Various

“ The new artisan makers of the okimono struck out a line for themselves, one influenced more by the naturalistic and popular schools than by the classical art, and the quails of Kamejo, the tortoises of Seimin, the dragons of Tōun and Tōryū, and in recent years the falcons and the peacocks of Suzuki Chokichi, are the joy of the European collector. The best of these are exquisite in workmanship, graceful in design, often strikingly original in conception, and usually naturalistic in ideal. They constitute a phase of art in which Japan has few rivals. ”

“ Thus nature works, and so, following in her footsteps, works the Japanese artist. The same law prevailing in all nature’s creation, in the plumage of birds, the painting of butterflies’ wings, the marking of shells, and in all the infinite variety and beauty of the floral kingdom, the lesson is constantly renewed to the observant eye. ”

“ No sooner, however, did the prowess of Oda Nobunaga and, above all, of Hideyoshi, the taikō, bring within sight a cessation of civil war and the unification of the country, than the taste for beautiful objects and artistic utensils recovered vitality. By degrees there grew up among the feudal barons a keen rivalry in art industry, and the shōgun’s court in Yedo set a standard which the feudatories constantly strove to attain. ”

“ Out of this perpetual effort on the part of hundreds of experts to discover and perfect novel developments of swordsmanship, there grew a habit which held its vogue down to modern times, namely, that when a man had mastered one style of sword-play in the school of a teacher, he set himself to study all others, and for that purpose undertook a tour throughout the provinces, challenging every expert, and, in the event of defeat, constituting himself the victor’s pupil. The sword exercised a potent influence on the life of the Japanese nation. ”

“ The same suppression of emotional display in public is observed in all the affairs of life. Youths and maidens maintain towards each other a demeanour of reserve and even indifference, from which it has been confidently affirmed that love does not exist in Japan. The truth is that in no other country do so many dual suicides occur—suicides of a man and woman who, unable to be united in this world, go to a union beyond the grave. It is true, nevertheless, that love as a prelude to marriage finds only a small place in Japanese ethics. ”

“ In a general sense the European or American connoisseur is much less exacting than the Japanese. Broad effects of richness and splendour captivate the former, whereas the latter looks for delicacy of finish, accuracy of detail and, above all, evidences of artistic competence. It is nothing to a Japanese that a vase should be covered with profuse decoration of flowers and foliage: he requires that every blossom and every leaf shall be instinct with vitality, and the comparative costliness of fine workmanship does not influence his choice. ”

“ It was a labour of loving service, untouched by the spirit of material gain, conferring upon the work of the older masters a dignity and poetic feeling which we vainly seek in much of the later work. Unhappily, but almost inevitably, over-culture led to a gradual falling-off from the old virility. The strength of Meichō, Sesshū, Motonobu and Tanyū gave place to a more or less slavish imitation of the old Japanese painters and their Chinese exemplars, till the heirs to the splendid traditions of the great masters preserved little more than their conventions and shortcomings. ”

“ Moral Characteristics.—The most prominent trait of Japanese disposition is gaiety of heart. Emphatically of a laughter-loving nature, the Japanese passes through the world with a smile on his lips. The petty ills of life do not disturb his equanimity. He takes them as part of the day’s work, and though he sometimes grumbles, rarely, if ever, does he repine. Exceptional to this general rule, however, is a mood of pessimism which sometimes overtakes youths on the threshold of manhood. ”

“ Whether a Japanese art-worker sets himself to copy what he sees before him or to give play to his fancy in combining what he has seen with some ideal in his mind, the result shows perfect facility of execution and easy grace in all the lines.
The beauties of the human form never appealed to the Japanese artist. ”

“ Last but not least important among Japanese sects of Buddhism is the Nichiren or Hokke, called after its founder, Nichiren (1222-1282) . It was based on the Saddharma pundarika, and it taught that there was only one true Buddha—the moon in the heavens—the other Buddhas being like the moon reflected in the waters, transient, shadowy reflections of the Buddha of truth. It is this being who is the source of all phenomenal existence, and in whom all phenomenal existence has its being. The imperfect Buddhism teaches a chain of cause and effect ”

“ PAINTING
(These illustrations are reproduced by permission of the Kokka Company, Tokyo, Japan.)
Plate II.
PAINTING
The application of this principle in the same free spirit is the secret of much of the originality and the excellence of the decorative art of Japan. Her artists and artisans alike aim at symmetry, not by an equal division of parts, as we do, but rather by a certain balance of corresponding parts, each different from the other, and not numerically even, with an effect of variety and freedom from formality. They seek it, in fact, as nature attains the same end. ”

“ Thus he proceeds in all his decorative work, avoiding studiously the exact repetition of any lines and spaces, and all diametrical divisions, or, if these be forced upon him by the shape of the object, exercising the utmost ingenuity to disguise the fact, and train away the eye from observing the weak point, as nature does in like circumstances. Thus if a lacquer box in the form of a parallelogram is the object, Japanese artists will not divide it in two equal parts by a perpendicular line, but by a diagonal, as offering a more pleasing line and division. ”

“ Nor is it to be supposed that the ancient capital now lacks great potters. Okamura Yasutaro, commonly called Shōzan, produces specimens which only a very acute connoisseur can distinguish from the work of Nomura Ninsei; Tanzan Rokuro’s half-tint enamels and soft creamy glazes would have stood high in any epoch; Taizan Yōhei produces Awata faience not inferior to that of former days; Kagiya Sōbei worthily supports the reputation of the Kinkōzan ware; Kawamoto Eijiro has made to the order of a well-known Kiōto firm many specimens now figuring in foreign collections as old masterpieces ”

“ Even the yi-hsing-yao, too, owed much of its popularity to special utility. It was essentially the ware of the tea-drinker. If in the best specimens exquisite modelling, wonderful accuracy of finish and pâtes of interesting tints are found, such pieces are, none the less, stamped prominently with the character of utensils rather than with that of works of art. In short, the artistic output of Chinese kilns in their palmiest days was, not faience or pottery, but porcelain, whether of soft or hard paste. Japan, on the contrary, owes her ceramic distinction in the main to her faience. ”

“ The samurai may be said to have been revived in the officers of the modern army, who preserve and act up to all the old traditions. The system of promotion has evidently much to do with this good result, for no Japanese officer can hope to rise above the rank of captain unless, by showing himself really zealous and capable, he obtains from his commanding officer the recommendation without which all higher educational opportunities are closed to him. Yet promotion by merit has not degenerated into promotion by favour, and corruption appears to be virtually absent. ”

“ Tradition tells how Tametomo shot an arrow through the crest of his brother’s helmet, in order to recall Weapons. the youth’s allegiance without injuring him; how Nasuno Michitaka discharged a shaft that severed the stem of a fan swayed by the wind; how Mutsuru, ordered by an emperor to rescue a fish from the talons of an osprey without killing bird or fish, cut off the osprey’s feet with a crescent-headed arrow so that the fish dropped into the palace lake and the bird continued its flight; and there are many similar records of Japanese skill with the weapon. ”

“ Thus, when a Mongol fleet came to Kiūshiū in the 13th century, Japan had no vessels capable of contending against the invaders, and when, at the close of the 16th century, a Japanese army was fighting in Korea, repeated defeats of Japan’s squadrons by Korean war-junks decided the fate of the campaign on shore as well as on sea. It seems strange that an enterprising nation like the Japanese should not have taken for models the great galleons which visited the Far East in the second half of the 16th century under the flags of Spain, Portugal, Holland and England. ”

“ Copper, too, by patina-producing treatment, is made to show not merely a rich golden sheen with pleasing limpidity, but also red of various hues, from deep coral to light vermilion, several shades of grey, and browns of numerous tones from dead-leaf to chocolate. Even greater value has always been set upon the patina of iron, and many secret recipes were preserved in artist families for producing the fine, satin-like texture so much admired by all connoisseurs. ”

“ As a novelist, Henry James is a modern of the moderns both in subject matter and in method. He is entirely loyal to contemporary life and reverentially exact in his transcription of the phase. His characters are for the most part people of the world who conceive of life as a fine art and have the leisure to carry out their theories. Rarely are they at close quarters with any ugly practical task. ”

“ The samurai’s mood was not a product of semi-barbarism, but rather a protest against emasculating civilization. He schooled himself to regard death by his own hand as a normal eventuality. The story of other nations shows 209 epochs when death was welcomed as a relief and deliberately invited as a refuge from the mere weariness of living. But wherever there has been liberty to choose, and leisure to employ, a painless mode of exit from the world, men have invariably selected it. ”

“ For the rest, frugality, industry and patience characterize all the bread-winners; courage and burning patriotism are attributes of the whole nation.
There are five qualities possessed by the Japanese in a marked degree. The first is frugality. From time immemorial the great mass of the people have lived in absolute ignorance of luxury in any form and in the perpetual presence of a necessity to economize. Amid these circumstances there has emerged capacity to make a little go a long way and to be content with the most meagre fare. The second quality is endurance. ”

“ In support of that theory it is pointed out that the average Japanese, man or woman, will recount a death or some other calamity in his own family with a perfectly calm, if not a smiling, face. Probably there is a measure of truth in the criticism. Feelings cannot be habitually hidden without being more or less blunted. But here another Japanese trait presents itself—politeness. There is no more polite nation in the world than the Japanese. ”

“ There is another remarkable feature of the Japanese gardener’s art. He dwarfs trees so that they remain measurable only by inches after their age has reached scores, even hundreds, of years, and the proportions of leaf, branch and stem are preserved with fidelity. The pots in which these wonders of patient skill are grown have to be themselves fine specimens of the ceramist’s craft, and as much as £200 is sometimes paid for a notably well trained tree. ”

“ Purity and simplicity being essential characteristics of the cult, its shrines are built of white wood, absolutely without decorative features of any kind, and fashioned as were the original huts of the first Japanese settlers. There are no graven images—a fact attributed by some critics to ignorance of the glyptic art on the part of the original worshippers—but there is an emblem of the deity, which generally takes the form of a sword, a mirror or a so-called jewel, these being the insignia handed by the sun goddess to her grandson, the first ruler of Japan. ”

“ A Japanese feudal chief in that era had sedulously to foster every source of wealth or strength, and as the newly opened trade with the outer world seemed full of golden promise, each feudatory was not less anxious to secure a monopoly of it in the 16th century than the Ashikaga shōguns had been in the 15th. The Satsuma daimyō was led to believe that the presence of the Jesuits in Kagoshima would certainly prelude the advent of trading vessels. ”

“ The togi-dashi design, when finely executed, seems to hang suspended in the velvety lacquer or to float under its silky surface. The magnificent sheen and richness of the pure kin-makie (gold lacquer) are wanting, but in their place we have inimitable tenderness and delicacy.
The only branch of the lacquerer’s art that can be said to have shown any marked development in the Meiji era is that in which parts of the decorative scheme consist of objects in gold, silver, shakudo, shibuichi, iron, or, above all, ivory or mother-of-pearl. New Development. ”

“ This new departure reached its climax in the Tokugawa mausolea of Yedo and Nikkō, which are enriched by the possession of the most splendid applications of lacquer decoration the world has ever seen, nor is it likely that anything of comparable beauty and grandeur will be again produced in the same line. Japanese connoisseurs indicate the end of the 17th century as the golden period of the art, and so deeply rooted is this belief that whenever a date has to be assigned to any specimen of exceptionally fine quality, it is unhesitatingly referred to the time of Joken-in (Tsunayoshi) . ”

“ So, too, the blue-and-white porcelain of Hirado, though assisted by exceptional tenderness of sous-pâte colour, by milk-white glaze, by great beauty of decorative design, and often by an admirable use of the modelling or graving tool, represents a ceramic achievement palpably below the soft paste kai-pien-yao of King-te-chen. It is a curious and interesting fact that this last product of Chinese skill remained unknown in Japan down to very recent days. ”

“ During the long apprenticeship that educated Japanese serve to acquire the power of writing with the brush the complicated characters borrowed from Chinese, they unconsciously cultivate the habit of minute observation and the power of accurate imitation, and with these the delicacy of touch and freedom of hand which only long practice can give. A hair’s-breadth deviation in a line is fatal to good calligraphy, both among the Chinese and the Japanese. When they come to use the pencil in drawing, they already possess accuracy of eye and free command of the brush. ”

“ The artists of the Kōun school, however, do much work which appeals to emotions in general rather than to individual memories. Thus Arakawa Reiun, one of Kōun’s most brilliant pupils, has exhibited a figure of a swordsman in the act of driving home a furious thrust. The weapon is not shown. Reiun sculptured simply a man poised on the toes of one foot, the other foot raised, the arm extended, and the body straining forward in strong yet elastic muscular effort. A more imaginative work by the same artist is a figure of a farmer who has just shot an eagle that swooped upon his grandson. ”

“ Unfortunately, even he had not all the courage of his creed, and while he would paint a bird or a fish with perfect realism, he no more dared to trust his eyes in larger motives than did the most devout follower of Shūbun or Motonobu. He was essentially a painter of the classical schools, with the speciality of elaborate reproduction of detail in certain sections of animal life, but fortunately this partial concession to truth, emphasized as it was by a rare sense of beauty, did large service. ”