variant: small-caps">shijo ha</span></em> or Maruyama school, Hashimoto Gaho, a pupil of Kano Massano and a leading exponent of the Kano style (Kano <em class="tei tei-emph"><span style="font-variant: small-caps">ha),</span></em> and Katei, a Nangwa artist, all only recently deceased, were glorified in their lifetime.  Strange to say, no one ever saw Gaho with brush in hand.  He never would paint before his pupils or in any one's presence.  His instructions were oral.  On the other hand, Kubota Beisen was always at his best when painting before crowds of admirers.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Prior to the Meiji period the great painters attached to the household of a Daimyo were called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">O Eshi.</span></span> Painters who sold their paintings were styled <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">E kaki.</span></span> Now all painters are called <em class="tei tei-emph"><span style="font-variant: small-caps">gwa ka.</span></em> Engravers, sculptors, print makers and the like were and still are denominated <em class="tei tei-emph"><span style="font-variant: small-caps">shokunin,</span></em> meaning artisans.  The comprehensive term <span class="tei tei-q">“fine arts”</span> <em class="tei tei-emph"><span style="font-variant: small-caps">(bijutsu)</span></em> is of quite recent creation in Japan.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+To say a few words about the different schools of painting in Japan, there were great artists there, many centuries before Italy had produced Michael Angelo or Raphael.  The art of painting began more than fifteen hundred years ago and has continued in uninterrupted descent from that remote time down to this forty-fourth year of Meiji, the present emperor's reign.  No other country in the civilized world can produce such an art record.  One thousand years before America was discovered,
+<span class="tei tei-pb" id="page16">[pg 16]</span>
+five hundred years before England had a name, and long before civilization had any meaning in Europe, there were artists in Japan following the profession of painting with the same ardor and the same intelligence they are now bestowing upon their art in this twentieth century of our era.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+When Buddhism was introduced there in the
+sixth century, a great school of Buddhist artists
+began its long career.  Among  the names that
+stand out from behind the mist of ages is that of
+Kudara no Kawanari, who came from Corea.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In the ninth century lived the celebrated Kose Kanaoka.  He painted in what was called the pure Japanese style, <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">yamato e,</span></span> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">yamato</span></span> being the earliest name by which Japan was designated.  He painted portraits and landscapes, and his school having a great following, lasted through five centuries.  Kose Kimi Mochi, his pupil, Kimitada and Hirotaka were distinguished disciples of Kanaoka.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Tosa school came next, beginning with Tosa Motomitsu, followed by Mitsunaga, Nobuzane and Mitsunobu.  It dates back to the period of the Kamakura Shogunate eight hundred years ago.  Its artists confined themselves principally to painting court scenes, court nobles, and the various ceremonies of court life.  This school always used color in its paintings.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+After Tosa came the schools of Sumiyoshi, Takuma, Kassuga, and Sesshu. Sesshu was a genius of towering proportions and an indefatigable artist of the very highest rank as a landscape painter.  He had a famous pupil named Sesson.
+</p>
+<span class="tei tei-pb" id="page17">[pg 17]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Following Sesshu came the celebrated school of Kano artists, founded in the sixteenth century by Kano Masanobu.  It took Japan captive.  It had a tremendous vogue and following, and has come down to the present day through a succession of great painters.  There were two branches, one in Edo (Tokyo), which included Kano Masanobu, Motonobu, his son, Eitoku, Motonobu's pupil, and later, Tanyu (Morinobu) Tanshin, his pupil, Koetsu, Naonobu, Tsunenobu, Morikage, Itcho, and finally Hashimoto Gaho, its latest distinguished representative, who is but recently deceased.  The other branch, known as the Kyoto Kano, included the famous San Raku, Eino, San Setsu, and others. By some critics San Raku is placed at the head of all the Kano artists.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Kano painters are remarkable for the boldness and living strength of the brush strokes <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(fude no chicara</span></span> or <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">fude no ikioi)</span></span>, as well as for the brilliancy or sheen <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(tsuya)</span></span> and shading of the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi.</span></span> This latter effect—the play of light and shade in the stroke, considered almost a divine gift—is called <em class="tei tei-emph"><span style="font-variant: small-caps">bokushoku,</span></em> and recalls somewhat the term <span lang="it" class="tei tei-foreign" xml:lang="it"><span style="font-style: italic">chiaroscuru.</span></span> The range of subjects of the Kano painters was originally limited to classic Chinese scenery, treated with simplicity and refinement, and to Chinese personages, sages and philosophers; color was used sparingly.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Other schools, more or less offshoots of the Kano style <em class="tei tei-emph"><span style="font-variant: small-caps">(ryu)</span></em> of painting, came next—e. g., Korin and his imitator, Hoitsu, the <em class="tei tei-emph"><span style="font-variant: small-caps">daimyo</span></em> of Sakai, who was said to use powdered gold and precious stones in
+<span class="tei tei-pb" id="page18">[pg 18]</span>
+his pigments.  Korin has never had his equal as a painter on lacquer. His work is said to be <span lang="fr" class="tei tei-foreign" xml:lang="fr"><span style="font-style: italic">le regal des delicats.</span></span>
+</p>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Another disciple of the Kano school, and a pupil of Yutei, was Maruyama Okyo, who founded in turn a school of art which is the most widely spread and flourishing in Japan today.  Maruyama, not Okyo, was the family name of that artist.  The name Okyo originated thus: Maruyama, much admiring an ancient painter named Shun Kyo, took the latter half of that name, Kyo, and prefixing an <span class="tei tei-q">“O”</span> to it, made it Okyo, which he then adopted.  His style is called <em class="tei tei-emph"><span style="font-variant: small-caps">shi jo fu, shi jo</span></em> being the name of that part of Kyoto where he resided, and <em class="tei tei-emph"><span style="font-variant: small-caps">fu</span></em> meaning style or manner, and its characteristic is artistic fidelity to the objects represented.  By some it is called the realistic school, and includes such well-known household names as Goshun, pupil of Busson, Sosen, the great monkey painter, Tessan <a href="#plate03" class="tei tei-ref"><span style="color: blue">(Plate III.)</span></a> and his son, Morikwansai, Bairei, Chi-kudo, the tiger painter, Hyakunen and his three pupils, Keinen, Shonen and Beisen, Kawabata Gyokusho, Torei, Shoen, and Takeuchi Seiho.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There are still other schools <em class="tei tei-emph"><span style="font-variant: small-caps">(ryugi)</span></em> which might be mentioned, including that of the <em class="tei tei-emph"><span style="font-variant: small-caps">nangwa,</span></em> or Chinese southern painters, of Chinese origin and remarkable for the gracefulness of the brush stroke, the effective treatment of the masses and for the play of light and shade throughout the composition. Among the great <em class="tei tei-emph"><span style="font-variant: small-caps">nangwa</span></em> painters are Taigado, Chikuden, Baietsu <a href="#plate08" class="tei tei-ref"><span style="color: blue">(Plate VIII)</span></a> and Katei.   To this school is referred a style of painting affected
+<span class="tei tei-pb" id="page19">[pg 19]</span>
+exclusively by the professional writers of Chinese characters, and called <em class="tei tei-emph"><span style="font-variant: small-caps">bunjingwa.</span></em> To these I will allude further on.  The versatile artist, Tani Buncho, created a school which had many adherents, including the distinguished Watanabe Kwazan and Eiko of Tokyo, lately deceased, one of its best exponents.
+</p>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The art of painting is enthusiastically pursued at the present time in Kyoto, Tokyo, Nagoya and Osaka.  In Tokyo, Hashi Moto Gaho was generally conceded to be, up to the time of his death in 1908, the foremost artist in Japan.  Although of the Kano school, he greatly admired European art, and the treatment of the human figure in some of his latest paintings recalls the manner of the early Flemish artists.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+My first meeting with Gaho was at his home.  While waiting for him, I observed suspended in the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">tokonoma,</span></span> or alcove, a narrow little <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakemono</span></span> by Kano Moto Nobu, representing an old man upon a donkey crossing a bridge.  A small bronze vase containing a single flower spray was the sole ornament in the room.  This gave the keynote to Gaho's character—classic simplicity, ever reflected in his work.  He had many followers.  His method of instruction with advanced pupils was to give them subjects such as <span class="tei tei-q">“A Day in Spring,”</span> <span class="tei tei-q">“Solitude,”</span> <span class="tei tei-q">“An Autumn Morning,”</span> or the like, and he was most insistent upon all the essentials to the proper effect being introduced.  His criticisms were always luminous and sympathetic.  He advised his students to copy everything good, but to imitate
+<span class="tei tei-pb" id="page20">[pg 20]</span>
+no-one,—to develop individuality.   He left three very distinguished and able pupils—Gyokudo, Kan Zan and Boku Sen.
+</p>
+
+<a name="plate03" id="plate03" class="tei tei-anchor" style="text-align: center"></a><a name="fig14" id="fig14"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_03.jpg" alt="Chickens in Spring, by Mori Tessan. Plate III." title="Chickens in Spring, by Mori Tessan. Plate III." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Chickens in Spring, by Mori Tessan. Plate III.</div></div>
+
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Since Gaho's death, Kawabata Gyokusho, an Okyo artist, is the recognized leader of the capital.  In Kyoto, Takeuchi Seiho, an early pupil of Bairei, now occupies the foremost place, although Shonen and Keinen, pupils of Hyakunen, still hold a high rank.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Recurring to the time of Tosa, there is another school beginning under Matahei and perpetuated through many generations of popular artists, including Utamaro, Yeisen and Hokusai, and coming down to the present date.  This is the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Ukiyo e</span></span> or floating-world-picture school.  It is far better known through its prints than its paintings.  The great painters of Japan have never held this school in any favor.  At one time or another I have visited nearly every distinguished artist's studio in Japan, and I know personally most of the leading artists of that country.  I have never seen a Japanese print in the possession of any of them, and I know their sentiments about all such work.  A print is a lifeless production, and it would be quite impossible for a Japanese artist to take prints into any serious consideration.  They rank no higher than cut velvet scenery or embroidered screens.  I am aware that such prints are in great favor with many enthusiasts and that collectors highly value them; but they do not exemplify art as the Japanese understand that term.  It must be admitted, however, that the prints have been of service in several
+<span class="tei tei-pb" id="page21">[pg 21]</span>
+ways.  They first attracted the world's attention to the subject of Japanese art in general.  Commencing with an exhibition of them in London a half century ago, the prints of Ukiyo or genre subjects came rapidly into favor and ever since have commanded the notice and admiration of collectors in Europe and America.  Many people are even under the impression that the prints represent Japanese painting, which, of course, is a great mistake.  There have been artists in Japan who, in the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Ukiyo e</span></span> manner, have painted <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakemono</span></span>, <em class="tei tei-emph"><span style="font-variant: small-caps">byobu</span></em> and <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">makimono</span></span>. The word <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakemono</span></span> is applied to a painting on silk or paper, wound upon a wooden roller and unrolled and hung up to be seen. <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Kakeru</span></span> means to suspend and <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">mono</span></span> means an object, hence <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakemono</span></span>, a suspended object. <em class="tei tei-emph"><span style="font-variant: small-caps">byobu</span></em> signifies wind protector or screen; <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">makimono</span></span>, meaning a wound thing, is a painting in scroll form. It is not suspended, but simply unrolled for inspection. Such original work by Matahei and others is extant. But most of the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Ukiyo e</span></span>, or pictures in the popular style, are prints struck from wood blocks and are the joint production of the artist, the wood engraver, the color smearer and the printer, all of whom have contributed to and are more or less entitled to credit for the result; and that is one reason why the artist-world of Japan objects to or ignores them; they are not the spontaneous, living, palpitating production of the artist's brush.  It is well known that artists of the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Ukiyo e</span></span> school frequently indicated only by written instructions how their outline drawings for the prints should be colored,
+<span class="tei tei-pb" id="page22">[pg 22]</span>
+leaving the detail of such work to the color smearer.  Apart from the fact that the colors employed were the cheapest the market afforded, and are found often to be awkwardly applied, there is too much about the prints that is measured, mechanical and calculated to satisfy Japanese art in its highest sense.  Frequently more than one engraver was employed upon a single print.  The engravers had their specialties; some were engaged for the coiffure or head-dress <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(mage),</span></span> other for the lines of the face, others for the dress <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(kimono),</span></span> others still for pattern <em class="tei tei-emph"><span style="font-variant: small-caps">(moyo)</span></em>, et cetera.  The most skilful engravers in Yedo were called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kashira bori</span></span> and were always employed on Utamaro and Hokusai prints.  Many of the colors of these prints in their soft, neutral shades, are rapturously extolled by foreign connoisseurs as evidence of the marvelous taste of the Japanese painter.  But, really, time more than art is to be credited with toning down such tints to their present delicate hues.  In this respect, like Persian rugs, they improve with age and exposure.  An additional objection to most of the prints is that they reproduce trivial, ordinary, every-day occurrences in the life of the mass of the people as it moves on.  They are more or less plebian.  The prints being intended for sale to the common people, the subjects of them, however skilfully handled, had to be commonplace.  They were not purchased by the nobility or higher classes.  Soldiers, farmers, and others bought them as presents <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(miage)</span></span> for their wives and children, and they were generally sold for a penny apiece, so that in Japan
+<span class="tei tei-pb" id="page23">[pg 23]</span>
+prints were a cheap substitute for art with the
+lower classes, just as Raspail says garlic has always
+been the camphor of the poor in France.  The practice of issuing <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Ukiyo e</span></span> prints at very low prices still
+continues in Tokyo, where every week or two such
+colored publications are sprung up in front of the
+book-stalls and are still as eagerly purchased by the
+common people as they were in Tokugawa days.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The prices the old prints now bring are out of all proportion to their intrinsic value, yet, such is the crescendo craze to acquire them that Japan has been almost drained of the supply, the number of prints of the best kind being limited, like that of Cremona violins of the good makers.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Prints are genuine originals of a first or subsequent issue, called respectively, <em class="tei tei-emph"><span style="font-variant: small-caps">sho han</span></em> and <em class="tei tei-emph"><span style="font-variant: small-caps">sai han,</span></em> or they are reproductions more or less cleverly copied upon new blocks, or they are fraudulent imitations <em class="tei tei-emph"><span style="font-variant: small-caps">(ganbutsu)</span></em> of the original issues, often difficult to detect.  The very wormholes are burnt into them with <em class="tei tei-emph"><span style="font-variant: small-caps">senko</span></em> or perfume sticks and clever workmen are employed to make such and other trickery successful.  A long chapter could be written about their dishonest devices.  Copies of genuine prints <em class="tei tei-emph"><span style="font-variant: small-caps">(hon koku),</span></em> made from new blocks after the manner of the ancient ones, abound, and were not intended to pass for originals.  Yedo, where the print industry was chiefly carried on, has had so many destructive conflagrations that most of the old <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Ukiyo e</span></span> blocks have been destroyed.  At Nagoya the house of To Heki Do still preserves the original blocks of the <em class="tei tei-emph"><span style="font-variant: small-caps">mangwa</span></em> or miscellaneous drawings of
+<span class="tei tei-pb" id="page24">[pg 24]</span>
+Hokusai, but they are  much  worn.   Prints are known by various names, such as <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">ezoshi</span></span> (illustrations), <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">nishiki e</span></span>, <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">edo e</span></span> (Yedo pictures), <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sunmono</span></span> and <em class="tei tei-emph"><span style="font-variant: small-caps">insatsu.</span></em> It may be of interest to know that the print blocks, when so worn as to be no longer serviceable for prints, are sometimes converted into fire-boxes <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(hibachi)</span></span> and tobacco trays <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(tobacco bon)</span></span> which, when highly polished, are decorative and unique.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Perhaps a useful purpose prints have served is to record the manners and customs of the people of the periods when they were struck off.  They show not only prevailing styles of dress and headdress, but also the pursuits and amusements of the common folk.  They are excellent depositaries of dress pattern <em class="tei tei-emph"><span style="font-variant: small-caps">(moyo)</span></em> or decoration, upon which fertile subject Japan has always been a leading authority.  In the early Meiji period print painters frequently delegated such minute pattern work to their best pupils, whose seals <em class="tei tei-emph"><span style="font-variant: small-caps">(in)</span></em> will be found upon the prints thus elaborated.  The prints preserve the ruling fashions of different periods in combs and other hair ornaments, fans, foot-gear, single and multiple screens, fire-boxes and other household ornaments and utensils.  They also furnish specimens of temple and house architecture, garden plans, flower arrangements <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(ike bana),</span></span> bamboo, twig and other fences.  Again, they reproduce the stage, with its famous actors in historical dramas; battle scenes, with warriors and heroes; characters in folk-lore and other stories, and wrestling matches, with the popular champions; and we will often find upon
+<span class="tei tei-pb" id="page25">[pg 25]</span>
+the face of the print good reproductions of Chinese and Japanese writing, in poems and descriptive prose pieces.  Hokusai illustrated much of the classic poetry of China and Japan, as well as the <em class="tei tei-emph"><span style="font-variant: small-caps">senjimon,</span></em> or Thousand Character Chinese classic, a work formerly universally taught in the Japanese schools.  The original characters for this remarkable compilation were taken from the writings of Ogishi.  The prints have aided in teaching elementary history to the young; the knowledge of Japanese children in this connection is often remarkable and may be attributed to the educational influence of the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Ukiyo e</span></span> publications.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+So there are certainly good words to be said for the prints, but they are not Japanese art in its best sense, however interesting as a subordinate phase of it, and in no sense are they Japanese painting.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+If limited to a choice of one artist of the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Ukiyo e</span></span> school, no mistake would be made, I think, in selecting Hiroshige, whose landscapes fairly reproduce the sentiment of Japanese scenery, although the prints bearing his name fall far short of reproducing that artist's color schemes.  Hokusai's reputation with foreigners is greater than Hiroshige's, but Japanese artists do not take Hokusai seriously.  His pictures, they declare, reflect the restlessness of his disposition; his peaks of Fuji are all too pointed, and his manner generally is exaggerated and theatrical.  Utamaro's women of the Yoshiwara are certainly careful studies in graceful line drawing,—as correct as Greek drapery in marble.
+</p>
+<span class="tei tei-pb" id="page26">[pg 26]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Iwasa Matahei, the founder of the popular school, was a pupil of Mitsunori, a Kyoto artist and follower of Tosa.  Matahei disliked Tosa subjects and preferred to depict the fleeting usages of the people, so he was nicknamed Fleeting World or <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Ukiyo</span></span> Matahei, and thus originated the name <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Ukiyo e</span></span> or pictures of every-day life.  There are no genuine Matahei prints.  He dates back to the seventeenth century.  Profile faces in original screen paintings by him have an Assyrian cast of countenance, the eye being painted as though seen in full face.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Hishikawa Moronobu was his follower and admirer.  He was an artist of Yedo.  Nishikawa Sukenobu belonged to the Kano school and was a pupil of Kano Eiko.  He adopted the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Ukiyo e</span></span> style and depicted the pastimes of women and the portraits of actors.  He lived two hundred and twenty years ago and in his time prints came greatly into vogue.  Torii Kyonobu painted women and actors and invented the kind of pictured theatrical powers which are still in fashion, placarded at the entrance to theaters and showing striking incidents in the play.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Suzuki Harunobu never painted actors, preferring to reproduce the feminine beauties of his time.  It was to his careful work that was first applied the term <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">nishiki e</span></span> or brocade pictures, on account of the charm of his decorative manner.  He lived one hundred and thirty years ago.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Among the many able foreign writers on Japanese prints Fenollosa stands prominent. He resided for a long time in Japan, understood and spoke the
+<span class="tei tei-pb" id="page27">[pg 27]</span>
+language, and lived the life of the people.  He was
+in great sympathy with them and with their art and enjoyed exceptional opportunities for seeing and studying the best treasures of that country.  Had he possessed the training necessary to paint in the Japanese style I do not think he would have devoted so much time to Japanese woodcuts.  Visiting me at Kyoto, where I was busily engaged in painting, <span class="tei tei-q">“Ah!”</span> he cried, <span class="tei tei-q">“that is what I have always longed to do.  Sooner or later I shall follow your example.”</span>  But he never did.  Instead, he issued a large work on Japanese prints.  His death was a real loss to the art literature of Japan.  During eight years he was in the service of the Japanese government ransacking, cataloguing and photographing the multitudinous art treasures, paintings, <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakemono</span></span>, <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">makimono,</span></span> and <em class="tei tei-emph"><span style="font-variant: small-caps">byobu</span></em> (pictures, scrolls and screens), to be found in the various Buddhist and other temples and monasteries scattered throughout the empire.  The last time we met, he remarked, <span class="tei tei-q">“How can one willingly leave this land of light?  Japan, to my mind, stands for whatever is beautiful in nature and true in art; here I hope to pass the remaining years of my life.”</span>  Such was his genuine enthusiasm, engendered by a long acquaintance with art and everything else beautiful in that country.  Japan impresses in this way all who see it under proper conditions, but unfortunately the ordinary traveler, pushed for time, and whose acquaintance is limited to professional guides, never gets much beyond the sights, the shops and the curio dealers.
+</p>
+<span class="tei tei-pb" id="page28">[pg 28]</span>
+
+<a name="plate04" id="plate04" class="tei tei-anchor" style="text-align: center"></a><a name="fig15" id="fig15"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_04.jpg" alt="Snow Scene in Kaga, by Kubota Beisen. Plate IV." title="Snow Scene in Kaga, by Kubota Beisen. Plate IV." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Snow Scene in Kaga, by Kubota Beisen.  Plate IV.</div></div>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The question is often asked, <span class="tei tei-q">“Is there any good book on Japanese painting?”</span>  I know of none in any language except Japanese.  The following are among the best works on the subject:
+</p>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">
+A History of Japanese Painting <em class="tei tei-emph"><span style="font-variant: small-caps">(Hon Cho Gashi),</span></em> by Kano Eno.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">
+A Treasure Volume <em class="tei tei-emph"><span style="font-variant: small-caps">(bampo zen sho),</span></em> by Ki Moto Ka Ho.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">The Painter's Convenient Reference <em class="tei tei-emph"><span style="font-variant: small-caps">(Goko Ben Ran),</span></em> by Arai Haku Seki.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">A Collection of Celebrated Japanese  Paintings <em class="tei tei-emph"><span style="font-variant: small-caps">(Ko Cho Meiga shu e),</span></em>  by Hiyama Gi Shin.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">
+Ideas on Design in Painting <em class="tei tei-emph"><span style="font-variant: small-caps">(To Ga Ko)</span></em>, by Saito Heko Maro.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">A Discourse on Japanese Painting <em class="tei tei-emph"><span style="font-variant: small-caps">(Honcho Gwa San),</span></em> by Tani Buncho.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">
+Important Reflections on All Kinds of Painting <em class="tei tei-emph"><span style="font-variant: small-caps">(Gwa Jo Yo Ryaku),</span></em> by Arai Kayo.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">A Treatise on Famous Japanese Paintings <em class="tei tei-emph"><span style="font-variant: small-caps">(Fu So Mei Gwa Den),</span></em> by Hori Nao Kaku.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Observations on Ancient Pictures <em class="tei tei-emph"><span style="font-variant: small-caps">(Ko Gwa Bi Ko)</span></em>, by Asa Oka Kotei. 
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">A Treatise on Famous Painters <em class="tei tei-emph"><span style="font-variant: small-caps">(Fu So Gwa Jin),</span></em> by Ko Shitsu Ryo Chu.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">
+A Treatise on Japanese Painting <em class="tei tei-emph"><span style="font-variant: small-caps">(Yamato Nishiki Kem Bun Sho),</span></em> by Kuro Kama Shun Son.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">
+A Treatise on the Laws of Painting <em class="tei tei-emph"><span style="font-variant: small-caps">(Gwafu),</span></em> by Ran Sai, a pupil of Chinanpin.  The work is voluminous and is both of great use and authority.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">
+<em class="tei tei-emph"><span style="font-variant: small-caps">Cho Chu Gwa Fu,</span></em> by Chiku To.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">
+<em class="tei tei-emph"><span style="font-variant: small-caps">Sha Zan Gakugwa Hen,</span></em> by Buncho.
+</td></tr></tbody></table>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Translations of all these works into English are greatly to be desired.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There is much that has been sympathetically written and published about Japanese paintings both in Europe and America, but however laudatory, it might be all summed up under the title, <span class="tei tei-q">“Impressions of an Outsider.”</span>  Such writings lack
+<span class="tei tei-pb" id="page29">[pg 29]</span>
+the authority which only constant labor in the field of practical art can confer.  A Japanese artist, by which I mean a painter, is long in making.  From ten to fifteen years of continuous study and application are required before much skill is attained.  During that time he gradually absorbs a knowledge of the many principles, precepts, maxims and methods, which together constitute the corpus or body of art doctrine handed down from a remote antiquity and preserved either in books or perpetuated by tradition.  Along with these are innumerable art secrets called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">hiji</span></span> or <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">himitsu,</span></span> never published, but orally imparted by the masters to their pupils—not secrets in a trick sense, but methods of execution discovered after laborious effort and treasured as valued possessions.  It is obvious, then, how incapable of writing technically upon the subject must anyone be who has not gone through such curriculum and had drilled into him all that varied instruction which makes up the body of rules applicable to that art.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+I have read many seriously written appreciations of Japanese paintings published in various modern languages, and even some amiable imaginings penned for foreigners by Japanese who fancy they know by instinct what only can be acquired after long study and practice with brush in hand.  All such writers are characterized in Japan by a very polite term, <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">shiroto</span></span>—which means amateur.  It also has a secondary signification of emptiness.
+</p>
+</div>
+
+<span class="tei tei-pb" id="page30">[pg 30]</span>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc16" id="toc16"></a>
+  <a name="pdf17" id="pdf17"></a>
+
+<a name="hbandc03" id="hbandc03" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/hbandc03.jpg" alt="Chapter 3 Head-Band: The design called “Dew on the Grass and Butterflies” (tsuyu, kusa ni cho)." /></div>
+
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER THREE. LAWS FOR THE USE OF BRUSH AND MATERIALS</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Upon a subject as technical as that of Japanese painting, to endeavor to impart correct information in a way that shall be both instructive and entertaining is an undertaking of no little difficulty.  The rules and canons of any art when enumerated, classified and explained, are likely to prove trying, if not wearisome reading.  Yet, if our object be to acquire accurate knowledge, we must consent to make some sacrifice to attain it, and there is no royal road to a knowledge of Japanese painting.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+We have little or no opportunity in America, excepting in one or two cities, to see good specimens of the work of the great painters of Japan. Furthermore, such work in <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakemono</span></span> form is seen to much disadvantage when exhibited in numbers strung along the walls of a museum.  Japanese <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakemono</span></span> (hanging paintings) are best viewed singly, suspended in the recess of the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">tokonoma,</span></span> or alcove.  A certain seclusion is essential to the
+<span class="tei tei-pb" id="page31">[pg 31]</span>
+enjoyment of their delicate and subtle effects; the surroundings should be suggestive of leisure and repose, which the Japanese word <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">shidzuka,</span></span> often employed in art language, well describes.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Japanese technique, by which I understand the established manner in which their effects in painting are produced, differs widely from that of European art.  The Japanese brushes <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(Jude</span></span> and <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">hake),</span></span> colors and materials influence largely the method of painting.  The canons or standards by which Japanese art is to be judged are quite special to Japan and are scarcely understood outside of it.  Since the subject is technical, to treat it in a popular way is to risk the omission of much that is essential.  I will endeavor, at any rate, to give an outline of its fundamental principles, first saying a word or two about the tools and materials.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In Japanese painting no oils are used. <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Sumi</span></span> (a black color in cake form) and water-colors only are employed, while Chinese and Japanese paper and specially prepared silk take the place of canvas or other material.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Japanese artists do not paint on easels; while at work they sit on their heels and knees, with the paper or silk spread before them on a soft material, called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">mosen,</span></span> which lies upon the matting or floor covering.  After one becomes accustomed to this position, he finds it gives, among other things, a very free use of the right arm and wrist.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Silk <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(e ginu)</span></span> is prepared for painting by first attaching it with boiled rice mucilage to a stretching frame.  A sizing of alum and light glue (called
+<span class="tei tei-pb" id="page32">[pg 32]</span>
+<span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">dosa)</span></span> is next applied, care being taken not to wet the edges of the silk attached to the frame, which would loosen the silk.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It has been found that paper lasts much longer than silk, and also can be more easily restored when cracked with age.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The  artists  of the  Tosa  school  used a paper various kinds called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">tori no ko,</span></span> into the composition of which egg-shells entered.  This paper was a special product of Ichi Zen.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Kano artists used both <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">tori no ko</span></span> and a paper made from the mulberry plant, also a product of Ichi Zen, and known as <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">hosho.</span></span>  For ordinary tracing a paper called <em class="tei tei-emph"><span style="font-variant: small-caps">tengu jo</span></em> is used. In Okyo's time, Chinese paper made from rice-plant leaves came into vogue.  It is manufactured in large sheets and is called <em class="tei tei-emph"><span style="font-variant: small-caps">toshi.</span></em> It is a light straw color, and is very responsive to the brush stroke, except when it <span class="tei tei-q">“catches cold,”</span> as the Japanese say.  It should be kept in a dry place.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Tosa artists used paper almost to the exclusion of silk.  The Kano school largely employed silk for their paintings.  Okyo also usually painted on silk.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Japanese artists seldom outline their work.  In painting on silk, a rough sketch in <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> is sometimes placed under the silk for guidance.  Outlining on paper is done with straight willow twigs of charcoal, called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">yaki sumi,</span></span> easily erased by brushing with a feather.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There are strict, and when once understood, reasonable and helpful laws for the use of the
+<span class="tei tei-pb" id="page33">[pg 33]</span>
+brush <em class="tei tei-emph"><span style="font-variant: small-caps">(yohitsu),</span></em> the use of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">(yoboku)</span></em> and the use of water-colors <em class="tei tei-emph"><span style="font-variant: small-caps">(sesshoku).</span></em> These laws reach from what seems merely the mechanics of painting into the highest ethics of Japanese art.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The law of <em class="tei tei-emph"><span style="font-variant: small-caps">yo hitsu</span></em> requires a free and skilful handling of the brush, always with strict attention to the stroke, whether dot, line or mass is to be made; the brush must not touch the silk or paper before reflection has determined what the stroke or dot is to express.  Neither negligence nor indifference is tolerated.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+An artist, be he ever so skilful, is cautioned not to feel entirely satisfied with his use of the brush, as it is never perfect and is always susceptible of improvement.  The brush is the handmaid of the artist's soul and must be responsive to his inspiration.  The student is warned to be as much on his guard against carelessness when handling the brush as if he were a swordsman standing ready to attack his enemy or to defend his own life; and this is the reason: Everything in art conspires to prevent success.  The softness of the brush requires the stroke to be light and rapid and the touch delicate.  The brush, when dipped first into the water, may absorb too much or not enough, and the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> or ink taken on the brush may blot or refuse to spread or flow upon the material, or it may spread in the wrong direction.  The Chinese paper <em class="tei tei-emph"><span style="font-variant: small-caps">(toshi)</span></em> which is employed in ordinary art work may be so affected by the atmosphere as to refuse to respond, and the brush stroke must be regulated accordingly.  All such matters have to
+<span class="tei tei-pb" id="page34">[pg 34]</span>
+be considered when the brush is being used, and if the spirit of the artist be not alert, the result is failure. <em class="tei tei-emph"><span style="font-variant: small-caps">(it ten ichi boku</span></em>  <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">ni</span></span>  <em class="tei tei-emph"><span style="font-variant: small-caps">chiu</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">o su beki.)</span></span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vehicle of the subtle sentiment to be expressed in form, the brush must be so fashioned as to receive and transmit the vibrations of the artist's inner self.  Much care, much thought and skill have been expended in the manufacture of the brush.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In China, the art of writing preceded painting, and the first brushes made were writing brushes, and the more writing developed into a wonderful art, the more attention was bestowed upon the materials composing the writing brush.  Such brushes were originally made with rabbit hair, round which was wrapped the hair of deer and sheep, and the handles were mulberry stems.  Later on, as Chinese characters became more complex and writing more scientific, the brushes were most carefully made of fox and rabbit hair, with handles of ivory, and they were kept in gold and jeweled boxes.  Officials were enjoined to write all public documents with brushes having red lacquer handles, red being a positive or male <em class="tei tei-emph"><span style="font-variant: small-caps">(yo)</span></em> color.  Ogishi, the greatest of the Chinese writers, used for his brushes the feelers from around the rat's nose and hairs taken from the beak of the kingfisher.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In Japan, hair of the deer, badger, rabbit, sheep, squirrel, and wild horse all enter into the manufacture of the artist's brush, which is made to
+order, long or short, soft or strong, stiff or pliable.  For laying on color, the hair of the badger is preferred.  The sizes and shapes of brushes
+used differ
+<span class="tei tei-pb" id="page35">[pg 35]</span>
+according to the subject to be painted. There are brushes for flowers and birds, human beings, landscapes, lines of the garments, lines of the
+face, for laying on color, for shading, et cetera.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A distinguishing feature in Japanese painting is the strength of the brush stroke, technically called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">fude no chikara</span></span> or <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">fude no ikioi.</span></span> When representing an object suggesting strength, such, for instance, as a rocky cliff, the beak or talons of a bird, the tiger's claws, or the limbs and branches of a tree, the moment the brush is applied the sentiment of strength must be invoked and felt throughout the artist's system and imparted through his arm and hand to the brush, and so transmitted into the object painted; and this nervous current must be continuous and of equal intensity  while the work proceeds.  If the tree's limbs or branches in a painting by a Kano artist be examined, it will astonish any one to perceive the vital force that has been infused into them.  Even the smallest twigs appear filled with the power of growth—all the result of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">fude no chikara.</span></span>  Indeed, when this principle is understood, and in the light of it the trees of many of the Italian and French artists are critically viewed, they appear flabby, lifeless, and as though they had been done with a feather.  They lack that vigor which is attained only by <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">fude no chikara,</span></span> or brush strength.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In writing Chinese characters in the <em class="tei tei-emph"><span style="font-variant: small-caps">rei sho</span></em> manner this same principle is carefully inculcated.  The characters must be executed with the feeling of their being carved on stone or engraved on
+<span class="tei tei-pb" id="page36">[pg 36]</span>
+steel—such must be the force transmitted through the arm and hand to the brush.   Thus executed the writings seem imbued with living strength.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is related of Chinanpin, the great Chinese painter, that an art student having applied to him for instruction, he painted an orchid plant and told the student to copy it.  The student did so to his own satisfaction, but the master told him he was far away from what was most essential.  Again and again, during several months, the orchid was reproduced, each time an improvement on the previous effort, but never meeting with the master's approval.  Finally Chinanpin explained as follows: The long, blade-like leaves of the orchid may droop toward the earth but they all long to point to the sky, and this tendency is called cloud-longing <em class="tei tei-emph"><span style="font-variant: small-caps">(bo un)</span></em> in art. When, therefore, the tip of the long slender leaf is reached by the brush the artist must feel that the same is longing to point to the clouds.  Thus painted, the true spirit and living force <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(kokoromochi)</span></span> of the plant are preserved.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Kubota recommended to art students and artists to a practice with lines which is excellent for acquiring and retaining firmness and freedom of the arm, with steady and continuous strength in the stroke.  With a brush held strictly perpendicular to the paper horizontal lines are painted, first from right to left, the entire width of the <em class="tei tei-emph"><span style="font-variant: small-caps">toshi</span></em> or other paper, each line with equal thickness and unwavering intensity of power throughout its entire length.  The thickness of the line will depend upon the amount of hair in the brush that is allowed to
+<span class="tei tei-pb" id="page37">[pg 37]</span>
+touch the paper; if only the tip of the brush be
+used, the line will be slender or thin; but, whether
+a broad band or a delicate tracing, it must be uniform throughout and filled with living force.  Next,
+the lines are painted from left to right in the same
+way and with the same close attention to uniform
+thickness and continuous flow of nervous strength
+from start to finish.   Then, the increasingly difficult task is to paint them from top to bottom of
+the <em class="tei tei-emph"><span style="font-variant: small-caps">toshi,</span></em> and finally, most difficult and most
+important of all these exercises, the parallel lines
+are traced from bottom to top of the paper.  The
+thinner the line the more difficult it is to execute,
+because of the tendency of the hand to tremble.  
+Indeed, the difficulty is supreme.   Let any one who
+is interested try this; it is an exercise for the most
+expert.  Such lines resemble the <span lang="fr" class="tei tei-foreign" xml:lang="fr"><span style="font-style: italic">sons filés</span></span> on the
+violin, where a continuous sustained tone of equal
+intensity is produced by drawing the bow from
+heel to tip so slowly over the strings that it hardly
+moves.  Practicing lines in the way indicated gives
+steadiness and strength, qualities in demand at
+every instant in Japanese art.  Observe a Japanese
+artist paint the young branch of a plum tree shooting from the trunk.  The new year's growth starting, it may be, from the bottom of the <em class="tei tei-emph"><span style="font-variant: small-caps">toshi</span></em> will be
+projected to the top.  Examine it carefully and it
+will be found to conform to that principle of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">jude
+no chikara</span></span> which transfers a living force into the
+branch.  I have seen European artists in Japan
+vainly try offhand to produce such effects;  but
+these depend on long and patient practice.
+</p>
+<span class="tei tei-pb" id="page38">[pg 38]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A Japanese artist will frequently ignore the boundaries of the paper upon which he paints by beginning his stroke upon the <em class="tei tei-emph"><span style="font-variant: small-caps">mosen</span></em> and continuing it upon the paper—or beginning it upon the paper and projecting it upon the <em class="tei tei-emph"><span style="font-variant: small-caps">mosen.</span></em>  This produces the sentiment or impression of great strength of stroke.  It animates the work.  And in this energetic kind of painting, if drops of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> accidentally fall from the brush upon the painting they are regarded as giving additional energy to it.  Similarly, if the stroke on the trunk or branch of a tree shows many thin hair lines where the intention was that the line should be solid, this also is regarded as an additional evidence of stroke energy and is always highly prized.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The same principle applies in the art of Chinese writing; but this effect must not be the result of calculation—it must be what in art is called <em class="tei tei-emph"><span style="font-variant: small-caps">shi zen,</span></em>  meaning spontaneous.
+</p>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In painting the hair of monkeys, bears and the like, the pointed brush is flattened and spread out <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(wari fude)</span></span> so that each stroke of the same will reproduce numberless thin lines, corresponding to the hairs of the animal.  Sosen thus painted.  In modern times Kimpo <a href="#plate05" class="tei tei-ref"><span style="color: blue">(Plate V)</span></a> is justly renowned for such work.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Many artists become wonderfully expert in the use of the flat brush, from one to four inches wide, called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">hake,</span></span> by means of which instantaneous effects such as rain, rocks, mountain chains and snow scenes are secured.  Some artists acquire a special reputation for skill in the use of the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">hake.</span></span>
+</p>
+<span class="tei tei-pb" id="page39">[pg 39]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The brush should be often and thoroughly rinsed during the time that it is used and washed and dried when not employed.  In Kyoto, Osaka and Tokyo there are famous manufacturers of artists' brushes, and names of makers such as Nishimura, Sugiyama, Hakkado, Onkyodo and Kiukyodo are familiar to all the artists of the country.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The use of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">(yoboku)</span></em> is the really distinguishing feature of Japanese painting.  Not only is this black color <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(sumi)</span></span> used in all water color work, but it is frequently the only color employed; and a painting thus executed, according to the laws of Japanese art, is called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi e</span></span> and is regarded as the highest test of the artist's skill.  Colors can cheat the eye <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(damakasu)</span></span> but <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> never can; it proclaims the master and exposes the tyro.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The terms <span class="tei tei-q">“study in black and white,”</span> <span class="tei tei-q">“India ink drawing”</span> and the like, since all are only makeshift translations, are misleading.  The Chinese term <em class="tei tei-emph"><span class="tei tei-q"><span style="font-variant: small-caps">“</span><span style="font-variant: small-caps">bokugwa</span><span style="font-variant: small-caps">”</span></span></em> is the exact equivalent of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi e</span></span> and both mean and describe the same production.  <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Sumi e</span></span> is not an <span class="tei tei-q">“ink picture,”</span> since no ink is used in its production.  Ink is the very opposite of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> both in its composition and effect.  Ink is an acid and fluid.  <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Sumi</span></span> is a solid made from the soot obtained by burning certain plants (for the best results <span lang="la" class="tei tei-foreign" xml:lang="la"><span style="font-style: italic">juncus communis,</span></span> bull rush, or the <span lang="la" class="tei tei-foreign" xml:lang="la"><span style="font-style: italic">sessamen orientalis),</span></span> combined with glue from deer horn.  This is molded into a black cake which, drying thoroughly if kept in ashes, improves with age. In much of the good <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> crimson <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(beni)</span></span> is added for the sheen, and musk perfume <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(Jako)</span></span> is
+<span class="tei tei-pb" id="page40">[pg 40]</span>
+introduced for antiseptic purposes.  When a dead finish or surface <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(tsuya o keshi)</span></span> is desired, as, for instance, where the female coiffure is to be painted and a lusterless ground is needed for contrast with the shining strands of the hair, a little white pulverized oyster shell, called <em class="tei tei-emph"><span style="font-variant: small-caps">go fun,</span></em> is mixed, with the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi.</span></span>  Commercial India ink resembles <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> in appearance, but is very inferior to it in quality.  The methods of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> manufacture are carefully guarded secrets.  China during the Ming dynasty, three centuries ago, produced the best <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi,</span></span> although China <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">(toboku)</span></em> employed twelve centuries past shows both in writing and in painting as distinctly and brilliantly today as though it were but recently manufactured.  Nara, near Kyoto, was the birthplace of Japanese <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi,</span></span> and the house of Kumagai <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(Kyukyodo)</span></span> for centuries has had its manufacturers in that city.  In Tokyo a distinguished maker, whose <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> many of the artists there prefer, is Baisen.  He has devoted fifty years of his life to the study and compounding of this precious article.  He possesses some great secrets of manufacture which may die with him.  In Okyo's time there was a dark blue <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> called <em class="tei tei-emph"><span style="font-variant: small-caps">ai en boku</span></em> but the art and secret of its manufacture are lost.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In using <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> the cake is moistened and rubbed on a slab called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">suzuri,</span></span> producing a semi-fluid.  The well-cleaned brush is dipped first into clear water and then into the prepared <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi.</span></span> When the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> is taken on the brush it should be used without delay; otherwise it will mingle with the
+<span class="tei tei-pb" id="page41">[pg 41]</span>
+water of the brush and destroy the desired balance between the water and the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi.</span></span>  For careful work the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> is first transferred on the brush from the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">suzuri</span></span> to a white saucer, where it is tested.  It is a singular fact that the color of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> will differ according to the manner in which it is rubbed upon the stone.  The best results are obtained when a young maiden is employed for the purpose, her strength being just suitable.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is very important while painting with <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> to renew its strength frequently by fresh applications of the cake to the slab.  The color and richness of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> left upon the slab soon fade; and though when used this may not be apparent, when the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> dries on the paper or silk its weakness is speedily perceived.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+By the dexterous use of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> colors may be successfully suggested, materials apparently reproduced and by what is termed <em class="tei tei-emph"><span style="font-variant: small-caps">bokushoku,</span></em> or the brush-stroke play of light and shade, the very rays of the sun may be imprisoned within the four corners of a picture.  Artists are readily recognized in their work by their manner of using or laying on <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi.</span></span>  The color, the sheen, the shadings and the flow of the ink enable us even to determine the disposition or state of mind of the artist at the time of painting, so sensitive, so responsive is <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> to the mood of the artist using it.  There is much of engaging interest in connection with this subject.  Artists become most difficult to satisfy on the subject of the various kinds of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi,</span></span> which differ as much in their special qualities as the tones
+<span class="tei tei-pb" id="page42">[pg 42]</span>
+of celebrated violins. It is interesting to observe how different the color or richness of the same <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> becomes according to the varying skill with which it is applied.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The mineral character of the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">suzuri</span></span> has also much to do with the production of the best and richest black tones.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The most valuable stone for <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">suzuri</span></span> is known throughout the entire oriental world as <em class="tei tei-emph"><span style="font-variant: small-caps">tan kei</span></em> and is found in the mountain of Fuka in China.  This stone has gold streaks through it, with small dots called bird's eyes.  The water which flows from Fuka mountain is blue.  The color of the rock is violet.  A favorite color for the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">suzuri</span></span> (in Chinese called <em class="tei tei-emph"><span style="font-variant: small-caps">ken)</span></em> is lion's liver.  Formerly much ceremony was observed in mining for this stone and sheep and cattle were offered in sacrifice, else it was believed that the stone would be struck by a thunderbolt and reduced to ashes in the hands of its possessor.  The <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">suzuri</span></span> is also made in China from river sediment fashioned and baked.  Still another method is to make the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">suzuri</span></span> from paper and the varnish of the lacquer tree.  Such are called paper <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">suzuri</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">(shi ken).</span></em>  In Thibet <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">suzuri</span></span> are made from the bamboo root.  In Japan the best stones for <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">suzuri</span></span> are found near Hiroshima in Kiushu, the grain being hard and fine.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The skilful use of water colors is called <em class="tei tei-emph"><span style="font-variant: small-caps">sesshoku.</span></em> 
+It is more difficult to paint with <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> alone than
+use of water to paint with the aid of colors, which can hide
+defects never to be concealed in a <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi e,</span></span> where
+painting  over <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> a second time is disastrous.  
+Japanese painters as a rule are sparing of colors, the slightest amount used discreetly and with restraint generally sufficing.  Many artists have not the color sense or dislike color and seldom use it.  Kubota often declared he hoped to live until he might feel justified in discarding color and employing <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> alone for any and all effects in painting.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There are eight different ways of painting in
+color.  I will enumerate them, with their technical,
+descriptive terms:
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In the best form of color painting <em class="tei tei-emph"><span style="font-variant: small-caps">(goku zai shiki)</span></em> <a href="#plate09" class="tei tei-ref"><span style="color: blue">(Plate IX)</span></a> the color is most carefully laid on, being applied three times or oftener if necessary.  On account of these repeated coats this form is called <em class="tei tei-emph"><span style="font-variant: small-caps">tai chaku shoku.</span></em>  This style of painting is reserved for temples, gold screens, palace ceilings and the like.  Tosa and <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Yamato e</span></span> painters generally followed this manner.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The next best method of coloring <em class="tei tei-emph"><span style="font-variant: small-caps">(chu zai shiki)</span></em> <a href="#plate10" class="tei tei-ref"><span style="color: blue">(Plate X)</span></a> is termed <em class="tei tei-emph"><span style="font-variant: small-caps">chaku shoku,</span></em> or the ordinary application of color.  The Kano and Shijo schools use this method extensively, as did also the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Ukiyo e</span></span> painters.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The light water-color method, called <em class="tei tei-emph"><span style="font-variant: small-caps">tan sai</span></em> <a href="#plate11" class="tei tei-ref"><span style="color: blue">(Plate XI)</span></a>, is employed in the ordinary style of painting <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakemono</span></span> and is much used by the Okyo school.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The most interesting form of painting, technically called <em class="tei tei-emph"><span style="font-variant: small-caps">bokkotsu</span></em> <a href="#plate12" class="tei tei-ref"><span style="color: blue">(Plate XII)</span></a>, is that in which all outlines are suppressed and <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> or color is used for the masses.  Another Japanese term for the same is <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">tsuketate.</span></span>
+</p>
+<span class="tei tei-pb" id="page44">[pg 44]</span>
+
+<a name="plate05" id="plate05" class="tei tei-anchor" style="text-align: center"></a><a name="fig18" id="fig18"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_05.jpg" alt="Tree Squirrel, by Mochizuki Kimpo. Plate V." title="Tree Squirrel, by Mochizuki Kimpo. Plate V." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Tree Squirrel, by Mochizuki Kimpo.  Plate V.</div></div>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The method of shading, called <em class="tei tei-emph"><span style="font-variant: small-caps">goso</span></em> <a href="#plate13" class="tei tei-ref"><span style="color: blue">(Plate XIII)</span></a>,
+invented by a Chinese artist, Godoshi, who lived
+one thousand years ago, consists in applying dark
+brown color or light <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> wash over the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> lines. This style was much employed by Kano painters and for art printing.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The light reddish-brown color, technically called <em class="tei tei-emph"><span style="font-variant: small-caps">senpo shoku</span></em> <a href="#plate14" class="tei tei-ref"><span style="color: blue">(Plate XIV)</span></a>, is mostly used in printing pictures in book form.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Another form similarly used is called <em class="tei tei-emph"><span style="font-variant: small-caps">hakubyo</span></em> <a href="#plate15" class="tei tei-ref"><span style="color: blue">(Plate XV)</span></a> or white pattern, no color being employed.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Lastly, there is the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> picture or <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi e</span></span> <a href="#plate16" class="tei tei-ref"><span style="color: blue">(Plate XVI)</span></a>, technically called <em class="tei tei-emph"><span style="font-variant: small-caps">suiboku,</span></em>—to which reference has already been made—where <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> only is employed, black being regarded as a color by Japanese artists.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A well-known method by which the autumnal tints of forest leaves are produced is to take up with the brush one after another and in the following order these colors: Yellow-green <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(ki iro),</span></span> brown <em class="tei tei-emph"><span style="font-variant: small-caps">(tai sha),</span></em> red <em class="tei tei-emph"><span style="font-variant: small-caps">(shu),</span></em> crimson <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(beni),</span></span> and last, and on the very tip of the brush, <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi.</span></span>  The brush thus charged and dexterously applied gives a charming autumn effect, the colors shading into each other as in nature.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There are five parent colors in Japanese art: parent colors Blue <em class="tei tei-emph"><span style="font-variant: small-caps">(sei),</span></em> yellow <em class="tei tei-emph"><span style="font-variant: small-caps">(au),</span></em> black (koku), white <em class="tei tei-emph"><span style="font-variant: small-caps">(byaku),</span></em> combinations and red <em class="tei tei-emph"><span style="font-variant: small-caps">(seki).</span></em>  These in combination <em class="tei tei-emph"><span style="font-variant: small-caps">(cho go)</span></em> originate other colors as follows:  Blue and  yellow produce green <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(midori);</span></span> blue and black, dark blue <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(ai nezumi);</span></span> blue and white, sky-blue <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(sora iro);</span></span>
+<span class="tei tei-pb" id="page45">[pg 45]</span>
+blue and red, purple <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(murasaki)</span></span>; yellow and black, dark green <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(unguisu cha)</span></span>; yellow and red, orange <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(kaba);</span></span> black and red, brown <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(tobiiro);</span></span> black and combinations white, gray <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(nezumiiro).</span></span>  These secondary colors in combination produce other tones and shades required.  Powdered gold and silver, and crimson made from the saffron plant are also employed.  The colors, excepting yellow, are prepared for use by mixing them with light glue upon a saucer.  With yellow, water alone is used.  In addition to all the foregoing there are other expensive colors used in careful work and known as mineral earths <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(iwamono).</span></span>  They are blue <em class="tei tei-emph"><span style="font-variant: small-caps">(gunjo),</span></em> dark or Prussian blue <em class="tei tei-emph"><span style="font-variant: small-caps">(konjo),</span></em> light bluish-green <em class="tei tei-emph"><span style="font-variant: small-caps">(gunroku),</span></em> green <em class="tei tei-emph"><span style="font-variant: small-caps">(rokusho),</span></em> light green <em class="tei tei-emph"><span style="font-variant: small-caps">(byakugun),</span></em> pea green <em class="tei tei-emph"><span style="font-variant: small-caps">(cha-roku sho)</span></em> and light red <em class="tei tei-emph"><span style="font-variant: small-caps">(sango matsu).</span></em>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The use of primary colors in a painting in proximity to secondary ones originated by them is color to be avoided, as both lose by such contrast; and when a color-scheme fails to give satisfaction it will usually be found that this cardinal principle of harmony, called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">iro no kubari,</span></span> has been disregarded by the artist.  Color in art is the dress, the apparel in which the work is clad.  It must be suitably combined, restrained, and attract no undue attention <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(medatsunai).</span></span>  True color sense is a special gift.
+</p>
+</div>
+<span class="tei tei-pb" id="page46">[pg 46]</span>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc19" id="toc19"></a>
+  <a name="pdf20" id="pdf20"></a>
+
+<a name="hbandc04" id="hbandc04" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/hbandc04.jpg" alt="Chapter 4 Head-Band: The pattern (moyo) known as bamboo and the swelling sparrow (take nifukura susume). The parts of the bird are amusingly conventionalized—in the Korin manner. The word fukura written in Chinese contains the lucky character fuku (happiness)." /></div>
+
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER FOUR.  LAWS GOVERNING THE CONCEPTION AND EXECUTION OF A PAINTING</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+When a Japanese artist is preparing to paint a picture he considers first the space the picture is to occupy and its shape, whether square, oblong, round or otherwise; next, the distribution of light and shade, and then the placing of the objects in the composition so as to secure harmony and effective contrasts.  In settling these questions he relies largely on the laws of proportion and design.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The principles of proportion <em class="tei tei-emph"><span style="font-variant: small-caps">(ichi)</span></em> and design <em class="tei tei-emph"><span style="font-variant: small-caps">(isho)</span></em> are closely allied.  They aim to supply and express with sobriety what is essential to the composition, proportion determining the just arrangement and distribution of the component parts, and design the manner in which the same shall be handled.  In a landscape, proportion may require the balancing effect of buildings and trees, while design will determine how the same may be picturesquely presented; for instance, by making the
+<span class="tei tei-pb" id="page47">[pg 47]</span>
+trees partially hide the buildings, thus provoking
+a desire to see more than is shown.  Such suggestion
+or stimulation of the imagination is called <em class="tei tei-emph"><span style="font-variant: small-caps">yukashi</span></em>.
+The Japanese painter is early taught the value of
+suppression in design—<span lang="fr" class="tei tei-foreign" xml:lang="fr"><span style="font-style: italic">l'art d'ennuyer est de tout dire</span></span>.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A well-known rule of proportion, quaintly expressed in the original Chinese and which is more or less adhered to in practice, requires in a landscape painting that if the mountain be, for example, ten feet high the trees should be one foot, a horse one inch and a man the size of a bean.  <em class="tei tei-emph"><span style="font-variant: small-caps">Jo san seki ju, sun ba to jin</span></em> <a href="#plate17" class="tei tei-ref"><span style="color: blue">(Plate XVII)</span></a>.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Design, called in art <em class="tei tei-emph"><span style="font-variant: small-caps">isho zuan</span></em> or <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">takumi,</span></span> is largely the personal equation of the artist.  It is his power of presenting and expressing what he treats in an original manner.  The subject may not be new, but its treatment must be fresh and attractive.  Much will depend upon the learning and the technical ability of the artist.  In the matter of design the artists of Tokyo have always differed from those of Kyoto, the former aiming at lively and even startling effects, while the latter seek to produce a quieter or more subdued <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(otonashi)</span></span> result.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Where landscapes or trees are to be painted upon a single panel, panels on each side of it may be conveniently placed and the painting designed upon the central panel in connection with the two additional ones used for elaboration.  In this way, when the side panels are withdrawn the effect is as though such landscape or trees were seen
+<span class="tei tei-pb" id="page48">[pg 48]</span>
+through an open window, and all cramped or forced appearance is avoided.  The <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Ukiyo e</span></span> artists practiced a similar method in their <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">hashirakake</span></span> or long, narrow, panel-like prints of men and women used for decorating upright beams in a room.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The literature of art abounds in instances illustrative of correct proportion and design.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The artist Buncho being requested to paint a crow flying across a <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">fusuma</span></span> or four sliding door-like panels, after much reflection painted the bird in the act of disappearing from the last of these subdivisions, the space of the other three suggesting the rapid flight which the crow had already accomplished, and the law of proportion <em class="tei tei-emph"><span style="font-variant: small-caps">(ichi)</span></em> or orderly arrangement thus observed was universally applauded.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In the wooded graveyard of the temple at Ike-gami, where the tombs of so many of the Kano artists (including Tanyu) are to be found, is a stone marking the grave of a Kano painter who, having executed an order for a picture and his patron observing that it was lacking in design and that he must add a certain gold effect in the color scheme, rather than violate his own convictions of what he considered proper design, first refused to comply and then committed <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">hara kiri.</span></span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A canon of Japanese art which is at the base of
+one of the peculiar charms of Japanese pictures,
+not merely in the whole composition but also in
+minute details that might escape the attention at
+first glance, requires that there should be in every
+<span class="tei tei-pb" id="page49">[pg 49]</span>
+painting the sentiment of active and passive, light and shade.  This is called <em class="tei tei-emph"><span style="font-variant: small-caps">in yo</span></em> and is based upon the principle of contrast for heightening effects.  The term <em class="tei tei-emph"><span style="font-variant: small-caps">in yo</span></em> originated in the earliest doctrines of Chinese philosophy and has always existed in the art language of the Orient.  It signifies darkness <em class="tei tei-emph"><span style="font-variant: small-caps">(in)</span></em> and light <em class="tei tei-emph"><span style="font-variant: small-caps">(yo),</span></em> negative and positive, female and male, passive and active, lower and upper, even and odd.  This term is of constant application in painting.  A picture with its lights and shades properly distributed conforms to the law of <em class="tei tei-emph"><span style="font-variant: small-caps">in yo.</span></em>  Two flying crows, one with its beak closed, the other with its beak open; two tigers in their lair, one with the mouth shut, the other with the teeth showing; or two dragons, one ascending to the sky and the other descending to the ocean, illustrate phases of <em class="tei tei-emph"><span style="font-variant: small-caps">in yo.</span></em> Mountains, waves, the petals of a flower, the eyeball of a bird, rocks, trees—all have their negative and positive aspects, their <em class="tei tei-emph"><span style="font-variant: small-caps">in</span></em> and their <em class="tei tei-emph"><span style="font-variant: small-caps">yo.</span></em>  The observance of this canon secures not only the effective contrast of light and shade in a picture but also an equally striking contrast between the component parts of each object composing it.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The law of form, in art called <em class="tei tei-emph"><span style="font-variant: small-caps">keisho</span></em> or <em class="tei tei-emph"><span style="font-variant: small-caps">kakko,</span></em> is widely applied for determining not only the correct shape of things but also their suitable or proper presentation according to circumstances.  It has to do with all kinds of attitudes and dress.  It determines what is suitable for the prince and for the beggar, for the courtier and for the peasant.  It regulates the shape that objects should take
+<span class="tei tei-pb" id="page50">[pg 50]</span>
+according to conditions surrounding them, whether
+seen near or far off, in mist or in rain or snow, in
+motion or in repose. The exact shape of objects in motion (as an animal running, a bird flying or a fish swimming) no one can see, but the painter who has observed, studied and knows by heart the form or shape of these objects in repose can, by virtue of his skill, reproduce them in motion, foreshortened or otherwise; that is <em class="tei tei-emph"><span style="font-variant: small-caps">keisho;</span></em> and he is taught and well understands that if in executing such work his memory of essential details fails him hesitancy is apt to cause the picture to perish as a work of art.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<em class="tei tei-emph"><span style="font-variant: small-caps">Keisho</span></em> literally means shape, but in oriental art it signifies also the proprieties; it is a law which enforces among other things canons of good taste and suppresses all exaggerations, inartistic peculiarities and <em class="tei tei-emph"><span style="font-style: italic">grimaces.</span></em>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The law touching historical subjects and the manner of painting them is called
+<em class="tei tei-emph"><span style="font-variant: small-caps">ko jutsu.</span></em>  Special principles apply to this department of Japanese art.  The
+historical painter must know all the historical details of the period to which his painting relates,
+including a knowledge of the arms, accoutrements, costumes, ornaments, customs and the like.  This
+subject covers too vast a field and is too important to be summarily treated here.  Suffice it to say
+that there have been many celebrated historical painters in Japan.  I recall, on the other hand, a
+picture once exhibited by a distinguished Tokyo artist which was superbly executed but wholly ignored by
+the jury because it violated some canon applicable to historical painting.
+</p>
+<span class="tei tei-pb" id="page51">[pg 51]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The term <em class="tei tei-emph"><span style="font-variant: small-caps">yu shoku</span></em> refers to the laws governing the practices of the Imperial
+household, Buddhist and Shinto rites.  Before attempting any work of art in which these may figure the
+painter must be thoroughly versed in the appointments of palace interiors, the rules of etiquette, the
+occupations and pastimes of the Emperor, court nobles <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(Kuge),</span></span>
+<span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">daimyo</span></span> and their military attendants <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(samurai),</span></span>
+the costumes of the females <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(tsubone)</span></span> of the Imperial household and their
+duties and accomplishments.  The Tosa school made a thorough familiarity with such details its specialty.  All Buddhist paintings come under the law of <em class="tei tei-emph"><span style="font-variant: small-caps">yu shoku.</span></em>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Let us next consider briefly some of the principles applicable to Japanese landscape painting.  Landscapes are known in art by the term <em class="tei tei-emph"><span style="font-variant: small-caps">san sui,</span></em> which means mountain and water.  This Chinese term would indicate that the artists of China considered both mountains and water to be essential to landscape subjects, and the tendency in a Japanese artist to introduce both into his painting is ever noticeable.  If he cannot find the water elsewhere he takes it from the heavens in the shape of rain.  Indeed, rain and wind subjects are much in favor and wonderful effects are produced in their pictures suggesting the coming slorm, where the wind makes the bamboos and trees take on new, weird and fantastic shapes.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The landscape <a href="#plate18" class="tei tei-ref"><span style="color: blue">(Plate XVIII)</span></a> contains a lofty mountain, rocks, river, road, trees, bridge, man, animal, et cetera.  The first requisite in such, a composition is that the picture respond to the law
+<span class="tei tei-pb" id="page52">[pg 52]</span>
+of <em class="tei tei-emph"><span style="font-variant: small-caps">ten chi jin,</span></em> or heaven, earth and man.  This wonderful law of Buddhism is said to pervade the universe and is of widest application to all the art of man.  <em class="tei tei-emph"><span style="font-variant: small-caps">Ten chi jin</span></em> means that whatever is worthy of contemplation must contain a principal subject, its complimentary adjunct, and auxiliary details.  Thus is the work rounded out to its perfection.
+</p>
+
+<a name="plate06" id="plate06" class="tei tei-anchor" style="text-align: center"></a><a name="fig21" id="fig21"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_06.jpg" alt="Tiger, by Kishi Chikudo. Plate VI." title="Tiger, by Kishi Chikudo. Plate VI." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Tiger, by Kishi Chikudo.  Plate VI.</div></div>
+
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+This law of <em class="tei tei-emph"><span style="font-variant: small-caps">ten chi jin</span></em> applies not only to painting but to poetry (its elder sister), to architecture, to garden plans, as well as to flower arrangement; in fact, it is a universal, fundamental law of correct construction.  In <a href="#plate18" class="tei tei-ref"><span style="color: blue">Plate XVIII</span></a> the mountain is the dominant or principal feature.  It commands our first attention.  Everything is subservient to it.  It, therefore, is called <em class="tei tei-emph"><span style="font-variant: small-caps">ten,</span></em> or heaven.  Next in importance, complimentary to the mountain, are the rocks.  These, therefore, are <em class="tei tei-emph"><span style="font-variant: small-caps">chi,</span></em> or earth; while all that contributes to the movement or life of the picture, to wit, the trees, man, animal, bridge and river, are styled <em class="tei tei-emph"><span style="font-variant: small-caps">jin,</span></em> or man, so that the picture satisfies the first law of composition, namely, the unity in variety required by <em class="tei tei-emph"><span style="font-variant: small-caps">ten chi jin.</span></em>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There is another law which determines the general character to be given a landscape according to the season, and is thus expressed:  Mountains in spring should suggest joyousness; in summer, green and moisture; in autumn, abundance; in winter, drowsiness.   The formula runs as follows: <em class="tei tei-emph"><span style="font-variant: small-caps">shun-zan,</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">warau gotoshi;</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">kazan,</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">arau gotoshi;</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">shuzan,</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">yoso gotoshi;</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">tozan,</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">nemurugotoku.</span></span>
+</p>
+<span class="tei tei-pb" id="page53">[pg 53]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Similarly, according to the season, there are four principal ways of painting bamboo <em class="tei tei-emph"><span style="font-variant: small-caps">(chiku).</span></em>  In fair-weather bamboo <em class="tei tei-emph"><span style="font-variant: small-caps">(sei chiku)</span></em> the leaves are spread out joyously; in rainy-weather bamboo <em class="tei tei-emph"><span style="font-variant: small-caps">(uchiku)</span></em> the leaves hang down despondently; in windy-weather bamboo <em class="tei tei-emph"><span style="font-variant: small-caps">(fuchiku)</span></em> the leaves cross each other confusedly, and in the dew of early morning <em class="tei tei-emph"><span style="font-variant: small-caps">(rochiku)</span></em> the bamboo leaves all point upwards vigorously <a href="#plate53" class="tei tei-ref"><span style="color: blue">(Plate LIII a 1 to a 4)</span></a>.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Kano artists differ from the Shijo painters in their manner of combining <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(kasaneru)</span></span> the leaves and branches of the bamboo.  Speaking generally, the Shijo artists point the leaves downward, while the former point them upward, which is more effective.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Again, in snow scenery the Kano artists first paint the bottom of the snow-line and then by shading <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(kumadori)</span></span> above the same with very light ink <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(usui sumi)</span></span> produce the effect of accumulated snow.  The Okyo school secures the same result in a much more brilliant manner, using but a single dexterous stroke of the well-watered brush, the point only of which is tipped with <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi.</span></span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Some artisls, notably Kubota Beisen and his followers, employ both methods, the former for near and the latter for distant snow landscapes.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Low mountains in a landscape suggest great distance.  Fujiyama, the favorite subject of all artists, should not be painted too high, else it loses in dignity by appearing too near.  In an art work written by Oishi Shuga, Fuji is reproduced as it appears at every season of the year, whether clad in snow, partly concealed by clouds, or plainly
+<span class="tei tei-pb" id="page54">[pg 54]</span>
+visible in unobstructed outline.  The book is a safe guide for artists to consult.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+We may next consider some laws applicable to mountains, rocks and ledges.  It has long since been observed by the great writers on art in China that mountains, rocks, ledges and peaks have certain characteristics which distinguish them.  These differ not only with their geological formations but also vary with the seasons on account of the different grasses and growths which may more or less alter or conceal them.  To attempt to reproduce them as seen were a hopeless task, there being too much confusing detail; hence, salient features only are noted, studied and painted according to what is called <em class="tei tei-emph"><span style="font-variant: small-caps">shun po,</span></em> or the law of ledges or stratifications.  There are eight different ways in which rocks, ledges and the like may be represented:
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The peeled hemp-bark method, called <em class="tei tei-emph"><span style="font-variant: small-caps">hi ma shun</span></em> <a href="#plate23" class="tei tei-ref"><span style="color: blue">(Plate XXIII a)</span></a>.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The large and small axe strokes on a tree, called <em class="tei tei-emph"><span style="font-variant: small-caps">dai sho fu heki shun</span></em> <a href="#plate23" class="tei tei-ref"><span style="color: blue">(Plate XXIII b)</span></a>.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The lines of the lotus leaf, called <em class="tei tei-emph"><span style="font-variant: small-caps">ka yo shun</span></em> <a href="#plate24" class="tei tei-ref"><span style="color: blue">(Plate XXIV a).</span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Alum crystals, called <em class="tei tei-emph"><span style="font-variant: small-caps">han to shun</span></em> <a href="#plate24" class="tei tei-ref"><span style="color: blue">(Plate XXIV b)</span></a>.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The loose rice leaves, called <em class="tei tei-emph"><span style="font-variant: small-caps">kai saku shun</span></em> <a href="#plate25" class="tei tei-ref"><span style="color: blue">(Plate XXV a)</span></a>.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Withered kindling twigs, called <em class="tei tei-emph"><span style="font-variant: small-caps">ran shi shun</span></em> <a href="#plate07" class="tei tei-ref"><span style="color: blue">(Plate XXV b)</span></a>.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Scattered hemp leaves, termed <em class="tei tei-emph"><span style="font-variant: small-caps">ramma shun</span></em> <a href="#plate26" class="tei tei-ref"><span style="color: blue">(Plate XXVI a)</span></a>.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The wrinkles on a cow's neck, called <em class="tei tei-emph"><span style="font-variant: small-caps">gyu mo shun</span></em> <a href="#plate26" class="tei tei-ref"><span style="color: blue">(Plate XXVI b)</span></a>.
+</p>
+<span class="tei tei-pb" id="page55">[pg 55]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+These eight laws are not only available guides to desired effects; they also abbreviate labor and save the artist's attempting the impossible task of exactly reproducing physical conditions of the earth in a landscape painting.  They are symbols or substitutes for the truth felt.  Nothing is more interesting than such art resources whereby the sentiment of a landscape is reproduced by thus suggesting or symbolizing many of its essential features.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It was a theory of the great Chinese teacher, Chinanpin, and particularly enforced by him, that trees, plants and grasses take the form of a circle, called in art <em class="tei tei-emph"><span style="font-variant: small-caps">rin kan</span></em> (see <a href="#plate27" class="tei tei-ref"><span style="color: blue">Plate XXVII</span></a>), No. 1; or a semi-circle <em class="tei tei-emph"><span style="font-variant: small-caps">(han kan)</span></em> <a href="#plate07" class="tei tei-ref"><span style="color: blue">(Plate XXVII)</span></a>, No. 2; or an aggregation of half-circles, called fish scales <em class="tei tei-emph"><span style="font-variant: small-caps">(gyo rin)</span></em> <a href="#plate27" class="tei tei-ref"><span style="color: blue">(Plate XXVII)</span></a>, No. 3; or a modification of these latter, called moving fish scales <em class="tei tei-emph"><span style="font-variant: small-caps">(gyo rin katsu ho)</span></em> <a href="#plate27" class="tei tei-ref"><span style="color: blue">(Plate XXVII)</span></a>, No 4. Developing this principle on <a href="#plate28" class="tei tei-ref"><span style="color: blue">Plate XXVIII</span></a>, No. 1, we have theoretically the first shape of tree growth and on <a href="#plate28" class="tei tei-ref"><span style="color: blue">Plate XXVIII</span></a>, No. 2, the same practically interpreted. In Nos. 3 and 4, same plate, we have the growth of grass illustrated theoretically and practically.  In <a href="#plate29" class="tei tei-ref"><span style="color: blue">Plate XXIX</span></a>, according to this method, is constructed the entire skeleton of a forest tree.  In Nos. 1 and 2 on this plate numerous small circles are indicated.  These show where each stroke of the brush begins, the points of commencement being of prime importance to correct effect.  In No. 3, same plate, we have the foundation work of a tree in a Japanese painting. It is needless to point out the marvelous vigor
+<span class="tei tei-pb" id="page56">[pg 56]</span>
+apparent in work constructed according to the above principles.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In the painting of rocks, ledges, and the like, Chinanpin taught that the curved lines of the fish scales are to be changed into straight lines, three in number, of different lengths, two being near together and the third line slightly separated, and all either perpendicular or horizontal, as in <a href="#plate20" class="tei tei-ref"><span style="color: blue">Plate XXX</span></a>, Nos. 1 and 2.  In the same plate, Nos. 3 and 4, we have the principle of rock construction illustrated.  In <a href="#plate31" class="tei tei-ref"><span style="color: blue">Plate XXXI</span></a>, Nos. 1, 2 and 3, is seen the practical application of this theory to <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakemono</span></span> work.  In executing these lines for rocks much stress is laid upon the principle of <em class="tei tei-emph"><span style="font-variant: small-caps">in yo;</span></em> on the elevated portions the brush must be used lightly <em class="tei tei-emph"><span style="font-variant: small-caps">(in)</span></em> and on the lower portions it must be applied with strength <em class="tei tei-emph"><span style="font-variant: small-caps">(yo).</span></em>  At the bottom, where grass, mould, and moss accumulate, a rather dry brush <em class="tei tei-emph"><span style="font-variant: small-caps">(kwappitsu)</span></em> is applied with a firm stroke.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Next, there are laws for near and distant tree,
+shrubbery and grass effects, corresponding to the
+season of the year.  These are known as the laws of dots
+ <em class="tei tei-emph"><span style="font-variant: small-caps">(ten po)</span></em>; the saying <em class="tei tei-emph"><span style="font-variant: small-caps">ten tai san nen</span></em> indicates that it takes three years to make them correctly.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+They are as follows:
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The drooping wistaria dot <em class="tei tei-emph"><span style="font-variant: small-caps">(sui to ten)</span></em> <a href="#plate22" class="tei tei-ref"><span style="color: blue">(Plate XXXII a)</span></a> for spring effects.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The chrysanthemum dot <em class="tei tei-emph"><span style="font-variant: small-caps">(kiku kwa ten)</span></em> <a href="#plate22" class="tei tei-ref"><span style="color: blue">(Plate XXXII b)</span></a> used in summer foliage.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The wheel spoke dot <em class="tei tei-emph"><span style="font-variant: small-caps">(sha rin shin)</span></em> <a href="#plate23" class="tei tei-ref"><span style="color: blue">(Plate XXXIII a)</span></a>, being the pine-needle stroke and used for pine trees.
+</p>
+<span class="tei tei-pb" id="page57">[pg 57]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Chinese character for the verb <span class="tei tei-q">“to save”</span> <em class="tei tei-emph"><span style="font-variant: small-caps">(kai ji ten)</span></em> <a href="#plate33" class="tei tei-ref"><span style="color: blue">(Plate XXXIII b)</span></a>, used for both trees and shrubbery.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The pepper dot <em class="tei tei-emph"><span style="font-variant: small-caps">(koshoten)</span></em> <a href="#plate34" class="tei tei-ref"><span style="color: blue">(Plate XXXIV a)</span></a>.  This dot requires great dexterity and free wrist movement.  It will be observed that the dots are made to vary in size but are all given the same direction.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The mouse footprints <em class="tei tei-emph"><span style="font-variant: small-caps">(so soku ten)</span></em> <a href="#plate34" class="tei tei-ref"><span style="color: blue">(Plate XXXIV b)</span></a>, used for cryptomeria and other like trees.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The serrated or sawtooth dot <em class="tei tei-emph"><span style="font-variant: small-caps">(kyo shi shin)</span></em> <a href="#plate35" class="tei tei-ref"><span style="color: blue">(Plate XXXV a)</span></a>, much used for distant pine-tree effects.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Chinese character for <span class="tei tei-q">“one”</span> <em class="tei tei-emph"><span style="font-variant: small-caps">(ichi ji ten)</span></em> <a href="#plate35" class="tei tei-ref"><span style="color: blue">(Plate XXXV b)</span></a>. The effect produced by this character is very remarkable in representing maple and other trees whose foliage at a distance appears to be in layers.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Chinese character for <span class="tei tei-q">“heart”</span> <em class="tei tei-emph"><span style="font-variant: small-caps">(shin),</span></em> called <em class="tei tei-emph"><span style="font-variant: small-caps">shin ji ten</span></em> <a href="#plate36" class="tei tei-ref"><span style="color: blue">(Plate XXXVI a)</span></a>. This is used most effectively for both foliage and grasses.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Chinese character for <span class="tei tei-q">“positively”</span> <em class="tei tei-emph"><span style="font-variant: small-caps">(hitsu),</span></em> called <em class="tei tei-emph"><span style="font-variant: small-caps">hitsu ji ten</span></em> <a href="#plate36" class="tei tei-ref"><span style="color: blue">(Plate XXXVI b)</span></a>. This dot or stroke is successfully employed in reproducing the foliage of the willow tree in spring.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The rice dot, called <em class="tei tei-emph"><span style="font-variant: small-caps">bei ten</span></em> <a href="#plate38" class="tei tei-ref"><span style="color: blue">(Plate XXXVIII a)</span></a>.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The dot called <em class="tei tei-emph"><span style="font-variant: small-caps">haku yo ten</span></em> <a href="#plate37" class="tei tei-ref"><span style="color: blue">(Plate XXXVII b)</span></a>, being smaller than the pepper dot, with the clove dot <em class="tei tei-emph"><span style="font-variant: small-caps">(sho ji ten)</span></em> surrounding it.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is a strictly observed rule that none of these dots should interfere with or hide the branches of the trees of which they form part.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The term <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">chobo chobo</span></span> is applied to the practice of always finishing a landscape painting, rocks,
+<span class="tei tei-pb" id="page58">[pg 58]</span>
+trees or flowers, with certain dots judiciously added to enliven and heighten the general effect.  These dots, done with a springing wrist movement, serve to enliven the work and give it freshness, just as a rain shower affects vegetation.  The Kano artists were most insistent upon <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">chobo chobo.</span></span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There are many quaint aids to artistic effects from time immemorial well known to and favored by the old Chinese painters and still successfully practiced in Japan.  Probably the larger number of these are employed in the technical construction of the Four Paragons (p. 66 <span lang="la" class="tei tei-foreign" xml:lang="la"><span style="font-style: italic">et seq.).</span></span>  There are still others: as, for instance, the fish-scale pattern <a href="#plate19" class="tei tei-ref"><span style="color: blue">(Plate XIX)</span></a>, used in painting the clustered needles of the pine tree or the bending branches of the willow; the stork's leg for pine tree branches <a href="#plate19" class="tei tei-ref"><span style="color: blue">(Plate XIX)</span></a>; the gourd for the head and elongated jaws of the dragon; the egg for the body of a bird (<a href="#plate22" class="tei tei-ref"><span style="color: blue">Plate XXII</span></a>; the stag horn for all sorts of interlacing branches; the turtle back pattern or the dragon's scales for the pine tree bark.  In addition to these, the general shapes of certain of the Chinese written characters are invoked for reproducing winding streams <a href="#plate20" class="tei tei-ref"><span style="color: blue">(Plate XX)</span></a>, groupings of rocks, meadow, swamp, and other grasses and the like.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Of course the exact shape of the various Chinese characters here referred to must not be actually painted into the composition but merely the sentiment of their respective forms recalled.  They are simply practical memory aids to desired effects.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is the spirit of the character rather than its exact shape which should control; the order of
+<span class="tei tei-pb" id="page59">[pg 59]</span>
+the painted strokes being that of the written character, its sentiment or general shape is thus reproduced.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In this connection I would allude to criticisms or judgments upon Japanese painting in which particular stress is laid upon its calligraphic quality.  If any Japanese artist was seriously informed that his method of painting was calligraphic, he would explode with mirth.  There are several ways to account for this rather wide-spread error.  Much that is written about Japanese painting and its calligraphy is but the repetition by one author of what he has taken on trust from another, an effective way sometimes of spreading misinformation.  It is quite true that the assiduous study of Chinese writing <em class="tei tei-emph"><span style="font-variant: small-caps">(sho)</span></em> is an essential part of thorough art education in Japan, not, however, for the purpose of learning to paint as one writes, or of introducing written characters more or less transformed into a painting (if that be what is meant by <span class="tei tei-q">“calligraphic”</span>), but simply to give the artist freedom, confidence, and grace in the handling of the brush and to train his eye to form and balance and to acquire both strength of stroke and a knowledge of the sequence of strokes.  To write in Chinese after the manner of professionals <em class="tei tei-emph"><span style="font-variant: small-caps">(sho ka)</span></em> is truly a great art, esteemed even higher than painting; it requires thirty years of constant practice to become expert therein, and it has many laws and profound principles which, if mastered by artists, will enable them to be all the greater in their painting, and many Japanese artists have justly prided 
+<span class="tei tei-pb" id="page60">[pg 60]</span>
+themselves upon being expert writers of the Chinese characters.  Okyo practiced daily for three years the writing of two intricate characters standing for his name, until he was satisfied with their forms, but there is nothing calligraphic about any of Okyo's painting.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Possibly what has misled foreign critics and even some Japanese writers is that there exists a class of men in Japan given to learning, to writing, and also to painting in a particular way.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+These men are called <em class="tei tei-emph"><span style="font-variant: small-caps">bun jin</span></em> (literati) and their style of painting is called <em class="tei tei-emph"><span style="font-variant: small-caps">bun jin fu.</span></em>  They are not artists, but are known as Confucius' scholars <em class="tei tei-emph"><span style="font-variant: small-caps">(ju sha)</span></em>, and being professional or trained writers in the difficult art of Chinese calligraphy they have a manner of painting strictly <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sui generis.</span></span>  It is known as the <em class="tei tei-emph"><span style="font-variant: small-caps">nan gwa</span></em> or southern literary way of painting.  Their subjects are the bamboo, the plum, the orchid and the chrysanthemum, called the four paragons <em class="tei tei-emph"><span style="font-variant: small-caps">(shi kun shi).</span></em>  These and landscapes they paint with their writing brush and more or less in what is called the grass character <em class="tei tei-emph"><span style="font-variant: small-caps">(so sho)</span></em> manner of writing.  In fact, they often aim to make their painting look like writing and they rarely use any color except light-brown <em class="tei tei-emph"><span style="font-variant: small-caps">(tai sha).</span></em>  They suppress line as distinguished from mass.  This method is called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">bokkotsu</span></span> (see <a href="#plate12" class="tei tei-ref"><span style="color: blue">Plate XII</span></a>). Such painting of the <em class="tei tei-emph"><span style="font-variant: small-caps">nan gwa</span></em> school is, in a sense, calligraphic, but that is not the kind of painting which Japanese artists are taught, practice and profess, nor is it even recognized as an art, but simply as an eccentric development of the literary
+<span class="tei tei-pb" id="page61">[pg 61]</span>
+man with a taste for painting.   At one time or another well-known artists, especially at the beginning of the Meiji era, have affected this <em class="tei tei-emph"><span style="font-variant: small-caps">bun jin</span></em> calligraphy style simply as a passing fashion.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+One other possible explanation of the critics pronouncing all Japanese paintings calligraphic is that various Chinese characters are, as we have seen, invoked and employed by Japanese artists as memory aids to producing certain effects; but were these characters introduced calligraphically, the result would be laughable.  It should be plain then that Japanese painting is not calligraphic; as well apply the term calligraphy to one of Turner's water colors.  On the other hand, Chinese writing is built up on word pictures. There are between five and six hundred mother characters, all imitating the shapes of objects; these, with their later combinations, constitute the Chinese written system, so that while there is nothing calligraphic about Japanese painting, there is much that is pictorial about Chinese calligraphy.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Other landscape laws applicable to things seen at a distance in a painting require that distant trees should show no branches nor leaves; people at a distance, no features; distant mountains, no ledges; distant seas or rivers, no waves.  Again, clouds should indicate whence they come; running water the direction of its source; mountains, their chains; and roads, whither they lead.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In regard to painting moving waters, whether of deep or shallow, in rivers or brooks, bays or oceans, Chinanpin declared it was impossible for the eye
+<span class="tei tei-pb" id="page62">[pg 62]</span>
+to seize their exact forms because they are ever changing and have no fixed, definite shape, therefore they can not be sketched satisfactorily; yet, as moving water must be represented in painting, it should be long and minutely contemplated by the artist, and its general character—whether leaping in the brook, flowing in the river, roaring in the cataract, surging in the ocean or lapping the shore—observed and reflected upon, and after the eye and memory are both sufficiently trained and the very soul of the artist is saturated, as it were, with this one subject and he feels his whole being calm and composed, he should retire to the privacy of his studio and with the early morning sun to gladden his spirit there attempt to reproduce the movement of the flow; not by copying what he has seen, for the effect would be stiff and wooden, but by symbolizing according to certain laws what he feels and remembers.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In work of this kind there are certain directions for the employment of the brush which can only be learned from oral instruction and demonstration by the master.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In <a href="#plate38" class="tei tei-ref"><span style="color: blue">Plate XXXVIII</span></a> a, 1, the method by which waves are reproduced is shown, the circles indicating where the brush is turned upon itself before again curving.  On the same plate (b) waveless water, shallow water, and river water with current are indicated at the top, middle and bottom, respectively.  In <a href="#plate39" class="tei tei-ref"><span style="color: blue">Plate XXXIX</span></a> a, we have the moving waters of an inland sea; in b, the bounding waters of a brook; in <a href="#plate40" class="tei tei-ref"><span style="color: blue">Plate XL</span></a>, the stormy waves of the ocean.
+</p>
+<span class="tei tei-pb" id="page63">[pg 63]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+We will now consider another unique department of Japanese painting in connection with the garments of human beings.  The lines and folds of the garment may be painted in eighteen different ways according to what are known as the eighteen laws for the dress <em class="tei tei-emph"><span style="font-variant: small-caps">(emon ju hachi byo).</span></em>  I will mention each of these laws in its order and refer to the plate illustrations of the same.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The floating silk thread line <em class="tei tei-emph"><span style="font-variant: small-caps">(kou ko yu shi byou)</span></em> (<a href="#plate41" class="tei tei-ref"><span style="color: blue">Plate XLI</span></a> upper). This line was introduced by the Tosa school of artists eight hundred years ago and has been in favor ever since.  It is the purest or standard line and is reserved for the robes of elevated personages.  The brush is held firmly and the lines, made to resemble silk threads drawn from the cocoon, are executed with a free and uninterrupted movement of the arm.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Koto string line <em class="tei tei-emph"><span style="font-variant: small-caps">(kin shi byou)</span></em> (<a href="#plate41" class="tei tei-ref"><span style="color: blue">Plate XLI</span></a> lower).  This is a line of much dignity and of uniform roundness from start to finish.  It is produced by using a little more of the tip of the brush than in the silk thread line and there must be no break or pause in it until completed.  This line is used for dignified subjects.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Chasing clouds and running water lines <em class="tei tei-emph"><span style="font-variant: small-caps">(kou un ryu sui byou)</span></em> (<a href="#plate42" class="tei tei-ref"><span style="color: blue">Plate XLII</span></a> upper).  These are produced with a wave-like, continuous movement of the brush—breathing, as it were.  Such lines are generally reserved for the garments of saints, young men and women.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The stretched iron wire line <em class="tei tei-emph"><span style="font-variant: small-caps">(tetsu sen byou)</span></em> (<a href="#plate42" class="tei tei-ref"><span style="color: blue">Plate XLII</span></a> lower). This is a very important line,
+<span class="tei tei-pb" id="page64">[pg 64]</span>
+much employed by Tosa artists and used for the formal, stiffly searched garments of court nobles, <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">samurai,</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">no</span></em> dancers, and umpires of wrestling matches.  When this line is painted the artist must have the feeling of carving upon metal.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The nail-head and rat-tail line <em class="tei tei-emph"><span style="font-variant: small-caps">(tei tou sobi byou)</span></em> (<a href="#plate43" class="tei tei-ref"><span style="color: blue">Plate XLIII</span></a> upper).  In making this, the stroke is begun with the feeling of painting and reproducing the hard nature of a tack and then continued to depict a rat's tail, which grows small by degrees and beautifully less.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The line of the female court noble or <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">tsubone</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">(sou i byou)</span></em> (<a href="#plate43" class="tei tei-ref"><span style="color: blue">Plate XLIII</span></a> lower).  This line and the preceding are much used for the soft and graceful garments of young men and women and have always been favorites with the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Ukiyo e</span></span> painters.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The willow-leaf line <em class="tei tei-emph"><span style="font-variant: small-caps">(ryu you byou)</span></em> (<a href="#plate44" class="tei tei-ref"><span style="color: blue">Plate XLIV</span></a> upper).  This line has always been in great favor with all the schools, and especially with the Kano painters, and is used indiscriminately for goddesses, angels, and devils.  It is intended to reproduce the sentiment of the willow leaf, commencing with a fine point, swelling a little and again diminishing.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The angleworm line <em class="tei tei-emph"><span style="font-variant: small-caps">(kyu en byou)</span></em> (<a href="#plate44" class="tei tei-ref"><span style="color: blue">Plate XLIV</span></a> lower).  The angleworm is of uniform roundness throughout its length and it is with that sentiment or <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kokoromochi</span></span> that it must be painted, care being taken to conceal the point of the brush along the line.  This is a most important line in all color painting. Indeed, where much pains are to be taken with the picture, and the colors are to be most carefully laid on, it is the best and favorite line.
+</p>
+<span class="tei tei-pb" id="page65">[pg 65]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The rusty nail and old post line <em class="tei tei-emph"><span style="font-variant: small-caps">(ketsu tou tei byou)</span></em> (<a href="#plate45" class="tei tei-ref"><span style="color: blue">Plate XLV</span></a> upper).  This line is painted with a brush, the point of which is broken off.  The Kano school of artists particularly affect this method of line painting in depicting beggars, hermits, and other such characters.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The date seed line <em class="tei tei-emph"><span style="font-variant: small-caps">(sau gai byou)</span></em> (<a href="#plate45" class="tei tei-ref"><span style="color: blue">Plate XLV</span></a> lower).  This line, intended to represent a continuous succession of date seeds, is made with a throbbing brush and generally used in the garments of sages and famous men of learning.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The broken reed line <em class="tei tei-emph"><span style="font-variant: small-caps">(setsu ro byou)</span></em> (<a href="#plate46" class="tei tei-ref"><span style="color: blue">Plate XLVI</span></a> upper) is made with a rather dry brush and, as its name indicates, should be painted with the feeling of reproducing broken reeds.  It is a line intended to inspire terror, awe, consternation, and is used for war gods, <em class="tei tei-emph"><span style="font-variant: small-caps">fudo</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sama,</span></span> and other divinities.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The gnarled knot line <em class="tei tei-emph"><span style="font-variant: small-caps">(kan ran byou)</span></em> (<a href="#plate46" class="tei tei-ref"><span style="color: blue">Plate XLVI</span></a> lower).  In this kind of painting the brush is stopped from time to time and turned upon itself with a feeling of producing the gnarled knots of a tree.  The line is much used for ghosts, dream pictures, and the like.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The whirling water line <em class="tei tei-emph"><span style="font-variant: small-caps">(sen pitsu sui mon byou)</span></em> (<a href="#plate47" class="tei tei-ref"><span style="color: blue">Plate XLVII</span></a> upper) is used for rapid work and reproduces the swirl of the stream.  It was a favorite line with Kyosai.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The suppression line <em class="tei tei-emph"><span style="font-variant: small-caps">(gen pitsu byou)</span></em> (<a href="#plate47" class="tei tei-ref"><span style="color: blue">Plate XLVII</span></a> lower) is suitable where but few lines enter into the painting of the dress.  Any of the other seventeen lines can be employed in this way.  The Kano artists used it a great deal.
+</p>
+<span class="tei tei-pb" id="page66">[pg 66]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Dry twig or old firewood line <em class="tei tei-emph"><span style="font-variant: small-caps">(ko shi byou)</span></em> (<a href="#plate48" class="tei tei-ref"><span style="color: blue">Plate XLVIII</span></a> upper) is generally used in the robes of old men and produced by what is called the dry brush; that is, a brush with very little water mixed with  the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi.</span></span>  The stroke must be bold and free to be effective.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The orchid leaf line <em class="tei tei-emph"><span style="font-variant: small-caps">(ran yau byou)</span></em> (<a href="#plate48" class="tei tei-ref"><span style="color: blue">Plate XLVIII</span></a> lower). This is a very beautiful method of painting whereby the graceful shape of the orchid leaf is recalled; the line is used for the dresses of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">geishas</span></span> and beauties <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(bijin)</span></span> generally.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The bamboo leaf line <em class="tei tei-emph"><span style="font-variant: small-caps">(chiku yau byou)</span></em> (<a href="#plate49" class="tei tei-ref"><span style="color: blue">Plate XLIX</span></a> upper).  This style of painting, which aims at suggesting the leaf of the bamboo, was much in favor formerly in China.  Japanese artists seldom employ it.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The mixed style <em class="tei tei-emph"><span style="font-variant: small-caps">(kon byou)</span></em> (<a href="#plate49" class="tei tei-ref"><span style="color: blue">Plate XLIX</span></a> lower), in which any of the foregoing seventeen styles can be employed provided the body of the garment be laid on first in mass and the lines painted in afterward while the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> or paint is still damp.  This gives a satiny effect.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There are many other ways of painting the lines of the garment but the preceding eighteen laws give the strictly classic methods known to oriental art.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The orchid, bamboo, plum, and chrysanthemum paragons <em class="tei tei-emph"><span style="font-variant: small-caps">(ran chiku bai kiku)</span></em> are called in art the Four Paragons.  Although these may be the first studies taught they are generally the last subjects mastered.  Much learning and research have been expended upon them in China and Japan. An
+<span class="tei tei-pb" id="page67">[pg 67]</span>
+artist who can paint <em class="tei tei-emph"><span style="font-variant: small-caps">shi kun shi</span></em> is a master of the brush.  I will indicate some of the laws applicable to each of these subjects.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The orchid grows in the deepest mountain recesses, exhaling its perfume and unfolding its beauty in silence and solitude, unheralded and unseen; thus, regardless of its surroundings and fulfilling the law of its being, fifteen hundred years ago it was proclaimed by the poet and painter San Koku to typify true nobility and hence was a paragon.  In poetry it is called the maiden's mirror.  Many great Chinese writers have taken the orchid <em class="tei tei-emph"><span style="font-variant: small-caps">(ran)</span></em> for their nom de plume, as Ran Ya, Ran Tei, Ran Kiku, and Ran Ryo.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<a href="#plate52" class="tei tei-ref"><span style="color: blue">Plate LII</span></a> shows an orchid plant in flower.  The established order of the brush strokes for the leaves of is indicated at the tips by numerals one to eleven; that of the flower stalk and flower by numbers twelve to twenty-one.  Various forms are invoked in painting both the plant and the flower and are more or less graphically suggested.  These forms are indicated by numbers, as follows:
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Leaf blade No. 1 reproduces twice the stomach of the mantis (22), the tail of the rat (23), with the cloud longing <em class="tei tei-emph"><span style="font-variant: small-caps">(bo un)</span></em> of the tip (24).  Leaf No. 2 is similarly constructed but is painted to intersect leaf No. 1, leaving between them a space (No. 25) called the elephant's eye.  Leaf No. 3 is intersected by leaf No. 4, enclosing another space between them, known as the eye of the phoenix.  Adding leaves Nos. 5 and 6, called <em class="tei tei-emph"><span style="font-variant: small-caps">seki</span></em> or <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kazari,</span></span> meaning ornament, we have the most essential
+<span class="tei tei-pb" id="page68">[pg 68]</span>
+parts of the orchid plant.  Leaf No. 7 is known as
+the rat's tail and leaf No. 8 as the body of a young carp.  Nos. 9,10 and 11 are called nail heads, from their fancied resemblance to such objects.  With these the plant is structurally complete.
+</p>
+
+<a name="plate07" id="plate07" class="tei tei-anchor" style="text-align: center"></a><a name="fig22" id="fig22"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_07.jpg" alt="Bamboo, Sparrow and Rain. Plate VII." title="Bamboo, Sparrow and Rain. Plate VII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Bamboo, Sparrow and Rain.  Plate VII.</div></div>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The flower stalk is divided into four parts (Nos. 12 to 15), called rice sheaths.  The flower is made with six strokes (16 to 21), called the flying bee (26).  The three dots in the flower reproduce the sentiment of the Chinese character for heart (23).
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The orchid is variously painted rising from the ground, issuing from the banks of a brook, or clinging with its roots to a rocky cliff.  In allusion to the lonely places where it grows it is called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">I shiri no kusa</span></span> or the plant which the wild boar knows.  The orchid is credited with medicinal properties, and the flower steeped in wine makes a potion which secures perpetual health.  The charm of friendship is likened unto the orchid's perfume and the flowers are worn by the ladies of the court to ward off maladies.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The leaves of the bamboo are green at all seasons.  The stems are straight and point upwards.  The plant is beautiful under all conditions—struggling beneath the winter snow or fanned by the spring breeze, swaying with the storm or bending under showers—its grace challenges admiration.  Typifying constancy and upright conduct, it was claimed over a thousand years ago by Shumo Shiku to be a paragon.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nothing is more difficult to paint correctly than this plant.  <a href="#plate53" class="tei tei-ref"><span style="color: blue">Plate LIII</span></a> shows the bamboo with its
+<span class="tei tei-pb" id="page69">[pg 69]</span>
+essentially component parts and forms indicated as follows: The upright stalk is in five subdivisions (1 to 5), each differing in length but all suggesting the Chinese character for one <em class="tei tei-emph"><span style="font-variant: small-caps">(ichi)</span></em> painted upright.  These are separated from each other by strokes reproducing the Chinese characters for positively (22), for heart (23), for second (24), for one (25), and for eight (26).  The stem (6 to 10) is composed of rats' tails.  The manner of painting and combining the leaves of the bamboo is called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">take no ha no kumitata</span></span> and is minutely described and illustrated in Ransai's great work, <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Gwa Fu.</span></span>  The essentials are: The five-leaf arrangement <em class="tei tei-emph"><span style="font-variant: small-caps">(go yo)</span></em> (11 to 15) with the ornament (16), called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kazari.</span></span> The three-leaf arrangement (17 to 19) called <em class="tei tei-emph"><span style="font-variant: small-caps">ko ji</span></em>, from its resemblance to the Chinese character <em class="tei tei-emph"><span style="font-variant: small-caps">ko</span></em> (32).  The two-leaf arrangement (20 and 21) called <em class="tei tei-emph"><span style="font-variant: small-caps">jin ji</span></em>, from its resemblance to the character <em class="tei tei-emph"><span style="font-variant: small-caps">jin</span></em> (33), a man.  In further development of the plant the following imitative arrangements of the leaves are used: The fish tail <em class="tei tei-emph"><span style="font-variant: small-caps">(gyo bi)</span></em> (27), the goldfish triple tail <em class="tei tei-emph"><span style="font-variant: small-caps">(kingyo bi)</span></em> (28), the swallow tail <em class="tei tei-emph"><span style="font-variant: small-caps">(en bi)</span></em> (29), the Chinese character for bamboo <em class="tei tei-emph"><span style="font-variant: small-caps">(chiku ji)</span></em> (30), and the seven-leaf arrangement <em class="tei tei-emph"><span style="font-variant: small-caps">(shichi yo)</span></em> (31).  It will be observed how the odd or positive numbers <em class="tei tei-emph"><span style="font-variant: small-caps">(yo)</span></em> are favored.  The foregoing method is used by the Okyo painters.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Kano artists have another system for combining and elaborating the leaf growth, but it does not differ radically from that here given.  The leaf of the bamboo reproduces the shape of a carp's body (34).  It also resembles the tail feathers of the
+<span class="tei tei-pb" id="page70">[pg 70]</span>
+phoenix.  An oil is made from the bamboo and is said to be good for people with quick tempers.  Many artists adopt the name of bamboo for their nom de plume; witness, Chiku Jo, Chiku Do, Chiku Sho, Chiku Den and the like.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is said that the full moon casts the shadow of the bamboo in a way no other light approaches.  The learned Okubu Shibutsu first observed this and the discovery led to his becoming the greatest of all bamboo painters.  Nightly he used to trace with <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> such bamboo shadows on his paper window.  Sho Hin, a lady artist of Tokyo, enjoys a well-earned reputation for painting bamboo.  She was a pupil of Tai Zan, a Kyoto representative of the Chinese school.  The Kano painters much favored the subject of the seven sages in the bamboo grove.  Bamboo grass <em class="tei tei-emph"><span style="font-variant: small-caps">(sassa)</span></em> is much painted by all the schools.  It is very decorative.  There is a male and a female bamboo; from the latter <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(medake)</span></span> arrows are made.  The uses to which man puts the bamboo are surprisingly numerous, thus fortifying its claims to be regarded a paragon.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The plum is the first tree of the year to bloom.  It has a dejicate perfume.  Though the trunk of the tree grows old it renews its youth and beauty every spring with vigorous fresh branches crowded with buds and blossoms.  In old age the tree takes on the shape of a sleeping dragon.  With no other flower or tree are associated more beautiful and pathetic folk-lore and historical facts.  For these and other reasons Rennasei assigned to the plum its place as a paragon centuries and centuries ago.
+</p>
+<span class="tei tei-pb" id="page71">[pg 71]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The tree branches with their interlacings reproduce the spirit of the Chinese character for woman, called <em class="tei tei-emph"><span style="font-variant: small-caps">jo ji</span></em> (<a href="#plate50" class="tei tei-ref"><span style="color: blue">Plate L</span></a>, No. 1).  The blossom (2) is painted on the principle of <em class="tei tei-emph"><span style="font-variant: small-caps">in yo,</span></em> the upper portion of the petal line being the positive or <em class="tei tei-emph"><span style="font-variant: small-caps">yo</span></em> and the lower being the negative or <em class="tei tei-emph"><span style="font-variant: small-caps">in</span></em> side.  This is repeated five times for the five petals of the blossom (3). The stamens (4) and pistils are reproductions of the Chinese character <em class="tei tei-emph"><span style="font-variant: small-caps">sho,</span></em> meaning small.  For the calyx (5) the Chinese character for clove <em class="tei tei-emph"><span style="font-variant: small-caps">(cho)</span></em> is invoked.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The great scholar and nobleman, Sugewara Michizane, particularly loved the plum tree. Banished from his home, as he was leaving his grounds he addressed that silent sentinel of his garden in the following verse, which has earned immortality:
+</p>
+<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em">
+<div class="tei tei-l" style="text-align: left">
+Do thou, dear plum tree, send out thy perfume when the east wind blows;
+</div>
+<div class="tei tei-l" style="text-align: left">
+And, though thy master be no longer here,
+</div>
+<div class="tei tei-l" style="text-align: left">
+Forget not to blossom always when the springtime comes.
+</div>
+</div>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In Japan the plum, though not eaten raw, when salted has wonderful strength sustaining properties, and in wartime supplies as <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">ume boshi</span></span> a valuable concentrated food.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The chrysanthemum has been cultivated in China
+for four thousand years and its fame was sung by the poet and scholar, To En Mei, who prized it above all else under heaven and assigned it the rank of paragon.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+When all Nature is preparing for the long sleep of winter and the red, brown and golden forest leaves are dropping, spiritless, to the ground, the
+<span class="tei tei-pb" id="page72">[pg 72]</span>
+chrysanthemum comes forth from the earth in fresh and radiant colors.  It gladdens the heart in the sad season of autumn.  Its clustered petals, all united and never scattering, typify the family, the state, and the Empire.  For the last six hundred years the sixteen-petaled chrysanthemum has been the emblem of Imperial sovereignty in Japan.  With artists it has always been a favorite flower subject.  There are innumerable ways of painting it.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<a href="#plate51" class="tei tei-ref"><span style="color: blue">Plate LI</span></a> shows the chrysanthemum flower and leaves painted in the Okyo manner.  There is an established order in which the leaves must be executed. Viewed from the front (Nos. 1 and 2) the order of the brush stroke is as indicated on the plate; viewed from the side the brush is applied in the order indicated in Nos. 4 and 5.  The flower (6 and 7) is built up from the bud (5), petals being added according to the effect sought.  The flower half opened is shown in No. 6, and wholly opened in No. 7.  The calyx somewhat reproduces the Chinese written character <em class="tei tei-emph"><span style="font-variant: small-caps">cho.</span></em>  The Kano painters have a different way of painting the chrysanthemum leaves and flowers, but the foregoing illustrates the general principles obtaining in all the schools.  Korin painted the <em class="tei tei-emph"><span style="font-variant: small-caps">kiku</span></em> in a manner quite different from that of any other artist.  The word <em class="tei tei-emph"><span style="font-variant: small-caps">kiku</span></em> is Chinese, the Japanese word for the flower being <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kawara yomogi.</span></span>  The Nagoya artists have always been particularly skilful in painting the chrysanthemum in an exceptionally engaging way.  The little marguerite-like blossom is called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">mame-giku,</span></span> and is a universal favorite among all artists.
+</p>
+<span class="tei tei-pb" id="page73">[pg 73]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The impression produced on one who for the first time hears enumerated these various laws may possibly be that all such methods for securing artistic effects are arbitrary, mechanical and unnatural.  But in practice, the artist who invokes their aid finds they produce invariably pleasing and satisfactory results.  It must not be supposed that such laws are exclusive of all other methods of painting in the Japanese style.  On the contrary the artist is at liberty to use any other method he may select provided the result is artistically correct.  Many painters have invented methods of their own which are not included in the foregoing enumeration of these laws of lines, dots and ledges, which, it must always be borne in mind, are only to assist the artist who may be in doubt or difficulty as to how he shall best express the effect he aims at.  It is such second nature for him to employ them that he does so as unconsciously as one in writing will invoke the rules of grammar.  It is related that a great statesman, being asked if it were necessary for a diplomat to know Latin and Greek, replied that it was quite sufficient for him to have forgotten them.  And so with these laws.  A knowledge of them is a necessary part of the education of every Japanese artist, for they lie at the very foundation of the art of oriental painting.  Chinese writing abounds with similar principles; it is a law applicable to one kind of such writing, called <em class="tei tei-emph"><span style="font-variant: small-caps">rei sho,</span></em> that in each character there shall be one stroke which begins with the head of a silkworm and terminates with a goose's tail.  This also may
+<span class="tei tei-pb" id="page74">[pg 74]</span>
+sound odd and seem forced, yet this law gives a special and wonderful <span lang="fr" class="tei tei-foreign" xml:lang="fr"><span style="font-style: italic">cachet</span></span> to the character so written.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Some acquaintance with these principles and methods invoked by artists adds much to our keen enjoyment of their work, just as an analysis of the chords in a musical composition increases our pleasure in the harmonies they produce.  Ruskin has discovered in the very earliest art the frequent use of simple forms suggested by the slightly curved and springing profile of the leaf bud which, he declares, is of enormous importance even in mountain ranges, when not vital but falling force is suggested.  <span class="tei tei-q">“This abstract conclusion the great thirteenth century artists were the first to arrive at”</span> (Ruskin's Mod. Painters, Vol. III), and even in the architecture of the best cathedrals that author detects the observance of the law determining in an ivy leaf the arrangement of its parts about a center.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In Japanese art simple forms supplied by nature are often used for suggesting other forms as, for instance, the stork's legs for the pine tree branches, the turtle's back for the pine bark lines, the fish tail for bamboo leafage, the elephant's eye in the orchid plant, the shape of Fujiyama for the forehead of a beautiful woman, and various Chinese characters, originally pictorial, adumbrated in trees, flowers and other subjects.  The universality of such underlying type forms recognized and applied by oriental artists is confirmatory of the principle that in both nature and art all is united by a common
+<span class="tei tei-pb" id="page75">[pg 75]</span>
+chain or <span lang="la" class="tei tei-foreign" xml:lang="la"><span style="font-style: italic">commune vinculum</span></span> attesting the harmony between created things.  A Japanese painting executed with the aid of such resources teems with vital force and suggestion, and to the eye of a connoisseur <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(kuroto)</span></span> becomes a breathing microcosm.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+To give some idea of the order in which the component parts of an object are painted according to Japanese rules, which are always stringently insisted upon, flowers like the chrysanthemum and peony are begun at their central point and built up from within outwardly, the petals being added to increase the size as the flower opens.  In a flower subject the blossoms are painted first; the buds come next; then the stem, stalks, leaves and their veinings, and lastly the dots called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">chobo chobo.</span></span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The established order for the human figure is as follows: Nose and eyebrows, eyes, mouth, ears, sides of the face, chin, forehead, head, neck, hands, feet, and finally the appareled body.  In Japanese art the nude figure is never painted.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In a tree the order is trunk, central and side limbs <a href="#plate21" class="tei tei-ref"><span style="color: blue">(Plate XXI)</span></a>, branches and their subdivisions, leaves and their veinings, and dots.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In birds: The beak in three strokes <em class="tei tei-emph"><span style="font-variant: small-caps">(ten, chi, jin),</span></em> the eye, the head, the throat and breast, the back, the wings, the body, the tail, the legs, claws, nails and eyeball <a href="#plate22" class="tei tei-ref"><span style="color: blue">(Plate XXII)</span></a>.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In landscape work the general rule is to paint what is nearest first and what is farthest last.  Kubota's method was to do all this rapidly and, if possible, with one dip of the well-watered brush into the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi,</span></span> so that as the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> becomes gradually
+<span class="tei tei-pb" id="page76">[pg 76]</span>
+diluted and exhausted the proper effect of foreground, middle distance and remote perspective is obtained.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In painting mountain ranges that recede one behind the other the same process is followed, and mountains as they disappear to the right or left of the picture should tend to rise.  This principle is called <em class="tei tei-emph"><span style="font-variant: small-caps">bo un</span></em> or cloud longing.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is useless here to enumerate the many faults which art students are warned against committing.  Suffice it to say the number is
+enormous.  Out of many of the Chinese formulas I will give only one, which is known as <em class="tei tei-emph"><span style="font-variant: small-caps">shi byo</span></em> or the four faults,
+and is as follows:
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<em class="tei tei-emph"><span style="font-variant: small-caps">Ja, kan, zoku, rai.</span></em>  <em class="tei tei-emph"><span style="font-variant: small-caps">Ja</span></em> refers to attempted originality in a painting without the ability to give it
+character, departing from all law to produce something not reducible to any law or principle.  <em class="tei tei-emph"><span style="font-variant: small-caps">Kan</span></em> is producing only
+superficial, pleasing effect without any <em class="tei tei-emph"><span style="font-style: italic">power</span></em> in the brush stroke—a characterless painting to charm only the ignorant.
+<em class="tei tei-emph"><span style="font-variant: small-caps">Zoku</span></em> refers to the fault of painting from a mercenary motive only,—thinking of money instead of
+art.  <em class="tei tei-emph"><span style="font-variant: small-caps">Rai</span></em> is the base imitation of or copying or cribbing from others.
+</p>
+</div>
+
+<span class="tei tei-pb" id="page77">[pg 77]</span>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc23" id="toc23"></a>
+  <a name="pdf24" id="pdf24"></a>
+
+<a name="hbandc05" id="hbandc05" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/hbandc05.jpg" alt="Chapter 5 Head-Band: Maple leaves are associated with Ten Jin (Sugiwara Michizane), patron of learning. Children in invoking his aid in a little prayer count the points of the maple leaf, saying, “yoku te agar”—assist us to be clever. In Japanese the maple leaf is called kaide, meaning frog's hand." /></div>
+
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER FIVE. CANONS OF THE AESTHETICS OF JAPANESE PAINTING</span></h1>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+One of the most important principles in the
+art of Japanese painting—indeed, a fundamental and entirely distinctive characteristic—is that called living movement, <em class="tei tei-emph"><span style="font-variant: small-caps">sei do,</span></em> or <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kokoro mochi,</span></span> it being, so to say, the transfusion into the work of the felt nature of the thing to be painted by the artist.  Whatever the subject to be translated—whether river or tree, rock or mountain, bird or flower, fish or animal—the artist at the moment of painting it must feel its very nature, which, by the magic of his art, he transfers into his work to remain forever, affecting all who see it with the same sensations he experienced when executing it.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+This is not an imaginary principle but a strictly enforced law of Japanese painting.  The student is incessantly admonished to observe it.  Should his subject be a tree, he is urged when painting it to feel the strength which shoots through the branches
+<span class="tei tei-pb" id="page78">[pg 78]</span>
+and sustains the limbs.  Or if a flower, to try to feel the grace with which it expands or bows its blossoms.  Indeed, nothing is more constantly urged upon his attention than this great underlying principle, that it is impossible to express in art what one does not first feel.  The Romans taught their actors that they must first weep if they would move others to tears.  The Greeks certainly understood the principle, else how did they successfully invest with imperishable life their creations in marble?
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In Japan the highest compliment to an artist is to say he paints with his soul, his brush following the dictates of his spirit.  Japanese painters frequently repeat the precept:
+</p>
+<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em">
+<div class="tei tei-l" style="text-align: left">
+<span lang="jp" class="tei tei-foreign" style="text-align: left" xml:lang="jp"><span style="font-style: italic">Waga kokoro waga te wo yaku</span></span>
+</div>
+<div class="tei tei-l" style="text-align: left">
+<span lang="jp" class="tei tei-foreign" style="text-align: left" xml:lang="jp"><span style="font-style: italic">Waga te waga kokoro ni ozuru.</span></span>
+</div>
+</div>
+
+<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em">
+<div class="tei tei-l" style="text-align: left">
+Our spirit must make our hand its servitor;
+</div>
+<div class="tei tei-l" style="text-align: left">
+Our hand must respond to each behest of our spirit.
+</div>
+</div>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Japanese artist is taught that even to the placing of a dot in the eyeball of a tiger he must first feel the savage, cruel, feline character of the beast, and only under such influence should he apply the brush.  If he paint a storm, he must at the moment realize passing over him the very tornado which tears up trees from their roots and houses from their foundations.  Should he depict the seacoast with its cliffs and moving waters, at the moment of putting the wave-bound rocks into the picture he must feel that they are being placed there to resist the fiercest movement of the ocean, while to the waves in turn he must give an irresistible power to carry all before them; thus, by
+<span class="tei tei-pb" id="page79">[pg 79]</span>
+this sentiment, called living movement <em class="tei tei-emph"><span style="font-variant: small-caps">(sei do),</span></em> reality is imparted to the inanimate object.  This is one of the marvelous secrets of Japanese painting, handed down from the great Chinese painters and based on psychological principles—matter responsive to mind.  Chikudo, the celebrated tiger painter <a href="#plate06" class="tei tei-ref"><span style="color: blue">(Plate VI)</span></a>, studied and pondered so long over the savage expression in the eye of the tiger in order to reproduce its fierceness that, it is related, he became at one time mentally unbalanced, but his paintings of tigers are inimitable.  They exemplify <em class="tei tei-emph"><span style="font-variant: small-caps">sei do.</span></em>
+</p>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+From what has been said it will be appreciated why, in a Japanese painting, so much value is attached to the strength with which the brush strokes are executed <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(fude no chicara),</span></span> to the varying lights and shades of the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">(boku shoku),</span></em> to their play and sheen <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(tsuya),</span></span> and to the manifestation of the artist's power according to the principle of living movement <em class="tei tei-emph"><span style="font-variant: small-caps">(sei do).</span></em>  In a European painting such considerations have no place.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+An oil painting can be rubbed out and done over time and again until the artist is satisfied.  A <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi e</span></span> or ink painting must be executed once and for all time and without hesitation, and no corrections are permissible or possible.  Any brush stroke on paper or silk painted over a second time results in a smudge; the life has left it.  All corrections show when the ink dries.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Japanese artists are not bound down to the literal  presentation  of things  seen.  They  have  a canon, called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">esoragoto,</span></span> which means literally an
+<span class="tei tei-pb" id="page80">[pg 80]</span>
+invented picture, or a picture into which certain invention fictions are painted.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Every painting to be effective must be <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">esoragoto;</span></span> that is, there must enter therein certain artistic liberties.  It should aim not so much to reproduce the exact thing as its sentiment, called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kokoro mochi,</span></span> which is the moving spirit of the scene.  It must not be a facsimile.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+When we look at a painting which pleases us what is the cause or source of our satisfaction?  Why does such painting give us oftentimes more satisfaction than the scene itself which it recalls?  It is largely because of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">esoragoto</span></span> or the admixture of invention (the artistic unreality) with the unartistic reality; the poetic handling or treatment of what in the original may in some respects be commonplace.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A correctly executed Japanese painting in <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi e,</span></span> is essentially a false picture so far as color goes, where anything in it not black is represented.  Hence, <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> paintings of landscapes, flowers and trees, are untrue as to color, and the art lies in making things thus represented seem the opposite of what they appear and cause the sentiment of color to be felt through a medium which contains no color.  This is <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">esoragoto.</span></span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is related that Okubo Shibutsu, famous for painting bamboo, was requested to execute a <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakemono</span></span> representing a bamboo forest.  Consenting, he painted with all his known skill a picture in which the entire bamboo grove was in red. The patron upon its receipt marveled at the extraordinary
+<span class="tei tei-pb" id="page81">[pg 81]</span>
+skill with which the painting had been executed, and, repairing to the artist's residence, he said: <span class="tei tei-q">“Master, I have come to thank you for the picture; but, excuse me, you have painted the bamboo red.”</span>  <span class="tei tei-q">“Well,”</span> cried the master, <span class="tei tei-q">“in what color would you desire it?”</span>  <span class="tei tei-q">“In black, of course,”</span> replied the patron.  <span class="tei tei-q">“And who,”</span> answered the artist, <span class="tei tei-q">“ever saw a black-leaved bamboo?”</span>  This story well illustrates <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">esoragoto.</span></span>  The Japanese are so accustomed to associate true color with what the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> stands for that not only is fiction in this respect permissible but actually missed when not employed.  In a landscape painting effects are frequently introduced which are not to be found in the scene sketched.  The false or fictitious is added to heighten the effect.  This is <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">esoragoto—</span></span> the privileged departure, the false made to seem true.  In a landscape a tree is often found to occupy an unfortunate place or there is no tree where its presence would heighten the effect.  Here the artist will either suppress or add it, according to the necessities of treatment.  Not every landscape is improved by trees or plantations; nor, indeed, is every view containing trees a type scene for landscape treatment.  Hence, certain liberties are conceded the artist provided only the effect is pleasing and satisfactory and that no probabilities seem violated.  This is <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">esoragoto.</span></span>  Horace understood this and lays it down as a fundamental principle in art: <span class="tei tei-q">“<span lang="la" class="tei tei-foreign" xml:lang="la"><span style="font-style: italic">Quid libet audendi</span></span>”</span>.  The artist will oftentimes see from a point of view impossible in nature, but if the result is pleasing the liberty is accorded.  Sesshu, one of the greatest landscape
+<span class="tei tei-pb" id="page82">[pg 82]</span>
+painters of Japan, on returning to his own country after having studied some years in China, made a painting of his native village with its temple and temple groves, winding river and pagoda or five-roofed tower.  His attention being subsequently called to the fact that in this village there was no tower or pagoda, he exclaimed that there ought to be one to make the landscape perfect, and thereupon he had the tower constructed at his own expense.  He had painted in the pagoda unconsciously.  This was <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">esoragoto.</span></span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There are no people in the world who have a higher idea of the dignity of art than the Japanese and it is a principle with them that every painting worthy of the name should reflect that dignity, should testify to its own worth and thus justly impress with sentiments of admiration those to whom it may be shown.  This intrinsic loftiness, elevation or worth is known in their art by the term <em class="tei tei-emph"><span style="font-variant: small-caps">ki in.</span></em>  Without this quality the painting, artistically considered and critically judged, must be pronounced a failure.  Such picture may be perfect; in proportion and design, correct in brush force and faultless in color scheme; it may have complied with the principles of <em class="tei tei-emph"><span style="font-variant: small-caps">in yo</span></em>, and <em class="tei tei-emph"><span style="font-variant: small-caps">ten, chi, jin</span></em> or heaven, earth and man; it may have scrupulously observed all the rules of lines, dots and ledges and yet if <em class="tei tei-emph"><span style="font-variant: small-caps">ki in</span></em> be wanting the painting has failed as a work of true art. What is this subtle something called <em class="tei tei-emph"><span style="font-variant: small-caps">ki in?</span></em>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In our varied experiences of life we all have met with noble men and women whose beautiful and
+<span class="tei tei-pb" id="page83">[pg 83]</span>
+elevating characters have impressed us the moment we have been brought into relation with them.  The same quality which thus affects us in persons is what the Japanese understand by <em class="tei tei-emph"><span style="font-variant: small-caps">ki in</span></em> in a painting.  It is that indefinable something which in every great work suggests elevation of sentiment, nobility of soul.  From the earliest times the great art writers of China and Japan have declared that this quality, this manifestation of the spirit, can neither be imparted nor acquired.  It must be innate.  It is, so to say, a divine seed implanted in the soul by the Creator, there to unfold, expand and blossom, testifying its hidden residence with greater or lesser charm according to the life spent, great principles adhered to and ideals realized.  Such is what the Japanese understand by <em class="tei tei-emph"><span style="font-variant: small-caps">ki in.</span></em>  It is, I think, akin to what the Romans meant by <span lang="la" class="tei tei-foreign" xml:lang="la"><span style="font-style: italic">divinus afflatus—</span></span>that divine and vital breath, that emanation of the soul, which vivifies and ennobles the work and renders it immortal.  And it is a striking commentary upon artist life in Japan that many of the great artists of the Tosa and Kano schools, in the middle years of their active lives, retired from the world, shaved their heads, and, taking the titular rank of <em class="tei tei-emph"><span style="font-variant: small-caps">hogen, hoin</span></em> or <em class="tei tei-emph"><span style="font-variant: small-caps">hokyo,</span></em> became Buddhist priests and entered monasteries, there to pass their remaining days, dividing their time between meditation and inspired work that they might leave in dying not only spotless names but imperishable monuments raised to the honor and glory of Japanese art.
+</p>
+</div>
+
+
+<span class="tei tei-pb" id="page84">[pg 84]</span>
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc25" id="toc25"></a>
+  <a name="pdf26" id="pdf26"></a>
+
+<a name="hbandc06" id="hbandc06" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/hbandc06.jpg" alt="Chapter 6 Head-Band: The chrysanthemum pattern." /></div>
+
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER SIX. SUBJECTS FOR JAPANESE PAINTING</span></h1>
+<h1 class="tei tei-head" style="text-align: center; margin-bottom: 2.88em; margin-top: 2.88em"><em class="tei tei-emph" style="text-align: center"><span style="font-size: 144%; font-variant: small-caps">(gwa dai)</span></em></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A Japanese artist will never of his own accord paint a flower out of season or a spring landscape in autumn; the fitness of things insensibly influences him.  From ancient times certain principles have determined his choice of subjects, according either to the period of the year or to the festivals, ceremonies, entertainments or other events he may be required to commemorate.  All such subjects are called <em class="tei tei-emph"><span style="font-variant: small-caps">gwa dai.</span></em>  As one without some knowledge of these cannot appreciate much that is interesting about art customs in Japan, a brief reference to them will be made, beginning with those subjects suitable to the different months of the year:
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+January—For New Year's  day  <em class="tei tei-emph"><span style="font-variant: small-caps">(sho gwatsu gwan jitsu)</span></em>
+favorite subjects are <span class="tei tei-q">“the sun rising above the ocean,”</span> called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">hi no de ni nami</span></span> (<a href="#plate54" class="tei tei-ref"><span style="color: blue">Plate LIV</span></a> No.  1); <span class="tei tei-q">“Mount  Horai”</span> (2), <span class="tei tei-q">“the sun with storks and tortoises”</span> (3, 4, 5); or <span class="tei tei-q">“Fukurokuju,”</span>
+<span class="tei tei-pb" id="page85 ">[pg 85 ]</span>
+a god of good luck.  Many meanings are associated with these subjects.  The sun never changes and the ocean is ever changing, hence <em class="tei tei-emph"><span style="font-variant: small-caps">in yo</span></em> is symbolized.  The sun, the ocean and the circumambient air symbolize <em class="tei tei-emph"><span style="font-variant: small-caps">ten chi jin</span></em> or the universe.  Horai <em class="tei tei-emph"><span style="font-variant: small-caps">(san)</span></em> is a symbol for Japan.  It is the lofty mountain on a fabled island in the distant sea, referred to in early Chinese writings, inhabited by sages <em class="tei tei-emph"><span style="font-variant: small-caps">(sen nin),</span></em> and containing the pine, bamboo and plum (known in art as <em class="tei tei-emph"><span style="font-variant: small-caps">sho, chiku, bai),</span></em> the pine standing for longevity, the bamboo for rectitude and the plum blossom for fragrance and grace.  The stork and the tortoise, whose back is covered with seaweed, both typify long life, the ancient saying being that the stork lives for one thousand and the tortoise for ten thousand years <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(tsuru wa</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">sen nen,</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kame wa</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">man nen).</span></em>  Fukurokuju is one of the seven gods of good luck, whose name means happiness, wealth and long life.  On New Year's day are suspended on either side of his picture bamboo and plum subjects (<a href="#plate55" class="tei tei-ref"><span style="color: blue">Plate LV</span></a>, 1, 2, 3).  This jovial god's name is sometimes happily interpreted by a triple <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakemono</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">(san buku tsui)</span></em>: The middle one is the sun and waves, for long life <em class="tei tei-emph"><span style="font-variant: small-caps">(ju)</span></em>; on the right, rice grains, for wealth <em class="tei tei-emph"><span style="font-variant: small-caps">(roku),</span></em> and on the left the flower of the cotton plant, for happiness <em class="tei tei-emph"><span style="font-variant: small-caps">(fuku),</span></em> because its corolla is golden and its fruit silvery, the gold and silver suggesting felicity (<a href="#plate56" class="tei tei-ref"><span style="color: blue">Plate LVI</span></a>, 1, 2, 3).  This makes a charming combination.  An excursion into the fields of Chinese philology in connection with the name of this god of good luck would unfold some wonderful word picturing.
+<span class="tei tei-pb" id="page86">[pg 86]</span>
+Traced to their hieroglyphical beginnings, <em class="tei tei-emph"><span style="font-variant: small-caps">fuku</span></em> signifies blessings from heaven; <em class="tei tei-emph"><span style="font-variant: small-caps">roku,</span></em> rank, commemorated  in  carving,  and <em class="tei tei-emph"><span style="font-variant: small-caps">(ju)</span></em>, agricultural pursuits, associated with white hair.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+An especially appropriate picture for this season of great festivity is called <span class="tei tei-q">“the pine at the gate”</span> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(kado matsu).</span></span>  It commemorates the custom on the first day of the year of planting pine trees at the entrance to Japanese public buildings and private residences.  From the rope <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(shimenawa)</span></span> (<a href="#plate55" class="tei tei-ref"><span style="color: blue">Plate LV</span></a>, 4) are suspended strips of white paper <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(gohei)</span></span> typifying purity of the soul; these hang in groups of three, five and seven, the odd or lucky number series associated with the positive or male principle <em class="tei tei-emph"><span style="font-variant: small-caps">(yo)</span></em> of <em class="tei tei-emph"><span style="font-variant: small-caps">in yo.</span></em>  Another appropriate subject for this early season of the year is rice cakes <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(mochi)</span></span> in the shapes of the sun and full moon (<a href="#plate55" class="tei tei-ref"><span style="color: blue">Plate LV</span></a>, 5).  In the picture the fruit called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">dai dai</span></span> is placed on the top of the rice cakes, the word <em class="tei tei-emph"><span style="font-variant: small-caps">dai</span></em> meaning ages, hence associated with longevity.  At the base of the stand is a prawn <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(ebi).</span></span>  This equally suggests old age because the prawn is bent in two.  The leaf of the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">yuzuri</span></span> is introduced because it is an auspicious word and means succession.  The picture of a battledoor and shuttlecock <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(hagoita)</span></span> is also appropriate for New Year as  it commemorates the ancient practice of the Japanese indulging in that pastime on that day (<a href="#plate56" class="tei tei-ref"><span style="color: blue">Plate LVI</span></a>, 4).
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+During January a very popular picture for the alcove <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(tokonoma)</span></span> is the treasureship, called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">taka-rabune</span></span> (<a href="#plate56" class="tei tei-ref"><span style="color: blue">Plate LVI</span></a>, 5). The vessel as it sails into port is heavily laden with all of the various tools
+<span class="tei tei-pb" id="page87">[pg 87]</span>
+and utensils typifying great wealth to be found in the capacious bag of Dai Koku, a Japanese god of good luck.  These are a ball, a hammer, weights, cloves, silver bronze, and the god's raincoat and hat.  On the evening of the second of January if the painting of a treasureship be put under the pillow and one dreams of either Fujisan, a falcon or an eggplant, the year long he will be fortunate.  It will be observed that on the sail of the treasure boat is inscribed the Chinese character for <em class="tei tei-emph"><span style="font-variant: small-caps">takara,</span></em> meaning treasure.  On the seventh day of January occurs the first of the five holidays, called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">go sekku,</span></span> and vegetable subjects are painted.  These are called the seven grasses <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(hotoke za</span></span> or <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">nana kusa)</span></span> and consist of parsley, shepherd's purse, chickweed, saint's seat, wild turnip and radish.  They are susceptible of most artistic treatment and ingenious, original designs are often evolved (<a href="#plate57" class="tei tei-ref"><span style="color: blue">Plate LVII</span></a>, 6).
+</p>
+
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+February—The cock and the hen, with the budding plum branch, are now appropriate.  The subject is known as the <span class="tei tei-q">“plum and chickens”</span> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(ume ni tori)</span></span> (<a href="#plate57" class="tei tei-ref"><span style="color: blue">Plate LVII</span></a>, 1).  The chicken figures in the earliest history of Japan.  When the cock crows the Japanese hear the words <em class="tei tei-emph"><span style="font-variant: small-caps">kokka koo,</span></em> which, phonetically rendered into Chinese characters, read <span class="tei tei-q">“happiness to our entire land.”</span>  The Chinese hear differently.  To them the cock crows <em class="tei tei-emph"><span style="font-variant: small-caps">toten ko,</span></em> meaning <span class="tei tei-q">“the eastern heavens are reddening,”</span> so to them the cock heralds the early morn.  Famous paintings of chickens have come from the brushes of Okyo, Tessan (<a href="#plate03" class="tei tei-ref"><span style="color: blue">Plate III</span></a>), and others of the Maruyama school.  During February, the month of the
+<span class="tei tei-pb" id="page88">[pg 88]</span>
+plum, the appropriate paintings are of that flower and the Japanese warbler <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(ume ni uguisu)</span></span> (<a href="#plate57" class="tei tei-ref"><span style="color: blue">Plate LVII</span></a>, 2).  This singing bird announces the spring with its melodious notes <em class="tei tei-emph"><span style="font-variant: small-caps">(hoho kekyo),</span></em> which, rendered by the Buddhist into Chinese characters, give the name of the principal book of the eighteen volumes of Shaka, entitled, <span class="tei tei-q">“the marvelous law of the lotus.”</span>  Another picture suitable to February is known as <span class="tei tei-q">“the last of the snow”</span> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(zan setsu)</span></span> (<a href="#plate57" class="tei tei-ref"><span style="color: blue">Plate LVII</span></a>, 3).
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+March—This month is associated with the peach blossom, and <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakemono</span></span> of gardens containing peach trees, called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">momo no</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">en</span></em> (<a href="#plate57" class="tei tei-ref"><span style="color: blue">Plate LVII</span></a>, 4), are in favor.  Toba Saku is related to have lived eight thousand years subsisting upon the fruit of the peach; hence, the peach blossom is a symbol for longevity, and <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sake</span></span> made from the fruit is drunk throughout Japan in March.  One of the most famous prose writings in Chinese literature is <em class="tei tei-emph"><span style="font-variant: small-caps">ran-tei kioka sui</span></em>.  It commemorates a pastime of the learned, called <span class="tei tei-q">“the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sake</span></span> cup.”</span>  A favorite way of interpreting this subject is to paint a garden of blossoming peach trees and spreading banana palms bordering a flowing stream, with a nobleman attaching to a peach branch a narrow paper <em class="tei tei-emph"><span style="font-variant: small-caps">(tanjaku)</span></em> upon which he has written a poem.  Another famous Chinese prose composition, <span class="tei tei-q">“the peach and apricot garden festival,”</span> written by Ri Tai Haku at the age of fourteen years, is interpreted by depicting Toba Saku in a garden seated before a table, with three Chinese beauties attendant upon him, with celebrated scholars and sages
+<span class="tei tei-pb" id="page89">[pg 89]</span>
+circulating midst the flowers and blossoms.  Five principal festivals of the year, known as <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">go sekku,</span></span> occur respectively on the seventh day of January, the third day of March, the fifth day of May, the seventh day of July and the ninth day of September—all being on the odd days of the odd months (the <em class="tei tei-emph"><span style="font-variant: small-caps">yo</span></em> of <em class="tei tei-emph"><span style="font-variant: small-caps">in yo).</span></em>  On the third day of the third month is the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">hina matsuri</span></span> festival for young girls, and the appropriate painting for the occasion is called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kami bina,</span></span> meaning paper dolls (<a href="#plate57" class="tei tei-ref"><span style="color: blue">Plate LVII</span></a>, 5).  The greatest Japanese artists of the past have vied to make their treatment of this subject superb.  When a female child is born a <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kami bina</span></span> painting is presented to the family to contribute to the festivities.  The month of March is the month of the cherry blossom <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(sakura bana),</span></span> and the picture on <a href="#plate58" class="tei tei-ref"><span style="color: blue">Plate LVIII</span></a>, 1, illustrates one method of painting cherry trees ornamenting the mountainside of a canyon, through which flows a river.  During March picnic parties go upon the beach at low tide to gather shell-fish. The subject illustrated on <a href="#plate58" class="tei tei-ref"><span style="color: blue">Plate LVIII</span></a>, 2, called ebb-tide <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(shio hi),</span></span> is appropriate.  The picture of the maiden Saohime (<a href="#plate58" class="tei tei-ref"><span style="color: blue">Plate LVIII</span></a>, 3) is also painted in March.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+April—The wistaria flower <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(Juji)</span></span> is associated with the fourth month and all April landscapes represent the trees covered with much foliage.  A small bird called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sudachi dori,</span></span> hatched in this month, is often painted on the wistaria branch (<a href="#plate58" class="tei tei-ref"><span style="color: blue">Plate LVIII</span></a>, 4). The picture typifies parental affection, on account of the known solicitude of the mother bird for its young.
+</p>
+<span class="tei tei-pb" id="page90">[pg 90]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+May—There are many subjects appropriate for May.  The iris <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(shobu)</span></span> (<a href="#plate58" class="tei tei-ref"><span style="color: blue">Plate LVIII</span></a>, 5) now makes its appearance.  Its long-bladed leaves are sword shaped, therefore the plant symbolizes the warrior spirit <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(bushi).</span></span>  The iris is often planted upon the roof of a house to indicate that there are male children in the family.  The cuckoo and the moon subject <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(tsuki ni hototogisu)</span></span> (<a href="#plate58" class="tei tei-ref"><span style="color: blue">Plate LVIII</span></a>, 6) is special to this month.  The fifth of May is the boys' festival, and the carp <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(koi)</span></span> (<a href="#plate59" class="tei tei-ref"><span style="color: blue">Plate LIX</span></a>, 1) is the favorite subject for painting.  May is the rainy month in Japan.  It is related that a carp during this month ascended to the top of the waterfall <em class="tei tei-emph"><span style="font-variant: small-caps">ryu mon</span></em> in China and became a dragon.  The carp thus typifies the triumph of perseverance—the conquering of obstacles—and symbolizes the military spirit.  When this fish is caught and about to be cut up alive for <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sasshimi,</span></span> a Japanese delicacy, once the carver has passed the flat side of the knife blade over the body of the fish the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">koi</span></span> becomes motionless, and with heroic fortitude submits to being sliced to the backbone.  Served in a dish, a few drops of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">soy</span></span> being placed in its eye it leaps upward in a last struggle, to fall apart in many pieces.  When a male child is born a proper present to the family is a carp <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakemono.</span></span>  The fifth day of the fifth month is the anniversary of the great victory of the Japanese over Kublai Khan, who, with an enormous fleet of Chinese vessels, attempted to invade Japan in the thirteenth century.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+June—In this warm month the <em class="tei tei-emph"><span style="font-variant: small-caps">gwa dai</span></em> or picture subject is waterfalls (<a href="#plate59" class="tei tei-ref"><span style="color: blue">Plate LIX</span></a>, 2), although it is
+<span class="tei tei-pb" id="page91">[pg 91]</span>
+quite allowable on account of the heat of summer to suggest cool feelings by painting snow scenes with crows <em class="tei tei-emph"><span style="font-variant: small-caps">(setchu</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">ni karasu)</span></span> for a color contrast (<a href="#plate59" class="tei tei-ref"><span style="color: blue">Plate LIX</span></a>, 3).  All pictures painted during the month of June should suggest shady, refreshing sensations.  A charming and favorite subject is water flowing through an open bamboo pipe and falling amid luxuriant vegetation into a pool below, where a little bird is bathing.  This picture is technically known as <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakehi</span></span> (<a href="#plate59" class="tei tei-ref"><span style="color: blue">Plate LIX</span></a>, 4).
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+July—During this month appropriate among flower subjects is that of the seven grasses of autumn <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(aki no nana kusa)</span></span> (<a href="#plate59" class="tei tei-ref"><span style="color: blue">Plate LIX</span></a>, 6), consisting of the bush clover, the wild pink, the morning glory, et cetera.  This is most difficult to paint on account of the extreme delicacy requisite in the handling of the brush, but a skilful artist can produce most interesting effects.  All sorts of wonderfully shaped insects as well as birds of brilliant plumage are permitted in the picture.  The seventh day of July is known as the festival of the stars, and <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Kengyu,</span></span> the swain, and <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Orihime,</span></span> the maiden, are painted.  July is a month devoted to Buddhist ceremonies.  Saints, sages, the five hundred rakkan disciples of Shaka and the sixteen rakkans are painted.  There are two other subjects appropriate, known as <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Tanabata</span></span> (<a href="#plate59" class="tei tei-ref"><span style="color: blue">Plate LIX</span></a>, 5) and <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Nazunauchi</span></span> (<a href="#plate64" class="tei tei-ref"><span style="color: blue">Plate LXIV</span></a>, 4).
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+August—The first grain of the year is now offered to the gods.  A charming way of commemorating this is by the painting called stacked rice and sparrows <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(inamura ni suzume)</span></span> (<a href="#plate60" class="tei tei-ref"><span style="color: blue">Plate LX</span></a>, 1).  The rabbit and the moon, called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">tsuki ni usagi</span></span>
+<span class="tei tei-pb" id="page92">[pg 92]</span>
+(<a href="#plate60" class="tei tei-ref"><span style="color: blue">Plate LX</span></a>, 2), because the rabbit is seen in the moon making rice cakes, and the picture known as <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">meggetsu</span></span> (<a href="#plate60" class="tei tei-ref"><span style="color: blue">Plate LX</span></a>, 3) also commemorate the offering of the products of the soil to the moon divinity.  As mist abounds during August, landscapes half concealed in mist are painted.  The Kano artist, Tanyu, leaned much to such scenes, which suggest the tranquility of eventide.  Such subjects are known as mist showers <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(ugiri)</span></span> (<a href="#plate60" class="tei tei-ref"><span style="color: blue">Plate LX</span></a>, 4).  The Japanese have their woman in the moon, named Joga.  This lovely creature having procured and drunk of the ambrosia of hermits <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(sennin)</span></span> is said to have entered that planet.  The picture is an engaging one (<a href="#plate60" class="tei tei-ref"><span style="color: blue">Plate LX</span></a>, 6), the upper portion of Joga's body being in the moon's disc and the lower portion in fleecy clouds.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+September—The ninth day of the ninth month is the festival of the chrysanthemum <em class="tei tei-emph"><span style="font-variant: small-caps">(kiku no sekku),</span></em> when <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sake</span></span> made from the chrysanthemum is drunk.  Kiku Jido, a court youth, having inadvertently touched with his foot the pillow of the emperor, was banished to a distant isle where, it is said, he was nourished by the dew of the chrysanthemum which abounded there.  Becoming a hermit, he lived one thousand years.  Seasonal pictures for this month commemorate this event, or reproduce the yellow and white chrysanthemum.  (<a href="#plate61" class="tei tei-ref"><span style="color: blue">Plate LXI</span></a>, 1).  Appropriate for September are water grasses and the dragon-fly <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(mizukusa ni tombo)</span></span> (<a href="#plate61" class="tei tei-ref"><span style="color: blue">Plate LXI</span></a>, 5).  Tatsuta hime (<a href="#plate61" class="tei tei-ref"><span style="color: blue">Plate LXI</span></a>, 2) is also painted.  She is the autumn divinity, associated with the brilliant, warm and resplendent colors of the autumn season,
+<span class="tei tei-pb" id="page93">[pg 93]</span>
+and is always represented in gorgeous hues.  Pictures of the deer and the early maples <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(hatsu momiji ni shika)</span></span> (<a href="#plate61" class="tei tei-ref"><span style="color: blue">Plate LXI</span></a>, 3) are now appropriate.  A favorite autumn picture is called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Kinuta uchi,</span></span> or the beating, on a block, of homespun cotton to give it lustre.  A poor peasant woman and her child are both occupied at the task under the rays of the full moon (<a href="#plate64" class="tei tei-ref"><span style="color: blue">Plate LXIV</span></a>, 4).  The sound of the blows on the block is said to suggest sad feelings.  It is a law for painting such moonlight scenes that no red color be introduced, as red does not show in the moonlight <em class="tei tei-emph"><span style="font-variant: small-caps">(gekka</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">no</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">ko shoku</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">nashi).</span></span>
+</p>
+
+<a name="plate08" id="plate08" class="tei tei-anchor" style="text-align: center"></a><a name="fig27" id="fig27"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_08.jpg" alt="Fujiyama from Tago no Ura, by Yamamoto Baietsu. Plate VIII." title="Fujiyama from Tago no Ura, by Yamamoto Baietsu. Plate VIII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Fujiyama from Tago no Ura, by Yamamoto Baietsu.  Plate VIII.</div></div>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+October—In this month geese coming from the cold regions and crossing at night the face of the moon are a favorite subject, known as <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">tsuki ni</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">gan</span></em> (<a href="#plate61" class="tei tei-ref"><span style="color: blue">Plate LXI</span></a>, 4).  Other subjects are <span class="tei tei-q">“autumn fruits”</span> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(aki no mi)</span></span> (<a href="#plate61" class="tei tei-ref"><span style="color: blue">Plate LXI</span></a>, 5), chestnuts, persimmons, grapes and mushrooms; monkeys and persimmons <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(saru ni kaki)</span></span> (<a href="#plate61" class="tei tei-ref"><span style="color: blue">Plate LXI</span></a>, 6); squirrel and grapes (<em class="tei tei-emph"><span style="font-variant: small-caps">risu</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">ni</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">budo)</span></em> (<a href="#plate62" class="tei tei-ref"><span style="color: blue">Plate LXII</span></a>, 1); and the evergreen pine <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(kayenu matsu),</span></span> suggesting constancy (<a href="#plate62" class="tei tei-ref"><span style="color: blue">Plate LXII</span></a>, 2)
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+November—A month sacred to Evesco, one of the jovial gods of good luck (<a href="#plate62" class="tei tei-ref"><span style="color: blue">Plate LXII</span></a>, 3).  He was the first trader, his stock being the <em class="tei tei-emph"><span style="font-variant: small-caps">tai</span></em> fish.  He is the favorite god of the merchants who, during this month, celebrate his festival.  Evesama is usually represented returning from fishing with a <em class="tei tei-emph"><span style="font-variant: small-caps">tai</span></em> under his arm.  The Kano artists particularly favored this subject.  Another charming picture, known as <span class="tei tei-q">“the last of the chrysanthemums”</span> <em class="tei tei-emph"><span style="font-variant: small-caps">(zan kiku)</span></em> (<a href="#plate62" class="tei tei-ref"><span style="color: blue">Plate LXII</span></a>, 4), suggests the approaching close of the year. The classic way to represent this subject
+<span class="tei tei-pb" id="page94">[pg 94]</span>
+is with small, yellow chrysanthemums clinging to a straggling bamboo fence, with a few of their leaves which have begun to turn crimson.  Another November picture is <span class="tei tei-q">“the first snow”</span> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(hatsu yuki)</span></span> (<a href="#plate62" class="tei tei-ref"><span style="color: blue">Plate LXII</span></a>, 5).  Two puppies are frollicking in the snow, which is falling for the first time.  It is said that no animal rejoices like the dog when it sees the first snowfall of winter.  Snow, says a proverb, is the dog's grandmother <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(yuki wa inu no obasan).</span></span>  Okyo and Hokusai frequently painted this subject.  <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Hatsu yuki</span></span> is sometimes represented by a little snow upon the pine tree or the bamboo in a landscape.  This produces a very lonely <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(samushii)</span></span> scene.  The Kyoto artists are extremely fond of painting in the month of November the subject of a peasant girl descending from the mountain village of Ohara carrying upon her head a bundle of firewood twigs, into which she has coquettishly inserted a branch of red maple leaves.     This picture is called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Oharame</span></span> (<a href="#plate62" class="tei tei-ref"><span style="color: blue">Plate LXII</span></a>, 6).  Landscapes representing fitful rain showers are appropriate for November and are called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">shigure.</span></span>  This is the month for the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">oshi dori</span></span> (<a href="#plate63" class="tei tei-ref"><span style="color: blue">Plate LXIII</span></a>, 1).  These mandarin ducks, male and female, on account of the contrast in their shape and plumage, make a very striking and favorite picture.  Their devotion to each other is so great that they die if separated.  Hence, such paintings not only symbolize conjugal fidelity but are also appropriate as wedding presents.  There are two other kinds of birds painted in November: The beach birds, known as <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">chi dori</span></span> (<a href="#plate63" class="tei tei-ref"><span style="color: blue">Plate LXIII</span></a>, 2), and the wild duck flying over the marsh grasses <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(kamo ni ashi)</span></span> (<a href="#plate63" class="tei tei-ref"><span style="color: blue">Plate LXIII</span></a>, 3).
+<span class="tei tei-pb" id="page95">[pg 95]</span>
+Okyo and the artists of his school excel in their vivid treatment of these last three subjects.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+December—The cold weather chrysanthemum <em class="tei tei-emph"><span style="font-variant: small-caps">(kan kiku),</span></em> the narcissus or hermit of the stream <em class="tei tei-emph"><span style="font-variant: small-caps">(sui sen),</span></em> and the snow shelter of rice straw <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(yuki kakoi)</span></span> (<a href="#plate63" class="tei tei-ref"><span style="color: blue">Plate LXIII</span></a>, 4) are three favorites for December.  In this latter lovely subject the white chrysanthemums are huddling below the protecting snow shelter of rice straw, one or two of the flowers peeping out, their leaves being reddish on the rim and light green within.  The narcissus is much painted during December.  There are many ways and laws for painting this flower.  Another winter subject is called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">joji</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">bai,</span></em> consisting of the plum tree with snow on the branches and small birds perched thereon.  Kyoto artists much favor it.  December landscapes are all snow scenes <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(yuki no</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">san sui)</span></em> (<a href="#plate63" class="tei tei-ref"><span style="color: blue">Plate LXIII</span></a>, 5) and countless are the ways in which they are treated.  Another subject is <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">nukume dori—</span></span>a falcon perched upon a tree covered with snow, holding in its claws a little bird (<a href="#plate64" class="tei tei-ref"><span style="color: blue">Plate LXIV</span></a>, 3).  The falcon does not tear its victim to pieces but simply uses it to warm its own feet; this accomplished, it lets its prisoner escape and during twenty-four hours refrains from flying in the direction the little bird has fled. <span lang="fr" class="tei tei-foreign" xml:lang="fr"><span style="font-style: italic">Noblesse oblige.</span></span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The snow man or snow <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">daruma (yuki daruma)</span></span> (<a href="#plate63" class="tei tei-ref"><span style="color: blue">Plate LXIII</span></a>, 6) is painted this month by artists of all the schools.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The four seasons <em class="tei tei-emph"><span style="font-variant: small-caps">(shi ki)</span></em> form a series susceptible of the most varied and engaging treatment and presentation. The seasons are sometimes symbolized
+<span class="tei tei-pb" id="page96">[pg 96]</span>
+by flowers, occasionally by birds, again by the products of the earth, and often by landscapes.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Sometimes human figures are used for the purpose.  In spring <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(haru)</span></span> a young daughter <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(musume)</span></span> may be represented looking at the cherry blossoms (<a href="#plate65" class="tei tei-ref"><span style="color: blue">Plate LXV</span></a>, 1); in summer <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(natsu)</span></span> she will be crossing a bridge or enjoying the cool of the riverside (<a href="#plate65" class="tei tei-ref"><span style="color: blue">Plate LXV</span></a>, 2); in autumn <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(aki)</span></span> she is seen in the fields, probably gathering mushrooms (<a href="#plate65" class="tei tei-ref"><span style="color: blue">Plate LXV</span></a>, 3), and in winter <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(fuyu)</span></span> she will be seated indoors playing a musical instrument (<a href="#plate65" class="tei tei-ref"><span style="color: blue">Plate LXV</span></a>, 4).  While the other <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakemono</span></span> is always to be changed in the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">tokonoma</span></span> or alcove according to the seasons, ceremonies or festivals, there are certain pictures appropriate to any season, <span lang="la" class="tei tei-foreign" xml:lang="la"><span style="font-style: italic">e. g.,</span></span> rocks and waves <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(iwa ni nami);</span></span> pine and bamboo <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(matsu take);</span></span> or the Okyo double subject called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">shikuzu ni fuku tsui</span></span> (pendant paintings): The end of spring, a crow and the plum tree (<a href="#plate64" class="tei tei-ref"><span style="color: blue">Plate LXIV</span></a>, 1); the end of autumn, the bird <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">hyo dori</span></span> and the persimmon tree (<a href="#plate64" class="tei tei-ref"><span style="color: blue">Plate LXIV</span></a>, 2). The reason is that all such subjects are in harmony with conditions the year round.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Historical subjects <em class="tei tei-emph"><span style="font-variant: small-caps">(rekishi gwa dai)</span></em> suitable
+for Japanese painting are extremely numerous
+subjects and are divided into categories corresponding to the
+following periods: The Nara, the Heian or Kyoto, the Kamakura Yoritomo shogunate, the Higashiyama shogunate, the Yoshimasa shogunate, the Momoyama or Taiko Hideyoshi, and the Tokugawa Iyeyasu shogunate brought down to the present Meiji period.  These with their numerous subdivisions supply an infinite number of subjects for
+<span class="tei tei-pb" id="page97">[pg 97]</span>
+pictorial treatment.  Special favorites are <span class="tei tei-q">“Benkei and Yoshitsune at the Go Jo bridge,”</span> or <span class="tei tei-q">“passing through the Hakone barrier,”</span> and <span class="tei tei-q">“Kusanoki Masashige at Minatogawa.”</span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+When Shaka was born he stood erect, with one Buddhist hand pointing upward and the other downward and exclaimed: <span class="tei tei-q">“Behold, between heaven and earth I am the most precious creation.”</span>  His birthday is the subject of the picture (<a href="#plate66" class="tei tei-ref"><span style="color: blue">Plate LXVI</span></a>, 3) called <em class="tei tei-emph"><span style="font-variant: small-caps">kan butsu ye.</span></em>  It represents the Buddha as a bronze statue erect in a tub of sweet liquid.  This the faithful worshippers pour over his head and subsequently drink for good luck.  Shaka's death is commemorated in the picture called <em class="tei tei-emph"><span style="font-variant: small-caps">nehan,</span></em> nirvana.  The lord, Buddha, is stretched upon a bier tranquilly dying, an angelic smile lighting his countenance, while around are gathered his disciples, Rakkan and Bosatsu, and the different animals of creation, all weeping.  A rat having gone to call Mayabunin, mother of Buddha, has been pounced upon by a cat and torn to pieces.  For this reason in paintings of this moving scene of Shaka's death no cat is to be found among the mourning animals.  The artist Cho Densu, however, in his great painting of <em class="tei tei-emph"><span style="font-variant: small-caps">nehan</span></em> (still preserved in the Temple To Fuku Ji at Kyoto) introduces the portrait of a cat.  It is related that, while Cho Densu was painting, the cat came daily to his side and continually mewing and expressing its grief, would not leave him.  Finally Cho Densu, out of pity, painted the cat into the picture and thereupon the animal out of joy fell over dead.
+</p>
+<span class="tei tei-pb" id="page98">[pg 98]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The lotus <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(hasu)</span></span> symbolizes the heart of a saint <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(hotoke).</span></span>  It rises untarnished out of the mud of the pond, nor can it be stained by any impurity, the leaves always shedding whatever may fall upon them.  It is painted usually as a religious subject.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The principal <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">matsuri</span></span> or Shinto festivals occur at different seasons of the year in different parts of the empire.  The summer months, however, claim most of them.  The <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Kamo no aoi matsuri</span></span> takes place at Kyoto and consists of a procession, a <em class="tei tei-emph"><span style="font-variant: small-caps">no</span></em> dance and a horse race.  The picture appropriate for this festival is <span class="tei tei-q">“the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Kamo</span></span> race course”</span> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(Kamo no kei ba).</span></span> The <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">matsuri</span></span> at Nikko is a great procession, with three <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">mikoshi</span></span> or shrines carried on the shoulders of multitudes of men.  There are three Nikko <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">matsuri</span></span> connected with the Tokugawa shogunate.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">Inari,</span></span> being the god of agriculture <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(ine,</span></span> rice), the picture of a fox (<a href="#plate66" class="tei tei-ref"><span style="color: blue">Plate LXVI</span></a>, 4), that god's messenger, is appropriate.  Another festival, the <em class="tei tei-emph"><span style="font-variant: small-caps">gyon</span></em> <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">matsuri,</span></span> of Kyoto, is celebrated with a great procession in which enter all sorts of amusing floats and every kind of amusing practice.  These are variously reproduced in commemorative paintings.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+I will only refer in passing to the many subjects supplied by the beautiful poetry <em class="tei tei-emph"><span style="font-variant: small-caps">(hokku</span></em> and <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">uta)</span></span> and celebrated romances <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(monogatari)</span></span> of Japan.  Enough has been said to show that the Japanese artist has an unlimited range of classic subjects from which to select.
+</p>
+
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Other subjects unassociated with any special time of the year represent, <span lang="la" class="tei tei-foreign" xml:lang="la"><span style="font-style: italic">e.g.,</span></span> various utensils of the tea
+<span class="tei tei-pb" id="page99">[pg 99]</span>
+ceremony <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(cha no yu)</span></span> (<a href="#plate66" class="tei tei-ref"><span style="color: blue">Plate LXVI</span></a>, 1) when <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">macha,</span></span> a thickened tea, is used.  The tea ceremony (<a href="#plate02" class="tei tei-ref"><span style="color: blue">Plate II</span></a>) is performed in a small room fitted with four and a half mats.  Were the mats only four <em class="tei tei-emph"><span style="font-variant: small-caps">(shi)</span></em> in number they would suggest death <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(shi).</span></span>  Furthermore, an even number being considered negative <em class="tei tei-emph"><span style="font-variant: small-caps">(in)</span></em> is not favored.  Mats are three by six feet in size and must always be so laid as not to form crosses, which are unlucky.  In the alcove of this room no <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakemono</span></span> is permitted but one in the pure Japanese style.  The subject of the painting will depend upon the season, while all red colors are proscribed and <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">sumi</span></span> pictures of the Kano school are most appropriate.  The treatment must be simple <em class="tei tei-emph"><span style="font-variant: small-caps">(tan paku)</span></em>; for instance, a single flower spray, a branch of the plum, a hermit, or a solitary mountain peak.  In the ceremony of <em class="tei tei-emph"><span style="font-variant: small-caps">sen cha</span></em> (<a href="#plate66" class="tei tei-ref"><span style="color: blue">Plate LXVI</span></a>, 2), which is the Chinese way of making tea, these strict rules of <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">cha no yu</span></span> are relaxed.
+</p>
+</div>
+<span class="tei tei-pb" id="page100">[pg 100]</span>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc28" id="toc28"></a>
+  <a name="pdf29" id="pdf29"></a>
+
+<a name="hbandc07" id="hbandc07" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/hbandc07.jpg" alt="The water-fowl design, called midsu tori." /></div>
+
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER SEVEN. SIGNATURES AND SEALS</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There are many books upon the subject of signing and authenticating a painting.  Two well-known works are <em class="tei tei-emph"><span class="tei tei-q"><span style="font-variant: small-caps">“</span><span style="font-variant: small-caps">Gwa Jo Yo Ryaku</span><span style="font-variant: small-caps">”</span></span></em> and <em class="tei tei-emph"><span class="tei tei-q"><span style="font-variant: small-caps">“</span><span style="font-variant: small-caps">Dai Ga Shi San.</span><span style="font-variant: small-caps">”</span></span></em>  In China literary men often add descriptive matter to their paintings, writing prominently thereon: <span class="tei tei-q">“In a dream last night I witnessed the scene I here attempt to reproduce,”</span> or <span class="tei tei-q">“On a boating excursion we saw this pine tree shading the banks of the river.”</span>  Such additions to the picture enable the artist to exhibit his skill as an expert writer and are considered to heighten the general effect.  Often original poetry takes the place of prose.  The year, month and day will be added, followed by the signature of the writer, with some self-depreciatory term, such as <span class="tei tei-q">“fisherman of the North Sea,”</span> <span class="tei tei-q">“mountain wood-chopper”</span> or <span class="tei tei-q">“hermit dwelling amid the clouds and rocks.”</span>  Such signature, with one or more seals scattered over the face of the work, is in art called <em class="tei tei-emph"><span style="font-variant: small-caps">rakkwan,</span></em> signifying <span class="tei tei-q">“completed.”</span>
+</p>
+<span class="tei tei-pb" id="page101">[pg 101]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In Japan a somewhat different way of signing prevails. The artist's signature with his seal under it is appended to the painting, not in a conspicuous but in the least prominent part of it.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Painters of the Tosa, Fujiwara, Sumiyoshi and Kasuga schools in signing their work first wrote above their signatures their office and rank, <span lang="la" class="tei tei-foreign" xml:lang="la"><span style="font-style: italic">e. g.,</span></span> Unemi no Kami or Shikibu Gondai no Kami in the square or round Chinese characters.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Kano artists signed their names in round characters <em class="tei tei-emph"><span style="font-variant: small-caps">(gyo sho)</span></em> and did not add their secular rank or office but wrote before their signatures their Buddhist titles; thus, <em class="tei tei-emph"><span style="font-variant: small-caps">Hogan</span></em> Motonobu, <em class="tei tei-emph"><span style="font-variant: small-caps">Ho Kyo</span></em> Naganobu, <em class="tei tei-emph"><span style="font-variant: small-caps">Hoin</span></em> Tsunenobu.  In the Maruyama period all titles and rank were omitted and simply the name <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(namae)</span></span> or the <span lang="fr" class="tei tei-foreign" xml:lang="fr"><span style="font-style: italic">nom de plume</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">(go)</span></em> was written,—thus, Okyo, Goshun, Tessan, Bun Cho—strict attention being paid, however, to executing the Chinese characters for such signatures in both an artistic and strikingly attractive way, whether written in one or another of the three usual forms technically called <em class="tei tei-emph"><span style="font-variant: small-caps">shin, so, gyo.</span></em>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The date, <em class="tei tei-emph"><span style="font-variant: small-caps">nen go,</span></em> preceding the signature upon a painting is often indicated by the use of one of the twelve horary characters <em class="tei tei-emph"><span style="font-variant: small-caps">(ju ni shi)</span></em> along with one of the ten calendar signs <em class="tei tei-emph"><span style="font-variant: small-caps">(ju ran).</span></em>  These, in orderly arrangement, comprehend a cycle of sixty years; in other words, they are never united the same way or coincide but once during that period.  No artist under sixty should, in signing his work, allude to his age, much less state his years.  For him to be able to write seventy-seven before his name is
+<span class="tei tei-pb" id="page102">[pg 102]</span>
+most auspicious—one way of writing <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kotobuki,</span></span> the luckiest word in Japanese, being to employ two
+sevens which, thus compounded, is said to be the <em class="tei tei-emph"><span style="font-variant: small-caps">so sho</span></em> character for that word.  Very young persons are permitted in signing their paintings or writings to add their exact ages up to thirteen.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Where Chinese literary artists add poems to their paintings as many as eight seals may be observed thereon.  In Japanese paintings never more than two seals are used and these follow and authenticate the signature.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The correct distance at which a <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kakemono</span></span> is to be viewed is the width of a mat <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(tatami)</span></span> from the alcove where the picture is hung.  It is bad form to look at it standing.  Before critically examining the work a Japanese will scrutinize the artist's signature and seal.  It is a cardinal rule in Japan that the signature be affixed so as not to interfere with the scheme of the picture or attract the eye.  If the picture looks to the right the signature and seal should be placed on the left, and <span lang="la" class="tei tei-foreign" xml:lang="la"><span style="font-style: italic">vice versa;</span></span> if the principal interest is in the upper part of a picture these should be placed lower down, and <span lang="la" class="tei tei-foreign" xml:lang="la"><span style="font-style: italic">vice versa.</span></span>  As every painting has its division into <em class="tei tei-emph"><span style="font-variant: small-caps">in</span></em> and <em class="tei tei-emph"><span style="font-variant: small-caps">yo</span></em> the <em class="tei tei-emph"><span style="font-variant: small-caps">rakkwan</span></em> is placed in <em class="tei tei-emph"><span style="font-variant: small-caps">in.</span></em>  Some artists partially cover their signatures with their seal impression.  Lady artists add to their signatures the character <em class="tei tei-emph"><span style="font-variant: small-caps">jo</span></em>, meaning woman.  Veteran painters will sometimes write before their signatures the character for old man <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(okina).</span></span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The artist's seal is often a work of art and his family name <em class="tei tei-emph"><span style="font-variant: small-caps">(myoji)</span></em> or his artist name <em class="tei tei-emph"><span style="font-variant: small-caps">(go)</span></em> is usually
+<span class="tei tei-pb" id="page103">[pg 103]</span>
+engraved thereon with the Chinese seal characters called <em class="tei tei-emph"><span style="font-variant: small-caps">ten sho.</span></em> Where two seals are affixed
+below the signature one may contain a classic aphorism, like <em class="tei tei-emph"><span style="font-variant: small-caps">tai bi fu gen</span></em> (the truly beautiful is indescribable) or <em class="tei tei-emph"><span style="font-variant: small-caps">chu yo</span></em> (keep the middle path).  Before seals were used writings were authenticated by scrolls called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kaki</span></span> <em class="tei tei-emph"><span style="font-variant: small-caps">han.</span></em>  Even now such scrolls are used.  The principles on which they are shaped are derived from astrological lore <em class="tei tei-emph"><span style="font-variant: small-caps">(eki).</span></em>  Seal engravers deservedly enjoy renown for learning and skill.  To carve a seal is the recognized accomplishment of a gentleman, and the most famous living seal engraver in Japan is an amateur.  Seals are of jade, rock crystal, precious woods, Formosa bamboo root, gold, silver or ivory.  The best hard stone for seals comes from China and is known as the cock's comb <em class="tei tei-emph"><span style="font-variant: small-caps">(kei ketsu seki).</span></em>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+An artist during his career will collect numbers of valuable seals for his own use.  These at his death may be given to favorite pupils or kept as house treasures.  Bairei left instructions to have many of his seals destroyed.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The seal paste <em class="tei tei-emph"><span style="font-variant: small-caps">(niku)</span></em> is made of Diana weed <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">(mogusa)</span></span> dried for three years, or of a plant called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">yomogi,</span></span> or with soft, finely chopped rabbit hair boiled in castor oil for one hundred hours with white wax and then colored red, brown, blue or tea color.  The seal should be carefully wiped after it is used, otherwise this paste hardens upon it.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Japanese paintings are seldom framed, as frames take too much room.  Frames are used chiefly for Chinese writings, hung high in public places or
+<span class="tei tei-pb" id="page106">[pg 106]</span>
+about the dwelling, and are called <em class="tei tei-emph"><span style="font-variant: small-caps">gaku,</span></em> meaning <span class="tei tei-q">“forehead,”</span> in allusion to raising the head to read what the frame contains.  It is etiquette that such framed writings be signed with the real name rather than the <span lang="fr" class="tei tei-foreign" xml:lang="fr"><span style="font-style: italic">nom de plume.</span></span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Two kinds of seals are affixed to the frame: One, on the right, at the beginning of the writing, and called <em class="tei tei-emph"><span style="font-variant: small-caps">yu in,</span></em> containing some precept or maxim; and one or two, on the left, after the signature, bearing the artist's name and any other appropriate designation.  All writings in Chinese or Japanese read from right to left, and frequently are the sole ornament of a pair of screens.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+For the guidance of experts who pass on the genuineness of Japanese paintings there is a well-known publication, <span class="tei tei-q">“<em class="tei tei-emph"><span style="font-variant: small-caps">Gwa Ka Rakkwan In Shin,</span></em>”</span> by Kano Jushin, which contains reproductions in fac simile of the signatures and seals of all the celebrated artists of the remote and recent past.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In concluding this work, which I am conscious is but an imperfect survey of a vast and intricate subject, I would call attention to the fact that in both Europe and America there is a wonderful awakening to the dignity, simplicity and beauty of Japanese art.  This is largely to be attributed to the careful and scholarly writings and publications of Messrs. Anderson, Binyon, Morrison and Strange in England, Fenollosa in the United states, DeGoncourt, Gonse and Bing in France, Seidlitz in Germany, and Brinkley and Okakura in Japan; and all students of art must render to them the homage of their sincere admiration.
+</p>
+<span class="tei tei-pb" id="page105">[pg 105]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The object of all art, as Cicero has truly said, is to soften the manners, by training the heart and mind to right thoughts and worthy sentiments.  To such end nothing will more surely contribute than a faithful study of the painting art of Japan, and the further we investigate and appreciate its principles the more we will multiply those hours which the sun-dial registers,—the serene and cheerful moments of existence.
+</p>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc30" id="toc30"></a>
+  <a name="pdf31" id="pdf31"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">EXPLANATION OF HEAD-BANDS</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+DESIGN OF TITLE PAGE. Butterflies and birds, known as <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">cho tori</span></span>.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<a href="#hbandc01" class="tei tei-ref"><span style="color: blue">CHAPTER ONE</span></a>. The flower and leaves of the peony (<em class="tei tei-emph"><span style="font-variant: small-caps">botan</span></em>), as conventionalized on ancient armor (<span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">yoroi</span></span>).
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<a href="#hbandc02" class="tei tei-ref"><span style="color: blue">CHAPTER TWO</span></a>. Fan-shaped leaves of the <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">icho</span></span> or <em class="tei tei-emph"><span style="font-variant: small-caps">gin nan</span></em> (<span lang="la" class="tei tei-foreign" xml:lang="la"><span style="font-style: italic">Salisburiana</span></span>), placed in books in China and Japan to prevent the ravages of the bookworm.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<a href="#hbandc03" class="tei tei-ref"><span style="color: blue">CHAPTER THREE</span></a>. The design called <span class="tei tei-q">“Dew on the Grass and Butterflies”</span> (<span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">tsuyu, kusa ni cho</span></span>).
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<a href="#hbandc04" class="tei tei-ref"><span style="color: blue">CHAPTER FOUR</span></a>. The pattern (<span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">moyo</span></span>) known as bamboo and the swelling sparrow (<span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">take nifukura susume</span></span>). The parts of the bird are amusingly conventionalized—in the Korin manner. The word <em class="tei tei-emph"><span style="font-variant: small-caps">fukura</span></em> written in Chinese contains the lucky character <em class="tei tei-emph"><span style="font-variant: small-caps">fuku</span></em> (happiness).
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<a href="#hbandc05" class="tei tei-ref"><span style="color: blue">CHAPTER FIVE</span></a>. Maple leaves are associated with Ten Jin (Sugiwara Michizane), patron of learning. Children in invoking his aid in a little prayer count the points of the maple leaf, saying, <span class="tei tei-q">“<span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">yoku te agaru</span></span>”</span>—assist us to be clever. In Japanese the maple leaf is called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">kaide</span></span>, meaning frog's hand.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<a href="#hbandc06" class="tei tei-ref"><span style="color: blue">CHAPTER SIX</span></a>. The chrysanthemum pattern.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<a href="#hbandc07" class="tei tei-ref"><span style="color: blue">CHAPTER SEVEN</span></a>. The water-fowl design, called <span lang="jp" class="tei tei-foreign" xml:lang="jp"><span style="font-style: italic">midsu tori</span></span>.
+</p>
+<span class="tei tei-pb" id="page109">[pg 109]</span>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc32" id="toc32"></a>
+  <a name="pdf33" id="pdf33"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">PLATES EXPLANATORY OF THE FOREGOING TEXT ON THE LAWS OF JAPANESE PAINTING</span></h1>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">The Eight Ways of Painting in Color, Called the Laws of Coloring</span></h2><a id="noteref_3" name="noteref_3" href="#note_3"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">3</span></span></a>
+
+
+<a name="plate09" id="plate09" class="tei tei-anchor" style="text-align: center"></a><a name="fig34" id="fig34"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_09.jpg" alt="Most Careful Method of Laying on Color. Plate VIIII." title="Most Careful Method of Laying on Color. Plate VIIII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Most Careful Method of Laying on Color.  Plate VIIII.</div></div>
+
+<a name="plate10" id="plate10" class="tei tei-anchor" style="text-align: center"></a><a name="fig35" id="fig35"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_10.jpg" alt="The Next Best Method. Plate X." title="The Next Best Method. Plate X." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">The Next Best Method. Plate X.</div></div>
+
+<a name="plate11" id="plate11" class="tei tei-anchor" style="text-align: center"></a><a name="fig36" id="fig36"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_11.jpg" alt="The Light Water-Color Method. Plate XI." title="The Light Water-Color Method. Plate XI." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">The Light Water-Color Method. Plate XI.</div></div>
+
+<a name="plate12" id="plate12" class="tei tei-anchor" style="text-align: center"></a><a name="fig37" id="fig37"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_12.jpg" alt="Color With Outlines Suppressed. Plate XII." title="Color With Outlines Suppressed. Plate XII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Color With Outlines Suppressed. Plate XII.</div></div>
+
+<a name="plate13" id="plate13" class="tei tei-anchor" style="text-align: center"></a><a name="fig38" id="fig38"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_13.jpg" alt="Color Over Lines. Plate XIII." title="Color Over Lines. Plate XIII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Color Over Lines. Plate XIII.</div></div>
+
+<a name="plate14" id="plate14" class="tei tei-anchor" style="text-align: center"></a><a name="fig39" id="fig39"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_14.jpg" alt="Light Reddish-Brown Method. Plate XIV." title="Light Reddish-Brown Method. Plate XIV." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Light Reddish-Brown Method. Plate XIV.</div></div>
+
+<a name="plate15" id="plate15" class="tei tei-anchor" style="text-align: center"></a><a name="fig40" id="fig40"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_15.jpg" alt="The White Pattern. Plate XV." title="The White Pattern. Plate XV." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">The White Pattern. Plate XV.</div></div>
+
+<a name="plate16" id="plate16" class="tei tei-anchor" style="text-align: center"></a><a name="fig41" id="fig41"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_16.jpg" alt="The Black or Sumi Method. Plate XVI." title="The Black or Sumi Method. Plate XVI." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">The Black or Sumi Method. Plate XVI.</div></div>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Landscapes, Birds, Trees and Streams</span></h2>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+</p>
+<a name="plate17" id="plate17" class="tei tei-anchor" style="text-align: center"></a><a name="fig42" id="fig42"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_17.jpg" alt="The Rule of Proportion in Landscapes. Plate XVII." title="The Rule of Proportion in Landscapes. Plate XVII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">The Rule of Proportion in Landscapes. Plate XVII.</div></div>
+
+<a name="plate18" id="plate18" class="tei tei-anchor" style="text-align: center"></a><a name="fig43" id="fig43"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_18.jpg" alt="Heaven, Earth, Man. Plate XVIII." title="Heaven, Earth, Man. Plate XVIII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Heaven, Earth, Man. Plate XVIII.</div></div>
+
+<a name="plate19" id="plate19" class="tei tei-anchor" style="text-align: center"></a><a name="fig44" id="fig44"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_19.jpg" alt="Pine Tree Branches. Plate XIX." title="Pine Tree Branches. Plate XIX." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Pine Tree Branches. Plate XIX.</div></div>
+
+<a name="plate20" id="plate20" class="tei tei-anchor" style="text-align: center"></a><a name="fig45" id="fig45"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_20.jpg" alt="Winding Streams. Plate XX." title="Winding Streams. Plate XX." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Winding Streams. Plate XX.</div></div>
+
+<a name="plate21" id="plate21" class="tei tei-anchor" style="text-align: center"></a><a name="fig46" id="fig46"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_21.jpg" alt="A Tree and Its Parts. Plate XXI." title="A Tree and Its Parts. Plate XXI." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">A Tree and Its Parts. Plate XXI.</div></div>
+
+<a name="plate22" id="plate22" class="tei tei-anchor" style="text-align: center"></a><a name="fig47" id="fig47"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_22.jpg" alt="Bird and Its Subdivisions. Plate XXII." title="Bird and Its Subdivisions. Plate XXII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Bird and Its Subdivisions. Plate XXII.</div></div>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Laws of Ledges</span></h2>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+</p>
+
+<a name="plate23" id="plate23" class="tei tei-anchor" style="text-align: center"></a><a name="fig48" id="fig48"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_23.jpg" alt="Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII." title="Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII.</div></div>
+
+<a name="plate24" id="plate24" class="tei tei-anchor" style="text-align: center"></a><a name="fig49" id="fig49"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_24.jpg" alt="Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV." title="Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.</div></div>
+
+<a name="plate25" id="plate25" class="tei tei-anchor" style="text-align: center"></a><a name="fig50" id="fig50"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_25.jpg" alt="Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV." title="Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.</div></div>
+
+<a name="plate26" id="plate26" class="tei tei-anchor" style="text-align: center"></a><a name="fig51" id="fig51"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_26.jpg" alt="Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI." title="Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.</div></div>
+
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Laws of Trees and Rocks</span></h2>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+</p>
+<a name="plate27" id="plate27" class="tei tei-anchor" style="text-align: center"></a><a name="fig52" id="fig52"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_27.jpg" alt="The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII." title="The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII.</div></div>
+
+<a name="plate28" id="plate28" class="tei tei-anchor" style="text-align: center"></a><a name="fig53" id="fig53"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_28.jpg" alt="Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII." title="Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII.</div></div>
+
+<a name="plate29" id="plate29" class="tei tei-anchor" style="text-align: center"></a><a name="fig54" id="fig54"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_29.jpg" alt="Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX." title="Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX.</div></div>
+
+<a name="plate30" id="plate30" class="tei tei-anchor" style="text-align: center"></a><a name="fig55" id="fig55"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_30.jpg" alt="Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2). Rock Construction as Practiced in Art (3 and 4). Plate XXX." title="Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2). Rock Construction as Practiced in Art (3 and 4). Plate XXX." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2).  Rock Construction as Practiced in Art (3 and 4). Plate XXX.</div></div>
+
+<a name="plate31" id="plate31" class="tei tei-anchor" style="text-align: center"></a><a name="fig56" id="fig56"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_31.jpg" alt="Different Ways of Painting Rocks and Ledges. Plate XXXI." title="Different Ways of Painting Rocks and Ledges. Plate XXXI." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Different Ways of Painting Rocks and Ledges. Plate XXXI.</div></div>
+
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Laws of Dots</span></h2>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+</p>
+<a name="plate32" id="plate32" class="tei tei-anchor" style="text-align: center"></a><a name="fig57" id="fig57"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_32.jpg" alt="Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII." title="Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.</div></div>
+
+<a name="plate33" id="plate33" class="tei tei-anchor" style="text-align: center"></a><a name="fig58" id="fig58"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_33.jpg" alt="Wheel-Spoke Dot (a). Kai Ji Dot (b). Plate XXXIII." title="Wheel-Spoke Dot (a). Kai Ji Dot (b). Plate XXXIII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Wheel-Spoke Dot (a). <em class="tei tei-emph" style="text-align: center"><span style="font-variant: small-caps">Kai Ji</span></em> Dot (b). Plate XXXIII.</div></div>
+
+<a name="plate34" id="plate34" class="tei tei-anchor" style="text-align: center"></a><a name="fig59" id="fig59"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_34.jpg" alt="Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV." title="Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.</div></div>
+
+<a name="plate35" id="plate35" class="tei tei-anchor" style="text-align: center"></a><a name="fig60" id="fig60"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_35.jpg" alt="Serrated Dot (a). Ichi Ji dot (b). Plate XXXV." title="Serrated Dot (a). Ichi Ji dot (b). Plate XXXV." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Serrated Dot (a). <em class="tei tei-emph" style="text-align: center"><span style="font-variant: small-caps">Ichi Ji</span></em> dot (b). Plate XXXV.</div></div>
+
+<a name="plate36" id="plate36" class="tei tei-anchor" style="text-align: center"></a><a name="fig61" id="fig61"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_36.jpg" alt="Heart Dot (a). Hitsu Ji Dot (b). Plate XXXVI." title="Heart Dot (a). Hitsu Ji Dot (b). Plate XXXVI." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Heart Dot (a). <em class="tei tei-emph" style="text-align: center"><span style="font-variant: small-caps">Hitsu Ji</span></em> Dot (b). Plate XXXVI.</div></div>
+
+<a name="plate37" id="plate37" class="tei tei-anchor" style="text-align: center"></a><a name="fig62" id="fig62"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_37.jpg" alt="Rice Dot (a). Haku Yo Dot (b). Plate XXXVII." title="Rice Dot (a). Haku Yo Dot (b). Plate XXXVII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Rice Dot (a). <em class="tei tei-emph" style="text-align: center"><span style="font-variant: small-caps">Haku Yo</span></em> Dot (b). Plate XXXVII.</div></div>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Laws of Waves and Moving Waters</span></h2>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+</p>
+<a name="plate38" id="plate38" class="tei tei-anchor" style="text-align: center"></a><a name="fig63" id="fig63"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_38.jpg" alt="Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII." title="Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.</div></div>
+
+<a name="plate39" id="plate39" class="tei tei-anchor" style="text-align: center"></a><a name="fig64" id="fig64"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_39.jpg" alt="Sea Waves (a). Brook Waves (b). Plate XXXIX." title="Sea Waves (a). Brook Waves (b). Plate XXXIX." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Sea Waves (a). Brook Waves (b). Plate XXXIX.</div></div>
+
+<a name="plate40" id="plate40" class="tei tei-anchor" style="text-align: center"></a><a name="fig65" id="fig65"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_40.jpg" alt="Storm Waves. Plate XL." title="Storm Waves. Plate XL." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Storm Waves. Plate XL.</div></div>
+
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Laws of Lines of the Garment</span></h2>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+</p>
+<a name="plate41" id="plate41" class="tei tei-anchor" style="text-align: center"></a><a name="fig66" id="fig66"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_41.jpg" alt="Silk-Thread Line (upper). Koto string Line (lower). Plate XLI." title="Silk-Thread Line (upper). Koto string Line (lower). Plate XLI." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.</div></div>
+
+<a name="plate42" id="plate42" class="tei tei-anchor" style="text-align: center"></a><a name="fig67" id="fig67"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_42.jpg" alt="Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII." title="Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.</div></div>
+
+<a name="plate43" id="plate43" class="tei tei-anchor" style="text-align: center"></a><a name="fig68" id="fig68"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_43.jpg" alt="Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII." title="Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.</div></div>
+
+<a name="plate44" id="plate44" class="tei tei-anchor" style="text-align: center"></a><a name="fig69" id="fig69"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_44.jpg" alt="Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV." title="Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.</div></div>
+
+<a name="plate45" id="plate45" class="tei tei-anchor" style="text-align: center"></a><a name="fig70" id="fig70"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_45.jpg" alt="Rusty-Nail and Old-Post Line (upper). Date-Seed Line (lower). Plate XLV." title="Rusty-Nail and Old-Post Line (upper). Date-Seed Line (lower). Plate XLV." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Rusty-Nail and Old-Post Line (upper).   Date-Seed Line (lower). Plate XLV.</div></div>
+
+<a name="plate46" id="plate46" class="tei tei-anchor" style="text-align: center"></a><a name="fig71" id="fig71"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_46.jpg" alt="Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI." title="Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.</div></div>
+
+<a name="plate47" id="plate47" class="tei tei-anchor" style="text-align: center"></a><a name="fig72" id="fig72"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_47.jpg" alt="Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII." title="Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.</div></div>
+
+<a name="plate48" id="plate48" class="tei tei-anchor" style="text-align: center"></a><a name="fig73" id="fig73"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_48.jpg" alt="Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII." title="Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.</div></div>
+
+<a name="plate49" id="plate49" class="tei tei-anchor" style="text-align: center"></a><a name="fig74" id="fig74"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_49.jpg" alt="Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX." title="Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.</div></div>
+
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Laws of the Four Paragons</span></h2>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+</p>
+<a name="plate50" id="plate50" class="tei tei-anchor" style="text-align: center"></a><a name="fig75" id="fig75"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_50.jpg" alt="The Plum Tree and Blossom. Plate L." title="The Plum Tree and Blossom. Plate L." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">The Plum Tree and Blossom. Plate L.</div></div>
+
+<a name="plate51" id="plate51" class="tei tei-anchor" style="text-align: center"></a><a name="fig76" id="fig76"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_51.jpg" alt="The Chrysanthemum Flower and Leaves. Plate LI." title="The Chrysanthemum Flower and Leaves. Plate LI." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">The Chrysanthemum Flower and Leaves. Plate LI.</div></div>
+
+<a name="plate52" id="plate52" class="tei tei-anchor" style="text-align: center"></a><a name="fig77" id="fig77"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_52.jpg" alt="The Orchid Plant and Flower. Plate LII." title="The Orchid Plant and Flower. Plate LII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">The Orchid Plant and Flower. Plate LII.</div></div>
+
+<a name="plate53" id="plate53" class="tei tei-anchor" style="text-align: center"></a><a name="fig78" id="fig78"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_53.jpg" alt="The Bamboo Plant and Leaves. Plate LIII." title="The Bamboo Plant and Leaves. Plate LIII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">The Bamboo Plant and Leaves. Plate LIII.</div></div>
+
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Painting Subjects</span></h2>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+</p>
+<a name="plate54" id="plate54" class="tei tei-anchor" style="text-align: center"></a><a name="fig79" id="fig79"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_54.jpg" alt="Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV." title="Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV.</div></div>
+
+<a name="plate55" id="plate55" class="tei tei-anchor" style="text-align: center"></a><a name="fig80" id="fig80"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_55.jpg" alt="Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV." title="Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV.</div></div>
+
+<a name="plate56" id="plate56" class="tei tei-anchor" style="text-align: center"></a><a name="fig81" id="fig81"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_56.jpg" alt="Sun and Waves (1). Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI." title="Sun and Waves (1). Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Sun and Waves (1).  Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI.</div></div>
+
+<a name="plate57" id="plate57" class="tei tei-anchor" style="text-align: center"></a><a name="fig82" id="fig82"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_57.jpg" alt="Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII." title="Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.</div></div>
+
+<a name="plate58" id="plate58" class="tei tei-anchor" style="text-align: center"></a><a name="fig83" id="fig83"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_58.jpg" alt="Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII." title="Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII.</div></div>
+
+<a name="plate59" id="plate59" class="tei tei-anchor" style="text-align: center"></a><a name="fig84" id="fig84"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_59.jpg" alt="Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX." title="Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX.</div></div>
+
+<a name="plate60" id="plate60" class="tei tei-anchor" style="text-align: center"></a><a name="fig85" id="fig85"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_60.jpg" alt="Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX." title="Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX.</div></div>
+
+<a name="plate61" id="plate61" class="tei tei-anchor" style="text-align: center"></a><a name="fig86" id="fig86"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_61.jpg" alt="Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI." title="Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.</div></div>
+
+<a name="plate62" id="plate62" class="tei tei-anchor" style="text-align: center"></a><a name="fig87" id="fig87"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_62.jpg" alt="Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII." title="Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII.</div></div>
+
+<a name="plate63" id="plate63" class="tei tei-anchor" style="text-align: center"></a><a name="fig88" id="fig88"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_63.jpg" alt="Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII." title="Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII.</div></div>
+
+<a name="plate64" id="plate64" class="tei tei-anchor" style="text-align: center"></a><a name="fig89" id="fig89"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_64.jpg" alt="Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV." title="Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV.</div></div>
+
+<a name="plate65" id="plate65" class="tei tei-anchor" style="text-align: center"></a><a name="fig90" id="fig90"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_65.jpg" alt="Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV." title="Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.</div></div>
+
+<a name="plate66" id="plate66" class="tei tei-anchor" style="text-align: center"></a><a name="fig91" id="fig91"></a><div class="tei tei-figure" style="text-align: center"><img src="images/plate_66.jpg" alt="Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI." title="Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.</div></div>
+</div>
+
+</div>
+
+</div>
+<hr class="doublepage" /><div class="tei tei-back" style="margin-bottom: 2.00em; margin-top: 6.00em">
+
+<div id="footnotes" class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<a name="toc92" id="toc92"></a>
+<a name="pdf93" id="pdf93"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Footnotes</span></h1>
+<dl class="tei tei-list-footnotes"><dt class="tei tei-notelabel"><a id="note_1" name="note_1" href="#noteref_1">1.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+This is a translation from the original manuscript of <em class="tei tei-emph"><span style="font-variant: small-caps">Iwaya Sho Ha</span></em>, or Iwaya Sazanami, one of the most widely known and popular writers on Japanese folk-lore.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_2" name="note_2" href="#noteref_2">2.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Translated from the original manuscript of Hirai Kinza, noted scholar, lecturer and author.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_3" name="note_3" href="#noteref_3">3.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Preparer's Note: The only editions available to me have these plates in black-and-white.
+</p>
+</dd></dl>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<div id="pgfooter" class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"><pre class="pre tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">***END OF THE PROJECT GUTENBERG EBOOK ON THE LAWS OF JAPANESE PAINTING
+***
+</pre><hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><a name="rightpageheader94" id="rightpageheader94"></a><a name="pgtoc95" id="pgtoc95"></a><a name="pdf96" id="pdf96"></a><h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Credits</span></h1><table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr><th class="tei tei-label tei-label-gloss">March 16, 2011  </th></tr><tr><td class="tei tei-item tei-item-gloss"><table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Project Gutenberg Edition</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><span class="tei tei-respStmt">
+  <span class="tei tei-name">Martin Schub<br /></span>
+  </span></td></tr></tbody></table></td></tr></tbody></table></div><hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><a name="rightpageheader97" id="rightpageheader97"></a><a name="pgtoc98" id="pgtoc98"></a><a name="pdf99" id="pdf99"></a><h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">A Word from Project Gutenberg</span></h1><p class="tei tei-p" style="margin-bottom: 1.00em">This file should be named 
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+<front>
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+<div>
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+</div>
+<div>
+  <divGen type="encodingDesc" />
+</div>
+
+<figure url="images/frontisp.jpg" rend="w70">
+<anchor id="plate01" />
+<index index="fig" />
+<head>Fujiyama, by Murata Tanryu. Plate I.</head>
+<figDesc>Fujiyama, by Murata Tanryu. Plate I.</figDesc>
+</figure>
+
+<titlePage rend="page-break-before: right; text-align:center">
+ <docTitle><titlePart type="main" rend="font-size: x-large; text-align:center">On the Laws of Japanese Painting</titlePart><lb /><lb/>
+  <titlePart type="sub" rend="text-align:center">An Introduction to the study of the Art of Japan</titlePart>
+</docTitle>
+ <byline><lb /><lb /><lb /><docAuthor rend="text-align:center">Henry P. Bowie</docAuthor><lb /><lb /><lb /><lb /></byline>
+
+<figure url="images/colloph.jpg" rend="w10">
+<figDesc>Title-page design: Butterflies and Birds, known as Cho Tori</figDesc>
+</figure>
+
+<docImprint rend="text-align:center">Paul Elder and Company Publishers</docImprint><lb />
+<docDate>1911</docDate>
+</titlePage>
+
+<div rend="page-break-before: right">
+<index index="pdf" />
+<head>Contents</head>
+<divGen type="toc" />
+</div>
+
+<div rend="page-break-before: right">
+<head>Illustrations</head>
+<divGen type="fig" />
+</div>
+
+<div rend="page-break-before: right">
+<p rend="sc">
+DEDICATED TO THE MEMORY OF KUBOTA BEISEN A GREAT ARTIST AND A KINDLY MAN, WHOSE HAPPINESS WAS IN HELPING OTHERS AND WHOSE TRIUMPHANT CAREER HAS SHED ENDURING LUSTRE UPON THE ART OF JAPANESE PAINTING
+</p>
+</div>
+
+<div rend="page-break-before: right; italic">
+  <index index="toc" />
+  <index index="pdf" />
+<head>Introduction by Iwaya Sazanami<note place="foot">
+<p>
+This is a translation from the original manuscript of <emph rend="sc">Iwaya Sho Ha</emph>, or Iwaya Sazanami, one of the most widely known and popular writers on Japanese folk-lore.
+</p>
+</note></head>
+
+<pb n="v" />
+<p>
+First of all, I should state that in the year 1909 I accompanied the Honorable Japanese Commercial Commissioners in their visit to the various American capitals and other cities of the United states, where we were met with the heartiest welcome, and for which we all felt the most profound gratitude.  We were all so happy, but I was especially so; indeed, it would be impossible to be more happy than I felt, and particularly was this true of one day, namely, the twenty-seventh of November of the year named, when Henry P. Bowie, Esq., invited us to his residence in San Mateo, where we found erected by him a Memorial Gate to commemorate our victories in the Japanese-Russian War; and its dedication had been reserved for this day of our visit.  Suspended above the portals was a bronze tablet inscribed with letters written by my late father, Ichi Roku.  The evening of that same day we were invited by our host to a reception extended to us in San Francisco by the Japan Society of America, where I had the honor of delivering a short address on Japanese folk-lore.  In adjoining halls was exhibited a large collection of Japanese writings and paintings, the latter chiefly the work of the artist, Kubota Beisen, while the writings were from the brush of my deceased father, between whom and Mr. Bowie there existed the relations of the warmest friendship and mutual esteem.
+</p>
+<p>
+Two years or more have passed and I am now in receipt of information from Mr. Shimada Sekko that Mr. Bowie is about to publish a work upon the laws of Japanese painting and I am requested to write a preface to the same.  I am well aware how unfitted I am for such an undertaking, but in view of all I have here related I feel I am not permitted to refuse.
+</p>
+<p>
+Indeed, it seems to me that the art of our country has for many years past been introduced to the public of Europe and America in all sorts of ways, and hundreds of books about Japanese art have appeared in several foreign languages; but I have been privately alarmed for the reason that a great many such books contain either superficial observations made during sightseeing sojourns of six months or a year in our country or are but hasty commentaries, compilations, extracts or references, chosen here and there from other
+<pb n="vi" />
+ volumes.  All work of this kind must be considered extremely superficial.  But Mr. Bowie has resided many years in Japan.  He thoroughly understands our institutions and national life; he is accustomed to our ways, and is fully conversant with our language and literature, and he understands both our arts of writing and painting.  Indeed, I feel he knows about such matters more than many of my own countrymen; added to this, his taste is instinctively well adapted to the Oriental atmosphere of thought and is in harmony with Japanese ideals.  And it is he who is the author of the present volume.  To others a labor of the kind would be very great; to Mr. Bowie it is a work of no such difficulty, and it must surely prove a source of priceless instruction not only to Europeans and Americans, but to my own countrymen, who will learn not a little from it.  Ah, how fortunate do we feel it to be that such a book will appear in lands so far removed from our native shores.  Now that I learn that Mr. Bowie has written this book the happiness of two years ago is again renewed, and from this far-off country I offer him my warmest congratulations, with the confident hope that his work will prove fruitfully effective.
+</p>
+<closer>
+<signed>
+Iwaya Sho Ha,
+</signed>
+<dateline>
+Tokyo, Japan,<lb/>August 17, 1911
+</dateline>
+</closer>
+</div>
+
+
+<div rend="page-break-before: right; italic">
+  <index index="toc" />
+  <index index="pdf" />
+<head>Introduction by Hirai Kinza<note place="foot">
+<p>
+Translated from the original manuscript of Hirai Kinza, noted scholar, lecturer and author.
+</p>
+</note>
+</head>
+<pb n="vii" />
+<p>
+Seventeen years ago, at a time when China and Japan were crossing swords, Mr. Henry P. Bowie came to me in Kyoto requesting that I instruct him in the Japanese language and in the Chinese written characters.  I consented and began his instruction.  I was soon astonished by his extraordinary progress and could hardly believe his language and writing were not those of a native Japanese.  As for the Chinese written characters, we learn them only to know their meaning and are not accustomed to investigate their hidden significance; but Mr. Bowie went so thoroughly into the analysis of their forms, strokes and pictorial values that his knowledge of the same often astounded and silenced my own countrymen.  In addition to this, having undertaken to study Japanese painting, he placed himself under one of our most celebrated artists and, daily working with unabated zeal, in a comparatively short time made marvelous progress in that art.  At one of our public art expositions he exhibited a painting of pigeons flying across a bamboo grove which was greatly admired and praised by everyone, but no one could believe that this was the work of a foreigner.  At the conclusion of the exposition he was awarded a diploma attesting his merit.  Many were the persons who coveted the painting, but as it had been originally offered to me, I still possess it.  From time to time I refresh my eyes with the work and with much pleasure exhibit it to my friends.  Frequently after this Mr. Bowie, always engaged in painting remarkable pictures in the Japanese manner, would exhibit them at the various art exhibitions of Japan, and was on two occasions specially honored by our Emperor and Empress, both of whom expressed the wish to possess his work, and Mr. Bowie had the honor of offering the same to our Imperial Majesties.
+</p>
+<p>
+His reputation soon spread far and wide and requests for his paintings came in such numerous quantities that to comply his time was occupied continuously.
+</p>
+<p>
+Now he is about to publish a work on Japanese painting to enlighten and instruct the people of Western nations upon our art.  As I believe such a book must have great influence in promoting sentiments of kindliness between Japan and America, by causing the
+<pb n="viii" />
+feelings of our people and the conditions of our national life to be widely known, I venture to offer a few words concerning the circumstances under which I first became acquainted with the author.
+</p>
+<closer>
+<signed>
+Hirai Kinza,
+</signed>
+<dateline>
+NIHON AZUMA NO MIYAKO,<lb/>
+Meiji-Yosa Amari Yotose-Hazuke.
+</dateline>
+</closer>
+</div>
+
+<div rend="page-break-before: right; italic">
+  <index index="toc" />
+  <index index="pdf" />
+<head>Preface</head>
+
+<p>
+This volume contains the substance of lectures on on the laws and canons of Japanese painting delivered before the Japan Society of America, the Sketch Club of San Francisco, the Art students of stanford University, the Saturday Afternoon Club of Santa Cruz, the Arts and Crafts Guild of San Francisco, and the Art Institute of the University of California.
+</p>
+<p>
+The interest the subject awakened encourages the belief that a wider acquaintance with essential principles underlying the art of painting in Japan will result in a sound appreciation of the artist work of that country.
+</p>
+<p>
+Japanese art terms and other words deemed important have been purposely retained and translated for the benefit of students who may desire to seriously pursue Japanese painting under native masters.  Those terms printed in small capitals are Chinese in origin; all others in italics are Japanese.
+</p>
+<p>
+All of the drawings illustrative of the text have been specially prepared by Mr. Shimada Sekko, an artist of research and ability, who, under David starr Jordan, has long been engaged on scientific illustrations in connection with the Smithsonian Institution.
+</p>
+<p>
+The author apologizes for all references herein to personal experiences, which he certainly would have omitted could he regard the following pages as anything more than an informal introduction of the reader to the study of Japanese painting.
+</p>
+</div>
+<pb n="xi" />
+
+<div rend="page-break-before: right">
+<p>
+<hi rend="rend=margin-top: 8em">KEN WAN CHOKU HITSU</hi>
+</p>
+<p>
+A firm arm and a perpendicular brush
+</p>
+</div>
+
+</front>
+
+<body rend="page-break-before: right">
+
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+
+<figure url="images/hbandc01.jpg" rend="w90">
+<anchor id="hbandc01" />
+<figDesc>Chapter 1 Head-Band: The flower and leaves of the peony (Botan), as conventionalized on ancient armor (yoroi)</figDesc>
+</figure>
+
+<head>CHAPTER ONE.  PERSONAL EXPERIENCES</head>
+
+<p>
+In the year 1893 I went on a short visit to Japan, and becoming interested in much I saw there, the following year I made a second journey to
+that country.  Taking up my residence in Kyoto, I determined to study and master, if possible, the Japanese language, in order to thoroughly understand the people, their institutions, and civilization.  My studies began at daybreak and lasted till midday.  The afternoons being unoccupied, it occurred to me that I might, with profit, look into the subject of Japanese painting.  The city of Kyoto has always been the hotbed of Japanese art.  At that time the great artist, Ko No Bairei, was still living there, and one of his distinguished pupils, Torei Nishigawa, was highly recommended to me as an art instructor. Bairei had declared Torei's ability was so great that at the age of eighteen he had learned all he could teach him.  Torei was now over thirty years of age and a perfect type of his kind, overflowing with skill, learning, and humor.  He gave me my first lesson and I was simply entranced.
+</p>
+<pb n="4" />
+<p>
+It was as though the skies had opened to disclose a new kingdom of art.  Taking his brush in hand, with a few strokes he had executed a masterpiece, a loquot <foreign lang="jp" rend="it">(biwa)</foreign> branch, with leaves clustering round the ripe fruit.  Instinct with life and beauty, it seemed to have actually grown before my eyes.  From that moment dated my enthusiasm for Japanese painting.  I remained under Nishigawa for two years or more, working assiduously on my knees daily from noon till nightfall, painting on silk or paper spread out flat before me, according to the Japanese method.
+</p>
+<p>
+Japanese painters are generally classed according to what they confine themselves to producing. Some are known as painters of figures <emph rend="sc">(jim butsu)</emph> or animals <emph rend="sc">(do butsu)</emph>, others as painters of landscapes <emph rend="sc">(san sui)</emph>, others still as painters of flowers and birds <emph rend="sc">(ka cho)</emph>, others as painters of religious subjects <emph rend="sc">(butsu gwa),</emph>  and so on.  Torei was a painter of flowers and birds, and these executed by him are really as beautiful as their prototypes in nature.  On <ref target="plate07" rend="color: blue">plate VII</ref>  is given a specimen of his work.  He is now a leading artist of Osaka, where he has done much to revive painting in that commercial city.
+</p>
+
+<p>
+As I desired to get some knowledge of Japanese landscape painting, I was fortunate in next obtaining instruction from the distinguished Kubota Beisen, one of the most popular and gifted artists in the empire.
+</p>
+
+
+
+<p>
+In company with several of his friends and former pupils I called upon him.  After the usual words of
+<pb n="5" />
+ceremony he was asked if he would kindly paint something for our delight.  Without hesitation he spread a large sheet of Chinese paper <emph rend="sc">(toshi)</emph>
+him and in a few moments we beheld a crow clinging to the branches of a persimmon tree and trying to peck at the fruit, which was just a trifle out of reach.  The work seemed that of a magician.  I begged him then and there to give me instruction.  He consented, and thus began an acquaintance and friendship which lasted until his death a few years ago. I worked faithfully under his guidance during five years, every day of the week, including Sundays.  I never tired; in fact, I never wanted to stop.  Every stroke of his brush seemed to have magic in it.  <ref target="plate04" rend="color: blue">(Plate IV.)</ref> In many ways he was one of the cleverest artists Japan has ever produced.  He was an author as well as a painter, and wrote much on art.  At the summit of his renown he was stricken hopelessly blind and died of chagrin,&mdash;he could paint no more.
+</p>
+<p>
+While living in Tokio for a number of years I painted constantly under two other artists&mdash;Shimada Sekko, now distinguished for fishes; and Shimada Bokusen, a pupil of Gaho, and noted for landscape in the Kano style; so that, after nine years in all of devotion and labor given to Japanese painting, I was able to get a fairly good understanding of its theory and practice.
+</p>
+<p>
+It may seem strange that one not an Oriental should become thus interested in Japanese painting and devote so much time and hard work to it; but the fact is, if one seriously investigates that art
+<pb n="6" />
+he readily comes under the sway of its fascination.
+As the people of Japan love art in all its manifestations, the foreigner who paints in their manner finds a double welcome among them; thus, ideal conditions are supplied under which the study there of art can be pursued.
+</p>
+<p>
+My memory records nothing but kindness in that particular.  During my long residence in Kyoto there were constantly sent to me for my enjoyment and instruction precious paintings by the old masters, to be replaced after a short time by other works of the various schools.  For such attention I was largely indebted to the late Mr. Kumagai, one of Kyoto's most highly esteemed citizens and art patrons.  Without multiplying instances of the generous nature of the Japanese and their interest in the endeavors of a foreigner to study their art, I will mention the gift from the Abbot of Ikegami of two original dragon paintings, executed for that temple by Kano Tanyu.  In Tokio my dwelling was the frequent rendezvous of many of the leading artists of that city and <emph rend="sc">gassaku</emph> painting was invariably our principal pastime. The great poet, Fukuha Bisei, now gone, would frequently join us, and to every painting executed he would add the embellishment of his charming inspirations in verse, written thereon in his inimitable <foreign lang="jp" rend="it">kana</foreign> script.  This nobleman had taught the art of poetry to H. I. M. Mutsu Hito, to the preceding Emperor, and to the present Crown Prince.
+</p>
+
+</div>
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+
+<figure url="images/hbandc02.jpg" rend="w90">
+<anchor id="hbandc02" />
+<figDesc>Chapter 2 Head-Band: Fan-shaped leaves of the icho or gin nan (Salisburiana), placed in books in China and Japan to prevent the ravages of the bookworm.</figDesc>
+</figure>
+
+<head>CHAPTER TWO. ART IN JAPAN</head>
+<pb n="7" />
+<p>
+In approaching a brief exposition of the laws of Japanese painting it is not my purpose to claim for that art superiority over every other kind of painting; nor will I admit that it is inferior to other schools of painting.  Rather would I say that it is a waste of time to institute comparisons.  Let it be remembered only that no Japanese painting can be properly understood, much less appreciated, unless we possess some acquaintance with the laws which control its production.  Without such knowledge, criticism&mdash;praising or condemning a Japanese work of art&mdash;is without weight or value.
+</p>
+<p>
+Japanese painters smile wearily when informed that foreigners consider their work to be flat, and at best merely decorative; that their pictures have no middle distance or perspective, and contain no shadows; in fact, that the art of painting in Japan is still in its infancy.  In answer to all this suffice it to say that whatever a Japanese painting fails to contain has been purposely omitted.  With Japanese artists it is a question of judgment and taste
+<pb n="8" />
+as to what shall be painted and what best left out.  They never aim at photographic accuracy or distracting detail.  They paint what they feel rather than what they see, but they first see very distinctly.  It is the artistic impression <emph rend="sc">(sha i)</emph>  which they strive to perpetuate in their work.  So far as perspective is concerned, in the great treatise of Chu Kaishu entitled, <q>The Poppy-Garden Art Conversations,</q> a work laying down the fundamental laws of landscape painting, artists are specially warned against disregarding the principle of perspective called <emph rend="sc">en kin,</emph> meaning what is far and what is near.  The frontispiece to the present volume illustrates how cleverly perspective is produced in Japanese art <ref target="plate01" rend="color: blue">(Plate I).</ref>
+</p>
+<p>
+Japanese artists are ardent lovers of nature; they closely observe her changing moods, and evolve every law of their art from such incessant, patient, and careful study.
+</p>
+<p>
+These laws (in all there are seventy-two of them recognized as important) are a sealed book to the uninitiated.  I once requested a learned Japanese to translate and explain some art terms in a work on Japanese painting.  He frankly declared he could not do it, as he had never studied painting.
+</p>
+<p>
+The Japanese are unconsciously an art-loving people.  Their very education and surroundings tend to make them so. When the Japanese child of tender age first takes his little bowl of rice, a pair of tiny chop-sticks is put into his right hand.  He grasps them as we would a dirk.  His mother then shows him how he should manipulate them.
+<pb n="9" />
+He has taken a first lesson in the use of the brush.  With practice he becomes skilful, and one of his earliest pastimes is using the chop-sticks to pick up single grains of rice and other minute objects, which is no easy thing to do.  It requires great dexterity.
+He is insensibly learning how to handle the double brush <emph rend="sc">(ni hon</emph> <foreign lang="jp" rend="it">fude)</foreign> with which an artist will,
+among other things, lay on color with one brush and dilute or shade off <foreign lang="jp" rend="it">(kumadori)</foreign> the color with another, both brushes being held at the same time
+in the same hand, but with different fingers.
+</p>
+<p>
+At the age of six the child is sent to school and taught to write with a brush the phonetic signs Japanese (forty-seven in number) which constitute the Japanese syllabary. These signs represent the forty-seven pure sounds of the Japanese language and are used for writing.  They are known as <foreign lang="jp" rend="it">katakana</foreign> and are simplified Chinese characters, consisting of two or three strokes each.  With them any word in Japanese can be written.  It takes a year for a child to learn all these signs and to write them from memory, but they are an excellent training for both the eye and the hand.
+</p>
+<p>
+His next step in education is to learn to write these same sounds in a different script, called <foreign lang="jp" rend="it">hiragana.</foreign> These characters are cursive or rounded in form, while the <foreign lang="jp" rend="it">katakana</foreign> are more or less square. The <foreign lang="jp" rend="it">hiragana</foreign> are more graceful and can be written more rapidly, but they are more complicated.
+</p>
+<p>
+From daily practice considerable training in the use of the brush and the free movement of the right arm and wrist is secured, and the eye is taught
+<pb n="10" />
+insensibly the many differences between the square and the cursive form.  Before the child is eight years old he has become quite skilful in writing with the brush both kinds of <foreign lang="jp" rend="it">kana.</foreign>
+</p>
+<p>
+He is next taught the easier Chinese characters,&mdash;Chinese <emph rend="sc">kanji</emph>  and ideographs.  These are most ingeniously constructed and are of great importance in the further training of the eye and hand.
+</p>
+<p>
+So greatly do these wonderfully conceived written forms appeal to the artistic sense that a taste for them thus early acquired leads many a Japanese scholar to devote his entire life to their study and cultivation.  Such writers become professionals and are called <emph rend="sc">shoka.</emph> Probably the most renowned in all China was Ogishi.  Japan has produced many such famous men, but none greater than Iwaya Ichi Roku, who has left an immortal name.
+</p>
+<p>
+From what has been said about writing with the brush, it will be understood how the youth who may determine to follow art as a career is already well prepared for rapid strides therein.  His hand and arm have acquired great freedom of movement.  His eye has been trained to observe the varying lines and intricacies of the strokes and characters, and his sentiments of balance, of proportion, of accent and of stroke order, have been insensibly developed according to subtle principles, all aiming at artistic results.
+</p>
+<p>
+The knowledge of Chinese characters and the their ability to write them properly are considered of prime importance in Japanese art.  A first counsel given me by Kubota Beisen was to commence that
+<pb n="11" />
+study, and he personally introduced me to Ichiroku who, from that time, kindly supervised my many years of work in Chinese writing, a pursuit truly engrossing and captivating.
+</p>
+<p>
+In all Japanese schools the rudiments of art are taught, and children are trained to perceive, feel, and enjoy what is beautiful in nature.  There is no city, village, or hamlet in all Japan that does not contain its plantations of plum and cherry blossoms in spring, its peonies and lotus ponds in summer, its chrysanthemums in autumn, and camelias, mountain roses and red berries in winter.  The school children are taken time and again to see these, and revel amongst them.  It is a part of their education.  Excursions, called <emph rend="sc">undokai,</emph> are organized at stated intervals during the school term and the scholars gaily tramp to distant parts of the country, singing patriotic and other songs the while and enjoying the view of waterfalls, broad and winding rivers, autumn maples, or snow-capped mountains.  In addition to this, trips are taken to all famous temples and historical places including, where conveniently near, the three great views of Japan,&mdash;Matsushima, Ama No Hashi Date, and Myajima.  Thus a taste for landscape is inculcated and becomes second nature.  Furthermore, the scholars are encouraged to closely watch every form of life, including butterflies, crickets, beetles, birds, goldfish, shell-fish, and the like; and I have seen miniature landscape gardens made by Japanese children, most cleverly reproducing charming views
+<pb n="12" />
+and contained in a shallow box or tray.  This gentle little art is called <emph rend="sc">bonsai</emph> or <foreign lang="jp" rend="it">hako niwa.</foreign>
+</p>
+
+<figure url="images/plate_02.jpg" rend="w70; page-float: 'ht'">
+<anchor id="plate02" />
+<index index="fig" />
+<head>The Tea Ceremony, by Miss Uyemura Shoen. Plate II.</head>
+<figDesc>The Tea Ceremony, by Miss Uyemura Shoen. Plate II.</figDesc>
+</figure>
+
+<p>
+My purpose in alluding to all this is to indicate that a boy on leaving school has absorbed already much artistic education and is fairly well equipped for beginning a special course in the art schools of the empire.
+</p>
+<p>
+These schools differ in their methods of instruction,
+and many changes have been introduced in
+them during the present reign, or Meiji period, but
+substantially the course takes from three to four
+years and embraces copying (<emph rend="sc">isha </emph> <foreign lang="jp" rend="it">mitori</foreign>), tracing
+<emph rend="sc">(mosha,</emph> <foreign lang="jp" rend="it">tsuki-utsushi)</foreign>, reducing <emph rend="sc">(shukuzu,</emph>  <foreign lang="jp" rend="it">chijime-ru)</foreign>,
+and composing <emph rend="sc">(shiko,</emph> <foreign lang="jp" rend="it">tsukuri kata).</foreign>
+</p>
+<p>
+In copying, the teacher usually first paints the particular subject and the student reproduces it under his supervision. Kubota's invariable method was to require the pupil on the following day to reproduce from memory <emph rend="sc">(an ki)</emph> the subject thus copied. This engenders confidence.  In tracing, thin paper is placed over the picture and the outlines <emph rend="sc">(rin kaku)</emph> are traced according to the <emph>exact order</emph> in which the original subject was executed, an order which is established by rule; thus a proper style and brush habit are acquired. The correct sequence of the lines and parts of a painting is of the highest importance to its artistic effect.
+</p>
+<p>
+In reducing the size of what is studied, the laws of proportion are insensibly learned. This is of great use afterwards in sketching <emph rend="sc">(shassei).</emph> I believe that in the habit of reproducing, as taught in
+<pb n="13" />
+the schools, lies the secret of the extraordinary skill
+of the Japanese artisan who can produce marvelous
+effects in compressing scenery and other subjects course within the very smallest dimensions and yet preserve correct proportions and balance.  Nothing can excel in masterly reduction the miniature landscape work of the renowned Kaneiye, as exhibited in his priceless sword guards <foreign lang="jp" rend="it">(tsuba).</foreign>
+</p>
+<p>
+Sketching comes later in the course and is taught only after facility has been acquired in the other three departments.  It embraces everything within doors and without&mdash;everything in the universe which has form or shape goes into the artist's sketch-book <emph rend="sc">(ken kon</emph> <foreign lang="jp" rend="it">no uchi</foreign> <emph rend="sc">kei sho</emph>  <foreign lang="jp" rend="it">arumono mina</foreign>  <emph rend="sc">fun pon</emph> <foreign lang="jp" rend="it">to nasu)&mdash;</foreign>and forms part of the course in composition, which is intended to develop the imaginative faculties <emph rend="sc">(sozo)</emph>.  Kubota was so skilful in sketching that while traveling rapidly through a country he could faithfully reproduce the salient features of an extended landscape, conformable to the general rule in sketching, that what first attracts the eye is to be painted first, all else becoming subordinate to it in the scheme.  Again, he could paint the scenery and personages of any historical song <foreign lang="jp" rend="it">(joruri)</foreign> as it was being sung to him, reproducing everything therein described and finishing his work in exact time with the last bar of the music.  His arm and wrist were so free and flexible that his brush skipped about with the velocity of a dragon-fly.  As an offhand painter <emph rend="sc">(sekijo),</emph> or as a contributor to an impromptu picture in which several artists will in turn participate,
+<pb n="14" />
+such joint composition being known as <emph rend="sc">gassaku,</emph> Kubota stood <foreign lang="la" rend="it">facile princeps</foreign> among modern Japanese artists.  The Kyoto painters have always been most gifted in that kind of accomplishment.  In their day Watanabe Nangaku, a pupil of Okyo, Bairei, and Hyakunen, all of Kyoto, were famous as <emph rend="sc">sekijo</emph> painters.
+</p>
+<p>
+The art student having completed his course is now qualified to attach himself to some of the great artists, into whose household he will be admitted and whose <foreign lang="jp" rend="it">deshi</foreign> or art disciple he becomes from that time on.  The relation between such master <emph rend="sc">(sensei)</emph> and his pupil <foreign lang="jp" rend="it">(deshi)</foreign> is the most kindly imaginable.  Indeed, <foreign lang="jp" rend="it">deshi</foreign> is a very beautiful word, meaning a younger brother, and was first applied to the Buddhist disciples of Shakka.  The master treats him as one of his family and the pupil reveres the master as his divinity.  Greater mutual regard and affection exist nowhere and many pupils remain more or less attached to the master's household until his death.  To the most faithful and skilful of these the master bestows or bequeaths his name or a part of it, or his nom de plume <emph rend="sc">(go);</emph> and thus it is that the celebrated schools <emph rend="sc">(ryugi</emph> or <emph rend="sc">ha</emph> or <emph rend="sc">fu)</emph> of Japanese painting have been formed and perpetuated, beginning with Kanaoka, Tosa, Kano, and Okyo, and brought down to posterity through the devoted, and I might say sacred efforts of their pupils, to preserve the methods and traditions of those great men.  Pupils of the earlier painters took their masters' family names, which accounts for so many Tosas and Kanos.
+</p>
+<pb n="15" />
+<p>
+Great painters have always been held in high esteem in Japan, not only by their pupils, but also by the whole nation.  Chikudo, the distinguished tiger painter, Bairei, one of the most renowned of the <emph rend="sc">shijo ha</emph> or Maruyama school, Hashimoto Gaho, a pupil of Kano Massano and a leading exponent of the Kano style (Kano <emph rend="sc">ha),</emph> and Katei, a Nangwa artist, all only recently deceased, were glorified in their lifetime.  Strange to say, no one ever saw Gaho with brush in hand.  He never would paint before his pupils or in any one's presence.  His instructions were oral.  On the other hand, Kubota Beisen was always at his best when painting before crowds of admirers.
+</p>
+<p>
+Prior to the Meiji period the great painters attached to the household of a Daimyo were called <foreign lang="jp" rend="it">O Eshi.</foreign> Painters who sold their paintings were styled <foreign lang="jp" rend="it">E kaki.</foreign> Now all painters are called <emph rend="sc">gwa ka.</emph> Engravers, sculptors, print makers and the like were and still are denominated <emph rend="sc">shokunin,</emph> meaning artisans.  The comprehensive term <q>fine arts</q> <emph rend="sc">(bijutsu)</emph> is of quite recent creation in Japan.
+</p>
+<p>
+To say a few words about the different schools of painting in Japan, there were great artists there, many centuries before Italy had produced Michael Angelo or Raphael.  The art of painting began more than fifteen hundred years ago and has continued in uninterrupted descent from that remote time down to this forty-fourth year of Meiji, the present emperor's reign.  No other country in the civilized world can produce such an art record.  One thousand years before America was discovered,
+<pb n="16" />
+five hundred years before England had a name, and long before civilization had any meaning in Europe, there were artists in Japan following the profession of painting with the same ardor and the same intelligence they are now bestowing upon their art in this twentieth century of our era.
+</p>
+<p>
+When Buddhism was introduced there in the
+sixth century, a great school of Buddhist artists
+began its long career.  Among  the names that
+stand out from behind the mist of ages is that of
+Kudara no Kawanari, who came from Corea.
+</p>
+<p>
+In the ninth century lived the celebrated Kose Kanaoka.  He painted in what was called the pure Japanese style, <foreign lang="jp" rend="it">yamato e,</foreign> <foreign lang="jp" rend="it">yamato</foreign> being the earliest name by which Japan was designated.  He painted portraits and landscapes, and his school having a great following, lasted through five centuries.  Kose Kimi Mochi, his pupil, Kimitada and Hirotaka were distinguished disciples of Kanaoka.
+</p>
+<p>
+The Tosa school came next, beginning with Tosa Motomitsu, followed by Mitsunaga, Nobuzane and Mitsunobu.  It dates back to the period of the Kamakura Shogunate eight hundred years ago.  Its artists confined themselves principally to painting court scenes, court nobles, and the various ceremonies of court life.  This school always used color in its paintings.
+</p>
+<p>
+After Tosa came the schools of Sumiyoshi, Takuma, Kassuga, and Sesshu. Sesshu was a genius of towering proportions and an indefatigable artist of the very highest rank as a landscape painter.  He had a famous pupil named Sesson.
+</p>
+<pb n="17" />
+<p>
+Following Sesshu came the celebrated school of Kano artists, founded in the sixteenth century by Kano Masanobu.  It took Japan captive.  It had a tremendous vogue and following, and has come down to the present day through a succession of great painters.  There were two branches, one in Edo (Tokyo), which included Kano Masanobu, Motonobu, his son, Eitoku, Motonobu's pupil, and later, Tanyu (Morinobu) Tanshin, his pupil, Koetsu, Naonobu, Tsunenobu, Morikage, Itcho, and finally Hashimoto Gaho, its latest distinguished representative, who is but recently deceased.  The other branch, known as the Kyoto Kano, included the famous San Raku, Eino, San Setsu, and others. By some critics San Raku is placed at the head of all the Kano artists.
+</p>
+<p>
+The Kano painters are remarkable for the boldness and living strength of the brush strokes <foreign lang="jp" rend="it">(fude no chicara</foreign> or <foreign lang="jp" rend="it">fude no ikioi)</foreign>, as well as for the brilliancy or sheen <foreign lang="jp" rend="it">(tsuya)</foreign> and shading of the <foreign lang="jp" rend="it">sumi.</foreign> This latter effect&mdash;the play of light and shade in the stroke, considered almost a divine gift&mdash;is called <emph rend="sc">bokushoku,</emph> and recalls somewhat the term <foreign lang="it" rend="it">chiaroscuru.</foreign> The range of subjects of the Kano painters was originally limited to classic Chinese scenery, treated with simplicity and refinement, and to Chinese personages, sages and philosophers; color was used sparingly.
+</p>
+<p>
+Other schools, more or less offshoots of the Kano style <emph rend="sc">(ryu)</emph> of painting, came next&mdash;e. g., Korin and his imitator, Hoitsu, the <emph rend="sc">daimyo</emph> of Sakai, who was said to use powdered gold and precious stones in
+<pb n="18" />
+his pigments.  Korin has never had his equal as a painter on lacquer. His work is said to be <foreign lang="fr" rend="it">le regal des delicats.</foreign>
+</p>
+
+<p>
+Another disciple of the Kano school, and a pupil of Yutei, was Maruyama Okyo, who founded in turn a school of art which is the most widely spread and flourishing in Japan today.  Maruyama, not Okyo, was the family name of that artist.  The name Okyo originated thus: Maruyama, much admiring an ancient painter named Shun Kyo, took the latter half of that name, Kyo, and prefixing an <q>O</q> to it, made it Okyo, which he then adopted.  His style is called <emph rend="sc">shi jo fu, shi jo</emph> being the name of that part of Kyoto where he resided, and <emph rend="sc">fu</emph> meaning style or manner, and its characteristic is artistic fidelity to the objects represented.  By some it is called the realistic school, and includes such well-known household names as Goshun, pupil of Busson, Sosen, the great monkey painter, Tessan <ref target="plate03" rend="color: blue">(Plate III.)</ref> and his son, Morikwansai, Bairei, Chi-kudo, the tiger painter, Hyakunen and his three pupils, Keinen, Shonen and Beisen, Kawabata Gyokusho, Torei, Shoen, and Takeuchi Seiho.
+</p>
+<p>
+There are still other schools <emph rend="sc">(ryugi)</emph> which might be mentioned, including that of the <emph rend="sc">nangwa,</emph> or Chinese southern painters, of Chinese origin and remarkable for the gracefulness of the brush stroke, the effective treatment of the masses and for the play of light and shade throughout the composition. Among the great <emph rend="sc">nangwa</emph> painters are Taigado, Chikuden, Baietsu <ref target="plate08" rend="color: blue">(Plate VIII)</ref> and Katei.   To this school is referred a style of painting affected
+<pb n="19" />
+exclusively by the professional writers of Chinese characters, and called <emph rend="sc">bunjingwa.</emph> To these I will allude further on.  The versatile artist, Tani Buncho, created a school which had many adherents, including the distinguished Watanabe Kwazan and Eiko of Tokyo, lately deceased, one of its best exponents.
+</p>
+
+<p>
+The art of painting is enthusiastically pursued at the present time in Kyoto, Tokyo, Nagoya and Osaka.  In Tokyo, Hashi Moto Gaho was generally conceded to be, up to the time of his death in 1908, the foremost artist in Japan.  Although of the Kano school, he greatly admired European art, and the treatment of the human figure in some of his latest paintings recalls the manner of the early Flemish artists.
+</p>
+<p>
+My first meeting with Gaho was at his home.  While waiting for him, I observed suspended in the <foreign lang="jp" rend="it">tokonoma,</foreign> or alcove, a narrow little <foreign lang="jp" rend="it">kakemono</foreign> by Kano Moto Nobu, representing an old man upon a donkey crossing a bridge.  A small bronze vase containing a single flower spray was the sole ornament in the room.  This gave the keynote to Gaho's character&mdash;classic simplicity, ever reflected in his work.  He had many followers.  His method of instruction with advanced pupils was to give them subjects such as <q>A Day in Spring,</q> <q>Solitude,</q> <q>An Autumn Morning,</q> or the like, and he was most insistent upon all the essentials to the proper effect being introduced.  His criticisms were always luminous and sympathetic.  He advised his students to copy everything good, but to imitate
+<pb n="20" />
+no-one,&mdash;to develop individuality.   He left three very distinguished and able pupils&mdash;Gyokudo, Kan Zan and Boku Sen.
+</p>
+
+<figure url="images/plate_03.jpg" rend="w70; page-float: 'ht'">
+<anchor id="plate03" />
+<index index="fig" />
+<head>Chickens in Spring, by Mori Tessan. Plate III.</head>
+<figDesc>Chickens in Spring, by Mori Tessan. Plate III.</figDesc>
+</figure>
+
+
+<p>
+Since Gaho's death, Kawabata Gyokusho, an Okyo artist, is the recognized leader of the capital.  In Kyoto, Takeuchi Seiho, an early pupil of Bairei, now occupies the foremost place, although Shonen and Keinen, pupils of Hyakunen, still hold a high rank.
+</p>
+<p>
+Recurring to the time of Tosa, there is another school beginning under Matahei and perpetuated through many generations of popular artists, including Utamaro, Yeisen and Hokusai, and coming down to the present date.  This is the <foreign lang="jp" rend="it">Ukiyo e</foreign> or floating-world-picture school.  It is far better known through its prints than its paintings.  The great painters of Japan have never held this school in any favor.  At one time or another I have visited nearly every distinguished artist's studio in Japan, and I know personally most of the leading artists of that country.  I have never seen a Japanese print in the possession of any of them, and I know their sentiments about all such work.  A print is a lifeless production, and it would be quite impossible for a Japanese artist to take prints into any serious consideration.  They rank no higher than cut velvet scenery or embroidered screens.  I am aware that such prints are in great favor with many enthusiasts and that collectors highly value them; but they do not exemplify art as the Japanese understand that term.  It must be admitted, however, that the prints have been of service in several
+<pb n="21" />
+ways.  They first attracted the world's attention to the subject of Japanese art in general.  Commencing with an exhibition of them in London a half century ago, the prints of Ukiyo or genre subjects came rapidly into favor and ever since have commanded the notice and admiration of collectors in Europe and America.  Many people are even under the impression that the prints represent Japanese painting, which, of course, is a great mistake.  There have been artists in Japan who, in the <foreign lang="jp" rend="it">Ukiyo e</foreign> manner, have painted <foreign lang="jp" rend="it">kakemono</foreign>, <emph rend="sc">byobu</emph> and <foreign lang="jp" rend="it">makimono</foreign>. The word <foreign lang="jp" rend="it">kakemono</foreign> is applied to a painting on silk or paper, wound upon a wooden roller and unrolled and hung up to be seen. <foreign lang="jp" rend="it">Kakeru</foreign> means to suspend and <foreign lang="jp" rend="it">mono</foreign> means an object, hence <foreign lang="jp" rend="it">kakemono</foreign>, a suspended object. <emph rend="sc">byobu</emph> signifies wind protector or screen; <foreign lang="jp" rend="it">makimono</foreign>, meaning a wound thing, is a painting in scroll form. It is not suspended, but simply unrolled for inspection. Such original work by Matahei and others is extant. But most of the <foreign lang="jp" rend="it">Ukiyo e</foreign>, or pictures in the popular style, are prints struck from wood blocks and are the joint production of the artist, the wood engraver, the color smearer and the printer, all of whom have contributed to and are more or less entitled to credit for the result; and that is one reason why the artist-world of Japan objects to or ignores them; they are not the spontaneous, living, palpitating production of the artist's brush.  It is well known that artists of the <foreign lang="jp" rend="it">Ukiyo e</foreign> school frequently indicated only by written instructions how their outline drawings for the prints should be colored,
+<pb n="22" />
+leaving the detail of such work to the color smearer.  Apart from the fact that the colors employed were the cheapest the market afforded, and are found often to be awkwardly applied, there is too much about the prints that is measured, mechanical and calculated to satisfy Japanese art in its highest sense.  Frequently more than one engraver was employed upon a single print.  The engravers had their specialties; some were engaged for the coiffure or head-dress <foreign lang="jp" rend="it">(mage),</foreign> other for the lines of the face, others for the dress <foreign lang="jp" rend="it">(kimono),</foreign> others still for pattern <emph rend="sc">(moyo)</emph>, et cetera.  The most skilful engravers in Yedo were called <foreign lang="jp" rend="it">kashira bori</foreign> and were always employed on Utamaro and Hokusai prints.  Many of the colors of these prints in their soft, neutral shades, are rapturously extolled by foreign connoisseurs as evidence of the marvelous taste of the Japanese painter.  But, really, time more than art is to be credited with toning down such tints to their present delicate hues.  In this respect, like Persian rugs, they improve with age and exposure.  An additional objection to most of the prints is that they reproduce trivial, ordinary, every-day occurrences in the life of the mass of the people as it moves on.  They are more or less plebian.  The prints being intended for sale to the common people, the subjects of them, however skilfully handled, had to be commonplace.  They were not purchased by the nobility or higher classes.  Soldiers, farmers, and others bought them as presents <foreign lang="jp" rend="it">(miage)</foreign> for their wives and children, and they were generally sold for a penny apiece, so that in Japan
+<pb n="23" />
+prints were a cheap substitute for art with the
+lower classes, just as Raspail says garlic has always
+been the camphor of the poor in France.  The practice of issuing <foreign lang="jp" rend="it">Ukiyo e</foreign> prints at very low prices still
+continues in Tokyo, where every week or two such
+colored publications are sprung up in front of the
+book-stalls and are still as eagerly purchased by the
+common people as they were in Tokugawa days.
+</p>
+<p>
+The prices the old prints now bring are out of all proportion to their intrinsic value, yet, such is the crescendo craze to acquire them that Japan has been almost drained of the supply, the number of prints of the best kind being limited, like that of Cremona violins of the good makers.
+</p>
+<p>
+Prints are genuine originals of a first or subsequent issue, called respectively, <emph rend="sc">sho han</emph> and <emph rend="sc">sai han,</emph> or they are reproductions more or less cleverly copied upon new blocks, or they are fraudulent imitations <emph rend="sc">(ganbutsu)</emph> of the original issues, often difficult to detect.  The very wormholes are burnt into them with <emph rend="sc">senko</emph> or perfume sticks and clever workmen are employed to make such and other trickery successful.  A long chapter could be written about their dishonest devices.  Copies of genuine prints <emph rend="sc">(hon koku),</emph> made from new blocks after the manner of the ancient ones, abound, and were not intended to pass for originals.  Yedo, where the print industry was chiefly carried on, has had so many destructive conflagrations that most of the old <foreign lang="jp" rend="it">Ukiyo e</foreign> blocks have been destroyed.  At Nagoya the house of To Heki Do still preserves the original blocks of the <emph rend="sc">mangwa</emph> or miscellaneous drawings of
+<pb n="24" />
+Hokusai, but they are  much  worn.   Prints are known by various names, such as <foreign lang="jp" rend="it">ezoshi</foreign> (illustrations), <foreign lang="jp" rend="it">nishiki e</foreign>, <foreign lang="jp" rend="it">edo e</foreign> (Yedo pictures), <foreign lang="jp" rend="it">sunmono</foreign> and <emph rend="sc">insatsu.</emph> It may be of interest to know that the print blocks, when so worn as to be no longer serviceable for prints, are sometimes converted into fire-boxes <foreign lang="jp" rend="it">(hibachi)</foreign> and tobacco trays <foreign lang="jp" rend="it">(tobacco bon)</foreign> which, when highly polished, are decorative and unique.
+</p>
+<p>
+Perhaps a useful purpose prints have served is to record the manners and customs of the people of the periods when they were struck off.  They show not only prevailing styles of dress and headdress, but also the pursuits and amusements of the common folk.  They are excellent depositaries of dress pattern <emph rend="sc">(moyo)</emph> or decoration, upon which fertile subject Japan has always been a leading authority.  In the early Meiji period print painters frequently delegated such minute pattern work to their best pupils, whose seals <emph rend="sc">(in)</emph> will be found upon the prints thus elaborated.  The prints preserve the ruling fashions of different periods in combs and other hair ornaments, fans, foot-gear, single and multiple screens, fire-boxes and other household ornaments and utensils.  They also furnish specimens of temple and house architecture, garden plans, flower arrangements <foreign lang="jp" rend="it">(ike bana),</foreign> bamboo, twig and other fences.  Again, they reproduce the stage, with its famous actors in historical dramas; battle scenes, with warriors and heroes; characters in folk-lore and other stories, and wrestling matches, with the popular champions; and we will often find upon
+<pb n="25" />
+the face of the print good reproductions of Chinese and Japanese writing, in poems and descriptive prose pieces.  Hokusai illustrated much of the classic poetry of China and Japan, as well as the <emph rend="sc">senjimon,</emph> or Thousand Character Chinese classic, a work formerly universally taught in the Japanese schools.  The original characters for this remarkable compilation were taken from the writings of Ogishi.  The prints have aided in teaching elementary history to the young; the knowledge of Japanese children in this connection is often remarkable and may be attributed to the educational influence of the <foreign lang="jp" rend="it">Ukiyo e</foreign> publications.
+</p>
+<p>
+So there are certainly good words to be said for the prints, but they are not Japanese art in its best sense, however interesting as a subordinate phase of it, and in no sense are they Japanese painting.
+</p>
+<p>
+If limited to a choice of one artist of the <foreign lang="jp" rend="it">Ukiyo e</foreign> school, no mistake would be made, I think, in selecting Hiroshige, whose landscapes fairly reproduce the sentiment of Japanese scenery, although the prints bearing his name fall far short of reproducing that artist's color schemes.  Hokusai's reputation with foreigners is greater than Hiroshige's, but Japanese artists do not take Hokusai seriously.  His pictures, they declare, reflect the restlessness of his disposition; his peaks of Fuji are all too pointed, and his manner generally is exaggerated and theatrical.  Utamaro's women of the Yoshiwara are certainly careful studies in graceful line drawing,&mdash;as correct as Greek drapery in marble.
+</p>
+<pb n="26" />
+<p>
+Iwasa Matahei, the founder of the popular school, was a pupil of Mitsunori, a Kyoto artist and follower of Tosa.  Matahei disliked Tosa subjects and preferred to depict the fleeting usages of the people, so he was nicknamed Fleeting World or <foreign lang="jp" rend="it">Ukiyo</foreign> Matahei, and thus originated the name <foreign lang="jp" rend="it">Ukiyo e</foreign> or pictures of every-day life.  There are no genuine Matahei prints.  He dates back to the seventeenth century.  Profile faces in original screen paintings by him have an Assyrian cast of countenance, the eye being painted as though seen in full face.
+</p>
+<p>
+Hishikawa Moronobu was his follower and admirer.  He was an artist of Yedo.  Nishikawa Sukenobu belonged to the Kano school and was a pupil of Kano Eiko.  He adopted the <foreign lang="jp" rend="it">Ukiyo e</foreign> style and depicted the pastimes of women and the portraits of actors.  He lived two hundred and twenty years ago and in his time prints came greatly into vogue.  Torii Kyonobu painted women and actors and invented the kind of pictured theatrical powers which are still in fashion, placarded at the entrance to theaters and showing striking incidents in the play.
+</p>
+<p>
+Suzuki Harunobu never painted actors, preferring to reproduce the feminine beauties of his time.  It was to his careful work that was first applied the term <foreign lang="jp" rend="it">nishiki e</foreign> or brocade pictures, on account of the charm of his decorative manner.  He lived one hundred and thirty years ago.
+</p>
+<p>
+Among the many able foreign writers on Japanese prints Fenollosa stands prominent. He resided for a long time in Japan, understood and spoke the
+<pb n="27" />
+language, and lived the life of the people.  He was
+in great sympathy with them and with their art and enjoyed exceptional opportunities for seeing and studying the best treasures of that country.  Had he possessed the training necessary to paint in the Japanese style I do not think he would have devoted so much time to Japanese woodcuts.  Visiting me at Kyoto, where I was busily engaged in painting, <q>Ah!</q> he cried, <q>that is what I have always longed to do.  Sooner or later I shall follow your example.</q>  But he never did.  Instead, he issued a large work on Japanese prints.  His death was a real loss to the art literature of Japan.  During eight years he was in the service of the Japanese government ransacking, cataloguing and photographing the multitudinous art treasures, paintings, <foreign lang="jp" rend="it">kakemono</foreign>, <foreign lang="jp" rend="it">makimono,</foreign> and <emph rend="sc">byobu</emph> (pictures, scrolls and screens), to be found in the various Buddhist and other temples and monasteries scattered throughout the empire.  The last time we met, he remarked, <q>How can one willingly leave this land of light?  Japan, to my mind, stands for whatever is beautiful in nature and true in art; here I hope to pass the remaining years of my life.</q>  Such was his genuine enthusiasm, engendered by a long acquaintance with art and everything else beautiful in that country.  Japan impresses in this way all who see it under proper conditions, but unfortunately the ordinary traveler, pushed for time, and whose acquaintance is limited to professional guides, never gets much beyond the sights, the shops and the curio dealers.
+</p>
+<pb n="28" />
+
+<figure url="images/plate_04.jpg" rend="w70; page-float: 'ht'">
+<anchor id="plate04" />
+<index index="fig" />
+<head>Snow Scene in Kaga, by Kubota Beisen.  Plate IV.</head>
+<figDesc>Snow Scene in Kaga, by Kubota Beisen.  Plate IV.</figDesc>
+</figure>
+
+<p>
+The question is often asked, <q>Is there any good book on Japanese painting?</q>  I know of none in any language except Japanese.  The following are among the best works on the subject:
+</p>
+<list>
+<item>
+A History of Japanese Painting <emph rend="sc">(Hon Cho Gashi),</emph> by Kano Eno.
+</item>
+<item>
+A Treasure Volume <emph rend="sc">(bampo zen sho),</emph> by Ki Moto Ka Ho.
+</item>
+<item>The Painter's Convenient Reference <emph rend="sc">(Goko Ben Ran),</emph> by Arai Haku Seki.
+</item>
+<item>A Collection of Celebrated Japanese  Paintings <emph rend="sc">(Ko Cho Meiga shu e),</emph>  by Hiyama Gi Shin.
+</item>
+<item>
+Ideas on Design in Painting <emph rend="sc">(To Ga Ko)</emph>, by Saito Heko Maro.
+</item>
+<item>A Discourse on Japanese Painting <emph rend="sc">(Honcho Gwa San),</emph> by Tani Buncho.
+</item>
+<item>
+Important Reflections on All Kinds of Painting <emph rend="sc">(Gwa Jo Yo Ryaku),</emph> by Arai Kayo.
+</item>
+<item>A Treatise on Famous Japanese Paintings <emph rend="sc">(Fu So Mei Gwa Den),</emph> by Hori Nao Kaku.
+</item>
+<item>Observations on Ancient Pictures <emph rend="sc">(Ko Gwa Bi Ko)</emph>, by Asa Oka Kotei. 
+</item>
+<item>A Treatise on Famous Painters <emph rend="sc">(Fu So Gwa Jin),</emph> by Ko Shitsu Ryo Chu.
+</item>
+<item>
+A Treatise on Japanese Painting <emph rend="sc">(Yamato Nishiki Kem Bun Sho),</emph> by Kuro Kama Shun Son.
+</item>
+<item>
+A Treatise on the Laws of Painting <emph rend="sc">(Gwafu),</emph> by Ran Sai, a pupil of Chinanpin.  The work is voluminous and is both of great use and authority.
+</item>
+<item>
+<emph rend="sc">Cho Chu Gwa Fu,</emph> by Chiku To.
+</item>
+<item>
+<emph rend="sc">Sha Zan Gakugwa Hen,</emph> by Buncho.
+</item>
+</list>
+<p>
+Translations of all these works into English are greatly to be desired.
+</p>
+<p>
+There is much that has been sympathetically written and published about Japanese paintings both in Europe and America, but however laudatory, it might be all summed up under the title, <q>Impressions of an Outsider.</q>  Such writings lack
+<pb n="29" />
+the authority which only constant labor in the field of practical art can confer.  A Japanese artist, by which I mean a painter, is long in making.  From ten to fifteen years of continuous study and application are required before much skill is attained.  During that time he gradually absorbs a knowledge of the many principles, precepts, maxims and methods, which together constitute the corpus or body of art doctrine handed down from a remote antiquity and preserved either in books or perpetuated by tradition.  Along with these are innumerable art secrets called <foreign lang="jp" rend="it">hiji</foreign> or <foreign lang="jp" rend="it">himitsu,</foreign> never published, but orally imparted by the masters to their pupils&mdash;not secrets in a trick sense, but methods of execution discovered after laborious effort and treasured as valued possessions.  It is obvious, then, how incapable of writing technically upon the subject must anyone be who has not gone through such curriculum and had drilled into him all that varied instruction which makes up the body of rules applicable to that art.
+</p>
+<p>
+I have read many seriously written appreciations of Japanese paintings published in various modern languages, and even some amiable imaginings penned for foreigners by Japanese who fancy they know by instinct what only can be acquired after long study and practice with brush in hand.  All such writers are characterized in Japan by a very polite term, <foreign lang="jp" rend="it">shiroto</foreign>&mdash;which means amateur.  It also has a secondary signification of emptiness.
+</p>
+</div>
+
+<pb n="30" />
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+
+<figure url="images/hbandc03.jpg" rend="w90">
+<anchor id="hbandc03" />
+<figDesc>Chapter 3 Head-Band: The design called <q>Dew on the Grass and Butterflies</q> (tsuyu, kusa ni cho).</figDesc>
+
+</figure>
+
+<head>CHAPTER THREE. LAWS FOR THE USE OF BRUSH AND MATERIALS</head>
+<p>
+Upon a subject as technical as that of Japanese painting, to endeavor to impart correct information in a way that shall be both instructive and entertaining is an undertaking of no little difficulty.  The rules and canons of any art when enumerated, classified and explained, are likely to prove trying, if not wearisome reading.  Yet, if our object be to acquire accurate knowledge, we must consent to make some sacrifice to attain it, and there is no royal road to a knowledge of Japanese painting.
+</p>
+<p>
+We have little or no opportunity in America, excepting in one or two cities, to see good specimens of the work of the great painters of Japan. Furthermore, such work in <foreign lang="jp" rend="it">kakemono</foreign> form is seen to much disadvantage when exhibited in numbers strung along the walls of a museum.  Japanese <foreign lang="jp" rend="it">kakemono</foreign> (hanging paintings) are best viewed singly, suspended in the recess of the <foreign lang="jp" rend="it">tokonoma,</foreign> or alcove.  A certain seclusion is essential to the
+<pb n="31" />
+enjoyment of their delicate and subtle effects; the surroundings should be suggestive of leisure and repose, which the Japanese word <foreign lang="jp" rend="it">shidzuka,</foreign> often employed in art language, well describes.
+</p>
+<p>
+The Japanese technique, by which I understand the established manner in which their effects in painting are produced, differs widely from that of European art.  The Japanese brushes <foreign lang="jp" rend="it">(Jude</foreign> and <foreign lang="jp" rend="it">hake),</foreign> colors and materials influence largely the method of painting.  The canons or standards by which Japanese art is to be judged are quite special to Japan and are scarcely understood outside of it.  Since the subject is technical, to treat it in a popular way is to risk the omission of much that is essential.  I will endeavor, at any rate, to give an outline of its fundamental principles, first saying a word or two about the tools and materials.
+</p>
+<p>
+In Japanese painting no oils are used. <foreign lang="jp" rend="it">Sumi</foreign> (a black color in cake form) and water-colors only are employed, while Chinese and Japanese paper and specially prepared silk take the place of canvas or other material.
+</p>
+<p>
+Japanese artists do not paint on easels; while at work they sit on their heels and knees, with the paper or silk spread before them on a soft material, called <foreign lang="jp" rend="it">mosen,</foreign> which lies upon the matting or floor covering.  After one becomes accustomed to this position, he finds it gives, among other things, a very free use of the right arm and wrist.
+</p>
+<p>
+Silk <foreign lang="jp" rend="it">(e ginu)</foreign> is prepared for painting by first attaching it with boiled rice mucilage to a stretching frame.  A sizing of alum and light glue (called
+<pb n="32" />
+<foreign lang="jp" rend="it">dosa)</foreign> is next applied, care being taken not to wet the edges of the silk attached to the frame, which would loosen the silk.
+</p>
+<p>
+It has been found that paper lasts much longer than silk, and also can be more easily restored when cracked with age.
+</p>
+<p>
+The  artists  of the  Tosa  school  used a paper various kinds called <foreign lang="jp" rend="it">tori no ko,</foreign> into the composition of which egg-shells entered.  This paper was a special product of Ichi Zen.
+</p>
+<p>
+The Kano artists used both <foreign lang="jp" rend="it">tori no ko</foreign> and a paper made from the mulberry plant, also a product of Ichi Zen, and known as <foreign lang="jp" rend="it">hosho.</foreign>  For ordinary tracing a paper called <emph rend="sc">tengu jo</emph> is used. In Okyo's time, Chinese paper made from rice-plant leaves came into vogue.  It is manufactured in large sheets and is called <emph rend="sc">toshi.</emph> It is a light straw color, and is very responsive to the brush stroke, except when it <q>catches cold,</q> as the Japanese say.  It should be kept in a dry place.
+</p>
+<p>
+The Tosa artists used paper almost to the exclusion of silk.  The Kano school largely employed silk for their paintings.  Okyo also usually painted on silk.
+</p>
+<p>
+Japanese artists seldom outline their work.  In painting on silk, a rough sketch in <foreign lang="jp" rend="it">sumi</foreign> is sometimes placed under the silk for guidance.  Outlining on paper is done with straight willow twigs of charcoal, called <foreign lang="jp" rend="it">yaki sumi,</foreign> easily erased by brushing with a feather.
+</p>
+<p>
+There are strict, and when once understood, reasonable and helpful laws for the use of the
+<pb n="33" />
+brush <emph rend="sc">(yohitsu),</emph> the use of <foreign lang="jp" rend="it">sumi</foreign> <emph rend="sc">(yoboku)</emph> and the use of water-colors <emph rend="sc">(sesshoku).</emph> These laws reach from what seems merely the mechanics of painting into the highest ethics of Japanese art.
+</p>
+<p>
+The law of <emph rend="sc">yo hitsu</emph> requires a free and skilful handling of the brush, always with strict attention to the stroke, whether dot, line or mass is to be made; the brush must not touch the silk or paper before reflection has determined what the stroke or dot is to express.  Neither negligence nor indifference is tolerated.
+</p>
+<p>
+An artist, be he ever so skilful, is cautioned not to feel entirely satisfied with his use of the brush, as it is never perfect and is always susceptible of improvement.  The brush is the handmaid of the artist's soul and must be responsive to his inspiration.  The student is warned to be as much on his guard against carelessness when handling the brush as if he were a swordsman standing ready to attack his enemy or to defend his own life; and this is the reason: Everything in art conspires to prevent success.  The softness of the brush requires the stroke to be light and rapid and the touch delicate.  The brush, when dipped first into the water, may absorb too much or not enough, and the <foreign lang="jp" rend="it">sumi</foreign> or ink taken on the brush may blot or refuse to spread or flow upon the material, or it may spread in the wrong direction.  The Chinese paper <emph rend="sc">(toshi)</emph> which is employed in ordinary art work may be so affected by the atmosphere as to refuse to respond, and the brush stroke must be regulated accordingly.  All such matters have to
+<pb n="34" />
+be considered when the brush is being used, and if the spirit of the artist be not alert, the result is failure. <emph rend="sc">(it ten ichi boku</emph>  <foreign lang="jp" rend="it">ni</foreign>  <emph rend="sc">chiu</emph> <foreign lang="jp" rend="it">o su beki.)</foreign>
+</p>
+<p>
+Vehicle of the subtle sentiment to be expressed in form, the brush must be so fashioned as to receive and transmit the vibrations of the artist's inner self.  Much care, much thought and skill have been expended in the manufacture of the brush.
+</p>
+<p>
+In China, the art of writing preceded painting, and the first brushes made were writing brushes, and the more writing developed into a wonderful art, the more attention was bestowed upon the materials composing the writing brush.  Such brushes were originally made with rabbit hair, round which was wrapped the hair of deer and sheep, and the handles were mulberry stems.  Later on, as Chinese characters became more complex and writing more scientific, the brushes were most carefully made of fox and rabbit hair, with handles of ivory, and they were kept in gold and jeweled boxes.  Officials were enjoined to write all public documents with brushes having red lacquer handles, red being a positive or male <emph rend="sc">(yo)</emph> color.  Ogishi, the greatest of the Chinese writers, used for his brushes the feelers from around the rat's nose and hairs taken from the beak of the kingfisher.
+</p>
+<p>
+In Japan, hair of the deer, badger, rabbit, sheep, squirrel, and wild horse all enter into the manufacture of the artist's brush, which is made to
+order, long or short, soft or strong, stiff or pliable.  For laying on color, the hair of the badger is preferred.  The sizes and shapes of brushes
+used differ
+<pb n="35" />
+according to the subject to be painted. There are brushes for flowers and birds, human beings, landscapes, lines of the garments, lines of the
+face, for laying on color, for shading, et cetera.
+</p>
+<p>
+A distinguishing feature in Japanese painting is the strength of the brush stroke, technically called <foreign lang="jp" rend="it">fude no chikara</foreign> or <foreign lang="jp" rend="it">fude no ikioi.</foreign> When representing an object suggesting strength, such, for instance, as a rocky cliff, the beak or talons of a bird, the tiger's claws, or the limbs and branches of a tree, the moment the brush is applied the sentiment of strength must be invoked and felt throughout the artist's system and imparted through his arm and hand to the brush, and so transmitted into the object painted; and this nervous current must be continuous and of equal intensity  while the work proceeds.  If the tree's limbs or branches in a painting by a Kano artist be examined, it will astonish any one to perceive the vital force that has been infused into them.  Even the smallest twigs appear filled with the power of growth&mdash;all the result of <foreign lang="jp" rend="it">fude no chikara.</foreign>  Indeed, when this principle is understood, and in the light of it the trees of many of the Italian and French artists are critically viewed, they appear flabby, lifeless, and as though they had been done with a feather.  They lack that vigor which is attained only by <foreign lang="jp" rend="it">fude no chikara,</foreign> or brush strength.
+</p>
+<p>
+In writing Chinese characters in the <emph rend="sc">rei sho</emph> manner this same principle is carefully inculcated.  The characters must be executed with the feeling of their being carved on stone or engraved on
+<pb n="36" />
+steel&mdash;such must be the force transmitted through the arm and hand to the brush.   Thus executed the writings seem imbued with living strength.
+</p>
+<p>
+It is related of Chinanpin, the great Chinese painter, that an art student having applied to him for instruction, he painted an orchid plant and told the student to copy it.  The student did so to his own satisfaction, but the master told him he was far away from what was most essential.  Again and again, during several months, the orchid was reproduced, each time an improvement on the previous effort, but never meeting with the master's approval.  Finally Chinanpin explained as follows: The long, blade-like leaves of the orchid may droop toward the earth but they all long to point to the sky, and this tendency is called cloud-longing <emph rend="sc">(bo un)</emph> in art. When, therefore, the tip of the long slender leaf is reached by the brush the artist must feel that the same is longing to point to the clouds.  Thus painted, the true spirit and living force <foreign lang="jp" rend="it">(kokoromochi)</foreign> of the plant are preserved.
+</p>
+<p>
+Kubota recommended to art students and artists to a practice with lines which is excellent for acquiring and retaining firmness and freedom of the arm, with steady and continuous strength in the stroke.  With a brush held strictly perpendicular to the paper horizontal lines are painted, first from right to left, the entire width of the <emph rend="sc">toshi</emph> or other paper, each line with equal thickness and unwavering intensity of power throughout its entire length.  The thickness of the line will depend upon the amount of hair in the brush that is allowed to
+<pb n="37" />
+touch the paper; if only the tip of the brush be
+used, the line will be slender or thin; but, whether
+a broad band or a delicate tracing, it must be uniform throughout and filled with living force.  Next,
+the lines are painted from left to right in the same
+way and with the same close attention to uniform
+thickness and continuous flow of nervous strength
+from start to finish.   Then, the increasingly difficult task is to paint them from top to bottom of
+the <emph rend="sc">toshi,</emph> and finally, most difficult and most
+important of all these exercises, the parallel lines
+are traced from bottom to top of the paper.  The
+thinner the line the more difficult it is to execute,
+because of the tendency of the hand to tremble.  
+Indeed, the difficulty is supreme.   Let any one who
+is interested try this; it is an exercise for the most
+expert.  Such lines resemble the <foreign lang="fr" rend="it">sons fil&eacute;s</foreign> on the
+violin, where a continuous sustained tone of equal
+intensity is produced by drawing the bow from
+heel to tip so slowly over the strings that it hardly
+moves.  Practicing lines in the way indicated gives
+steadiness and strength, qualities in demand at
+every instant in Japanese art.  Observe a Japanese
+artist paint the young branch of a plum tree shooting from the trunk.  The new year's growth starting, it may be, from the bottom of the <emph rend="sc">toshi</emph> will be
+projected to the top.  Examine it carefully and it
+will be found to conform to that principle of <foreign lang="jp" rend="it">jude
+no chikara</foreign> which transfers a living force into the
+branch.  I have seen European artists in Japan
+vainly try offhand to produce such effects;  but
+these depend on long and patient practice.
+</p>
+<pb n="38" />
+<p>
+A Japanese artist will frequently ignore the boundaries of the paper upon which he paints by beginning his stroke upon the <emph rend="sc">mosen</emph> and continuing it upon the paper&mdash;or beginning it upon the paper and projecting it upon the <emph rend="sc">mosen.</emph>  This produces the sentiment or impression of great strength of stroke.  It animates the work.  And in this energetic kind of painting, if drops of <foreign lang="jp" rend="it">sumi</foreign> accidentally fall from the brush upon the painting they are regarded as giving additional energy to it.  Similarly, if the stroke on the trunk or branch of a tree shows many thin hair lines where the intention was that the line should be solid, this also is regarded as an additional evidence of stroke energy and is always highly prized.
+</p>
+<p>
+The same principle applies in the art of Chinese writing; but this effect must not be the result of calculation&mdash;it must be what in art is called <emph rend="sc">shi zen,</emph>  meaning spontaneous.
+</p>
+
+<p>
+In painting the hair of monkeys, bears and the like, the pointed brush is flattened and spread out <foreign lang="jp" rend="it">(wari fude)</foreign> so that each stroke of the same will reproduce numberless thin lines, corresponding to the hairs of the animal.  Sosen thus painted.  In modern times Kimpo <ref target="plate05" rend="color: blue">(Plate V)</ref> is justly renowned for such work.
+</p>
+<p>
+Many artists become wonderfully expert in the use of the flat brush, from one to four inches wide, called <foreign lang="jp" rend="it">hake,</foreign> by means of which instantaneous effects such as rain, rocks, mountain chains and snow scenes are secured.  Some artists acquire a special reputation for skill in the use of the <foreign lang="jp" rend="it">hake.</foreign>
+</p>
+<pb n="39" />
+<p>
+The brush should be often and thoroughly rinsed during the time that it is used and washed and dried when not employed.  In Kyoto, Osaka and Tokyo there are famous manufacturers of artists' brushes, and names of makers such as Nishimura, Sugiyama, Hakkado, Onkyodo and Kiukyodo are familiar to all the artists of the country.
+</p>
+<p>
+The use of <foreign lang="jp" rend="it">sumi</foreign> <emph rend="sc">(yoboku)</emph> is the really distinguishing feature of Japanese painting.  Not only is this black color <foreign lang="jp" rend="it">(sumi)</foreign> used in all water color work, but it is frequently the only color employed; and a painting thus executed, according to the laws of Japanese art, is called <foreign lang="jp" rend="it">sumi e</foreign> and is regarded as the highest test of the artist's skill.  Colors can cheat the eye <foreign lang="jp" rend="it">(damakasu)</foreign> but <foreign lang="jp" rend="it">sumi</foreign> never can; it proclaims the master and exposes the tyro.
+</p>
+<p>
+The terms <q>study in black and white,</q> <q>India ink drawing</q> and the like, since all are only makeshift translations, are misleading.  The Chinese term <emph rend="sc"><q>bokugwa</q></emph> is the exact equivalent of <foreign lang="jp" rend="it">sumi e</foreign> and both mean and describe the same production.  <foreign lang="jp" rend="it">Sumi e</foreign> is not an <q>ink picture,</q> since no ink is used in its production.  Ink is the very opposite of <foreign lang="jp" rend="it">sumi</foreign> both in its composition and effect.  Ink is an acid and fluid.  <foreign lang="jp" rend="it">Sumi</foreign> is a solid made from the soot obtained by burning certain plants (for the best results <foreign lang="la" rend="it">juncus communis,</foreign> bull rush, or the <foreign lang="la" rend="it">sessamen orientalis),</foreign> combined with glue from deer horn.  This is molded into a black cake which, drying thoroughly if kept in ashes, improves with age. In much of the good <foreign lang="jp" rend="it">sumi</foreign> crimson <foreign lang="jp" rend="it">(beni)</foreign> is added for the sheen, and musk perfume <foreign lang="jp" rend="it">(Jako)</foreign> is
+<pb n="40" />
+introduced for antiseptic purposes.  When a dead finish or surface <foreign lang="jp" rend="it">(tsuya o keshi)</foreign> is desired, as, for instance, where the female coiffure is to be painted and a lusterless ground is needed for contrast with the shining strands of the hair, a little white pulverized oyster shell, called <emph rend="sc">go fun,</emph> is mixed, with the <foreign lang="jp" rend="it">sumi.</foreign>  Commercial India ink resembles <foreign lang="jp" rend="it">sumi</foreign> in appearance, but is very inferior to it in quality.  The methods of <foreign lang="jp" rend="it">sumi</foreign> manufacture are carefully guarded secrets.  China during the Ming dynasty, three centuries ago, produced the best <foreign lang="jp" rend="it">sumi,</foreign> although China <foreign lang="jp" rend="it">sumi</foreign> <emph rend="sc">(toboku)</emph> employed twelve centuries past shows both in writing and in painting as distinctly and brilliantly today as though it were but recently manufactured.  Nara, near Kyoto, was the birthplace of Japanese <foreign lang="jp" rend="it">sumi,</foreign> and the house of Kumagai <foreign lang="jp" rend="it">(Kyukyodo)</foreign> for centuries has had its manufacturers in that city.  In Tokyo a distinguished maker, whose <foreign lang="jp" rend="it">sumi</foreign> many of the artists there prefer, is Baisen.  He has devoted fifty years of his life to the study and compounding of this precious article.  He possesses some great secrets of manufacture which may die with him.  In Okyo's time there was a dark blue <foreign lang="jp" rend="it">sumi</foreign> called <emph rend="sc">ai en boku</emph> but the art and secret of its manufacture are lost.
+</p>
+<p>
+In using <foreign lang="jp" rend="it">sumi</foreign> the cake is moistened and rubbed on a slab called <foreign lang="jp" rend="it">suzuri,</foreign> producing a semi-fluid.  The well-cleaned brush is dipped first into clear water and then into the prepared <foreign lang="jp" rend="it">sumi.</foreign> When the <foreign lang="jp" rend="it">sumi</foreign> is taken on the brush it should be used without delay; otherwise it will mingle with the
+<pb n="41" />
+water of the brush and destroy the desired balance between the water and the <foreign lang="jp" rend="it">sumi.</foreign>  For careful work the <foreign lang="jp" rend="it">sumi</foreign> is first transferred on the brush from the <foreign lang="jp" rend="it">suzuri</foreign> to a white saucer, where it is tested.  It is a singular fact that the color of <foreign lang="jp" rend="it">sumi</foreign> will differ according to the manner in which it is rubbed upon the stone.  The best results are obtained when a young maiden is employed for the purpose, her strength being just suitable.
+</p>
+<p>
+It is very important while painting with <foreign lang="jp" rend="it">sumi</foreign> to renew its strength frequently by fresh applications of the cake to the slab.  The color and richness of <foreign lang="jp" rend="it">sumi</foreign> left upon the slab soon fade; and though when used this may not be apparent, when the <foreign lang="jp" rend="it">sumi</foreign> dries on the paper or silk its weakness is speedily perceived.
+</p>
+<p>
+By the dexterous use of <foreign lang="jp" rend="it">sumi</foreign> colors may be successfully suggested, materials apparently reproduced and by what is termed <emph rend="sc">bokushoku,</emph> or the brush-stroke play of light and shade, the very rays of the sun may be imprisoned within the four corners of a picture.  Artists are readily recognized in their work by their manner of using or laying on <foreign lang="jp" rend="it">sumi.</foreign>  The color, the sheen, the shadings and the flow of the ink enable us even to determine the disposition or state of mind of the artist at the time of painting, so sensitive, so responsive is <foreign lang="jp" rend="it">sumi</foreign> to the mood of the artist using it.  There is much of engaging interest in connection with this subject.  Artists become most difficult to satisfy on the subject of the various kinds of <foreign lang="jp" rend="it">sumi,</foreign> which differ as much in their special qualities as the tones
+<pb n="42" />
+of celebrated violins. It is interesting to observe how different the color or richness of the same <foreign lang="jp" rend="it">sumi</foreign> becomes according to the varying skill with which it is applied.
+</p>
+<p>
+The mineral character of the <foreign lang="jp" rend="it">suzuri</foreign> has also much to do with the production of the best and richest black tones.
+</p>
+<p>
+The most valuable stone for <foreign lang="jp" rend="it">suzuri</foreign> is known throughout the entire oriental world as <emph rend="sc">tan kei</emph> and is found in the mountain of Fuka in China.  This stone has gold streaks through it, with small dots called bird's eyes.  The water which flows from Fuka mountain is blue.  The color of the rock is violet.  A favorite color for the <foreign lang="jp" rend="it">suzuri</foreign> (in Chinese called <emph rend="sc">ken)</emph> is lion's liver.  Formerly much ceremony was observed in mining for this stone and sheep and cattle were offered in sacrifice, else it was believed that the stone would be struck by a thunderbolt and reduced to ashes in the hands of its possessor.  The <foreign lang="jp" rend="it">suzuri</foreign> is also made in China from river sediment fashioned and baked.  Still another method is to make the <foreign lang="jp" rend="it">suzuri</foreign> from paper and the varnish of the lacquer tree.  Such are called paper <foreign lang="jp" rend="it">suzuri</foreign> <emph rend="sc">(shi ken).</emph>  In Thibet <foreign lang="jp" rend="it">suzuri</foreign> are made from the bamboo root.  In Japan the best stones for <foreign lang="jp" rend="it">suzuri</foreign> are found near Hiroshima in Kiushu, the grain being hard and fine.
+</p>
+<p>
+The skilful use of water colors is called <emph rend="sc">sesshoku.</emph> 
+It is more difficult to paint with <foreign lang="jp" rend="it">sumi</foreign> alone than
+use of water to paint with the aid of colors, which can hide
+defects never to be concealed in a <foreign lang="jp" rend="it">sumi e,</foreign> where
+painting  over <foreign lang="jp" rend="it">sumi</foreign> a second time is disastrous.  
+Japanese painters as a rule are sparing of colors, the slightest amount used discreetly and with restraint generally sufficing.  Many artists have not the color sense or dislike color and seldom use it.  Kubota often declared he hoped to live until he might feel justified in discarding color and employing <foreign lang="jp" rend="it">sumi</foreign> alone for any and all effects in painting.
+</p>
+<p>
+There are eight different ways of painting in
+color.  I will enumerate them, with their technical,
+descriptive terms:
+</p>
+<p>
+In the best form of color painting <emph rend="sc">(goku zai shiki)</emph> <ref target="plate09" rend="color: blue">(Plate IX)</ref> the color is most carefully laid on, being applied three times or oftener if necessary.  On account of these repeated coats this form is called <emph rend="sc">tai chaku shoku.</emph>  This style of painting is reserved for temples, gold screens, palace ceilings and the like.  Tosa and <foreign lang="jp" rend="it">Yamato e</foreign> painters generally followed this manner.
+</p>
+<p>
+The next best method of coloring <emph rend="sc">(chu zai shiki)</emph> <ref target="plate10" rend="color: blue">(Plate X)</ref> is termed <emph rend="sc">chaku shoku,</emph> or the ordinary application of color.  The Kano and Shijo schools use this method extensively, as did also the <foreign lang="jp" rend="it">Ukiyo e</foreign> painters.
+</p>
+<p>
+The light water-color method, called <emph rend="sc">tan sai</emph> <ref target="plate11" rend="color: blue">(Plate XI)</ref>, is employed in the ordinary style of painting <foreign lang="jp" rend="it">kakemono</foreign> and is much used by the Okyo school.
+</p>
+<p>
+The most interesting form of painting, technically called <emph rend="sc">bokkotsu</emph> <ref target="plate12" rend="color: blue">(Plate XII)</ref>, is that in which all outlines are suppressed and <foreign lang="jp" rend="it">sumi</foreign> or color is used for the masses.  Another Japanese term for the same is <foreign lang="jp" rend="it">tsuketate.</foreign>
+</p>
+<pb n="44" />
+
+<figure url="images/plate_05.jpg" rend="w70; page-float: 'ht'">
+<anchor id="plate05" />
+<index index="fig" />
+<head>Tree Squirrel, by Mochizuki Kimpo.  Plate V.</head>
+<figDesc>Tree Squirrel, by Mochizuki Kimpo.  Plate V.</figDesc>
+</figure>
+
+<p>
+The method of shading, called <emph rend="sc">goso</emph> <ref target="plate13" rend="color: blue">(Plate XIII)</ref>,
+invented by a Chinese artist, Godoshi, who lived
+one thousand years ago, consists in applying dark
+brown color or light <foreign lang="jp" rend="it">sumi</foreign> wash over the <foreign lang="jp" rend="it">sumi</foreign> lines. This style was much employed by Kano painters and for art printing.
+</p>
+<p>
+The light reddish-brown color, technically called <emph rend="sc">senpo shoku</emph> <ref target="plate14" rend="color: blue">(Plate XIV)</ref>, is mostly used in printing pictures in book form.
+</p>
+<p>
+Another form similarly used is called <emph rend="sc">hakubyo</emph> <ref target="plate15" rend="color: blue">(Plate XV)</ref> or white pattern, no color being employed.
+</p>
+<p>
+Lastly, there is the <foreign lang="jp" rend="it">sumi</foreign> picture or <foreign lang="jp" rend="it">sumi e</foreign> <ref target="plate16" rend="color: blue">(Plate XVI)</ref>, technically called <emph rend="sc">suiboku,</emph>&mdash;to which reference has already been made&mdash;where <foreign lang="jp" rend="it">sumi</foreign> only is employed, black being regarded as a color by Japanese artists.
+</p>
+<p>
+A well-known method by which the autumnal tints of forest leaves are produced is to take up with the brush one after another and in the following order these colors: Yellow-green <foreign lang="jp" rend="it">(ki iro),</foreign> brown <emph rend="sc">(tai sha),</emph> red <emph rend="sc">(shu),</emph> crimson <foreign lang="jp" rend="it">(beni),</foreign> and last, and on the very tip of the brush, <foreign lang="jp" rend="it">sumi.</foreign>  The brush thus charged and dexterously applied gives a charming autumn effect, the colors shading into each other as in nature.
+</p>
+<p>
+There are five parent colors in Japanese art: parent colors Blue <emph rend="sc">(sei),</emph> yellow <emph rend="sc">(au),</emph> black (koku), white <emph rend="sc">(byaku),</emph> combinations and red <emph rend="sc">(seki).</emph>  These in combination <emph rend="sc">(cho go)</emph> originate other colors as follows:  Blue and  yellow produce green <foreign lang="jp" rend="it">(midori);</foreign> blue and black, dark blue <foreign lang="jp" rend="it">(ai nezumi);</foreign> blue and white, sky-blue <foreign lang="jp" rend="it">(sora iro);</foreign>
+<pb n="45" />
+blue and red, purple <foreign lang="jp" rend="it">(murasaki)</foreign>; yellow and black, dark green <foreign lang="jp" rend="it">(unguisu cha)</foreign>; yellow and red, orange <foreign lang="jp" rend="it">(kaba);</foreign> black and red, brown <foreign lang="jp" rend="it">(tobiiro);</foreign> black and combinations white, gray <foreign lang="jp" rend="it">(nezumiiro).</foreign>  These secondary colors in combination produce other tones and shades required.  Powdered gold and silver, and crimson made from the saffron plant are also employed.  The colors, excepting yellow, are prepared for use by mixing them with light glue upon a saucer.  With yellow, water alone is used.  In addition to all the foregoing there are other expensive colors used in careful work and known as mineral earths <foreign lang="jp" rend="it">(iwamono).</foreign>  They are blue <emph rend="sc">(gunjo),</emph> dark or Prussian blue <emph rend="sc">(konjo),</emph> light bluish-green <emph rend="sc">(gunroku),</emph> green <emph rend="sc">(rokusho),</emph> light green <emph rend="sc">(byakugun),</emph> pea green <emph rend="sc">(cha-roku sho)</emph> and light red <emph rend="sc">(sango matsu).</emph>
+</p>
+<p>
+The use of primary colors in a painting in proximity to secondary ones originated by them is color to be avoided, as both lose by such contrast; and when a color-scheme fails to give satisfaction it will usually be found that this cardinal principle of harmony, called <foreign lang="jp" rend="it">iro no kubari,</foreign> has been disregarded by the artist.  Color in art is the dress, the apparel in which the work is clad.  It must be suitably combined, restrained, and attract no undue attention <foreign lang="jp" rend="it">(medatsunai).</foreign>  True color sense is a special gift.
+</p>
+</div>
+<pb n="46" />
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+
+<figure url="images/hbandc04.jpg" rend="w90">
+<anchor id="hbandc04" />
+<figDesc>Chapter 4 Head-Band: The pattern (moyo) known as bamboo and the swelling sparrow (take nifukura susume).  The parts of the bird are amusingly conventionalized&mdash;in the Korin manner. The word fukura written in Chinese contains the lucky character fuku (happiness).</figDesc>
+</figure>
+
+<head>CHAPTER FOUR.  LAWS GOVERNING THE CONCEPTION AND EXECUTION OF A PAINTING</head>
+<p>
+When a Japanese artist is preparing to paint a picture he considers first the space the picture is to occupy and its shape, whether square, oblong, round or otherwise; next, the distribution of light and shade, and then the placing of the objects in the composition so as to secure harmony and effective contrasts.  In settling these questions he relies largely on the laws of proportion and design.
+</p>
+<p>
+The principles of proportion <emph rend="sc">(ichi)</emph> and design <emph rend="sc">(isho)</emph> are closely allied.  They aim to supply and express with sobriety what is essential to the composition, proportion determining the just arrangement and distribution of the component parts, and design the manner in which the same shall be handled.  In a landscape, proportion may require the balancing effect of buildings and trees, while design will determine how the same may be picturesquely presented; for instance, by making the
+<pb n="47" />
+trees partially hide the buildings, thus provoking
+a desire to see more than is shown.  Such suggestion
+or stimulation of the imagination is called <emph rend="sc">yukashi</emph>.
+The Japanese painter is early taught the value of
+suppression in design&mdash;<foreign lang="fr" rend="it">l'art d'ennuyer est de tout dire</foreign>.
+</p>
+<p>
+A well-known rule of proportion, quaintly expressed in the original Chinese and which is more or less adhered to in practice, requires in a landscape painting that if the mountain be, for example, ten feet high the trees should be one foot, a horse one inch and a man the size of a bean.  <emph rend="sc">Jo san seki ju, sun ba to jin</emph> <ref target="plate17" rend="color: blue">(Plate XVII)</ref>.
+</p>
+<p>
+Design, called in art <emph rend="sc">isho zuan</emph> or <foreign lang="jp" rend="it">takumi,</foreign> is largely the personal equation of the artist.  It is his power of presenting and expressing what he treats in an original manner.  The subject may not be new, but its treatment must be fresh and attractive.  Much will depend upon the learning and the technical ability of the artist.  In the matter of design the artists of Tokyo have always differed from those of Kyoto, the former aiming at lively and even startling effects, while the latter seek to produce a quieter or more subdued <foreign lang="jp" rend="it">(otonashi)</foreign> result.
+</p>
+<p>
+Where landscapes or trees are to be painted upon a single panel, panels on each side of it may be conveniently placed and the painting designed upon the central panel in connection with the two additional ones used for elaboration.  In this way, when the side panels are withdrawn the effect is as though such landscape or trees were seen
+<pb n="48" />
+through an open window, and all cramped or forced appearance is avoided.  The <foreign lang="jp" rend="it">Ukiyo e</foreign> artists practiced a similar method in their <foreign lang="jp" rend="it">hashirakake</foreign> or long, narrow, panel-like prints of men and women used for decorating upright beams in a room.
+</p>
+<p>
+The literature of art abounds in instances illustrative of correct proportion and design.
+</p>
+<p>
+The artist Buncho being requested to paint a crow flying across a <foreign lang="jp" rend="it">fusuma</foreign> or four sliding door-like panels, after much reflection painted the bird in the act of disappearing from the last of these subdivisions, the space of the other three suggesting the rapid flight which the crow had already accomplished, and the law of proportion <emph rend="sc">(ichi)</emph> or orderly arrangement thus observed was universally applauded.
+</p>
+<p>
+In the wooded graveyard of the temple at Ike-gami, where the tombs of so many of the Kano artists (including Tanyu) are to be found, is a stone marking the grave of a Kano painter who, having executed an order for a picture and his patron observing that it was lacking in design and that he must add a certain gold effect in the color scheme, rather than violate his own convictions of what he considered proper design, first refused to comply and then committed <foreign lang="jp" rend="it">hara kiri.</foreign>
+</p>
+<p>
+A canon of Japanese art which is at the base of
+one of the peculiar charms of Japanese pictures,
+not merely in the whole composition but also in
+minute details that might escape the attention at
+first glance, requires that there should be in every
+<pb n="49" />
+painting the sentiment of active and passive, light and shade.  This is called <emph rend="sc">in yo</emph> and is based upon the principle of contrast for heightening effects.  The term <emph rend="sc">in yo</emph> originated in the earliest doctrines of Chinese philosophy and has always existed in the art language of the Orient.  It signifies darkness <emph rend="sc">(in)</emph> and light <emph rend="sc">(yo),</emph> negative and positive, female and male, passive and active, lower and upper, even and odd.  This term is of constant application in painting.  A picture with its lights and shades properly distributed conforms to the law of <emph rend="sc">in yo.</emph>  Two flying crows, one with its beak closed, the other with its beak open; two tigers in their lair, one with the mouth shut, the other with the teeth showing; or two dragons, one ascending to the sky and the other descending to the ocean, illustrate phases of <emph rend="sc">in yo.</emph> Mountains, waves, the petals of a flower, the eyeball of a bird, rocks, trees&mdash;all have their negative and positive aspects, their <emph rend="sc">in</emph> and their <emph rend="sc">yo.</emph>  The observance of this canon secures not only the effective contrast of light and shade in a picture but also an equally striking contrast between the component parts of each object composing it.
+</p>
+<p>
+The law of form, in art called <emph rend="sc">keisho</emph> or <emph rend="sc">kakko,</emph> is widely applied for determining not only the correct shape of things but also their suitable or proper presentation according to circumstances.  It has to do with all kinds of attitudes and dress.  It determines what is suitable for the prince and for the beggar, for the courtier and for the peasant.  It regulates the shape that objects should take
+<pb n="50" />
+according to conditions surrounding them, whether
+seen near or far off, in mist or in rain or snow, in
+motion or in repose. The exact shape of objects in motion (as an animal running, a bird flying or a fish swimming) no one can see, but the painter who has observed, studied and knows by heart the form or shape of these objects in repose can, by virtue of his skill, reproduce them in motion, foreshortened or otherwise; that is <emph rend="sc">keisho;</emph> and he is taught and well understands that if in executing such work his memory of essential details fails him hesitancy is apt to cause the picture to perish as a work of art.
+</p>
+<p>
+<emph rend="sc">Keisho</emph> literally means shape, but in oriental art it signifies also the proprieties; it is a law which enforces among other things canons of good taste and suppresses all exaggerations, inartistic peculiarities and <emph>grimaces.</emph>
+</p>
+<p>
+The law touching historical subjects and the manner of painting them is called
+<emph rend="sc">ko jutsu.</emph>  Special principles apply to this department of Japanese art.  The
+historical painter must know all the historical details of the period to which his painting relates,
+including a knowledge of the arms, accoutrements, costumes, ornaments, customs and the like.  This
+subject covers too vast a field and is too important to be summarily treated here.  Suffice it to say
+that there have been many celebrated historical painters in Japan.  I recall, on the other hand, a
+picture once exhibited by a distinguished Tokyo artist which was superbly executed but wholly ignored by
+the jury because it violated some canon applicable to historical painting.
+</p>
+<pb n="51" />
+<p>
+The term <emph rend="sc">yu shoku</emph> refers to the laws governing the practices of the Imperial
+household, Buddhist and Shinto rites.  Before attempting any work of art in which these may figure the
+painter must be thoroughly versed in the appointments of palace interiors, the rules of etiquette, the
+occupations and pastimes of the Emperor, court nobles <foreign lang="jp" rend="it">(Kuge),</foreign>
+<foreign lang="jp" rend="it">daimyo</foreign> and their military attendants <foreign lang="jp" rend="it">(samurai),</foreign>
+the costumes of the females <foreign lang="jp" rend="it">(tsubone)</foreign> of the Imperial household and their
+duties and accomplishments.  The Tosa school made a thorough familiarity with such details its specialty.  All Buddhist paintings come under the law of <emph rend="sc">yu shoku.</emph>
+</p>
+<p>
+Let us next consider briefly some of the principles applicable to Japanese landscape painting.  Landscapes are known in art by the term <emph rend="sc">san sui,</emph> which means mountain and water.  This Chinese term would indicate that the artists of China considered both mountains and water to be essential to landscape subjects, and the tendency in a Japanese artist to introduce both into his painting is ever noticeable.  If he cannot find the water elsewhere he takes it from the heavens in the shape of rain.  Indeed, rain and wind subjects are much in favor and wonderful effects are produced in their pictures suggesting the coming slorm, where the wind makes the bamboos and trees take on new, weird and fantastic shapes.
+</p>
+<p>
+The landscape <ref target="plate18" rend="color: blue">(Plate XVIII)</ref> contains a lofty mountain, rocks, river, road, trees, bridge, man, animal, et cetera.  The first requisite in such, a composition is that the picture respond to the law
+<pb n="52" />
+of <emph rend="sc">ten chi jin,</emph> or heaven, earth and man.  This wonderful law of Buddhism is said to pervade the universe and is of widest application to all the art of man.  <emph rend="sc">Ten chi jin</emph> means that whatever is worthy of contemplation must contain a principal subject, its complimentary adjunct, and auxiliary details.  Thus is the work rounded out to its perfection.
+</p>
+
+<figure url="images/plate_06.jpg" rend="w70; page-float: 'ht'">
+<anchor id="plate06" />
+<index index="fig" />
+<head>Tiger, by Kishi Chikudo.  Plate VI.</head>
+<figDesc>Tiger, by Kishi Chikudo.  Plate VI.</figDesc>
+</figure>
+
+
+<p>
+This law of <emph rend="sc">ten chi jin</emph> applies not only to painting but to poetry (its elder sister), to architecture, to garden plans, as well as to flower arrangement; in fact, it is a universal, fundamental law of correct construction.  In <ref target="plate18" rend="color: blue">Plate XVIII</ref> the mountain is the dominant or principal feature.  It commands our first attention.  Everything is subservient to it.  It, therefore, is called <emph rend="sc">ten,</emph> or heaven.  Next in importance, complimentary to the mountain, are the rocks.  These, therefore, are <emph rend="sc">chi,</emph> or earth; while all that contributes to the movement or life of the picture, to wit, the trees, man, animal, bridge and river, are styled <emph rend="sc">jin,</emph> or man, so that the picture satisfies the first law of composition, namely, the unity in variety required by <emph rend="sc">ten chi jin.</emph>
+</p>
+<p>
+There is another law which determines the general character to be given a landscape according to the season, and is thus expressed:  Mountains in spring should suggest joyousness; in summer, green and moisture; in autumn, abundance; in winter, drowsiness.   The formula runs as follows: <emph rend="sc">shun-zan,</emph> <foreign lang="jp" rend="it">warau gotoshi;</foreign> <emph rend="sc">kazan,</emph> <foreign lang="jp" rend="it">arau gotoshi;</foreign> <emph rend="sc">shuzan,</emph> <foreign lang="jp" rend="it">yoso gotoshi;</foreign> <emph rend="sc">tozan,</emph> <foreign lang="jp" rend="it">nemurugotoku.</foreign>
+</p>
+<pb n="53" />
+<p>
+Similarly, according to the season, there are four principal ways of painting bamboo <emph rend="sc">(chiku).</emph>  In fair-weather bamboo <emph rend="sc">(sei chiku)</emph> the leaves are spread out joyously; in rainy-weather bamboo <emph rend="sc">(uchiku)</emph> the leaves hang down despondently; in windy-weather bamboo <emph rend="sc">(fuchiku)</emph> the leaves cross each other confusedly, and in the dew of early morning <emph rend="sc">(rochiku)</emph> the bamboo leaves all point upwards vigorously <ref target="plate53" rend="color: blue">(Plate LIII a 1 to a 4)</ref>.
+</p>
+<p>
+The Kano artists differ from the Shijo painters in their manner of combining <foreign lang="jp" rend="it">(kasaneru)</foreign> the leaves and branches of the bamboo.  Speaking generally, the Shijo artists point the leaves downward, while the former point them upward, which is more effective.
+</p>
+<p>
+Again, in snow scenery the Kano artists first paint the bottom of the snow-line and then by shading <foreign lang="jp" rend="it">(kumadori)</foreign> above the same with very light ink <foreign lang="jp" rend="it">(usui sumi)</foreign> produce the effect of accumulated snow.  The Okyo school secures the same result in a much more brilliant manner, using but a single dexterous stroke of the well-watered brush, the point only of which is tipped with <foreign lang="jp" rend="it">sumi.</foreign>
+</p>
+<p>
+Some artisls, notably Kubota Beisen and his followers, employ both methods, the former for near and the latter for distant snow landscapes.
+</p>
+<p>
+Low mountains in a landscape suggest great distance.  Fujiyama, the favorite subject of all artists, should not be painted too high, else it loses in dignity by appearing too near.  In an art work written by Oishi Shuga, Fuji is reproduced as it appears at every season of the year, whether clad in snow, partly concealed by clouds, or plainly
+<pb n="54" />
+visible in unobstructed outline.  The book is a safe guide for artists to consult.
+</p>
+<p>
+We may next consider some laws applicable to mountains, rocks and ledges.  It has long since been observed by the great writers on art in China that mountains, rocks, ledges and peaks have certain characteristics which distinguish them.  These differ not only with their geological formations but also vary with the seasons on account of the different grasses and growths which may more or less alter or conceal them.  To attempt to reproduce them as seen were a hopeless task, there being too much confusing detail; hence, salient features only are noted, studied and painted according to what is called <emph rend="sc">shun po,</emph> or the law of ledges or stratifications.  There are eight different ways in which rocks, ledges and the like may be represented:
+</p>
+<p>
+The peeled hemp-bark method, called <emph rend="sc">hi ma shun</emph> <ref target="plate23" rend="color: blue">(Plate XXIII a)</ref>.
+</p>
+<p>
+The large and small axe strokes on a tree, called <emph rend="sc">dai sho fu heki shun</emph> <ref target="plate23" rend="color: blue">(Plate XXIII b)</ref>.
+</p>
+<p>
+The lines of the lotus leaf, called <emph rend="sc">ka yo shun</emph> <ref target="plate24" rend="color: blue">(Plate XXIV a).</ref>
+</p>
+<p>
+Alum crystals, called <emph rend="sc">han to shun</emph> <ref target="plate24" rend="color: blue">(Plate XXIV b)</ref>.
+</p>
+<p>
+The loose rice leaves, called <emph rend="sc">kai saku shun</emph> <ref target="plate25" rend="color: blue">(Plate XXV a)</ref>.
+</p>
+<p>
+Withered kindling twigs, called <emph rend="sc">ran shi shun</emph> <ref target="plate07" rend="color: blue">(Plate XXV b)</ref>.
+</p>
+<p>
+Scattered hemp leaves, termed <emph rend="sc">ramma shun</emph> <ref target="plate26" rend="color: blue">(Plate XXVI a)</ref>.
+</p>
+<p>
+The wrinkles on a cow's neck, called <emph rend="sc">gyu mo shun</emph> <ref target="plate26" rend="color: blue">(Plate XXVI b)</ref>.
+</p>
+<pb n="55" />
+<p>
+These eight laws are not only available guides to desired effects; they also abbreviate labor and save the artist's attempting the impossible task of exactly reproducing physical conditions of the earth in a landscape painting.  They are symbols or substitutes for the truth felt.  Nothing is more interesting than such art resources whereby the sentiment of a landscape is reproduced by thus suggesting or symbolizing many of its essential features.
+</p>
+<p>
+It was a theory of the great Chinese teacher, Chinanpin, and particularly enforced by him, that trees, plants and grasses take the form of a circle, called in art <emph rend="sc">rin kan</emph> (see <ref target="plate27" rend="color: blue">Plate XXVII</ref>), No. 1; or a semi-circle <emph rend="sc">(han kan)</emph> <ref target="plate07" rend="color: blue">(Plate XXVII)</ref>, No. 2; or an aggregation of half-circles, called fish scales <emph rend="sc">(gyo rin)</emph> <ref target="plate27" rend="color: blue">(Plate XXVII)</ref>, No. 3; or a modification of these latter, called moving fish scales <emph rend="sc">(gyo rin katsu ho)</emph> <ref target="plate27" rend="color: blue">(Plate XXVII)</ref>, No 4. Developing this principle on <ref target="plate28" rend="color: blue">Plate XXVIII</ref>, No. 1, we have theoretically the first shape of tree growth and on <ref target="plate28" rend="color: blue">Plate XXVIII</ref>, No. 2, the same practically interpreted. In Nos. 3 and 4, same plate, we have the growth of grass illustrated theoretically and practically.  In <ref target="plate29" rend="color: blue">Plate XXIX</ref>, according to this method, is constructed the entire skeleton of a forest tree.  In Nos. 1 and 2 on this plate numerous small circles are indicated.  These show where each stroke of the brush begins, the points of commencement being of prime importance to correct effect.  In No. 3, same plate, we have the foundation work of a tree in a Japanese painting. It is needless to point out the marvelous vigor
+<pb n="56" />
+apparent in work constructed according to the above principles.
+</p>
+<p>
+In the painting of rocks, ledges, and the like, Chinanpin taught that the curved lines of the fish scales are to be changed into straight lines, three in number, of different lengths, two being near together and the third line slightly separated, and all either perpendicular or horizontal, as in <ref target="plate20" rend="color: blue">Plate XXX</ref>, Nos. 1 and 2.  In the same plate, Nos. 3 and 4, we have the principle of rock construction illustrated.  In <ref target="plate31" rend="color: blue">Plate XXXI</ref>, Nos. 1, 2 and 3, is seen the practical application of this theory to <foreign lang="jp" rend="it">kakemono</foreign> work.  In executing these lines for rocks much stress is laid upon the principle of <emph rend="sc">in yo;</emph> on the elevated portions the brush must be used lightly <emph rend="sc">(in)</emph> and on the lower portions it must be applied with strength <emph rend="sc">(yo).</emph>  At the bottom, where grass, mould, and moss accumulate, a rather dry brush <emph rend="sc">(kwappitsu)</emph> is applied with a firm stroke.
+</p>
+<p>
+Next, there are laws for near and distant tree,
+shrubbery and grass effects, corresponding to the
+season of the year.  These are known as the laws of dots
+ <emph rend="sc">(ten po)</emph>; the saying <emph rend="sc">ten tai san nen</emph> indicates that it takes three years to make them correctly.
+</p>
+<p>
+They are as follows:
+</p>
+<p>
+The drooping wistaria dot <emph rend="sc">(sui to ten)</emph> <ref target="plate22" rend="color: blue">(Plate XXXII a)</ref> for spring effects.
+</p>
+<p>
+The chrysanthemum dot <emph rend="sc">(kiku kwa ten)</emph> <ref target="plate22" rend="color: blue">(Plate XXXII b)</ref> used in summer foliage.
+</p>
+<p>
+The wheel spoke dot <emph rend="sc">(sha rin shin)</emph> <ref target="plate23" rend="color: blue">(Plate XXXIII a)</ref>, being the pine-needle stroke and used for pine trees.
+</p>
+<pb n="57" />
+<p>
+The Chinese character for the verb <q>to save</q> <emph rend="sc">(kai ji ten)</emph> <ref target="plate33" rend="color: blue">(Plate XXXIII b)</ref>, used for both trees and shrubbery.
+</p>
+<p>
+The pepper dot <emph rend="sc">(koshoten)</emph> <ref target="plate34" rend="color: blue">(Plate XXXIV a)</ref>.  This dot requires great dexterity and free wrist movement.  It will be observed that the dots are made to vary in size but are all given the same direction.
+</p>
+<p>
+The mouse footprints <emph rend="sc">(so soku ten)</emph> <ref target="plate34" rend="color: blue">(Plate XXXIV b)</ref>, used for cryptomeria and other like trees.
+</p>
+<p>
+The serrated or sawtooth dot <emph rend="sc">(kyo shi shin)</emph> <ref target="plate35" rend="color: blue">(Plate XXXV a)</ref>, much used for distant pine-tree effects.
+</p>
+<p>
+The Chinese character for <q>one</q> <emph rend="sc">(ichi ji ten)</emph> <ref target="plate35" rend="color: blue">(Plate XXXV b)</ref>. The effect produced by this character is very remarkable in representing maple and other trees whose foliage at a distance appears to be in layers.
+</p>
+<p>
+The Chinese character for <q>heart</q> <emph rend="sc">(shin),</emph> called <emph rend="sc">shin ji ten</emph> <ref target="plate36" rend="color: blue">(Plate XXXVI a)</ref>. This is used most effectively for both foliage and grasses.
+</p>
+<p>
+The Chinese character for <q>positively</q> <emph rend="sc">(hitsu),</emph> called <emph rend="sc">hitsu ji ten</emph> <ref target="plate36" rend="color: blue">(Plate XXXVI b)</ref>. This dot or stroke is successfully employed in reproducing the foliage of the willow tree in spring.
+</p>
+<p>
+The rice dot, called <emph rend="sc">bei ten</emph> <ref target="plate38" rend="color: blue">(Plate XXXVIII a)</ref>.
+</p>
+<p>
+The dot called <emph rend="sc">haku yo ten</emph> <ref target="plate37" rend="color: blue">(Plate XXXVII b)</ref>, being smaller than the pepper dot, with the clove dot <emph rend="sc">(sho ji ten)</emph> surrounding it.
+</p>
+<p>
+It is a strictly observed rule that none of these dots should interfere with or hide the branches of the trees of which they form part.
+</p>
+<p>
+The term <foreign lang="jp" rend="it">chobo chobo</foreign> is applied to the practice of always finishing a landscape painting, rocks,
+<pb n="58" />
+trees or flowers, with certain dots judiciously added to enliven and heighten the general effect.  These dots, done with a springing wrist movement, serve to enliven the work and give it freshness, just as a rain shower affects vegetation.  The Kano artists were most insistent upon <foreign lang="jp" rend="it">chobo chobo.</foreign>
+</p>
+<p>
+There are many quaint aids to artistic effects from time immemorial well known to and favored by the old Chinese painters and still successfully practiced in Japan.  Probably the larger number of these are employed in the technical construction of the Four Paragons (p. 66 <foreign lang="la" rend="it">et seq.).</foreign>  There are still others: as, for instance, the fish-scale pattern <ref target="plate19" rend="color: blue">(Plate XIX)</ref>, used in painting the clustered needles of the pine tree or the bending branches of the willow; the stork's leg for pine tree branches <ref target="plate19" rend="color: blue">(Plate XIX)</ref>; the gourd for the head and elongated jaws of the dragon; the egg for the body of a bird (<ref target="plate22" rend="color: blue">Plate XXII</ref>; the stag horn for all sorts of interlacing branches; the turtle back pattern or the dragon's scales for the pine tree bark.  In addition to these, the general shapes of certain of the Chinese written characters are invoked for reproducing winding streams <ref target="plate20" rend="color: blue">(Plate XX)</ref>, groupings of rocks, meadow, swamp, and other grasses and the like.
+</p>
+<p>
+Of course the exact shape of the various Chinese characters here referred to must not be actually painted into the composition but merely the sentiment of their respective forms recalled.  They are simply practical memory aids to desired effects.
+</p>
+<p>
+It is the spirit of the character rather than its exact shape which should control; the order of
+<pb n="59" />
+the painted strokes being that of the written character, its sentiment or general shape is thus reproduced.
+</p>
+<p>
+In this connection I would allude to criticisms or judgments upon Japanese painting in which particular stress is laid upon its calligraphic quality.  If any Japanese artist was seriously informed that his method of painting was calligraphic, he would explode with mirth.  There are several ways to account for this rather wide-spread error.  Much that is written about Japanese painting and its calligraphy is but the repetition by one author of what he has taken on trust from another, an effective way sometimes of spreading misinformation.  It is quite true that the assiduous study of Chinese writing <emph rend="sc">(sho)</emph> is an essential part of thorough art education in Japan, not, however, for the purpose of learning to paint as one writes, or of introducing written characters more or less transformed into a painting (if that be what is meant by <q>calligraphic</q>), but simply to give the artist freedom, confidence, and grace in the handling of the brush and to train his eye to form and balance and to acquire both strength of stroke and a knowledge of the sequence of strokes.  To write in Chinese after the manner of professionals <emph rend="sc">(sho ka)</emph> is truly a great art, esteemed even higher than painting; it requires thirty years of constant practice to become expert therein, and it has many laws and profound principles which, if mastered by artists, will enable them to be all the greater in their painting, and many Japanese artists have justly prided 
+<pb n="60" />
+themselves upon being expert writers of the Chinese characters.  Okyo practiced daily for three years the writing of two intricate characters standing for his name, until he was satisfied with their forms, but there is nothing calligraphic about any of Okyo's painting.
+</p>
+<p>
+Possibly what has misled foreign critics and even some Japanese writers is that there exists a class of men in Japan given to learning, to writing, and also to painting in a particular way.
+</p>
+<p>
+These men are called <emph rend="sc">bun jin</emph> (literati) and their style of painting is called <emph rend="sc">bun jin fu.</emph>  They are not artists, but are known as Confucius' scholars <emph rend="sc">(ju sha)</emph>, and being professional or trained writers in the difficult art of Chinese calligraphy they have a manner of painting strictly <foreign lang="jp" rend="it">sui generis.</foreign>  It is known as the <emph rend="sc">nan gwa</emph> or southern literary way of painting.  Their subjects are the bamboo, the plum, the orchid and the chrysanthemum, called the four paragons <emph rend="sc">(shi kun shi).</emph>  These and landscapes they paint with their writing brush and more or less in what is called the grass character <emph rend="sc">(so sho)</emph> manner of writing.  In fact, they often aim to make their painting look like writing and they rarely use any color except light-brown <emph rend="sc">(tai sha).</emph>  They suppress line as distinguished from mass.  This method is called <foreign lang="jp" rend="it">bokkotsu</foreign> (see <ref target="plate12" rend="color: blue">Plate XII</ref>). Such painting of the <emph rend="sc">nan gwa</emph> school is, in a sense, calligraphic, but that is not the kind of painting which Japanese artists are taught, practice and profess, nor is it even recognized as an art, but simply as an eccentric development of the literary
+<pb n="61" />
+man with a taste for painting.   At one time or another well-known artists, especially at the beginning of the Meiji era, have affected this <emph rend="sc">bun jin</emph> calligraphy style simply as a passing fashion.
+</p>
+<p>
+One other possible explanation of the critics pronouncing all Japanese paintings calligraphic is that various Chinese characters are, as we have seen, invoked and employed by Japanese artists as memory aids to producing certain effects; but were these characters introduced calligraphically, the result would be laughable.  It should be plain then that Japanese painting is not calligraphic; as well apply the term calligraphy to one of Turner's water colors.  On the other hand, Chinese writing is built up on word pictures. There are between five and six hundred mother characters, all imitating the shapes of objects; these, with their later combinations, constitute the Chinese written system, so that while there is nothing calligraphic about Japanese painting, there is much that is pictorial about Chinese calligraphy.
+</p>
+<p>
+Other landscape laws applicable to things seen at a distance in a painting require that distant trees should show no branches nor leaves; people at a distance, no features; distant mountains, no ledges; distant seas or rivers, no waves.  Again, clouds should indicate whence they come; running water the direction of its source; mountains, their chains; and roads, whither they lead.
+</p>
+<p>
+In regard to painting moving waters, whether of deep or shallow, in rivers or brooks, bays or oceans, Chinanpin declared it was impossible for the eye
+<pb n="62" />
+to seize their exact forms because they are ever changing and have no fixed, definite shape, therefore they can not be sketched satisfactorily; yet, as moving water must be represented in painting, it should be long and minutely contemplated by the artist, and its general character&mdash;whether leaping in the brook, flowing in the river, roaring in the cataract, surging in the ocean or lapping the shore&mdash;observed and reflected upon, and after the eye and memory are both sufficiently trained and the very soul of the artist is saturated, as it were, with this one subject and he feels his whole being calm and composed, he should retire to the privacy of his studio and with the early morning sun to gladden his spirit there attempt to reproduce the movement of the flow; not by copying what he has seen, for the effect would be stiff and wooden, but by symbolizing according to certain laws what he feels and remembers.
+</p>
+<p>
+In work of this kind there are certain directions for the employment of the brush which can only be learned from oral instruction and demonstration by the master.
+</p>
+<p>
+In <ref target="plate38" rend="color: blue">Plate XXXVIII</ref> a, 1, the method by which waves are reproduced is shown, the circles indicating where the brush is turned upon itself before again curving.  On the same plate (b) waveless water, shallow water, and river water with current are indicated at the top, middle and bottom, respectively.  In <ref target="plate39" rend="color: blue">Plate XXXIX</ref> a, we have the moving waters of an inland sea; in b, the bounding waters of a brook; in <ref target="plate40" rend="color: blue">Plate XL</ref>, the stormy waves of the ocean.
+</p>
+<pb n="63" />
+<p>
+We will now consider another unique department of Japanese painting in connection with the garments of human beings.  The lines and folds of the garment may be painted in eighteen different ways according to what are known as the eighteen laws for the dress <emph rend="sc">(emon ju hachi byo).</emph>  I will mention each of these laws in its order and refer to the plate illustrations of the same.
+</p>
+<p>
+The floating silk thread line <emph rend="sc">(kou ko yu shi byou)</emph> (<ref target="plate41" rend="color: blue">Plate XLI</ref> upper). This line was introduced by the Tosa school of artists eight hundred years ago and has been in favor ever since.  It is the purest or standard line and is reserved for the robes of elevated personages.  The brush is held firmly and the lines, made to resemble silk threads drawn from the cocoon, are executed with a free and uninterrupted movement of the arm.
+</p>
+<p>
+The Koto string line <emph rend="sc">(kin shi byou)</emph> (<ref target="plate41" rend="color: blue">Plate XLI</ref> lower).  This is a line of much dignity and of uniform roundness from start to finish.  It is produced by using a little more of the tip of the brush than in the silk thread line and there must be no break or pause in it until completed.  This line is used for dignified subjects.
+</p>
+<p>
+Chasing clouds and running water lines <emph rend="sc">(kou un ryu sui byou)</emph> (<ref target="plate42" rend="color: blue">Plate XLII</ref> upper).  These are produced with a wave-like, continuous movement of the brush&mdash;breathing, as it were.  Such lines are generally reserved for the garments of saints, young men and women.
+</p>
+<p>
+The stretched iron wire line <emph rend="sc">(tetsu sen byou)</emph> (<ref target="plate42" rend="color: blue">Plate XLII</ref> lower). This is a very important line,
+<pb n="64" />
+much employed by Tosa artists and used for the formal, stiffly searched garments of court nobles, <foreign lang="jp" rend="it">samurai,</foreign> <emph rend="sc">no</emph> dancers, and umpires of wrestling matches.  When this line is painted the artist must have the feeling of carving upon metal.
+</p>
+<p>
+The nail-head and rat-tail line <emph rend="sc">(tei tou sobi byou)</emph> (<ref target="plate43" rend="color: blue">Plate XLIII</ref> upper).  In making this, the stroke is begun with the feeling of painting and reproducing the hard nature of a tack and then continued to depict a rat's tail, which grows small by degrees and beautifully less.
+</p>
+<p>
+The line of the female court noble or <foreign lang="jp" rend="it">tsubone</foreign> <emph rend="sc">(sou i byou)</emph> (<ref target="plate43" rend="color: blue">Plate XLIII</ref> lower).  This line and the preceding are much used for the soft and graceful garments of young men and women and have always been favorites with the <foreign lang="jp" rend="it">Ukiyo e</foreign> painters.
+</p>
+<p>
+The willow-leaf line <emph rend="sc">(ryu you byou)</emph> (<ref target="plate44" rend="color: blue">Plate XLIV</ref> upper).  This line has always been in great favor with all the schools, and especially with the Kano painters, and is used indiscriminately for goddesses, angels, and devils.  It is intended to reproduce the sentiment of the willow leaf, commencing with a fine point, swelling a little and again diminishing.
+</p>
+<p>
+The angleworm line <emph rend="sc">(kyu en byou)</emph> (<ref target="plate44" rend="color: blue">Plate XLIV</ref> lower).  The angleworm is of uniform roundness throughout its length and it is with that sentiment or <foreign lang="jp" rend="it">kokoromochi</foreign> that it must be painted, care being taken to conceal the point of the brush along the line.  This is a most important line in all color painting. Indeed, where much pains are to be taken with the picture, and the colors are to be most carefully laid on, it is the best and favorite line.
+</p>
+<pb n="65" />
+<p>
+The rusty nail and old post line <emph rend="sc">(ketsu tou tei byou)</emph> (<ref target="plate45" rend="color: blue">Plate XLV</ref> upper).  This line is painted with a brush, the point of which is broken off.  The Kano school of artists particularly affect this method of line painting in depicting beggars, hermits, and other such characters.
+</p>
+<p>
+The date seed line <emph rend="sc">(sau gai byou)</emph> (<ref target="plate45" rend="color: blue">Plate XLV</ref> lower).  This line, intended to represent a continuous succession of date seeds, is made with a throbbing brush and generally used in the garments of sages and famous men of learning.
+</p>
+<p>
+The broken reed line <emph rend="sc">(setsu ro byou)</emph> (<ref target="plate46" rend="color: blue">Plate XLVI</ref> upper) is made with a rather dry brush and, as its name indicates, should be painted with the feeling of reproducing broken reeds.  It is a line intended to inspire terror, awe, consternation, and is used for war gods, <emph rend="sc">fudo</emph> <foreign lang="jp" rend="it">sama,</foreign> and other divinities.
+</p>
+<p>
+The gnarled knot line <emph rend="sc">(kan ran byou)</emph> (<ref target="plate46" rend="color: blue">Plate XLVI</ref> lower).  In this kind of painting the brush is stopped from time to time and turned upon itself with a feeling of producing the gnarled knots of a tree.  The line is much used for ghosts, dream pictures, and the like.
+</p>
+<p>
+The whirling water line <emph rend="sc">(sen pitsu sui mon byou)</emph> (<ref target="plate47" rend="color: blue">Plate XLVII</ref> upper) is used for rapid work and reproduces the swirl of the stream.  It was a favorite line with Kyosai.
+</p>
+<p>
+The suppression line <emph rend="sc">(gen pitsu byou)</emph> (<ref target="plate47" rend="color: blue">Plate XLVII</ref> lower) is suitable where but few lines enter into the painting of the dress.  Any of the other seventeen lines can be employed in this way.  The Kano artists used it a great deal.
+</p>
+<pb n="66" />
+<p>
+Dry twig or old firewood line <emph rend="sc">(ko shi byou)</emph> (<ref target="plate48" rend="color: blue">Plate XLVIII</ref> upper) is generally used in the robes of old men and produced by what is called the dry brush; that is, a brush with very little water mixed with  the <foreign lang="jp" rend="it">sumi.</foreign>  The stroke must be bold and free to be effective.
+</p>
+<p>
+The orchid leaf line <emph rend="sc">(ran yau byou)</emph> (<ref target="plate48" rend="color: blue">Plate XLVIII</ref> lower). This is a very beautiful method of painting whereby the graceful shape of the orchid leaf is recalled; the line is used for the dresses of <foreign lang="jp" rend="it">geishas</foreign> and beauties <foreign lang="jp" rend="it">(bijin)</foreign> generally.
+</p>
+<p>
+The bamboo leaf line <emph rend="sc">(chiku yau byou)</emph> (<ref target="plate49" rend="color: blue">Plate XLIX</ref> upper).  This style of painting, which aims at suggesting the leaf of the bamboo, was much in favor formerly in China.  Japanese artists seldom employ it.
+</p>
+<p>
+The mixed style <emph rend="sc">(kon byou)</emph> (<ref target="plate49" rend="color: blue">Plate XLIX</ref> lower), in which any of the foregoing seventeen styles can be employed provided the body of the garment be laid on first in mass and the lines painted in afterward while the <foreign lang="jp" rend="it">sumi</foreign> or paint is still damp.  This gives a satiny effect.
+</p>
+<p>
+There are many other ways of painting the lines of the garment but the preceding eighteen laws give the strictly classic methods known to oriental art.
+</p>
+<p>
+The orchid, bamboo, plum, and chrysanthemum paragons <emph rend="sc">(ran chiku bai kiku)</emph> are called in art the Four Paragons.  Although these may be the first studies taught they are generally the last subjects mastered.  Much learning and research have been expended upon them in China and Japan. An
+<pb n="67" />
+artist who can paint <emph rend="sc">shi kun shi</emph> is a master of the brush.  I will indicate some of the laws applicable to each of these subjects.
+</p>
+<p>
+The orchid grows in the deepest mountain recesses, exhaling its perfume and unfolding its beauty in silence and solitude, unheralded and unseen; thus, regardless of its surroundings and fulfilling the law of its being, fifteen hundred years ago it was proclaimed by the poet and painter San Koku to typify true nobility and hence was a paragon.  In poetry it is called the maiden's mirror.  Many great Chinese writers have taken the orchid <emph rend="sc">(ran)</emph> for their nom de plume, as Ran Ya, Ran Tei, Ran Kiku, and Ran Ryo.
+</p>
+<p>
+<ref target="plate52" rend="color: blue">Plate LII</ref> shows an orchid plant in flower.  The established order of the brush strokes for the leaves of is indicated at the tips by numerals one to eleven; that of the flower stalk and flower by numbers twelve to twenty-one.  Various forms are invoked in painting both the plant and the flower and are more or less graphically suggested.  These forms are indicated by numbers, as follows:
+</p>
+<p>
+Leaf blade No. 1 reproduces twice the stomach of the mantis (22), the tail of the rat (23), with the cloud longing <emph rend="sc">(bo un)</emph> of the tip (24).  Leaf No. 2 is similarly constructed but is painted to intersect leaf No. 1, leaving between them a space (No. 25) called the elephant's eye.  Leaf No. 3 is intersected by leaf No. 4, enclosing another space between them, known as the eye of the phoenix.  Adding leaves Nos. 5 and 6, called <emph rend="sc">seki</emph> or <foreign lang="jp" rend="it">kazari,</foreign> meaning ornament, we have the most essential
+<pb n="68" />
+parts of the orchid plant.  Leaf No. 7 is known as
+the rat's tail and leaf No. 8 as the body of a young carp.  Nos. 9,10 and 11 are called nail heads, from their fancied resemblance to such objects.  With these the plant is structurally complete.
+</p>
+
+<figure url="images/plate_07.jpg" rend="w70; page-float: 'ht'">
+<anchor id="plate07" />
+<index index="fig" />
+<head>Bamboo, Sparrow and Rain.  Plate VII.</head>
+<figDesc>Bamboo, Sparrow and Rain.  Plate VII.</figDesc>
+</figure>
+
+<p>
+The flower stalk is divided into four parts (Nos. 12 to 15), called rice sheaths.  The flower is made with six strokes (16 to 21), called the flying bee (26).  The three dots in the flower reproduce the sentiment of the Chinese character for heart (23).
+</p>
+<p>
+The orchid is variously painted rising from the ground, issuing from the banks of a brook, or clinging with its roots to a rocky cliff.  In allusion to the lonely places where it grows it is called <foreign lang="jp" rend="it">I shiri no kusa</foreign> or the plant which the wild boar knows.  The orchid is credited with medicinal properties, and the flower steeped in wine makes a potion which secures perpetual health.  The charm of friendship is likened unto the orchid's perfume and the flowers are worn by the ladies of the court to ward off maladies.
+</p>
+<p>
+The leaves of the bamboo are green at all seasons.  The stems are straight and point upwards.  The plant is beautiful under all conditions&mdash;struggling beneath the winter snow or fanned by the spring breeze, swaying with the storm or bending under showers&mdash;its grace challenges admiration.  Typifying constancy and upright conduct, it was claimed over a thousand years ago by Shumo Shiku to be a paragon.
+</p>
+<p>
+Nothing is more difficult to paint correctly than this plant.  <ref target="plate53" rend="color: blue">Plate LIII</ref> shows the bamboo with its
+<pb n="69" />
+essentially component parts and forms indicated as follows: The upright stalk is in five subdivisions (1 to 5), each differing in length but all suggesting the Chinese character for one <emph rend="sc">(ichi)</emph> painted upright.  These are separated from each other by strokes reproducing the Chinese characters for positively (22), for heart (23), for second (24), for one (25), and for eight (26).  The stem (6 to 10) is composed of rats' tails.  The manner of painting and combining the leaves of the bamboo is called <foreign lang="jp" rend="it">take no ha no kumitata</foreign> and is minutely described and illustrated in Ransai's great work, <foreign lang="jp" rend="it">Gwa Fu.</foreign>  The essentials are: The five-leaf arrangement <emph rend="sc">(go yo)</emph> (11 to 15) with the ornament (16), called <foreign lang="jp" rend="it">kazari.</foreign> The three-leaf arrangement (17 to 19) called <emph rend="sc">ko ji</emph>, from its resemblance to the Chinese character <emph rend="sc">ko</emph> (32).  The two-leaf arrangement (20 and 21) called <emph rend="sc">jin ji</emph>, from its resemblance to the character <emph rend="sc">jin</emph> (33), a man.  In further development of the plant the following imitative arrangements of the leaves are used: The fish tail <emph rend="sc">(gyo bi)</emph> (27), the goldfish triple tail <emph rend="sc">(kingyo bi)</emph> (28), the swallow tail <emph rend="sc">(en bi)</emph> (29), the Chinese character for bamboo <emph rend="sc">(chiku ji)</emph> (30), and the seven-leaf arrangement <emph rend="sc">(shichi yo)</emph> (31).  It will be observed how the odd or positive numbers <emph rend="sc">(yo)</emph> are favored.  The foregoing method is used by the Okyo painters.
+</p>
+<p>
+The Kano artists have another system for combining and elaborating the leaf growth, but it does not differ radically from that here given.  The leaf of the bamboo reproduces the shape of a carp's body (34).  It also resembles the tail feathers of the
+<pb n="70" />
+phoenix.  An oil is made from the bamboo and is said to be good for people with quick tempers.  Many artists adopt the name of bamboo for their nom de plume; witness, Chiku Jo, Chiku Do, Chiku Sho, Chiku Den and the like.
+</p>
+<p>
+It is said that the full moon casts the shadow of the bamboo in a way no other light approaches.  The learned Okubu Shibutsu first observed this and the discovery led to his becoming the greatest of all bamboo painters.  Nightly he used to trace with <foreign lang="jp" rend="it">sumi</foreign> such bamboo shadows on his paper window.  Sho Hin, a lady artist of Tokyo, enjoys a well-earned reputation for painting bamboo.  She was a pupil of Tai Zan, a Kyoto representative of the Chinese school.  The Kano painters much favored the subject of the seven sages in the bamboo grove.  Bamboo grass <emph rend="sc">(sassa)</emph> is much painted by all the schools.  It is very decorative.  There is a male and a female bamboo; from the latter <foreign lang="jp" rend="it">(medake)</foreign> arrows are made.  The uses to which man puts the bamboo are surprisingly numerous, thus fortifying its claims to be regarded a paragon.
+</p>
+<p>
+The plum is the first tree of the year to bloom.  It has a dejicate perfume.  Though the trunk of the tree grows old it renews its youth and beauty every spring with vigorous fresh branches crowded with buds and blossoms.  In old age the tree takes on the shape of a sleeping dragon.  With no other flower or tree are associated more beautiful and pathetic folk-lore and historical facts.  For these and other reasons Rennasei assigned to the plum its place as a paragon centuries and centuries ago.
+</p>
+<pb n="71" />
+<p>
+The tree branches with their interlacings reproduce the spirit of the Chinese character for woman, called <emph rend="sc">jo ji</emph> (<ref target="plate50" rend="color: blue">Plate L</ref>, No. 1).  The blossom (2) is painted on the principle of <emph rend="sc">in yo,</emph> the upper portion of the petal line being the positive or <emph rend="sc">yo</emph> and the lower being the negative or <emph rend="sc">in</emph> side.  This is repeated five times for the five petals of the blossom (3). The stamens (4) and pistils are reproductions of the Chinese character <emph rend="sc">sho,</emph> meaning small.  For the calyx (5) the Chinese character for clove <emph rend="sc">(cho)</emph> is invoked.
+</p>
+<p>
+The great scholar and nobleman, Sugewara Michizane, particularly loved the plum tree. Banished from his home, as he was leaving his grounds he addressed that silent sentinel of his garden in the following verse, which has earned immortality:
+</p>
+<lg>
+<l>
+Do thou, dear plum tree, send out thy perfume when the east wind blows;
+</l>
+<l>
+And, though thy master be no longer here,
+</l>
+<l>
+Forget not to blossom always when the springtime comes.
+</l>
+</lg>
+<p>
+In Japan the plum, though not eaten raw, when salted has wonderful strength sustaining properties, and in wartime supplies as <foreign lang="jp" rend="it">ume boshi</foreign> a valuable concentrated food.
+</p>
+<p>
+The chrysanthemum has been cultivated in China
+for four thousand years and its fame was sung by the poet and scholar, To En Mei, who prized it above all else under heaven and assigned it the rank of paragon.
+</p>
+<p>
+When all Nature is preparing for the long sleep of winter and the red, brown and golden forest leaves are dropping, spiritless, to the ground, the
+<pb n="72" />
+chrysanthemum comes forth from the earth in fresh and radiant colors.  It gladdens the heart in the sad season of autumn.  Its clustered petals, all united and never scattering, typify the family, the state, and the Empire.  For the last six hundred years the sixteen-petaled chrysanthemum has been the emblem of Imperial sovereignty in Japan.  With artists it has always been a favorite flower subject.  There are innumerable ways of painting it.
+</p>
+<p>
+<ref target="plate51" rend="color: blue">Plate LI</ref> shows the chrysanthemum flower and leaves painted in the Okyo manner.  There is an established order in which the leaves must be executed. Viewed from the front (Nos. 1 and 2) the order of the brush stroke is as indicated on the plate; viewed from the side the brush is applied in the order indicated in Nos. 4 and 5.  The flower (6 and 7) is built up from the bud (5), petals being added according to the effect sought.  The flower half opened is shown in No. 6, and wholly opened in No. 7.  The calyx somewhat reproduces the Chinese written character <emph rend="sc">cho.</emph>  The Kano painters have a different way of painting the chrysanthemum leaves and flowers, but the foregoing illustrates the general principles obtaining in all the schools.  Korin painted the <emph rend="sc">kiku</emph> in a manner quite different from that of any other artist.  The word <emph rend="sc">kiku</emph> is Chinese, the Japanese word for the flower being <foreign lang="jp" rend="it">kawara yomogi.</foreign>  The Nagoya artists have always been particularly skilful in painting the chrysanthemum in an exceptionally engaging way.  The little marguerite-like blossom is called <foreign lang="jp" rend="it">mame-giku,</foreign> and is a universal favorite among all artists.
+</p>
+<pb n="73" />
+<p>
+The impression produced on one who for the first time hears enumerated these various laws may possibly be that all such methods for securing artistic effects are arbitrary, mechanical and unnatural.  But in practice, the artist who invokes their aid finds they produce invariably pleasing and satisfactory results.  It must not be supposed that such laws are exclusive of all other methods of painting in the Japanese style.  On the contrary the artist is at liberty to use any other method he may select provided the result is artistically correct.  Many painters have invented methods of their own which are not included in the foregoing enumeration of these laws of lines, dots and ledges, which, it must always be borne in mind, are only to assist the artist who may be in doubt or difficulty as to how he shall best express the effect he aims at.  It is such second nature for him to employ them that he does so as unconsciously as one in writing will invoke the rules of grammar.  It is related that a great statesman, being asked if it were necessary for a diplomat to know Latin and Greek, replied that it was quite sufficient for him to have forgotten them.  And so with these laws.  A knowledge of them is a necessary part of the education of every Japanese artist, for they lie at the very foundation of the art of oriental painting.  Chinese writing abounds with similar principles; it is a law applicable to one kind of such writing, called <emph rend="sc">rei sho,</emph> that in each character there shall be one stroke which begins with the head of a silkworm and terminates with a goose's tail.  This also may
+<pb n="74" />
+sound odd and seem forced, yet this law gives a special and wonderful <foreign lang="fr" rend="it">cachet</foreign> to the character so written.
+</p>
+<p>
+Some acquaintance with these principles and methods invoked by artists adds much to our keen enjoyment of their work, just as an analysis of the chords in a musical composition increases our pleasure in the harmonies they produce.  Ruskin has discovered in the very earliest art the frequent use of simple forms suggested by the slightly curved and springing profile of the leaf bud which, he declares, is of enormous importance even in mountain ranges, when not vital but falling force is suggested.  <q>This abstract conclusion the great thirteenth century artists were the first to arrive at</q> (Ruskin's Mod. Painters, Vol. III), and even in the architecture of the best cathedrals that author detects the observance of the law determining in an ivy leaf the arrangement of its parts about a center.
+</p>
+<p>
+In Japanese art simple forms supplied by nature are often used for suggesting other forms as, for instance, the stork's legs for the pine tree branches, the turtle's back for the pine bark lines, the fish tail for bamboo leafage, the elephant's eye in the orchid plant, the shape of Fujiyama for the forehead of a beautiful woman, and various Chinese characters, originally pictorial, adumbrated in trees, flowers and other subjects.  The universality of such underlying type forms recognized and applied by oriental artists is confirmatory of the principle that in both nature and art all is united by a common
+<pb n="75" />
+chain or <foreign lang="la" rend="it">commune vinculum</foreign> attesting the harmony between created things.  A Japanese painting executed with the aid of such resources teems with vital force and suggestion, and to the eye of a connoisseur <foreign lang="jp" rend="it">(kuroto)</foreign> becomes a breathing microcosm.
+</p>
+<p>
+To give some idea of the order in which the component parts of an object are painted according to Japanese rules, which are always stringently insisted upon, flowers like the chrysanthemum and peony are begun at their central point and built up from within outwardly, the petals being added to increase the size as the flower opens.  In a flower subject the blossoms are painted first; the buds come next; then the stem, stalks, leaves and their veinings, and lastly the dots called <foreign lang="jp" rend="it">chobo chobo.</foreign>
+</p>
+<p>
+The established order for the human figure is as follows: Nose and eyebrows, eyes, mouth, ears, sides of the face, chin, forehead, head, neck, hands, feet, and finally the appareled body.  In Japanese art the nude figure is never painted.
+</p>
+<p>
+In a tree the order is trunk, central and side limbs <ref target="plate21" rend="color: blue">(Plate XXI)</ref>, branches and their subdivisions, leaves and their veinings, and dots.
+</p>
+<p>
+In birds: The beak in three strokes <emph rend="sc">(ten, chi, jin),</emph> the eye, the head, the throat and breast, the back, the wings, the body, the tail, the legs, claws, nails and eyeball <ref target="plate22" rend="color: blue">(Plate XXII)</ref>.
+</p>
+<p>
+In landscape work the general rule is to paint what is nearest first and what is farthest last.  Kubota's method was to do all this rapidly and, if possible, with one dip of the well-watered brush into the <foreign lang="jp" rend="it">sumi,</foreign> so that as the <foreign lang="jp" rend="it">sumi</foreign> becomes gradually
+<pb n="76" />
+diluted and exhausted the proper effect of foreground, middle distance and remote perspective is obtained.
+</p>
+<p>
+In painting mountain ranges that recede one behind the other the same process is followed, and mountains as they disappear to the right or left of the picture should tend to rise.  This principle is called <emph rend="sc">bo un</emph> or cloud longing.
+</p>
+<p>
+It is useless here to enumerate the many faults which art students are warned against committing.  Suffice it to say the number is
+enormous.  Out of many of the Chinese formulas I will give only one, which is known as <emph rend="sc">shi byo</emph> or the four faults,
+and is as follows:
+</p>
+<p>
+<emph rend="sc">Ja, kan, zoku, rai.</emph>  <emph rend="sc">Ja</emph> refers to attempted originality in a painting without the ability to give it
+character, departing from all law to produce something not reducible to any law or principle.  <emph rend="sc">Kan</emph> is producing only
+superficial, pleasing effect without any <emph>power</emph> in the brush stroke&mdash;a characterless painting to charm only the ignorant.
+<emph rend="sc">Zoku</emph> refers to the fault of painting from a mercenary motive only,&mdash;thinking of money instead of
+art.  <emph rend="sc">Rai</emph> is the base imitation of or copying or cribbing from others.
+</p>
+</div>
+
+<pb n="77" />
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+
+<figure url="images/hbandc05.jpg" rend="w90">
+<anchor id="hbandc05" />
+<figDesc>Chapter 5 Head-Band: Maple leaves are associated with Ten Jin (Sugiwara Michizane), patron of learning.  Children in invoking his aid in a little prayer count the points of the maple leaf, saying, <q>yoku te agar</q>&mdash;assist us to be clever. In Japanese the maple leaf is called kaide, meaning frog's hand.</figDesc>
+</figure>
+
+<head>CHAPTER FIVE. CANONS OF THE AESTHETICS OF JAPANESE PAINTING</head>
+
+<p>
+One of the most important principles in the
+art of Japanese painting&mdash;indeed, a fundamental and entirely distinctive characteristic&mdash;is that called living movement, <emph rend="sc">sei do,</emph> or <foreign lang="jp" rend="it">kokoro mochi,</foreign> it being, so to say, the transfusion into the work of the felt nature of the thing to be painted by the artist.  Whatever the subject to be translated&mdash;whether river or tree, rock or mountain, bird or flower, fish or animal&mdash;the artist at the moment of painting it must feel its very nature, which, by the magic of his art, he transfers into his work to remain forever, affecting all who see it with the same sensations he experienced when executing it.
+</p>
+<p>
+This is not an imaginary principle but a strictly enforced law of Japanese painting.  The student is incessantly admonished to observe it.  Should his subject be a tree, he is urged when painting it to feel the strength which shoots through the branches
+<pb n="78" />
+and sustains the limbs.  Or if a flower, to try to feel the grace with which it expands or bows its blossoms.  Indeed, nothing is more constantly urged upon his attention than this great underlying principle, that it is impossible to express in art what one does not first feel.  The Romans taught their actors that they must first weep if they would move others to tears.  The Greeks certainly understood the principle, else how did they successfully invest with imperishable life their creations in marble?
+</p>
+<p>
+In Japan the highest compliment to an artist is to say he paints with his soul, his brush following the dictates of his spirit.  Japanese painters frequently repeat the precept:
+</p>
+<lg>
+<l>
+<foreign lang="jp" rend="it">Waga kokoro waga te wo yaku</foreign>
+</l>
+<l>
+<foreign lang="jp" rend="it">Waga te waga kokoro ni ozuru.</foreign>
+</l>
+</lg>
+
+<lg>
+<l>
+Our spirit must make our hand its servitor;
+</l>
+<l>
+Our hand must respond to each behest of our spirit.
+</l>
+</lg>
+
+<p>
+The Japanese artist is taught that even to the placing of a dot in the eyeball of a tiger he must first feel the savage, cruel, feline character of the beast, and only under such influence should he apply the brush.  If he paint a storm, he must at the moment realize passing over him the very tornado which tears up trees from their roots and houses from their foundations.  Should he depict the seacoast with its cliffs and moving waters, at the moment of putting the wave-bound rocks into the picture he must feel that they are being placed there to resist the fiercest movement of the ocean, while to the waves in turn he must give an irresistible power to carry all before them; thus, by
+<pb n="79" />
+this sentiment, called living movement <emph rend="sc">(sei do),</emph> reality is imparted to the inanimate object.  This is one of the marvelous secrets of Japanese painting, handed down from the great Chinese painters and based on psychological principles&mdash;matter responsive to mind.  Chikudo, the celebrated tiger painter <ref target="plate06" rend="color: blue">(Plate VI)</ref>, studied and pondered so long over the savage expression in the eye of the tiger in order to reproduce its fierceness that, it is related, he became at one time mentally unbalanced, but his paintings of tigers are inimitable.  They exemplify <emph rend="sc">sei do.</emph>
+</p>
+
+<p>
+From what has been said it will be appreciated why, in a Japanese painting, so much value is attached to the strength with which the brush strokes are executed <foreign lang="jp" rend="it">(fude no chicara),</foreign> to the varying lights and shades of the <foreign lang="jp" rend="it">sumi</foreign> <emph rend="sc">(boku shoku),</emph> to their play and sheen <foreign lang="jp" rend="it">(tsuya),</foreign> and to the manifestation of the artist's power according to the principle of living movement <emph rend="sc">(sei do).</emph>  In a European painting such considerations have no place.
+</p>
+<p>
+An oil painting can be rubbed out and done over time and again until the artist is satisfied.  A <foreign lang="jp" rend="it">sumi e</foreign> or ink painting must be executed once and for all time and without hesitation, and no corrections are permissible or possible.  Any brush stroke on paper or silk painted over a second time results in a smudge; the life has left it.  All corrections show when the ink dries.
+</p>
+<p>
+Japanese artists are not bound down to the literal  presentation  of things  seen.  They  have  a canon, called <foreign lang="jp" rend="it">esoragoto,</foreign> which means literally an
+<pb n="80" />
+invented picture, or a picture into which certain invention fictions are painted.
+</p>
+<p>
+Every painting to be effective must be <foreign lang="jp" rend="it">esoragoto;</foreign> that is, there must enter therein certain artistic liberties.  It should aim not so much to reproduce the exact thing as its sentiment, called <foreign lang="jp" rend="it">kokoro mochi,</foreign> which is the moving spirit of the scene.  It must not be a facsimile.
+</p>
+<p>
+When we look at a painting which pleases us what is the cause or source of our satisfaction?  Why does such painting give us oftentimes more satisfaction than the scene itself which it recalls?  It is largely because of <foreign lang="jp" rend="it">esoragoto</foreign> or the admixture of invention (the artistic unreality) with the unartistic reality; the poetic handling or treatment of what in the original may in some respects be commonplace.
+</p>
+<p>
+A correctly executed Japanese painting in <foreign lang="jp" rend="it">sumi</foreign> called <foreign lang="jp" rend="it">sumi e,</foreign> is essentially a false picture so far as color goes, where anything in it not black is represented.  Hence, <foreign lang="jp" rend="it">sumi</foreign> paintings of landscapes, flowers and trees, are untrue as to color, and the art lies in making things thus represented seem the opposite of what they appear and cause the sentiment of color to be felt through a medium which contains no color.  This is <foreign lang="jp" rend="it">esoragoto.</foreign>
+</p>
+<p>
+It is related that Okubo Shibutsu, famous for painting bamboo, was requested to execute a <foreign lang="jp" rend="it">kakemono</foreign> representing a bamboo forest.  Consenting, he painted with all his known skill a picture in which the entire bamboo grove was in red. The patron upon its receipt marveled at the extraordinary
+<pb n="81" />
+skill with which the painting had been executed, and, repairing to the artist's residence, he said: <q>Master, I have come to thank you for the picture; but, excuse me, you have painted the bamboo red.</q>  <q>Well,</q> cried the master, <q>in what color would you desire it?</q>  <q>In black, of course,</q> replied the patron.  <q>And who,</q> answered the artist, <q>ever saw a black-leaved bamboo?</q>  This story well illustrates <foreign lang="jp" rend="it">esoragoto.</foreign>  The Japanese are so accustomed to associate true color with what the <foreign lang="jp" rend="it">sumi</foreign> stands for that not only is fiction in this respect permissible but actually missed when not employed.  In a landscape painting effects are frequently introduced which are not to be found in the scene sketched.  The false or fictitious is added to heighten the effect.  This is <foreign lang="jp" rend="it">esoragoto&mdash;</foreign> the privileged departure, the false made to seem true.  In a landscape a tree is often found to occupy an unfortunate place or there is no tree where its presence would heighten the effect.  Here the artist will either suppress or add it, according to the necessities of treatment.  Not every landscape is improved by trees or plantations; nor, indeed, is every view containing trees a type scene for landscape treatment.  Hence, certain liberties are conceded the artist provided only the effect is pleasing and satisfactory and that no probabilities seem violated.  This is <foreign lang="jp" rend="it">esoragoto.</foreign>  Horace understood this and lays it down as a fundamental principle in art: <q><foreign lang="la" rend="it">Quid libet audendi</foreign></q>.  The artist will oftentimes see from a point of view impossible in nature, but if the result is pleasing the liberty is accorded.  Sesshu, one of the greatest landscape
+<pb n="82" />
+painters of Japan, on returning to his own country after having studied some years in China, made a painting of his native village with its temple and temple groves, winding river and pagoda or five-roofed tower.  His attention being subsequently called to the fact that in this village there was no tower or pagoda, he exclaimed that there ought to be one to make the landscape perfect, and thereupon he had the tower constructed at his own expense.  He had painted in the pagoda unconsciously.  This was <foreign lang="jp" rend="it">esoragoto.</foreign>
+</p>
+<p>
+There are no people in the world who have a higher idea of the dignity of art than the Japanese and it is a principle with them that every painting worthy of the name should reflect that dignity, should testify to its own worth and thus justly impress with sentiments of admiration those to whom it may be shown.  This intrinsic loftiness, elevation or worth is known in their art by the term <emph rend="sc">ki in.</emph>  Without this quality the painting, artistically considered and critically judged, must be pronounced a failure.  Such picture may be perfect; in proportion and design, correct in brush force and faultless in color scheme; it may have complied with the principles of <emph rend="sc">in yo</emph>, and <emph rend="sc">ten, chi, jin</emph> or heaven, earth and man; it may have scrupulously observed all the rules of lines, dots and ledges and yet if <emph rend="sc">ki in</emph> be wanting the painting has failed as a work of true art. What is this subtle something called <emph rend="sc">ki in?</emph>
+</p>
+<p>
+In our varied experiences of life we all have met with noble men and women whose beautiful and
+<pb n="83" />
+elevating characters have impressed us the moment we have been brought into relation with them.  The same quality which thus affects us in persons is what the Japanese understand by <emph rend="sc">ki in</emph> in a painting.  It is that indefinable something which in every great work suggests elevation of sentiment, nobility of soul.  From the earliest times the great art writers of China and Japan have declared that this quality, this manifestation of the spirit, can neither be imparted nor acquired.  It must be innate.  It is, so to say, a divine seed implanted in the soul by the Creator, there to unfold, expand and blossom, testifying its hidden residence with greater or lesser charm according to the life spent, great principles adhered to and ideals realized.  Such is what the Japanese understand by <emph rend="sc">ki in.</emph>  It is, I think, akin to what the Romans meant by <foreign lang="la" rend="it">divinus afflatus&mdash;</foreign>that divine and vital breath, that emanation of the soul, which vivifies and ennobles the work and renders it immortal.  And it is a striking commentary upon artist life in Japan that many of the great artists of the Tosa and Kano schools, in the middle years of their active lives, retired from the world, shaved their heads, and, taking the titular rank of <emph rend="sc">hogen, hoin</emph> or <emph rend="sc">hokyo,</emph> became Buddhist priests and entered monasteries, there to pass their remaining days, dividing their time between meditation and inspired work that they might leave in dying not only spotless names but imperishable monuments raised to the honor and glory of Japanese art.
+</p>
+</div>
+
+
+<pb n="84" />
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+
+<figure url="images/hbandc06.jpg" rend="w90">
+<anchor id="hbandc06" />
+<figDesc>Chapter 6 Head-Band: The chrysanthemum pattern.</figDesc>
+</figure>
+
+<head>CHAPTER SIX. SUBJECTS FOR JAPANESE PAINTING</head>
+<head type="sub"><emph rend="sc">(gwa dai)</emph></head>
+<p>
+A Japanese artist will never of his own accord paint a flower out of season or a spring landscape in autumn; the fitness of things insensibly influences him.  From ancient times certain principles have determined his choice of subjects, according either to the period of the year or to the festivals, ceremonies, entertainments or other events he may be required to commemorate.  All such subjects are called <emph rend="sc">gwa dai.</emph>  As one without some knowledge of these cannot appreciate much that is interesting about art customs in Japan, a brief reference to them will be made, beginning with those subjects suitable to the different months of the year:
+</p>
+<p>
+January&mdash;For New Year's  day  <emph rend="sc">(sho gwatsu gwan jitsu)</emph>
+favorite subjects are <q>the sun rising above the ocean,</q> called <foreign lang="jp" rend="it">hi no de ni nami</foreign> (<ref target="plate54" rend="color: blue">Plate LIV</ref> No.  1); <q>Mount  Horai</q> (2), <q>the sun with storks and tortoises</q> (3, 4, 5); or <q>Fukurokuju,</q>
+<pb n="85 "/>
+a god of good luck.  Many meanings are associated with these subjects.  The sun never changes and the ocean is ever changing, hence <emph rend="sc">in yo</emph> is symbolized.  The sun, the ocean and the circumambient air symbolize <emph rend="sc">ten chi jin</emph> or the universe.  Horai <emph rend="sc">(san)</emph> is a symbol for Japan.  It is the lofty mountain on a fabled island in the distant sea, referred to in early Chinese writings, inhabited by sages <emph rend="sc">(sen nin),</emph> and containing the pine, bamboo and plum (known in art as <emph rend="sc">sho, chiku, bai),</emph> the pine standing for longevity, the bamboo for rectitude and the plum blossom for fragrance and grace.  The stork and the tortoise, whose back is covered with seaweed, both typify long life, the ancient saying being that the stork lives for one thousand and the tortoise for ten thousand years <foreign lang="jp" rend="it">(tsuru wa</foreign> <emph rend="sc">sen nen,</emph> <foreign lang="jp" rend="it">kame wa</foreign> <emph rend="sc">man nen).</emph>  Fukurokuju is one of the seven gods of good luck, whose name means happiness, wealth and long life.  On New Year's day are suspended on either side of his picture bamboo and plum subjects (<ref target="plate55" rend="color: blue">Plate LV</ref>, 1, 2, 3).  This jovial god's name is sometimes happily interpreted by a triple <foreign lang="jp" rend="it">kakemono</foreign> <emph rend="sc">(san buku tsui)</emph>: The middle one is the sun and waves, for long life <emph rend="sc">(ju)</emph>; on the right, rice grains, for wealth <emph rend="sc">(roku),</emph> and on the left the flower of the cotton plant, for happiness <emph rend="sc">(fuku),</emph> because its corolla is golden and its fruit silvery, the gold and silver suggesting felicity (<ref target="plate56" rend="color: blue">Plate LVI</ref>, 1, 2, 3).  This makes a charming combination.  An excursion into the fields of Chinese philology in connection with the name of this god of good luck would unfold some wonderful word picturing.
+<pb n="86" />
+Traced to their hieroglyphical beginnings, <emph rend="sc">fuku</emph> signifies blessings from heaven; <emph rend="sc">roku,</emph> rank, commemorated  in  carving,  and <emph rend="sc">(ju)</emph>, agricultural pursuits, associated with white hair.
+</p>
+<p>
+An especially appropriate picture for this season of great festivity is called <q>the pine at the gate</q> <foreign lang="jp" rend="it">(kado matsu).</foreign>  It commemorates the custom on the first day of the year of planting pine trees at the entrance to Japanese public buildings and private residences.  From the rope <foreign lang="jp" rend="it">(shimenawa)</foreign> (<ref target="plate55" rend="color: blue">Plate LV</ref>, 4) are suspended strips of white paper <foreign lang="jp" rend="it">(gohei)</foreign> typifying purity of the soul; these hang in groups of three, five and seven, the odd or lucky number series associated with the positive or male principle <emph rend="sc">(yo)</emph> of <emph rend="sc">in yo.</emph>  Another appropriate subject for this early season of the year is rice cakes <foreign lang="jp" rend="it">(mochi)</foreign> in the shapes of the sun and full moon (<ref target="plate55" rend="color: blue">Plate LV</ref>, 5).  In the picture the fruit called <foreign lang="jp" rend="it">dai dai</foreign> is placed on the top of the rice cakes, the word <emph rend="sc">dai</emph> meaning ages, hence associated with longevity.  At the base of the stand is a prawn <foreign lang="jp" rend="it">(ebi).</foreign>  This equally suggests old age because the prawn is bent in two.  The leaf of the <foreign lang="jp" rend="it">yuzuri</foreign> is introduced because it is an auspicious word and means succession.  The picture of a battledoor and shuttlecock <foreign lang="jp" rend="it">(hagoita)</foreign> is also appropriate for New Year as  it commemorates the ancient practice of the Japanese indulging in that pastime on that day (<ref target="plate56" rend="color: blue">Plate LVI</ref>, 4).
+</p>
+<p>
+During January a very popular picture for the alcove <foreign lang="jp" rend="it">(tokonoma)</foreign> is the treasureship, called <foreign lang="jp" rend="it">taka-rabune</foreign> (<ref target="plate56" rend="color: blue">Plate LVI</ref>, 5). The vessel as it sails into port is heavily laden with all of the various tools
+<pb n="87" />
+and utensils typifying great wealth to be found in the capacious bag of Dai Koku, a Japanese god of good luck.  These are a ball, a hammer, weights, cloves, silver bronze, and the god's raincoat and hat.  On the evening of the second of January if the painting of a treasureship be put under the pillow and one dreams of either Fujisan, a falcon or an eggplant, the year long he will be fortunate.  It will be observed that on the sail of the treasure boat is inscribed the Chinese character for <emph rend="sc">takara,</emph> meaning treasure.  On the seventh day of January occurs the first of the five holidays, called <foreign lang="jp" rend="it">go sekku,</foreign> and vegetable subjects are painted.  These are called the seven grasses <foreign lang="jp" rend="it">(hotoke za</foreign> or <foreign lang="jp" rend="it">nana kusa)</foreign> and consist of parsley, shepherd's purse, chickweed, saint's seat, wild turnip and radish.  They are susceptible of most artistic treatment and ingenious, original designs are often evolved (<ref target="plate57" rend="color: blue">Plate LVII</ref>, 6).
+</p>
+
+
+<p>
+February&mdash;The cock and the hen, with the budding plum branch, are now appropriate.  The subject is known as the <q>plum and chickens</q> <foreign lang="jp" rend="it">(ume ni tori)</foreign> (<ref target="plate57" rend="color: blue">Plate LVII</ref>, 1).  The chicken figures in the earliest history of Japan.  When the cock crows the Japanese hear the words <emph rend="sc">kokka koo,</emph> which, phonetically rendered into Chinese characters, read <q>happiness to our entire land.</q>  The Chinese hear differently.  To them the cock crows <emph rend="sc">toten ko,</emph> meaning <q>the eastern heavens are reddening,</q> so to them the cock heralds the early morn.  Famous paintings of chickens have come from the brushes of Okyo, Tessan (<ref target="plate03" rend="color: blue">Plate III</ref>), and others of the Maruyama school.  During February, the month of the
+<pb n="88" />
+plum, the appropriate paintings are of that flower and the Japanese warbler <foreign lang="jp" rend="it">(ume ni uguisu)</foreign> (<ref target="plate57" rend="color: blue">Plate LVII</ref>, 2).  This singing bird announces the spring with its melodious notes <emph rend="sc">(hoho kekyo),</emph> which, rendered by the Buddhist into Chinese characters, give the name of the principal book of the eighteen volumes of Shaka, entitled, <q>the marvelous law of the lotus.</q>  Another picture suitable to February is known as <q>the last of the snow</q> <foreign lang="jp" rend="it">(zan setsu)</foreign> (<ref target="plate57" rend="color: blue">Plate LVII</ref>, 3).
+</p>
+<p>
+March&mdash;This month is associated with the peach blossom, and <foreign lang="jp" rend="it">kakemono</foreign> of gardens containing peach trees, called <foreign lang="jp" rend="it">momo no</foreign> <emph rend="sc">en</emph> (<ref target="plate57" rend="color: blue">Plate LVII</ref>, 4), are in favor.  Toba Saku is related to have lived eight thousand years subsisting upon the fruit of the peach; hence, the peach blossom is a symbol for longevity, and <foreign lang="jp" rend="it">sake</foreign> made from the fruit is drunk throughout Japan in March.  One of the most famous prose writings in Chinese literature is <emph rend="sc">ran-tei kioka sui</emph>.  It commemorates a pastime of the learned, called <q>the <foreign lang="jp" rend="it">sake</foreign> cup.</q>  A favorite way of interpreting this subject is to paint a garden of blossoming peach trees and spreading banana palms bordering a flowing stream, with a nobleman attaching to a peach branch a narrow paper <emph rend="sc">(tanjaku)</emph> upon which he has written a poem.  Another famous Chinese prose composition, <q>the peach and apricot garden festival,</q> written by Ri Tai Haku at the age of fourteen years, is interpreted by depicting Toba Saku in a garden seated before a table, with three Chinese beauties attendant upon him, with celebrated scholars and sages
+<pb n="89" />
+circulating midst the flowers and blossoms.  Five principal festivals of the year, known as <foreign lang="jp" rend="it">go sekku,</foreign> occur respectively on the seventh day of January, the third day of March, the fifth day of May, the seventh day of July and the ninth day of September&mdash;all being on the odd days of the odd months (the <emph rend="sc">yo</emph> of <emph rend="sc">in yo).</emph>  On the third day of the third month is the <foreign lang="jp" rend="it">hina matsuri</foreign> festival for young girls, and the appropriate painting for the occasion is called <foreign lang="jp" rend="it">kami bina,</foreign> meaning paper dolls (<ref target="plate57" rend="color: blue">Plate LVII</ref>, 5).  The greatest Japanese artists of the past have vied to make their treatment of this subject superb.  When a female child is born a <foreign lang="jp" rend="it">kami bina</foreign> painting is presented to the family to contribute to the festivities.  The month of March is the month of the cherry blossom <foreign lang="jp" rend="it">(sakura bana),</foreign> and the picture on <ref target="plate58" rend="color: blue">Plate LVIII</ref>, 1, illustrates one method of painting cherry trees ornamenting the mountainside of a canyon, through which flows a river.  During March picnic parties go upon the beach at low tide to gather shell-fish. The subject illustrated on <ref target="plate58" rend="color: blue">Plate LVIII</ref>, 2, called ebb-tide <foreign lang="jp" rend="it">(shio hi),</foreign> is appropriate.  The picture of the maiden Saohime (<ref target="plate58" rend="color: blue">Plate LVIII</ref>, 3) is also painted in March.
+</p>
+<p>
+April&mdash;The wistaria flower <foreign lang="jp" rend="it">(Juji)</foreign> is associated with the fourth month and all April landscapes represent the trees covered with much foliage.  A small bird called <foreign lang="jp" rend="it">sudachi dori,</foreign> hatched in this month, is often painted on the wistaria branch (<ref target="plate58" rend="color: blue">Plate LVIII</ref>, 4). The picture typifies parental affection, on account of the known solicitude of the mother bird for its young.
+</p>
+<pb n="90" />
+<p>
+May&mdash;There are many subjects appropriate for May.  The iris <foreign lang="jp" rend="it">(shobu)</foreign> (<ref target="plate58" rend="color: blue">Plate LVIII</ref>, 5) now makes its appearance.  Its long-bladed leaves are sword shaped, therefore the plant symbolizes the warrior spirit <foreign lang="jp" rend="it">(bushi).</foreign>  The iris is often planted upon the roof of a house to indicate that there are male children in the family.  The cuckoo and the moon subject <foreign lang="jp" rend="it">(tsuki ni hototogisu)</foreign> (<ref target="plate58" rend="color: blue">Plate LVIII</ref>, 6) is special to this month.  The fifth of May is the boys' festival, and the carp <foreign lang="jp" rend="it">(koi)</foreign> (<ref target="plate59" rend="color: blue">Plate LIX</ref>, 1) is the favorite subject for painting.  May is the rainy month in Japan.  It is related that a carp during this month ascended to the top of the waterfall <emph rend="sc">ryu mon</emph> in China and became a dragon.  The carp thus typifies the triumph of perseverance&mdash;the conquering of obstacles&mdash;and symbolizes the military spirit.  When this fish is caught and about to be cut up alive for <foreign lang="jp" rend="it">sasshimi,</foreign> a Japanese delicacy, once the carver has passed the flat side of the knife blade over the body of the fish the <foreign lang="jp" rend="it">koi</foreign> becomes motionless, and with heroic fortitude submits to being sliced to the backbone.  Served in a dish, a few drops of <foreign lang="jp" rend="it">soy</foreign> being placed in its eye it leaps upward in a last struggle, to fall apart in many pieces.  When a male child is born a proper present to the family is a carp <foreign lang="jp" rend="it">kakemono.</foreign>  The fifth day of the fifth month is the anniversary of the great victory of the Japanese over Kublai Khan, who, with an enormous fleet of Chinese vessels, attempted to invade Japan in the thirteenth century.
+</p>
+<p>
+June&mdash;In this warm month the <emph rend="sc">gwa dai</emph> or picture subject is waterfalls (<ref target="plate59" rend="color: blue">Plate LIX</ref>, 2), although it is
+<pb n="91" />
+quite allowable on account of the heat of summer to suggest cool feelings by painting snow scenes with crows <emph rend="sc">(setchu</emph> <foreign lang="jp" rend="it">ni karasu)</foreign> for a color contrast (<ref target="plate59" rend="color: blue">Plate LIX</ref>, 3).  All pictures painted during the month of June should suggest shady, refreshing sensations.  A charming and favorite subject is water flowing through an open bamboo pipe and falling amid luxuriant vegetation into a pool below, where a little bird is bathing.  This picture is technically known as <foreign lang="jp" rend="it">kakehi</foreign> (<ref target="plate59" rend="color: blue">Plate LIX</ref>, 4).
+</p>
+<p>
+July&mdash;During this month appropriate among flower subjects is that of the seven grasses of autumn <foreign lang="jp" rend="it">(aki no nana kusa)</foreign> (<ref target="plate59" rend="color: blue">Plate LIX</ref>, 6), consisting of the bush clover, the wild pink, the morning glory, et cetera.  This is most difficult to paint on account of the extreme delicacy requisite in the handling of the brush, but a skilful artist can produce most interesting effects.  All sorts of wonderfully shaped insects as well as birds of brilliant plumage are permitted in the picture.  The seventh day of July is known as the festival of the stars, and <foreign lang="jp" rend="it">Kengyu,</foreign> the swain, and <foreign lang="jp" rend="it">Orihime,</foreign> the maiden, are painted.  July is a month devoted to Buddhist ceremonies.  Saints, sages, the five hundred rakkan disciples of Shaka and the sixteen rakkans are painted.  There are two other subjects appropriate, known as <foreign lang="jp" rend="it">Tanabata</foreign> (<ref target="plate59" rend="color: blue">Plate LIX</ref>, 5) and <foreign lang="jp" rend="it">Nazunauchi</foreign> (<ref target="plate64" rend="color: blue">Plate LXIV</ref>, 4).
+</p>
+<p>
+August&mdash;The first grain of the year is now offered to the gods.  A charming way of commemorating this is by the painting called stacked rice and sparrows <foreign lang="jp" rend="it">(inamura ni suzume)</foreign> (<ref target="plate60" rend="color: blue">Plate LX</ref>, 1).  The rabbit and the moon, called <foreign lang="jp" rend="it">tsuki ni usagi</foreign>
+<pb n="92" />
+(<ref target="plate60" rend="color: blue">Plate LX</ref>, 2), because the rabbit is seen in the moon making rice cakes, and the picture known as <foreign lang="jp" rend="it">meggetsu</foreign> (<ref target="plate60" rend="color: blue">Plate LX</ref>, 3) also commemorate the offering of the products of the soil to the moon divinity.  As mist abounds during August, landscapes half concealed in mist are painted.  The Kano artist, Tanyu, leaned much to such scenes, which suggest the tranquility of eventide.  Such subjects are known as mist showers <foreign lang="jp" rend="it">(ugiri)</foreign> (<ref target="plate60" rend="color: blue">Plate LX</ref>, 4).  The Japanese have their woman in the moon, named Joga.  This lovely creature having procured and drunk of the ambrosia of hermits <foreign lang="jp" rend="it">(sennin)</foreign> is said to have entered that planet.  The picture is an engaging one (<ref target="plate60" rend="color: blue">Plate LX</ref>, 6), the upper portion of Joga's body being in the moon's disc and the lower portion in fleecy clouds.
+</p>
+<p>
+September&mdash;The ninth day of the ninth month is the festival of the chrysanthemum <emph rend="sc">(kiku no sekku),</emph> when <foreign lang="jp" rend="it">sake</foreign> made from the chrysanthemum is drunk.  Kiku Jido, a court youth, having inadvertently touched with his foot the pillow of the emperor, was banished to a distant isle where, it is said, he was nourished by the dew of the chrysanthemum which abounded there.  Becoming a hermit, he lived one thousand years.  Seasonal pictures for this month commemorate this event, or reproduce the yellow and white chrysanthemum.  (<ref target="plate61" rend="color: blue">Plate LXI</ref>, 1).  Appropriate for September are water grasses and the dragon-fly <foreign lang="jp" rend="it">(mizukusa ni tombo)</foreign> (<ref target="plate61" rend="color: blue">Plate LXI</ref>, 5).  Tatsuta hime (<ref target="plate61" rend="color: blue">Plate LXI</ref>, 2) is also painted.  She is the autumn divinity, associated with the brilliant, warm and resplendent colors of the autumn season,
+<pb n="93" />
+and is always represented in gorgeous hues.  Pictures of the deer and the early maples <foreign lang="jp" rend="it">(hatsu momiji ni shika)</foreign> (<ref target="plate61" rend="color: blue">Plate LXI</ref>, 3) are now appropriate.  A favorite autumn picture is called <foreign lang="jp" rend="it">Kinuta uchi,</foreign> or the beating, on a block, of homespun cotton to give it lustre.  A poor peasant woman and her child are both occupied at the task under the rays of the full moon (<ref target="plate64" rend="color: blue">Plate LXIV</ref>, 4).  The sound of the blows on the block is said to suggest sad feelings.  It is a law for painting such moonlight scenes that no red color be introduced, as red does not show in the moonlight <emph rend="sc">(gekka</emph> <foreign lang="jp" rend="it">no</foreign> <emph rend="sc">ko shoku</emph> <foreign lang="jp" rend="it">nashi).</foreign>
+</p>
+
+<figure url="images/plate_08.jpg" rend="w70; page-float: 'ht'">
+<anchor id="plate08" />
+<index index="fig" />
+<head>Fujiyama from Tago no Ura, by Yamamoto Baietsu.  Plate VIII.</head>
+<figDesc>Fujiyama from Tago no Ura, by Yamamoto Baietsu.  Plate VIII.</figDesc>
+</figure>
+
+<p>
+October&mdash;In this month geese coming from the cold regions and crossing at night the face of the moon are a favorite subject, known as <foreign lang="jp" rend="it">tsuki ni</foreign> <emph rend="sc">gan</emph> (<ref target="plate61" rend="color: blue">Plate LXI</ref>, 4).  Other subjects are <q>autumn fruits</q> <foreign lang="jp" rend="it">(aki no mi)</foreign> (<ref target="plate61" rend="color: blue">Plate LXI</ref>, 5), chestnuts, persimmons, grapes and mushrooms; monkeys and persimmons <foreign lang="jp" rend="it">(saru ni kaki)</foreign> (<ref target="plate61" rend="color: blue">Plate LXI</ref>, 6); squirrel and grapes (<emph rend="sc">risu</emph> <foreign lang="jp" rend="it">ni</foreign> <emph rend="sc">budo)</emph> (<ref target="plate62" rend="color: blue">Plate LXII</ref>, 1); and the evergreen pine <foreign lang="jp" rend="it">(kayenu matsu),</foreign> suggesting constancy (<ref target="plate62" rend="color: blue">Plate LXII</ref>, 2)
+</p>
+<p>
+November&mdash;A month sacred to Evesco, one of the jovial gods of good luck (<ref target="plate62" rend="color: blue">Plate LXII</ref>, 3).  He was the first trader, his stock being the <emph rend="sc">tai</emph> fish.  He is the favorite god of the merchants who, during this month, celebrate his festival.  Evesama is usually represented returning from fishing with a <emph rend="sc">tai</emph> under his arm.  The Kano artists particularly favored this subject.  Another charming picture, known as <q>the last of the chrysanthemums</q> <emph rend="sc">(zan kiku)</emph> (<ref target="plate62" rend="color: blue">Plate LXII</ref>, 4), suggests the approaching close of the year. The classic way to represent this subject
+<pb n="94" />
+is with small, yellow chrysanthemums clinging to a straggling bamboo fence, with a few of their leaves which have begun to turn crimson.  Another November picture is <q>the first snow</q> <foreign lang="jp" rend="it">(hatsu yuki)</foreign> (<ref target="plate62" rend="color: blue">Plate LXII</ref>, 5).  Two puppies are frollicking in the snow, which is falling for the first time.  It is said that no animal rejoices like the dog when it sees the first snowfall of winter.  Snow, says a proverb, is the dog's grandmother <foreign lang="jp" rend="it">(yuki wa inu no obasan).</foreign>  Okyo and Hokusai frequently painted this subject.  <foreign lang="jp" rend="it">Hatsu yuki</foreign> is sometimes represented by a little snow upon the pine tree or the bamboo in a landscape.  This produces a very lonely <foreign lang="jp" rend="it">(samushii)</foreign> scene.  The Kyoto artists are extremely fond of painting in the month of November the subject of a peasant girl descending from the mountain village of Ohara carrying upon her head a bundle of firewood twigs, into which she has coquettishly inserted a branch of red maple leaves.     This picture is called <foreign lang="jp" rend="it">Oharame</foreign> (<ref target="plate62" rend="color: blue">Plate LXII</ref>, 6).  Landscapes representing fitful rain showers are appropriate for November and are called <foreign lang="jp" rend="it">shigure.</foreign>  This is the month for the <foreign lang="jp" rend="it">oshi dori</foreign> (<ref target="plate63" rend="color: blue">Plate LXIII</ref>, 1).  These mandarin ducks, male and female, on account of the contrast in their shape and plumage, make a very striking and favorite picture.  Their devotion to each other is so great that they die if separated.  Hence, such paintings not only symbolize conjugal fidelity but are also appropriate as wedding presents.  There are two other kinds of birds painted in November: The beach birds, known as <foreign lang="jp" rend="it">chi dori</foreign> (<ref target="plate63" rend="color: blue">Plate LXIII</ref>, 2), and the wild duck flying over the marsh grasses <foreign lang="jp" rend="it">(kamo ni ashi)</foreign> (<ref target="plate63" rend="color: blue">Plate LXIII</ref>, 3).
+<pb n="95" />
+Okyo and the artists of his school excel in their vivid treatment of these last three subjects.
+</p>
+<p>
+December&mdash;The cold weather chrysanthemum <emph rend="sc">(kan kiku),</emph> the narcissus or hermit of the stream <emph rend="sc">(sui sen),</emph> and the snow shelter of rice straw <foreign lang="jp" rend="it">(yuki kakoi)</foreign> (<ref target="plate63" rend="color: blue">Plate LXIII</ref>, 4) are three favorites for December.  In this latter lovely subject the white chrysanthemums are huddling below the protecting snow shelter of rice straw, one or two of the flowers peeping out, their leaves being reddish on the rim and light green within.  The narcissus is much painted during December.  There are many ways and laws for painting this flower.  Another winter subject is called <foreign lang="jp" rend="it">joji</foreign> <emph rend="sc">bai,</emph> consisting of the plum tree with snow on the branches and small birds perched thereon.  Kyoto artists much favor it.  December landscapes are all snow scenes <foreign lang="jp" rend="it">(yuki no</foreign> <emph rend="sc">san sui)</emph> (<ref target="plate63" rend="color: blue">Plate LXIII</ref>, 5) and countless are the ways in which they are treated.  Another subject is <foreign lang="jp" rend="it">nukume dori&mdash;</foreign>a falcon perched upon a tree covered with snow, holding in its claws a little bird (<ref target="plate64" rend="color: blue">Plate LXIV</ref>, 3).  The falcon does not tear its victim to pieces but simply uses it to warm its own feet; this accomplished, it lets its prisoner escape and during twenty-four hours refrains from flying in the direction the little bird has fled. <foreign lang="fr" rend="it">Noblesse oblige.</foreign>
+</p>
+<p>
+The snow man or snow <foreign lang="jp" rend="it">daruma (yuki daruma)</foreign> (<ref target="plate63" rend="color: blue">Plate LXIII</ref>, 6) is painted this month by artists of all the schools.
+</p>
+<p>
+The four seasons <emph rend="sc">(shi ki)</emph> form a series susceptible of the most varied and engaging treatment and presentation. The seasons are sometimes symbolized
+<pb n="96" />
+by flowers, occasionally by birds, again by the products of the earth, and often by landscapes.
+</p>
+<p>
+Sometimes human figures are used for the purpose.  In spring <foreign lang="jp" rend="it">(haru)</foreign> a young daughter <foreign lang="jp" rend="it">(musume)</foreign> may be represented looking at the cherry blossoms (<ref target="plate65" rend="color: blue">Plate LXV</ref>, 1); in summer <foreign lang="jp" rend="it">(natsu)</foreign> she will be crossing a bridge or enjoying the cool of the riverside (<ref target="plate65" rend="color: blue">Plate LXV</ref>, 2); in autumn <foreign lang="jp" rend="it">(aki)</foreign> she is seen in the fields, probably gathering mushrooms (<ref target="plate65" rend="color: blue">Plate LXV</ref>, 3), and in winter <foreign lang="jp" rend="it">(fuyu)</foreign> she will be seated indoors playing a musical instrument (<ref target="plate65" rend="color: blue">Plate LXV</ref>, 4).  While the other <foreign lang="jp" rend="it">kakemono</foreign> is always to be changed in the <foreign lang="jp" rend="it">tokonoma</foreign> or alcove according to the seasons, ceremonies or festivals, there are certain pictures appropriate to any season, <foreign lang="la" rend="it">e. g.,</foreign> rocks and waves <foreign lang="jp" rend="it">(iwa ni nami);</foreign> pine and bamboo <foreign lang="jp" rend="it">(matsu take);</foreign> or the Okyo double subject called <foreign lang="jp" rend="it">shikuzu ni fuku tsui</foreign> (pendant paintings): The end of spring, a crow and the plum tree (<ref target="plate64" rend="color: blue">Plate LXIV</ref>, 1); the end of autumn, the bird <foreign lang="jp" rend="it">hyo dori</foreign> and the persimmon tree (<ref target="plate64" rend="color: blue">Plate LXIV</ref>, 2). The reason is that all such subjects are in harmony with conditions the year round.
+</p>
+<p>
+Historical subjects <emph rend="sc">(rekishi gwa dai)</emph> suitable
+for Japanese painting are extremely numerous
+subjects and are divided into categories corresponding to the
+following periods: The Nara, the Heian or Kyoto, the Kamakura Yoritomo shogunate, the Higashiyama shogunate, the Yoshimasa shogunate, the Momoyama or Taiko Hideyoshi, and the Tokugawa Iyeyasu shogunate brought down to the present Meiji period.  These with their numerous subdivisions supply an infinite number of subjects for
+<pb n="97" />
+pictorial treatment.  Special favorites are <q>Benkei and Yoshitsune at the Go Jo bridge,</q> or <q>passing through the Hakone barrier,</q> and <q>Kusanoki Masashige at Minatogawa.</q>
+</p>
+<p>
+When Shaka was born he stood erect, with one Buddhist hand pointing upward and the other downward and exclaimed: <q>Behold, between heaven and earth I am the most precious creation.</q>  His birthday is the subject of the picture (<ref target="plate66" rend="color: blue">Plate LXVI</ref>, 3) called <emph rend="sc">kan butsu ye.</emph>  It represents the Buddha as a bronze statue erect in a tub of sweet liquid.  This the faithful worshippers pour over his head and subsequently drink for good luck.  Shaka's death is commemorated in the picture called <emph rend="sc">nehan,</emph> nirvana.  The lord, Buddha, is stretched upon a bier tranquilly dying, an angelic smile lighting his countenance, while around are gathered his disciples, Rakkan and Bosatsu, and the different animals of creation, all weeping.  A rat having gone to call Mayabunin, mother of Buddha, has been pounced upon by a cat and torn to pieces.  For this reason in paintings of this moving scene of Shaka's death no cat is to be found among the mourning animals.  The artist Cho Densu, however, in his great painting of <emph rend="sc">nehan</emph> (still preserved in the Temple To Fuku Ji at Kyoto) introduces the portrait of a cat.  It is related that, while Cho Densu was painting, the cat came daily to his side and continually mewing and expressing its grief, would not leave him.  Finally Cho Densu, out of pity, painted the cat into the picture and thereupon the animal out of joy fell over dead.
+</p>
+<pb n="98" />
+<p>
+The lotus <foreign lang="jp" rend="it">(hasu)</foreign> symbolizes the heart of a saint <foreign lang="jp" rend="it">(hotoke).</foreign>  It rises untarnished out of the mud of the pond, nor can it be stained by any impurity, the leaves always shedding whatever may fall upon them.  It is painted usually as a religious subject.
+</p>
+<p>
+The principal <foreign lang="jp" rend="it">matsuri</foreign> or Shinto festivals occur at different seasons of the year in different parts of the empire.  The summer months, however, claim most of them.  The <foreign lang="jp" rend="it">Kamo no aoi matsuri</foreign> takes place at Kyoto and consists of a procession, a <emph rend="sc">no</emph> dance and a horse race.  The picture appropriate for this festival is <q>the <foreign lang="jp" rend="it">Kamo</foreign> race course</q> <foreign lang="jp" rend="it">(Kamo no kei ba).</foreign> The <foreign lang="jp" rend="it">matsuri</foreign> at Nikko is a great procession, with three <foreign lang="jp" rend="it">mikoshi</foreign> or shrines carried on the shoulders of multitudes of men.  There are three Nikko <foreign lang="jp" rend="it">matsuri</foreign> connected with the Tokugawa shogunate.
+</p>
+<p>
+<foreign lang="jp" rend="it">Inari,</foreign> being the god of agriculture <foreign lang="jp" rend="it">(ine,</foreign> rice), the picture of a fox (<ref target="plate66" rend="color: blue">Plate LXVI</ref>, 4), that god's messenger, is appropriate.  Another festival, the <emph rend="sc">gyon</emph> <foreign lang="jp" rend="it">matsuri,</foreign> of Kyoto, is celebrated with a great procession in which enter all sorts of amusing floats and every kind of amusing practice.  These are variously reproduced in commemorative paintings.
+</p>
+<p>
+I will only refer in passing to the many subjects supplied by the beautiful poetry <emph rend="sc">(hokku</emph> and <foreign lang="jp" rend="it">uta)</foreign> and celebrated romances <foreign lang="jp" rend="it">(monogatari)</foreign> of Japan.  Enough has been said to show that the Japanese artist has an unlimited range of classic subjects from which to select.
+</p>
+
+
+<p>
+Other subjects unassociated with any special time of the year represent, <foreign lang="la" rend="it">e.g.,</foreign> various utensils of the tea
+<pb n="99" />
+ceremony <foreign lang="jp" rend="it">(cha no yu)</foreign> (<ref target="plate66" rend="color: blue">Plate LXVI</ref>, 1) when <foreign lang="jp" rend="it">macha,</foreign> a thickened tea, is used.  The tea ceremony (<ref target="plate02" rend="color: blue">Plate II</ref>) is performed in a small room fitted with four and a half mats.  Were the mats only four <emph rend="sc">(shi)</emph> in number they would suggest death <foreign lang="jp" rend="it">(shi).</foreign>  Furthermore, an even number being considered negative <emph rend="sc">(in)</emph> is not favored.  Mats are three by six feet in size and must always be so laid as not to form crosses, which are unlucky.  In the alcove of this room no <foreign lang="jp" rend="it">kakemono</foreign> is permitted but one in the pure Japanese style.  The subject of the painting will depend upon the season, while all red colors are proscribed and <foreign lang="jp" rend="it">sumi</foreign> pictures of the Kano school are most appropriate.  The treatment must be simple <emph rend="sc">(tan paku)</emph>; for instance, a single flower spray, a branch of the plum, a hermit, or a solitary mountain peak.  In the ceremony of <emph rend="sc">sen cha</emph> (<ref target="plate66" rend="color: blue">Plate LXVI</ref>, 2), which is the Chinese way of making tea, these strict rules of <foreign lang="jp" rend="it">cha no yu</foreign> are relaxed.
+</p>
+</div>
+<pb n="100" />
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+
+<figure url="images/hbandc07.jpg" rend="w90">
+<anchor id="hbandc07" />
+<figDesc>The water-fowl design, called midsu tori.</figDesc>
+</figure>
+
+<head>CHAPTER SEVEN. SIGNATURES AND SEALS</head>
+<p>
+There are many books upon the subject of signing and authenticating a painting.  Two well-known works are <emph rend="sc"><q>Gwa Jo Yo Ryaku</q></emph> and <emph rend="sc"><q>Dai Ga Shi San.</q></emph>  In China literary men often add descriptive matter to their paintings, writing prominently thereon: <q>In a dream last night I witnessed the scene I here attempt to reproduce,</q> or <q>On a boating excursion we saw this pine tree shading the banks of the river.</q>  Such additions to the picture enable the artist to exhibit his skill as an expert writer and are considered to heighten the general effect.  Often original poetry takes the place of prose.  The year, month and day will be added, followed by the signature of the writer, with some self-depreciatory term, such as <q>fisherman of the North Sea,</q> <q>mountain wood-chopper</q> or <q>hermit dwelling amid the clouds and rocks.</q>  Such signature, with one or more seals scattered over the face of the work, is in art called <emph rend="sc">rakkwan,</emph> signifying <q>completed.</q>
+</p>
+<pb n="101" />
+<p>
+In Japan a somewhat different way of signing prevails. The artist's signature with his seal under it is appended to the painting, not in a conspicuous but in the least prominent part of it.
+</p>
+<p>
+Painters of the Tosa, Fujiwara, Sumiyoshi and Kasuga schools in signing their work first wrote above their signatures their office and rank, <foreign lang="la" rend="it">e. g.,</foreign> Unemi no Kami or Shikibu Gondai no Kami in the square or round Chinese characters.
+</p>
+<p>
+The Kano artists signed their names in round characters <emph rend="sc">(gyo sho)</emph> and did not add their secular rank or office but wrote before their signatures their Buddhist titles; thus, <emph rend="sc">Hogan</emph> Motonobu, <emph rend="sc">Ho Kyo</emph> Naganobu, <emph rend="sc">Hoin</emph> Tsunenobu.  In the Maruyama period all titles and rank were omitted and simply the name <foreign lang="jp" rend="it">(namae)</foreign> or the <foreign lang="fr" rend="it">nom de plume</foreign> <emph rend="sc">(go)</emph> was written,&mdash;thus, Okyo, Goshun, Tessan, Bun Cho&mdash;strict attention being paid, however, to executing the Chinese characters for such signatures in both an artistic and strikingly attractive way, whether written in one or another of the three usual forms technically called <emph rend="sc">shin, so, gyo.</emph>
+</p>
+<p>
+The date, <emph rend="sc">nen go,</emph> preceding the signature upon a painting is often indicated by the use of one of the twelve horary characters <emph rend="sc">(ju ni shi)</emph> along with one of the ten calendar signs <emph rend="sc">(ju ran).</emph>  These, in orderly arrangement, comprehend a cycle of sixty years; in other words, they are never united the same way or coincide but once during that period.  No artist under sixty should, in signing his work, allude to his age, much less state his years.  For him to be able to write seventy-seven before his name is
+<pb n="102" />
+most auspicious&mdash;one way of writing <foreign lang="jp" rend="it">kotobuki,</foreign> the luckiest word in Japanese, being to employ two
+sevens which, thus compounded, is said to be the <emph rend="sc">so sho</emph> character for that word.  Very young persons are permitted in signing their paintings or writings to add their exact ages up to thirteen.
+</p>
+<p>
+Where Chinese literary artists add poems to their paintings as many as eight seals may be observed thereon.  In Japanese paintings never more than two seals are used and these follow and authenticate the signature.
+</p>
+<p>
+The correct distance at which a <foreign lang="jp" rend="it">kakemono</foreign> is to be viewed is the width of a mat <foreign lang="jp" rend="it">(tatami)</foreign> from the alcove where the picture is hung.  It is bad form to look at it standing.  Before critically examining the work a Japanese will scrutinize the artist's signature and seal.  It is a cardinal rule in Japan that the signature be affixed so as not to interfere with the scheme of the picture or attract the eye.  If the picture looks to the right the signature and seal should be placed on the left, and <foreign lang="la" rend="it">vice versa;</foreign> if the principal interest is in the upper part of a picture these should be placed lower down, and <foreign lang="la" rend="it">vice versa.</foreign>  As every painting has its division into <emph rend="sc">in</emph> and <emph rend="sc">yo</emph> the <emph rend="sc">rakkwan</emph> is placed in <emph rend="sc">in.</emph>  Some artists partially cover their signatures with their seal impression.  Lady artists add to their signatures the character <emph rend="sc">jo</emph>, meaning woman.  Veteran painters will sometimes write before their signatures the character for old man <foreign lang="jp" rend="it">(okina).</foreign>
+</p>
+<p>
+The artist's seal is often a work of art and his family name <emph rend="sc">(myoji)</emph> or his artist name <emph rend="sc">(go)</emph> is usually
+<pb n="103" />
+engraved thereon with the Chinese seal characters called <emph rend="sc">ten sho.</emph> Where two seals are affixed
+below the signature one may contain a classic aphorism, like <emph rend="sc">tai bi fu gen</emph> (the truly beautiful is indescribable) or <emph rend="sc">chu yo</emph> (keep the middle path).  Before seals were used writings were authenticated by scrolls called <foreign lang="jp" rend="it">kaki</foreign> <emph rend="sc">han.</emph>  Even now such scrolls are used.  The principles on which they are shaped are derived from astrological lore <emph rend="sc">(eki).</emph>  Seal engravers deservedly enjoy renown for learning and skill.  To carve a seal is the recognized accomplishment of a gentleman, and the most famous living seal engraver in Japan is an amateur.  Seals are of jade, rock crystal, precious woods, Formosa bamboo root, gold, silver or ivory.  The best hard stone for seals comes from China and is known as the cock's comb <emph rend="sc">(kei ketsu seki).</emph>
+</p>
+<p>
+An artist during his career will collect numbers of valuable seals for his own use.  These at his death may be given to favorite pupils or kept as house treasures.  Bairei left instructions to have many of his seals destroyed.
+</p>
+<p>
+The seal paste <emph rend="sc">(niku)</emph> is made of Diana weed <foreign lang="jp" rend="it">(mogusa)</foreign> dried for three years, or of a plant called <foreign lang="jp" rend="it">yomogi,</foreign> or with soft, finely chopped rabbit hair boiled in castor oil for one hundred hours with white wax and then colored red, brown, blue or tea color.  The seal should be carefully wiped after it is used, otherwise this paste hardens upon it.
+</p>
+<p>
+Japanese paintings are seldom framed, as frames take too much room.  Frames are used chiefly for Chinese writings, hung high in public places or
+<pb n="106" />
+about the dwelling, and are called <emph rend="sc">gaku,</emph> meaning <q>forehead,</q> in allusion to raising the head to read what the frame contains.  It is etiquette that such framed writings be signed with the real name rather than the <foreign lang="fr" rend="it">nom de plume.</foreign>
+</p>
+<p>
+Two kinds of seals are affixed to the frame: One, on the right, at the beginning of the writing, and called <emph rend="sc">yu in,</emph> containing some precept or maxim; and one or two, on the left, after the signature, bearing the artist's name and any other appropriate designation.  All writings in Chinese or Japanese read from right to left, and frequently are the sole ornament of a pair of screens.
+</p>
+<p>
+For the guidance of experts who pass on the genuineness of Japanese paintings there is a well-known publication, <q><emph rend="sc">Gwa Ka Rakkwan In Shin,</emph></q> by Kano Jushin, which contains reproductions in fac simile of the signatures and seals of all the celebrated artists of the remote and recent past.
+</p>
+<p>
+In concluding this work, which I am conscious is but an imperfect survey of a vast and intricate subject, I would call attention to the fact that in both Europe and America there is a wonderful awakening to the dignity, simplicity and beauty of Japanese art.  This is largely to be attributed to the careful and scholarly writings and publications of Messrs. Anderson, Binyon, Morrison and Strange in England, Fenollosa in the United states, DeGoncourt, Gonse and Bing in France, Seidlitz in Germany, and Brinkley and Okakura in Japan; and all students of art must render to them the homage of their sincere admiration.
+</p>
+<pb n="105" />
+<p>
+The object of all art, as Cicero has truly said, is to soften the manners, by training the heart and mind to right thoughts and worthy sentiments.  To such end nothing will more surely contribute than a faithful study of the painting art of Japan, and the further we investigate and appreciate its principles the more we will multiply those hours which the sun-dial registers,&mdash;the serene and cheerful moments of existence.
+</p>
+</div>
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>EXPLANATION OF HEAD-BANDS</head>
+<p>
+DESIGN OF TITLE PAGE. Butterflies and birds, known as <foreign lang="jp" rend="it">cho tori</foreign>.
+</p>
+<p>
+<ref target="hbandc01" rend="color: blue">CHAPTER ONE</ref>. The flower and leaves of the peony (<emph rend="sc">botan</emph>), as conventionalized on ancient armor (<foreign lang="jp" rend="it">yoroi</foreign>).
+</p>
+<p>
+<ref target="hbandc02" rend="color: blue">CHAPTER TWO</ref>. Fan-shaped leaves of the <foreign lang="jp" rend="it">icho</foreign> or <emph rend="sc">gin nan</emph> (<foreign lang="la" rend="it">Salisburiana</foreign>), placed in books in China and Japan to prevent the ravages of the bookworm.
+</p>
+<p>
+<ref target="hbandc03" rend="color: blue">CHAPTER THREE</ref>. The design called <q>Dew on the Grass and Butterflies</q> (<foreign lang="jp" rend="it">tsuyu, kusa ni cho</foreign>).
+</p>
+<p>
+<ref target="hbandc04" rend="color: blue">CHAPTER FOUR</ref>. The pattern (<foreign lang="jp" rend="it">moyo</foreign>) known as bamboo and the swelling sparrow (<foreign lang="jp" rend="it">take nifukura susume</foreign>). The parts of the bird are amusingly conventionalized&mdash;in the Korin manner. The word <emph rend="sc">fukura</emph> written in Chinese contains the lucky character <emph rend="sc">fuku</emph> (happiness).
+</p>
+<p>
+<ref target="hbandc05" rend="color: blue">CHAPTER FIVE</ref>. Maple leaves are associated with Ten Jin (Sugiwara Michizane), patron of learning. Children in invoking his aid in a little prayer count the points of the maple leaf, saying, <q><foreign lang="jp" rend="it">yoku te agaru</foreign></q>&mdash;assist us to be clever. In Japanese the maple leaf is called <foreign lang="jp" rend="it">kaide</foreign>, meaning frog's hand.
+</p>
+<p>
+<ref target="hbandc06" rend="color: blue">CHAPTER SIX</ref>. The chrysanthemum pattern.
+</p>
+<p>
+<ref target="hbandc07" rend="color: blue">CHAPTER SEVEN</ref>. The water-fowl design, called <foreign lang="jp" rend="it">midsu tori</foreign>.
+</p>
+<pb n="109" />
+</div>
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>PLATES EXPLANATORY OF THE FOREGOING TEXT ON THE LAWS OF JAPANESE PAINTING</head>
+
+<div>
+<head type="sub">The Eight Ways of Painting in Color, Called the Laws of Coloring</head><note place="foot">
+<p>
+Preparer's Note: The only editions available to me have these plates in black-and-white.
+</p>
+</note>
+
+
+<figure url="images/plate_09.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate09" />
+<index index="fig" />
+<head>Most Careful Method of Laying on Color.  Plate VIIII.</head>
+<figDesc>Most Careful Method of Laying on Color.  Plate VIIII.</figDesc>
+</figure>
+
+<figure url="images/plate_10.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate10" />
+<index index="fig" />
+<head>The Next Best Method. Plate X.</head>
+<figDesc>The Next Best Method. Plate X.</figDesc>
+</figure>
+
+<figure url="images/plate_11.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate11" />
+<index index="fig" />
+<head>The Light Water-Color Method. Plate XI.</head>
+<figDesc>The Light Water-Color Method. Plate XI.</figDesc>
+</figure>
+
+<figure url="images/plate_12.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate12" />
+<index index="fig" />
+<head>Color With Outlines Suppressed. Plate XII.</head>
+<figDesc>Color With Outlines Suppressed. Plate XII.</figDesc>
+</figure>
+
+<figure url="images/plate_13.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate13" />
+<index index="fig" />
+<head>Color Over Lines. Plate XIII.</head>
+<figDesc>Color Over Lines. Plate XIII.</figDesc>
+</figure>
+
+<figure url="images/plate_14.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate14" />
+<index index="fig" />
+<head>Light Reddish-Brown Method. Plate XIV.</head>
+<figDesc>Light Reddish-Brown Method. Plate XIV.</figDesc>
+</figure>
+
+<figure url="images/plate_15.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate15" />
+<index index="fig" />
+<head>The White Pattern. Plate XV.</head>
+<figDesc>The White Pattern. Plate XV.</figDesc>
+</figure>
+
+<figure url="images/plate_16.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate16" />
+<index index="fig" />
+<head>The Black or Sumi Method. Plate XVI.</head>
+<figDesc>The Black or Sumi Method. Plate XVI.</figDesc>
+</figure>
+</div>
+
+<div>
+<head type="sub">Landscapes, Birds, Trees and Streams</head>
+<p>
+</p>
+<figure url="images/plate_17.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate17" />
+<index index="fig" />
+<head>The Rule of Proportion in Landscapes. Plate XVII.</head>
+<figDesc>The Rule of Proportion in Landscapes. Plate XVII.</figDesc>
+</figure>
+
+<figure url="images/plate_18.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate18" />
+<index index="fig" />
+<head>Heaven, Earth, Man. Plate XVIII.</head>
+<figDesc>Heaven, Earth, Man. Plate XVIII.</figDesc>
+</figure>
+
+<figure url="images/plate_19.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate19" />
+<index index="fig" />
+<head>Pine Tree Branches. Plate XIX.</head>
+<figDesc>Pine Tree Branches. Plate XIX.</figDesc>
+</figure>
+
+<figure url="images/plate_20.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate20" />
+<index index="fig" />
+<head>Winding Streams. Plate XX.</head>
+<figDesc>Winding Streams. Plate XX.</figDesc>
+</figure>
+
+<figure url="images/plate_21.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate21" />
+<index index="fig" />
+<head>A Tree and Its Parts. Plate XXI.</head>
+<figDesc>A Tree and Its Parts. Plate XXI.</figDesc>
+</figure>
+
+<figure url="images/plate_22.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate22" />
+<index index="fig" />
+<head>Bird and Its Subdivisions. Plate XXII.</head>
+<figDesc>Bird and Its Subdivisions. Plate XXII.</figDesc>
+</figure>
+</div>
+
+<div>
+<head type="sub">Laws of Ledges</head>
+<p>
+</p>
+
+<figure url="images/plate_23.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate23" />
+<index index="fig" />
+<head>Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII.</head>
+<figDesc>Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII.</figDesc>
+</figure>
+
+<figure url="images/plate_24.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate24" />
+<index index="fig" />
+<head>Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.</head>
+<figDesc>Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.</figDesc>
+</figure>
+
+<figure url="images/plate_25.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate25" />
+<index index="fig" />
+<head>Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.</head>
+<figDesc>Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.
+</figDesc>
+</figure>
+
+<figure url="images/plate_26.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate26" />
+<index index="fig" />
+<head>Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.</head>
+<figDesc>Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.</figDesc>
+</figure>
+
+</div>
+
+<div>
+<head type="sub">Laws of Trees and Rocks</head>
+<p>
+</p>
+<figure url="images/plate_27.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate27" />
+<index index="fig" />
+<head>The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII.</head>
+<figDesc>The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII.</figDesc>
+</figure>
+
+<figure url="images/plate_28.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate28" />
+<index index="fig" />
+<head>Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII.</head>
+<figDesc>Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII.</figDesc>
+</figure>
+
+<figure url="images/plate_29.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate29" />
+<index index="fig" />
+<head>Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX.</head>
+<figDesc>Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX.</figDesc>
+</figure>
+
+<figure url="images/plate_30.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate30" />
+<index index="fig" />
+<head>Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2).  Rock Construction as Practiced in Art (3 and 4). Plate XXX.</head>
+<figDesc>Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2).  Rock Construction as Practiced in Art (3 and 4). Plate XXX.
+</figDesc>
+</figure>
+
+<figure url="images/plate_31.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate31" />
+<index index="fig" />
+<head>Different Ways of Painting Rocks and Ledges. Plate XXXI.</head>
+<figDesc>Different Ways of Painting Rocks and Ledges. Plate XXXI.</figDesc>
+</figure>
+
+</div>
+
+<div>
+<head type="sub">Laws of Dots</head>
+<p>
+</p>
+<figure url="images/plate_32.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate32" />
+<index index="fig" />
+<head>Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.</head>
+<figDesc>Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.</figDesc>
+</figure>
+
+<figure url="images/plate_33.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate33" />
+<index index="fig" />
+<head>Wheel-Spoke Dot (a). <emph rend="sc">Kai Ji</emph> Dot (b). Plate XXXIII.</head>
+<figDesc>Wheel-Spoke Dot (a). <emph rend="sc">Kai Ji</emph> Dot (b). Plate XXXIII.
+</figDesc>
+</figure>
+
+<figure url="images/plate_34.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate34" />
+<index index="fig" />
+<head>Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.</head>
+<figDesc>Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.</figDesc>
+</figure>
+
+<figure url="images/plate_35.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate35" />
+<index index="fig" />
+<head>Serrated Dot (a). <emph rend="sc">Ichi Ji</emph> dot (b). Plate XXXV.</head>
+<figDesc>Serrated Dot (a). <emph rend="sc">Ichi Ji</emph> dot (b). Plate XXXV.</figDesc>
+</figure>
+
+<figure url="images/plate_36.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate36" />
+<index index="fig" />
+<head>Heart Dot (a). <emph rend="sc">Hitsu Ji</emph> Dot (b). Plate XXXVI.</head>
+<figDesc>Heart Dot (a). <emph rend="sc">Hitsu Ji</emph> Dot (b). Plate XXXVI.</figDesc>
+</figure>
+
+<figure url="images/plate_37.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate37" />
+<index index="fig" />
+<head>Rice Dot (a). <emph rend="sc">Haku Yo</emph> Dot (b). Plate XXXVII.</head>
+<figDesc>Rice Dot (a). <emph rend="sc">Haku Yo</emph> Dot (b). Plate XXXVII.
+</figDesc>
+</figure>
+</div>
+
+<div>
+<head type="sub">Laws of Waves and Moving Waters</head>
+<p>
+</p>
+<figure url="images/plate_38.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate38" />
+<index index="fig" />
+<head>Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.</head>
+<figDesc>Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.
+</figDesc>
+</figure>
+
+<figure url="images/plate_39.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate39" />
+<index index="fig" />
+<head>Sea Waves (a). Brook Waves (b). Plate XXXIX.</head>
+<figDesc>Sea Waves (a). Brook Waves (b). Plate XXXIX.
+</figDesc>
+</figure>
+
+<figure url="images/plate_40.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate40" />
+<index index="fig" />
+<head>Storm Waves. Plate XL.</head>
+<figDesc>Storm Waves. Plate XL.
+</figDesc>
+</figure>
+
+</div>
+
+<div>
+<head type="sub">Laws of Lines of the Garment</head>
+<p>
+</p>
+<figure url="images/plate_41.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate41" />
+<index index="fig" />
+<head>Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.</head>
+<figDesc>Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.
+</figDesc>
+</figure>
+
+<figure url="images/plate_42.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate42" />
+<index index="fig" />
+<head>Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.</head>
+<figDesc>Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.
+</figDesc>
+</figure>
+
+<figure url="images/plate_43.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate43" />
+<index index="fig" />
+<head>Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.</head>
+<figDesc>Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.</figDesc>
+</figure>
+
+<figure url="images/plate_44.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate44" />
+<index index="fig" />
+<head>Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.</head>
+<figDesc>Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.
+</figDesc>
+</figure>
+
+<figure url="images/plate_45.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate45" />
+<index index="fig" />
+<head>Rusty-Nail and Old-Post Line (upper).   Date-Seed Line (lower). Plate XLV.</head>
+<figDesc>Rusty-Nail and Old-Post Line (upper).   Date-Seed Line (lower). Plate XLV.</figDesc>
+</figure>
+
+<figure url="images/plate_46.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate46" />
+<index index="fig" />
+<head>Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.</head>
+<figDesc>Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.</figDesc>
+</figure>
+
+<figure url="images/plate_47.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate47" />
+<index index="fig" />
+<head>Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.</head>
+<figDesc>Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.
+</figDesc>
+</figure>
+
+<figure url="images/plate_48.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate48" />
+<index index="fig" />
+<head>Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.</head>
+<figDesc>Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.
+</figDesc>
+</figure>
+
+<figure url="images/plate_49.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate49" />
+<index index="fig" />
+<head>Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.</head>
+<figDesc>Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.</figDesc>
+</figure>
+
+</div>
+
+<div>
+<head type="sub">Laws of the Four Paragons</head>
+<p>
+</p>
+<figure url="images/plate_50.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate50" />
+<index index="fig" />
+<head>The Plum Tree and Blossom. Plate L.</head>
+<figDesc>The Plum Tree and Blossom. Plate L.</figDesc>
+</figure>
+
+<figure url="images/plate_51.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate51" />
+<index index="fig" />
+<head>The Chrysanthemum Flower and Leaves. Plate LI.</head>
+<figDesc>The Chrysanthemum Flower and Leaves. Plate LI.
+</figDesc>
+</figure>
+
+<figure url="images/plate_52.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate52" />
+<index index="fig" />
+<head>The Orchid Plant and Flower. Plate LII.</head>
+<figDesc>The Orchid Plant and Flower. Plate LII.</figDesc>
+</figure>
+
+<figure url="images/plate_53.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate53" />
+<index index="fig" />
+<head>The Bamboo Plant and Leaves. Plate LIII.</head>
+<figDesc>The Bamboo Plant and Leaves. Plate LIII.</figDesc>
+</figure>
+
+</div>
+
+<div>
+<head type="sub">Painting Subjects</head>
+<p>
+</p>
+<figure url="images/plate_54.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate54" />
+<index index="fig" />
+<head>Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV.</head>
+<figDesc>Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV.
+</figDesc>
+</figure>
+
+<figure url="images/plate_55.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate55" />
+<index index="fig" />
+<head>Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV.</head>
+<figDesc>Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV.
+</figDesc>
+</figure>
+
+<figure url="images/plate_56.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate56" />
+<index index="fig" />
+<head>Sun and Waves (1).  Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI.</head>
+<figDesc>Sun and Waves (1).  Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI.
+</figDesc>
+</figure>
+
+<figure url="images/plate_57.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate57" />
+<index index="fig" />
+<head>Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.</head>
+<figDesc>Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.
+</figDesc>
+</figure>
+
+<figure url="images/plate_58.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate58" />
+<index index="fig" />
+<head>Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII.</head>
+<figDesc>Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII.
+</figDesc>
+</figure>
+
+<figure url="images/plate_59.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate59" />
+<index index="fig" />
+<head>Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX.</head>
+<figDesc>Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX.
+</figDesc>
+</figure>
+
+<figure url="images/plate_60.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate60" />
+<index index="fig" />
+<head>Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX.</head>
+<figDesc>Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX.
+</figDesc>
+</figure>
+
+<figure url="images/plate_61.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate61" />
+<index index="fig" />
+<head>Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.</head>
+<figDesc>Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.
+</figDesc>
+</figure>
+
+<figure url="images/plate_62.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate62" />
+<index index="fig" />
+<head>Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII.</head>
+<figDesc>Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII.
+</figDesc>
+</figure>
+
+<figure url="images/plate_63.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate63" />
+<index index="fig" />
+<head>Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII.</head>
+<figDesc>Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII.
+</figDesc>
+</figure>
+
+<figure url="images/plate_64.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate64" />
+<index index="fig" />
+<head>Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV.</head>
+<figDesc>Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV.
+</figDesc>
+</figure>
+
+<figure url="images/plate_65.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate65" />
+<index index="fig" />
+<head>Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.</head>
+<figDesc>Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.
+</figDesc>
+</figure>
+
+<figure url="images/plate_66.jpg" rend="w70; page-float: 'h'">
+<anchor id="plate66" />
+<index index="fig" />
+<head>Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.</head>
+<figDesc>Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.
+</figDesc>
+</figure>
+</div>
+
+</div>
+
+</body>
+<back rend="page-break-before: right">
+
+<div id="footnotes">
+<index index="toc" />
+<index index="pdf" />
+<head>Footnotes</head>
+<divGen type="footnotes"/>
+</div>
+
+<div rend="page-break-before: right">
+<divGen type="pgfooter" />
+</div>
+</back>
+</text>
+</TEI.2>
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@@ -0,0 +1,3906 @@
+The Project Gutenberg EBook of On the Laws of Japanese Painting by Henry
+P. Bowie
+
+
+
+This eBook is for the use of anyone anywhere at no cost and with almost no
+restrictions whatsoever. You may copy it, give it away or re-use it under
+the terms of the Project Gutenberg License included with this eBook or
+online at http://www.gutenberg.org/license
+
+
+
+Title: On the Laws of Japanese Painting
+
+
+Author: Henry P. Bowie
+
+Release Date: March 16, 2011 [Ebook #35580]
+
+Language: English
+
+Character set encoding: US-ASCII
+
+
+***START OF THE PROJECT GUTENBERG EBOOK ON THE LAWS OF JAPANESE PAINTING
+***
+
+
+
+
+
+                  [Fujiyama, by Murata Tanryu. Plate I.]
+
+                   Fujiyama, by Murata Tanryu. Plate I.
+
+
+                    On the Laws of Japanese Painting
+
+            An Introduction to the study of the Art of Japan
+
+
+                             Henry P. Bowie
+
+
+
+      [Title-page design: Butterflies and Birds, known as Cho Tori]
+Paul Elder and Company Publishers
+1911
+
+
+
+
+
+CONTENTS
+
+
+Introduction by Iwaya Sazanami
+Introduction by Hirai Kinza
+Preface
+CHAPTER ONE.  PERSONAL EXPERIENCES
+CHAPTER TWO. ART IN JAPAN
+CHAPTER THREE. LAWS FOR THE USE OF BRUSH AND MATERIALS
+CHAPTER FOUR.  LAWS GOVERNING THE CONCEPTION AND EXECUTION OF A PAINTING
+CHAPTER FIVE. CANONS OF THE AESTHETICS OF JAPANESE PAINTING
+CHAPTER SIX. SUBJECTS FOR JAPANESE PAINTING
+CHAPTER SEVEN. SIGNATURES AND SEALS
+EXPLANATION OF HEAD-BANDS
+PLATES EXPLANATORY OF THE FOREGOING TEXT ON THE LAWS OF JAPANESE PAINTING
+Footnotes
+
+
+
+
+
+ILLUSTRATIONS
+
+
+Fujiyama, by Murata Tanryu. Plate I.
+The Tea Ceremony, by Miss Uyemura Shoen. Plate II.
+Chickens in Spring, by Mori Tessan. Plate III.
+Snow Scene in Kaga, by Kubota Beisen.  Plate IV.
+Tree Squirrel, by Mochizuki Kimpo.  Plate V.
+Tiger, by Kishi Chikudo.  Plate VI.
+Bamboo, Sparrow and Rain.  Plate VII.
+Fujiyama from Tago no Ura, by Yamamoto Baietsu.  Plate VIII.
+Most Careful Method of Laying on Color.  Plate VIIII.
+The Next Best Method. Plate X.
+The Light Water-Color Method. Plate XI.
+Color With Outlines Suppressed. Plate XII.
+Color Over Lines. Plate XIII.
+Light Reddish-Brown Method. Plate XIV.
+The White Pattern. Plate XV.
+The Black or Sumi Method. Plate XVI.
+The Rule of Proportion in Landscapes. Plate XVII.
+Heaven, Earth, Man. Plate XVIII.
+Pine Tree Branches. Plate XIX.
+Winding Streams. Plate XX.
+A Tree and Its Parts. Plate XXI.
+Bird and Its Subdivisions. Plate XXII.
+Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b).
+Plate XXIII.
+Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.
+Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.
+Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.
+The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4).
+Plate XXVII.
+Theory of Tree Growth (1). Practical Application (2). Grass Growth in
+Theory (3). In Practice (4). Plate XXVIII.
+Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in
+structure (3). Plate XXIX.
+Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2).  Rock
+Construction as Practiced in Art (3 and 4). Plate XXX.
+Different Ways of Painting Rocks and Ledges. Plate XXXI.
+Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.
+Wheel-Spoke Dot (a). KAI JI Dot (b). Plate XXXIII.
+Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.
+Serrated Dot (a). ICHI JI dot (b). Plate XXXV.
+Heart Dot (a). HITSU JI Dot (b). Plate XXXVI.
+Rice Dot (a). HAKU YO Dot (b). Plate XXXVII.
+Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.
+Sea Waves (a). Brook Waves (b). Plate XXXIX.
+Storm Waves. Plate XL.
+Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.
+Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.
+Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.
+Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.
+Rusty-Nail and Old-Post Line (upper).   Date-Seed Line (lower). Plate XLV.
+Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.
+Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.
+Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.
+Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.
+The Plum Tree and Blossom. Plate L.
+The Chrysanthemum Flower and Leaves. Plate LI.
+The Orchid Plant and Flower. Plate LII.
+The Bamboo Plant and Leaves. Plate LIII.
+Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4,
+5). Plate LIV.
+Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and
+Shimenawa (4). Rice Cakes (5). Plate LV.
+Sun and Waves (1).  Rice Grains(2). Cotton Plant (3). Battledoor (4).
+Treasure Ship (5). Plate LVI.
+Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow
+(3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.
+Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon
+and Cuckoo (6). Plate LVIII.
+Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5).
+Autumn Grasses (6). Plate LIX.
+Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist
+Showers (4). Water Grasses (5). Joga (6). Plate LX.
+Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the
+Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.
+Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku
+(4). First Snow (5). Oharame (6). Plate LXII.
+Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow
+Scene (5). Snow Daruma (6). Plate LXIII.
+Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi
+(4). Plate LXIV.
+Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.
+Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.
+
+
+
+
+
+DEDICATED TO THE MEMORY OF KUBOTA BEISEN A GREAT ARTIST AND A KINDLY MAN,
+WHOSE HAPPINESS WAS IN HELPING OTHERS AND WHOSE TRIUMPHANT CAREER HAS SHED
+ENDURING LUSTRE UPON THE ART OF JAPANESE PAINTING
+
+
+
+
+
+_ __ __ _
+
+
+_INTRODUCTION BY IWAYA SAZANAMI_(_1_)
+
+
+_ __ _
+
+_ First of all, I should state that in the year 1909 I accompanied the
+Honorable Japanese Commercial Commissioners in their visit to the various
+American capitals and other cities of the United states, where we were met
+with the heartiest welcome, and for which we all felt the most profound
+gratitude.  We were all so happy, but I was especially so; indeed, it
+would be impossible to be more happy than I felt, and particularly was
+this true of one day, namely, the twenty-seventh of November of the year
+named, when Henry P. Bowie, Esq., invited us to his residence in San
+Mateo, where we found erected by him a Memorial Gate to commemorate our
+victories in the Japanese-Russian War; and its dedication had been
+reserved for this day of our visit.  Suspended above the portals was a
+bronze tablet inscribed with letters written by my late father, Ichi Roku.
+The evening of that same day we were invited by our host to a reception
+extended to us in San Francisco by the Japan Society of America, where I
+had the honor of delivering a short address on Japanese folk-lore.  In
+adjoining halls was exhibited a large collection of Japanese writings and
+paintings, the latter chiefly the work of the artist, Kubota Beisen, while
+the writings were from the brush of my deceased father, between whom and
+Mr. Bowie there existed the relations of the warmest friendship and mutual
+esteem. _
+
+_ _
+
+_ Two years or more have passed and I am now in receipt of information
+from Mr. Shimada Sekko that Mr. Bowie is about to publish a work upon the
+laws of Japanese painting and I am requested to write a preface to the
+same.  I am well aware how unfitted I am for such an undertaking, but in
+view of all I have here related I feel I am not permitted to refuse. _
+
+_ _
+
+_ Indeed, it seems to me that the art of our country has for many years
+past been introduced to the public of Europe and America in all sorts of
+ways, and hundreds of books about Japanese art have appeared in several
+foreign languages; but I have been privately alarmed for the reason that a
+great many such books contain either superficial observations made during
+sightseeing sojourns of six months or a year in our country or are but
+hasty commentaries, compilations, extracts or references, chosen here and
+there from other __ volumes.  All work of this kind must be considered
+extremely superficial.  But Mr. Bowie has resided many years in Japan.  He
+thoroughly understands our institutions and national life; he is
+accustomed to our ways, and is fully conversant with our language and
+literature, and he understands both our arts of writing and painting.
+Indeed, I feel he knows about such matters more than many of my own
+countrymen; added to this, his taste is instinctively well adapted to the
+Oriental atmosphere of thought and is in harmony with Japanese ideals.
+And it is he who is the author of the present volume.  To others a labor
+of the kind would be very great; to Mr. Bowie it is a work of no such
+difficulty, and it must surely prove a source of priceless instruction not
+only to Europeans and Americans, but to my own countrymen, who will learn
+not a little from it.  Ah, how fortunate do we feel it to be that such a
+book will appear in lands so far removed from our native shores.  Now that
+I learn that Mr. Bowie has written this book the happiness of two years
+ago is again renewed, and from this far-off country I offer him my warmest
+congratulations, with the confident hope that his work will prove
+fruitfully effective. _
+
+                                                 _ _ _ _ _ Iwaya Sho Ha, _
+_ _ _ Tokyo, Japan,_
+_August 17, 1911 _
+_ _
+_ _
+
+
+
+
+
+_ __ __ _
+
+
+_INTRODUCTION BY HIRAI KINZA_(_2_)_ _
+
+
+_ __ _
+
+_ Seventeen years ago, at a time when China and Japan were crossing
+swords, Mr. Henry P. Bowie came to me in Kyoto requesting that I instruct
+him in the Japanese language and in the Chinese written characters.  I
+consented and began his instruction.  I was soon astonished by his
+extraordinary progress and could hardly believe his language and writing
+were not those of a native Japanese.  As for the Chinese written
+characters, we learn them only to know their meaning and are not
+accustomed to investigate their hidden significance; but Mr. Bowie went so
+thoroughly into the analysis of their forms, strokes and pictorial values
+that his knowledge of the same often astounded and silenced my own
+countrymen.  In addition to this, having undertaken to study Japanese
+painting, he placed himself under one of our most celebrated artists and,
+daily working with unabated zeal, in a comparatively short time made
+marvelous progress in that art.  At one of our public art expositions he
+exhibited a painting of pigeons flying across a bamboo grove which was
+greatly admired and praised by everyone, but no one could believe that
+this was the work of a foreigner.  At the conclusion of the exposition he
+was awarded a diploma attesting his merit.  Many were the persons who
+coveted the painting, but as it had been originally offered to me, I still
+possess it.  From time to time I refresh my eyes with the work and with
+much pleasure exhibit it to my friends.  Frequently after this Mr. Bowie,
+always engaged in painting remarkable pictures in the Japanese manner,
+would exhibit them at the various art exhibitions of Japan, and was on two
+occasions specially honored by our Emperor and Empress, both of whom
+expressed the wish to possess his work, and Mr. Bowie had the honor of
+offering the same to our Imperial Majesties. _
+
+_ _
+
+_ His reputation soon spread far and wide and requests for his paintings
+came in such numerous quantities that to comply his time was occupied
+continuously. _
+
+_ _
+
+_ Now he is about to publish a work on Japanese painting to enlighten and
+instruct the people of Western nations upon our art.  As I believe such a
+book must have great influence in promoting sentiments of kindliness
+between Japan and America, by causing the __ feelings of our people and
+the conditions of our national life to be widely known, I venture to offer
+a few words concerning the circumstances under which I first became
+acquainted with the author. _
+
+                                                  _ _ _ _ _ Hirai Kinza, _
+_ _ _ NIHON AZUMA NO MIYAKO,_
+_ Meiji-Yosa Amari Yotose-Hazuke. _
+_ _
+_ _
+
+
+
+
+
+_ __ __ _
+
+
+_PREFACE_
+
+
+_ _
+
+_ This volume contains the substance of lectures on on the laws and canons
+of Japanese painting delivered before the Japan Society of America, the
+Sketch Club of San Francisco, the Art students of stanford University, the
+Saturday Afternoon Club of Santa Cruz, the Arts and Crafts Guild of San
+Francisco, and the Art Institute of the University of California. _
+
+_ _
+
+_ The interest the subject awakened encourages the belief that a wider
+acquaintance with essential principles underlying the art of painting in
+Japan will result in a sound appreciation of the artist work of that
+country. _
+
+_ _
+
+_ Japanese art terms and other words deemed important have been purposely
+retained and translated for the benefit of students who may desire to
+seriously pursue Japanese painting under native masters.  Those terms
+printed in small capitals are Chinese in origin; all others in italics are
+Japanese. _
+
+_ _
+
+_ All of the drawings illustrative of the text have been specially
+prepared by Mr. Shimada Sekko, an artist of research and ability, who,
+under David starr Jordan, has long been engaged on scientific
+illustrations in connection with the Smithsonian Institution. _
+
+_ _
+
+_ The author apologizes for all references herein to personal experiences,
+which he certainly would have omitted could he regard the following pages
+as anything more than an informal introduction of the reader to the study
+of Japanese painting. _
+
+_ _
+
+
+
+
+
+_KEN WAN CHOKU HITSU_
+
+A firm arm and a perpendicular brush
+
+
+
+
+
+
+   [Chapter 1 Head-Band: The flower and leaves of the peony (Botan), as
+                conventionalized on ancient armor (yoroi)]
+
+
+CHAPTER ONE.  PERSONAL EXPERIENCES
+
+
+In the year 1893 I went on a short visit to Japan, and becoming interested
+in much I saw there, the following year I made a second journey to that
+country.  Taking up my residence in Kyoto, I determined to study and
+master, if possible, the Japanese language, in order to thoroughly
+understand the people, their institutions, and civilization.  My studies
+began at daybreak and lasted till midday.  The afternoons being
+unoccupied, it occurred to me that I might, with profit, look into the
+subject of Japanese painting.  The city of Kyoto has always been the
+hotbed of Japanese art.  At that time the great artist, Ko No Bairei, was
+still living there, and one of his distinguished pupils, Torei Nishigawa,
+was highly recommended to me as an art instructor. Bairei had declared
+Torei's ability was so great that at the age of eighteen he had learned
+all he could teach him.  Torei was now over thirty years of age and a
+perfect type of his kind, overflowing with skill, learning, and humor.  He
+gave me my first lesson and I was simply entranced.
+
+It was as though the skies had opened to disclose a new kingdom of art.
+Taking his brush in hand, with a few strokes he had executed a
+masterpiece, a loquot _(biwa)_ branch, with leaves clustering round the
+ripe fruit.  Instinct with life and beauty, it seemed to have actually
+grown before my eyes.  From that moment dated my enthusiasm for Japanese
+painting.  I remained under Nishigawa for two years or more, working
+assiduously on my knees daily from noon till nightfall, painting on silk
+or paper spread out flat before me, according to the Japanese method.
+
+Japanese painters are generally classed according to what they confine
+themselves to producing. Some are known as painters of figures (JIM BUTSU)
+or animals (DO BUTSU), others as painters of landscapes (SAN SUI), others
+still as painters of flowers and birds (KA CHO), others as painters of
+religious subjects (BUTSU GWA),  and so on.  Torei was a painter of
+flowers and birds, and these executed by him are really as beautiful as
+their prototypes in nature.  On _plate VII_  is given a specimen of his
+work.  He is now a leading artist of Osaka, where he has done much to
+revive painting in that commercial city.
+
+As I desired to get some knowledge of Japanese landscape painting, I was
+fortunate in next obtaining instruction from the distinguished Kubota
+Beisen, one of the most popular and gifted artists in the empire.
+
+In company with several of his friends and former pupils I called upon
+him.  After the usual words of ceremony he was asked if he would kindly
+paint something for our delight.  Without hesitation he spread a large
+sheet of Chinese paper (TOSHI) him and in a few moments we beheld a crow
+clinging to the branches of a persimmon tree and trying to peck at the
+fruit, which was just a trifle out of reach.  The work seemed that of a
+magician.  I begged him then and there to give me instruction.  He
+consented, and thus began an acquaintance and friendship which lasted
+until his death a few years ago. I worked faithfully under his guidance
+during five years, every day of the week, including Sundays.  I never
+tired; in fact, I never wanted to stop.  Every stroke of his brush seemed
+to have magic in it.  _(Plate IV.)_ In many ways he was one of the
+cleverest artists Japan has ever produced.  He was an author as well as a
+painter, and wrote much on art.  At the summit of his renown he was
+stricken hopelessly blind and died of chagrin,--he could paint no more.
+
+While living in Tokio for a number of years I painted constantly under two
+other artists--Shimada Sekko, now distinguished for fishes; and Shimada
+Bokusen, a pupil of Gaho, and noted for landscape in the Kano style; so
+that, after nine years in all of devotion and labor given to Japanese
+painting, I was able to get a fairly good understanding of its theory and
+practice.
+
+It may seem strange that one not an Oriental should become thus interested
+in Japanese painting and devote so much time and hard work to it; but the
+fact is, if one seriously investigates that art he readily comes under the
+sway of its fascination. As the people of Japan love art in all its
+manifestations, the foreigner who paints in their manner finds a double
+welcome among them; thus, ideal conditions are supplied under which the
+study there of art can be pursued.
+
+My memory records nothing but kindness in that particular.  During my long
+residence in Kyoto there were constantly sent to me for my enjoyment and
+instruction precious paintings by the old masters, to be replaced after a
+short time by other works of the various schools.  For such attention I
+was largely indebted to the late Mr. Kumagai, one of Kyoto's most highly
+esteemed citizens and art patrons.  Without multiplying instances of the
+generous nature of the Japanese and their interest in the endeavors of a
+foreigner to study their art, I will mention the gift from the Abbot of
+Ikegami of two original dragon paintings, executed for that temple by Kano
+Tanyu.  In Tokio my dwelling was the frequent rendezvous of many of the
+leading artists of that city and GASSAKU painting was invariably our
+principal pastime. The great poet, Fukuha Bisei, now gone, would
+frequently join us, and to every painting executed he would add the
+embellishment of his charming inspirations in verse, written thereon in
+his inimitable _kana_ script.  This nobleman had taught the art of poetry
+to H. I. M. Mutsu Hito, to the preceding Emperor, and to the present Crown
+Prince.
+
+
+
+
+
+      [Chapter 2 Head-Band: Fan-shaped leaves of the icho or gin nan
+(Salisburiana), placed in books in China and Japan to prevent the ravages
+                            of the bookworm.]
+
+
+CHAPTER TWO. ART IN JAPAN
+
+
+In approaching a brief exposition of the laws of Japanese painting it is
+not my purpose to claim for that art superiority over every other kind of
+painting; nor will I admit that it is inferior to other schools of
+painting.  Rather would I say that it is a waste of time to institute
+comparisons.  Let it be remembered only that no Japanese painting can be
+properly understood, much less appreciated, unless we possess some
+acquaintance with the laws which control its production.  Without such
+knowledge, criticism--praising or condemning a Japanese work of art--is
+without weight or value.
+
+Japanese painters smile wearily when informed that foreigners consider
+their work to be flat, and at best merely decorative; that their pictures
+have no middle distance or perspective, and contain no shadows; in fact,
+that the art of painting in Japan is still in its infancy.  In answer to
+all this suffice it to say that whatever a Japanese painting fails to
+contain has been purposely omitted.  With Japanese artists it is a
+question of judgment and taste as to what shall be painted and what best
+left out.  They never aim at photographic accuracy or distracting detail.
+They paint what they feel rather than what they see, but they first see
+very distinctly.  It is the artistic impression (SHA I)  which they strive
+to perpetuate in their work.  So far as perspective is concerned, in the
+great treatise of Chu Kaishu entitled, "The Poppy-Garden Art
+Conversations," a work laying down the fundamental laws of landscape
+painting, artists are specially warned against disregarding the principle
+of perspective called EN KIN, meaning what is far and what is near.  The
+frontispiece to the present volume illustrates how cleverly perspective is
+produced in Japanese art _(Plate I)._
+
+Japanese artists are ardent lovers of nature; they closely observe her
+changing moods, and evolve every law of their art from such incessant,
+patient, and careful study.
+
+These laws (in all there are seventy-two of them recognized as important)
+are a sealed book to the uninitiated.  I once requested a learned Japanese
+to translate and explain some art terms in a work on Japanese painting.
+He frankly declared he could not do it, as he had never studied painting.
+
+The Japanese are unconsciously an art-loving people.  Their very education
+and surroundings tend to make them so. When the Japanese child of tender
+age first takes his little bowl of rice, a pair of tiny chop-sticks is put
+into his right hand.  He grasps them as we would a dirk.  His mother then
+shows him how he should manipulate them. He has taken a first lesson in
+the use of the brush.  With practice he becomes skilful, and one of his
+earliest pastimes is using the chop-sticks to pick up single grains of
+rice and other minute objects, which is no easy thing to do.  It requires
+great dexterity. He is insensibly learning how to handle the double brush
+(NI HON _fude)_ with which an artist will, among other things, lay on
+color with one brush and dilute or shade off _(kumadori)_ the color with
+another, both brushes being held at the same time in the same hand, but
+with different fingers.
+
+At the age of six the child is sent to school and taught to write with a
+brush the phonetic signs Japanese (forty-seven in number) which constitute
+the Japanese syllabary. These signs represent the forty-seven pure sounds
+of the Japanese language and are used for writing.  They are known as
+_katakana_ and are simplified Chinese characters, consisting of two or
+three strokes each.  With them any word in Japanese can be written.  It
+takes a year for a child to learn all these signs and to write them from
+memory, but they are an excellent training for both the eye and the hand.
+
+His next step in education is to learn to write these same sounds in a
+different script, called _hiragana._ These characters are cursive or
+rounded in form, while the _katakana_ are more or less square. The
+_hiragana_ are more graceful and can be written more rapidly, but they are
+more complicated.
+
+From daily practice considerable training in the use of the brush and the
+free movement of the right arm and wrist is secured, and the eye is taught
+insensibly the many differences between the square and the cursive form.
+Before the child is eight years old he has become quite skilful in writing
+with the brush both kinds of _kana._
+
+He is next taught the easier Chinese characters,--Chinese KANJI  and
+ideographs.  These are most ingeniously constructed and are of great
+importance in the further training of the eye and hand.
+
+So greatly do these wonderfully conceived written forms appeal to the
+artistic sense that a taste for them thus early acquired leads many a
+Japanese scholar to devote his entire life to their study and cultivation.
+Such writers become professionals and are called SHOKA. Probably the most
+renowned in all China was Ogishi.  Japan has produced many such famous
+men, but none greater than Iwaya Ichi Roku, who has left an immortal name.
+
+From what has been said about writing with the brush, it will be
+understood how the youth who may determine to follow art as a career is
+already well prepared for rapid strides therein.  His hand and arm have
+acquired great freedom of movement.  His eye has been trained to observe
+the varying lines and intricacies of the strokes and characters, and his
+sentiments of balance, of proportion, of accent and of stroke order, have
+been insensibly developed according to subtle principles, all aiming at
+artistic results.
+
+The knowledge of Chinese characters and the their ability to write them
+properly are considered of prime importance in Japanese art.  A first
+counsel given me by Kubota Beisen was to commence that study, and he
+personally introduced me to Ichiroku who, from that time, kindly
+supervised my many years of work in Chinese writing, a pursuit truly
+engrossing and captivating.
+
+In all Japanese schools the rudiments of art are taught, and children are
+trained to perceive, feel, and enjoy what is beautiful in nature.  There
+is no city, village, or hamlet in all Japan that does not contain its
+plantations of plum and cherry blossoms in spring, its peonies and lotus
+ponds in summer, its chrysanthemums in autumn, and camelias, mountain
+roses and red berries in winter.  The school children are taken time and
+again to see these, and revel amongst them.  It is a part of their
+education.  Excursions, called UNDOKAI, are organized at stated intervals
+during the school term and the scholars gaily tramp to distant parts of
+the country, singing patriotic and other songs the while and enjoying the
+view of waterfalls, broad and winding rivers, autumn maples, or
+snow-capped mountains.  In addition to this, trips are taken to all famous
+temples and historical places including, where conveniently near, the
+three great views of Japan,--Matsushima, Ama No Hashi Date, and Myajima.
+Thus a taste for landscape is inculcated and becomes second nature.
+Furthermore, the scholars are encouraged to closely watch every form of
+life, including butterflies, crickets, beetles, birds, goldfish,
+shell-fish, and the like; and I have seen miniature landscape gardens made
+by Japanese children, most cleverly reproducing charming views and
+contained in a shallow box or tray.  This gentle little art is called
+BONSAI or _hako niwa._
+
+           [The Tea Ceremony, by Miss Uyemura Shoen. Plate II.]
+
+            The Tea Ceremony, by Miss Uyemura Shoen. Plate II.
+
+
+My purpose in alluding to all this is to indicate that a boy on leaving
+school has absorbed already much artistic education and is fairly well
+equipped for beginning a special course in the art schools of the empire.
+
+These schools differ in their methods of instruction, and many changes
+have been introduced in them during the present reign, or Meiji period,
+but substantially the course takes from three to four years and embraces
+copying (ISHA  _mitori_), tracing (MOSHA, _tsuki-utsushi)_, reducing
+(SHUKUZU,  _chijime-ru)_, and composing (SHIKO, _tsukuri kata)._
+
+In copying, the teacher usually first paints the particular subject and
+the student reproduces it under his supervision. Kubota's invariable
+method was to require the pupil on the following day to reproduce from
+memory (AN KI) the subject thus copied. This engenders confidence.  In
+tracing, thin paper is placed over the picture and the outlines (RIN KAKU)
+are traced according to the _exact order_ in which the original subject
+was executed, an order which is established by rule; thus a proper style
+and brush habit are acquired. The correct sequence of the lines and parts
+of a painting is of the highest importance to its artistic effect.
+
+In reducing the size of what is studied, the laws of proportion are
+insensibly learned. This is of great use afterwards in sketching
+(SHASSEI). I believe that in the habit of reproducing, as taught in the
+schools, lies the secret of the extraordinary skill of the Japanese
+artisan who can produce marvelous effects in compressing scenery and other
+subjects course within the very smallest dimensions and yet preserve
+correct proportions and balance.  Nothing can excel in masterly reduction
+the miniature landscape work of the renowned Kaneiye, as exhibited in his
+priceless sword guards _(tsuba)._
+
+Sketching comes later in the course and is taught only after facility has
+been acquired in the other three departments.  It embraces everything
+within doors and without--everything in the universe which has form or
+shape goes into the artist's sketch-book (KEN KON _no uchi_ KEI SHO
+_arumono mina_  FUN PON _to nasu)--_and forms part of the course in
+composition, which is intended to develop the imaginative faculties
+(SOZO).  Kubota was so skilful in sketching that while traveling rapidly
+through a country he could faithfully reproduce the salient features of an
+extended landscape, conformable to the general rule in sketching, that
+what first attracts the eye is to be painted first, all else becoming
+subordinate to it in the scheme.  Again, he could paint the scenery and
+personages of any historical song _(joruri)_ as it was being sung to him,
+reproducing everything therein described and finishing his work in exact
+time with the last bar of the music.  His arm and wrist were so free and
+flexible that his brush skipped about with the velocity of a dragon-fly.
+As an offhand painter (SEKIJO), or as a contributor to an impromptu
+picture in which several artists will in turn participate, such joint
+composition being known as GASSAKU, Kubota stood _facile princeps_ among
+modern Japanese artists.  The Kyoto painters have always been most gifted
+in that kind of accomplishment.  In their day Watanabe Nangaku, a pupil of
+Okyo, Bairei, and Hyakunen, all of Kyoto, were famous as SEKIJO painters.
+
+The art student having completed his course is now qualified to attach
+himself to some of the great artists, into whose household he will be
+admitted and whose _deshi_ or art disciple he becomes from that time on.
+The relation between such master (SENSEI) and his pupil _(deshi)_ is the
+most kindly imaginable.  Indeed, _deshi_ is a very beautiful word, meaning
+a younger brother, and was first applied to the Buddhist disciples of
+Shakka.  The master treats him as one of his family and the pupil reveres
+the master as his divinity.  Greater mutual regard and affection exist
+nowhere and many pupils remain more or less attached to the master's
+household until his death.  To the most faithful and skilful of these the
+master bestows or bequeaths his name or a part of it, or his nom de plume
+(GO); and thus it is that the celebrated schools (RYUGI or HA or FU) of
+Japanese painting have been formed and perpetuated, beginning with
+Kanaoka, Tosa, Kano, and Okyo, and brought down to posterity through the
+devoted, and I might say sacred efforts of their pupils, to preserve the
+methods and traditions of those great men.  Pupils of the earlier painters
+took their masters' family names, which accounts for so many Tosas and
+Kanos.
+
+Great painters have always been held in high esteem in Japan, not only by
+their pupils, but also by the whole nation.  Chikudo, the distinguished
+tiger painter, Bairei, one of the most renowned of the SHIJO HA or
+Maruyama school, Hashimoto Gaho, a pupil of Kano Massano and a leading
+exponent of the Kano style (Kano HA), and Katei, a Nangwa artist, all only
+recently deceased, were glorified in their lifetime.  Strange to say, no
+one ever saw Gaho with brush in hand.  He never would paint before his
+pupils or in any one's presence.  His instructions were oral.  On the
+other hand, Kubota Beisen was always at his best when painting before
+crowds of admirers.
+
+Prior to the Meiji period the great painters attached to the household of
+a Daimyo were called _O Eshi._ Painters who sold their paintings were
+styled _E kaki._ Now all painters are called GWA KA. Engravers, sculptors,
+print makers and the like were and still are denominated SHOKUNIN, meaning
+artisans.  The comprehensive term "fine arts" (BIJUTSU) is of quite recent
+creation in Japan.
+
+To say a few words about the different schools of painting in Japan, there
+were great artists there, many centuries before Italy had produced Michael
+Angelo or Raphael.  The art of painting began more than fifteen hundred
+years ago and has continued in uninterrupted descent from that remote time
+down to this forty-fourth year of Meiji, the present emperor's reign.  No
+other country in the civilized world can produce such an art record.  One
+thousand years before America was discovered, five hundred years before
+England had a name, and long before civilization had any meaning in
+Europe, there were artists in Japan following the profession of painting
+with the same ardor and the same intelligence they are now bestowing upon
+their art in this twentieth century of our era.
+
+When Buddhism was introduced there in the sixth century, a great school of
+Buddhist artists began its long career.  Among  the names that stand out
+from behind the mist of ages is that of Kudara no Kawanari, who came from
+Corea.
+
+In the ninth century lived the celebrated Kose Kanaoka.  He painted in
+what was called the pure Japanese style, _yamato e,_ _yamato_ being the
+earliest name by which Japan was designated.  He painted portraits and
+landscapes, and his school having a great following, lasted through five
+centuries.  Kose Kimi Mochi, his pupil, Kimitada and Hirotaka were
+distinguished disciples of Kanaoka.
+
+The Tosa school came next, beginning with Tosa Motomitsu, followed by
+Mitsunaga, Nobuzane and Mitsunobu.  It dates back to the period of the
+Kamakura Shogunate eight hundred years ago.  Its artists confined
+themselves principally to painting court scenes, court nobles, and the
+various ceremonies of court life.  This school always used color in its
+paintings.
+
+After Tosa came the schools of Sumiyoshi, Takuma, Kassuga, and Sesshu.
+Sesshu was a genius of towering proportions and an indefatigable artist of
+the very highest rank as a landscape painter.  He had a famous pupil named
+Sesson.
+
+Following Sesshu came the celebrated school of Kano artists, founded in
+the sixteenth century by Kano Masanobu.  It took Japan captive.  It had a
+tremendous vogue and following, and has come down to the present day
+through a succession of great painters.  There were two branches, one in
+Edo (Tokyo), which included Kano Masanobu, Motonobu, his son, Eitoku,
+Motonobu's pupil, and later, Tanyu (Morinobu) Tanshin, his pupil, Koetsu,
+Naonobu, Tsunenobu, Morikage, Itcho, and finally Hashimoto Gaho, its
+latest distinguished representative, who is but recently deceased.  The
+other branch, known as the Kyoto Kano, included the famous San Raku, Eino,
+San Setsu, and others. By some critics San Raku is placed at the head of
+all the Kano artists.
+
+The Kano painters are remarkable for the boldness and living strength of
+the brush strokes _(fude no chicara_ or _fude no ikioi)_, as well as for
+the brilliancy or sheen _(tsuya)_ and shading of the _sumi._ This latter
+effect--the play of light and shade in the stroke, considered almost a
+divine gift--is called BOKUSHOKU, and recalls somewhat the term
+_chiaroscuru._ The range of subjects of the Kano painters was originally
+limited to classic Chinese scenery, treated with simplicity and
+refinement, and to Chinese personages, sages and philosophers; color was
+used sparingly.
+
+Other schools, more or less offshoots of the Kano style (RYU) of painting,
+came next--e. g., Korin and his imitator, Hoitsu, the DAIMYO of Sakai, who
+was said to use powdered gold and precious stones in his pigments.  Korin
+has never had his equal as a painter on lacquer. His work is said to be
+_le regal des delicats._
+
+Another disciple of the Kano school, and a pupil of Yutei, was Maruyama
+Okyo, who founded in turn a school of art which is the most widely spread
+and flourishing in Japan today.  Maruyama, not Okyo, was the family name
+of that artist.  The name Okyo originated thus: Maruyama, much admiring an
+ancient painter named Shun Kyo, took the latter half of that name, Kyo,
+and prefixing an "O" to it, made it Okyo, which he then adopted.  His
+style is called SHI JO FU, SHI JO being the name of that part of Kyoto
+where he resided, and FU meaning style or manner, and its characteristic
+is artistic fidelity to the objects represented.  By some it is called the
+realistic school, and includes such well-known household names as Goshun,
+pupil of Busson, Sosen, the great monkey painter, Tessan _(Plate III.)_
+and his son, Morikwansai, Bairei, Chi-kudo, the tiger painter, Hyakunen
+and his three pupils, Keinen, Shonen and Beisen, Kawabata Gyokusho, Torei,
+Shoen, and Takeuchi Seiho.
+
+There are still other schools (RYUGI) which might be mentioned, including
+that of the NANGWA, or Chinese southern painters, of Chinese origin and
+remarkable for the gracefulness of the brush stroke, the effective
+treatment of the masses and for the play of light and shade throughout the
+composition. Among the great NANGWA painters are Taigado, Chikuden,
+Baietsu _(Plate VIII)_ and Katei.   To this school is referred a style of
+painting affected exclusively by the professional writers of Chinese
+characters, and called BUNJINGWA. To these I will allude further on.  The
+versatile artist, Tani Buncho, created a school which had many adherents,
+including the distinguished Watanabe Kwazan and Eiko of Tokyo, lately
+deceased, one of its best exponents.
+
+The art of painting is enthusiastically pursued at the present time in
+Kyoto, Tokyo, Nagoya and Osaka.  In Tokyo, Hashi Moto Gaho was generally
+conceded to be, up to the time of his death in 1908, the foremost artist
+in Japan.  Although of the Kano school, he greatly admired European art,
+and the treatment of the human figure in some of his latest paintings
+recalls the manner of the early Flemish artists.
+
+My first meeting with Gaho was at his home.  While waiting for him, I
+observed suspended in the _tokonoma,_ or alcove, a narrow little
+_kakemono_ by Kano Moto Nobu, representing an old man upon a donkey
+crossing a bridge.  A small bronze vase containing a single flower spray
+was the sole ornament in the room.  This gave the keynote to Gaho's
+character--classic simplicity, ever reflected in his work.  He had many
+followers.  His method of instruction with advanced pupils was to give
+them subjects such as "A Day in Spring," "Solitude," "An Autumn Morning,"
+or the like, and he was most insistent upon all the essentials to the
+proper effect being introduced.  His criticisms were always luminous and
+sympathetic.  He advised his students to copy everything good, but to
+imitate no-one,--to develop individuality.   He left three very
+distinguished and able pupils--Gyokudo, Kan Zan and Boku Sen.
+
+             [Chickens in Spring, by Mori Tessan. Plate III.]
+
+              Chickens in Spring, by Mori Tessan. Plate III.
+
+
+Since Gaho's death, Kawabata Gyokusho, an Okyo artist, is the recognized
+leader of the capital.  In Kyoto, Takeuchi Seiho, an early pupil of
+Bairei, now occupies the foremost place, although Shonen and Keinen,
+pupils of Hyakunen, still hold a high rank.
+
+Recurring to the time of Tosa, there is another school beginning under
+Matahei and perpetuated through many generations of popular artists,
+including Utamaro, Yeisen and Hokusai, and coming down to the present
+date.  This is the _Ukiyo e_ or floating-world-picture school.  It is far
+better known through its prints than its paintings.  The great painters of
+Japan have never held this school in any favor.  At one time or another I
+have visited nearly every distinguished artist's studio in Japan, and I
+know personally most of the leading artists of that country.  I have never
+seen a Japanese print in the possession of any of them, and I know their
+sentiments about all such work.  A print is a lifeless production, and it
+would be quite impossible for a Japanese artist to take prints into any
+serious consideration.  They rank no higher than cut velvet scenery or
+embroidered screens.  I am aware that such prints are in great favor with
+many enthusiasts and that collectors highly value them; but they do not
+exemplify art as the Japanese understand that term.  It must be admitted,
+however, that the prints have been of service in several ways.  They first
+attracted the world's attention to the subject of Japanese art in general.
+Commencing with an exhibition of them in London a half century ago, the
+prints of Ukiyo or genre subjects came rapidly into favor and ever since
+have commanded the notice and admiration of collectors in Europe and
+America.  Many people are even under the impression that the prints
+represent Japanese painting, which, of course, is a great mistake.  There
+have been artists in Japan who, in the _Ukiyo e_ manner, have painted
+_kakemono_, BYOBU and _makimono_. The word _kakemono_ is applied to a
+painting on silk or paper, wound upon a wooden roller and unrolled and
+hung up to be seen. _Kakeru_ means to suspend and _mono_ means an object,
+hence _kakemono_, a suspended object. BYOBU signifies wind protector or
+screen; _makimono_, meaning a wound thing, is a painting in scroll form.
+It is not suspended, but simply unrolled for inspection. Such original
+work by Matahei and others is extant. But most of the _Ukiyo e_, or
+pictures in the popular style, are prints struck from wood blocks and are
+the joint production of the artist, the wood engraver, the color smearer
+and the printer, all of whom have contributed to and are more or less
+entitled to credit for the result; and that is one reason why the
+artist-world of Japan objects to or ignores them; they are not the
+spontaneous, living, palpitating production of the artist's brush.  It is
+well known that artists of the _Ukiyo e_ school frequently indicated only
+by written instructions how their outline drawings for the prints should
+be colored, leaving the detail of such work to the color smearer.  Apart
+from the fact that the colors employed were the cheapest the market
+afforded, and are found often to be awkwardly applied, there is too much
+about the prints that is measured, mechanical and calculated to satisfy
+Japanese art in its highest sense.  Frequently more than one engraver was
+employed upon a single print.  The engravers had their specialties; some
+were engaged for the coiffure or head-dress _(mage),_ other for the lines
+of the face, others for the dress _(kimono),_ others still for pattern
+(MOYO), et cetera.  The most skilful engravers in Yedo were called
+_kashira bori_ and were always employed on Utamaro and Hokusai prints.
+Many of the colors of these prints in their soft, neutral shades, are
+rapturously extolled by foreign connoisseurs as evidence of the marvelous
+taste of the Japanese painter.  But, really, time more than art is to be
+credited with toning down such tints to their present delicate hues.  In
+this respect, like Persian rugs, they improve with age and exposure.  An
+additional objection to most of the prints is that they reproduce trivial,
+ordinary, every-day occurrences in the life of the mass of the people as
+it moves on.  They are more or less plebian.  The prints being intended
+for sale to the common people, the subjects of them, however skilfully
+handled, had to be commonplace.  They were not purchased by the nobility
+or higher classes.  Soldiers, farmers, and others bought them as presents
+_(miage)_ for their wives and children, and they were generally sold for a
+penny apiece, so that in Japan prints were a cheap substitute for art with
+the lower classes, just as Raspail says garlic has always been the camphor
+of the poor in France.  The practice of issuing _Ukiyo e_ prints at very
+low prices still continues in Tokyo, where every week or two such colored
+publications are sprung up in front of the book-stalls and are still as
+eagerly purchased by the common people as they were in Tokugawa days.
+
+The prices the old prints now bring are out of all proportion to their
+intrinsic value, yet, such is the crescendo craze to acquire them that
+Japan has been almost drained of the supply, the number of prints of the
+best kind being limited, like that of Cremona violins of the good makers.
+
+Prints are genuine originals of a first or subsequent issue, called
+respectively, SHO HAN and SAI HAN, or they are reproductions more or less
+cleverly copied upon new blocks, or they are fraudulent imitations
+(GANBUTSU) of the original issues, often difficult to detect.  The very
+wormholes are burnt into them with SENKO or perfume sticks and clever
+workmen are employed to make such and other trickery successful.  A long
+chapter could be written about their dishonest devices.  Copies of genuine
+prints (HON KOKU), made from new blocks after the manner of the ancient
+ones, abound, and were not intended to pass for originals.  Yedo, where
+the print industry was chiefly carried on, has had so many destructive
+conflagrations that most of the old _Ukiyo e_ blocks have been destroyed.
+At Nagoya the house of To Heki Do still preserves the original blocks of
+the MANGWA or miscellaneous drawings of Hokusai, but they are  much  worn.
+Prints are known by various names, such as _ezoshi_ (illustrations),
+_nishiki e_, _edo e_ (Yedo pictures), _sunmono_ and INSATSU. It may be of
+interest to know that the print blocks, when so worn as to be no longer
+serviceable for prints, are sometimes converted into fire-boxes
+_(hibachi)_ and tobacco trays _(tobacco bon)_ which, when highly polished,
+are decorative and unique.
+
+Perhaps a useful purpose prints have served is to record the manners and
+customs of the people of the periods when they were struck off.  They show
+not only prevailing styles of dress and headdress, but also the pursuits
+and amusements of the common folk.  They are excellent depositaries of
+dress pattern (MOYO) or decoration, upon which fertile subject Japan has
+always been a leading authority.  In the early Meiji period print painters
+frequently delegated such minute pattern work to their best pupils, whose
+seals (IN) will be found upon the prints thus elaborated.  The prints
+preserve the ruling fashions of different periods in combs and other hair
+ornaments, fans, foot-gear, single and multiple screens, fire-boxes and
+other household ornaments and utensils.  They also furnish specimens of
+temple and house architecture, garden plans, flower arrangements _(ike
+bana),_ bamboo, twig and other fences.  Again, they reproduce the stage,
+with its famous actors in historical dramas; battle scenes, with warriors
+and heroes; characters in folk-lore and other stories, and wrestling
+matches, with the popular champions; and we will often find upon the face
+of the print good reproductions of Chinese and Japanese writing, in poems
+and descriptive prose pieces.  Hokusai illustrated much of the classic
+poetry of China and Japan, as well as the SENJIMON, or Thousand Character
+Chinese classic, a work formerly universally taught in the Japanese
+schools.  The original characters for this remarkable compilation were
+taken from the writings of Ogishi.  The prints have aided in teaching
+elementary history to the young; the knowledge of Japanese children in
+this connection is often remarkable and may be attributed to the
+educational influence of the _Ukiyo e_ publications.
+
+So there are certainly good words to be said for the prints, but they are
+not Japanese art in its best sense, however interesting as a subordinate
+phase of it, and in no sense are they Japanese painting.
+
+If limited to a choice of one artist of the _Ukiyo e_ school, no mistake
+would be made, I think, in selecting Hiroshige, whose landscapes fairly
+reproduce the sentiment of Japanese scenery, although the prints bearing
+his name fall far short of reproducing that artist's color schemes.
+Hokusai's reputation with foreigners is greater than Hiroshige's, but
+Japanese artists do not take Hokusai seriously.  His pictures, they
+declare, reflect the restlessness of his disposition; his peaks of Fuji
+are all too pointed, and his manner generally is exaggerated and
+theatrical.  Utamaro's women of the Yoshiwara are certainly careful
+studies in graceful line drawing,--as correct as Greek drapery in marble.
+
+Iwasa Matahei, the founder of the popular school, was a pupil of
+Mitsunori, a Kyoto artist and follower of Tosa.  Matahei disliked Tosa
+subjects and preferred to depict the fleeting usages of the people, so he
+was nicknamed Fleeting World or _Ukiyo_ Matahei, and thus originated the
+name _Ukiyo e_ or pictures of every-day life.  There are no genuine
+Matahei prints.  He dates back to the seventeenth century.  Profile faces
+in original screen paintings by him have an Assyrian cast of countenance,
+the eye being painted as though seen in full face.
+
+Hishikawa Moronobu was his follower and admirer.  He was an artist of
+Yedo.  Nishikawa Sukenobu belonged to the Kano school and was a pupil of
+Kano Eiko.  He adopted the _Ukiyo e_ style and depicted the pastimes of
+women and the portraits of actors.  He lived two hundred and twenty years
+ago and in his time prints came greatly into vogue.  Torii Kyonobu painted
+women and actors and invented the kind of pictured theatrical powers which
+are still in fashion, placarded at the entrance to theaters and showing
+striking incidents in the play.
+
+Suzuki Harunobu never painted actors, preferring to reproduce the feminine
+beauties of his time.  It was to his careful work that was first applied
+the term _nishiki e_ or brocade pictures, on account of the charm of his
+decorative manner.  He lived one hundred and thirty years ago.
+
+Among the many able foreign writers on Japanese prints Fenollosa stands
+prominent. He resided for a long time in Japan, understood and spoke the
+language, and lived the life of the people.  He was in great sympathy with
+them and with their art and enjoyed exceptional opportunities for seeing
+and studying the best treasures of that country.  Had he possessed the
+training necessary to paint in the Japanese style I do not think he would
+have devoted so much time to Japanese woodcuts.  Visiting me at Kyoto,
+where I was busily engaged in painting, "Ah!" he cried, "that is what I
+have always longed to do.  Sooner or later I shall follow your example."
+But he never did.  Instead, he issued a large work on Japanese prints.
+His death was a real loss to the art literature of Japan.  During eight
+years he was in the service of the Japanese government ransacking,
+cataloguing and photographing the multitudinous art treasures, paintings,
+_kakemono_, _makimono,_ and BYOBU (pictures, scrolls and screens), to be
+found in the various Buddhist and other temples and monasteries scattered
+throughout the empire.  The last time we met, he remarked, "How can one
+willingly leave this land of light?  Japan, to my mind, stands for
+whatever is beautiful in nature and true in art; here I hope to pass the
+remaining years of my life."  Such was his genuine enthusiasm, engendered
+by a long acquaintance with art and everything else beautiful in that
+country.  Japan impresses in this way all who see it under proper
+conditions, but unfortunately the ordinary traveler, pushed for time, and
+whose acquaintance is limited to professional guides, never gets much
+beyond the sights, the shops and the curio dealers.
+
+            [Snow Scene in Kaga, by Kubota Beisen.  Plate IV.]
+
+             Snow Scene in Kaga, by Kubota Beisen.  Plate IV.
+
+
+The question is often asked, "Is there any good book on Japanese
+painting?"  I know of none in any language except Japanese.  The following
+are among the best works on the subject:
+
+      A History of Japanese Painting (HON CHO GASHI), by Kano Eno.
+      A Treasure Volume (BAMPO ZEN SHO), by Ki Moto Ka Ho.
+      The Painter's Convenient Reference (GOKO BEN RAN), by Arai Haku
+      Seki.
+      A Collection of Celebrated Japanese  Paintings (KO CHO MEIGA SHU E),
+      by Hiyama Gi Shin.
+      Ideas on Design in Painting (TO GA KO), by Saito Heko Maro.
+      A Discourse on Japanese Painting (HONCHO GWA SAN), by Tani Buncho.
+      Important Reflections on All Kinds of Painting (GWA JO YO RYAKU), by
+      Arai Kayo.
+      A Treatise on Famous Japanese Paintings (FU SO MEI GWA DEN), by Hori
+      Nao Kaku.
+      Observations on Ancient Pictures (KO GWA BI KO), by Asa Oka Kotei.
+      A Treatise on Famous Painters (FU SO GWA JIN), by Ko Shitsu Ryo Chu.
+      A Treatise on Japanese Painting (YAMATO NISHIKI KEM BUN SHO), by
+      Kuro Kama Shun Son.
+      A Treatise on the Laws of Painting (GWAFU), by Ran Sai, a pupil of
+      Chinanpin.  The work is voluminous and is both of great use and
+      authority.
+      CHO CHU GWA FU, by Chiku To.
+      SHA ZAN GAKUGWA HEN, by Buncho.
+
+Translations of all these works into English are greatly to be desired.
+
+There is much that has been sympathetically written and published about
+Japanese paintings both in Europe and America, but however laudatory, it
+might be all summed up under the title, "Impressions of an Outsider."
+Such writings lack the authority which only constant labor in the field of
+practical art can confer.  A Japanese artist, by which I mean a painter,
+is long in making.  From ten to fifteen years of continuous study and
+application are required before much skill is attained.  During that time
+he gradually absorbs a knowledge of the many principles, precepts, maxims
+and methods, which together constitute the corpus or body of art doctrine
+handed down from a remote antiquity and preserved either in books or
+perpetuated by tradition.  Along with these are innumerable art secrets
+called _hiji_ or _himitsu,_ never published, but orally imparted by the
+masters to their pupils--not secrets in a trick sense, but methods of
+execution discovered after laborious effort and treasured as valued
+possessions.  It is obvious, then, how incapable of writing technically
+upon the subject must anyone be who has not gone through such curriculum
+and had drilled into him all that varied instruction which makes up the
+body of rules applicable to that art.
+
+I have read many seriously written appreciations of Japanese paintings
+published in various modern languages, and even some amiable imaginings
+penned for foreigners by Japanese who fancy they know by instinct what
+only can be acquired after long study and practice with brush in hand.
+All such writers are characterized in Japan by a very polite term,
+_shiroto_--which means amateur.  It also has a secondary signification of
+emptiness.
+
+
+
+
+
+[Chapter 3 Head-Band: The design called "Dew on the Grass and Butterflies"
+                          (tsuyu, kusa ni cho).]
+
+
+CHAPTER THREE. LAWS FOR THE USE OF BRUSH AND MATERIALS
+
+
+Upon a subject as technical as that of Japanese painting, to endeavor to
+impart correct information in a way that shall be both instructive and
+entertaining is an undertaking of no little difficulty.  The rules and
+canons of any art when enumerated, classified and explained, are likely to
+prove trying, if not wearisome reading.  Yet, if our object be to acquire
+accurate knowledge, we must consent to make some sacrifice to attain it,
+and there is no royal road to a knowledge of Japanese painting.
+
+We have little or no opportunity in America, excepting in one or two
+cities, to see good specimens of the work of the great painters of Japan.
+Furthermore, such work in _kakemono_ form is seen to much disadvantage
+when exhibited in numbers strung along the walls of a museum.  Japanese
+_kakemono_ (hanging paintings) are best viewed singly, suspended in the
+recess of the _tokonoma,_ or alcove.  A certain seclusion is essential to
+the enjoyment of their delicate and subtle effects; the surroundings
+should be suggestive of leisure and repose, which the Japanese word
+_shidzuka,_ often employed in art language, well describes.
+
+The Japanese technique, by which I understand the established manner in
+which their effects in painting are produced, differs widely from that of
+European art.  The Japanese brushes _(Jude_ and _hake),_ colors and
+materials influence largely the method of painting.  The canons or
+standards by which Japanese art is to be judged are quite special to Japan
+and are scarcely understood outside of it.  Since the subject is
+technical, to treat it in a popular way is to risk the omission of much
+that is essential.  I will endeavor, at any rate, to give an outline of
+its fundamental principles, first saying a word or two about the tools and
+materials.
+
+In Japanese painting no oils are used. _Sumi_ (a black color in cake form)
+and water-colors only are employed, while Chinese and Japanese paper and
+specially prepared silk take the place of canvas or other material.
+
+Japanese artists do not paint on easels; while at work they sit on their
+heels and knees, with the paper or silk spread before them on a soft
+material, called _mosen,_ which lies upon the matting or floor covering.
+After one becomes accustomed to this position, he finds it gives, among
+other things, a very free use of the right arm and wrist.
+
+Silk _(e ginu)_ is prepared for painting by first attaching it with boiled
+rice mucilage to a stretching frame.  A sizing of alum and light glue
+(called _dosa)_ is next applied, care being taken not to wet the edges of
+the silk attached to the frame, which would loosen the silk.
+
+It has been found that paper lasts much longer than silk, and also can be
+more easily restored when cracked with age.
+
+The  artists  of the  Tosa  school  used a paper various kinds called
+_tori no ko,_ into the composition of which egg-shells entered.  This
+paper was a special product of Ichi Zen.
+
+The Kano artists used both _tori no ko_ and a paper made from the mulberry
+plant, also a product of Ichi Zen, and known as _hosho._  For ordinary
+tracing a paper called TENGU JO is used. In Okyo's time, Chinese paper
+made from rice-plant leaves came into vogue.  It is manufactured in large
+sheets and is called TOSHI. It is a light straw color, and is very
+responsive to the brush stroke, except when it "catches cold," as the
+Japanese say.  It should be kept in a dry place.
+
+The Tosa artists used paper almost to the exclusion of silk.  The Kano
+school largely employed silk for their paintings.  Okyo also usually
+painted on silk.
+
+Japanese artists seldom outline their work.  In painting on silk, a rough
+sketch in _sumi_ is sometimes placed under the silk for guidance.
+Outlining on paper is done with straight willow twigs of charcoal, called
+_yaki sumi,_ easily erased by brushing with a feather.
+
+There are strict, and when once understood, reasonable and helpful laws
+for the use of the brush (YOHITSU), the use of _sumi_ (YOBOKU) and the use
+of water-colors (SESSHOKU). These laws reach from what seems merely the
+mechanics of painting into the highest ethics of Japanese art.
+
+The law of YO HITSU requires a free and skilful handling of the brush,
+always with strict attention to the stroke, whether dot, line or mass is
+to be made; the brush must not touch the silk or paper before reflection
+has determined what the stroke or dot is to express.  Neither negligence
+nor indifference is tolerated.
+
+An artist, be he ever so skilful, is cautioned not to feel entirely
+satisfied with his use of the brush, as it is never perfect and is always
+susceptible of improvement.  The brush is the handmaid of the artist's
+soul and must be responsive to his inspiration.  The student is warned to
+be as much on his guard against carelessness when handling the brush as if
+he were a swordsman standing ready to attack his enemy or to defend his
+own life; and this is the reason: Everything in art conspires to prevent
+success.  The softness of the brush requires the stroke to be light and
+rapid and the touch delicate.  The brush, when dipped first into the
+water, may absorb too much or not enough, and the _sumi_ or ink taken on
+the brush may blot or refuse to spread or flow upon the material, or it
+may spread in the wrong direction.  The Chinese paper (TOSHI) which is
+employed in ordinary art work may be so affected by the atmosphere as to
+refuse to respond, and the brush stroke must be regulated accordingly.
+All such matters have to be considered when the brush is being used, and
+if the spirit of the artist be not alert, the result is failure. (IT TEN
+ICHI BOKU  _ni_  CHIU _o su beki.)_
+
+Vehicle of the subtle sentiment to be expressed in form, the brush must be
+so fashioned as to receive and transmit the vibrations of the artist's
+inner self.  Much care, much thought and skill have been expended in the
+manufacture of the brush.
+
+In China, the art of writing preceded painting, and the first brushes made
+were writing brushes, and the more writing developed into a wonderful art,
+the more attention was bestowed upon the materials composing the writing
+brush.  Such brushes were originally made with rabbit hair, round which
+was wrapped the hair of deer and sheep, and the handles were mulberry
+stems.  Later on, as Chinese characters became more complex and writing
+more scientific, the brushes were most carefully made of fox and rabbit
+hair, with handles of ivory, and they were kept in gold and jeweled boxes.
+Officials were enjoined to write all public documents with brushes having
+red lacquer handles, red being a positive or male (YO) color.  Ogishi, the
+greatest of the Chinese writers, used for his brushes the feelers from
+around the rat's nose and hairs taken from the beak of the kingfisher.
+
+In Japan, hair of the deer, badger, rabbit, sheep, squirrel, and wild
+horse all enter into the manufacture of the artist's brush, which is made
+to order, long or short, soft or strong, stiff or pliable.  For laying on
+color, the hair of the badger is preferred.  The sizes and shapes of
+brushes used differ according to the subject to be painted. There are
+brushes for flowers and birds, human beings, landscapes, lines of the
+garments, lines of the face, for laying on color, for shading, et cetera.
+
+A distinguishing feature in Japanese painting is the strength of the brush
+stroke, technically called _fude no chikara_ or _fude no ikioi._ When
+representing an object suggesting strength, such, for instance, as a rocky
+cliff, the beak or talons of a bird, the tiger's claws, or the limbs and
+branches of a tree, the moment the brush is applied the sentiment of
+strength must be invoked and felt throughout the artist's system and
+imparted through his arm and hand to the brush, and so transmitted into
+the object painted; and this nervous current must be continuous and of
+equal intensity  while the work proceeds.  If the tree's limbs or branches
+in a painting by a Kano artist be examined, it will astonish any one to
+perceive the vital force that has been infused into them.  Even the
+smallest twigs appear filled with the power of growth--all the result of
+_fude no chikara._  Indeed, when this principle is understood, and in the
+light of it the trees of many of the Italian and French artists are
+critically viewed, they appear flabby, lifeless, and as though they had
+been done with a feather.  They lack that vigor which is attained only by
+_fude no chikara,_ or brush strength.
+
+In writing Chinese characters in the REI SHO manner this same principle is
+carefully inculcated.  The characters must be executed with the feeling of
+their being carved on stone or engraved on steel--such must be the force
+transmitted through the arm and hand to the brush.   Thus executed the
+writings seem imbued with living strength.
+
+It is related of Chinanpin, the great Chinese painter, that an art student
+having applied to him for instruction, he painted an orchid plant and told
+the student to copy it.  The student did so to his own satisfaction, but
+the master told him he was far away from what was most essential.  Again
+and again, during several months, the orchid was reproduced, each time an
+improvement on the previous effort, but never meeting with the master's
+approval.  Finally Chinanpin explained as follows: The long, blade-like
+leaves of the orchid may droop toward the earth but they all long to point
+to the sky, and this tendency is called cloud-longing (BO UN) in art.
+When, therefore, the tip of the long slender leaf is reached by the brush
+the artist must feel that the same is longing to point to the clouds.
+Thus painted, the true spirit and living force _(kokoromochi)_ of the
+plant are preserved.
+
+Kubota recommended to art students and artists to a practice with lines
+which is excellent for acquiring and retaining firmness and freedom of the
+arm, with steady and continuous strength in the stroke.  With a brush held
+strictly perpendicular to the paper horizontal lines are painted, first
+from right to left, the entire width of the TOSHI or other paper, each
+line with equal thickness and unwavering intensity of power throughout its
+entire length.  The thickness of the line will depend upon the amount of
+hair in the brush that is allowed to touch the paper; if only the tip of
+the brush be used, the line will be slender or thin; but, whether a broad
+band or a delicate tracing, it must be uniform throughout and filled with
+living force.  Next, the lines are painted from left to right in the same
+way and with the same close attention to uniform thickness and continuous
+flow of nervous strength from start to finish.   Then, the increasingly
+difficult task is to paint them from top to bottom of the TOSHI, and
+finally, most difficult and most important of all these exercises, the
+parallel lines are traced from bottom to top of the paper.  The thinner
+the line the more difficult it is to execute, because of the tendency of
+the hand to tremble. Indeed, the difficulty is supreme.   Let any one who
+is interested try this; it is an exercise for the most expert.  Such lines
+resemble the _sons files_ on the violin, where a continuous sustained tone
+of equal intensity is produced by drawing the bow from heel to tip so
+slowly over the strings that it hardly moves.  Practicing lines in the way
+indicated gives steadiness and strength, qualities in demand at every
+instant in Japanese art.  Observe a Japanese artist paint the young branch
+of a plum tree shooting from the trunk.  The new year's growth starting,
+it may be, from the bottom of the TOSHI will be projected to the top.
+Examine it carefully and it will be found to conform to that principle of
+_jude no chikara_ which transfers a living force into the branch.  I have
+seen European artists in Japan vainly try offhand to produce such effects;
+but these depend on long and patient practice.
+
+A Japanese artist will frequently ignore the boundaries of the paper upon
+which he paints by beginning his stroke upon the MOSEN and continuing it
+upon the paper--or beginning it upon the paper and projecting it upon the
+MOSEN.  This produces the sentiment or impression of great strength of
+stroke.  It animates the work.  And in this energetic kind of painting, if
+drops of _sumi_ accidentally fall from the brush upon the painting they
+are regarded as giving additional energy to it.  Similarly, if the stroke
+on the trunk or branch of a tree shows many thin hair lines where the
+intention was that the line should be solid, this also is regarded as an
+additional evidence of stroke energy and is always highly prized.
+
+The same principle applies in the art of Chinese writing; but this effect
+must not be the result of calculation--it must be what in art is called SHI
+ZEN,  meaning spontaneous.
+
+In painting the hair of monkeys, bears and the like, the pointed brush is
+flattened and spread out _(wari fude)_ so that each stroke of the same
+will reproduce numberless thin lines, corresponding to the hairs of the
+animal.  Sosen thus painted.  In modern times Kimpo _(Plate V)_ is justly
+renowned for such work.
+
+Many artists become wonderfully expert in the use of the flat brush, from
+one to four inches wide, called _hake,_ by means of which instantaneous
+effects such as rain, rocks, mountain chains and snow scenes are secured.
+Some artists acquire a special reputation for skill in the use of the
+_hake._
+
+The brush should be often and thoroughly rinsed during the time that it is
+used and washed and dried when not employed.  In Kyoto, Osaka and Tokyo
+there are famous manufacturers of artists' brushes, and names of makers
+such as Nishimura, Sugiyama, Hakkado, Onkyodo and Kiukyodo are familiar to
+all the artists of the country.
+
+The use of _sumi_ (YOBOKU) is the really distinguishing feature of
+Japanese painting.  Not only is this black color _(sumi)_ used in all
+water color work, but it is frequently the only color employed; and a
+painting thus executed, according to the laws of Japanese art, is called
+_sumi e_ and is regarded as the highest test of the artist's skill.
+Colors can cheat the eye _(damakasu)_ but _sumi_ never can; it proclaims
+the master and exposes the tyro.
+
+The terms "study in black and white," "India ink drawing" and the like,
+since all are only makeshift translations, are misleading.  The Chinese
+term "BOKUGWA" is the exact equivalent of _sumi e_ and both mean and
+describe the same production.  _Sumi e_ is not an "ink picture," since no
+ink is used in its production.  Ink is the very opposite of _sumi_ both in
+its composition and effect.  Ink is an acid and fluid.  _Sumi_ is a solid
+made from the soot obtained by burning certain plants (for the best
+results _juncus communis,_ bull rush, or the _sessamen orientalis),_
+combined with glue from deer horn.  This is molded into a black cake
+which, drying thoroughly if kept in ashes, improves with age. In much of
+the good _sumi_ crimson _(beni)_ is added for the sheen, and musk perfume
+_(Jako)_ is introduced for antiseptic purposes.  When a dead finish or
+surface _(tsuya o keshi)_ is desired, as, for instance, where the female
+coiffure is to be painted and a lusterless ground is needed for contrast
+with the shining strands of the hair, a little white pulverized oyster
+shell, called GO FUN, is mixed, with the _sumi._  Commercial India ink
+resembles _sumi_ in appearance, but is very inferior to it in quality.
+The methods of _sumi_ manufacture are carefully guarded secrets.  China
+during the Ming dynasty, three centuries ago, produced the best _sumi,_
+although China _sumi_ (TOBOKU) employed twelve centuries past shows both
+in writing and in painting as distinctly and brilliantly today as though
+it were but recently manufactured.  Nara, near Kyoto, was the birthplace
+of Japanese _sumi,_ and the house of Kumagai _(Kyukyodo)_ for centuries
+has had its manufacturers in that city.  In Tokyo a distinguished maker,
+whose _sumi_ many of the artists there prefer, is Baisen.  He has devoted
+fifty years of his life to the study and compounding of this precious
+article.  He possesses some great secrets of manufacture which may die
+with him.  In Okyo's time there was a dark blue _sumi_ called AI EN BOKU
+but the art and secret of its manufacture are lost.
+
+In using _sumi_ the cake is moistened and rubbed on a slab called
+_suzuri,_ producing a semi-fluid.  The well-cleaned brush is dipped first
+into clear water and then into the prepared _sumi._ When the _sumi_ is
+taken on the brush it should be used without delay; otherwise it will
+mingle with the water of the brush and destroy the desired balance between
+the water and the _sumi._  For careful work the _sumi_ is first
+transferred on the brush from the _suzuri_ to a white saucer, where it is
+tested.  It is a singular fact that the color of _sumi_ will differ
+according to the manner in which it is rubbed upon the stone.  The best
+results are obtained when a young maiden is employed for the purpose, her
+strength being just suitable.
+
+It is very important while painting with _sumi_ to renew its strength
+frequently by fresh applications of the cake to the slab.  The color and
+richness of _sumi_ left upon the slab soon fade; and though when used this
+may not be apparent, when the _sumi_ dries on the paper or silk its
+weakness is speedily perceived.
+
+By the dexterous use of _sumi_ colors may be successfully suggested,
+materials apparently reproduced and by what is termed BOKUSHOKU, or the
+brush-stroke play of light and shade, the very rays of the sun may be
+imprisoned within the four corners of a picture.  Artists are readily
+recognized in their work by their manner of using or laying on _sumi._
+The color, the sheen, the shadings and the flow of the ink enable us even
+to determine the disposition or state of mind of the artist at the time of
+painting, so sensitive, so responsive is _sumi_ to the mood of the artist
+using it.  There is much of engaging interest in connection with this
+subject.  Artists become most difficult to satisfy on the subject of the
+various kinds of _sumi,_ which differ as much in their special qualities
+as the tones of celebrated violins. It is interesting to observe how
+different the color or richness of the same _sumi_ becomes according to
+the varying skill with which it is applied.
+
+The mineral character of the _suzuri_ has also much to do with the
+production of the best and richest black tones.
+
+The most valuable stone for _suzuri_ is known throughout the entire
+oriental world as TAN KEI and is found in the mountain of Fuka in China.
+This stone has gold streaks through it, with small dots called bird's
+eyes.  The water which flows from Fuka mountain is blue.  The color of the
+rock is violet.  A favorite color for the _suzuri_ (in Chinese called KEN)
+is lion's liver.  Formerly much ceremony was observed in mining for this
+stone and sheep and cattle were offered in sacrifice, else it was believed
+that the stone would be struck by a thunderbolt and reduced to ashes in
+the hands of its possessor.  The _suzuri_ is also made in China from river
+sediment fashioned and baked.  Still another method is to make the
+_suzuri_ from paper and the varnish of the lacquer tree.  Such are called
+paper _suzuri_ (SHI KEN).  In Thibet _suzuri_ are made from the bamboo
+root.  In Japan the best stones for _suzuri_ are found near Hiroshima in
+Kiushu, the grain being hard and fine.
+
+The skilful use of water colors is called SESSHOKU. It is more difficult
+to paint with _sumi_ alone than use of water to paint with the aid of
+colors, which can hide defects never to be concealed in a _sumi e,_ where
+painting  over _sumi_ a second time is disastrous. Japanese painters as a
+rule are sparing of colors, the slightest amount used discreetly and with
+restraint generally sufficing.  Many artists have not the color sense or
+dislike color and seldom use it.  Kubota often declared he hoped to live
+until he might feel justified in discarding color and employing _sumi_
+alone for any and all effects in painting.
+
+There are eight different ways of painting in color.  I will enumerate
+them, with their technical, descriptive terms:
+
+In the best form of color painting (GOKU ZAI SHIKI) _(Plate IX)_ the color
+is most carefully laid on, being applied three times or oftener if
+necessary.  On account of these repeated coats this form is called TAI
+CHAKU SHOKU.  This style of painting is reserved for temples, gold
+screens, palace ceilings and the like.  Tosa and _Yamato e_ painters
+generally followed this manner.
+
+The next best method of coloring (CHU ZAI SHIKI) _(Plate X)_ is termed
+CHAKU SHOKU, or the ordinary application of color.  The Kano and Shijo
+schools use this method extensively, as did also the _Ukiyo e_ painters.
+
+The light water-color method, called TAN SAI _(Plate XI)_, is employed in
+the ordinary style of painting _kakemono_ and is much used by the Okyo
+school.
+
+The most interesting form of painting, technically called BOKKOTSU _(Plate
+XII)_, is that in which all outlines are suppressed and _sumi_ or color is
+used for the masses.  Another Japanese term for the same is _tsuketate._
+
+              [Tree Squirrel, by Mochizuki Kimpo.  Plate V.]
+
+               Tree Squirrel, by Mochizuki Kimpo.  Plate V.
+
+
+The method of shading, called GOSO _(Plate XIII)_, invented by a Chinese
+artist, Godoshi, who lived one thousand years ago, consists in applying
+dark brown color or light _sumi_ wash over the _sumi_ lines. This style
+was much employed by Kano painters and for art printing.
+
+The light reddish-brown color, technically called SENPO SHOKU _(Plate
+XIV)_, is mostly used in printing pictures in book form.
+
+Another form similarly used is called HAKUBYO _(Plate XV)_ or white
+pattern, no color being employed.
+
+Lastly, there is the _sumi_ picture or _sumi e_ _(Plate XVI)_, technically
+called SUIBOKU,--to which reference has already been made--where _sumi_ only
+is employed, black being regarded as a color by Japanese artists.
+
+A well-known method by which the autumnal tints of forest leaves are
+produced is to take up with the brush one after another and in the
+following order these colors: Yellow-green _(ki iro),_ brown (TAI SHA),
+red (SHU), crimson _(beni),_ and last, and on the very tip of the brush,
+_sumi._  The brush thus charged and dexterously applied gives a charming
+autumn effect, the colors shading into each other as in nature.
+
+There are five parent colors in Japanese art: parent colors Blue (SEI),
+yellow (AU), black (koku), white (BYAKU), combinations and red (SEKI).
+These in combination (CHO GO) originate other colors as follows:  Blue and
+yellow produce green _(midori);_ blue and black, dark blue _(ai nezumi);_
+blue and white, sky-blue _(sora iro);_ blue and red, purple _(murasaki)_;
+yellow and black, dark green _(unguisu cha)_; yellow and red, orange
+_(kaba);_ black and red, brown _(tobiiro);_ black and combinations white,
+gray _(nezumiiro)._  These secondary colors in combination produce other
+tones and shades required.  Powdered gold and silver, and crimson made
+from the saffron plant are also employed.  The colors, excepting yellow,
+are prepared for use by mixing them with light glue upon a saucer.  With
+yellow, water alone is used.  In addition to all the foregoing there are
+other expensive colors used in careful work and known as mineral earths
+_(iwamono)._  They are blue (GUNJO), dark or Prussian blue (KONJO), light
+bluish-green (GUNROKU), green (ROKUSHO), light green (BYAKUGUN), pea green
+(CHA-ROKU SHO) and light red (SANGO MATSU).
+
+The use of primary colors in a painting in proximity to secondary ones
+originated by them is color to be avoided, as both lose by such contrast;
+and when a color-scheme fails to give satisfaction it will usually be
+found that this cardinal principle of harmony, called _iro no kubari,_ has
+been disregarded by the artist.  Color in art is the dress, the apparel in
+which the work is clad.  It must be suitably combined, restrained, and
+attract no undue attention _(medatsunai)._  True color sense is a special
+gift.
+
+
+
+
+
+[Chapter 4 Head-Band: The pattern (moyo) known as bamboo and the swelling
+   sparrow (take nifukura susume).  The parts of the bird are amusingly
+ conventionalized--in the Korin manner. The word fukura written in Chinese
+             contains the lucky character fuku (happiness).]
+
+
+CHAPTER FOUR.  LAWS GOVERNING THE CONCEPTION AND EXECUTION OF A PAINTING
+
+
+When a Japanese artist is preparing to paint a picture he considers first
+the space the picture is to occupy and its shape, whether square, oblong,
+round or otherwise; next, the distribution of light and shade, and then
+the placing of the objects in the composition so as to secure harmony and
+effective contrasts.  In settling these questions he relies largely on the
+laws of proportion and design.
+
+The principles of proportion (ICHI) and design (ISHO) are closely allied.
+They aim to supply and express with sobriety what is essential to the
+composition, proportion determining the just arrangement and distribution
+of the component parts, and design the manner in which the same shall be
+handled.  In a landscape, proportion may require the balancing effect of
+buildings and trees, while design will determine how the same may be
+picturesquely presented; for instance, by making the trees partially hide
+the buildings, thus provoking a desire to see more than is shown.  Such
+suggestion or stimulation of the imagination is called YUKASHI. The
+Japanese painter is early taught the value of suppression in design--_l'art
+d'ennuyer est de tout dire_.
+
+A well-known rule of proportion, quaintly expressed in the original
+Chinese and which is more or less adhered to in practice, requires in a
+landscape painting that if the mountain be, for example, ten feet high the
+trees should be one foot, a horse one inch and a man the size of a bean.
+JO SAN SEKI JU, SUN BA TO JIN _(Plate XVII)_.
+
+Design, called in art ISHO ZUAN or _takumi,_ is largely the personal
+equation of the artist.  It is his power of presenting and expressing what
+he treats in an original manner.  The subject may not be new, but its
+treatment must be fresh and attractive.  Much will depend upon the
+learning and the technical ability of the artist.  In the matter of design
+the artists of Tokyo have always differed from those of Kyoto, the former
+aiming at lively and even startling effects, while the latter seek to
+produce a quieter or more subdued _(otonashi)_ result.
+
+Where landscapes or trees are to be painted upon a single panel, panels on
+each side of it may be conveniently placed and the painting designed upon
+the central panel in connection with the two additional ones used for
+elaboration.  In this way, when the side panels are withdrawn the effect
+is as though such landscape or trees were seen through an open window, and
+all cramped or forced appearance is avoided.  The _Ukiyo e_ artists
+practiced a similar method in their _hashirakake_ or long, narrow,
+panel-like prints of men and women used for decorating upright beams in a
+room.
+
+The literature of art abounds in instances illustrative of correct
+proportion and design.
+
+The artist Buncho being requested to paint a crow flying across a _fusuma_
+or four sliding door-like panels, after much reflection painted the bird
+in the act of disappearing from the last of these subdivisions, the space
+of the other three suggesting the rapid flight which the crow had already
+accomplished, and the law of proportion (ICHI) or orderly arrangement thus
+observed was universally applauded.
+
+In the wooded graveyard of the temple at Ike-gami, where the tombs of so
+many of the Kano artists (including Tanyu) are to be found, is a stone
+marking the grave of a Kano painter who, having executed an order for a
+picture and his patron observing that it was lacking in design and that he
+must add a certain gold effect in the color scheme, rather than violate
+his own convictions of what he considered proper design, first refused to
+comply and then committed _hara kiri._
+
+A canon of Japanese art which is at the base of one of the peculiar charms
+of Japanese pictures, not merely in the whole composition but also in
+minute details that might escape the attention at first glance, requires
+that there should be in every painting the sentiment of active and
+passive, light and shade.  This is called IN YO and is based upon the
+principle of contrast for heightening effects.  The term IN YO originated
+in the earliest doctrines of Chinese philosophy and has always existed in
+the art language of the Orient.  It signifies darkness (IN) and light
+(YO), negative and positive, female and male, passive and active, lower
+and upper, even and odd.  This term is of constant application in
+painting.  A picture with its lights and shades properly distributed
+conforms to the law of IN YO.  Two flying crows, one with its beak closed,
+the other with its beak open; two tigers in their lair, one with the mouth
+shut, the other with the teeth showing; or two dragons, one ascending to
+the sky and the other descending to the ocean, illustrate phases of IN YO.
+Mountains, waves, the petals of a flower, the eyeball of a bird, rocks,
+trees--all have their negative and positive aspects, their IN and their YO.
+The observance of this canon secures not only the effective contrast of
+light and shade in a picture but also an equally striking contrast between
+the component parts of each object composing it.
+
+The law of form, in art called KEISHO or KAKKO, is widely applied for
+determining not only the correct shape of things but also their suitable
+or proper presentation according to circumstances.  It has to do with all
+kinds of attitudes and dress.  It determines what is suitable for the
+prince and for the beggar, for the courtier and for the peasant.  It
+regulates the shape that objects should take according to conditions
+surrounding them, whether seen near or far off, in mist or in rain or
+snow, in motion or in repose. The exact shape of objects in motion (as an
+animal running, a bird flying or a fish swimming) no one can see, but the
+painter who has observed, studied and knows by heart the form or shape of
+these objects in repose can, by virtue of his skill, reproduce them in
+motion, foreshortened or otherwise; that is KEISHO; and he is taught and
+well understands that if in executing such work his memory of essential
+details fails him hesitancy is apt to cause the picture to perish as a
+work of art.
+
+KEISHO literally means shape, but in oriental art it signifies also the
+proprieties; it is a law which enforces among other things canons of good
+taste and suppresses all exaggerations, inartistic peculiarities and
+_grimaces._
+
+The law touching historical subjects and the manner of painting them is
+called KO JUTSU.  Special principles apply to this department of Japanese
+art.  The historical painter must know all the historical details of the
+period to which his painting relates, including a knowledge of the arms,
+accoutrements, costumes, ornaments, customs and the like.  This subject
+covers too vast a field and is too important to be summarily treated here.
+Suffice it to say that there have been many celebrated historical painters
+in Japan.  I recall, on the other hand, a picture once exhibited by a
+distinguished Tokyo artist which was superbly executed but wholly ignored
+by the jury because it violated some canon applicable to historical
+painting.
+
+The term YU SHOKU refers to the laws governing the practices of the
+Imperial household, Buddhist and Shinto rites.  Before attempting any work
+of art in which these may figure the painter must be thoroughly versed in
+the appointments of palace interiors, the rules of etiquette, the
+occupations and pastimes of the Emperor, court nobles _(Kuge),_ _daimyo_
+and their military attendants _(samurai),_ the costumes of the females
+_(tsubone)_ of the Imperial household and their duties and
+accomplishments.  The Tosa school made a thorough familiarity with such
+details its specialty.  All Buddhist paintings come under the law of YU
+SHOKU.
+
+Let us next consider briefly some of the principles applicable to Japanese
+landscape painting.  Landscapes are known in art by the term SAN SUI,
+which means mountain and water.  This Chinese term would indicate that the
+artists of China considered both mountains and water to be essential to
+landscape subjects, and the tendency in a Japanese artist to introduce
+both into his painting is ever noticeable.  If he cannot find the water
+elsewhere he takes it from the heavens in the shape of rain.  Indeed, rain
+and wind subjects are much in favor and wonderful effects are produced in
+their pictures suggesting the coming slorm, where the wind makes the
+bamboos and trees take on new, weird and fantastic shapes.
+
+The landscape _(Plate XVIII)_ contains a lofty mountain, rocks, river,
+road, trees, bridge, man, animal, et cetera.  The first requisite in such,
+a composition is that the picture respond to the law of TEN CHI JIN, or
+heaven, earth and man.  This wonderful law of Buddhism is said to pervade
+the universe and is of widest application to all the art of man.  TEN CHI
+JIN means that whatever is worthy of contemplation must contain a
+principal subject, its complimentary adjunct, and auxiliary details.  Thus
+is the work rounded out to its perfection.
+
+                  [Tiger, by Kishi Chikudo.  Plate VI.]
+
+                   Tiger, by Kishi Chikudo.  Plate VI.
+
+
+This law of TEN CHI JIN applies not only to painting but to poetry (its
+elder sister), to architecture, to garden plans, as well as to flower
+arrangement; in fact, it is a universal, fundamental law of correct
+construction.  In _Plate XVIII_ the mountain is the dominant or principal
+feature.  It commands our first attention.  Everything is subservient to
+it.  It, therefore, is called TEN, or heaven.  Next in importance,
+complimentary to the mountain, are the rocks.  These, therefore, are CHI,
+or earth; while all that contributes to the movement or life of the
+picture, to wit, the trees, man, animal, bridge and river, are styled JIN,
+or man, so that the picture satisfies the first law of composition,
+namely, the unity in variety required by TEN CHI JIN.
+
+There is another law which determines the general character to be given a
+landscape according to the season, and is thus expressed:  Mountains in
+spring should suggest joyousness; in summer, green and moisture; in
+autumn, abundance; in winter, drowsiness.   The formula runs as follows:
+SHUN-ZAN, _warau gotoshi;_ KAZAN, _arau gotoshi;_ SHUZAN, _yoso gotoshi;_
+TOZAN, _nemurugotoku._
+
+Similarly, according to the season, there are four principal ways of
+painting bamboo (CHIKU).  In fair-weather bamboo (SEI CHIKU) the leaves
+are spread out joyously; in rainy-weather bamboo (UCHIKU) the leaves hang
+down despondently; in windy-weather bamboo (FUCHIKU) the leaves cross each
+other confusedly, and in the dew of early morning (ROCHIKU) the bamboo
+leaves all point upwards vigorously _(Plate LIII a 1 to a 4)_.
+
+The Kano artists differ from the Shijo painters in their manner of
+combining _(kasaneru)_ the leaves and branches of the bamboo.  Speaking
+generally, the Shijo artists point the leaves downward, while the former
+point them upward, which is more effective.
+
+Again, in snow scenery the Kano artists first paint the bottom of the
+snow-line and then by shading _(kumadori)_ above the same with very light
+ink _(usui sumi)_ produce the effect of accumulated snow.  The Okyo school
+secures the same result in a much more brilliant manner, using but a
+single dexterous stroke of the well-watered brush, the point only of which
+is tipped with _sumi._
+
+Some artisls, notably Kubota Beisen and his followers, employ both
+methods, the former for near and the latter for distant snow landscapes.
+
+Low mountains in a landscape suggest great distance.  Fujiyama, the
+favorite subject of all artists, should not be painted too high, else it
+loses in dignity by appearing too near.  In an art work written by Oishi
+Shuga, Fuji is reproduced as it appears at every season of the year,
+whether clad in snow, partly concealed by clouds, or plainly visible in
+unobstructed outline.  The book is a safe guide for artists to consult.
+
+We may next consider some laws applicable to mountains, rocks and ledges.
+It has long since been observed by the great writers on art in China that
+mountains, rocks, ledges and peaks have certain characteristics which
+distinguish them.  These differ not only with their geological formations
+but also vary with the seasons on account of the different grasses and
+growths which may more or less alter or conceal them.  To attempt to
+reproduce them as seen were a hopeless task, there being too much
+confusing detail; hence, salient features only are noted, studied and
+painted according to what is called SHUN PO, or the law of ledges or
+stratifications.  There are eight different ways in which rocks, ledges
+and the like may be represented:
+
+The peeled hemp-bark method, called HI MA SHUN _(Plate XXIII a)_.
+
+The large and small axe strokes on a tree, called DAI SHO FU HEKI SHUN
+_(Plate XXIII b)_.
+
+The lines of the lotus leaf, called KA YO SHUN _(Plate XXIV a)._
+
+Alum crystals, called HAN TO SHUN _(Plate XXIV b)_.
+
+The loose rice leaves, called KAI SAKU SHUN _(Plate XXV a)_.
+
+Withered kindling twigs, called RAN SHI SHUN _(Plate XXV b)_.
+
+Scattered hemp leaves, termed RAMMA SHUN _(Plate XXVI a)_.
+
+The wrinkles on a cow's neck, called GYU MO SHUN _(Plate XXVI b)_.
+
+These eight laws are not only available guides to desired effects; they
+also abbreviate labor and save the artist's attempting the impossible task
+of exactly reproducing physical conditions of the earth in a landscape
+painting.  They are symbols or substitutes for the truth felt.  Nothing is
+more interesting than such art resources whereby the sentiment of a
+landscape is reproduced by thus suggesting or symbolizing many of its
+essential features.
+
+It was a theory of the great Chinese teacher, Chinanpin, and particularly
+enforced by him, that trees, plants and grasses take the form of a circle,
+called in art RIN KAN (see _Plate XXVII_), No. 1; or a semi-circle (HAN
+KAN) _(Plate XXVII)_, No. 2; or an aggregation of half-circles, called
+fish scales (GYO RIN) _(Plate XXVII)_, No. 3; or a modification of these
+latter, called moving fish scales (GYO RIN KATSU HO) _(Plate XXVII)_, No
+4. Developing this principle on _Plate XXVIII_, No. 1, we have
+theoretically the first shape of tree growth and on _Plate XXVIII_, No. 2,
+the same practically interpreted. In Nos. 3 and 4, same plate, we have the
+growth of grass illustrated theoretically and practically.  In _Plate
+XXIX_, according to this method, is constructed the entire skeleton of a
+forest tree.  In Nos. 1 and 2 on this plate numerous small circles are
+indicated.  These show where each stroke of the brush begins, the points
+of commencement being of prime importance to correct effect.  In No. 3,
+same plate, we have the foundation work of a tree in a Japanese painting.
+It is needless to point out the marvelous vigor apparent in work
+constructed according to the above principles.
+
+In the painting of rocks, ledges, and the like, Chinanpin taught that the
+curved lines of the fish scales are to be changed into straight lines,
+three in number, of different lengths, two being near together and the
+third line slightly separated, and all either perpendicular or horizontal,
+as in _Plate XXX_, Nos. 1 and 2.  In the same plate, Nos. 3 and 4, we have
+the principle of rock construction illustrated.  In _Plate XXXI_, Nos. 1,
+2 and 3, is seen the practical application of this theory to _kakemono_
+work.  In executing these lines for rocks much stress is laid upon the
+principle of IN YO; on the elevated portions the brush must be used
+lightly (IN) and on the lower portions it must be applied with strength
+(YO).  At the bottom, where grass, mould, and moss accumulate, a rather
+dry brush (KWAPPITSU) is applied with a firm stroke.
+
+Next, there are laws for near and distant tree, shrubbery and grass
+effects, corresponding to the season of the year.  These are known as the
+laws of dots (TEN PO); the saying TEN TAI SAN NEN indicates that it takes
+three years to make them correctly.
+
+They are as follows:
+
+The drooping wistaria dot (SUI TO TEN) _(Plate XXXII a)_ for spring
+effects.
+
+The chrysanthemum dot (KIKU KWA TEN) _(Plate XXXII b)_ used in summer
+foliage.
+
+The wheel spoke dot (SHA RIN SHIN) _(Plate XXXIII a)_, being the
+pine-needle stroke and used for pine trees.
+
+The Chinese character for the verb "to save" (KAI JI TEN) _(Plate XXXIII
+b)_, used for both trees and shrubbery.
+
+The pepper dot (KOSHOTEN) _(Plate XXXIV a)_.  This dot requires great
+dexterity and free wrist movement.  It will be observed that the dots are
+made to vary in size but are all given the same direction.
+
+The mouse footprints (SO SOKU TEN) _(Plate XXXIV b)_, used for cryptomeria
+and other like trees.
+
+The serrated or sawtooth dot (KYO SHI SHIN) _(Plate XXXV a)_, much used
+for distant pine-tree effects.
+
+The Chinese character for "one" (ICHI JI TEN) _(Plate XXXV b)_. The effect
+produced by this character is very remarkable in representing maple and
+other trees whose foliage at a distance appears to be in layers.
+
+The Chinese character for "heart" (SHIN), called SHIN JI TEN _(Plate XXXVI
+a)_. This is used most effectively for both foliage and grasses.
+
+The Chinese character for "positively" (HITSU), called HITSU JI TEN
+_(Plate XXXVI b)_. This dot or stroke is successfully employed in
+reproducing the foliage of the willow tree in spring.
+
+The rice dot, called BEI TEN _(Plate XXXVIII a)_.
+
+The dot called HAKU YO TEN _(Plate XXXVII b)_, being smaller than the
+pepper dot, with the clove dot (SHO JI TEN) surrounding it.
+
+It is a strictly observed rule that none of these dots should interfere
+with or hide the branches of the trees of which they form part.
+
+The term _chobo chobo_ is applied to the practice of always finishing a
+landscape painting, rocks, trees or flowers, with certain dots judiciously
+added to enliven and heighten the general effect.  These dots, done with a
+springing wrist movement, serve to enliven the work and give it freshness,
+just as a rain shower affects vegetation.  The Kano artists were most
+insistent upon _chobo chobo._
+
+There are many quaint aids to artistic effects from time immemorial well
+known to and favored by the old Chinese painters and still successfully
+practiced in Japan.  Probably the larger number of these are employed in
+the technical construction of the Four Paragons (p. 66 _et seq.)._  There
+are still others: as, for instance, the fish-scale pattern _(Plate XIX)_,
+used in painting the clustered needles of the pine tree or the bending
+branches of the willow; the stork's leg for pine tree branches _(Plate
+XIX)_; the gourd for the head and elongated jaws of the dragon; the egg
+for the body of a bird (_Plate XXII_; the stag horn for all sorts of
+interlacing branches; the turtle back pattern or the dragon's scales for
+the pine tree bark.  In addition to these, the general shapes of certain
+of the Chinese written characters are invoked for reproducing winding
+streams _(Plate XX)_, groupings of rocks, meadow, swamp, and other grasses
+and the like.
+
+Of course the exact shape of the various Chinese characters here referred
+to must not be actually painted into the composition but merely the
+sentiment of their respective forms recalled.  They are simply practical
+memory aids to desired effects.
+
+It is the spirit of the character rather than its exact shape which should
+control; the order of the painted strokes being that of the written
+character, its sentiment or general shape is thus reproduced.
+
+In this connection I would allude to criticisms or judgments upon Japanese
+painting in which particular stress is laid upon its calligraphic quality.
+If any Japanese artist was seriously informed that his method of painting
+was calligraphic, he would explode with mirth.  There are several ways to
+account for this rather wide-spread error.  Much that is written about
+Japanese painting and its calligraphy is but the repetition by one author
+of what he has taken on trust from another, an effective way sometimes of
+spreading misinformation.  It is quite true that the assiduous study of
+Chinese writing (SHO) is an essential part of thorough art education in
+Japan, not, however, for the purpose of learning to paint as one writes,
+or of introducing written characters more or less transformed into a
+painting (if that be what is meant by "calligraphic"), but simply to give
+the artist freedom, confidence, and grace in the handling of the brush and
+to train his eye to form and balance and to acquire both strength of
+stroke and a knowledge of the sequence of strokes.  To write in Chinese
+after the manner of professionals (SHO KA) is truly a great art, esteemed
+even higher than painting; it requires thirty years of constant practice
+to become expert therein, and it has many laws and profound principles
+which, if mastered by artists, will enable them to be all the greater in
+their painting, and many Japanese artists have justly prided themselves
+upon being expert writers of the Chinese characters.  Okyo practiced daily
+for three years the writing of two intricate characters standing for his
+name, until he was satisfied with their forms, but there is nothing
+calligraphic about any of Okyo's painting.
+
+Possibly what has misled foreign critics and even some Japanese writers is
+that there exists a class of men in Japan given to learning, to writing,
+and also to painting in a particular way.
+
+These men are called BUN JIN (literati) and their style of painting is
+called BUN JIN FU.  They are not artists, but are known as Confucius'
+scholars (JU SHA), and being professional or trained writers in the
+difficult art of Chinese calligraphy they have a manner of painting
+strictly _sui generis._  It is known as the NAN GWA or southern literary
+way of painting.  Their subjects are the bamboo, the plum, the orchid and
+the chrysanthemum, called the four paragons (SHI KUN SHI).  These and
+landscapes they paint with their writing brush and more or less in what is
+called the grass character (SO SHO) manner of writing.  In fact, they
+often aim to make their painting look like writing and they rarely use any
+color except light-brown (TAI SHA).  They suppress line as distinguished
+from mass.  This method is called _bokkotsu_ (see _Plate XII_). Such
+painting of the NAN GWA school is, in a sense, calligraphic, but that is
+not the kind of painting which Japanese artists are taught, practice and
+profess, nor is it even recognized as an art, but simply as an eccentric
+development of the literary man with a taste for painting.   At one time
+or another well-known artists, especially at the beginning of the Meiji
+era, have affected this BUN JIN calligraphy style simply as a passing
+fashion.
+
+One other possible explanation of the critics pronouncing all Japanese
+paintings calligraphic is that various Chinese characters are, as we have
+seen, invoked and employed by Japanese artists as memory aids to producing
+certain effects; but were these characters introduced calligraphically,
+the result would be laughable.  It should be plain then that Japanese
+painting is not calligraphic; as well apply the term calligraphy to one of
+Turner's water colors.  On the other hand, Chinese writing is built up on
+word pictures. There are between five and six hundred mother characters,
+all imitating the shapes of objects; these, with their later combinations,
+constitute the Chinese written system, so that while there is nothing
+calligraphic about Japanese painting, there is much that is pictorial
+about Chinese calligraphy.
+
+Other landscape laws applicable to things seen at a distance in a painting
+require that distant trees should show no branches nor leaves; people at a
+distance, no features; distant mountains, no ledges; distant seas or
+rivers, no waves.  Again, clouds should indicate whence they come; running
+water the direction of its source; mountains, their chains; and roads,
+whither they lead.
+
+In regard to painting moving waters, whether of deep or shallow, in rivers
+or brooks, bays or oceans, Chinanpin declared it was impossible for the
+eye to seize their exact forms because they are ever changing and have no
+fixed, definite shape, therefore they can not be sketched satisfactorily;
+yet, as moving water must be represented in painting, it should be long
+and minutely contemplated by the artist, and its general character--whether
+leaping in the brook, flowing in the river, roaring in the cataract,
+surging in the ocean or lapping the shore--observed and reflected upon, and
+after the eye and memory are both sufficiently trained and the very soul
+of the artist is saturated, as it were, with this one subject and he feels
+his whole being calm and composed, he should retire to the privacy of his
+studio and with the early morning sun to gladden his spirit there attempt
+to reproduce the movement of the flow; not by copying what he has seen,
+for the effect would be stiff and wooden, but by symbolizing according to
+certain laws what he feels and remembers.
+
+In work of this kind there are certain directions for the employment of
+the brush which can only be learned from oral instruction and
+demonstration by the master.
+
+In _Plate XXXVIII_ a, 1, the method by which waves are reproduced is
+shown, the circles indicating where the brush is turned upon itself before
+again curving.  On the same plate (b) waveless water, shallow water, and
+river water with current are indicated at the top, middle and bottom,
+respectively.  In _Plate XXXIX_ a, we have the moving waters of an inland
+sea; in b, the bounding waters of a brook; in _Plate XL_, the stormy waves
+of the ocean.
+
+We will now consider another unique department of Japanese painting in
+connection with the garments of human beings.  The lines and folds of the
+garment may be painted in eighteen different ways according to what are
+known as the eighteen laws for the dress (EMON JU HACHI BYO).  I will
+mention each of these laws in its order and refer to the plate
+illustrations of the same.
+
+The floating silk thread line (KOU KO YU SHI BYOU) (_Plate XLI_ upper).
+This line was introduced by the Tosa school of artists eight hundred years
+ago and has been in favor ever since.  It is the purest or standard line
+and is reserved for the robes of elevated personages.  The brush is held
+firmly and the lines, made to resemble silk threads drawn from the cocoon,
+are executed with a free and uninterrupted movement of the arm.
+
+The Koto string line (KIN SHI BYOU) (_Plate XLI_ lower).  This is a line
+of much dignity and of uniform roundness from start to finish.  It is
+produced by using a little more of the tip of the brush than in the silk
+thread line and there must be no break or pause in it until completed.
+This line is used for dignified subjects.
+
+Chasing clouds and running water lines (KOU UN RYU SUI BYOU) (_Plate XLII_
+upper).  These are produced with a wave-like, continuous movement of the
+brush--breathing, as it were.  Such lines are generally reserved for the
+garments of saints, young men and women.
+
+The stretched iron wire line (TETSU SEN BYOU) (_Plate XLII_ lower). This
+is a very important line, much employed by Tosa artists and used for the
+formal, stiffly searched garments of court nobles, _samurai,_ NO dancers,
+and umpires of wrestling matches.  When this line is painted the artist
+must have the feeling of carving upon metal.
+
+The nail-head and rat-tail line (TEI TOU SOBI BYOU) (_Plate XLIII_ upper).
+In making this, the stroke is begun with the feeling of painting and
+reproducing the hard nature of a tack and then continued to depict a rat's
+tail, which grows small by degrees and beautifully less.
+
+The line of the female court noble or _tsubone_ (SOU I BYOU) (_Plate
+XLIII_ lower).  This line and the preceding are much used for the soft and
+graceful garments of young men and women and have always been favorites
+with the _Ukiyo e_ painters.
+
+The willow-leaf line (RYU YOU BYOU) (_Plate XLIV_ upper).  This line has
+always been in great favor with all the schools, and especially with the
+Kano painters, and is used indiscriminately for goddesses, angels, and
+devils.  It is intended to reproduce the sentiment of the willow leaf,
+commencing with a fine point, swelling a little and again diminishing.
+
+The angleworm line (KYU EN BYOU) (_Plate XLIV_ lower).  The angleworm is
+of uniform roundness throughout its length and it is with that sentiment
+or _kokoromochi_ that it must be painted, care being taken to conceal the
+point of the brush along the line.  This is a most important line in all
+color painting. Indeed, where much pains are to be taken with the picture,
+and the colors are to be most carefully laid on, it is the best and
+favorite line.
+
+The rusty nail and old post line (KETSU TOU TEI BYOU) (_Plate XLV_ upper).
+This line is painted with a brush, the point of which is broken off.  The
+Kano school of artists particularly affect this method of line painting in
+depicting beggars, hermits, and other such characters.
+
+The date seed line (SAU GAI BYOU) (_Plate XLV_ lower).  This line,
+intended to represent a continuous succession of date seeds, is made with
+a throbbing brush and generally used in the garments of sages and famous
+men of learning.
+
+The broken reed line (SETSU RO BYOU) (_Plate XLVI_ upper) is made with a
+rather dry brush and, as its name indicates, should be painted with the
+feeling of reproducing broken reeds.  It is a line intended to inspire
+terror, awe, consternation, and is used for war gods, FUDO _sama,_ and
+other divinities.
+
+The gnarled knot line (KAN RAN BYOU) (_Plate XLVI_ lower).  In this kind
+of painting the brush is stopped from time to time and turned upon itself
+with a feeling of producing the gnarled knots of a tree.  The line is much
+used for ghosts, dream pictures, and the like.
+
+The whirling water line (SEN PITSU SUI MON BYOU) (_Plate XLVII_ upper) is
+used for rapid work and reproduces the swirl of the stream.  It was a
+favorite line with Kyosai.
+
+The suppression line (GEN PITSU BYOU) (_Plate XLVII_ lower) is suitable
+where but few lines enter into the painting of the dress.  Any of the
+other seventeen lines can be employed in this way.  The Kano artists used
+it a great deal.
+
+Dry twig or old firewood line (KO SHI BYOU) (_Plate XLVIII_ upper) is
+generally used in the robes of old men and produced by what is called the
+dry brush; that is, a brush with very little water mixed with  the _sumi._
+The stroke must be bold and free to be effective.
+
+The orchid leaf line (RAN YAU BYOU) (_Plate XLVIII_ lower). This is a very
+beautiful method of painting whereby the graceful shape of the orchid leaf
+is recalled; the line is used for the dresses of _geishas_ and beauties
+_(bijin)_ generally.
+
+The bamboo leaf line (CHIKU YAU BYOU) (_Plate XLIX_ upper).  This style of
+painting, which aims at suggesting the leaf of the bamboo, was much in
+favor formerly in China.  Japanese artists seldom employ it.
+
+The mixed style (KON BYOU) (_Plate XLIX_ lower), in which any of the
+foregoing seventeen styles can be employed provided the body of the
+garment be laid on first in mass and the lines painted in afterward while
+the _sumi_ or paint is still damp.  This gives a satiny effect.
+
+There are many other ways of painting the lines of the garment but the
+preceding eighteen laws give the strictly classic methods known to
+oriental art.
+
+The orchid, bamboo, plum, and chrysanthemum paragons (RAN CHIKU BAI KIKU)
+are called in art the Four Paragons.  Although these may be the first
+studies taught they are generally the last subjects mastered.  Much
+learning and research have been expended upon them in China and Japan. An
+artist who can paint SHI KUN SHI is a master of the brush.  I will
+indicate some of the laws applicable to each of these subjects.
+
+The orchid grows in the deepest mountain recesses, exhaling its perfume
+and unfolding its beauty in silence and solitude, unheralded and unseen;
+thus, regardless of its surroundings and fulfilling the law of its being,
+fifteen hundred years ago it was proclaimed by the poet and painter San
+Koku to typify true nobility and hence was a paragon.  In poetry it is
+called the maiden's mirror.  Many great Chinese writers have taken the
+orchid (RAN) for their nom de plume, as Ran Ya, Ran Tei, Ran Kiku, and Ran
+Ryo.
+
+_Plate LII_ shows an orchid plant in flower.  The established order of the
+brush strokes for the leaves of is indicated at the tips by numerals one
+to eleven; that of the flower stalk and flower by numbers twelve to
+twenty-one.  Various forms are invoked in painting both the plant and the
+flower and are more or less graphically suggested.  These forms are
+indicated by numbers, as follows:
+
+Leaf blade No. 1 reproduces twice the stomach of the mantis (22), the tail
+of the rat (23), with the cloud longing (BO UN) of the tip (24).  Leaf No.
+2 is similarly constructed but is painted to intersect leaf No. 1, leaving
+between them a space (No. 25) called the elephant's eye.  Leaf No. 3 is
+intersected by leaf No. 4, enclosing another space between them, known as
+the eye of the phoenix.  Adding leaves Nos. 5 and 6, called SEKI or
+_kazari,_ meaning ornament, we have the most essential parts of the orchid
+plant.  Leaf No. 7 is known as the rat's tail and leaf No. 8 as the body
+of a young carp.  Nos. 9,10 and 11 are called nail heads, from their
+fancied resemblance to such objects.  With these the plant is structurally
+complete.
+
+                 [Bamboo, Sparrow and Rain.  Plate VII.]
+
+                  Bamboo, Sparrow and Rain.  Plate VII.
+
+
+The flower stalk is divided into four parts (Nos. 12 to 15), called rice
+sheaths.  The flower is made with six strokes (16 to 21), called the
+flying bee (26).  The three dots in the flower reproduce the sentiment of
+the Chinese character for heart (23).
+
+The orchid is variously painted rising from the ground, issuing from the
+banks of a brook, or clinging with its roots to a rocky cliff.  In
+allusion to the lonely places where it grows it is called _I shiri no
+kusa_ or the plant which the wild boar knows.  The orchid is credited with
+medicinal properties, and the flower steeped in wine makes a potion which
+secures perpetual health.  The charm of friendship is likened unto the
+orchid's perfume and the flowers are worn by the ladies of the court to
+ward off maladies.
+
+The leaves of the bamboo are green at all seasons.  The stems are straight
+and point upwards.  The plant is beautiful under all conditions--struggling
+beneath the winter snow or fanned by the spring breeze, swaying with the
+storm or bending under showers--its grace challenges admiration.  Typifying
+constancy and upright conduct, it was claimed over a thousand years ago by
+Shumo Shiku to be a paragon.
+
+Nothing is more difficult to paint correctly than this plant.  _Plate
+LIII_ shows the bamboo with its essentially component parts and forms
+indicated as follows: The upright stalk is in five subdivisions (1 to 5),
+each differing in length but all suggesting the Chinese character for one
+(ICHI) painted upright.  These are separated from each other by strokes
+reproducing the Chinese characters for positively (22), for heart (23),
+for second (24), for one (25), and for eight (26).  The stem (6 to 10) is
+composed of rats' tails.  The manner of painting and combining the leaves
+of the bamboo is called _take no ha no kumitata_ and is minutely described
+and illustrated in Ransai's great work, _Gwa Fu._  The essentials are: The
+five-leaf arrangement (GO YO) (11 to 15) with the ornament (16), called
+_kazari._ The three-leaf arrangement (17 to 19) called KO JI, from its
+resemblance to the Chinese character KO (32).  The two-leaf arrangement
+(20 and 21) called JIN JI, from its resemblance to the character JIN (33),
+a man.  In further development of the plant the following imitative
+arrangements of the leaves are used: The fish tail (GYO BI) (27), the
+goldfish triple tail (KINGYO BI) (28), the swallow tail (EN BI) (29), the
+Chinese character for bamboo (CHIKU JI) (30), and the seven-leaf
+arrangement (SHICHI YO) (31).  It will be observed how the odd or positive
+numbers (YO) are favored.  The foregoing method is used by the Okyo
+painters.
+
+The Kano artists have another system for combining and elaborating the
+leaf growth, but it does not differ radically from that here given.  The
+leaf of the bamboo reproduces the shape of a carp's body (34).  It also
+resembles the tail feathers of the phoenix.  An oil is made from the
+bamboo and is said to be good for people with quick tempers.  Many artists
+adopt the name of bamboo for their nom de plume; witness, Chiku Jo, Chiku
+Do, Chiku Sho, Chiku Den and the like.
+
+It is said that the full moon casts the shadow of the bamboo in a way no
+other light approaches.  The learned Okubu Shibutsu first observed this
+and the discovery led to his becoming the greatest of all bamboo painters.
+Nightly he used to trace with _sumi_ such bamboo shadows on his paper
+window.  Sho Hin, a lady artist of Tokyo, enjoys a well-earned reputation
+for painting bamboo.  She was a pupil of Tai Zan, a Kyoto representative
+of the Chinese school.  The Kano painters much favored the subject of the
+seven sages in the bamboo grove.  Bamboo grass (SASSA) is much painted by
+all the schools.  It is very decorative.  There is a male and a female
+bamboo; from the latter _(medake)_ arrows are made.  The uses to which man
+puts the bamboo are surprisingly numerous, thus fortifying its claims to
+be regarded a paragon.
+
+The plum is the first tree of the year to bloom.  It has a dejicate
+perfume.  Though the trunk of the tree grows old it renews its youth and
+beauty every spring with vigorous fresh branches crowded with buds and
+blossoms.  In old age the tree takes on the shape of a sleeping dragon.
+With no other flower or tree are associated more beautiful and pathetic
+folk-lore and historical facts.  For these and other reasons Rennasei
+assigned to the plum its place as a paragon centuries and centuries ago.
+
+The tree branches with their interlacings reproduce the spirit of the
+Chinese character for woman, called JO JI (_Plate L_, No. 1).  The blossom
+(2) is painted on the principle of IN YO, the upper portion of the petal
+line being the positive or YO and the lower being the negative or IN side.
+This is repeated five times for the five petals of the blossom (3). The
+stamens (4) and pistils are reproductions of the Chinese character SHO,
+meaning small.  For the calyx (5) the Chinese character for clove (CHO) is
+invoked.
+
+The great scholar and nobleman, Sugewara Michizane, particularly loved the
+plum tree. Banished from his home, as he was leaving his grounds he
+addressed that silent sentinel of his garden in the following verse, which
+has earned immortality:
+
+Do thou, dear plum tree, send out thy perfume when the east wind blows;
+And, though thy master be no longer here,
+Forget not to blossom always when the springtime comes.
+
+In Japan the plum, though not eaten raw, when salted has wonderful
+strength sustaining properties, and in wartime supplies as _ume boshi_ a
+valuable concentrated food.
+
+The chrysanthemum has been cultivated in China for four thousand years and
+its fame was sung by the poet and scholar, To En Mei, who prized it above
+all else under heaven and assigned it the rank of paragon.
+
+When all Nature is preparing for the long sleep of winter and the red,
+brown and golden forest leaves are dropping, spiritless, to the ground,
+the chrysanthemum comes forth from the earth in fresh and radiant colors.
+It gladdens the heart in the sad season of autumn.  Its clustered petals,
+all united and never scattering, typify the family, the state, and the
+Empire.  For the last six hundred years the sixteen-petaled chrysanthemum
+has been the emblem of Imperial sovereignty in Japan.  With artists it has
+always been a favorite flower subject.  There are innumerable ways of
+painting it.
+
+_Plate LI_ shows the chrysanthemum flower and leaves painted in the Okyo
+manner.  There is an established order in which the leaves must be
+executed. Viewed from the front (Nos. 1 and 2) the order of the brush
+stroke is as indicated on the plate; viewed from the side the brush is
+applied in the order indicated in Nos. 4 and 5.  The flower (6 and 7) is
+built up from the bud (5), petals being added according to the effect
+sought.  The flower half opened is shown in No. 6, and wholly opened in
+No. 7.  The calyx somewhat reproduces the Chinese written character CHO.
+The Kano painters have a different way of painting the chrysanthemum
+leaves and flowers, but the foregoing illustrates the general principles
+obtaining in all the schools.  Korin painted the KIKU in a manner quite
+different from that of any other artist.  The word KIKU is Chinese, the
+Japanese word for the flower being _kawara yomogi._  The Nagoya artists
+have always been particularly skilful in painting the chrysanthemum in an
+exceptionally engaging way.  The little marguerite-like blossom is called
+_mame-giku,_ and is a universal favorite among all artists.
+
+The impression produced on one who for the first time hears enumerated
+these various laws may possibly be that all such methods for securing
+artistic effects are arbitrary, mechanical and unnatural.  But in
+practice, the artist who invokes their aid finds they produce invariably
+pleasing and satisfactory results.  It must not be supposed that such laws
+are exclusive of all other methods of painting in the Japanese style.  On
+the contrary the artist is at liberty to use any other method he may
+select provided the result is artistically correct.  Many painters have
+invented methods of their own which are not included in the foregoing
+enumeration of these laws of lines, dots and ledges, which, it must always
+be borne in mind, are only to assist the artist who may be in doubt or
+difficulty as to how he shall best express the effect he aims at.  It is
+such second nature for him to employ them that he does so as unconsciously
+as one in writing will invoke the rules of grammar.  It is related that a
+great statesman, being asked if it were necessary for a diplomat to know
+Latin and Greek, replied that it was quite sufficient for him to have
+forgotten them.  And so with these laws.  A knowledge of them is a
+necessary part of the education of every Japanese artist, for they lie at
+the very foundation of the art of oriental painting.  Chinese writing
+abounds with similar principles; it is a law applicable to one kind of
+such writing, called REI SHO, that in each character there shall be one
+stroke which begins with the head of a silkworm and terminates with a
+goose's tail.  This also may sound odd and seem forced, yet this law gives
+a special and wonderful _cachet_ to the character so written.
+
+Some acquaintance with these principles and methods invoked by artists
+adds much to our keen enjoyment of their work, just as an analysis of the
+chords in a musical composition increases our pleasure in the harmonies
+they produce.  Ruskin has discovered in the very earliest art the frequent
+use of simple forms suggested by the slightly curved and springing profile
+of the leaf bud which, he declares, is of enormous importance even in
+mountain ranges, when not vital but falling force is suggested.  "This
+abstract conclusion the great thirteenth century artists were the first to
+arrive at" (Ruskin's Mod. Painters, Vol. III), and even in the
+architecture of the best cathedrals that author detects the observance of
+the law determining in an ivy leaf the arrangement of its parts about a
+center.
+
+In Japanese art simple forms supplied by nature are often used for
+suggesting other forms as, for instance, the stork's legs for the pine
+tree branches, the turtle's back for the pine bark lines, the fish tail
+for bamboo leafage, the elephant's eye in the orchid plant, the shape of
+Fujiyama for the forehead of a beautiful woman, and various Chinese
+characters, originally pictorial, adumbrated in trees, flowers and other
+subjects.  The universality of such underlying type forms recognized and
+applied by oriental artists is confirmatory of the principle that in both
+nature and art all is united by a common chain or _commune vinculum_
+attesting the harmony between created things.  A Japanese painting
+executed with the aid of such resources teems with vital force and
+suggestion, and to the eye of a connoisseur _(kuroto)_ becomes a breathing
+microcosm.
+
+To give some idea of the order in which the component parts of an object
+are painted according to Japanese rules, which are always stringently
+insisted upon, flowers like the chrysanthemum and peony are begun at their
+central point and built up from within outwardly, the petals being added
+to increase the size as the flower opens.  In a flower subject the
+blossoms are painted first; the buds come next; then the stem, stalks,
+leaves and their veinings, and lastly the dots called _chobo chobo._
+
+The established order for the human figure is as follows: Nose and
+eyebrows, eyes, mouth, ears, sides of the face, chin, forehead, head,
+neck, hands, feet, and finally the appareled body.  In Japanese art the
+nude figure is never painted.
+
+In a tree the order is trunk, central and side limbs _(Plate XXI)_,
+branches and their subdivisions, leaves and their veinings, and dots.
+
+In birds: The beak in three strokes (TEN, CHI, JIN), the eye, the head,
+the throat and breast, the back, the wings, the body, the tail, the legs,
+claws, nails and eyeball _(Plate XXII)_.
+
+In landscape work the general rule is to paint what is nearest first and
+what is farthest last.  Kubota's method was to do all this rapidly and, if
+possible, with one dip of the well-watered brush into the _sumi,_ so that
+as the _sumi_ becomes gradually diluted and exhausted the proper effect of
+foreground, middle distance and remote perspective is obtained.
+
+In painting mountain ranges that recede one behind the other the same
+process is followed, and mountains as they disappear to the right or left
+of the picture should tend to rise.  This principle is called BO UN or
+cloud longing.
+
+It is useless here to enumerate the many faults which art students are
+warned against committing.  Suffice it to say the number is enormous.  Out
+of many of the Chinese formulas I will give only one, which is known as
+SHI BYO or the four faults, and is as follows:
+
+JA, KAN, ZOKU, RAI.  JA refers to attempted originality in a painting
+without the ability to give it character, departing from all law to
+produce something not reducible to any law or principle.  KAN is producing
+only superficial, pleasing effect without any _power_ in the brush
+stroke--a characterless painting to charm only the ignorant. ZOKU refers to
+the fault of painting from a mercenary motive only,--thinking of money
+instead of art.  RAI is the base imitation of or copying or cribbing from
+others.
+
+
+
+
+
+ [Chapter 5 Head-Band: Maple leaves are associated with Ten Jin (Sugiwara
+Michizane), patron of learning.  Children in invoking his aid in a little
+ prayer count the points of the maple leaf, saying, "yoku te agar"--assist
+   us to be clever. In Japanese the maple leaf is called kaide, meaning
+                              frog's hand.]
+
+
+CHAPTER FIVE. CANONS OF THE AESTHETICS OF JAPANESE PAINTING
+
+
+One of the most important principles in the art of Japanese
+painting--indeed, a fundamental and entirely distinctive characteristic--is
+that called living movement, SEI DO, or _kokoro mochi,_ it being, so to
+say, the transfusion into the work of the felt nature of the thing to be
+painted by the artist.  Whatever the subject to be translated--whether
+river or tree, rock or mountain, bird or flower, fish or animal--the artist
+at the moment of painting it must feel its very nature, which, by the
+magic of his art, he transfers into his work to remain forever, affecting
+all who see it with the same sensations he experienced when executing it.
+
+This is not an imaginary principle but a strictly enforced law of Japanese
+painting.  The student is incessantly admonished to observe it.  Should
+his subject be a tree, he is urged when painting it to feel the strength
+which shoots through the branches and sustains the limbs.  Or if a flower,
+to try to feel the grace with which it expands or bows its blossoms.
+Indeed, nothing is more constantly urged upon his attention than this
+great underlying principle, that it is impossible to express in art what
+one does not first feel.  The Romans taught their actors that they must
+first weep if they would move others to tears.  The Greeks certainly
+understood the principle, else how did they successfully invest with
+imperishable life their creations in marble?
+
+In Japan the highest compliment to an artist is to say he paints with his
+soul, his brush following the dictates of his spirit.  Japanese painters
+frequently repeat the precept:
+
+_Waga kokoro waga te wo yaku_
+_Waga te waga kokoro ni ozuru._
+
+Our spirit must make our hand its servitor;
+Our hand must respond to each behest of our spirit.
+
+The Japanese artist is taught that even to the placing of a dot in the
+eyeball of a tiger he must first feel the savage, cruel, feline character
+of the beast, and only under such influence should he apply the brush.  If
+he paint a storm, he must at the moment realize passing over him the very
+tornado which tears up trees from their roots and houses from their
+foundations.  Should he depict the seacoast with its cliffs and moving
+waters, at the moment of putting the wave-bound rocks into the picture he
+must feel that they are being placed there to resist the fiercest movement
+of the ocean, while to the waves in turn he must give an irresistible
+power to carry all before them; thus, by this sentiment, called living
+movement (SEI DO), reality is imparted to the inanimate object.  This is
+one of the marvelous secrets of Japanese painting, handed down from the
+great Chinese painters and based on psychological principles--matter
+responsive to mind.  Chikudo, the celebrated tiger painter _(Plate VI)_,
+studied and pondered so long over the savage expression in the eye of the
+tiger in order to reproduce its fierceness that, it is related, he became
+at one time mentally unbalanced, but his paintings of tigers are
+inimitable.  They exemplify SEI DO.
+
+From what has been said it will be appreciated why, in a Japanese
+painting, so much value is attached to the strength with which the brush
+strokes are executed _(fude no chicara),_ to the varying lights and shades
+of the _sumi_ (BOKU SHOKU), to their play and sheen _(tsuya),_ and to the
+manifestation of the artist's power according to the principle of living
+movement (SEI DO).  In a European painting such considerations have no
+place.
+
+An oil painting can be rubbed out and done over time and again until the
+artist is satisfied.  A _sumi e_ or ink painting must be executed once and
+for all time and without hesitation, and no corrections are permissible or
+possible.  Any brush stroke on paper or silk painted over a second time
+results in a smudge; the life has left it.  All corrections show when the
+ink dries.
+
+Japanese artists are not bound down to the literal  presentation  of
+things  seen.  They  have  a canon, called _esoragoto,_ which means
+literally an invented picture, or a picture into which certain invention
+fictions are painted.
+
+Every painting to be effective must be _esoragoto;_ that is, there must
+enter therein certain artistic liberties.  It should aim not so much to
+reproduce the exact thing as its sentiment, called _kokoro mochi,_ which
+is the moving spirit of the scene.  It must not be a facsimile.
+
+When we look at a painting which pleases us what is the cause or source of
+our satisfaction?  Why does such painting give us oftentimes more
+satisfaction than the scene itself which it recalls?  It is largely
+because of _esoragoto_ or the admixture of invention (the artistic
+unreality) with the unartistic reality; the poetic handling or treatment
+of what in the original may in some respects be commonplace.
+
+A correctly executed Japanese painting in _sumi_ called _sumi e,_ is
+essentially a false picture so far as color goes, where anything in it not
+black is represented.  Hence, _sumi_ paintings of landscapes, flowers and
+trees, are untrue as to color, and the art lies in making things thus
+represented seem the opposite of what they appear and cause the sentiment
+of color to be felt through a medium which contains no color.  This is
+_esoragoto._
+
+It is related that Okubo Shibutsu, famous for painting bamboo, was
+requested to execute a _kakemono_ representing a bamboo forest.
+Consenting, he painted with all his known skill a picture in which the
+entire bamboo grove was in red. The patron upon its receipt marveled at
+the extraordinary skill with which the painting had been executed, and,
+repairing to the artist's residence, he said: "Master, I have come to
+thank you for the picture; but, excuse me, you have painted the bamboo
+red."  "Well," cried the master, "in what color would you desire it?"  "In
+black, of course," replied the patron.  "And who," answered the artist,
+"ever saw a black-leaved bamboo?"  This story well illustrates
+_esoragoto._  The Japanese are so accustomed to associate true color with
+what the _sumi_ stands for that not only is fiction in this respect
+permissible but actually missed when not employed.  In a landscape
+painting effects are frequently introduced which are not to be found in
+the scene sketched.  The false or fictitious is added to heighten the
+effect.  This is _esoragoto--_ the privileged departure, the false made to
+seem true.  In a landscape a tree is often found to occupy an unfortunate
+place or there is no tree where its presence would heighten the effect.
+Here the artist will either suppress or add it, according to the
+necessities of treatment.  Not every landscape is improved by trees or
+plantations; nor, indeed, is every view containing trees a type scene for
+landscape treatment.  Hence, certain liberties are conceded the artist
+provided only the effect is pleasing and satisfactory and that no
+probabilities seem violated.  This is _esoragoto._  Horace understood this
+and lays it down as a fundamental principle in art: "_Quid libet
+audendi_".  The artist will oftentimes see from a point of view impossible
+in nature, but if the result is pleasing the liberty is accorded.  Sesshu,
+one of the greatest landscape painters of Japan, on returning to his own
+country after having studied some years in China, made a painting of his
+native village with its temple and temple groves, winding river and pagoda
+or five-roofed tower.  His attention being subsequently called to the fact
+that in this village there was no tower or pagoda, he exclaimed that there
+ought to be one to make the landscape perfect, and thereupon he had the
+tower constructed at his own expense.  He had painted in the pagoda
+unconsciously.  This was _esoragoto._
+
+There are no people in the world who have a higher idea of the dignity of
+art than the Japanese and it is a principle with them that every painting
+worthy of the name should reflect that dignity, should testify to its own
+worth and thus justly impress with sentiments of admiration those to whom
+it may be shown.  This intrinsic loftiness, elevation or worth is known in
+their art by the term KI IN.  Without this quality the painting,
+artistically considered and critically judged, must be pronounced a
+failure.  Such picture may be perfect; in proportion and design, correct
+in brush force and faultless in color scheme; it may have complied with
+the principles of IN YO, and TEN, CHI, JIN or heaven, earth and man; it
+may have scrupulously observed all the rules of lines, dots and ledges and
+yet if KI IN be wanting the painting has failed as a work of true art.
+What is this subtle something called KI IN?
+
+In our varied experiences of life we all have met with noble men and women
+whose beautiful and elevating characters have impressed us the moment we
+have been brought into relation with them.  The same quality which thus
+affects us in persons is what the Japanese understand by KI IN in a
+painting.  It is that indefinable something which in every great work
+suggests elevation of sentiment, nobility of soul.  From the earliest
+times the great art writers of China and Japan have declared that this
+quality, this manifestation of the spirit, can neither be imparted nor
+acquired.  It must be innate.  It is, so to say, a divine seed implanted
+in the soul by the Creator, there to unfold, expand and blossom,
+testifying its hidden residence with greater or lesser charm according to
+the life spent, great principles adhered to and ideals realized.  Such is
+what the Japanese understand by KI IN.  It is, I think, akin to what the
+Romans meant by _divinus afflatus--_that divine and vital breath, that
+emanation of the soul, which vivifies and ennobles the work and renders it
+immortal.  And it is a striking commentary upon artist life in Japan that
+many of the great artists of the Tosa and Kano schools, in the middle
+years of their active lives, retired from the world, shaved their heads,
+and, taking the titular rank of HOGEN, HOIN or HOKYO, became Buddhist
+priests and entered monasteries, there to pass their remaining days,
+dividing their time between meditation and inspired work that they might
+leave in dying not only spotless names but imperishable monuments raised
+to the honor and glory of Japanese art.
+
+
+
+
+
+            [Chapter 6 Head-Band: The chrysanthemum pattern.]
+
+
+CHAPTER SIX. SUBJECTS FOR JAPANESE PAINTING
+
+
+                                (GWA DAI)
+
+
+A Japanese artist will never of his own accord paint a flower out of
+season or a spring landscape in autumn; the fitness of things insensibly
+influences him.  From ancient times certain principles have determined his
+choice of subjects, according either to the period of the year or to the
+festivals, ceremonies, entertainments or other events he may be required
+to commemorate.  All such subjects are called GWA DAI.  As one without
+some knowledge of these cannot appreciate much that is interesting about
+art customs in Japan, a brief reference to them will be made, beginning
+with those subjects suitable to the different months of the year:
+
+January--For New Year's  day  (SHO GWATSU GWAN JITSU) favorite subjects are
+"the sun rising above the ocean," called _hi no de ni nami_ (_Plate LIV_
+No.  1); "Mount  Horai" (2), "the sun with storks and tortoises" (3, 4,
+5); or "Fukurokuju," a god of good luck.  Many meanings are associated
+with these subjects.  The sun never changes and the ocean is ever
+changing, hence IN YO is symbolized.  The sun, the ocean and the
+circumambient air symbolize TEN CHI JIN or the universe.  Horai (SAN) is a
+symbol for Japan.  It is the lofty mountain on a fabled island in the
+distant sea, referred to in early Chinese writings, inhabited by sages
+(SEN NIN), and containing the pine, bamboo and plum (known in art as SHO,
+CHIKU, BAI), the pine standing for longevity, the bamboo for rectitude and
+the plum blossom for fragrance and grace.  The stork and the tortoise,
+whose back is covered with seaweed, both typify long life, the ancient
+saying being that the stork lives for one thousand and the tortoise for
+ten thousand years _(tsuru wa_ SEN NEN, _kame wa_ MAN NEN).  Fukurokuju is
+one of the seven gods of good luck, whose name means happiness, wealth and
+long life.  On New Year's day are suspended on either side of his picture
+bamboo and plum subjects (_Plate LV_, 1, 2, 3).  This jovial god's name is
+sometimes happily interpreted by a triple _kakemono_ (SAN BUKU TSUI): The
+middle one is the sun and waves, for long life (JU); on the right, rice
+grains, for wealth (ROKU), and on the left the flower of the cotton plant,
+for happiness (FUKU), because its corolla is golden and its fruit silvery,
+the gold and silver suggesting felicity (_Plate LVI_, 1, 2, 3).  This
+makes a charming combination.  An excursion into the fields of Chinese
+philology in connection with the name of this god of good luck would
+unfold some wonderful word picturing. Traced to their hieroglyphical
+beginnings, FUKU signifies blessings from heaven; ROKU, rank, commemorated
+in  carving,  and (JU), agricultural pursuits, associated with white hair.
+
+An especially appropriate picture for this season of great festivity is
+called "the pine at the gate" _(kado matsu)._  It commemorates the custom
+on the first day of the year of planting pine trees at the entrance to
+Japanese public buildings and private residences.  From the rope
+_(shimenawa)_ (_Plate LV_, 4) are suspended strips of white paper
+_(gohei)_ typifying purity of the soul; these hang in groups of three,
+five and seven, the odd or lucky number series associated with the
+positive or male principle (YO) of IN YO.  Another appropriate subject for
+this early season of the year is rice cakes _(mochi)_ in the shapes of the
+sun and full moon (_Plate LV_, 5).  In the picture the fruit called _dai
+dai_ is placed on the top of the rice cakes, the word DAI meaning ages,
+hence associated with longevity.  At the base of the stand is a prawn
+_(ebi)._  This equally suggests old age because the prawn is bent in two.
+The leaf of the _yuzuri_ is introduced because it is an auspicious word
+and means succession.  The picture of a battledoor and shuttlecock
+_(hagoita)_ is also appropriate for New Year as  it commemorates the
+ancient practice of the Japanese indulging in that pastime on that day
+(_Plate LVI_, 4).
+
+During January a very popular picture for the alcove _(tokonoma)_ is the
+treasureship, called _taka-rabune_ (_Plate LVI_, 5). The vessel as it
+sails into port is heavily laden with all of the various tools and
+utensils typifying great wealth to be found in the capacious bag of Dai
+Koku, a Japanese god of good luck.  These are a ball, a hammer, weights,
+cloves, silver bronze, and the god's raincoat and hat.  On the evening of
+the second of January if the painting of a treasureship be put under the
+pillow and one dreams of either Fujisan, a falcon or an eggplant, the year
+long he will be fortunate.  It will be observed that on the sail of the
+treasure boat is inscribed the Chinese character for TAKARA, meaning
+treasure.  On the seventh day of January occurs the first of the five
+holidays, called _go sekku,_ and vegetable subjects are painted.  These
+are called the seven grasses _(hotoke za_ or _nana kusa)_ and consist of
+parsley, shepherd's purse, chickweed, saint's seat, wild turnip and
+radish.  They are susceptible of most artistic treatment and ingenious,
+original designs are often evolved (_Plate LVII_, 6).
+
+February--The cock and the hen, with the budding plum branch, are now
+appropriate.  The subject is known as the "plum and chickens" _(ume ni
+tori)_ (_Plate LVII_, 1).  The chicken figures in the earliest history of
+Japan.  When the cock crows the Japanese hear the words KOKKA KOO, which,
+phonetically rendered into Chinese characters, read "happiness to our
+entire land."  The Chinese hear differently.  To them the cock crows TOTEN
+KO, meaning "the eastern heavens are reddening," so to them the cock
+heralds the early morn.  Famous paintings of chickens have come from the
+brushes of Okyo, Tessan (_Plate III_), and others of the Maruyama school.
+During February, the month of the plum, the appropriate paintings are of
+that flower and the Japanese warbler _(ume ni uguisu)_ (_Plate LVII_, 2).
+This singing bird announces the spring with its melodious notes (HOHO
+KEKYO), which, rendered by the Buddhist into Chinese characters, give the
+name of the principal book of the eighteen volumes of Shaka, entitled,
+"the marvelous law of the lotus."  Another picture suitable to February is
+known as "the last of the snow" _(zan setsu)_ (_Plate LVII_, 3).
+
+March--This month is associated with the peach blossom, and _kakemono_ of
+gardens containing peach trees, called _momo no_ EN (_Plate LVII_, 4), are
+in favor.  Toba Saku is related to have lived eight thousand years
+subsisting upon the fruit of the peach; hence, the peach blossom is a
+symbol for longevity, and _sake_ made from the fruit is drunk throughout
+Japan in March.  One of the most famous prose writings in Chinese
+literature is RAN-TEI KIOKA SUI.  It commemorates a pastime of the
+learned, called "the _sake_ cup."  A favorite way of interpreting this
+subject is to paint a garden of blossoming peach trees and spreading
+banana palms bordering a flowing stream, with a nobleman attaching to a
+peach branch a narrow paper (TANJAKU) upon which he has written a poem.
+Another famous Chinese prose composition, "the peach and apricot garden
+festival," written by Ri Tai Haku at the age of fourteen years, is
+interpreted by depicting Toba Saku in a garden seated before a table, with
+three Chinese beauties attendant upon him, with celebrated scholars and
+sages circulating midst the flowers and blossoms.  Five principal
+festivals of the year, known as _go sekku,_ occur respectively on the
+seventh day of January, the third day of March, the fifth day of May, the
+seventh day of July and the ninth day of September--all being on the odd
+days of the odd months (the YO of IN YO).  On the third day of the third
+month is the _hina matsuri_ festival for young girls, and the appropriate
+painting for the occasion is called _kami bina,_ meaning paper dolls
+(_Plate LVII_, 5).  The greatest Japanese artists of the past have vied to
+make their treatment of this subject superb.  When a female child is born
+a _kami bina_ painting is presented to the family to contribute to the
+festivities.  The month of March is the month of the cherry blossom
+_(sakura bana),_ and the picture on _Plate LVIII_, 1, illustrates one
+method of painting cherry trees ornamenting the mountainside of a canyon,
+through which flows a river.  During March picnic parties go upon the
+beach at low tide to gather shell-fish. The subject illustrated on _Plate
+LVIII_, 2, called ebb-tide _(shio hi),_ is appropriate.  The picture of
+the maiden Saohime (_Plate LVIII_, 3) is also painted in March.
+
+April--The wistaria flower _(Juji)_ is associated with the fourth month and
+all April landscapes represent the trees covered with much foliage.  A
+small bird called _sudachi dori,_ hatched in this month, is often painted
+on the wistaria branch (_Plate LVIII_, 4). The picture typifies parental
+affection, on account of the known solicitude of the mother bird for its
+young.
+
+May--There are many subjects appropriate for May.  The iris _(shobu)_
+(_Plate LVIII_, 5) now makes its appearance.  Its long-bladed leaves are
+sword shaped, therefore the plant symbolizes the warrior spirit _(bushi)._
+The iris is often planted upon the roof of a house to indicate that there
+are male children in the family.  The cuckoo and the moon subject _(tsuki
+ni hototogisu)_ (_Plate LVIII_, 6) is special to this month.  The fifth of
+May is the boys' festival, and the carp _(koi)_ (_Plate LIX_, 1) is the
+favorite subject for painting.  May is the rainy month in Japan.  It is
+related that a carp during this month ascended to the top of the waterfall
+RYU MON in China and became a dragon.  The carp thus typifies the triumph
+of perseverance--the conquering of obstacles--and symbolizes the military
+spirit.  When this fish is caught and about to be cut up alive for
+_sasshimi,_ a Japanese delicacy, once the carver has passed the flat side
+of the knife blade over the body of the fish the _koi_ becomes motionless,
+and with heroic fortitude submits to being sliced to the backbone.  Served
+in a dish, a few drops of _soy_ being placed in its eye it leaps upward in
+a last struggle, to fall apart in many pieces.  When a male child is born
+a proper present to the family is a carp _kakemono._  The fifth day of the
+fifth month is the anniversary of the great victory of the Japanese over
+Kublai Khan, who, with an enormous fleet of Chinese vessels, attempted to
+invade Japan in the thirteenth century.
+
+June--In this warm month the GWA DAI or picture subject is waterfalls
+(_Plate LIX_, 2), although it is quite allowable on account of the heat of
+summer to suggest cool feelings by painting snow scenes with crows (SETCHU
+_ni karasu)_ for a color contrast (_Plate LIX_, 3).  All pictures painted
+during the month of June should suggest shady, refreshing sensations.  A
+charming and favorite subject is water flowing through an open bamboo pipe
+and falling amid luxuriant vegetation into a pool below, where a little
+bird is bathing.  This picture is technically known as _kakehi_ (_Plate
+LIX_, 4).
+
+July--During this month appropriate among flower subjects is that of the
+seven grasses of autumn _(aki no nana kusa)_ (_Plate LIX_, 6), consisting
+of the bush clover, the wild pink, the morning glory, et cetera.  This is
+most difficult to paint on account of the extreme delicacy requisite in
+the handling of the brush, but a skilful artist can produce most
+interesting effects.  All sorts of wonderfully shaped insects as well as
+birds of brilliant plumage are permitted in the picture.  The seventh day
+of July is known as the festival of the stars, and _Kengyu,_ the swain,
+and _Orihime,_ the maiden, are painted.  July is a month devoted to
+Buddhist ceremonies.  Saints, sages, the five hundred rakkan disciples of
+Shaka and the sixteen rakkans are painted.  There are two other subjects
+appropriate, known as _Tanabata_ (_Plate LIX_, 5) and _Nazunauchi_ (_Plate
+LXIV_, 4).
+
+August--The first grain of the year is now offered to the gods.  A charming
+way of commemorating this is by the painting called stacked rice and
+sparrows _(inamura ni suzume)_ (_Plate LX_, 1).  The rabbit and the moon,
+called _tsuki ni usagi_ (_Plate LX_, 2), because the rabbit is seen in the
+moon making rice cakes, and the picture known as _meggetsu_ (_Plate LX_,
+3) also commemorate the offering of the products of the soil to the moon
+divinity.  As mist abounds during August, landscapes half concealed in
+mist are painted.  The Kano artist, Tanyu, leaned much to such scenes,
+which suggest the tranquility of eventide.  Such subjects are known as
+mist showers _(ugiri)_ (_Plate LX_, 4).  The Japanese have their woman in
+the moon, named Joga.  This lovely creature having procured and drunk of
+the ambrosia of hermits _(sennin)_ is said to have entered that planet.
+The picture is an engaging one (_Plate LX_, 6), the upper portion of
+Joga's body being in the moon's disc and the lower portion in fleecy
+clouds.
+
+September--The ninth day of the ninth month is the festival of the
+chrysanthemum (KIKU NO SEKKU), when _sake_ made from the chrysanthemum is
+drunk.  Kiku Jido, a court youth, having inadvertently touched with his
+foot the pillow of the emperor, was banished to a distant isle where, it
+is said, he was nourished by the dew of the chrysanthemum which abounded
+there.  Becoming a hermit, he lived one thousand years.  Seasonal pictures
+for this month commemorate this event, or reproduce the yellow and white
+chrysanthemum.  (_Plate LXI_, 1).  Appropriate for September are water
+grasses and the dragon-fly _(mizukusa ni tombo)_ (_Plate LXI_, 5).
+Tatsuta hime (_Plate LXI_, 2) is also painted.  She is the autumn
+divinity, associated with the brilliant, warm and resplendent colors of
+the autumn season, and is always represented in gorgeous hues.  Pictures
+of the deer and the early maples _(hatsu momiji ni shika)_ (_Plate LXI_,
+3) are now appropriate.  A favorite autumn picture is called _Kinuta
+uchi,_ or the beating, on a block, of homespun cotton to give it lustre.
+A poor peasant woman and her child are both occupied at the task under the
+rays of the full moon (_Plate LXIV_, 4).  The sound of the blows on the
+block is said to suggest sad feelings.  It is a law for painting such
+moonlight scenes that no red color be introduced, as red does not show in
+the moonlight (GEKKA _no_ KO SHOKU _nashi)._
+
+      [Fujiyama from Tago no Ura, by Yamamoto Baietsu.  Plate VIII.]
+
+       Fujiyama from Tago no Ura, by Yamamoto Baietsu.  Plate VIII.
+
+
+October--In this month geese coming from the cold regions and crossing at
+night the face of the moon are a favorite subject, known as _tsuki ni_ GAN
+(_Plate LXI_, 4).  Other subjects are "autumn fruits" _(aki no mi)_
+(_Plate LXI_, 5), chestnuts, persimmons, grapes and mushrooms; monkeys and
+persimmons _(saru ni kaki)_ (_Plate LXI_, 6); squirrel and grapes (RISU
+_ni_ BUDO) (_Plate LXII_, 1); and the evergreen pine _(kayenu matsu),_
+suggesting constancy (_Plate LXII_, 2)
+
+November--A month sacred to Evesco, one of the jovial gods of good luck
+(_Plate LXII_, 3).  He was the first trader, his stock being the TAI fish.
+He is the favorite god of the merchants who, during this month, celebrate
+his festival.  Evesama is usually represented returning from fishing with
+a TAI under his arm.  The Kano artists particularly favored this subject.
+Another charming picture, known as "the last of the chrysanthemums" (ZAN
+KIKU) (_Plate LXII_, 4), suggests the approaching close of the year. The
+classic way to represent this subject is with small, yellow chrysanthemums
+clinging to a straggling bamboo fence, with a few of their leaves which
+have begun to turn crimson.  Another November picture is "the first snow"
+_(hatsu yuki)_ (_Plate LXII_, 5).  Two puppies are frollicking in the
+snow, which is falling for the first time.  It is said that no animal
+rejoices like the dog when it sees the first snowfall of winter.  Snow,
+says a proverb, is the dog's grandmother _(yuki wa inu no obasan)._  Okyo
+and Hokusai frequently painted this subject.  _Hatsu yuki_ is sometimes
+represented by a little snow upon the pine tree or the bamboo in a
+landscape.  This produces a very lonely _(samushii)_ scene.  The Kyoto
+artists are extremely fond of painting in the month of November the
+subject of a peasant girl descending from the mountain village of Ohara
+carrying upon her head a bundle of firewood twigs, into which she has
+coquettishly inserted a branch of red maple leaves.     This picture is
+called _Oharame_ (_Plate LXII_, 6).  Landscapes representing fitful rain
+showers are appropriate for November and are called _shigure._  This is
+the month for the _oshi dori_ (_Plate LXIII_, 1).  These mandarin ducks,
+male and female, on account of the contrast in their shape and plumage,
+make a very striking and favorite picture.  Their devotion to each other
+is so great that they die if separated.  Hence, such paintings not only
+symbolize conjugal fidelity but are also appropriate as wedding presents.
+There are two other kinds of birds painted in November: The beach birds,
+known as _chi dori_ (_Plate LXIII_, 2), and the wild duck flying over the
+marsh grasses _(kamo ni ashi)_ (_Plate LXIII_, 3). Okyo and the artists of
+his school excel in their vivid treatment of these last three subjects.
+
+December--The cold weather chrysanthemum (KAN KIKU), the narcissus or
+hermit of the stream (SUI SEN), and the snow shelter of rice straw _(yuki
+kakoi)_ (_Plate LXIII_, 4) are three favorites for December.  In this
+latter lovely subject the white chrysanthemums are huddling below the
+protecting snow shelter of rice straw, one or two of the flowers peeping
+out, their leaves being reddish on the rim and light green within.  The
+narcissus is much painted during December.  There are many ways and laws
+for painting this flower.  Another winter subject is called _joji_ BAI,
+consisting of the plum tree with snow on the branches and small birds
+perched thereon.  Kyoto artists much favor it.  December landscapes are
+all snow scenes _(yuki no_ SAN SUI) (_Plate LXIII_, 5) and countless are
+the ways in which they are treated.  Another subject is _nukume dori--_a
+falcon perched upon a tree covered with snow, holding in its claws a
+little bird (_Plate LXIV_, 3).  The falcon does not tear its victim to
+pieces but simply uses it to warm its own feet; this accomplished, it lets
+its prisoner escape and during twenty-four hours refrains from flying in
+the direction the little bird has fled. _Noblesse oblige._
+
+The snow man or snow _daruma (yuki daruma)_ (_Plate LXIII_, 6) is painted
+this month by artists of all the schools.
+
+The four seasons (SHI KI) form a series susceptible of the most varied and
+engaging treatment and presentation. The seasons are sometimes symbolized
+by flowers, occasionally by birds, again by the products of the earth, and
+often by landscapes.
+
+Sometimes human figures are used for the purpose.  In spring _(haru)_ a
+young daughter _(musume)_ may be represented looking at the cherry
+blossoms (_Plate LXV_, 1); in summer _(natsu)_ she will be crossing a
+bridge or enjoying the cool of the riverside (_Plate LXV_, 2); in autumn
+_(aki)_ she is seen in the fields, probably gathering mushrooms (_Plate
+LXV_, 3), and in winter _(fuyu)_ she will be seated indoors playing a
+musical instrument (_Plate LXV_, 4).  While the other _kakemono_ is always
+to be changed in the _tokonoma_ or alcove according to the seasons,
+ceremonies or festivals, there are certain pictures appropriate to any
+season, _e. g.,_ rocks and waves _(iwa ni nami);_ pine and bamboo _(matsu
+take);_ or the Okyo double subject called _shikuzu ni fuku tsui_ (pendant
+paintings): The end of spring, a crow and the plum tree (_Plate LXIV_, 1);
+the end of autumn, the bird _hyo dori_ and the persimmon tree (_Plate
+LXIV_, 2). The reason is that all such subjects are in harmony with
+conditions the year round.
+
+Historical subjects (REKISHI GWA DAI) suitable for Japanese painting are
+extremely numerous subjects and are divided into categories corresponding
+to the following periods: The Nara, the Heian or Kyoto, the Kamakura
+Yoritomo shogunate, the Higashiyama shogunate, the Yoshimasa shogunate,
+the Momoyama or Taiko Hideyoshi, and the Tokugawa Iyeyasu shogunate
+brought down to the present Meiji period.  These with their numerous
+subdivisions supply an infinite number of subjects for pictorial
+treatment.  Special favorites are "Benkei and Yoshitsune at the Go Jo
+bridge," or "passing through the Hakone barrier," and "Kusanoki Masashige
+at Minatogawa."
+
+When Shaka was born he stood erect, with one Buddhist hand pointing upward
+and the other downward and exclaimed: "Behold, between heaven and earth I
+am the most precious creation."  His birthday is the subject of the
+picture (_Plate LXVI_, 3) called KAN BUTSU YE.  It represents the Buddha
+as a bronze statue erect in a tub of sweet liquid.  This the faithful
+worshippers pour over his head and subsequently drink for good luck.
+Shaka's death is commemorated in the picture called NEHAN, nirvana.  The
+lord, Buddha, is stretched upon a bier tranquilly dying, an angelic smile
+lighting his countenance, while around are gathered his disciples, Rakkan
+and Bosatsu, and the different animals of creation, all weeping.  A rat
+having gone to call Mayabunin, mother of Buddha, has been pounced upon by
+a cat and torn to pieces.  For this reason in paintings of this moving
+scene of Shaka's death no cat is to be found among the mourning animals.
+The artist Cho Densu, however, in his great painting of NEHAN (still
+preserved in the Temple To Fuku Ji at Kyoto) introduces the portrait of a
+cat.  It is related that, while Cho Densu was painting, the cat came daily
+to his side and continually mewing and expressing its grief, would not
+leave him.  Finally Cho Densu, out of pity, painted the cat into the
+picture and thereupon the animal out of joy fell over dead.
+
+The lotus _(hasu)_ symbolizes the heart of a saint _(hotoke)._  It rises
+untarnished out of the mud of the pond, nor can it be stained by any
+impurity, the leaves always shedding whatever may fall upon them.  It is
+painted usually as a religious subject.
+
+The principal _matsuri_ or Shinto festivals occur at different seasons of
+the year in different parts of the empire.  The summer months, however,
+claim most of them.  The _Kamo no aoi matsuri_ takes place at Kyoto and
+consists of a procession, a NO dance and a horse race.  The picture
+appropriate for this festival is "the _Kamo_ race course" _(Kamo no kei
+ba)._ The _matsuri_ at Nikko is a great procession, with three _mikoshi_
+or shrines carried on the shoulders of multitudes of men.  There are three
+Nikko _matsuri_ connected with the Tokugawa shogunate.
+
+_Inari,_ being the god of agriculture _(ine,_ rice), the picture of a fox
+(_Plate LXVI_, 4), that god's messenger, is appropriate.  Another
+festival, the GYON _matsuri,_ of Kyoto, is celebrated with a great
+procession in which enter all sorts of amusing floats and every kind of
+amusing practice.  These are variously reproduced in commemorative
+paintings.
+
+I will only refer in passing to the many subjects supplied by the
+beautiful poetry (HOKKU and _uta)_ and celebrated romances _(monogatari)_
+of Japan.  Enough has been said to show that the Japanese artist has an
+unlimited range of classic subjects from which to select.
+
+Other subjects unassociated with any special time of the year represent,
+_e.g.,_ various utensils of the tea ceremony _(cha no yu)_ (_Plate LXVI_,
+1) when _macha,_ a thickened tea, is used.  The tea ceremony (_Plate II_)
+is performed in a small room fitted with four and a half mats.  Were the
+mats only four (SHI) in number they would suggest death _(shi)._
+Furthermore, an even number being considered negative (IN) is not favored.
+Mats are three by six feet in size and must always be so laid as not to
+form crosses, which are unlucky.  In the alcove of this room no _kakemono_
+is permitted but one in the pure Japanese style.  The subject of the
+painting will depend upon the season, while all red colors are proscribed
+and _sumi_ pictures of the Kano school are most appropriate.  The
+treatment must be simple (TAN PAKU); for instance, a single flower spray,
+a branch of the plum, a hermit, or a solitary mountain peak.  In the
+ceremony of SEN CHA (_Plate LXVI_, 2), which is the Chinese way of making
+tea, these strict rules of _cha no yu_ are relaxed.
+
+
+
+
+
+               [The water-fowl design, called midsu tori.]
+
+
+CHAPTER SEVEN. SIGNATURES AND SEALS
+
+
+There are many books upon the subject of signing and authenticating a
+painting.  Two well-known works are "GWA JO YO RYAKU" and "DAI GA SHI
+SAN."  In China literary men often add descriptive matter to their
+paintings, writing prominently thereon: "In a dream last night I witnessed
+the scene I here attempt to reproduce," or "On a boating excursion we saw
+this pine tree shading the banks of the river."  Such additions to the
+picture enable the artist to exhibit his skill as an expert writer and are
+considered to heighten the general effect.  Often original poetry takes
+the place of prose.  The year, month and day will be added, followed by
+the signature of the writer, with some self-depreciatory term, such as
+"fisherman of the North Sea," "mountain wood-chopper" or "hermit dwelling
+amid the clouds and rocks."  Such signature, with one or more seals
+scattered over the face of the work, is in art called RAKKWAN, signifying
+"completed."
+
+In Japan a somewhat different way of signing prevails. The artist's
+signature with his seal under it is appended to the painting, not in a
+conspicuous but in the least prominent part of it.
+
+Painters of the Tosa, Fujiwara, Sumiyoshi and Kasuga schools in signing
+their work first wrote above their signatures their office and rank, _e.
+g.,_ Unemi no Kami or Shikibu Gondai no Kami in the square or round
+Chinese characters.
+
+The Kano artists signed their names in round characters (GYO SHO) and did
+not add their secular rank or office but wrote before their signatures
+their Buddhist titles; thus, HOGAN Motonobu, HO KYO Naganobu, HOIN
+Tsunenobu.  In the Maruyama period all titles and rank were omitted and
+simply the name _(namae)_ or the _nom de plume_ (GO) was written,--thus,
+Okyo, Goshun, Tessan, Bun Cho--strict attention being paid, however, to
+executing the Chinese characters for such signatures in both an artistic
+and strikingly attractive way, whether written in one or another of the
+three usual forms technically called SHIN, SO, GYO.
+
+The date, NEN GO, preceding the signature upon a painting is often
+indicated by the use of one of the twelve horary characters (JU NI SHI)
+along with one of the ten calendar signs (JU RAN).  These, in orderly
+arrangement, comprehend a cycle of sixty years; in other words, they are
+never united the same way or coincide but once during that period.  No
+artist under sixty should, in signing his work, allude to his age, much
+less state his years.  For him to be able to write seventy-seven before
+his name is most auspicious--one way of writing _kotobuki,_ the luckiest
+word in Japanese, being to employ two sevens which, thus compounded, is
+said to be the SO SHO character for that word.  Very young persons are
+permitted in signing their paintings or writings to add their exact ages
+up to thirteen.
+
+Where Chinese literary artists add poems to their paintings as many as
+eight seals may be observed thereon.  In Japanese paintings never more
+than two seals are used and these follow and authenticate the signature.
+
+The correct distance at which a _kakemono_ is to be viewed is the width of
+a mat _(tatami)_ from the alcove where the picture is hung.  It is bad
+form to look at it standing.  Before critically examining the work a
+Japanese will scrutinize the artist's signature and seal.  It is a
+cardinal rule in Japan that the signature be affixed so as not to
+interfere with the scheme of the picture or attract the eye.  If the
+picture looks to the right the signature and seal should be placed on the
+left, and _vice versa;_ if the principal interest is in the upper part of
+a picture these should be placed lower down, and _vice versa._  As every
+painting has its division into IN and YO the RAKKWAN is placed in IN.
+Some artists partially cover their signatures with their seal impression.
+Lady artists add to their signatures the character JO, meaning woman.
+Veteran painters will sometimes write before their signatures the
+character for old man _(okina)._
+
+The artist's seal is often a work of art and his family name (MYOJI) or
+his artist name (GO) is usually engraved thereon with the Chinese seal
+characters called TEN SHO. Where two seals are affixed below the signature
+one may contain a classic aphorism, like TAI BI FU GEN (the truly
+beautiful is indescribable) or CHU YO (keep the middle path).  Before
+seals were used writings were authenticated by scrolls called _kaki_ HAN.
+Even now such scrolls are used.  The principles on which they are shaped
+are derived from astrological lore (EKI).  Seal engravers deservedly enjoy
+renown for learning and skill.  To carve a seal is the recognized
+accomplishment of a gentleman, and the most famous living seal engraver in
+Japan is an amateur.  Seals are of jade, rock crystal, precious woods,
+Formosa bamboo root, gold, silver or ivory.  The best hard stone for seals
+comes from China and is known as the cock's comb (KEI KETSU SEKI).
+
+An artist during his career will collect numbers of valuable seals for his
+own use.  These at his death may be given to favorite pupils or kept as
+house treasures.  Bairei left instructions to have many of his seals
+destroyed.
+
+The seal paste (NIKU) is made of Diana weed _(mogusa)_ dried for three
+years, or of a plant called _yomogi,_ or with soft, finely chopped rabbit
+hair boiled in castor oil for one hundred hours with white wax and then
+colored red, brown, blue or tea color.  The seal should be carefully wiped
+after it is used, otherwise this paste hardens upon it.
+
+Japanese paintings are seldom framed, as frames take too much room.
+Frames are used chiefly for Chinese writings, hung high in public places
+or about the dwelling, and are called GAKU, meaning "forehead," in
+allusion to raising the head to read what the frame contains.  It is
+etiquette that such framed writings be signed with the real name rather
+than the _nom de plume._
+
+Two kinds of seals are affixed to the frame: One, on the right, at the
+beginning of the writing, and called YU IN, containing some precept or
+maxim; and one or two, on the left, after the signature, bearing the
+artist's name and any other appropriate designation.  All writings in
+Chinese or Japanese read from right to left, and frequently are the sole
+ornament of a pair of screens.
+
+For the guidance of experts who pass on the genuineness of Japanese
+paintings there is a well-known publication, "GWA KA RAKKWAN IN SHIN," by
+Kano Jushin, which contains reproductions in fac simile of the signatures
+and seals of all the celebrated artists of the remote and recent past.
+
+In concluding this work, which I am conscious is but an imperfect survey
+of a vast and intricate subject, I would call attention to the fact that
+in both Europe and America there is a wonderful awakening to the dignity,
+simplicity and beauty of Japanese art.  This is largely to be attributed
+to the careful and scholarly writings and publications of Messrs.
+Anderson, Binyon, Morrison and Strange in England, Fenollosa in the United
+states, DeGoncourt, Gonse and Bing in France, Seidlitz in Germany, and
+Brinkley and Okakura in Japan; and all students of art must render to them
+the homage of their sincere admiration.
+
+The object of all art, as Cicero has truly said, is to soften the manners,
+by training the heart and mind to right thoughts and worthy sentiments.
+To such end nothing will more surely contribute than a faithful study of
+the painting art of Japan, and the further we investigate and appreciate
+its principles the more we will multiply those hours which the sun-dial
+registers,--the serene and cheerful moments of existence.
+
+
+
+
+
+EXPLANATION OF HEAD-BANDS
+
+
+DESIGN OF TITLE PAGE. Butterflies and birds, known as _cho tori_.
+
+_CHAPTER ONE_. The flower and leaves of the peony (BOTAN), as
+conventionalized on ancient armor (_yoroi_).
+
+_CHAPTER TWO_. Fan-shaped leaves of the _icho_ or GIN NAN
+(_Salisburiana_), placed in books in China and Japan to prevent the
+ravages of the bookworm.
+
+_CHAPTER THREE_. The design called "Dew on the Grass and Butterflies"
+(_tsuyu, kusa ni cho_).
+
+_CHAPTER FOUR_. The pattern (_moyo_) known as bamboo and the swelling
+sparrow (_take nifukura susume_). The parts of the bird are amusingly
+conventionalized--in the Korin manner. The word FUKURA written in Chinese
+contains the lucky character FUKU (happiness).
+
+_CHAPTER FIVE_. Maple leaves are associated with Ten Jin (Sugiwara
+Michizane), patron of learning. Children in invoking his aid in a little
+prayer count the points of the maple leaf, saying, "_yoku te
+agaru_"--assist us to be clever. In Japanese the maple leaf is called
+_kaide_, meaning frog's hand.
+
+_CHAPTER SIX_. The chrysanthemum pattern.
+
+_CHAPTER SEVEN_. The water-fowl design, called _midsu tori_.
+
+
+
+
+
+PLATES EXPLANATORY OF THE FOREGOING TEXT ON THE LAWS OF JAPANESE PAINTING
+
+
+
+
+     The Eight Ways of Painting in Color, Called the Laws of Coloring
+
+
+       (3) [Most Careful Method of Laying on Color.  Plate VIIII.]
+
+          Most Careful Method of Laying on Color.  Plate VIIII.
+
+
+                     [The Next Best Method. Plate X.]
+
+                      The Next Best Method. Plate X.
+
+
+                [The Light Water-Color Method. Plate XI.]
+
+                 The Light Water-Color Method. Plate XI.
+
+
+               [Color With Outlines Suppressed. Plate XII.]
+
+                Color With Outlines Suppressed. Plate XII.
+
+
+                     [Color Over Lines. Plate XIII.]
+
+                      Color Over Lines. Plate XIII.
+
+
+                 [Light Reddish-Brown Method. Plate XIV.]
+
+                  Light Reddish-Brown Method. Plate XIV.
+
+
+                      [The White Pattern. Plate XV.]
+
+                       The White Pattern. Plate XV.
+
+
+                  [The Black or Sumi Method. Plate XVI.]
+
+                   The Black or Sumi Method. Plate XVI.
+
+
+
+
+                   Landscapes, Birds, Trees and Streams
+
+
+           [The Rule of Proportion in Landscapes. Plate XVII.]
+
+            The Rule of Proportion in Landscapes. Plate XVII.
+
+
+                    [Heaven, Earth, Man. Plate XVIII.]
+
+                     Heaven, Earth, Man. Plate XVIII.
+
+
+                     [Pine Tree Branches. Plate XIX.]
+
+                      Pine Tree Branches. Plate XIX.
+
+
+                       [Winding Streams. Plate XX.]
+
+                        Winding Streams. Plate XX.
+
+
+                    [A Tree and Its Parts. Plate XXI.]
+
+                     A Tree and Its Parts. Plate XXI.
+
+
+                 [Bird and Its Subdivisions. Plate XXII.]
+
+                  Bird and Its Subdivisions. Plate XXII.
+
+
+
+
+                              Laws of Ledges
+
+
+  [Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b).
+                              Plate XXIII.]
+
+  Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b).
+                               Plate XXIII.
+
+
+    [Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.]
+
+     Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.
+
+
+    [Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV. ]
+
+      Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.
+
+
+ [Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.]
+
+  Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.
+
+
+
+
+                         Laws of Trees and Rocks
+
+
+[The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4).
+                              Plate XXVII.]
+
+The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4).
+                               Plate XXVII.
+
+
+  [Theory of Tree Growth (1). Practical Application (2). Grass Growth in
+               Theory (3). In Practice (4). Plate XXVIII.]
+
+  Theory of Tree Growth (1). Practical Application (2). Grass Growth in
+                Theory (3). In Practice (4). Plate XXVIII.
+
+
+   [Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in
+                       structure (3). Plate XXIX.]
+
+   Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in
+                        structure (3). Plate XXIX.
+
+
+[Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2).  Rock
+         Construction as Practiced in Art (3 and 4). Plate XXX. ]
+
+ Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2).  Rock
+          Construction as Practiced in Art (3 and 4). Plate XXX.
+
+
+        [Different Ways of Painting Rocks and Ledges. Plate XXXI.]
+
+         Different Ways of Painting Rocks and Ledges. Plate XXXI.
+
+
+
+
+                               Laws of Dots
+
+
+         [Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.]
+
+          Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.
+
+
+          [Wheel-Spoke Dot (a). KAI JI Dot (b). Plate XXXIII. ]
+
+            Wheel-Spoke Dot (a). KAI JI Dot (b). Plate XXXIII.
+
+
+       [Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.]
+
+        Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.
+
+
+             [Serrated Dot (a). ICHI JI dot (b). Plate XXXV.]
+
+              Serrated Dot (a). ICHI JI dot (b). Plate XXXV.
+
+
+             [Heart Dot (a). HITSU JI Dot (b). Plate XXXVI.]
+
+              Heart Dot (a). HITSU JI Dot (b). Plate XXXVI.
+
+
+             [Rice Dot (a). HAKU YO Dot (b). Plate XXXVII. ]
+
+               Rice Dot (a). HAKU YO Dot (b). Plate XXXVII.
+
+
+
+
+                     Laws of Waves and Moving Waters
+
+
+    [Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII. ]
+
+     Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.
+
+
+             [Sea Waves (a). Brook Waves (b). Plate XXXIX. ]
+
+               Sea Waves (a). Brook Waves (b). Plate XXXIX.
+
+
+                        [Storm Waves. Plate XL. ]
+
+                          Storm Waves. Plate XL.
+
+
+
+
+                       Laws of Lines of the Garment
+
+
+    [Silk-Thread Line (upper). Koto string Line (lower). Plate XLI. ]
+
+      Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.
+
+
+   [Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII. ]
+
+     Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.
+
+
+  [Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.]
+
+   Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.
+
+
+    [Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV. ]
+
+      Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.
+
+
+  [Rusty-Nail and Old-Post Line (upper).   Date-Seed Line (lower). Plate
+                                  XLV.]
+
+Rusty-Nail and Old-Post Line (upper).   Date-Seed Line (lower). Plate XLV.
+
+
+    [Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.]
+
+     Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.
+
+
+  [Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII. ]
+
+   Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.
+
+
+    [Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII. ]
+
+      Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.
+
+
+       [Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.]
+
+        Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.
+
+
+
+
+                        Laws of the Four Paragons
+
+
+                  [The Plum Tree and Blossom. Plate L.]
+
+                   The Plum Tree and Blossom. Plate L.
+
+
+            [The Chrysanthemum Flower and Leaves. Plate LI. ]
+
+              The Chrysanthemum Flower and Leaves. Plate LI.
+
+
+                [The Orchid Plant and Flower. Plate LII.]
+
+                 The Orchid Plant and Flower. Plate LII.
+
+
+                [The Bamboo Plant and Leaves. Plate LIII.]
+
+                 The Bamboo Plant and Leaves. Plate LIII.
+
+
+
+
+                            Painting Subjects
+
+
+ [Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3,
+                           4, 5). Plate LIV. ]
+
+Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4,
+                              5). Plate LIV.
+
+
+[Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and
+                Shimenawa (4). Rice Cakes (5). Plate LV. ]
+
+ Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and
+                 Shimenawa (4). Rice Cakes (5). Plate LV.
+
+
+  [Sun and Waves (1).  Rice Grains(2). Cotton Plant (3). Battledoor (4).
+                     Treasure Ship (5). Plate LVI. ]
+
+  Sun and Waves (1).  Rice Grains(2). Cotton Plant (3). Battledoor (4).
+                      Treasure Ship (5). Plate LVI.
+
+
+[Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow
+  (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII. ]
+
+ Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow
+   (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.
+
+
+[Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon
+                      and Cuckoo (6). Plate LVIII. ]
+
+Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon
+                       and Cuckoo (6). Plate LVIII.
+
+
+  [Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5).
+                     Autumn Grasses (6). Plate LIX. ]
+
+  Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5).
+                      Autumn Grasses (6). Plate LIX.
+
+
+[Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist
+          Showers (4). Water Grasses (5). Joga (6). Plate LX. ]
+
+ Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist
+           Showers (4). Water Grasses (5). Joga (6). Plate LX.
+
+
+ [Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the
+ Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI. ]
+
+  Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the
+  Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.
+
+
+[Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku
+             (4). First Snow (5). Oharame (6). Plate LXII. ]
+
+ Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku
+              (4). First Snow (5). Oharame (6). Plate LXII.
+
+
+[Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow
+                Scene (5). Snow Daruma (6). Plate LXIII. ]
+
+Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow
+                 Scene (5). Snow Daruma (6). Plate LXIII.
+
+
+ [Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi
+                            (4). Plate LXIV. ]
+
+ Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi
+                             (4). Plate LXIV.
+
+
+      [Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV. ]
+
+        Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.
+
+
+[Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI. ]
+
+ Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.
+
+
+
+
+
+
+FOOTNOTES
+
+
+    1 This is a translation from the original manuscript of IWAYA SHO HA,
+      or Iwaya Sazanami, one of the most widely known and popular writers
+      on Japanese folk-lore.
+
+    2 Translated from the original manuscript of Hirai Kinza, noted
+      scholar, lecturer and author.
+
+    3 Preparer's Note: The only editions available to me have these plates
+      in black-and-white.
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK ON THE LAWS OF JAPANESE PAINTING
+***
+
+
+
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