Henry P. Bowie

“ 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. ”

“ 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. ”

“ 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. ”

“ 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. ”

“ 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. ”

“ 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 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. ”

“ 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. ”

“ 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. ”

“ 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 ”

“ 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. ”

“ 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. ”

“ 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 [pg 79] 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. ”

“ 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 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. ”

“ In our varied experiences of life we all have met with noble men and women whose beautiful and [pg 83] elevating characters have impressed us the moment we have been brought into relation with them. The same quality which thus affects us in persons is what the Japanese understand by 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. ”

“ 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. ”

“ 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. ”

“ 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. ”

“ 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. ”

“ 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 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. ”

“ 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. ”

“ 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 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. ”