On the Laws of Japanese Painting
by Henry P. Bowie
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
THIRST 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 9 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 therefrom other
w
Introduction
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 tvriting 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.
This is a translation from the original manuscript of IWAYA Sao HA, or Iwaya Sazanami, one of the most widely "known and popular writers on Japanese folk-lore*
[vi]
Introduction
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 9 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
[vii]
Introduction
feelings of our people and the conditions of our national life to be widely known* I venture to offer a few words concerning the circum~ stances under which I Jirst became acquainted with the author.
HIRAI KINZA,
NlHON AZUMA NO MlYAKO,
MEIJI-YOSA AMARI YOTOSE-HAZUKE.
Translated from the original manuscript of Hirai Kinza, noted scholar, lecturer and author.
C* -! Vlll]
7
Preface
TJEZZS' volume contains the substance of lectures on the laws and canons of Japanese painting delivered before ike 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 (^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.
M
CONTENTS
PAGE
INTRODUCTION BY IWAYA SAZANAMI v
INTRODUCTION BY HIRAI KINZA vii
AUTHOR'S PREFACE IX
CHAPTER ONE -PERSONAL EXPERIENCES 3
Nine Years Under Japanese Masters.
CHAPTER Two ART IN JAPAN 7
Foreign Impressions Art Education in Japan Japanese and Chinese Written Characters; Their Importance in Painting Schools- Art Schools and Their Course -OffHand Painting-Joint Painting- Mafter and PupilHiftorical Schools and the Great Mailers Buddhist School- Yamato School -Tosa School Sesshu-Kano Korin Okyo Nangwa Buncho Gaho The Uldyo e School Prints- Books on Japanese Art.
CHAPTER THREE-LAWS FOR USE OP BRUSH AND MATERIALS . 80 Introductory Remarks Use of the Brush (YOHITSU) Strength of Brush Stroke (fode no chikara)-How to Acquire Brush Skill-Use of Black Color or Sumi (YOBOKU) Use of Water Color (SESSHOKU) The Eight Ways of Painting With Color-Autumn Tints-The Parent Colors and Their Combinations Harmony*
CHAPTER FOUR LAWS GOVERNING CONCEPTION AND EXECUTION 4 6 Proportion and Design (ISHI and ISHO) IN Yo or Contra&-Form (KEisHo)-Hi&orical Subjects (KO JUTSU) Rites and Ceremonies (YU KASHI) Landscape Painting (SAN sui) Heaven, Earth, Man (TEN CHI JIN) The Four Seasons (SHI KI no SAN sui) Mountains, Rocks and Ledges (sHUNPo)-Chinanpin's Theory of Tree and Rock Formation Dots (TEN PO) for Near or Distant Tree EffeTree Squirrel, by Mochizuki Kimpo . Facing page 44 v
Tiger, by Kishi Chikudo . . . Facing page 52 vi
Bamboo, Sparrow, Rain,byTorei Nishigawa Facing page 68 vn Fujiyama, From Tago no Ura, by Yamamoto Baietsu
......... Facing page 92 vm
EXPLANATORY PLATES
LAWS OF COLOR
Moft Careful Method of Laying on Color .... ix
The Next Be& Method ....... x
The Light Water-Color Method ...... xi
Color With Outlines Suppressed ..... xn
Color Over Lines ......... xni
Light Reddish-Brown Method ...... xiv
The White Pattern ......... xv
The Black or Sumi Method ...... xvr
LANDSCAPES, BIRDS* TREES AND STREAMS
The Rule of Proportion in Landscapes ..... xvn
Heaven, Earth, Man ........ xvnr
Pine Tree Branches .........
Winding Streams
A Tree and Its Parts ........
Bird and Its Subdivisions .......
LAWS OF LEDGES
Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe Strokes (b) . . . - . ... xxm Lines or Veins of Lotus Leaf (a). Alum Crystals (h) xxiv
Loose Rice Leaves (a). Withered Kindling Twigs (b) . xxv Scattered Hemp Leaves (a). Wrinkles on the Cow s Neck (b) ..........
LAWS OF TREES AND ROCKS
The Circle (l). Semi-Circle (2). Fish Scales (s). Moving Fish Scales (4) .........
E* *T xm]
EXPLANATORY PLATES
Theory of Tree Growth (l). Practical Application (2).
Grass Growth in Theory (3). In Practice (4) . xxvm Skeleton of a Forest Tree (l). Same Developed O).
Tree Completed in Structure (s) xxix
Perpendicular Lines for Rocks (l). Horizontal Lines
for Rocks (2). Rock Con&ru&ion as Practiced in
Art (3 and 4?) xxx
Different Ways of Painting Rocks and Ledges . . . xxxi
LAWS OP DOTS
Wistaria Dot (a). Chrysanthemum Dot (b) . . . xxxn
Wheel-Spoke Dot (a). KAI Ji Dot (b) .... xxxm
Pepper-Seed Dot (a) . Mouse-Footprint Dot (b) . . xxxiv
Serrated Dot (a) . ICHI Ji DOT (b) xxxv
Heart Dot (a). Hrrsu Ji Dot (b) xxxvr
Rice Dot (a) . HAKU Yo Dot (b) xxxvii
LAWS OF WAVES AND MOVING WATERS
Waves (a). Different Kinds of Moving Waters (b) . xxxvni
Sea Waves (a) . Brook Waves (b) xxxix
Storm Waves xt,
LAWS OP LINES OP THE GARMENT
Silk-Thread Line (upper). Koto String Line (lower) . XLI
Clouds, Water Lines (upper). Iron- Wire Line (lower) XLII
Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower) XLIII
Willow-Leaf Line (upper). Angle-Worm Line (lower) XLIV RuSty-Nail and Old-PoSt Line (upper). Date-Seed Line
(lower) XLV
Broken- Reed Line (upper). Gnarled- Knot Line (lower) XLVI
Whirling- Water Line (upper). Suppression Line (lower) XLVII
Dry-Twig Line (upper) . Orchid-Leaf Line (lower) . XLVIII
Bamboo-Leaf Line (upper) . Mixed Style (lower) . . XLIX
LAWS OP THE FOUR PARAGONS
The Plum Tree and Blossom L,
The Chrysanthemum Flower and Leaves .... n
The Orchid Plant and Flower LII
The Bamboo Plant and Leaves
PAINTING SUBJECTS
Sunrise Over the Ocean (l). Horai San (2). Sun, Storks and Tortoise (3, 4, 5)
[xiv]
EXPLANATORY PLATES
PLATS
Fuku Roku Ju (l). The Pine Tree (2). Bamboo and Plum (s). Kado Matsu and Shimenawa (4). Rice v^/aices v. o / * LV
Sun and Waves ( 1 ) . Rice Grains ( 2 ) . Cotton Plant (s).
Battledoor (4). Treasure Ship (5) .... LVI
Chickens and the Plum Tree (l). Plum and Song Bird (2) . La5t of the Snow (s). Peach Blossoms (4s). Paper Dolls (5). Nana Kusa (6) LVII
Cherry Trees (l). Ebb Tide (2). Saohime (s). Wistaria (4). Iris (5). Moon and Cuckoo (6) . . LVIH
Carp(l). Waterfall (2). Crow and Snow (s). Kakehi(4>.
Tanabata (5). Autumn Grasses (6) .... LIX
Stacked Rice and Sparrows ( 1 ) . Rabbit in the Moon (2) . Megetsu(s). MisSt Showers (4). Water Grasses (5). Joga v.6y . . . . . LX
Chrysanthemum (l). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6) . . LXI
Squirrel and Grapes (l). Kayenu Matsu (2). Evesco or Ebisu (s). Zan Kiku (4). First Snow (5). Oharame (6) LXII
Mandarin Ducks (l). Chi Dori (2). Duck Flying (s).
Snow Shelter (4) . Snow Scene (5) . Snow Daruma (6) LXIII
Crow and Plum ( 1 ). Bird and Persimmon (2). Nukume
Dori (3). Kinuta uchi (4) LXIV
Spring (l). Summer (2). Autumn (3). Winter (4) . i-xv
Cha no Yu (l). Sen Cha (2). Birth of Buddha (3). Inari (4)
[xv]
KEN WAN CHOKU HITSU
A firm arm and a perpendicular brush
ON THE LAWS OF JAPANESE PAINTING
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 Japanese that country. Taking up my residence in Kyoto, Masters 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 subje6l 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 inSlru6lor. 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 perfed type of his kind, overflowing with skill, learning, and humor. He gave me my firSl lesson and I was simply entranced.
ON THE LAWS OF JAPANESE PAINTING It was as though the skies had opened to disclose a new kingdom of art. Taking his brush in hand, Japanese with a few ^Strokes he had executed a masterpiece, asters a loquot (biwd) branch, with leaves clustering round the ripe fruit. In&indt 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 subje6ls (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 vn 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 inlru6lion from the distinguished Kubota Beisen, one of the mo& 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
w
PERSONAL EXPERIENCES
ceremony he was asked if he would kindly paint something for our delight. Without hesitation he JJ 1 " 6 Years
11 _ A^-NI xv Under
spread a large sheet of Chinese paper (TOSHI) before Japanese him and in a few moments we beheld a crow cling- Masters ing 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 inStru6tion. He consented, and thus began an acquaintance and friendship which lasted until his death a few years ago. 1 worked faithfully under his guidance during five years, every day of the week, including Sundays. I never tired; in fa6t, 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 con&antly 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 fa6t is, if one seriously investigates that art
[5]
Masters
ON THE LAWS or JAPANESE PAINTING he readily comes under the sway of its fascination. Nine un e de? As *^ e People of Japan love art in all its manifestations, the foreigner who paints in their manner finds
' ,i_ .1 -j i j-
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 con&antly sent to me for my enjoyment and instruction precious paintings by the old makers, 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 moiSt 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.
[6]
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 underwood, much less appreciated, unless we possess some acquaintance with the laws which control its produ&ion. 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 pi&ures 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 ta&e
[7]
Impressions
ON THE LAWS OF JAPANESE PAINTING
as to what shall be painted and what bet left out. They never aim at photographic accuracy or distra&ing detail. They paint what they feel rather than what they see, but they fir& see very distinctly. It is the arti&ic impression (SHA i) which they Jtrive to perpetuate in their work. So far as perspe&ive 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, arti&s are specially warned again& disregarding the principle of perspective called EN KIN, meaning what is far and what is near. The frontispiece to the present volume illu&rates how cleverly perspe&ive 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 &udy.
These laws (in all there are seventy-two of them recognized as important) are a sealed book to the uninitiated. I once requeued 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 ludied painting.
ArtB toS u S f ^^ ie ^ a P anese are unconsciously an art-loving m apan people. Their very education and surroundings tend to make them so, When the Japanese child of tender age firft takes his little bowl of rice, a pair of tiny chop-Slicks is put into his right hand. He grasps them as we would a dirk. His mother then shows him how he should manipulate them.
[8]
ART IN JAPAN
He has taken a fir& lesson in the use of the brush.
With practice he becomes skilful, and one of his A rt Education
earliest pa&imes is using the chop-Sticks to pick up lnjapan
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 (NiHONjJkfe), with which an artiSl 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 Jap anese (forty-seven in number) which con&itute the Japanese syllabary. These signs represent the fortyseven pure sounds of the Japanese language and are used for writing. They are known as katakana and are simplified Chinese chara&ers, 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 charadters 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 wrift is secured, and the eye is taught in-
[9]
ON THE LAWS OF JAPANESE PAINTING
sensibly 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 mo& 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 arti&ic sense that a ta&e 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 moft 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 brides 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 article results.
The knowledge of Chinese characters and the to ^ril* the m properly are considered of painting prime importance in Japanese art. A first counsel given me by Kubota Beisen was to commence that
[10]
ART IN JAPAN
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, Japanese 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 Slated 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, mo& cleverly reproducing charming views
[11]
ON THE LAWS OF JAPANESE PAINTING
and contained in a shallow box or tray. This gentle little art is called BONSAI or hako niwa.
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 intrucArt schools tion, and many changes have been introduced in them during the present reign, or Meiji period, but sub&antially the course takes from three to four years and embraces copying (ISHA, mitori), tracing (MOSHA, tsuki-utsushi) , reducing (SHUKUZU, chijimeru) 9 and composing (SHIKO, tsukuri kata).
In copying, the teacher usually fir& 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 pi&ure and the outlines (BIN KAKU) are traced according to the exact order in which the original subje6l 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 effe6l.
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
[12]
THE TEA CEREMONY
BY Miss UVEMURA SHOEN Pkte n
ART IN JAPAN
the schools, lies the secret of the extraordinary skill
of the Japanese artisan who can produce marvelous Art schools
/r o_ . i.i i r\ and Their
effects in compressing scenery and other subjedts course within the very smallest dimensions and yet preserve corredl proportions and balance. Nothing can excel in maSlerly 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 arti&'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 attradls the eye is to be painted firft, 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 exa6t time with the last bar of the music. His arm and wril 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 pi6ture in which several arti&s will in turn participate,
[18]
ON THE LAWS OF JAPANESE PAINTING
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 Relation of now qualified to attach himself to some of the great Maste pupn 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.
[14]
ART IN JAPAN
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 mo& renowned of the SHIJO HA or Maruyama school, Hashimoto Gaho, a pupil of Kano Massano and a leading exponent of the Kano &yle (Kano HA), and Katei, a Nangwa artiSl, 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 infractions 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 arti&s there T he Historical many centuries before Italy had produced Michael fJJ*Sg Angelo or Raphael. The art of painting began Masters in Japan 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,
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ON THE LAWS OF JAPANESE PAINTING
five hundred years before England had a name, and long before civilization had any meaning in Europe, there were arti&s in Japan following the profession of painting with the same ardor and the same intelligence they are now be&owing upon their art in this twentieth century of our era.
When Buddhism was introduced there in the
The Buddhist sixth century, a great school of Buddhi& arti&s
school b e g an ft s i on g career . Among the names that
Stand out from behind the mii& of ages is that of Kudarano Kawanari, who came from Corea.
In the ninth century lived the celebrated Kose
vamato Kanaoka. He painted in what was called the pure
school j a p anese tyi e , 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 Tosa school Motomitsu, followed by Mitsunaga, Nobuzane and Mitsunobu. It dates back to the period of the Kamakura Shogunate eight hundred years ago. Its arti&s 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 artil of the very highest rank as a landscape painter. He had a famous pupil named Sesson.
[16]
ART IN JAPAN
Following Sesshu came the celebrated school of Kano arti&s, founded in the sixteenth century by Kano Sch001 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 latent 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 (Jude no chicara oijude no ikioi), as well as for the brilliancy or sheen (tsuya) and shading of the sumL This latter effe6t the play of light and shade in the &roke, considered almo& 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
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ON THE LAWS OF JAPANESE PAINTING
his pigments. Korin has never had his equal as a painter on lacquer. His work is said to be le regal des delicate.
Another disciple of the Kano school, and a pupil okyo scuooi of Yutei, was Maruyama Okyo, who founded in turn a school of art which is the mo& widely spread and flourishing in Japan today. Maruyama, not Okyo, was the family name of that arti&. 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 tyle or manner, and its characteristic is artistic fidelity to the objects represented. By some it is called the realistic school, and includes such wellknown household names as Goshun, pupil of Busson, Sosen, the great monkey painter, Tessan (Plate m) and his son, Morikwansai, Bairei, Chikudo, 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 chhleS southern painters, of Chinese origin and remark8011001 able for the gracefulness of the brush Stroke, the effedtive 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 vm) and Katei. To this school is referred a &yle of painting affe6led ex-
[18]
ART IN JAPAN
clusively by the professional writers of Chinese characters, and called BUNJINGWA. To these I will allude further on. The versatile artift, Tani Buncho, Tani Buncho created a school which had many adherents, including the di&inguished Watanabe Kwazan and Eiko of Tokyo, lately deceased, one of its beft 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, Gaho the foremo& arti& in Japan. Although of the Kano school, he greatly admired European art, and the treatment of the human figure in some of his late& paintings recalls the manner of the early Flemish arti&s.
My fir& 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 chara6ter classic simplicity, ever reflected in his work. He had many followers. His method of instruction with advanced pupils was to give them subje&s such as "A Day in Spring," "Solitude," "An Autumn Morning," or the like, and he was mot insistent upon all the essentials to the proper effedl being introduced. His criticisms were always luminous and sympathetic. He advised his Students to copy everything good, but to imitate no
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ON THE LAWS OF JAPANESE PAINTING one, to develop individuality. He left three very distinguished and able pupils Gyokudo, Kan Zan and Boku Sen.
Since Gaho's death, Kawabata Gyokusho, an Okyo artist, is the recognized leader of the capital. Tak le?ho 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 The ukiyo e school beginning under Matahei and perpetuated school-prints 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 mo& 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
[20]
CHICKEN'S IN"
MOTO:
in
ART IN JAPAN
ways. They first attrafted 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 subje&s 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 arti&s 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 objecft, hence kakemono, a suspended objecft. BYOBU signifies wind prote6tor 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 mo& of the Ukiyo e, or pictures in the popular &yle, are prints Struck from wood blocks and are the joint production of the arti&, 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 artiiSl-world of Japan objects to or ignores them ; they are not the spontaneous, living, palpitating produ&ion of the arti&'s brush. It is well known that arti&s of the Ukiyo e school frequently indicated only by written in&rudlions how their outline drawings for the prints should be colored,
[21]
ON THE LAWS OF JAPANESE PAINTING leaving the detail of such work to the color smearer. A P ar t from the faand screens), to be found in the various Buddhi& and other temples and monasteries scattered throughout the empire. The la& time we met, he remarked, "How can one willingly leave this land of light? Japan, to my mind, Elands 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 unfcfrtunately 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.
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ON THE LAWS OF JAPANESE PAINTING
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 RY-
AKU), by Arai Kayo. A Treatise on Famous Japanese Paintings (Fu So MEI GWA DEN),
by Hori Nao Kaku. Observations on Ancient Pi&ures (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 he 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
[28]
SNOIV SCENBS IN XTBOTA. B Plate iv
ART IN JAPAN
the authority which only con&ant labor in the field of practical art can confer. A Japanese artil, by Japanese ^ 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 do6trine 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 subjedt mut anyone be who has not gone through such curriculum and had drilled into him all that varied inStrudtion 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 intin6t what only can be acquired after long tudy 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.
[29]
Introductory Remarks
CHAPTER THREE
LAWS FOR THE USE OF BRUSH AND MATERIALS
UPON a subje6t as technical as that of Japanese painting, to endeavor to impart correct information in a way that shall be both in&rudtive 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 objedt be to acquire accurate knowledge, we mut 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 &rung along the walls of a museum. Japanese kakemono (hanging paintings) are bel viewed singly, suspended in the recess of the tokonoma, or alcove. A certain seclusion is essential to the enjoy-
[30]
USE OF BRUSH AND MATERIALS
ment of their delicate and subtle effe&s; 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 underhand the established manner in which their effe6ts in painting are produced, differs widely from that of European art. The Japanese brushes {fade 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 subje6t 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 Tools and 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
[31]
ON THE LAWS OF JAPANESE PAINTING
dosa) is next applied, care being taken not to wet the e ^ges f the silk attached to the frame, which
he silk.
found that paper laSts much longer than silk, and also can be more easily restored when cracked with age.
The arti&s of the Tosa school used a paper called tori no ko, into the composition of which egg-shells entered. This paper was a special product of Ichi Zen.
The Kano arti&s 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 &raw color, and is very responsive to the brush lroke, except when it "catches cold," as the Japanese say. It should be kept in a dry place.
The Tosa arti&s used paper almo& 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 strift, and when once under&ood, reasonable and helpful laws for the use of the
[32]
USE OF BRUSH AND MATERIALS
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 higheil ethics of Japanese art.
The law of YO HITSU requires a free and skilful H owthe handling of the brush, always with stri6t attention to the Slroke, whether dot, line or mass is to be made; the brush mu& 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 perfe6l and is always susceptible of improvement. The brush is the handmaid of the arti&'s soul and mu& 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 fir& 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 affe6led by the atmosphere as to refuse to respond, and the brush Stroke mu& be regulated accordingly. All such matters have to
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ON THE LAWS OF JAPANESE PAINTING
be considered when the brush is being used, and if ^e spirit of the artiSt be not alert, the result is failure. (IT TEN ICHI BOKU ni emu o su beki.)
Vehicle of the subtle sentiment to be expressed in form, the brush mut 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, HOW the an< i the firSt brushes made were writing brushes, Brush is Made an( j t j ie more wr iting 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 Sterns. Later on, as Chinese characters became more complex and writing more scientific, the brushes were mot 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 manufadture of the arti&'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
[34]
USE OF BRUSH AND MATERIALS
according to the subje6l 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 the e Brush jude no chikara or fade no ikioi. When representing an obje6t 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 obje6t 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 Jude 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 Jude 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
[35]
ON THE LAWS OF JAPANESE PAINTING steel such must be the force transmitted through st the Brush ^ e arm an( * hand to the brush. Thus executed stroke 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 arti&'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 exa6t equivalent of sumi e and both mean and describe the same produ&ion. Sumi e is not an "ink pi6ture," 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 intro-
[89]
ON THE LAWS OF JAPANESE PAINTING duced for antiseptic purposes. When a dead finish or surface (tsuya o keshi} is desired, as, for in&ance, where the female coiffure is to be painted and a lu&erless ground is needed for contrail with the shining strands of the hair, a little white pulverized oy&er 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 manufa6lure are carefully guarded secrets. China during the Ming dynasty, three centuries ago, produced the best sumi, although China sumi (TOBOKU) employed twelve centuries pa& 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 lot.
In using sumi the cake is moistened and rubbed on a slab called suzuri, producing a semi-fluid. The well-cleaned brush is dipped fir& 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
[40]
USE OF BRUSH AND MATERIALS
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 fa6t that the color of sumi will differ according to the manner in which it is rubbed upon the Stone. The beSl results are obtained when a young maiden is employed for the purpose, her Strength being juSl 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 Slate of mind of the artift 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 connexion 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
[41]
ON THE LAWS OF JAPANESE PAINTING
of celebrated violins. It is interesting to observe hQ^P 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 be& and riche& black tones.
The mol valuable Slone for suzuri is known throughout the entire oriental world as TAN KEI and is found in the mountain of Fuka in China. This tone 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 &one and sheep and cattle were offered in sacrifice, else it was believed that the &one 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 bel 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 defedls never to be concealed in a sumi e, where painting over sumi a second time is disastrous.
[42]
USE OF BRUSH AND MATERIALS
Japanese painters as a rule are sparing of colors, the slightest amount used discreetly and with restraint generally sufficing. Many arti&s 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 effe6ts in painting.
There are eight different ways of painting in The Eight color. I will enumerate them, with their technical, descriptive terms: Color
In the bel form of color painting (GOKU ZAI SHIKI) (Plate ix) the color is mol 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 be& 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 UMyo e painters.
The light water-color method, called TAN SAI (Plate xi), is employed in the ordinary &yle of painting kakemono and is much used by the Okyo school.
The most intere&ing form of painting, technically called BOKKOTSU (Plate xn), 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.
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ON THE LAWS OF JAPANESE PAINTING
The method of shading, called GOSO (Plate xm), invented by a Chinese arti&, Godoshi, who lived Paint coio? 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 xi v), is mostly used in printing pi&ures in book form.
Another form similarly used is called HAKUBYO (Plate xv) or white pattern, no color being employed.
Lastly, there is the sumi pidture 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 Autumn Tints tints of fore& 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 la&, and on the very tip of the brush, sumi. The brush thus charged and dexterously applied gives a charming autumn effe&, the colors shading into each other as in nature.
There are five parent colors in Japanese art:
PM Sd ( raSf ^* ue ( SEI )' y e ^ ow ( 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 (at nezumi); blue and white, sky-blue (sora iro);
[44]
TREE SQUIRREL
Br MOCHIZUKI KIMPO
Plate v
USE OF BRUSH AND MATERIALS
blue and red, purple (murasaki) ; yellow and black, dark green (unguisu chd) ; yellow and red, orange (kaba); black and red, brown (tobiiro); black and cmbinations 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 (iwamond). They are blue (GUNJO), dark or Prussian blue (KONJO), light bluish-green (GUNROKU), green (ROKUSHO), light green (BYAKUGUN), pea green (CHAROKU SHO) and light red (SANGO MATSU).
The use of primary colors in a painting in proximity to secondary ones originated by them is Color Harmon y to be avoided, as both lose by such contract; 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 artit. Color in art is the dress, the apparel in which the work is clad. It mu& be suitably combined, retrained, and attract no undue attention (medatsunai). True color sense is a special gift.
[451
Proportion
and Design
(ICHI and ISHO)
CHAPTER FOUR
LAWS GOVERNING
THE CONCEPTION AND EXECUTION
OF A PAINTING
w jr T*HEN a Japanese arti& is preparing to paint \ \f a picture he considers firft 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 objedls in the composition so as to secure harmony and effective contra&s. In settling these que&ions 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 ju& arrangement and di&ribution of the component parts, and design the manner in which the same shall be handled. In a landscape, proportion may require the balancing effe6l of buildings and trees, while design will determine how the same may be picturesquely presented; for in&ance, by making the
[46]
CONCEPTION AND EXECUTION 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 I* 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 XVIl).
Design, called in art ISHO ZUAN or fakumi, is largely the personal equation of the artiSt. It is his power of presenting and expressing what he treats in an original manner. The subjedt may not be new, but its treatment mut 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 effe<$t is as though such landscape or trees were seen
[47]
ON THE LAWS OP JAPANESE PAINTING through an open window, and all cramped or forc 6 ^ appearance is avoided. The Ukiyo e artits 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 artiSl Buncho being requeued to paint a crow flying across a fusuma or four sliding doorlike panels, after much reflection painted the bird in the a6l 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 Ikegami, where the tombs of so many of the Kano artiSls (including Tanyu) are to be found, is a &one marking the grave of a Kano painter who, having executed an order for a pifture and his patron observing that it was lacking in design and that he mul add a certain gold effecft in the color scheme, rather than violate his own convi&ions of what he considered proper design, firift refused to comply and then committed hara kiri.
A canon of Japanese art which is at the base of one of the P 66111 ^ charms of Japanese pictures, not merely in the whole composition but also in minute details that might escape the attention at fir& glance, requires that there should be in every
[48]
CONCEPTION AND EXECUTION
painting the sentiment of a&ive and passive, light and shade. This is called IN YO and is based upon the principle of contract for heightening effe&s. The term IN YO originated in the earlieSt doftrines of Chinese philosophy and has always exited in the art language of the Orient. It signifies darkness (IN) and light (YO), negative and positive, female and male, passive and a6live, lower and upper, even and odd. This term is of constant application in painting. A pi6ture 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 aspedts, their IN and their YO. The observance of this canon secures not only the effective contrail of light and shade in a pi&ure but also an equally Striking contract between the component parts of each object composing it.
The law of form, in art called KEISHO or KAKKO, Form (KS1SHo) is widely applied for determining not only the corre6t 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
[49]
ON THE LAWS OF JAPANESE PAINTING
according to conditions surrounding them, whether Form (KWSHO) seen near or f ar O ff 5 j n m i& or i n ra in or in snow, in
motion or in repose* The exadt 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 objedts 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 pidture 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 subjedts and the MS/ng manner of painting them is called KG JUTSU. SpeB s53eeti c * a l principles apply to this department of Japanese art< rpj ie 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 subje6t 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 pi6ture 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.
[50]
CONCEPTION AND EXECUTION The term YU SHOKU refers to the laws governing the pra&ices of the Imperial household, BuddhiSt and Shinto rites. Before attempting any work of art in which these may figure the painter mut be Ceremomes 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. Laws for Landscapes are known in art by the term SAN sui, pJ^ST which means mountain and water. This Chinese (8AN8IJl) term would indicate that the artists of China considered both mountains and water to be essential to landscape subje&s, 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 effe&s 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 xvni) contains a lofty mountain, rocks, river, road, trees, bridge, man, animal, et cetera. The fir& requisite in such a composition is that the pi6ture respond to the law
[51]
ON THE LAWS OF JAPANESE PAINTING
of TEN CHI JIN, or heaven, earth and man. This wonderful law of Buddhism is said to pervade the (TEN, CHI, JIN) universe and is of widel application to all the art of man. TEN CHI JIN means that whatever is worthy of contemplation muift contain a principal subject, its complimentary adjundl, and auxiliary details. Thus is the work rounded out to its perfection.
This law of TEN CHI JIN applies not only to painting but to poetry (its elder sifter), to architecture, to garden plans, as well as to flower arrangement; in fa6l, it is a universal, fundamental law of corre6t contru6tion. In Plate xvm the mountain is the dominant or principal feature. It commands our firift 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 pifture, to wit, the trees, man, animal, bridge and river, are lyled JIN, or man, so that the picture satisfies the firl law of composition, namely, the unity in variety required by TEN CHI JIN.
There is another law which determines the genThe Four eral charadler to be given a landscape according to the season, and is thus expressed: Mountains in S p r i n g should suggest joyousness; in summer, green and moi&ure; in autumn, abundance; in winter, drowsiness. The formula runs as follows: SHUNZAX,warau gotoshi; KAZAN, arau gotoshi; SHUZAN, yoso gotoshi; TOZAN, nemurugotofat.
[52]
ft* **-
/
TIGER
BY KISHI CHIKUDO Plate vi
CONCEPTION AND EXECUTION
Similarly, according to the season, there are four principal ways of painting bamboo (CHIKU). In fairweather bamboo (SEI CHIKU) the leaves are spread out joyously; in rainy-weather bamboo (UCHIKU) the leaves hang down despondently; in windyweather bamboo (FUCHIKU) the leaves cross each other confusedly, and in the dew of early morning (ROCHIKU) the bamboo leaves all point upwards vigorously (Plate LIU 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 firt paint the bottom of the snow-line and then by shading (kumadori) above the same with very light ink (usui sumi) produce the effeft 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 artists, notably Kubota Beisen and his followers, employ both methods, the former for near and the latter for di&ant snow landscapes.
Low mountains in a landscape suggest great distance. Fujiyama, the favorite subject of all artifts, 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 vis-
[53]
ON THE LAWS OF JAPANESE PAINTING
ible 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 xxma).
The large and small axe Strokes on a tree, called
DAI SHO FU HEKI SHUN (Plate XX111 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).
[54]
CONCEPTION AND EXECUTION
These eight laws are not only available guides to desired effe6ls; they also abbreviate labor and save the arti&'s attempting the impossible task of exa6lly 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 Theory trees, plants and grasses take the form of a circle, called in art RIN KAN (see Plate xxvu), No. 1; or a semi-circle (HAN KAN) (Plate xxvn), No. 2; or an aggregation of half-circles, called fish scales (GYO RIN) (Plate xxvn), No. 3; or a modification of these latter, called moving fish scales (GYO RIN KATSU HO) (Plate xxvn), No 4. Developing this principle on Plate xxvm, No. 1, we have theoretically the firl shape of tree growth and on Plate xxvm, No. 2, the same pra&ically interpreted. In Nos. 3 and 4, same plate, we have the growth of grass illustrated theoretically and pradtically. In Plate xxix, according to this method, is conlru6led the entire skeleton of a forest tree. In Nos. 1 and 2 on this plate numerous small circles are indicated. These show where each jftroke of the brush begins, the points of commencement being of prime importance to corre6t effedt. 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
[55]
ON THE LAWS OF JAPANESE PAINTING apparent in work contru6ted according to the a *>ove 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 iftraight 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 conlruCONCEPTION AND EXECUTION The Chinese chara&er for the verb "to save" (KAI Ji TEN) (Plate xxxm b), used for both trees and
11-1
shrubbery.
The pepper dot (KO SHO TEN) (Plate xxxiv a). This dot requires great dexterity and free wri& movement. It will be observed that the dots are made to vary in size but are all given the same dire&ion.
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 effe6ls.
The Chinese character for "one" (ICHI Ji TEN) (Plate xxxv b). The effe<5t produced by this charafter is very remarkable in representing maple and other trees whose foliage at a distance appears to be in layers.
The Chinese chara&er for "heart" (SHIN), called SHIN Ji TEN (Plate xxxvia). This is used mot effectively for both foliage and grasses.
The Chinese character for "positively" (HITSU), called HITSU Ji TEN (Plate xxxvib). This dot or Stroke is successfully employed in reproducing the foliage of the willow tree in spring.
The rice dot, called BEI TEN (Plate xxxvn a).
The dot called HAKU YO TEN (Plate xxxvub), being smaller than the pepper dot, with the clove dot (SHO Ji TEN) surrounding it.
It is a 5lri6lly 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 pra&ice of always finishing a landscape painting, rocks,
[57]
ON THE LAWS OF JAPANESE PAINTING trees or flowers, with certain dots judiciously added to en li ven an d heighten the general effeCt. These dots, done with a springing writ movement, serve to enliven the work and give it freshness, jut as a rain shower affedts vegetation. The Kano artists were mot 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 till 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 mu& not be actually painted into the composition but merely the sentiment of their respective forms recalled. They are simply pra6tical memory aids to desired effects.
It is the spirit of the character rather than its exaCt shape which should control; the order of
[58]
CONCEPTION AND EXECUTION
the painted Strokes being that of the written character, its sentiment or general shape is thus repro-
duced. Calligraphy
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 itrokes. 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 them-
[59]
ON THE LAWS OF JAPANESE PAINTING selves upon being expert writers of the Chinese rv characters. Okyo practiced daily for three years
and Chinese * r * r\ r\ T t*
calligraphy 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 exi&s 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 &yle of painting is called BUN JIN FU. They are not arti&s, 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 ^triftly sui generis. It is known as the NAN GWA or southern literary way of painting. Their subje&s 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 di&inguished 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 arti&s are taught, practice and profess, nor is it even recognized as an art, but simply as an eccentric development of the literary
[60]
CONCEPTION AND EXECUTION
man with a ta&e for painting. At one time or another well-known artils, especially at the begin- Japanese Art
/ i TI JT i /v <~\ i and c/nincse
ning of the Meiji era, have affected this BUN JIN calligraphy tyle 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 arti&s as memory aids to producing certain effe6ls; but were these chara&ers 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 pi6lures. There are between five and six hundred mother characters, all imitating the shapes of obje6ls; these, with their later combinations, con&itute the Chinese written system, so that while there is nothing calligraphic about Japanese painting, there is much that is piftorial about Chinese calligraphy.
Other landscape laws applicable to things seen at a di&ance in a painting require that distant trees should show no branches nor leaves; people at a distance, no features; distant mountains, no ledges; diSlant seas or rivers, no waves. Again, clouds should indicate whence they come; running water the dire&ion of its source; mountains, their chains; and roads, whither they lead.
In regard to painting moving waters, whether La^of deep or shallow, in rivers or brooks, bays or oceans, Moving waters Chinanpin declared it was impossible for the eye
[61]
ON THE LAWS OF JAPANESE PAINTING
to seize their exa6t 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 catara6t, 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 subje6t 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 effe6t 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.
[62]
CONCEPTION AND EXECUTION
We will now consider another unique department of Japanese painting in connexion 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 artiSfcs 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 Siring 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 muSl 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,
[63]
ON THE LAWS OF JAPANESE PAINTING
much employed by Tosa artists and used for the formal, ^liffly Marched garments of court nobles, th th -Dress* samura ^ NO dancers, and umpires of wre&ling matches. When this line is painted the artil mu& 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 depidl 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 mu& be painted, care being taken to conceal the point of the brush along the line. This is a mo& important line in all color painting. Indeed, where much pains are to be taken with the picture, and the colors are to be moft carefully laid on, it is the be& and favorite line.
[64]
CONCEPTION AND EXECUTION
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 artiSls particularly affe6t this method of line painting in depicting beggars, hermits, and other such chara&ers.
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 no 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 Slopped 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 XLVH 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.
[65]
ON THE LAWS OF JAPANESE PAINTING
Dry twig or old firewood line (KO SHI BYOU) (Plate XLvm upper) is generally used in the robes of old men a Produced by what is called the dry brush; that is, a brush with very little water mixed with the sumi. The Stroke mut 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 (Ujiri) generally.
The bamboo leaf line (CHIKU YAU BYOU) (Plate XLIX upper). This&yle of painting, which aims at sugge&ing the leaf of the bamboo, was much in favor formerly in China. Japanese arti&s seldom employ it.
The mixed &yle (KON BYOU) (Plate XLIX lower), in which any of the foregoing seventeen 5lyles can be employed provided the body of the garment be laid on firft in mass and the lines painted in afterward while the sumi or paint is Still damp. This gives a satiny effeft.
There are many other ways of painting the lines of the garment but the preceding eighteen laws give the lriRansai'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 arti&s have another sy&em 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
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ON THE LAWS OF JAPANESE PAINTING phoenix. An oil is made from the bamboo and L sa *d to be gd for people with quick tempers Painting Many artiSls adopt the name of bamboo for thei: nom de plume; witness, Chiku Jo, Chiku Do, Chikt Sho, Chiku Den and the like.
It is said that the full moon cats the shadow o the bamboo in a way no other light approaches The learned Okubu Shibutsu firft observed thi and the discovery led to his becoming the greate of all bamboo painters. Nightly he used to trac< with sumi such bamboo shadows on his paper win dow. Sho Hin, a lady artist of Tokyo, enjoys i well-earned reputation for painting bamboo. Sh< was a pupil of Tai Zan, a Kyoto representative of the Chinese school. The Kano painters mucl favored the subject of the seven sages in the bam boo grove. Bamboo grass (SASSA) is much paintec by all the schools. It is very decorative. There i a male and a female bamboo; from the latte: (medake) arrows are made. The uses to which mai puts the bamboo are surprisingly numerous, thu fortifying its claims to be regarded a paragon.
The plum is the firSl tree of the year to bloom I* has a delicate perfume. Though the trunk o the tree grows old it renews its youth and beaut] every spring with vigorous fresh branches crowdec with buds and blossoms. In old age the tree take on the shape of a sleeping dragon. With no othe: flower or tree are associated more beautiful anc pathetic folk-lore and historical fa6ts. For thes< and other reasons Rennasei assigned to the plun its place as a paragon centuries and centuries ago
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CONCEPTION AND EXECUTION
The tree branches with their interlacings reproduce the spirit of the Chinese character for Jf u c niqueof woman, called jo Ji (Plate L, No.l). 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 pi&ils are reproductions of the Chinese character SHO, meaning small. For the calyx (5) the Chinese charadter 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 ma&er 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 su&aining 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 themum (KC> 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 fore& leaves are dropping, spiritless, to the ground, the
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ON THE LAWS OP JAPANESE PAINTING chrysanthemum comes forth from the earth in f res h an d ^diant 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 lat six hundred years the sixteen-petaled chrysanthemum has been the emblem of Imperial sovereignty in Japan. With arti&s it has always been a favorite flower subjedt. There are innumerable ways of painting it. Technique of Plate LI shows the chrysanthemum flower and Chrysa ^ leaves painted in the Okyo manner. There is an painting established order in which the leaves mut be executed. Viewed from the front (Nos. 1 and 2) the order of the brush &roke 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 effedl sought. The flower half opened is shown in No. 6, and wholly opened in No. 7. The calyx somewhat reproduces the Chinese written chara6ter 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 arti&. The word KIKU is Chinese, the Japanese word for the flower being kawara yomogi. The Nagoya artifts have always been particularly skilful in painting the chrysanthemum in an exceptionally engaging way. The little marguerite-like blossom is called mamegiku, and is a universal favorite among all arti&s.
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CONCEPTION AND EXECUTION
The impression produced on one who for the firt time hears enumerated these various laws may possibly be that all such methods for securing artilic effe&s are arbitrary, mechanical and unnatural. But in practice, the artil who invokes their aid finds they produce invariably pleasing and satisfactory results. It muft not be supposed that such laws are exclusive of all other methods of painting in the Japanese Style. On the contrary the artiSl is at liberty to use any other method he may sele6l provided the result is artistically corre6l. 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 mu& always be borne in mind, are only to assist the artist who may be in doubt or difficulty as to how he shall be& express the effe& 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 arti&, 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 charadler there shall be one stroke which begins with the head of a silkworm and terminates with a goose's tail. This also may
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ON THE LAWS OF JAPANESE PAINTING sound odd and seem forced, yet this law gives a T TheTe Lawf s P e cial and wonderful cachet to the chara6ter so written.
Some acquaintance with these principles and methods invoked by arti&s adds much to our keen enjoyment of their work, jut 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 sugge&ed 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 abtra6t conclusion the great thirteenth century artiSts were the firt to arrive at" (Ruskin's Mod. Painters, Vol. in), and even in the architecture of the bet 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 chara6ters, 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
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CONCEPTION AND EXECUTION
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 subjedt 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 xxn).
In landscape work the general rule is to paint what is neareft 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
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ON THE LAWS OF JAPANESE PAINTING
diluted and exhausted the proper effe6l of foreground, middle di&ance 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
AS to Faults which art Students are warned against committing.
to be Avoided guffice 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 charadter, departing from all law to produce something not reducible to any law or principle. KAN is producing only superficial, pleasing effe6l 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.
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CHAPTER FIVE
CANONS OF
THE AESTHETICS OF JAPANESE PAINTING
O
NE of the mo& important principles in the art of Japanese painting indeed, a funda-
j_ 1 j i'l J^ft.- A.- I. j_ MoTement
mental and entirely distinctive character-
i&ic 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 artiSl at the moment of painting it mu& feel its very nature, which, by the magic of his art, he transfers into his work to remain forever, affe&ing all who see it with the same sensations he experienced when executing it.
This is not an imaginary principle but a &ri6tly enforced law of Japanese painting. The tudent is incessantly admonished to observe it. Should his subje6l be a tree, he is urged when painting it to feel the Strength which shoots through the branches
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ON THE LAWS OP JAPANESE PAINTING and sustains the limbs. Or if a flower, to try to ^ ee ^ t ^ ie g race w ^ which it expands or bows its (SEI DO) 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 fxrt feel. The Romans taught their a6lors that they mut fir& weep if they would move others to tears. The Greeks certainly underwood the principle, else how did they successfully invest with imperishable life their creations in marble?
In Japan the highest compliment to an arti& 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 yakuj Waga te waga kokoro ni ozuru.
Our spirit muft make our hand its servitor ;
Our hand mu& respond to each behe& of our spirit.
The Japanese artist is taught that even to the placing of a dot in the eyeball of a tiger he mu& fidft feel the savage, cruel, feline chara&er of the beast, and only under such influence should he apply the brush. If he paint a torm, 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 depi6t the seacoast with its cliffs and moving waters, at the moment of putting the wave-bound rocks into the pi6lure he mu& 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 irresitible power to carry all before them; thus, by
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AESTHETICS OF JAPANESE PAINTING
this sentiment, called living movement (SEI DO), reality is imparted to the inanimate objedt. This is one of the marvelous secrets of Japanese paint- called sumi e 9 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 requeued to execute a kakemono representing a bamboo forest. Consenting, he painted with all his known skill a pidture in which the entire bamboo grove was in red. The patron upon its receipt marveled at the extraordi-
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AESTHETICS OF JAPANESE PAINTING
nary skill with which the painting had been executed, and, repairing to the arti&'s residence, he said: " MaSler, I have come to thank you for the pi&ure; 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 respeft permissible but actually missed when not employed. In a landscape painting effe6ts are frequently introduced which are not to be found in the scene sketched. The false or fictitious is added to heighten the effe6l. 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 effe6t. 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 eife6t is pleasing and satisfa&ory 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
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ON THE LAWS OF JAPANESE PAINTING painters of Japan, on returning to his own country a ^ ter having iftudied 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 fa6l that in this village there was no tower or pagoda, he exclaimed that there ought to be one to make the landscape perfedt, and thereupon he had the tower conlru6led at his own expense. He had painted in the pagoda unconsciously. This was esoragoto.
There are no people in the world who have a s irituai hih er ^ ea of the dignity of art than the Japanese Elevation and it is a principle with them that every painting KIXN 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, mut be pronounced a failure. Such pidture may be perfe6t 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
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AESTHETICS OP JAPANESE PAINTING elevating characters have impressed us the moment we have been brought into relation with them,
rm i . TI i * nr* /~\. Elevation
The same quality which thus affe&s us in persons is what the Japanese understand by KI IN in a painting. It is that indefinable something which in every great work sugge&s 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 mull be innate. It is, so to say, a divine seed implanted in the soul by the Creator, there to unfold, expand and blossom, te&ifying 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 arti& life in Japan that many of the great arti&s 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 prie&s 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.
[83]
PaintingSubjects
CHAPTER Six
SUBJECTS FOR JAPANESE PAINTING
(GWA DAI)
JAPANESE arti& 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 subje6ls, 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 subjedts are called GWA DAI. As one without some knowledge of these cannot appreciate much that is interesting about art cu&oms in Japan, a brief reference to them will be made, beginning with those subje&s suitable to the different months of the year :
January For New Year's day (SHO GWATSU
For January 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,"
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SUBJECTS FOR JAPANESE PAINTING
a god of good luck. Many meanings are associated with these subje6ts. 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 *he 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 pi6ture bamboo and plum subjedts (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 ph
