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diff --git a/35580.txt b/35580.txt new file mode 100644 index 0000000..ad4cf32 --- /dev/null +++ b/35580.txt @@ -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 +*** + + + +CREDITS + + +March 16, 2011 + + Project Gutenberg Edition + Martin Schub + + + +A WORD FROM PROJECT GUTENBERG + + +This file should be named 35580.txt or 35580.zip. + +This and all associated files of various formats will be found in: + + + http://www.gutenberg.org/dirs/3/5/5/8/35580/ + + +Updated editions will replace the previous one -- the old editions will be +renamed. + +Creating the works from public domain print editions means that no one +owns a United States copyright in these works, so the Foundation (and +you!) can copy and distribute it in the United States without permission +and without paying copyright royalties. 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