John La Farge

“ They look forward to the glorious time when they may wreak their lofty souls in the dignity of paint mixed with the sacred linseed oil, or in the statue done in bronze or carved in marble by other hands than theirs. And yet if their nature be not too far removed from ours, the habit of doing less than their best, the habit of doing poorly, the scorn of anything but the fine clothes of a fine material, will never be gotten over, and throughout this little cheapness of soul, this essential snobbishness, will be felt to puzzle and disconcert those who wish to admire. ”

“ In front, a Torii, just tall enough to pass under, of gray stone, all capped and edged with green, velvety moss. A curved stone, cushioned with moss, in front of it, spans the water-course that gives escape to the waters of the pool. The doors of the shrine are closed, as if to make more solitary yet the quiet of the little hollow.
Higher up, past the black building and above high steps, on a platform edged by walls, stand black buildings, shrines of Buddhist divinities, whose golden bodies I can see through the grating of the unfastened doors. ”

“ As we repeat each look, on our slow return through the temples, the same elegance, the same refinement, the same indifference to the outrages of time, contrast again with the permanence and the forces of nature. With the fatigue and repetition of the innumerable beauties of gold and color, carving and bronze, the sense of an exquisite art brings the indefinable sadness that belongs to it, a feeling of humility and of the nothingness of man. ”

“ I have spoken of simplicity. The domestic architecture is as simple, as transitory, as if it symbolized the life of man. You can see it all in the drawings, in the lacquers, and it has recently been treated completely in the charming book of Professor Morse. Within, the Japanese house is simplicity itself; all is framework, and moving screens instead of wall. No accumulations, no bric-à-brac; any lady's drawing-room with us will contain more odds and ends than all that I have yet seen together in Japan. ”

“ The sun is at its hottest. Above the beat of the waters rises the perpetual strident, interminable cry of the locusts, like the shrill voice of mourners in this abode of tombs—the voice of dust and aridity. I turn a corner of high wall and tall trees and enter, through a dilapidated gateway and up some high steps in the wall, an open space, whose unknown borders are concealed behind the enormous trunks of cryptomeria. For weeks carpenters have been slowly repairing a temple building in this court, the big beams and planks of freshly-cut wood perfuming the place with the smell of cedar. ”

“ They were planted, as an act of homage, some two centuries ago, by some mighty noble, when it was decided to place at Nikko the tomb of the great shogun Iyéyasŭ. They rise on each side of the sunken road, from banks and mounds, over which steps lead, from time to time, to plantations and rice-fields beyond, and to shrines peeping out among the trees. In side-roads above, on either hand, passed occasionally peasants and pack-horses laden with forage, or the bright shine of a peasant woman's red skirt. ”

“ This road leads to the little cascade which supplies the sacred water-tank of the temple of Iyéyasŭ, that square block of water under the gilded and painted canopy in the great courtyard.
The waterfall drops over rocks into a hollow between the hills; high trees stand along its edge near a black octagonal shrine, with great roof, green and yellow with moss. On this side of the water, a diminutive shrine, red-painted, with columns and architrave of many colors and a roof of thatch all green, out of which are growing the small stems of young trees. ”

“ The very lavishness of finish and of detail, the heaped-up exaggerations of refinement and civilization, bring out the more the simplicity and quiet of the nature about them. Up to the very edges of the carvings and the lacquers grow the lichens and mosses and small things of the forest. The gilded temples stand hidden in everlasting hills and trees, open above to the upper sky which lights them, and to the changing weather with which their meaning changes. Nothing could recall more completely the lessons of death, the permanence of change, and the transitoriness of man. ”

“ All this world of ours, which to the contemplative mind is but a figurative fragment of the universe, lies before the mental gaze of the Buddha. Unwinking, without change of direction, he looks forever; his will is forever subdued and held beneath him, as his fingers pressed together indicate his freedom from all the disturbances of that past of being which is subject to time and change, and his cognition, undisturbed, envelops and images the universe in final contemplation.
Astounding success of the artist in what he has really done, for there is no trace of means ”

“ And we visit the school for girls, where the cooking-class is one bloom of peach-like complexions, like a great fruit-basket; where the ladylike teacher of gymnastics and child etiquette wears divided skirts; where the rooms for the study of Chinese classics and history contain a smaller number of fair students, looking more reasonable and much paler; and where, on admiring in the empty painting-class a charming sketch of Kioto wharves, like the work of some lesser Rico, I am told that the fair artist has disappeared—married, just as if it had happened with us at home. ”

“ It is this apparent want of comprehension of the first principles of the plastic arts in our poor work, and in a vast proportion of our best, that makes any reasonable man a pessimist as to our near future. Every poor element of our civilization is against it, and our influences are now deteriorating the art of Japan. We value material or the body instead of workmanship or the right use of the body; and instead of style and design, the intellect and the heart. To us a gold object seems spiritually precious, and we hesitate at working in other than costly materials. ”

“ The mountain slope on which we live must have always been beautiful of itself; but for all that, our garden—that is to say, the space about our landlord's house and our own—has been treated with extreme care. Our inclosure is framed towards the great temple groves, and the great mountains behind them, by a high wall of rock, over which, at a corner edged with moss, rolls a torrent, making a waterfall that breaks three times. The pool below, edged with iris that grow in the garden sand, is crossed by a bridge of three big flat stones, and empties secretly away. ”

“ The great trees near me almost hide the great pagoda, and I can see of it only a little red, and the green under its many eaves, which melts like a haze into the green of the trees.
All these effects of color and shape seem but as a decoration of the trees, and as modes of enhancing their height and their stillness. The great court becomes nothing but a basin with highly-finished edges, sunk into the mass of mountain greenery. The Torii, alone, stands lonely and mysterious. ”

“ It is not the difference of the fact in nature, it is not that the latter artist is not in love with his subject, that he has not a poetic nature, that he is not simple, that he has not dignity, that he is not exquisite; it is that he has not found in nature of his own instinct the eternal mathematics which accompany facts of sight. For indeed, to use other words, in what does one differ from the other? The arrangement of the idea or subject may be the same, the costume, the landscape, the time of day, nay, the very person represented. ”

“ We passed peasant women,—hardy, tall, sometimes handsome, with scarlet undergowns held up; occasionally one riding on a pack-horse, or in her place a child perched on the hump of the wooden saddle. Or, again, peasants bearing loads on their backs, or carriers with weighty merchandise swung between them on poles; priests, young and old, stepping gravely in their white, or yellow, or black dresses—some with umbrellas open, others, whose quicker step meant that they had not far to go (perhaps only to some wayside temple) , protecting their shaven heads with outspread fan. ”

“ So uncertain is everything that the nearest temple building loses its place, and floats all below its roof; but its wet tiles glitter, reflecting the rose-colored drift in the highest pale turquoise sky.
Below us, the trees make a delicate pattern of dark, wet lace.
Then the rose-color deepens and dulls, the upper sky becomes colorless; all floats in unreal space, and Kioto disappears from before my eyes: forever, I suppose—as the charm of this scene, which will never come again ”

“ Great avenues, which divide the city in parallel lines, run off into haze; far away always shines the white wall of the city castle; near us, trees and houses and temples drop out occasionally from the great violet shadows cast by the mountain behind us. Before the city wakes and the air clears, the crows fly from near the temples toward us, as the great bell of the temple sounds, and we hear the call of the gongs and indefinite waves of prayer. ”

“ Along the beach, as we rode away, the breakers ran far up the sand, and the water was green as emerald from the brown, wet shore to the distant blue haze of the ocean in the south. At the end of the great curve of the gulf stretched the lines of green and purple mountains, which run far off into Idzu, and above them stood Fuji in the sky, very pale and clear, with one enormous band of cloud half-way up its long slope, and melting into infinite distance toward the ocean. ”

“ The tasks of the days of Angelico, or of Rubens, or of Millet are not the same; religions live and disappear; nations come and go in and out of the pages of history: but I can see nothing from the earliest art that does not mean living in a like desire for law and order in expression. It is, therefore, because we consciously or unconsciously recognize this love of the unwritten harmonies of our arts, the power of recalling them to us, in some painter or in some architect, that we say that such a man is great. He is great because he is the same as man has been, and will be ”

“ I am right in calling this mass of rock, which is a spur of the mountain's slope, a wall; for I look down from its top to the next inclosure far below, now overgrown and wild. What is natural and what was made by man has become so blended together, or has always been so, that I can choose to look at it as my mood may be, and feel the repose of nature or enjoy the disposing choice of art. ”

“ You draw well; you can make a sketch, I am sure, which, like many others, would have spots of light on a black surface, or a pretty wash of sky above it, or little patches of shadow, like clever lichens, spread over it, and that would be correct in artificial perspective, and recall something of older design, and have no great blemishes to take hold of. How far would it help you to have made a million such if you seriously wished to do a thing for itself, not for its effects upon a client, nor for a claim upon the public, nor for a salve to your own vanity? ”

“ As my mind analyzed this curious professional misstatement of truth, it seemed to me that I could see how the art of architecture in Japan was real compared to ours, even though none of their architects, any more than those of the great past of the world, could have made such a drawing—such a brilliant promise of a performance not to be, such a beautifully engraved check upon a bank where there were no funds. ”

“ No; what we have really done is again to call at shops and begin over again the pursuit of bric-à-brac. It is so impossible to believe that we can find nothing in all the accumulation of all these shops. But even if it be so, the manner of hunting is an amusement, as is the mere seeing of all this stuff in its own home; and the little attentions of the dealer, the being in a house with the privileges of tea and smoking, and a lazy war of attack and defense; and the slow drawing out of pieces from bags and boxes, so that time, the great enemy, is put in the wrong. ”

“ The women smile out of their slanting eyes and walk leaning forwards, and their black hair shines like lacquer, and the artificial flowers in the great folds of the coiffure dance in the sunlight. They are quietly dressed, all but the young girls, who wear bright colors and blue satin sashes. The men slide about, also in quiet silk or cotton. A large part of them are dressed in every shade of blue; occasionally the bare leg comes out, but all wear holiday dress, except our runners or their fellows, who keep their workday looks. ”

“ Two monsters of uncertain lion-form occupy the niches on each side. From the upper side of the red pillars, as supports for the engaged lintel, stretch out the gilded heads of tapirs,—protectors against pestilence,—of lions and elephants, and great bunches of the petals of the peony. Above, the architrave and frieze are painted flat with many colors and with gold, and the ends of the many beams which support the roofing are gilded. Everywhere, even to the ends of the bronze tiles of the black roof, the crest of Iyéyasŭ's family, the Tokugawa, is stamped in gilded metal. ”