,fujiyama1 by ,murata ,tanryu4 ,plate ,i4 ,fujiyama1 by ,murata ,tanryu4 ,plate ,i4 ,on the ,laws of ,japanese ,painting ,an ,introduction to the study of the ,art of ,japan ,henry ,p4 ,bowie ,title-page design3 ,butterflies and ,birds1 known as ,cho ,tori ,paul ,elder and ,company ,publishers #aiaa ,,contents ,introduction by ,iwaya ,sazanami ,introduction by ,hirai ,kinza ,preface ,,chapter ,,one4 ,,personal ,,experiences ,,chapter ,,two4 ,,art ,,in ,,japan ,,chapter ,,three4 ,,laws ,,for ,,the ,,use ,,of ,,brush ,,and ,,materials ,,chapter ,,four4 ,,laws ,,governing ,,the ,,conception ,,and ,,execution ,,of ,a ,,painting ,,chapter ,,five4 ,,canons ,,of ,,the ,,aesthetics ,,of ,,japanese ,,painting ,,chapter ,,six4 ,,subjects ,,for ,,japanese ,,painting ,,chapter ,,seven4 ,,signatures ,,and ,,seals ,,explanation ,,of ,,head-,,bands ,,plates ,,explanatory ,,of ,,the ,,foregoing ,,text ,,on ,,the ,,laws ,,of ,,japanese ,,painting ,footnotes ,,illustrations ,fujiyama1 by ,murata ,tanryu4 ,plate ,i4 ,the ,tea ,ceremony1 by ,miss ,uyemura ,shoen4 ,plate ,,ii4 ,chickens in ,spring1 by ,mori ,tessan4 ,plate ,,iii4 ,snow ,scene in ,kaga1 by ,kubota ,beisen4 ,plate ,,iv4 ,tree ,squirrel1 by ,mochizuki ,kimpo4 ,plate ,v4 ,tiger1 by ,kishi ,chikudo4 ,plate ,,vi4 ,bamboo1 ,sparrow and ,rain4 ,plate ,,vii4 ,fujiyama from ,tago no ,ura1 by ,yamamoto ,baietsu4 ,plate ,,viii4 ,most ,careful ,method of ,laying on ,color4 ,plate ,,viiii4 ,the ,next ,best ,method4 ,plate ,x4 ,the ,light ,water-,color ,method4 ,plate ,,xi4 ,color ,with ,outlines ,suppressed4 ,plate ,,xii4 ,color ,over ,lines4 ,plate ,,xiii4 ,light ,reddish-,brown ,method4 ,plate ,,xiv4 ,the ,white ,pattern4 ,plate ,,xv4 ,the ,black or ,sumi ,method4 ,plate ,,xvi4 ,the ,rule of ,proportion in ,landscapes4 ,plate ,,xvii4 ,heaven1 ,earth1 ,man4 ,plate ,,xviii4 ,pine ,tree ,branches4 ,plate ,,xix4 ,winding ,streams4 ,plate ,,xx4 ,a ,tree and ,its ,parts4 ,plate ,,xxi4 ,bird and ,its ,subdivisions4 ,plate ,,xxii4 ,peeled ,hemp-,bark ,method for ,rocks and ,ledges 7a7 ,the ,axe strokes 7b74 ,plate ,,xxiii4 ,lines or ,veins of ,lotus ,leaf 7a74 ,alum ,crystals 7b74 ,plate ,,xxiv4 ,loose ,rice ,leaves 7a74 ,withered ,kindling ,twigs 7b74 ,plate ,,xxv4 ,scattered ,hemp ,leaves 7a74 ,wrinkles on the ,cow's ,neck 7b74 ,plate ,,xxvi4 ,the ,circle 7#a74 ,semi-,circle 7#b74 ,fish ,scales 7#c74 ,moving ,fish ,scales 7#d74 ,plate ,,xxvii4 ,theory of ,tree ,growth 7#a74 ,practical ,application 7#b74 ,grass ,growth in ,theory 7#c74 ,in ,practice 7#d74 ,plate ,,xxviii4 ,skeleton of a ,forest ,tree 7#a7 ,same ,developed 7#b74 ,tree ,completed in structure 7#c74 ,plate ,,xxix4 ,perpendicular ,lines for ,rocks 7#a74 ,horizontal ,lines for ,rocks 7#b74 ,rock ,construction as ,practiced in ,art 7#c and #d74 ,plate ,,xxx4 ,different ,ways of ,painting ,rocks and ,ledges4 ,plate ,,xxxi4 ,wistaria ,dot 7a74 ,chrysanthemum ,dot 7b74 ,plate ,,xxxii4 ,wheel-,spoke ,dot 7a74 ,,kai ,,ji ,dot 7b74 ,plate ,,xxxiii4 ,pepper-,seed ,dot 7a74 ,mouse-,footprint ,dot 7b74 ,plate ,,xxxiv4 ,serrated ,dot 7a74 ,,ichi ,,ji dot 7b74 ,plate ,,xxxv4 ,heart ,dot 7a74 ,,hitsu ,,ji ,dot 7b74 ,plate ,,xxxvi4 ,rice ,dot 7a74 ,,haku ,,yo ,dot 7b74 ,plate ,,xxxvii4 ,waves 7a74 ,different ,kinds of ,moving ,waters 7b74 ,plate ,,xxxviii4 ,sea ,waves 7a74 ,brook ,waves 7b74 ,plate ,,xxxix4 ,storm ,waves4 ,plate ,,xl4 ,silk-,thread ,line 7upper74 ,koto string ,line 7lower74 ,plate ,,xli4 ,clouds1 ,water ,lines 7upper74 ,iron-,wire ,line 7lower74 ,plate ,,xlii4 ,nail-,head1 ,rat-,tail ,line 7upper74 ,tsubone ,line 7lower74 ,plate ,,xliii4 ,willow-,leaf ,line 7upper74 ,angle-,worm ,line 7lower74 ,plate ,,xliv4 ,rusty-,nail and ,old-,post ,line 7upper74 ,date-,seed ,line 7lower74 ,plate ,,xlv4 ,broken-,reed ,line 7upper74 ,gnarled-,knot ,line 7lower74 ,plate ,,xlvi4 ,whirling-,water ,line 7upper74 ,suppression ,line 7lower74 ,plate ,,xlvii4 ,dry-,twig ,line 7upper74 ,orchid-,leaf ,line 7lower74 ,plate ,,xlviii4 ,bamboo-,leaf ,line 7upper74 ,mixed style 7lower74 ,plate ,,xlix4 ,the ,plum ,tree and ,blossom4 ,plate ,l4 ,the ,chrysanthemum ,flower and ,leaves4 ,plate ,,li4 ,the ,orchid ,plant and ,flower4 ,plate ,,lii4 ,the ,bamboo ,plant and ,leaves4 ,plate ,,liii4 ,sunrise ,over the ,ocean 7#a74 ,horai ,san 7#b74 ,sun1 storks and ,tortoise 7#c1 #d1 #e74 ,plate ,,liv4 ,fuku ,roku ,ju 7#a74 ,the ,pine ,tree 7#b74 ,bamboo and ,plum 7#c74 ,kado ,matsu and ,shimenawa 7#d74 ,rice ,cakes 7#e74 ,plate ,,lv4 ,sun and ,waves 7#a74 ,rice ,grains7#b74 ,cotton ,plant 7#c74 ,battledoor 7#d74 ,treasure ,ship 7#e74 ,plate ,,lvi4 ,chickens and the ,plum ,tree 7#a74 ,plum and ,song ,bird 7#b74 ,last of the ,snow 7#c74 ,peach ,blossoms 7#d74 ,paper ,dolls 7#e74 ,nana ,kusa 7#f74 ,plate ,,lvii4 ,cherry ,trees 7#a74 ,ebb ,tide 7#b74 ,saohime 7#c74 ,wistaria 7#d74 ,iris 7#e74 ,moon and ,cuckoo 7#f74 ,plate ,,lviii4 ,carp 7#a74 ,waterfall 7#b74 ,crow and ,snow 7#c74 ,kakehi 7#d74 ,tanabata 7#e74 ,autumn ,grasses 7#f74 ,plate ,,lix4 ,stacked ,rice and ,sparrows 7#a74 ,rabbit in the ,moon 7#b74 ,megetsu 7#c74 ,mist ,showers 7#d74 ,water ,grasses 7#e74 ,joga 7#f74 ,plate ,,lx4 ,chrysanthemum 7#a74 ,tatsutahime 7#b74 ,deer and ,maples 7#c74 ,geese and the ,moon 7#d74 ,fruits of ,autumn 7#e74 ,monkey and ,persimmons 7#f74 ,plate ,,lxi4 ,squirrel and ,grapes 7#a74 ,kayenu ,matsu 7#b74 ,evesco or ,ebisu 7#c74 ,zan ,kiku 7#d74 ,first ,snow 7#e74 ,oharame 7#f74 ,plate ,,lxii4 ,mandarin ,ducks 7#a74 ,chi ,dori 7#b74 ,duck ,flying 7#c74 ,snow ,shelter 7#d74 ,snow ,scene 7#e74 ,snow ,daruma 7#f74 ,plate ,,lxiii4 ,crow and ,plum 7#a74 ,bird and ,persimmon 7#b74 ,nukume ,dori 7#c74 ,kinuta uchi 7#d74 ,plate ,,lxiv4 ,spring 7#a74 ,summer 7#b74 ,autumn 7#c74 ,winter 7#d74 ,plate ,,lxv4 ,cha no ,yu 7#a74 ,sen ,cha 7#b74 ,birth of ,buddha 7#c74 ,inari 7#d74 ,plate ,,lxvi4 ,,dedicated ,,to ,,the ,,memory ,,of ,,kubota ,,beisen ,a ,,great ,,artist ,,and ,a ,,kindly ,,man1 ,,whose ,,happiness ,,was ,,in ,,helping ,,others ,,and ,,whose ,,triumphant ,,career ,,has ,,shed ,,enduring ,,lustre ,,upon ,,the ,,art ,,of ,,japanese ,,painting ,,introduction ,,by ,,iwaya ,,sazanami7#a7 ,first of all1 ,i should state that in the year #aiji ,i accompanied the ,honorable ,japanese ,commercial ,commissioners in their visit to the various ,american capitals and other cities of the ,united states1 where we were met with the heartiest welcome1 and for which we all felt the most profound gratitude4 ,we were all so happy1 but ,i was especially so2 indeed1 it would be impossible to be more happy than ,i felt1 and particularly was this true of one day1 namely1 the twenty-seventh of ,november of the year named1 when ,henry ,p4 ,bowie1 ,esq41 invited us to his residence in ,san ,mateo1 where we found erected by him a ,memorial ,gate to commemorate our victories in the ,japanese-,russian ,war2 and its dedication had been reserved for this day of our visit4 ,suspended above the portals was a bronze tablet inscribed with letters written by my late father1 ,ichi ,roku4 ,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 ,america1 where ,i had the honor of delivering a short address on ,japanese folk-lore4 ,in adjoining halls was exhibited a large collection of ,japanese writings and paintings1 the latter chiefly the work of the artist1 ,kubota ,beisen1 while the writings were from the brush of my deceased father1 between whom and ,mr4 ,bowie there existed the relations of the warmest friendship and mutual esteem4 ,two years or more have passed and ,i am now in receipt of information from ,mr4 ,shimada ,sekko that ,mr4 ,bowie is about to publish a work upon the laws of ,japanese painting and ,i am requested to write a preface to the same4 ,i am well aware how unfitted ,i am for such an undertaking1 but in view of all ,i have here related ,i feel ,i am not permitted to refuse4 ,indeed1 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 ways1 and hundreds of books about ,japanese art have appeared in several foreign languages2 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 commentaries1 compilations1 extracts or references1 chosen here and there from other volumes4 ,all work of this kind must be considered extremely superficial4 ,but ,mr4 ,bowie has resided many years in ,japan4 ,he thoroughly understands our institutions and national life2 he is accustomed to our ways1 and is fully conversant with our language and literature1 and he understands both our arts of writing and painting4 ,indeed1 ,i feel he knows about such matters more than many of my own countrymen2 added to this1 his taste is instinctively well adapted to the ,oriental atmosphere of thought and is in harmony with ,japanese ideals4 ,and it is he who is the author of the present volume4 ,to others a labor of the kind would be very great2 to ,mr4 ,bowie it is a work of no such difficulty1 and it must surely prove a source of priceless instruction not only to ,europeans and ,americans1 but to my own countrymen1 who will learn not a little from it4 ,ah1 how fortunate do we feel it to be that such a book will appear in lands so far removed from our native shores4 ,now that ,i learn that ,mr4 ,bowie has written this book the happiness of two years ago is again renewed1 and from this far-off country ,i offer him my warmest congratulations1 with the confident hope that his work will prove fruitfully effective4 ,iwaya ,sho ,ha1 ,tokyo1 ,japan1 ,august #ag1 #aiaa ,,introduction ,,by ,,hirai ,,kinza7#b7 ,seventeen years ago1 at a time when ,china and ,japan were crossing swords1 ,mr4 ,henry ,p4 ,bowie came to me in ,kyoto requesting that ,i instruct him in the ,japanese language and in the ,chinese written characters4 ,i consented and began his instruction4 ,i was soon astonished by his extraordinary progress and could hardly believe his language and writing were not those of a native ,japanese4 ,as for the ,chinese written characters1 we learn them only to know their meaning and are not accustomed to investigate their hidden significance2 but ,mr4 ,bowie went so thoroughly into the analysis of their forms1 strokes and pictorial values that his knowledge of the same often astounded and silenced my own countrymen4 ,in addition to this1 having undertaken to study ,japanese painting1 he placed himself under one of our most celebrated artists and1 daily working with unabated zeal1 in a comparatively short time made marvelous progress in that art4 ,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 everyone1 but no one could believe that this was the work of a foreigner4 ,at the conclusion of the exposition he was awarded a diploma attesting his merit4 ,many were the persons who coveted the painting1 but as it had been originally offered to me1 ,i still possess it4 ,from time to time ,i refresh my eyes with the work and with much pleasure exhibit it to my friends4 ,frequently after this ,mr4 ,bowie1 always engaged in painting remarkable pictures in the ,japanese manner1 would exhibit them at the various art exhibitions of ,japan1 and was on two occasions specially honored by our ,emperor and ,empress1 both of whom expressed the wish to possess his work1 and ,mr4 ,bowie had the honor of offering the same to our ,imperial ,majesties4 ,his reputation soon spread far and wide and requests for his paintings came in such numerous quantities that to comply his time was occupied continuously4 ,now he is about to publish a work on ,japanese painting to enlighten and instruct the people of ,western nations upon our art4 ,as ,i believe such a book must have great influence in promoting sentiments of kindliness between ,japan and ,america1 by causing the feelings of our people and the conditions of our national life to be widely known1 ,i venture to offer a few words concerning the circumstances under which ,i first became acquainted with the author4 ,hirai ,kinza1 ,,nihon ,,azuma ,,no ,,miyako1 ,meiji-,yosa ,amari ,yotose-,hazuke4 ,,preface ,this volume contains the substance of lectures on on the laws and canons of ,japanese painting delivered before the ,japan ,society of ,america1 the ,sketch ,club of ,san ,francisco1 the ,art students of stanford ,university1 the ,saturday ,afternoon ,club of ,santa ,cruz1 the ,arts and ,crafts ,guild of ,san ,francisco1 and the ,art ,institute of the ,university of ,california4 ,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 country4 ,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 masters4 ,those terms printed in small capitals are ,chinese in origin2 all others in italics are ,japanese4 ,all of the drawings illustrative of the text have been specially prepared by ,mr4 ,shimada ,sekko1 an artist of research and ability1 who1 under ,david starr ,jordan1 has long been engaged on scientific illustrations in connection with the ,smithsonian ,institution4 ,the author apologizes for all references herein to personal experiences1 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 painting4 ,,ken ,,wan ,,choku ,,hitsu ,a firm arm and a perpendicular brush ,chapter #a ,head-,band3 ,the flower and leaves of the peony 7,botan71 as conventionalized on ancient armor 7yoroi7 ,,chapter ,,one4 ,,personal ,,experiences ,in the year #ahic ,i went on a short visit to ,japan1 and becoming interested in much ,i saw there1 the following year ,i made a second journey to that country4 ,taking up my residence in ,kyoto1 ,i determined to study and master1 if possible1 the ,japanese language1 in order to thoroughly understand the people1 their institutions1 and civilization4 ,my studies began at daybreak and lasted till midday4 ,the afternoons being unoccupied1 it occurred to me that ,i might1 with profit1 look into the subject of ,japanese painting4 ,the city of ,kyoto has always been the hotbed of ,japanese art4 ,at that time the great artist1 ,ko ,no ,bairei1 was still living there1 and one of his distinguished pupils1 ,torei ,nishigawa1 was highly recommended to me as an art instructor4 ,bairei had declared ,torei's ability was so great that at the age of eighteen he had learned all he could teach him4 ,torei was now over thirty years of age and a perfect type of his kind1 overflowing with skill1 learning1 and humor4 ,he gave me my first lesson and ,i was simply entranced4 ,it was as though the skies had opened to disclose a new kingdom of art4 ,taking his brush in hand1 with a few strokes he had executed a masterpiece1 a loquot 7biwa7 branch1 with leaves clustering round the ripe fruit4 ,instinct with life and beauty1 it seemed to have actually grown before my eyes4 ,from that moment dated my enthusiasm for ,japanese painting4 ,i remained under ,nishigawa for two years or more1 working assiduously on my knees daily from noon till nightfall1 painting on silk or paper spread out flat before me1 according to the ,japanese method4 ,japanese painters are generally classed according to what they confine themselves to producing4 ,some are known as painters of figures 7,,jim ,,butsu7 or animals 7,,do ,,butsu71 others as painters of landscapes 7,,san ,,sui71 others still as painters of flowers and birds 7,,ka ,,cho71 others as painters of religious subjects 7,,butsu ,,gwa71 and so on4 ,torei was a painter of flowers and birds1 and these executed by him are really as beautiful as their prototypes in nature4 ,on plate ,,vii is given a specimen of his work4 ,he is now a leading artist of ,osaka1 where he has done much to revive painting in that commercial city4 ,as ,i desired to get some knowledge of ,japanese landscape painting1 ,i was fortunate in next obtaining instruction from the distinguished ,kubota ,beisen1 one of the most popular and gifted artists in the empire4 ,in company with several of his friends and former pupils ,i called upon him4 ,after the usual words of ceremony he was asked if he would kindly paint something for our delight4 ,without hesitation he spread a large sheet of ,chinese paper 7,,toshi7 him and in a few moments we beheld a crow clinging to the branches of a persimmon tree and trying to peck at the fruit1 which was just a trifle out of reach4 ,the work seemed that of a magician4 ,i begged him then and there to give me instruction4 ,he consented1 and thus began an acquaintance and friendship which lasted until his death a few years ago4 ,i worked faithfully under his guidance during five years1 every day of the week1 including ,sundays4 ,i never tired2 in fact1 ,i never wanted to stop4 ,every stroke of his brush seemed to have magic in it4 7,plate ,,iv47 ,in many ways he was one of the cleverest artists ,japan has ever produced4 ,he was an author as well as a painter1 and wrote much on art4 ,at the summit of his renown he was stricken hopelessly blind and died of chagrin1--he could paint no more4 ,while living in ,tokio for a number of years ,i painted constantly under two other artists--,shimada ,sekko1 now distinguished for fishes2 and ,shimada ,bokusen1 a pupil of ,gaho1 and noted for landscape in the ,kano style2 so that1 after nine years in all of devotion and labor given to ,japanese painting1 ,i was able to get a fairly good understanding of its theory and practice4 ,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 it2 but the fact is1 if one seriously investigates that art he readily comes under the sway of its fascination4 ,as the people of ,japan love art in all its manifestations1 the foreigner who paints in their manner finds a double welcome among them2 thus1 ideal conditions are supplied under which the study there of art can be pursued4 ,my memory records nothing but kindness in that particular4 ,during my long residence in ,kyoto there were constantly sent to me for my enjoyment and instruction precious paintings by the old masters1 to be replaced after a short time by other works of the various schools4 ,for such attention ,i was largely indebted to the late ,mr4 ,kumagai1 one of ,kyoto's most highly esteemed citizens and art patrons4 ,without multiplying instances of the generous nature of the ,japanese and their interest in the endeavors of a foreigner to study their art1 ,i will mention the gift from the ,abbot of ,ikegami of two original dragon paintings1 executed for that temple by ,kano ,tanyu4 ,in ,tokio my dwelling was the frequent rendezvous of many of the leading artists of that city and ,,gassaku painting was invariably our principal pastime4 ,the great poet1 ,fukuha ,bisei1 now gone1 would frequently join us1 and to every painting executed he would add the embellishment of his charming inspirations in verse1 written thereon in his inimitable kana script4 ,this nobleman had taught the art of poetry to ,h4 ,i4 ,m4 ,mutsu ,hito1 to the preceding ,emperor1 and to the present ,crown ,prince4 ,chapter #b ,head-,band3 ,fan-shaped leaves of the icho or gin nan 7,salisburiana71 placed in books in ,china and ,japan to prevent the ravages of the bookworm4 ,,chapter ,,two4 ,,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 painting2 nor will ,i admit that it is inferior to other schools of painting4 ,rather would ,i say that it is a waste of time to institute comparisons4 ,let it be remembered only that no ,japanese painting can be properly understood1 much less appreciated1 unless we possess some acquaintance with the laws which control its production4 ,without such knowledge1 criticism--praising or condemning a ,japanese work of art--is without weight or value4 ,japanese painters smile wearily when informed that foreigners consider their work to be flat1 and at best merely decorative2 that their pictures have no middle distance or perspective1 and contain no shadows2 in fact1 that the art of painting in ,japan is still in its infancy4 ,in answer to all this suffice it to say that whatever a ,japanese painting fails to contain has been purposely omitted4 ,with ,japanese artists it is a question of judgment and taste as to what shall be painted and what best left out4 ,they never aim at photographic accuracy or distracting detail4 ,they paint what they feel rather than what they see1 but they first see very distinctly4 ,it is the artistic impression 7,,sha ,i7 which they strive to perpetuate in their work4 ,so far as perspective is concerned1 in the great treatise of ,chu ,kaishu entitled1 8,the ,poppy-,garden ,art ,conversations10 a work laying down the fundamental laws of landscape painting1 artists are specially warned against disregarding the principle of perspective called ,,en ,,kin1 meaning what is far and what is near4 ,the frontispiece to the present volume illustrates how cleverly perspective is produced in ,japanese art 7,plate ,i74 ,japanese artists are ardent lovers of nature2 they closely observe her changing moods1 and evolve every law of their art from such incessant1 patient1 and careful study4 ,these laws 7in all there are seventy-two of them recognized as important7 are a sealed book to the uninitiated4 ,i once requested a learned ,japanese to translate and explain some art terms in a work on ,japanese painting4 ,he frankly declared he could not do it1 as he had never studied painting4 ,the ,japanese are unconsciously an art-loving people4 ,their very education and surroundings tend to make them so4 ,when the ,japanese child of tender age first takes his little bowl of rice1 a pair of tiny chop-sticks is put into his right hand4 ,he grasps them as we would a dirk4 ,his mother then shows him how he should manipulate them4 ,he has taken a first lesson in the use of the brush4 ,with practice he becomes skilful1 and one of his earliest pastimes is using the chop-sticks to pick up single grains of rice and other minute objects1 which is no easy thing to do4 ,it requires great dexterity4 ,he is insensibly learning how to handle the double brush 7,,ni ,,hon fude7 with which an artist will1 among other things1 lay on color with one brush and dilute or shade off 7kumadori7 the color with another1 both brushes being held at the same time in the same hand1 but with different fingers4 ,at the age of six the child is sent to school and taught to write with a brush the phonetic signs ,japanese 7forty-seven in number7 which constitute the ,japanese syllabary4 ,these signs represent the forty-seven pure sounds of the ,japanese language and are used for writing4 ,they are known as katakana and are simplified ,chinese characters1 consisting of two or three strokes each4 ,with them any word in ,japanese can be written4 ,it takes a year for a child to learn all these signs and to write them from memory1 but they are an excellent training for both the eye and the hand4 ,his next step in education is to learn to write these same sounds in a different script1 called hiragana4 ,these characters are cursive or rounded in form1 while the katakana are more or less square4 ,the hiragana are more graceful and can be written more rapidly1 but they are more complicated4 ,from daily practice considerable training in the use of the brush and the free movement of the right arm and wrist is secured1 and the eye is taught insensibly the many differences between the square and the cursive form4 ,before the child is eight years old he has become quite skilful in writing with the brush both kinds of kana4 ,he is next taught the easier ,chinese characters1--,chinese ,,kanji and ideographs4 ,these are most ingeniously constructed and are of great importance in the further training of the eye and hand4 ,so greatly do these wonderfully conceived written forms appeal to the artistic sense that a taste for them thus early acquired leads many a ,japanese scholar to devote his entire life to their study and cultivation4 ,such writers become professionals and are called ,,shoka4 ,probably the most renowned in all ,china was ,ogishi4 ,japan has produced many such famous men1 but none greater than ,iwaya ,ichi ,roku1 who has left an immortal name4 ,from what has been said about writing with the brush1 it will be understood how the youth who may determine to follow art as a career is already well prepared for rapid strides therein4 ,his hand and arm have acquired great freedom of movement4 ,his eye has been trained to observe the varying lines and intricacies of the strokes and characters1 and his sentiments of balance1 of proportion1 of accent and of stroke order1 have been insensibly developed according to subtle principles1 all aiming at artistic results4 ,the knowledge of ,chinese characters and the their ability to write them properly are considered of prime importance in ,japanese art4 ,a first counsel given me by ,kubota ,beisen was to commence that study1 and he personally introduced me to ,ichiroku who1 from that time1 kindly supervised my many years of work in ,chinese writing1 a pursuit truly engrossing and captivating4 ,in all ,japanese schools the rudiments of art are taught1 and children are trained to perceive1 feel1 and enjoy what is beautiful in nature4 ,there is no city1 village1 or hamlet in all ,japan that does not contain its plantations of plum and cherry blossoms in spring1 its peonies and lotus ponds in summer1 its chrysanthemums in autumn1 and camelias1 mountain roses and red berries in winter4 ,the school children are taken time and again to see these1 and revel amongst them4 ,it is a part of their education4 ,excursions1 called ,,undokai1 are organized at stated intervals during the school term and the scholars gaily tramp to distant parts of the country1 singing patriotic and other songs the while and enjoying the view of waterfalls1 broad and winding rivers1 autumn maples1 or snow-capped mountains4 ,in addition to this1 trips are taken to all famous temples and historical places including1 where conveniently near1 the three great views of ,japan1--,matsushima1 ,ama ,no ,hashi ,date1 and ,myajima4 ,thus a taste for landscape is inculcated and becomes second nature4 ,furthermore1 the scholars are encouraged to closely watch every form of life1 including butterflies1 crickets1 beetles1 birds1 goldfish1 shell-fish1 and the like2 and ,i have seen miniature landscape gardens made by ,japanese children1 most cleverly reproducing charming views and contained in a shallow box or tray4 ,this gentle little art is called ,,bonsai or hako niwa4 ,the ,tea ,ceremony1 by ,miss ,uyemura ,shoen4 ,plate ,,ii4 ,the ,tea ,ceremony1 by ,miss ,uyemura ,shoen4 ,plate ,,ii4 ,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 empire4 ,these schools differ in their methods of instruction1 and many changes have been introduced in them during the present reign1 or ,meiji period1 but substantially the course takes from three to four years and embraces copying 7,,isha mitori71 tracing 7,,mosha1 tsuki-utsushi71 reducing 7,,shukuzu1 chijime-ru71 and composing 7,,shiko1 tsukuri kata74 ,in copying1 the teacher usually first paints the particular subject and the student reproduces it under his supervision4 ,kubota's invariable method was to require the pupil on the following day to reproduce from memory 7,,an ,,ki7 the subject thus copied4 ,this engenders confidence4 ,in tracing1 thin paper is placed over the picture and the outlines 7,,rin ,,kaku7 are traced according to the exact order in which the original subject was executed1 an order which is established by rule2 thus a proper style and brush habit are acquired4 ,the correct sequence of the lines and parts of a painting is of the highest importance to its artistic effect4 ,in reducing the size of what is studied1 the laws of proportion are insensibly learned4 ,this is of great use afterwards in sketching 7,,shassei74 ,i believe that in the habit of reproducing1 as taught in the schools1 lies the secret of the extraordinary skill of the ,japanese artisan who can produce marvelous effects in compressing scenery and other subjects course within the very smallest dimensions and yet preserve correct proportions and balance4 ,nothing can excel in masterly reduction the miniature landscape work of the renowned ,kaneiye1 as exhibited in his priceless sword guards 7tsuba74 ,sketching comes later in the course and is taught only after facility has been acquired in the other three departments4 ,it embraces everything within doors and without--everything in the universe which has form or shape goes into the artist's sketch-book 7,,ken ,,kon no uchi ,,kei ,,sho arumono mina ,,fun ,,pon to nasu7--and forms part of the course in composition1 which is intended to develop the imaginative faculties 7,,sozo74 ,kubota was so skilful in sketching that while traveling rapidly through a country he could faithfully reproduce the salient features of an extended landscape1 conformable to the general rule in sketching1 that what first attracts the eye is to be painted first1 all else becoming subordinate to it in the scheme4 ,again1 he could paint the scenery and personages of any historical song 7joruri7 as it was being sung to him1 reproducing everything therein described and finishing his work in exact time with the last bar of the music4 ,his arm and wrist were so free and flexible that his brush skipped about with the velocity of a dragon-fly4 ,as an offhand painter 7,,sekijo71 or as a contributor to an impromptu picture in which several artists will in turn participate1 such joint composition being known as ,,gassaku1 ,kubota stood facile princeps among modern ,japanese artists4 ,the ,kyoto painters have always been most gifted in that kind of accomplishment4 ,in their day ,watanabe ,nangaku1 a pupil of ,okyo1 ,bairei1 and ,hyakunen1 all of ,kyoto1 were famous as ,,sekijo painters4 ,the art student having completed his course is now qualified to attach himself to some of the great artists1 into whose household he will be admitted and whose deshi or art disciple he becomes from that time on4 ,the relation between such master 7,,sensei7 and his pupil 7deshi7 is the most kindly imaginable4 ,indeed1 deshi is a very beautiful word1 meaning a younger brother1 and was first applied to the ,buddhist disciples of ,shakka4 ,the master treats him as one of his family and the pupil reveres the master as his divinity4 ,greater mutual regard and affection exist nowhere and many pupils remain more or less attached to the master's household until his death4 ,to the most faithful and skilful of these the master bestows or bequeaths his name or a part of it1 or his nom de plume 7,,go72 and thus it is that the celebrated schools 7,,ryugi or ,,ha or ,,fu7 of ,japanese painting have been formed and perpetuated1 beginning with ,kanaoka1 ,tosa1 ,kano1 and ,okyo1 and brought down to posterity through the devoted1 and ,i might say sacred efforts of their pupils1 to preserve the methods and traditions of those great men4 ,pupils of the earlier painters took their masters' family names1 which accounts for so many ,tosas and ,kanos4 ,great painters have always been held in high esteem in ,japan1 not only by their pupils1 but also by the whole nation4 ,chikudo1 the distinguished tiger painter1 ,bairei1 one of the most renowned of the ,,shijo ,,ha or ,maruyama school1 ,hashimoto ,gaho1 a pupil of ,kano ,massano and a leading exponent of the ,kano style 7,kano ,,ha71 and ,katei1 a ,nangwa artist1 all only recently deceased1 were glorified in their lifetime4 ,strange to say1 no one ever saw ,gaho with brush in hand4 ,he never would paint before his pupils or in any one's presence4 ,his instructions were oral4 ,on the other hand1 ,kubota ,beisen was always at his best when painting before crowds of admirers4 ,prior to the ,meiji period the great painters attached to the household of a ,daimyo were called ,o ,eshi4 ,painters who sold their paintings were styled ,e kaki4 ,now all painters are called ,,gwa ,,ka4 ,engravers1 sculptors1 print makers and the like were and still are denominated ,,shokunin1 meaning artisans4 ,the comprehensive term 8fine arts0 7,,bijutsu7 is of quite recent creation in ,japan4 ,to say a few words about the different schools of painting in ,japan1 there were great artists there1 many centuries before ,italy had produced ,michael ,angelo or ,raphael4 ,the art of painting began more than fifteen hundred years ago and has continued in uninterrupted descent from that remote time down to this forty-fourth year of ,meiji1 the present emperor's reign4 ,no other country in the civilized world can produce such an art record4 ,one thousand years before ,america was discovered1 five hundred years before ,england had a name1 and long before civilization had any meaning in ,europe1 there were artists in ,japan following the profession of painting with the same ardor and the same intelligence they are now bestowing upon their art in this twentieth century of our era4 ,when ,buddhism was introduced there in the sixth century1 a great school of ,buddhist artists began its long career4 ,among the names that stand out from behind the mist of ages is that of ,kudara no ,kawanari1 who came from ,corea4 ,in the ninth century lived the celebrated ,kose ,kanaoka4 ,he painted in what was called the pure ,japanese style1 yamato e1 yamato being the earliest name by which ,japan was designated4 ,he painted portraits and landscapes1 and his school having a great following1 lasted through five centuries4 ,kose ,kimi ,mochi1 his pupil1 ,kimitada and ,hirotaka were distinguished disciples of ,kanaoka4 ,the ,tosa school came next1 beginning with ,tosa ,motomitsu1 followed by ,mitsunaga1 ,nobuzane and ,mitsunobu4 ,it dates back to the period of the ,kamakura ,shogunate eight hundred years ago4 ,its artists confined themselves principally to painting court scenes1 court nobles1 and the various ceremonies of court life4 ,this school always used color in its paintings4 ,after ,tosa came the schools of ,sumiyoshi1 ,takuma1 ,kassuga1 and ,sesshu4 ,sesshu was a genius of towering proportions and an indefatigable artist of the very highest rank as a landscape painter4 ,he had a famous pupil named ,sesson4 ,following ,sesshu came the celebrated school of ,kano artists1 founded in the sixteenth century by ,kano ,masanobu4 ,it took ,japan captive4 ,it had a tremendous vogue and following1 and has come down to the present day through a succession of great painters4 ,there were two branches1 one in ,edo 7,tokyo71 which included ,kano ,masanobu1 ,motonobu1 his son1 ,eitoku1 ,motonobu's pupil1 and later1 ,tanyu 7,morinobu7 ,tanshin1 his pupil1 ,koetsu1 ,naonobu1 ,tsunenobu1 ,morikage1 ,itcho1 and finally ,hashimoto ,gaho1 its latest distinguished representative1 who is but recently deceased4 ,the other branch1 known as the ,kyoto ,kano1 included the famous ,san ,raku1 ,eino1 ,san ,setsu1 and others4 ,by some critics ,san ,raku is placed at the head of all the ,kano artists4 ,the ,kano painters are remarkable for the boldness and living strength of the brush strokes 7fude no chicara or fude no ikioi71 as well as for the brilliancy or sheen 7tsuya7 and shading of the sumi4 ,this latter effect--the play of light and shade in the stroke1 considered almost a divine gift--is called ,,bokushoku1 and recalls somewhat the term chiaroscuru4 ,the range of subjects of the ,kano painters was originally limited to classic ,chinese scenery1 treated with simplicity and refinement1 and to ,chinese personages1 sages and philosophers2 color was used sparingly4 ,other schools1 more or less offshoots of the ,kano style 7,,ryu7 of painting1 came next--e4 g41 ,korin and his imitator1 ,hoitsu1 the ,,daimyo of ,sakai1 who was said to use powdered gold and precious stones in his pigments4 ,korin has never had his equal as a painter on lacquer4 ,his work is said to be le regal des delicats4 ,another disciple of the ,kano school1 and a pupil of ,yutei1 was ,maruyama ,okyo1 who founded in turn a school of art which is the most widely spread and flourishing in ,japan today4 ,maruyama1 not ,okyo1 was the family name of that artist4 ,the name ,okyo originated thus3 ,maruyama1 much admiring an ancient painter named ,shun ,kyo1 took the latter half of that name1 ,kyo1 and prefixing an 8,o0 to it1 made it ,okyo1 which he then adopted4 ,his style is called ,,shi ,,jo ,,fu1 ,,shi ,,jo being the name of that part of ,kyoto where he resided1 and ,,fu meaning style or manner1 and its characteristic is artistic fidelity to the objects represented4 ,by some it is called the realistic school1 and includes such well-known household names as ,goshun1 pupil of ,busson1 ,sosen1 the great monkey painter1 ,tessan 7,plate ,,iii47 and his son1 ,morikwansai1 ,bairei1 ,chi-kudo1 the tiger painter1 ,hyakunen and his three pupils1 ,keinen1 ,shonen and ,beisen1 ,kawabata ,gyokusho1 ,torei1 ,shoen1 and ,takeuchi ,seiho4 ,there are still other schools 7,,ryugi7 which might be mentioned1 including that of the ,,nangwa1 or ,chinese southern painters1 of ,chinese origin and remarkable for the gracefulness of the brush stroke1 the effective treatment of the masses and for the play of light and shade throughout the composition4 ,among the great ,,nangwa painters are ,taigado1 ,chikuden1 ,baietsu 7,plate ,,viii7 and ,katei4 ,to this school is referred a style of painting affected exclusively by the professional writers of ,chinese characters1 and called ,,bunjingwa4 ,to these ,i will allude further on4 ,the versatile artist1 ,tani ,buncho1 created a school which had many adherents1 including the distinguished ,watanabe ,kwazan and ,eiko of ,tokyo1 lately deceased1 one of its best exponents4 ,the art of painting is enthusiastically pursued at the present time in ,kyoto1 ,tokyo1 ,nagoya and ,osaka4 ,in ,tokyo1 ,hashi ,moto ,gaho was generally conceded to be1 up to the time of his death in #aijh1 the foremost artist in ,japan4 ,although of the ,kano school1 he greatly admired ,european art1 and the treatment of the human figure in some of his latest paintings recalls the manner of the early ,flemish artists4 ,my first meeting with ,gaho was at his home4 ,while waiting for him1 ,i observed suspended in the tokonoma1 or alcove1 a narrow little kakemono by ,kano ,moto ,nobu1 representing an old man upon a donkey crossing a bridge4 ,a small bronze vase containing a single flower spray was the sole ornament in the room4 ,this gave the keynote to ,gaho's character--classic simplicity1 ever reflected in his work4 ,he had many followers4 ,his method of instruction with advanced pupils was to give them subjects such as 8,a ,day in ,spring10 8,solitude10 8,an ,autumn ,morning10 or the like1 and he was most insistent upon all the essentials to the proper effect being introduced4 ,his criticisms were always luminous and sympathetic4 ,he advised his students to copy everything good1 but to imitate no-one1--to develop individuality4 ,he left three very distinguished and able pupils--,gyokudo1 ,kan ,zan and ,boku ,sen4 ,chickens in ,spring1 by ,mori ,tessan4 ,plate ,,iii4 ,chickens in ,spring1 by ,mori ,tessan4 ,plate ,,iii4 ,since ,gaho's death1 ,kawabata ,gyokusho1 an ,okyo artist1 is the recognized leader of the capital4 ,in ,kyoto1 ,takeuchi ,seiho1 an early pupil of ,bairei1 now occupies the foremost place1 although ,shonen and ,keinen1 pupils of ,hyakunen1 still hold a high rank4 ,recurring to the time of ,tosa1 there is another school beginning under ,matahei and perpetuated through many generations of popular artists1 including ,utamaro1 ,yeisen and ,hokusai1 and coming down to the present date4 ,this is the ,ukiyo e or floating-world-picture school4 ,it is far better known through its prints than its paintings4 ,the great painters of ,japan have never held this school in any favor4 ,at one time or another ,i have visited nearly every distinguished artist's studio in ,japan1 and ,i know personally most of the leading artists of that country4 ,i have never seen a ,japanese print in the possession of any of them1 and ,i know their sentiments about all such work4 ,a print is a lifeless production1 and it would be quite impossible for a ,japanese artist to take prints into any serious consideration4 ,they rank no higher than cut velvet scenery or embroidered screens4 ,i am aware that such prints are in great favor with many enthusiasts and that collectors highly value them2 but they do not exemplify art as the ,japanese understand that term4 ,it must be admitted1 however1 that the prints have been of service in several ways4 ,they first attracted the world's attention to the subject of ,japanese art in general4 ,commencing with an exhibition of them in ,london a half century ago1 the prints of ,ukiyo or genre subjects came rapidly into favor and ever since have commanded the notice and admiration of collectors in ,europe and ,america4 ,many people are even under the impression that the prints represent ,japanese painting1 which1 of course1 is a great mistake4 ,there have been artists in ,japan who1 in the ,ukiyo e manner1 have painted kakemono1 ,,byobu and makimono4 ,the word kakemono is applied to a painting on silk or paper1 wound upon a wooden roller and unrolled and hung up to be seen4 ,kakeru means to suspend and mono means an object1 hence kakemono1 a suspended object4 ,,byobu signifies wind protector or screen2 makimono1 meaning a wound thing1 is a painting in scroll form4 ,it is not suspended1 but simply unrolled for inspection4 ,such original work by ,matahei and others is extant4 ,but most of the ,ukiyo e1 or pictures in the popular style1 are prints struck from wood blocks and are the joint production of the artist1 the wood engraver1 the color smearer and the printer1 all of whom have contributed to and are more or less entitled to credit for the result2 and that is one reason why the artist-world of ,japan objects to or ignores them2 they are not the spontaneous1 living1 palpitating production of the artist's brush4 ,it is well known that artists of the ,ukiyo e school frequently indicated only by written instructions how their outline drawings for the prints should be colored1 leaving the detail of such work to the color smearer4 ,apart from the fact that the colors employed were the cheapest the market afforded1 and are found often to be awkwardly applied1 there is too much about the prints that is measured1 mechanical and calculated to satisfy ,japanese art in its highest sense4 ,frequently more than one engraver was employed upon a single print4 ,the engravers had their specialties2 some were engaged for the coiffure or head-dress 7mage71 other for the lines of the face1 others for the dress 7kimono71 others still for pattern 7,,moyo71 et cetera4 ,the most skilful engravers in ,yedo were called kashira bori and were always employed on ,utamaro and ,hokusai prints4 ,many of the colors of these prints in their soft1 neutral shades1 are rapturously extolled by foreign connoisseurs as evidence of the marvelous taste of the ,japanese painter4 ,but1 really1 time more than art is to be credited with toning down such tints to their present delicate hues4 ,in this respect1 like ,persian rugs1 they improve with age and exposure4 ,an additional objection to most of the prints is that they reproduce trivial1 ordinary1 every-day occurrences in the life of the mass of the people as it moves on4 ,they are more or less plebian4 ,the prints being intended for sale to the common people1 the subjects of them1 however skilfully handled1 had to be commonplace4 ,they were not purchased by the nobility or higher classes4 ,soldiers1 farmers1 and others bought them as presents 7miage7 for their wives and children1 and they were generally sold for a penny apiece1 so that in ,japan prints were a cheap substitute for art with the lower classes1 just as ,raspail says garlic has always been the camphor of the poor in ,france4 ,the practice of issuing ,ukiyo e prints at very low prices still continues in ,tokyo1 where every week or two such colored publications are sprung up in front of the book-stalls and are still as eagerly purchased by the common people as they were in ,tokugawa days4 ,the prices the old prints now bring are out of all proportion to their intrinsic value1 yet1 such is the crescendo craze to acquire them that ,japan has been almost drained of the supply1 the number of prints of the best kind being limited1 like that of ,cremona violins of the good makers4 ,prints are genuine originals of a first or subsequent issue1 called respectively1 ,,sho ,,han and ,,sai ,,han1 or they are reproductions more or less cleverly copied upon new blocks1 or they are fraudulent imitations 7,,ganbutsu7 of the original issues1 often difficult to detect4 ,the very wormholes are burnt into them with ,,senko or perfume sticks and clever workmen are employed to make such and other trickery successful4 ,a long chapter could be written about their dishonest devices4 ,copies of genuine prints 7,,hon ,,koku71 made from new blocks after the manner of the ancient ones1 abound1 and were not intended to pass for originals4 ,yedo1 where the print industry was chiefly carried on1 has had so many destructive conflagrations that most of the old ,ukiyo e blocks have been destroyed4 ,at ,nagoya the house of ,to ,heki ,do still preserves the original blocks of the ,,mangwa or miscellaneous drawings of ,hokusai1 but they are much worn4 ,prints are known by various names1 such as ezoshi 7illustrations71 nishiki e1 edo e 7,yedo pictures71 sunmono and ,,insatsu4 ,it may be of interest to know that the print blocks1 when so worn as to be no longer serviceable for prints1 are sometimes converted into fire-boxes 7hibachi7 and tobacco trays 7tobacco bon7 which1 when highly polished1 are decorative and unique4 ,perhaps a useful purpose prints have served is to record the manners and customs of the people of the periods when they were struck off4 ,they show not only prevailing styles of dress and headdress1 but also the pursuits and amusements of the common folk4 ,they are excellent depositaries of dress pattern 7,,moyo7 or decoration1 upon which fertile subject ,japan has always been a leading authority4 ,in the early ,meiji period print painters frequently delegated such minute pattern work to their best pupils1 whose seals 7,,in7 will be found upon the prints thus elaborated4 ,the prints preserve the ruling fashions of different periods in combs and other hair ornaments1 fans1 foot-gear1 single and multiple screens1 fire-boxes and other household ornaments and utensils4 ,they also furnish specimens of temple and house architecture1 garden plans1 flower arrangements 7ike bana71 bamboo1 twig and other fences4 ,again1 they reproduce the stage1 with its famous actors in historical dramas2 battle scenes1 with warriors and heroes2 characters in folk-lore and other stories1 and wrestling matches1 with the popular champions2 and we will often find upon the face of the print good reproductions of ,chinese and ,japanese writing1 in poems and descriptive prose pieces4 ,hokusai illustrated much of the classic poetry of ,china and ,japan1 as well as the ,,senjimon1 or ,thousand ,character ,chinese classic1 a work formerly universally taught in the ,japanese schools4 ,the original characters for this remarkable compilation were taken from the writings of ,ogishi4 ,the prints have aided in teaching elementary history to the young2 the knowledge of ,japanese children in this connection is often remarkable and may be attributed to the educational influence of the ,ukiyo e publications4 ,so there are certainly good words to be said for the prints1 but they are not ,japanese art in its best sense1 however interesting as a subordinate phase of it1 and in no sense are they ,japanese painting4 ,if limited to a choice of one artist of the ,ukiyo e school1 no mistake would be made1 ,i think1 in selecting ,hiroshige1 whose landscapes fairly reproduce the sentiment of ,japanese scenery1 although the prints bearing his name fall far short of reproducing that artist's color schemes4 ,hokusai's reputation with foreigners is greater than ,hiroshige's1 but ,japanese artists do not take ,hokusai seriously4 ,his pictures1 they declare1 reflect the restlessness of his disposition2 his peaks of ,fuji are all too pointed1 and his manner generally is exaggerated and theatrical4 ,utamaro's women of the ,yoshiwara are certainly careful studies in graceful line drawing1--as correct as ,greek drapery in marble4 ,iwasa ,matahei1 the founder of the popular school1 was a pupil of ,mitsunori1 a ,kyoto artist and follower of ,tosa4 ,matahei disliked ,tosa subjects and preferred to depict the fleeting usages of the people1 so he was nicknamed ,fleeting ,world or ,ukiyo ,matahei1 and thus originated the name ,ukiyo e or pictures of every-day life4 ,there are no genuine ,matahei prints4 ,he dates back to the seventeenth century4 ,profile faces in original screen paintings by him have an ,assyrian cast of countenance1 the eye being painted as though seen in full face4 ,hishikawa ,moronobu was his follower and admirer4 ,he was an artist of ,yedo4 ,nishikawa ,sukenobu belonged to the ,kano school and was a pupil of ,kano ,eiko4 ,he adopted the ,ukiyo e style and depicted the pastimes of women and the portraits of actors4 ,he lived two hundred and twenty years ago and in his time prints came greatly into vogue4 ,torii ,kyonobu painted women and actors and invented the kind of pictured theatrical powers which are still in fashion1 placarded at the entrance to theaters and showing striking incidents in the play4 ,suzuki ,harunobu never painted actors1 preferring to reproduce the feminine beauties of his time4 ,it was to his careful work that was first applied the term nishiki e or brocade pictures1 on account of the charm of his decorative manner4 ,he lived one hundred and thirty years ago4 ,among the many able foreign writers on ,japanese prints ,fenollosa stands prominent4 ,he resided for a long time in ,japan1 understood and spoke the language1 and lived the life of the people4 ,he was in great sympathy with them and with their art and enjoyed exceptional opportunities for seeing and studying the best treasures of that country4 ,had he possessed the training necessary to paint in the ,japanese style ,i do not think he would have devoted so much time to ,japanese woodcuts4 ,visiting me at ,kyoto1 where ,i was busily engaged in painting1 8,ah60 he cried1 8that is what ,i have always longed to do4 ,sooner or later ,i shall follow your example40 ,but he never did4 ,instead1 he issued a large work on ,japanese prints4 ,his death was a real loss to the art literature of ,japan4 ,during eight years he was in the service of the ,japanese government ransacking1 cataloguing and photographing the multitudinous art treasures1 paintings1 kakemono1 makimono1 and ,,byobu 7pictures1 scrolls and screens71 to be found in the various ,buddhist and other temples and monasteries scattered throughout the empire4 ,the last time we met1 he remarked1 8,how can one willingly leave this land of light8 ,japan1 to my mind1 stands for whatever is beautiful in nature and true in art2 here ,i hope to pass the remaining years of my life40 ,such was his genuine enthusiasm1 engendered by a long acquaintance with art and everything else beautiful in that country4 ,japan impresses in this way all who see it under proper conditions1 but unfortunately the ordinary traveler1 pushed for time1 and whose acquaintance is limited to professional guides1 never gets much beyond the sights1 the shops and the curio dealers4 ,snow ,scene in ,kaga1 by ,kubota ,beisen4 ,plate ,,iv4 ,snow ,scene in ,kaga1 by ,kubota ,beisen4 ,plate ,,iv4 ,the question is often asked1 8,is there any good book on ,japanese painting80 ,i know of none in any language except ,japanese4 ,the following are among the best works on the subject3 ,a ,history of ,japanese ,painting 7,,hon ,,cho ,,gashi71 by ,kano ,eno4 ,a ,treasure ,volume 7,,bampo ,,zen ,,sho71 by ,ki ,moto ,ka ,ho4 ,the ,painter's ,convenient ,reference 7,,goko ,,ben ,,ran71 by ,arai ,haku ,seki4 ,a ,collection of ,celebrated ,japanese ,paintings 7,,ko ,,cho ,,meiga ,,shu ,e71 by ,hiyama ,gi ,shin4 ,ideas on ,design in ,painting 7,,to ,,ga ,,ko71 by ,saito ,heko ,maro4 ,a ,discourse on ,japanese ,painting 7,,honcho ,,gwa ,,san71 by ,tani ,buncho4 ,important ,reflections on ,all ,kinds of ,painting 7,,gwa ,,jo ,,yo ,,ryaku71 by ,arai ,kayo4 ,a ,treatise on ,famous ,japanese ,paintings 7,,fu ,,so ,,mei ,,gwa ,,den71 by ,hori ,nao ,kaku4 ,observations on ,ancient ,pictures 7,,ko ,,gwa ,,bi ,,ko71 by ,asa ,oka ,kotei4 ,a ,treatise on ,famous ,painters 7,,fu ,,so ,,gwa ,,jin71 by ,ko ,shitsu ,ryo ,chu4 ,a ,treatise on ,japanese ,painting 7,,yamato ,,nishiki ,,kem ,,bun ,,sho71 by ,kuro ,kama ,shun ,son4 ,a ,treatise on the ,laws of ,painting 7,,gwafu71 by ,ran ,sai1 a pupil of ,chinanpin4 ,the work is voluminous and is both of great use and authority4 ,,cho ,,chu ,,gwa ,,fu1 by ,chiku ,to4 ,,sha ,,zan ,,gakugwa ,,hen1 by ,buncho4 ,translations of all these works into ,english are greatly to be desired4 ,there is much that has been sympathetically written and published about ,japanese paintings both in ,europe and ,america1 but however laudatory1 it might be all summed up under the title1 8,impressions of an ,outsider40 ,such writings lack the authority which only constant labor in the field of practical art can confer4 ,a ,japanese artist1 by which ,i mean a painter1 is long in making4 ,from ten to fifteen years of continuous study and application are required before much skill is attained4 ,during that time he gradually absorbs a knowledge of the many principles1 precepts1 maxims and methods1 which together constitute the corpus or body of art doctrine handed down from a remote antiquity and preserved either in books or perpetuated by tradition4 ,along with these are innumerable art secrets called hiji or himitsu1 never published1 but orally imparted by the masters to their pupils--not secrets in a trick sense1 but methods of execution discovered after laborious effort and treasured as valued possessions4 ,it is obvious1 then1 how incapable of writing technically upon the subject must anyone be who has not gone through such curriculum and had drilled into him all that varied instruction which makes up the body of rules applicable to that art4 ,i have read many seriously written appreciations of ,japanese paintings published in various modern languages1 and even some amiable imaginings penned for foreigners by ,japanese who fancy they know by instinct what only can be acquired after long study and practice with brush in hand4 ,all such writers are characterized in ,japan by a very polite term1 shiroto--which means amateur4 ,it also has a secondary signification of emptiness4 ,chapter #c ,head-,band3 ,the design called 8,dew on the ,grass and ,butterflies0 7tsuyu1 kusa ni cho74 ,,chapter ,,three4 ,,laws ,,for ,,the ,,use ,,of ,,brush ,,and ,,materials ,upon a subject as technical as that of ,japanese painting1 to endeavor to impart correct information in a way that shall be both instructive and entertaining is an undertaking of no little difficulty4 ,the rules and canons of any art when enumerated1 classified and explained1 are likely to prove trying1 if not wearisome reading4 ,yet1 if our object be to acquire accurate knowledge1 we must consent to make some sacrifice to attain it1 and there is no royal road to a knowledge of ,japanese painting4 ,we have little or no opportunity in ,america1 excepting in one or two cities1 to see good specimens of the work of the great painters of ,japan4 ,furthermore1 such work in kakemono form is seen to much disadvantage when exhibited in numbers strung along the walls of a museum4 ,japanese kakemono 7hanging paintings7 are best viewed singly1 suspended in the recess of the tokonoma1 or alcove4 ,a certain seclusion is essential to the enjoyment of their delicate and subtle effects2 the surroundings should be suggestive of leisure and repose1 which the ,japanese word shidzuka1 often employed in art language1 well describes4 ,the ,japanese technique1 by which ,i understand the established manner in which their effects in painting are produced1 differs widely from that of ,european art4 ,the ,japanese brushes 7,jude and hake71 colors and materials influence largely the method of painting4 ,the canons or standards by which ,japanese art is to be judged are quite special to ,japan and are scarcely understood outside of it4 ,since the subject is technical1 to treat it in a popular way is to risk the omission of much that is essential4 ,i will endeavor1 at any rate1 to give an outline of its fundamental principles1 first saying a word or two about the tools and materials4 ,in ,japanese painting no oils are used4 ,sumi 7a black color in cake form7 and water-colors only are employed1 while ,chinese and ,japanese paper and specially prepared silk take the place of canvas or other material4 ,japanese artists do not paint on easels2 while at work they sit on their heels and knees1 with the paper or silk spread before them on a soft material1 called mosen1 which lies upon the matting or floor covering4 ,after one becomes accustomed to this position1 he finds it gives1 among other things1 a very free use of the right arm and wrist4 ,silk 7e ginu7 is prepared for painting by first attaching it with boiled rice mucilage to a stretching frame4 ,a sizing of alum and light glue 7called dosa7 is next applied1 care being taken not to wet the edges of the silk attached to the frame1 which would loosen the silk4 ,it has been found that paper lasts much longer than silk1 and also can be more easily restored when cracked with age4 ,the artists of the ,tosa school used a paper various kinds called tori no ko1 into the composition of which egg-shells entered4 ,this paper was a special product of ,ichi ,zen4 ,the ,kano artists used both tori no ko and a paper made from the mulberry plant1 also a product of ,ichi ,zen1 and known as hosho4 ,for ordinary tracing a paper called ,,tengu ,,jo is used4 ,in ,okyo's time1 ,chinese paper made from rice-plant leaves came into vogue4 ,it is manufactured in large sheets and is called ,,toshi4 ,it is a light straw color1 and is very responsive to the brush stroke1 except when it 8catches cold10 as the ,japanese say4 ,it should be kept in a dry place4 ,the ,tosa artists used paper almost to the exclusion of silk4 ,the ,kano school largely employed silk for their paintings4 ,okyo also usually painted on silk4 ,japanese artists seldom outline their work4 ,in painting on silk1 a rough sketch in sumi is sometimes placed under the silk for guidance4 ,outlining on paper is done with straight willow twigs of charcoal1 called yaki sumi1 easily erased by brushing with a feather4 ,there are strict1 and when once understood1 reasonable and helpful laws for the use of the brush 7,,yohitsu71 the use of sumi 7,,yoboku7 and the use of water-colors 7,,sesshoku74 ,these laws reach from what seems merely the mechanics of painting into the highest ethics of ,japanese art4 ,the law of ,,yo ,,hitsu requires a free and skilful handling of the brush1 always with strict attention to the stroke1 whether dot1 line or mass is to be made2 the brush must not touch the silk or paper before reflection has determined what the stroke or dot is to express4 ,neither negligence nor indifference is tolerated4 ,an artist1 be he ever so skilful1 is cautioned not to feel entirely satisfied with his use of the brush1 as it is never perfect and is always susceptible of improvement4 ,the brush is the handmaid of the artist's soul and must be responsive to his inspiration4 ,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 life2 and this is the reason3 ,everything in art conspires to prevent success4 ,the softness of the brush requires the stroke to be light and rapid and the touch delicate4 ,the brush1 when dipped first into the water1 may absorb too much or not enough1 and the sumi or ink taken on the brush may blot or refuse to spread or flow upon the material1 or it may spread in the wrong direction4 ,the ,chinese paper 7,,toshi7 which is employed in ordinary art work may be so affected by the atmosphere as to refuse to respond1 and the brush stroke must be regulated accordingly4 ,all such matters have to be considered when the brush is being used1 and if the spirit of the artist be not alert1 the result is failure4 7,,it ,,ten ,,ichi ,,boku ni ,,chiu o su beki47 ,vehicle of the subtle sentiment to be expressed in form1 the brush must be so fashioned as to receive and transmit the vibrations of the artist's inner self4 ,much care1 much thought and skill have been expended in the manufacture of the brush4 ,in ,china1 the art of writing preceded painting1 and the first brushes made were writing brushes1 and the more writing developed into a wonderful art1 the more attention was bestowed upon the materials composing the writing brush4 ,such brushes were originally made with rabbit hair1 round which was wrapped the hair of deer and sheep1 and the handles were mulberry stems4 ,later on1 as ,chinese characters became more complex and writing more scientific1 the brushes were most carefully made of fox and rabbit hair1 with handles of ivory1 and they were kept in gold and jeweled boxes4 ,officials were enjoined to write all public documents with brushes having red lacquer handles1 red being a positive or male 7,,yo7 color4 ,ogishi1 the greatest of the ,chinese writers1 used for his brushes the feelers from around the rat's nose and hairs taken from the beak of the kingfisher4 ,in ,japan1 hair of the deer1 badger1 rabbit1 sheep1 squirrel1 and wild horse all enter into the manufacture of the artist's brush1 which is made to order1 long or short1 soft or strong1 stiff or pliable4 ,for laying on color1 the hair of the badger is preferred4 ,the sizes and shapes of brushes used differ according to the subject to be painted4 ,there are brushes for flowers and birds1 human beings1 landscapes1 lines of the garments1 lines of the face1 for laying on color1 for shading1 et cetera4 ,a distinguishing feature in ,japanese painting is the strength of the brush stroke1 technically called fude no chikara or fude no ikioi4 ,when representing an object suggesting strength1 such1 for instance1 as a rocky cliff1 the beak or talons of a bird1 the tiger's claws1 or the limbs and branches of a tree1 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 brush1 and so transmitted into the object painted2 and this nervous current must be continuous and of equal intensity while the work proceeds4 ,if the tree's limbs or branches in a painting by a ,kano artist be examined1 it will astonish any one to perceive the vital force that has been infused into them4 ,even the smallest twigs appear filled with the power of growth--all the result of fude no chikara4 ,indeed1 when this principle is understood1 and in the light of it the trees of many of the ,italian and ,french artists are critically viewed1 they appear flabby1 lifeless1 and as though they had been done with a feather4 ,they lack that vigor which is attained only by fude no chikara1 or brush strength4 ,in writing ,chinese characters in the ,,rei ,,sho manner this same principle is carefully inculcated4 ,the characters must be executed with the feeling of their being carved on stone or engraved on steel--such must be the force transmitted through the arm and hand to the brush4 ,thus executed the writings seem imbued with living strength4 ,it is related of ,chinanpin1 the great ,chinese painter1 that an art student having applied to him for instruction1 he painted an orchid plant and told the student to copy it4 ,the student did so to his own satisfaction1 but the master told him he was far away from what was most essential4 ,again and again1 during several months1 the orchid was reproduced1 each time an improvement on the previous effort1 but never meeting with the master's approval4 ,finally ,chinanpin explained as follows3 ,the long1 blade-like leaves of the orchid may droop toward the earth but they all long to point to the sky1 and this tendency is called cloud-longing 7,,bo ,,un7 in art4 ,when1 therefore1 the tip of the long slender leaf is reached by the brush the artist must feel that the same is longing to point to the clouds4 ,thus painted1 the true spirit and living force 7kokoromochi7 of the plant are preserved4 ,kubota recommended to art students and artists to a practice with lines which is excellent for acquiring and retaining firmness and freedom of the arm1 with steady and continuous strength in the stroke4 ,with a brush held strictly perpendicular to the paper horizontal lines are painted1 first from right to left1 the entire width of the ,,toshi or other paper1 each line with equal thickness and unwavering intensity of power throughout its entire length4 ,the thickness of the line will depend upon the amount of hair in the brush that is allowed to touch the paper2 if only the tip of the brush be used1 the line will be slender or thin2 but1 whether a broad band or a delicate tracing1 it must be uniform throughout and filled with living force4 ,next1 the lines are painted from left to right in the same way and with the same close attention to uniform thickness and continuous flow of nervous strength from start to finish4 ,then1 the increasingly difficult task is to paint them from top to bottom of the ,,toshi1 and finally1 most difficult and most important of all these exercises1 the parallel lines are traced from bottom to top of the paper4 ,the thinner the line the more difficult it is to execute1 because of the tendency of the hand to tremble4 ,indeed1 the difficulty is supreme4 ,let any one who is interested try this2 it is an exercise for the most expert4 ,such lines resemble the sons fils on the violin1 where a continuous sustained tone of equal intensity is produced by drawing the bow from heel to tip so slowly over the strings that it hardly moves4 ,practicing lines in the way indicated gives steadiness and strength1 qualities in demand at every instant in ,japanese art4 ,observe a ,japanese artist paint the young branch of a plum tree shooting from the trunk4 ,the new year's growth starting1 it may be1 from the bottom of the ,,toshi will be projected to the top4 ,examine it carefully and it will be found to conform to that principle of jude no chikara which transfers a living force into the branch4 ,i have seen ,european artists in ,japan vainly try offhand to produce such effects2 but these depend on long and patient practice4 ,a ,japanese artist will frequently ignore the boundaries of the paper upon which he paints by beginning his stroke upon the ,,mosen and continuing it upon the paper--or beginning it upon the paper and projecting it upon the ,,mosen4 ,this produces the sentiment or impression of great strength of stroke4 ,it animates the work4 ,and in this energetic kind of painting1 if drops of sumi accidentally fall from the brush upon the painting they are regarded as giving additional energy to it4 ,similarly1 if the stroke on the trunk or branch of a tree shows many thin hair lines where the intention was that the line should be solid1 this also is regarded as an additional evidence of stroke energy and is always highly prized4 ,the same principle applies in the art of ,chinese writing2 but this effect must not be the result of calculation--it must be what in art is called ,,shi ,,zen1 meaning spontaneous4 ,in painting the hair of monkeys1 bears and the like1 the pointed brush is flattened and spread out 7wari fude7 so that each stroke of the same will reproduce numberless thin lines1 corresponding to the hairs of the animal4 ,sosen thus painted4 ,in modern times ,kimpo 7,plate ,v7 is justly renowned for such work4 ,many artists become wonderfully expert in the use of the flat brush1 from one to four inches wide1 called hake1 by means of which instantaneous effects such as rain1 rocks1 mountain chains and snow scenes are secured4 ,some artists acquire a special reputation for skill in the use of the hake4 ,the brush should be often and thoroughly rinsed during the time that it is used and washed and dried when not employed4 ,in ,kyoto1 ,osaka and ,tokyo there are famous manufacturers of artists' brushes1 and names of makers such as ,nishimura1 ,sugiyama1 ,hakkado1 ,onkyodo and ,kiukyodo are familiar to all the artists of the country4 ,the use of sumi 7,,yoboku7 is the really distinguishing feature of ,japanese painting4 ,not only is this black color 7sumi7 used in all water color work1 but it is frequently the only color employed2 and a painting thus executed1 according to the laws of ,japanese art1 is called sumi e and is regarded as the highest test of the artist's skill4 ,colors can cheat the eye 7damakasu7 but sumi never can2 it proclaims the master and exposes the tyro4 ,the terms 8study in black and white10 8,india ink drawing0 and the like1 since all are only makeshift translations1 are misleading4 ,the ,chinese term 8,,bokugwa0 is the exact equivalent of sumi e and both mean and describe the same production4 ,sumi e is not an 8ink picture10 since no ink is used in its production4 ,ink is the very opposite of sumi both in its composition and effect4 ,ink is an acid and fluid4 ,sumi is a solid made from the soot obtained by burning certain plants 7for the best results juncus communis1 bull rush1 or the sessamen orientalis71 combined with glue from deer horn4 ,this is molded into a black cake which1 drying thoroughly if kept in ashes1 improves with age4 ,in much of the good sumi crimson 7beni7 is added for the sheen1 and musk perfume 7,jako7 is introduced for antiseptic purposes4 ,when a dead finish or surface 7tsuya o keshi7 is desired1 as1 for instance1 where the female coiffure is to be painted and a lusterless ground is needed for contrast with the shining strands of the hair1 a little white pulverized oyster shell1 called ,,go ,,fun1 is mixed1 with the sumi4 ,commercial ,india ink resembles sumi in appearance1 but is very inferior to it in quality4 ,the methods of sumi manufacture are carefully guarded secrets4 ,china during the ,ming dynasty1 three centuries ago1 produced the best sumi1 although ,china sumi 7,,toboku7 employed twelve centuries past shows both in writing and in painting as distinctly and brilliantly today as though it were but recently manufactured4 ,nara1 near ,kyoto1 was the birthplace of ,japanese sumi1 and the house of ,kumagai 7,kyukyodo7 for centuries has had its manufacturers in that city4 ,in ,tokyo a distinguished maker1 whose sumi many of the artists there prefer1 is ,baisen4 ,he has devoted fifty years of his life to the study and compounding of this precious article4 ,he possesses some great secrets of manufacture which may die with him4 ,in ,okyo's time there was a dark blue sumi called ,,ai ,,en ,,boku but the art and secret of its manufacture are lost4 ,in using sumi the cake is moistened and rubbed on a slab called suzuri1 producing a semi-fluid4 ,the well-cleaned brush is dipped first into clear water and then into the prepared sumi4 ,when the sumi is taken on the brush it should be used without delay2 otherwise it will mingle with the water of the brush and destroy the desired balance between the water and the sumi4 ,for careful work the sumi is first transferred on the brush from the suzuri to a white saucer1 where it is tested4 ,it is a singular fact that the color of sumi will differ according to the manner in which it is rubbed upon the stone4 ,the best results are obtained when a young maiden is employed for the purpose1 her strength being just suitable4 ,it is very important while painting with sumi to renew its strength frequently by fresh applications of the cake to the slab4 ,the color and richness of sumi left upon the slab soon fade2 and though when used this may not be apparent1 when the sumi dries on the paper or silk its weakness is speedily perceived4 ,by the dexterous use of sumi colors may be successfully suggested1 materials apparently reproduced and by what is termed ,,bokushoku1 or the brush-stroke play of light and shade1 the very rays of the sun may be imprisoned within the four corners of a picture4 ,artists are readily recognized in their work by their manner of using or laying on sumi4 ,the color1 the sheen1 the shadings and the flow of the ink enable us even to determine the disposition or state of mind of the artist at the time of painting1 so sensitive1 so responsive is sumi to the mood of the artist using it4 ,there is much of engaging interest in connection with this subject4 ,artists become most difficult to satisfy on the subject of the various kinds of sumi1 which differ as much in their special qualities as the tones of celebrated violins4 ,it is interesting to observe how different the color or richness of the same sumi becomes according to the varying skill with which it is applied4 ,the mineral character of the suzuri has also much to do with the production of the best and richest black tones4 ,the most valuable stone for suzuri is known throughout the entire oriental world as ,,tan ,,kei and is found in the mountain of ,fuka in ,china4 ,this stone has gold streaks through it1 with small dots called bird's eyes4 ,the water which flows from ,fuka mountain is blue4 ,the color of the rock is violet4 ,a favorite color for the suzuri 7in ,chinese called ,,ken7 is lion's liver4 ,formerly much ceremony was observed in mining for this stone and sheep and cattle were offered in sacrifice1 else it was believed that the stone would be struck by a thunderbolt and reduced to ashes in the hands of its possessor4 ,the suzuri is also made in ,china from river sediment fashioned and baked4 ,still another method is to make the suzuri from paper and the varnish of the lacquer tree4 ,such are called paper suzuri 7,,shi ,,ken74 ,in ,thibet suzuri are made from the bamboo root4 ,in ,japan the best stones for suzuri are found near ,hiroshima in ,kiushu1 the grain being hard and fine4 ,the skilful use of water colors is called ,,sesshoku4 ,it is more difficult to paint with sumi alone than use of water to paint with the aid of colors1 which can hide defects never to be concealed in a sumi e1 where painting over sumi a second time is disastrous4 ,japanese painters as a rule are sparing of colors1 the slightest amount used discreetly and with restraint generally sufficing4 ,many artists have not the color sense or dislike color and seldom use it4 ,kubota often declared he hoped to live until he might feel justified in discarding color and employing sumi alone for any and all effects in painting4 ,there are eight different ways of painting in color4 ,i will enumerate them1 with their technical1 descriptive terms3 ,in the best form of color painting 7,,goku ,,zai ,,shiki7 7,plate ,,ix7 the color is most carefully laid on1 being applied three times or oftener if necessary4 ,on account of these repeated coats this form is called ,,tai ,,chaku ,,shoku4 ,this style of painting is reserved for temples1 gold screens1 palace ceilings and the like4 ,tosa and ,yamato e painters generally followed this manner4 ,the next best method of coloring 7,,chu ,,zai ,,shiki7 7,plate ,x7 is termed ,,chaku ,,shoku1 or the ordinary application of color4 ,the ,kano and ,shijo schools use this method extensively1 as did also the ,ukiyo e painters4 ,the light water-color method1 called ,,tan ,,sai 7,plate ,,xi71 is employed in the ordinary style of painting kakemono and is much used by the ,okyo school4 ,the most interesting form of painting1 technically called ,,bokkotsu 7,plate ,,xii71 is that in which all outlines are suppressed and sumi or color is used for the masses4 ,another ,japanese term for the same is tsuketate4 ,tree ,squirrel1 by ,mochizuki ,kimpo4 ,plate ,v4 ,tree ,squirrel1 by ,mochizuki ,kimpo4 ,plate ,v4 ,the method of shading1 called ,,goso 7,plate ,,xiii71 invented by a ,chinese artist1 ,godoshi1 who lived one thousand years ago1 consists in applying dark brown color or light sumi wash over the sumi lines4 ,this style was much employed by ,kano painters and for art printing4 ,the light reddish-brown color1 technically called ,,senpo ,,shoku 7,plate ,,xiv71 is mostly used in printing pictures in book form4 ,another form similarly used is called ,,hakubyo 7,plate ,,xv7 or white pattern1 no color being employed4 ,lastly1 there is the sumi picture or sumi e 7,plate ,,xvi71 technically called ,,suiboku1--to which reference has already been made--where sumi only is employed1 black being regarded as a color by ,japanese artists4 ,a well-known method by which the autumnal tints of forest leaves are produced is to take up with the brush one after another and in the following order these colors3 ,yellow-green 7ki iro71 brown 7,,tai ,,sha71 red 7,,shu71 crimson 7beni71 and last1 and on the very tip of the brush1 sumi4 ,the brush thus charged and dexterously applied gives a charming autumn effect1 the colors shading into each other as in nature4 ,there are five parent colors in ,japanese art3 parent colors ,blue 7,,sei71 yellow 7,,au71 black 7koku71 white 7,,byaku71 combinations and red 7,,seki74 ,these in combination 7,,cho ,,go7 originate other colors as follows3 ,blue and yellow produce green 7midori72 blue and black1 dark blue 7ai nezumi72 blue and white1 sky-blue 7sora iro72 blue and red1 purple 7murasaki72 yellow and black1 dark green 7unguisu cha72 yellow and red1 orange 7kaba72 black and red1 brown 7tobiiro72 black and combinations white1 gray 7nezumiiro74 ,these secondary colors in combination produce other tones and shades required4 ,powdered gold and silver1 and crimson made from the saffron plant are also employed4 ,the colors1 excepting yellow1 are prepared for use by mixing them with light glue upon a saucer4 ,with yellow1 water alone is used4 ,in addition to all the foregoing there are other expensive colors used in careful work and known as mineral earths 7iwamono74 ,they are blue 7,,gunjo71 dark or ,prussian blue 7,,konjo71 light bluish-green 7,,gunroku71 green 7,,rokusho71 light green 7,,byakugun71 pea green 7,,cha-,,roku ,,sho7 and light red 7,,sango ,,matsu74 ,the use of primary colors in a painting in proximity to secondary ones originated by them is color to be avoided1 as both lose by such contrast2 and when a color-scheme fails to give satisfaction it will usually be found that this cardinal principle of harmony1 called iro no kubari1 has been disregarded by the artist4 ,color in art is the dress1 the apparel in which the work is clad4 ,it must be suitably combined1 restrained1 and attract no undue attention 7medatsunai74 ,true color sense is a special gift4 ,chapter #d ,head-,band3 ,the pattern 7moyo7 known as bamboo and the swelling sparrow 7take nifukura susume74 ,the parts of the bird are amusingly conventionalized--in the ,korin manner4 ,the word fukura written in ,chinese contains the lucky character fuku 7happiness74 ,,chapter ,,four4 ,,laws ,,governing ,,the ,,conception ,,and ,,execution ,,of ,a ,,painting ,when a ,japanese artist is preparing to paint a picture he considers first the space the picture is to occupy and its shape1 whether square1 oblong1 round or otherwise2 next1 the distribution of light and shade1 and then the placing of the objects in the composition so as to secure harmony and effective contrasts4 ,in settling these questions he relies largely on the laws of proportion and design4 ,the principles of proportion 7,,ichi7 and design 7,,isho7 are closely allied4 ,they aim to supply and express with sobriety what is essential to the composition1 proportion determining the just arrangement and distribution of the component parts1 and design the manner in which the same shall be handled4 ,in a landscape1 proportion may require the balancing effect of buildings and trees1 while design will determine how the same may be picturesquely presented2 for instance1 by making the trees partially hide the buildings1 thus provoking a desire to see more than is shown4 ,such suggestion or stimulation of the imagination is called ,,yukashi4 ,the ,japanese painter is early taught the value of suppression in design--l'art d'ennuyer est de tout dire4 ,a well-known rule of proportion1 quaintly expressed in the original ,chinese and which is more or less adhered to in practice1 requires in a landscape painting that if the mountain be1 for example1 ten feet high the trees should be one foot1 a horse one inch and a man the size of a bean4 ,,jo ,,san ,,seki ,,ju1 ,,sun ,,ba ,,to ,,jin 7,plate ,,xvii74 ,design1 called in art ,,isho ,,zuan or takumi1 is largely the personal equation of the artist4 ,it is his power of presenting and expressing what he treats in an original manner4 ,the subject may not be new1 but its treatment must be fresh and attractive4 ,much will depend upon the learning and the technical ability of the artist4 ,in the matter of design the artists of ,tokyo have always differed from those of ,kyoto1 the former aiming at lively and even startling effects1 while the latter seek to produce a quieter or more subdued 7otonashi7 result4 ,where landscapes or trees are to be painted upon a single panel1 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 elaboration4 ,in this way1 when the side panels are withdrawn the effect is as though such landscape or trees were seen through an open window1 and all cramped or forced appearance is avoided4 ,the ,ukiyo e artists practiced a similar method in their hashirakake or long1 narrow1 panel-like prints of men and women used for decorating upright beams in a room4 ,the literature of art abounds in instances illustrative of correct proportion and design4 ,the artist ,buncho being requested to paint a crow flying across a fusuma or four sliding door-like panels1 after much reflection painted the bird in the act of disappearing from the last of these subdivisions1 the space of the other three suggesting the rapid flight which the crow had already accomplished1 and the law of proportion 7,,ichi7 or orderly arrangement thus observed was universally applauded4 ,in the wooded graveyard of the temple at ,ike-gami1 where the tombs of so many of the ,kano artists 7including ,tanyu7 are to be found1 is a stone marking the grave of a ,kano painter who1 having executed an order for a picture and his patron observing that it was lacking in design and that he must add a certain gold effect in the color scheme1 rather than violate his own convictions of what he considered proper design1 first refused to comply and then committed hara kiri4 ,a canon of ,japanese art which is at the base of one of the peculiar charms of ,japanese pictures1 not merely in the whole composition but also in minute details that might escape the attention at first glance1 requires that there should be in every painting the sentiment of active and passive1 light and shade4 ,this is called ,,in ,,yo and is based upon the principle of contrast for heightening effects4 ,the term ,,in ,,yo originated in the earliest doctrines of ,chinese philosophy and has always existed in the art language of the ,orient4 ,it signifies darkness 7,,in7 and light 7,,yo71 negative and positive1 female and male1 passive and active1 lower and upper1 even and odd4 ,this term is of constant application in painting4 ,a picture with its lights and shades properly distributed conforms to the law of ,,in ,,yo4 ,two flying crows1 one with its beak closed1 the other with its beak open2 two tigers in their lair1 one with the mouth shut1 the other with the teeth showing2 or two dragons1 one ascending to the sky and the other descending to the ocean1 illustrate phases of ,,in ,,yo4 ,mountains1 waves1 the petals of a flower1 the eyeball of a bird1 rocks1 trees--all have their negative and positive aspects1 their ,,in and their ,,yo4 ,the observance of this canon secures not only the effective contrast of light and shade in a picture but also an equally striking contrast between the component parts of each object composing it4 ,the law of form1 in art called ,,keisho or ,,kakko1 is widely applied for determining not only the correct shape of things but also their suitable or proper presentation according to circumstances4 ,it has to do with all kinds of attitudes and dress4 ,it determines what is suitable for the prince and for the beggar1 for the courtier and for the peasant4 ,it regulates the shape that objects should take according to conditions surrounding them1 whether seen near or far off1 in mist or in rain or snow1 in motion or in repose4 ,the exact shape of objects in motion 7as an animal running1 a bird flying or a fish swimming7 no one can see1 but the painter who has observed1 studied and knows by heart the form or shape of these objects in repose can1 by virtue of his skill1 reproduce them in motion1 foreshortened or otherwise2 that is ,,keisho2 and he is taught and well understands that if in executing such work his memory of essential details fails him hesitancy is apt to cause the picture to perish as a work of art4 ,,keisho literally means shape1 but in oriental art it signifies also the proprieties2 it is a law which enforces among other things canons of good taste and suppresses all exaggerations1 inartistic peculiarities and grimaces4 ,the law touching historical subjects and the manner of painting them is called ,,ko ,,jutsu4 ,special principles apply to this department of ,japanese art4 ,the historical painter must know all the historical details of the period to which his painting relates1 including a knowledge of the arms1 accoutrements1 costumes1 ornaments1 customs and the like4 ,this subject covers too vast a field and is too important to be summarily treated here4 ,suffice it to say that there have been many celebrated historical painters in ,japan4 ,i recall1 on the other hand1 a picture once exhibited by a distinguished ,tokyo artist which was superbly executed but wholly ignored by the jury because it violated some canon applicable to historical painting4 ,the term ,,yu ,,shoku refers to the laws governing the practices of the ,imperial household1 ,buddhist and ,shinto rites4 ,before attempting any work of art in which these may figure the painter must be thoroughly versed in the appointments of palace interiors1 the rules of etiquette1 the occupations and pastimes of the ,emperor1 court nobles 7,kuge71 daimyo and their military attendants 7samurai71 the costumes of the females 7tsubone7 of the ,imperial household and their duties and accomplishments4 ,the ,tosa school made a thorough familiarity with such details its specialty4 ,all ,buddhist paintings come under the law of ,,yu ,,shoku4 ,let us next consider briefly some of the principles applicable to ,japanese landscape painting4 ,landscapes are known in art by the term ,,san ,,sui1 which means mountain and water4 ,this ,chinese term would indicate that the artists of ,china considered both mountains and water to be essential to landscape subjects1 and the tendency in a ,japanese artist to introduce both into his painting is ever noticeable4 ,if he cannot find the water elsewhere he takes it from the heavens in the shape of rain4 ,indeed1 rain and wind subjects are much in favor and wonderful effects are produced in their pictures suggesting the coming slorm1 where the wind makes the bamboos and trees take on new1 weird and fantastic shapes4 ,the landscape 7,plate ,,xviii7 contains a lofty mountain1 rocks1 river1 road1 trees1 bridge1 man1 animal1 et cetera4 ,the first requisite in such1 a composition is that the picture respond to the law of ,,ten ,,chi ,,jin1 or heaven1 earth and man4 ,this wonderful law of ,buddhism is said to pervade the universe and is of widest application to all the art of man4 ,,ten ,,chi ,,jin means that whatever is worthy of contemplation must contain a principal subject1 its complimentary adjunct1 and auxiliary details4 ,thus is the work rounded out to its perfection4 ,tiger1 by ,kishi ,chikudo4 ,plate ,,vi4 ,tiger1 by ,kishi ,chikudo4 ,plate ,,vi4 ,this law of ,,ten ,,chi ,,jin applies not only to painting but to poetry 7its elder sister71 to architecture1 to garden plans1 as well as to flower arrangement2 in fact1 it is a universal1 fundamental law of correct construction4 ,in ,plate ,,xviii the mountain is the dominant or principal feature4 ,it commands our first attention4 ,everything is subservient to it4 ,it1 therefore1 is called ,,ten1 or heaven4 ,next in importance1 complimentary to the mountain1 are the rocks4 ,these1 therefore1 are ,,chi1 or earth2 while all that contributes to the movement or life of the picture1 to wit1 the trees1 man1 animal1 bridge and river1 are styled ,,jin1 or man1 so that the picture satisfies the first law of composition1 namely1 the unity in variety required by ,,ten ,,chi ,,jin4 ,there is another law which determines the general character to be given a landscape according to the season1 and is thus expressed3 ,mountains in spring should suggest joyousness2 in summer1 green and moisture2 in autumn1 abundance2 in winter1 drowsiness4 ,the formula runs as follows3 ,,shun-,,zan1 warau gotoshi2 ,,kazan1 arau gotoshi2 ,,shuzan1 yoso gotoshi2 ,,tozan1 nemurugotoku4 ,similarly1 according to the season1 there are four principal ways of painting bamboo 7,,chiku74 ,in fair-weather bamboo 7,,sei ,,chiku7 the leaves are spread out joyously2 in rainy-weather bamboo 7,,uchiku7 the leaves hang down despondently2 in windy-weather bamboo 7,,fuchiku7 the leaves cross each other confusedly1 and in the dew of early morning 7,,rochiku7 the bamboo leaves all point upwards vigorously 7,plate ,,liii a #a to a #d74 ,the ,kano artists differ from the ,shijo painters in their manner of combining 7kasaneru7 the leaves and branches of the bamboo4 ,speaking generally1 the ,shijo artists point the leaves downward1 while the former point them upward1 which is more effective4 ,again1 in snow scenery the ,kano artists first paint the bottom of the snow-line and then by shading 7kumadori7 above the same with very light ink 7usui sumi7 produce the effect of accumulated snow4 ,the ,okyo school secures the same result in a much more brilliant manner1 using but a single dexterous stroke of the well-watered brush1 the point only of which is tipped with sumi4 ,some artisls1 notably ,kubota ,beisen and his followers1 employ both methods1 the former for near and the latter for distant snow landscapes4 ,low mountains in a landscape suggest great distance4 ,fujiyama1 the favorite subject of all artists1 should not be painted too high1 else it loses in dignity by appearing too near4 ,in an art work written by ,oishi ,shuga1 ,fuji is reproduced as it appears at every season of the year1 whether clad in snow1 partly concealed by clouds1 or plainly visible in unobstructed outline4 ,the book is a safe guide for artists to consult4 ,we may next consider some laws applicable to mountains1 rocks and ledges4 ,it has long since been observed by the great writers on art in ,china that mountains1 rocks1 ledges and peaks have certain characteristics which distinguish them4 ,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 them4 ,to attempt to reproduce them as seen were a hopeless task1 there being too much confusing detail2 hence1 salient features only are noted1 studied and painted according to what is called ,,shun ,,po1 or the law of ledges or stratifications4 ,there are eight different ways in which rocks1 ledges and the like may be represented3 ,the peeled hemp-bark method1 called ,,hi ,,ma ,,shun 7,plate ,,xxiii a74 ,the large and small axe strokes on a tree1 called ,,dai ,,sho ,,fu ,,heki ,,shun 7,plate ,,xxiii b74 ,the lines of the lotus leaf1 called ,,ka ,,yo ,,shun 7,plate ,,xxiv a74 ,alum crystals1 called ,,han ,,to ,,shun 7,plate ,,xxiv b74 ,the loose rice leaves1 called ,,kai ,,saku ,,shun 7,plate ,,xxv a74 ,withered kindling twigs1 called ,,ran ,,shi ,,shun 7,plate ,,xxv b74 ,scattered hemp leaves1 termed ,,ramma ,,shun 7,plate ,,xxvi a74 ,the wrinkles on a cow's neck1 called ,,gyu ,,mo ,,shun 7,plate ,,xxvi b74 ,these eight laws are not only available guides to desired effects2 they also abbreviate labor and save the artist's attempting the impossible task of exactly reproducing physical conditions of the earth in a landscape painting4 ,they are symbols or substitutes for the truth felt4 ,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 features4 ,it was a theory of the great ,chinese teacher1 ,chinanpin1 and particularly enforced by him1 that trees1 plants and grasses take the form of a circle1 called in art ,,rin ,,kan 7see ,plate ,,xxvii71 ,no4 #a2 or a semi-circle 7,,han ,,kan7 7,plate ,,xxvii71 ,no4 #b2 or an aggregation of half-circles1 called fish scales 7,,gyo ,,rin7 7,plate ,,xxvii71 ,no4 #c2 or a modification of these latter1 called moving fish scales 7,,gyo ,,rin ,,katsu ,,ho7 7,plate ,,xxvii71 ,no #d4 ,developing this principle on ,plate ,,xxviii1 ,no4 #a1 we have theoretically the first shape of tree growth and on ,plate ,,xxviii1 ,no4 #b1 the same practically interpreted4 ,in ,nos4 #c and #d1 same plate1 we have the growth of grass illustrated theoretically and practically4 ,in ,plate ,,xxix1 according to this method1 is constructed the entire skeleton of a forest tree4 ,in ,nos4 #a and #b on this plate numerous small circles are indicated4 ,these show where each stroke of the brush begins1 the points of commencement being of prime importance to correct effect4 ,in ,no4 #c1 same plate1 we have the foundation work of a tree in a ,japanese painting4 ,it is needless to point out the marvelous vigor apparent in work constructed according to the above principles4 ,in the painting of rocks1 ledges1 and the like1 ,chinanpin taught that the curved lines of the fish scales are to be changed into straight lines1 three in number1 of different lengths1 two being near together and the third line slightly separated1 and all either perpendicular or horizontal1 as in ,plate ,,xxx1 ,nos4 #a and #b4 ,in the same plate1 ,nos4 #c and #d1 we have the principle of rock construction illustrated4 ,in ,plate ,,xxxi1 ,nos4 #a1 #b and #c1 is seen the practical application of this theory to kakemono work4 ,in executing these lines for rocks much stress is laid upon the principle of ,,in ,,yo2 on the elevated portions the brush must be used lightly 7,,in7 and on the lower portions it must be applied with strength 7,,yo74 ,at the bottom1 where grass1 mould1 and moss accumulate1 a rather dry brush 7,,kwappitsu7 is applied with a firm stroke4 ,next1 there are laws for near and distant tree1 shrubbery and grass effects1 corresponding to the season of the year4 ,these are known as the laws of dots 7,,ten ,,po72 the saying ,,ten ,,tai ,,san ,,nen indicates that it takes three years to make them correctly4 ,they are as follows3 ,the drooping wistaria dot 7,,sui ,,to ,,ten7 7,plate ,,xxxii a7 for spring effects4 ,the chrysanthemum dot 7,,kiku ,,kwa ,,ten7 7,plate ,,xxxii b7 used in summer foliage4 ,the wheel spoke dot 7,,sha ,,rin ,,shin7 7,plate ,,xxxiii a71 being the pine-needle stroke and used for pine trees4 ,the ,chinese character for the verb 8to save0 7,,kai ,,ji ,,ten7 7,plate ,,xxxiii b71 used for both trees and shrubbery4 ,the pepper dot 7,,koshoten7 7,plate ,,xxxiv a74 ,this dot requires great dexterity and free wrist movement4 ,it will be observed that the dots are made to vary in size but are all given the same direction4 ,the mouse footprints 7,,so ,,soku ,,ten7 7,plate ,,xxxiv b71 used for cryptomeria and other like trees4 ,the serrated or sawtooth dot 7,,kyo ,,shi ,,shin7 7,plate ,,xxxv a71 much used for distant pine-tree effects4 ,the ,chinese character for 8one0 7,,ichi ,,ji ,,ten7 7,plate ,,xxxv b74 ,the effect produced by this character is very remarkable in representing maple and other trees whose foliage at a distance appears to be in layers4 ,the ,chinese character for 8heart0 7,,shin71 called ,,shin ,,ji ,,ten 7,plate ,,xxxvi a74 ,this is used most effectively for both foliage and grasses4 ,the ,chinese character for 8positively0 7,,hitsu71 called ,,hitsu ,,ji ,,ten 7,plate ,,xxxvi b74 ,this dot or stroke is successfully employed in reproducing the foliage of the willow tree in spring4 ,the rice dot1 called ,,bei ,,ten 7,plate ,,xxxviii a74 ,the dot called ,,haku ,,yo ,,ten 7,plate ,,xxxvii b71 being smaller than the pepper dot1 with the clove dot 7,,sho ,,ji ,,ten7 surrounding it4 ,it is a strictly observed rule that none of these dots should interfere with or hide the branches of the trees of which they form part4 ,the term chobo chobo is applied to the practice of always finishing a landscape painting1 rocks1 trees or flowers1 with certain dots judiciously added to enliven and heighten the general effect4 ,these dots1 done with a springing wrist movement1 serve to enliven the work and give it freshness1 just as a rain shower affects vegetation4 ,the ,kano artists were most insistent upon chobo chobo4 ,there are many quaint aids to artistic effects from time immemorial well known to and favored by the old ,chinese painters and still successfully practiced in ,japan4 ,probably the larger number of these are employed in the technical construction of the ,four ,paragons 7p4 #ff et seq474 ,there are still others3 as1 for instance1 the fish-scale pattern 7,plate ,,xix71 used in painting the clustered needles of the pine tree or the bending branches of the willow2 the stork's leg for pine tree branches 7,plate ,,xix72 the gourd for the head and elongated jaws of the dragon2 the egg for the body of a bird 7,plate ,,xxii2 the stag horn for all sorts of interlacing branches2 the turtle back pattern or the dragon's scales for the pine tree bark4 ,in addition to these1 the general shapes of certain of the ,chinese written characters are invoked for reproducing winding streams 7,plate ,,xx71 groupings of rocks1 meadow1 swamp1 and other grasses and the like4 ,of course the exact shape of the various ,chinese characters here referred to must not be actually painted into the composition but merely the sentiment of their respective forms recalled4 ,they are simply practical memory aids to desired effects4 ,it is the spirit of the character rather than its exact shape which should control2 the order of the painted strokes being that of the written character1 its sentiment or general shape is thus reproduced4 ,in this connection ,i would allude to criticisms or judgments upon ,japanese painting in which particular stress is laid upon its calligraphic quality4 ,if any ,japanese artist was seriously informed that his method of painting was calligraphic1 he would explode with mirth4 ,there are several ways to account for this rather wide-spread error4 ,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 another1 an effective way sometimes of spreading misinformation4 ,it is quite true that the assiduous study of ,chinese writing 7,,sho7 is an essential part of thorough art education in ,japan1 not1 however1 for the purpose of learning to paint as one writes1 or of introducing written characters more or less transformed into a painting 7if that be what is meant by 8calligraphic071 but simply to give the artist freedom1 confidence1 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 strokes4 ,to write in ,chinese after the manner of professionals 7,,sho ,,ka7 is truly a great art1 esteemed even higher than painting2 it requires thirty years of constant practice to become expert therein1 and it has many laws and profound principles which1 if mastered by artists1 will enable them to be all the greater in their painting1 and many ,japanese artists have justly prided themselves upon being expert writers of the ,chinese characters4 ,okyo practiced daily for three years the writing of two intricate characters standing for his name1 until he was satisfied with their forms1 but there is nothing calligraphic about any of ,okyo's painting4 ,possibly what has misled foreign critics and even some ,japanese writers is that there exists a class of men in ,japan given to learning1 to writing1 and also to painting in a particular way4 ,these men are called ,,bun ,,jin 7literati7 and their style of painting is called ,,bun ,,jin ,,fu4 ,they are not artists1 but are known as ,confucius' scholars 7,,ju ,,sha71 and being professional or trained writers in the difficult art of ,chinese calligraphy they have a manner of painting strictly sui generis4 ,it is known as the ,,nan ,,gwa or southern literary way of painting4 ,their subjects are the bamboo1 the plum1 the orchid and the chrysanthemum1 called the four paragons 7,,shi ,,kun ,,shi74 ,these and landscapes they paint with their writing brush and more or less in what is called the grass character 7,,so ,,sho7 manner of writing4 ,in fact1 they often aim to make their painting look like writing and they rarely use any color except light-brown 7,,tai ,,sha74 ,they suppress line as distinguished from mass4 ,this method is called bokkotsu 7see ,plate ,,xii74 ,such painting of the ,,nan ,,gwa school is1 in a sense1 calligraphic1 but that is not the kind of painting which ,japanese artists are taught1 practice and profess1 nor is it even recognized as an art1 but simply as an eccentric development of the literary man with a taste for painting4 ,at one time or another well-known artists1 especially at the beginning of the ,meiji era1 have affected this ,,bun ,,jin calligraphy style simply as a passing fashion4 ,one other possible explanation of the critics pronouncing all ,japanese paintings calligraphic is that various ,chinese characters are1 as we have seen1 invoked and employed by ,japanese artists as memory aids to producing certain effects2 but were these characters introduced calligraphically1 the result would be laughable4 ,it should be plain then that ,japanese painting is not calligraphic2 as well apply the term calligraphy to one of ,turner's water colors4 ,on the other hand1 ,chinese writing is built up on word pictures4 ,there are between five and six hundred mother characters1 all imitating the shapes of objects2 these1 with their later combinations1 constitute the ,chinese written system1 so that while there is nothing calligraphic about ,japanese painting1 there is much that is pictorial about ,chinese calligraphy4 ,other landscape laws applicable to things seen at a distance in a painting require that distant trees should show no branches nor leaves2 people at a distance1 no features2 distant mountains1 no ledges2 distant seas or rivers1 no waves4 ,again1 clouds should indicate whence they come2 running water the direction of its source2 mountains1 their chains2 and roads1 whither they lead4 ,in regard to painting moving waters1 whether of deep or shallow1 in rivers or brooks1 bays or oceans1 ,chinanpin declared it was impossible for the eye to seize their exact forms because they are ever changing and have no fixed1 definite shape1 therefore they can not be sketched satisfactorily2 yet1 as moving water must be represented in painting1 it should be long and minutely contemplated by the artist1 and its general character--whether leaping in the brook1 flowing in the river1 roaring in the cataract1 surging in the ocean or lapping the shore--observed and reflected upon1 and after the eye and memory are both sufficiently trained and the very soul of the artist is saturated1 as it were1 with this one subject and he feels his whole being calm and composed1 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 flow2 not by copying what he has seen1 for the effect would be stiff and wooden1 but by symbolizing according to certain laws what he feels and remembers4 ,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 master4 ,in ,plate ,,xxxviii a1 #a1 the method by which waves are reproduced is shown1 the circles indicating where the brush is turned upon itself before again curving4 ,on the same plate 7b7 waveless water1 shallow water1 and river water with current are indicated at the top1 middle and bottom1 respectively4 ,in ,plate ,,xxxix a1 we have the moving waters of an inland sea2 in b1 the bounding waters of a brook2 in ,plate ,,xl1 the stormy waves of the ocean4 ,we will now consider another unique department of ,japanese painting in connection with the garments of human beings4 ,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 7,,emon ,,ju ,,hachi ,,byo74 ,i will mention each of these laws in its order and refer to the plate illustrations of the same4 ,the floating silk thread line 7,,kou ,,ko ,,yu ,,shi ,,byou7 7,plate ,,xli upper74 ,this line was introduced by the ,tosa school of artists eight hundred years ago and has been in favor ever since4 ,it is the purest or standard line and is reserved for the robes of elevated personages4 ,the brush is held firmly and the lines1 made to resemble silk threads drawn from the cocoon1 are executed with a free and uninterrupted movement of the arm4 ,the ,koto string line 7,,kin ,,shi ,,byou7 7,plate ,,xli lower74 ,this is a line of much dignity and of uniform roundness from start to finish4 ,it is produced by using a little more of the tip of the brush than in the silk thread line and there must be no break or pause in it until completed4 ,this line is used for dignified subjects4 ,chasing clouds and running water lines 7,,kou ,,un ,,ryu ,,sui ,,byou7 7,plate ,,xlii upper74 ,these are produced with a wave-like1 continuous movement of the brush--breathing1 as it were4 ,such lines are generally reserved for the garments of saints1 young men and women4 ,the stretched iron wire line 7,,tetsu ,,sen ,,byou7 7,plate ,,xlii lower74 ,this is a very important line1 much employed by ,tosa artists and used for the formal1 stiffly searched garments of court nobles1 samurai1 ,,no dancers1 and umpires of wrestling matches4 ,when this line is painted the artist must have the feeling of carving upon metal4 ,the nail-head and rat-tail line 7,,tei ,,tou ,,sobi ,,byou7 7,plate ,,xliii upper74 ,in making this1 the stroke is begun with the feeling of painting and reproducing the hard nature of a tack and then continued to depict a rat's tail1 which grows small by degrees and beautifully less4 ,the line of the female court noble or tsubone 7,,sou ,i ,,byou7 7,plate ,,xliii lower74 ,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 painters4 ,the willow-leaf line 7,,ryu ,,you ,,byou7 7,plate ,,xliv upper74 ,this line has always been in great favor with all the schools1 and especially with the ,kano painters1 and is used indiscriminately for goddesses1 angels1 and devils4 ,it is intended to reproduce the sentiment of the willow leaf1 commencing with a fine point1 swelling a little and again diminishing4 ,the angleworm line 7,,kyu ,,en ,,byou7 7,plate ,,xliv lower74 ,the angleworm is of uniform roundness throughout its length and it is with that sentiment or kokoromochi that it must be painted1 care being taken to conceal the point of the brush along the line4 ,this is a most important line in all color painting4 ,indeed1 where much pains are to be taken with the picture1 and the colors are to be most carefully laid on1 it is the best and favorite line4 ,the rusty nail and old post line 7,,ketsu ,,tou ,,tei ,,byou7 7,plate ,,xlv upper74 ,this line is painted with a brush1 the point of which is broken off4 ,the ,kano school of artists particularly affect this method of line painting in depicting beggars1 hermits1 and other such characters4 ,the date seed line 7,,sau ,,gai ,,byou7 7,plate ,,xlv lower74 ,this line1 intended to represent a continuous succession of date seeds1 is made with a throbbing brush and generally used in the garments of sages and famous men of learning4 ,the broken reed line 7,,setsu ,,ro ,,byou7 7,plate ,,xlvi upper7 is made with a rather dry brush and1 as its name indicates1 should be painted with the feeling of reproducing broken reeds4 ,it is a line intended to inspire terror1 awe1 consternation1 and is used for war gods1 ,,fudo sama1 and other divinities4 ,the gnarled knot line 7,,kan ,,ran ,,byou7 7,plate ,,xlvi lower74 ,in this kind of painting the brush is stopped from time to time and turned upon itself with a feeling of producing the gnarled knots of a tree4 ,the line is much used for ghosts1 dream pictures1 and the like4 ,the whirling water line 7,,sen ,,pitsu ,,sui ,,mon ,,byou7 7,plate ,,xlvii upper7 is used for rapid work and reproduces the swirl of the stream4 ,it was a favorite line with ,kyosai4 ,the suppression line 7,,gen ,,pitsu ,,byou7 7,plate ,,xlvii lower7 is suitable where but few lines enter into the painting of the dress4 ,any of the other seventeen lines can be employed in this way4 ,the ,kano artists used it a great deal4 ,dry twig or old firewood line 7,,ko ,,shi ,,byou7 7,plate ,,xlviii upper7 is generally used in the robes of old men and produced by what is called the dry brush2 that is1 a brush with very little water mixed with the sumi4 ,the stroke must be bold and free to be effective4 ,the orchid leaf line 7,,ran ,,yau ,,byou7 7,plate ,,xlviii lower74 ,this is a very beautiful method of painting whereby the graceful shape of the orchid leaf is recalled2 the line is used for the dresses of geishas and beauties 7bijin7 generally4 ,the bamboo leaf line 7,,chiku ,,yau ,,byou7 7,plate ,,xlix upper74 ,this style of painting1 which aims at suggesting the leaf of the bamboo1 was much in favor formerly in ,china4 ,japanese artists seldom employ it4 ,the mixed style 7,,kon ,,byou7 7,plate ,,xlix lower71 in which any of the foregoing seventeen styles can be employed provided the body of the garment be laid on first in mass and the lines painted in afterward while the sumi or paint is still damp4 ,this gives a satiny effect4 ,there are many other ways of painting the lines of the garment but the preceding eighteen laws give the strictly classic methods known to oriental art4 ,the orchid1 bamboo1 plum1 and chrysanthemum paragons 7,,ran ,,chiku ,,bai ,,kiku7 are called in art the ,four ,paragons4 ,although these may be the first studies taught they are generally the last subjects mastered4 ,much learning and research have been expended upon them in ,china and ,japan4 ,an artist who can paint ,,shi ,,kun ,,shi is a master of the brush4 ,i will indicate some of the laws applicable to each of these subjects4 ,the orchid grows in the deepest mountain recesses1 exhaling its perfume and unfolding its beauty in silence and solitude1 unheralded and unseen2 thus1 regardless of its surroundings and fulfilling the law of its being1 fifteen hundred years ago it was proclaimed by the poet and painter ,san ,koku to typify true nobility and hence was a paragon4 ,in poetry it is called the maiden's mirror4 ,many great ,chinese writers have taken the orchid 7,,ran7 for their nom de plume1 as ,ran ,ya1 ,ran ,tei1 ,ran ,kiku1 and ,ran ,ryo4 ,plate ,,lii shows an orchid plant in flower4 ,the established order of the brush strokes for the leaves of is indicated at the tips by numerals one to eleven2 that of the flower stalk and flower by numbers twelve to twenty-one4 ,various forms are invoked in painting both the plant and the flower and are more or less graphically suggested4 ,these forms are indicated by numbers1 as follows3 ,leaf blade ,no4 #a reproduces twice the stomach of the mantis 7#bb71 the tail of the rat 7#bc71 with the cloud longing 7,,bo ,,un7 of the tip 7#bd74 ,leaf ,no4 #b is similarly constructed but is painted to intersect leaf ,no4 #a1 leaving between them a space 7,no4 #be7 called the elephant's eye4 ,leaf ,no4 #c is intersected by leaf ,no4 #d1 enclosing another space between them1 known as the eye of the phoenix4 ,adding leaves ,nos4 #e and #f1 called ,,seki or kazari1 meaning ornament1 we have the most essential parts of the orchid plant4 ,leaf ,no4 #g is known as the rat's tail and leaf ,no4 #h as the body of a young carp4 ,nos4 #i1aj and #aa are called nail heads1 from their fancied resemblance to such objects4 ,with these the plant is structurally complete4 ,bamboo1 ,sparrow and ,rain4 ,plate ,,vii4 ,bamboo1 ,sparrow and ,rain4 ,plate ,,vii4 ,the flower stalk is divided into four parts 7,nos4 #ab to #ae71 called rice sheaths4 ,the flower is made with six strokes 7#af to #ba71 called the flying bee 7#bf74 ,the three dots in the flower reproduce the sentiment of the ,chinese character for heart 7#bc74 ,the orchid is variously painted rising from the ground1 issuing from the banks of a brook1 or clinging with its roots to a rocky cliff4 ,in allusion to the lonely places where it grows it is called ,i shiri no kusa or the plant which the wild boar knows4 ,the orchid is credited with medicinal properties1 and the flower steeped in wine makes a potion which secures perpetual health4 ,the charm of friendship is likened unto the orchid's perfume and the flowers are worn by the ladies of the court to ward off maladies4 ,the leaves of the bamboo are green at all seasons4 ,the stems are straight and point upwards4 ,the plant is beautiful under all conditions--struggling beneath the winter snow or fanned by the spring breeze1 swaying with the storm or bending under showers--its grace challenges admiration4 ,typifying constancy and upright conduct1 it was claimed over a thousand years ago by ,shumo ,shiku to be a paragon4 ,nothing is more difficult to paint correctly than this plant4 ,plate ,,liii shows the bamboo with its essentially component parts and forms indicated as follows3 ,the upright stalk is in five subdivisions 7#a to #e71 each differing in length but all suggesting the ,chinese character for one 7,,ichi7 painted upright4 ,these are separated from each other by strokes reproducing the ,chinese characters for positively 7#bb71 for heart 7#bc71 for second 7#bd71 for one 7#be71 and for eight 7#bf74 ,the stem 7#f to #aj7 is composed of rats' tails4 ,the manner of painting and combining the leaves of the bamboo is called take no ha no kumitata and is minutely described and illustrated in ,ransai's great work1 ,gwa ,fu4 ,the essentials are3 ,the five-leaf arrangement 7,,go ,,yo7 7#aa to #ae7 with the ornament 7#af71 called kazari4 ,the three-leaf arrangement 7#ag to #ai7 called ,,ko ,,ji1 from its resemblance to the ,chinese character ,,ko 7#cb74 ,the two-leaf arrangement 7#bj and #ba7 called ,,jin ,,ji1 from its resemblance to the character ,,jin 7#cc71 a man4 ,in further development of the plant the following imitative arrangements of the leaves are used3 ,the fish tail 7,,gyo ,,bi7 7#bg71 the goldfish triple tail 7,,kingyo ,,bi7 7#bh71 the swallow tail 7,,en ,,bi7 7#bi71 the ,chinese character for bamboo 7,,chiku ,,ji7 7#cj71 and the seven-leaf arrangement 7,,shichi ,,yo7 7#ca74 ,it will be observed how the odd or positive numbers 7,,yo7 are favored4 ,the foregoing method is used by the ,okyo painters4 ,the ,kano artists have another system for combining and elaborating the leaf growth1 but it does not differ radically from that here given4 ,the leaf of the bamboo reproduces the shape of a carp's body 7#cd74 ,it also resembles the tail feathers of the phoenix4 ,an oil is made from the bamboo and is said to be good for people with quick tempers4 ,many artists adopt the name of bamboo for their nom de plume2 witness1 ,chiku ,jo1 ,chiku ,do1 ,chiku ,sho1 ,chiku ,den and the like4 ,it is said that the full moon casts the shadow of the bamboo in a way no other light approaches4 ,the learned ,okubu ,shibutsu first observed this and the discovery led to his becoming the greatest of all bamboo painters4 ,nightly he used to trace with sumi such bamboo shadows on his paper window4 ,sho ,hin1 a lady artist of ,tokyo1 enjoys a well-earned reputation for painting bamboo4 ,she was a pupil of ,tai ,zan1 a ,kyoto representative of the ,chinese school4 ,the ,kano painters much favored the subject of the seven sages in the bamboo grove4 ,bamboo grass 7,,sassa7 is much painted by all the schools4 ,it is very decorative4 ,there is a male and a female bamboo2 from the latter 7medake7 arrows are made4 ,the uses to which man puts the bamboo are surprisingly numerous1 thus fortifying its claims to be regarded a paragon4 ,the plum is the first tree of the year to bloom4 ,it has a dejicate perfume4 ,though the trunk of the tree grows old it renews its youth and beauty every spring with vigorous fresh branches crowded with buds and blossoms4 ,in old age the tree takes on the shape of a sleeping dragon4 ,with no other flower or tree are associated more beautiful and pathetic folk-lore and historical facts4 ,for these and other reasons ,rennasei assigned to the plum its place as a paragon centuries and centuries ago4 ,the tree branches with their interlacings reproduce the spirit of the ,chinese character for woman1 called ,,jo ,,ji 7,plate ,l1 ,no4 #a74 ,the blossom 7#b7 is painted on the principle of ,,in ,,yo1 the upper portion of the petal line being the positive or ,,yo and the lower being the negative or ,,in side4 ,this is repeated five times for the five petals of the blossom 7#c74 ,the stamens 7#d7 and pistils are reproductions of the ,chinese character ,,sho1 meaning small4 ,for the calyx 7#e7 the ,chinese character for clove 7,,cho7 is invoked4 ,the great scholar and nobleman1 ,sugewara ,michizane1 particularly loved the plum tree4 ,banished from his home1 as he was leaving his grounds he addressed that silent sentinel of his garden in the following verse1 which has earned immortality3 ,do thou1 dear plum tree1 send out thy perfume when the east wind blows2 ,and1 though thy master be no longer here1 ,forget not to blossom always when the springtime comes4 ,in ,japan the plum1 though not eaten raw1 when salted has wonderful strength sustaining properties1 and in wartime supplies as ume boshi a valuable concentrated food4 ,the chrysanthemum has been cultivated in ,china for four thousand years and its fame was sung by the poet and scholar1 ,to ,en ,mei1 who prized it above all else under heaven and assigned it the rank of paragon4 ,when all ,nature is preparing for the long sleep of winter and the red1 brown and golden forest leaves are dropping1 spiritless1 to the ground1 the chrysanthemum comes forth from the earth in fresh and radiant colors4 ,it gladdens the heart in the sad season of autumn4 ,its clustered petals1 all united and never scattering1 typify the family1 the state1 and the ,empire4 ,for the last six hundred years the sixteen-petaled chrysanthemum has been the emblem of ,imperial sovereignty in ,japan4 ,with artists it has always been a favorite flower subject4 ,there are innumerable ways of painting it4 ,plate ,,li shows the chrysanthemum flower and leaves painted in the ,okyo manner4 ,there is an established order in which the leaves must be executed4 ,viewed from the front 7,nos4 #a and #b7 the order of the brush stroke is as indicated on the plate2 viewed from the side the brush is applied in the order indicated in ,nos4 #d and #e4 ,the flower 7#f and #g7 is built up from the bud 7#e71 petals being added according to the effect sought4 ,the flower half opened is shown in ,no4 #f1 and wholly opened in ,no4 #g4 ,the calyx somewhat reproduces the ,chinese written character ,,cho4 ,the ,kano painters have a different way of painting the chrysanthemum leaves and flowers1 but the foregoing illustrates the general principles obtaining in all the schools4 ,korin painted the ,,kiku in a manner quite different from that of any other artist4 ,the word ,,kiku is ,chinese1 the ,japanese word for the flower being kawara yomogi4 ,the ,nagoya artists have always been particularly skilful in painting the chrysanthemum in an exceptionally engaging way4 ,the little marguerite-like blossom is called mame-giku1 and is a universal favorite among all artists4 ,the impression produced on one who for the first time hears enumerated these various laws may possibly be that all such methods for securing artistic effects are arbitrary1 mechanical and unnatural4 ,but in practice1 the artist who invokes their aid finds they produce invariably pleasing and satisfactory results4 ,it must not be supposed that such laws are exclusive of all other methods of painting in the ,japanese style4 ,on the contrary the artist is at liberty to use any other method he may select provided the result is artistically correct4 ,many painters have invented methods of their own which are not included in the foregoing enumeration of these laws of lines1 dots and ledges1 which1 it must always be borne in mind1 are only to assist the artist who may be in doubt or difficulty as to how he shall best express the effect he aims at4 ,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 grammar4 ,it is related that a great statesman1 being asked if it were necessary for a diplomat to know ,latin and ,greek1 replied that it was quite sufficient for him to have forgotten them4 ,and so with these laws4 ,a knowledge of them is a necessary part of the education of every ,japanese artist1 for they lie at the very foundation of the art of oriental painting4 ,chinese writing abounds with similar principles2 it is a law applicable to one kind of such writing1 called ,,rei ,,sho1 that in each character there shall be one stroke which begins with the head of a silkworm and terminates with a goose's tail4 ,this also may sound odd and seem forced1 yet this law gives a special and wonderful cachet to the character so written4 ,some acquaintance with these principles and methods invoked by artists adds much to our keen enjoyment of their work1 just as an analysis of the chords in a musical composition increases our pleasure in the harmonies they produce4 ,ruskin has discovered in the very earliest art the frequent use of simple forms suggested by the slightly curved and springing profile of the leaf bud which1 he declares1 is of enormous importance even in mountain ranges1 when not vital but falling force is suggested4 8,this abstract conclusion the great thirteenth century artists were the first to arrive at0 7,ruskin's ,mod4 ,painters1 ,vol4 ,,iii71 and even in the architecture of the best cathedrals that author detects the observance of the law determining in an ivy leaf the arrangement of its parts about a center4 ,in ,japanese art simple forms supplied by nature are often used for suggesting other forms as1 for instance1 the stork's legs for the pine tree branches1 the turtle's back for the pine bark lines1 the fish tail for bamboo leafage1 the elephant's eye in the orchid plant1 the shape of ,fujiyama for the forehead of a beautiful woman1 and various ,chinese characters1 originally pictorial1 adumbrated in trees1 flowers and other subjects4 ,the universality of such underlying type forms recognized and applied by oriental artists is confirmatory of the principle that in both nature and art all is united by a common chain or commune vinculum attesting the harmony between created things4 ,a ,japanese painting executed with the aid of such resources teems with vital force and suggestion1 and to the eye of a connoisseur 7kuroto7 becomes a breathing microcosm4 ,to give some idea of the order in which the component parts of an object are painted according to ,japanese rules1 which are always stringently insisted upon1 flowers like the chrysanthemum and peony are begun at their central point and built up from within outwardly1 the petals being added to increase the size as the flower opens4 ,in a flower subject the blossoms are painted first2 the buds come next2 then the stem1 stalks1 leaves and their veinings1 and lastly the dots called chobo chobo4 ,the established order for the human figure is as follows3 ,nose and eyebrows1 eyes1 mouth1 ears1 sides of the face1 chin1 forehead1 head1 neck1 hands1 feet1 and finally the appareled body4 ,in ,japanese art the nude figure is never painted4 ,in a tree the order is trunk1 central and side limbs 7,plate ,,xxi71 branches and their subdivisions1 leaves and their veinings1 and dots4 ,in birds3 ,the beak in three strokes 7,,ten1 ,,chi1 ,,jin71 the eye1 the head1 the throat and breast1 the back1 the wings1 the body1 the tail1 the legs1 claws1 nails and eyeball 7,plate ,,xxii74 ,in landscape work the general rule is to paint what is nearest first and what is farthest last4 ,kubota's method was to do all this rapidly and1 if possible1 with one dip of the well-watered brush into the sumi1 so that as the sumi becomes gradually diluted and exhausted the proper effect of foreground1 middle distance and remote perspective is obtained4 ,in painting mountain ranges that recede one behind the other the same process is followed1 and mountains as they disappear to the right or left of the picture should tend to rise4 ,this principle is called ,,bo ,,un or cloud longing4 ,it is useless here to enumerate the many faults which art students are warned against committing4 ,suffice it to say the number is enormous4 ,out of many of the ,chinese formulas ,i will give only one1 which is known as ,,shi ,,byo or the four faults1 and is as follows3 ,,ja1 ,,kan1 ,,zoku1 ,,rai4 ,,ja refers to attempted originality in a painting without the ability to give it character1 departing from all law to produce something not reducible to any law or principle4 ,,kan is producing only superficial1 pleasing effect without any power in the brush stroke--a characterless painting to charm only the ignorant4 ,,zoku refers to the fault of painting from a mercenary motive only1--thinking of money instead of art4 ,,rai is the base imitation of or copying or cribbing from others4 ,chapter #e ,head-,band3 ,maple leaves are associated with ,ten ,jin 7,sugiwara ,michizane71 patron of learning4 ,children in invoking his aid in a little prayer count the points of the maple leaf1 saying1 8yoku te agar0--assist us to be clever4 ,in ,japanese the maple leaf is called kaide1 meaning frog's hand4 ,,chapter ,,five4 ,,canons ,,of ,,the ,,aesthetics ,,of ,,japanese ,,painting ,one of the most important principles in the art of ,japanese painting--indeed1 a fundamental and entirely distinctive characteristic--is that called living movement1 ,,sei ,,do1 or kokoro mochi1 it being1 so to say1 the transfusion into the work of the felt nature of the thing to be painted by the artist4 ,whatever the subject to be translated--whether river or tree1 rock or mountain1 bird or flower1 fish or animal--the artist at the moment of painting it must feel its very nature1 which1 by the magic of his art1 he transfers into his work to remain forever1 affecting all who see it with the same sensations he experienced when executing it4 ,this is not an imaginary principle but a strictly enforced law of ,japanese painting4 ,the student is incessantly admonished to observe it4 ,should his subject be a tree1 he is urged when painting it to feel the strength which shoots through the branches and sustains the limbs4 ,or if a flower1 to try to feel the grace with which it expands or bows its blossoms4 ,indeed1 nothing is more constantly urged upon his attention than this great underlying principle1 that it is impossible to express in art what one does not first feel4 ,the ,romans taught their actors that they must first weep if they would move others to tears4 ,the ,greeks certainly understood the principle1 else how did they successfully invest with imperishable life their creations in marble8 ,in ,japan the highest compliment to an artist is to say he paints with his soul1 his brush following the dictates of his spirit4 ,japanese painters frequently repeat the precept3 ,waga kokoro waga te wo yaku ,waga te waga kokoro ni ozuru4 ,our spirit must make our hand its servitor2 ,our hand must respond to each behest of our spirit4 ,the ,japanese artist is taught that even to the placing of a dot in the eyeball of a tiger he must first feel the savage1 cruel1 feline character of the beast1 and only under such influence should he apply the brush4 ,if he paint a storm1 he must at the moment realize passing over him the very tornado which tears up trees from their roots and houses from their foundations4 ,should he depict the seacoast with its cliffs and moving waters1 at the moment of putting the wave-bound rocks into the picture he must feel that they are being placed there to resist the fiercest movement of the ocean1 while to the waves in turn he must give an irresistible power to carry all before them2 thus1 by this sentiment1 called living movement 7,,sei ,,do71 reality is imparted to the inanimate object4 ,this is one of the marvelous secrets of ,japanese painting1 handed down from the great ,chinese painters and based on psychological principles--matter responsive to mind4 ,chikudo1 the celebrated tiger painter 7,plate ,,vi71 studied and pondered so long over the savage expression in the eye of the tiger in order to reproduce its fierceness that1 it is related1 he became at one time mentally unbalanced1 but his paintings of tigers are inimitable4 ,they exemplify ,,sei ,,do4 ,from what has been said it will be appreciated why1 in a ,japanese painting1 so much value is attached to the strength with which the brush strokes are executed 7fude no chicara71 to the varying lights and shades of the sumi 7,,boku ,,shoku71 to their play and sheen 7tsuya71 and to the manifestation of the artist's power according to the principle of living movement 7,,sei ,,do74 ,in a ,european painting such considerations have no place4 ,an oil painting can be rubbed out and done over time and again until the artist is satisfied4 ,a sumi e or ink painting must be executed once and for all time and without hesitation1 and no corrections are permissible or possible4 ,any brush stroke on paper or silk painted over a second time results in a smudge2 the life has left it4 ,all corrections show when the ink dries4 ,japanese artists are not bound down to the literal presentation of things seen4 ,they have a canon1 called esoragoto1 which means literally an invented picture1 or a picture into which certain invention fictions are painted4 ,every painting to be effective must be esoragoto2 that is1 there must enter therein certain artistic liberties4 ,it should aim not so much to reproduce the exact thing as its sentiment1 called kokoro mochi1 which is the moving spirit of the scene4 ,it must not be a facsimile4 ,when we look at a painting which pleases us what is the cause or source of our satisfaction8 ,why does such painting give us oftentimes more satisfaction than the scene itself which it recalls8 ,it is largely because of esoragoto or the admixture of invention 7the artistic unreality7 with the unartistic reality2 the poetic handling or treatment of what in the original may in some respects be commonplace4 ,a correctly executed ,japanese painting in sumi called sumi e1 is essentially a false picture so far as color goes1 where anything in it not black is represented4 ,hence1 sumi paintings of landscapes1 flowers and trees1 are untrue as to color1 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 color4 ,this is esoragoto4 ,it is related that ,okubo ,shibutsu1 famous for painting bamboo1 was requested to execute a kakemono representing a bamboo forest4 ,consenting1 he painted with all his known skill a picture in which the entire bamboo grove was in red4 ,the patron upon its receipt marveled at the extraordinary skill with which the painting had been executed1 and1 repairing to the artist's residence1 he said3 8,master1 ,i have come to thank you for the picture2 but1 excuse me1 you have painted the bamboo red40 8,well10 cried the master1 8in what color would you desire it80 8,in black1 of course10 replied the patron4 8,and who10 answered the artist1 8ever saw a black-leaved bamboo80 ,this story well illustrates esoragoto4 ,the ,japanese are so accustomed to associate true color with what the sumi stands for that not only is fiction in this respect permissible but actually missed when not employed4 ,in a landscape painting effects are frequently introduced which are not to be found in the scene sketched4 ,the false or fictitious is added to heighten the effect4 ,this is esoragoto-- the privileged departure1 the false made to seem true4 ,in a landscape a tree is often found to occupy an unfortunate place or there is no tree where its presence would heighten the effect4 ,here the artist will either suppress or add it1 according to the necessities of treatment4 ,not every landscape is improved by trees or plantations2 nor1 indeed1 is every view containing trees a type scene for landscape treatment4 ,hence1 certain liberties are conceded the artist provided only the effect is pleasing and satisfactory and that no probabilities seem violated4 ,this is esoragoto4 ,horace understood this and lays it down as a fundamental principle in art3 8,quid libet audendi04 ,the artist will oftentimes see from a point of view impossible in nature1 but if the result is pleasing the liberty is accorded4 ,sesshu1 one of the greatest landscape painters of ,japan1 on returning to his own country after having studied some years in ,china1 made a painting of his native village with its temple and temple groves1 winding river and pagoda or five-roofed tower4 ,his attention being subsequently called to the fact that in this village there was no tower or pagoda1 he exclaimed that there ought to be one to make the landscape perfect1 and thereupon he had the tower constructed at his own expense4 ,he had painted in the pagoda unconsciously4 ,this was esoragoto4 ,there are no people in the world who have a higher idea of the dignity of art than the ,japanese and it is a principle with them that every painting worthy of the name should reflect that dignity1 should testify to its own worth and thus justly impress with sentiments of admiration those to whom it may be shown4 ,this intrinsic loftiness1 elevation or worth is known in their art by the term ,,ki ,,in4 ,without this quality the painting1 artistically considered and critically judged1 must be pronounced a failure4 ,such picture may be perfect2 in proportion and design1 correct in brush force and faultless in color scheme2 it may have complied with the principles of ,,in ,,yo1 and ,,ten1 ,,chi1 ,,jin or heaven1 earth and man2 it may have scrupulously observed all the rules of lines1 dots and ledges and yet if ,,ki ,,in be wanting the painting has failed as a work of true art4 ,what is this subtle something called ,,ki ,,in8 ,in our varied experiences of life we all have met with noble men and women whose beautiful and elevating characters have impressed us the moment we have been brought into relation with them4 ,the same quality which thus affects us in persons is what the ,japanese understand by ,,ki ,,in in a painting4 ,it is that indefinable something which in every great work suggests elevation of sentiment1 nobility of soul4 ,from the earliest times the great art writers of ,china and ,japan have declared that this quality1 this manifestation of the spirit1 can neither be imparted nor acquired4 ,it must be innate4 ,it is1 so to say1 a divine seed implanted in the soul by the ,creator1 there to unfold1 expand and blossom1 testifying its hidden residence with greater or lesser charm according to the life spent1 great principles adhered to and ideals realized4 ,such is what the ,japanese understand by ,,ki ,,in4 ,it is1 ,i think1 akin to what the ,romans meant by divinus afflatus--that divine and vital breath1 that emanation of the soul1 which vivifies and ennobles the work and renders it immortal4 ,and it is a striking commentary upon artist life in ,japan that many of the great artists of the ,tosa and ,kano schools1 in the middle years of their active lives1 retired from the world1 shaved their heads1 and1 taking the titular rank of ,,hogen1 ,,hoin or ,,hokyo1 became ,buddhist priests and entered monasteries1 there to pass their remaining days1 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 art4 ,chapter #f ,head-,band3 ,the chrysanthemum pattern4 ,,chapter ,,six4 ,,subjects ,,for ,,japanese ,,painting 7,,gwa ,,dai7 ,a ,japanese artist will never of his own accord paint a flower out of season or a spring landscape in autumn2 the fitness of things insensibly influences him4 ,from ancient times certain principles have determined his choice of subjects1 according either to the period of the year or to the festivals1 ceremonies1 entertainments or other events he may be required to commemorate4 ,all such subjects are called ,,gwa ,,dai4 ,as one without some knowledge of these cannot appreciate much that is interesting about art customs in ,japan1 a brief reference to them will be made1 beginning with those subjects suitable to the different months of the year3 ,january--,for ,new ,year's day 7,,sho ,,gwatsu ,,gwan ,,jitsu7 favorite subjects are 8the sun rising above the ocean10 called hi no de ni nami 7,plate ,,liv ,no4 #a72 8,mount ,horai0 7#b71 8the sun with storks and tortoises0 7#c1 #d1 #e72 or 8,fukurokuju10 a god of good luck4 ,many meanings are associated with these subjects4 ,the sun never changes and the ocean is ever changing1 hence ,,in ,,yo is symbolized4 ,the sun1 the ocean and the circumambient air symbolize ,,ten ,,chi ,,jin or the universe4 ,horai 7,,san7 is a symbol for ,japan4 ,it is the lofty mountain on a fabled island in the distant sea1 referred to in early ,chinese writings1 inhabited by sages 7,,sen ,,nin71 and containing the pine1 bamboo and plum 7known in art as ,,sho1 ,,chiku1 ,,bai71 the pine standing for longevity1 the bamboo for rectitude and the plum blossom for fragrance and grace4 ,the stork and the tortoise1 whose back is covered with seaweed1 both typify long life1 the ancient saying being that the stork lives for one thousand and the tortoise for ten thousand years 7tsuru wa ,,sen ,,nen1 kame wa ,,man ,,nen74 ,fukurokuju is one of the seven gods of good luck1 whose name means happiness1 wealth and long life4 ,on ,new ,year's day are suspended on either side of his picture bamboo and plum subjects 7,plate ,,lv1 #a1 #b1 #c74 ,this jovial god's name is sometimes happily interpreted by a triple kakemono 7,,san ,,buku ,,tsui73 ,the middle one is the sun and waves1 for long life 7,,ju72 on the right1 rice grains1 for wealth 7,,roku71 and on the left the flower of the cotton plant1 for happiness 7,,fuku71 because its corolla is golden and its fruit silvery1 the gold and silver suggesting felicity 7,plate ,,lvi1 #a1 #b1 #c74 ,this makes a charming combination4 ,an excursion into the fields of ,chinese philology in connection with the name of this god of good luck would unfold some wonderful word picturing4 ,traced to their hieroglyphical beginnings1 ,,fuku signifies blessings from heaven2 ,,roku1 rank1 commemorated in carving1 and 7,,ju71 agricultural pursuits1 associated with white hair4 ,an especially appropriate picture for this season of great festivity is called 8the pine at the gate0 7kado matsu74 ,it commemorates the custom on the first day of the year of planting pine trees at the entrance to ,japanese public buildings and private residences4 ,from the rope 7shimenawa7 7,plate ,,lv1 #d7 are suspended strips of white paper 7gohei7 typifying purity of the soul2 these hang in groups of three1 five and seven1 the odd or lucky number series associated with the positive or male principle 7,,yo7 of ,,in ,,yo4 ,another appropriate subject for this early season of the year is rice cakes 7mochi7 in the shapes of the sun and full moon 7,plate ,,lv1 #e74 ,in the picture the fruit called dai dai is placed on the top of the rice cakes1 the word ,,dai meaning ages1 hence associated with longevity4 ,at the base of the stand is a prawn 7ebi74 ,this equally suggests old age because the prawn is bent in two4 ,the leaf of the yuzuri is introduced because it is an auspicious word and means succession4 ,the picture of a battledoor and shuttlecock 7hagoita7 is also appropriate for ,new ,year as it commemorates the ancient practice of the ,japanese indulging in that pastime on that day 7,plate ,,lvi1 #d74 ,during ,january a very popular picture for the alcove 7tokonoma7 is the treasureship1 called taka-rabune 7,plate ,,lvi1 #e74 ,the vessel as it sails into port is heavily laden with all of the various tools and utensils typifying great wealth to be found in the capacious bag of ,dai ,koku1 a ,japanese god of good luck4 ,these are a ball1 a hammer1 weights1 cloves1 silver bronze1 and the god's raincoat and hat4 ,on the evening of the second of ,january if the painting of a treasureship be put under the pillow and one dreams of either ,fujisan1 a falcon or an eggplant1 the year long he will be fortunate4 ,it will be observed that on the sail of the treasure boat is inscribed the ,chinese character for ,,takara1 meaning treasure4 ,on the seventh day of ,january occurs the first of the five holidays1 called go sekku1 and vegetable subjects are painted4 ,these are called the seven grasses 7hotoke za or nana kusa7 and consist of parsley1 shepherd's purse1 chickweed1 saint's seat1 wild turnip and radish4 ,they are susceptible of most artistic treatment and ingenious1 original designs are often evolved 7,plate ,,lvii1 #f74 ,february--,the cock and the hen1 with the budding plum branch1 are now appropriate4 ,the subject is known as the 8plum and chickens0 7ume ni tori7 7,plate ,,lvii1 #a74 ,the chicken figures in the earliest history of ,japan4 ,when the cock crows the ,japanese hear the words ,,kokka ,,koo1 which1 phonetically rendered into ,chinese characters1 read 8happiness to our entire land40 ,the ,chinese hear differently4 ,to them the cock crows ,,toten ,,ko1 meaning 8the eastern heavens are reddening10 so to them the cock heralds the early morn4 ,famous paintings of chickens have come from the brushes of ,okyo1 ,tessan 7,plate ,,iii71 and others of the ,maruyama school4 ,during ,february1 the month of the plum1 the appropriate paintings are of that flower and the ,japanese warbler 7ume ni uguisu7 7,plate ,,lvii1 #b74 ,this singing bird announces the spring with its melodious notes 7,,hoho ,,kekyo71 which1 rendered by the ,buddhist into ,chinese characters1 give the name of the principal book of the eighteen volumes of ,shaka1 entitled1 8the marvelous law of the lotus40 ,another picture suitable to ,february is known as 8the last of the snow0 7zan setsu7 7,plate ,,lvii1 #c74 ,march--,this month is associated with the peach blossom1 and kakemono of gardens containing peach trees1 called momo no ,,en 7,plate ,,lvii1 #d71 are in favor4 ,toba ,saku is related to have lived eight thousand years subsisting upon the fruit of the peach2 hence1 the peach blossom is a symbol for longevity1 and sake made from the fruit is drunk throughout ,japan in ,march4 ,one of the most famous prose writings in ,chinese literature is ,,ran-,,tei ,,kioka ,,sui4 ,it commemorates a pastime of the learned1 called 8the sake cup40 ,a favorite way of interpreting this subject is to paint a garden of blossoming peach trees and spreading banana palms bordering a flowing stream1 with a nobleman attaching to a peach branch a narrow paper 7,,tanjaku7 upon which he has written a poem4 ,another famous ,chinese prose composition1 8the peach and apricot garden festival10 written by ,ri ,tai ,haku at the age of fourteen years1 is interpreted by depicting ,toba ,saku in a garden seated before a table1 with three ,chinese beauties attendant upon him1 with celebrated scholars and sages circulating midst the flowers and blossoms4 ,five principal festivals of the year1 known as go sekku1 occur respectively on the seventh day of ,january1 the third day of ,march1 the fifth day of ,may1 the seventh day of ,july and the ninth day of ,september--all being on the odd days of the odd months 7the ,,yo of ,,in ,,yo74 ,on the third day of the third month is the hina matsuri festival for young girls1 and the appropriate painting for the occasion is called kami bina1 meaning paper dolls 7,plate ,,lvii1 #e74 ,the greatest ,japanese artists of the past have vied to make their treatment of this subject superb4 ,when a female child is born a kami bina painting is presented to the family to contribute to the festivities4 ,the month of ,march is the month of the cherry blossom 7sakura bana71 and the picture on ,plate ,,lviii1 #a1 illustrates one method of painting cherry trees ornamenting the mountainside of a canyon1 through which flows a river4 ,during ,march picnic parties go upon the beach at low tide to gather shell-fish4 ,the subject illustrated on ,plate ,,lviii1 #b1 called ebb-tide 7shio hi71 is appropriate4 ,the picture of the maiden ,saohime 7,plate ,,lviii1 #c7 is also painted in ,march4 ,april--,the wistaria flower 7,juji7 is associated with the fourth month and all ,april landscapes represent the trees covered with much foliage4 ,a small bird called sudachi dori1 hatched in this month1 is often painted on the wistaria branch 7,plate ,,lviii1 #d74 ,the picture typifies parental affection1 on account of the known solicitude of the mother bird for its young4 ,may--,there are many subjects appropriate for ,may4 ,the iris 7shobu7 7,plate ,,lviii1 #e7 now makes its appearance4 ,its long-bladed leaves are sword shaped1 therefore the plant symbolizes the warrior spirit 7bushi74 ,the iris is often planted upon the roof of a house to indicate that there are male children in the family4 ,the cuckoo and the moon subject 7tsuki ni hototogisu7 7,plate ,,lviii1 #f7 is special to this month4 ,the fifth of ,may is the boys' festival1 and the carp 7koi7 7,plate ,,lix1 #a7 is the favorite subject for painting4 ,may is the rainy month in ,japan4 ,it is related that a carp during this month ascended to the top of the waterfall ,,ryu ,,mon in ,china and became a dragon4 ,the carp thus typifies the triumph of perseverance--the conquering of obstacles--and symbolizes the military spirit4 ,when this fish is caught and about to be cut up alive for sasshimi1 a ,japanese delicacy1 once the carver has passed the flat side of the knife blade over the body of the fish the koi becomes motionless1 and with heroic fortitude submits to being sliced to the backbone4 ,served in a dish1 a few drops of soy being placed in its eye it leaps upward in a last struggle1 to fall apart in many pieces4 ,when a male child is born a proper present to the family is a carp kakemono4 ,the fifth day of the fifth month is the anniversary of the great victory of the ,japanese over ,kublai ,khan1 who1 with an enormous fleet of ,chinese vessels1 attempted to invade ,japan in the thirteenth century4 ,june--,in this warm month the ,,gwa ,,dai or picture subject is waterfalls 7,plate ,,lix1 #b71 although it is quite allowable on account of the heat of summer to suggest cool feelings by painting snow scenes with crows 7,,setchu ni karasu7 for a color contrast 7,plate ,,lix1 #c74 ,all pictures painted during the month of ,june should suggest shady1 refreshing sensations4 ,a charming and favorite subject is water flowing through an open bamboo pipe and falling amid luxuriant vegetation into a pool below1 where a little bird is bathing4 ,this picture is technically known as kakehi 7,plate ,,lix1 #d74 ,july--,during this month appropriate among flower subjects is that of the seven grasses of autumn 7aki no nana kusa7 7,plate ,,lix1 #f71 consisting of the bush clover1 the wild pink1 the morning glory1 et cetera4 ,this is most difficult to paint on account of the extreme delicacy requisite in the handling of the brush1 but a skilful artist can produce most interesting effects4 ,all sorts of wonderfully shaped insects as well as birds of brilliant plumage are permitted in the picture4 ,the seventh day of ,july is known as the festival of the stars1 and ,kengyu1 the swain1 and ,orihime1 the maiden1 are painted4 ,july is a month devoted to ,buddhist ceremonies4 ,saints1 sages1 the five hundred rakkan disciples of ,shaka and the sixteen rakkans are painted4 ,there are two other subjects appropriate1 known as ,tanabata 7,plate ,,lix1 #e7 and ,nazunauchi 7,plate ,,lxiv1 #d74 ,august--,the first grain of the year is now offered to the gods4 ,a charming way of commemorating this is by the painting called stacked rice and sparrows 7inamura ni suzume7 7,plate ,,lx1 #a74 ,the rabbit and the moon1 called tsuki ni usagi 7,plate ,,lx1 #b71 because the rabbit is seen in the moon making rice cakes1 and the picture known as meggetsu 7,plate ,,lx1 #c7 also commemorate the offering of the products of the soil to the moon divinity4 ,as mist abounds during ,august1 landscapes half concealed in mist are painted4 ,the ,kano artist1 ,tanyu1 leaned much to such scenes1 which suggest the tranquility of eventide4 ,such subjects are known as mist showers 7ugiri7 7,plate ,,lx1 #d74 ,the ,japanese have their woman in the moon1 named ,joga4 ,this lovely creature having procured and drunk of the ambrosia of hermits 7sennin7 is said to have entered that planet4 ,the picture is an engaging one 7,plate ,,lx1 #f71 the upper portion of ,joga's body being in the moon's disc and the lower portion in fleecy clouds4 ,september--,the ninth day of the ninth month is the festival of the chrysanthemum 7,,kiku ,,no ,,sekku71 when sake made from the chrysanthemum is drunk4 ,kiku ,jido1 a court youth1 having inadvertently touched with his foot the pillow of the emperor1 was banished to a distant isle where1 it is said1 he was nourished by the dew of the chrysanthemum which abounded there4 ,becoming a hermit1 he lived one thousand years4 ,seasonal pictures for this month commemorate this event1 or reproduce the yellow and white chrysanthemum4 7,plate ,,lxi1 #a74 ,appropriate for ,september are water grasses and the dragon-fly 7mizukusa ni tombo7 7,plate ,,lxi1 #e74 ,tatsuta hime 7,plate ,,lxi1 #b7 is also painted4 ,she is the autumn divinity1 associated with the brilliant1 warm and resplendent colors of the autumn season1 and is always represented in gorgeous hues4 ,pictures of the deer and the early maples 7hatsu momiji ni shika7 7,plate ,,lxi1 #c7 are now appropriate4 ,a favorite autumn picture is called ,kinuta uchi1 or the beating1 on a block1 of homespun cotton to give it lustre4 ,a poor peasant woman and her child are both occupied at the task under the rays of the full moon 7,plate ,,lxiv1 #d74 ,the sound of the blows on the block is said to suggest sad feelings4 ,it is a law for painting such moonlight scenes that no red color be introduced1 as red does not show in the moonlight 7,,gekka no ,,ko ,,shoku nashi74 ,fujiyama from ,tago no ,ura1 by ,yamamoto ,baietsu4 ,plate ,,viii4 ,fujiyama from ,tago no ,ura1 by ,yamamoto ,baietsu4 ,plate ,,viii4 ,october--,in this month geese coming from the cold regions and crossing at night the face of the moon are a favorite subject1 known as tsuki ni ,,gan 7,plate ,,lxi1 #d74 ,other subjects are 8autumn fruits0 7aki no mi7 7,plate ,,lxi1 #e71 chestnuts1 persimmons1 grapes and mushrooms2 monkeys and persimmons 7saru ni kaki7 7,plate ,,lxi1 #f72 squirrel and grapes 7,,risu ni ,,budo7 7,plate ,,lxii1 #a72 and the evergreen pine 7kayenu matsu71 suggesting constancy 7,plate ,,lxii1 #b7 ,november--,a month sacred to ,evesco1 one of the jovial gods of good luck 7,plate ,,lxii1 #c74 ,he was the first trader1 his stock being the ,,tai fish4 ,he is the favorite god of the merchants who1 during this month1 celebrate his festival4 ,evesama is usually represented returning from fishing with a ,,tai under his arm4 ,the ,kano artists particularly favored this subject4 ,another charming picture1 known as 8the last of the chrysanthemums0 7,,zan ,,kiku7 7,plate ,,lxii1 #d71 suggests the approaching close of the year4 ,the classic way to represent this subject is with small1 yellow chrysanthemums clinging to a straggling bamboo fence1 with a few of their leaves which have begun to turn crimson4 ,another ,november picture is 8the first snow0 7hatsu yuki7 7,plate ,,lxii1 #e74 ,two puppies are frollicking in the snow1 which is falling for the first time4 ,it is said that no animal rejoices like the dog when it sees the first snowfall of winter4 ,snow1 says a proverb1 is the dog's grandmother 7yuki wa inu no obasan74 ,okyo and ,hokusai frequently painted this subject4 ,hatsu yuki is sometimes represented by a little snow upon the pine tree or the bamboo in a landscape4 ,this produces a very lonely 7samushii7 scene4 ,the ,kyoto artists are extremely fond of painting in the month of ,november the subject of a peasant girl descending from the mountain village of ,ohara carrying upon her head a bundle of firewood twigs1 into which she has coquettishly inserted a branch of red maple leaves4 ,this picture is called ,oharame 7,plate ,,lxii1 #f74 ,landscapes representing fitful rain showers are appropriate for ,november and are called shigure4 ,this is the month for the oshi dori 7,plate ,,lxiii1 #a74 ,these mandarin ducks1 male and female1 on account of the contrast in their shape and plumage1 make a very striking and favorite picture4 ,their devotion to each other is so great that they die if separated4 ,hence1 such paintings not only symbolize conjugal fidelity but are also appropriate as wedding presents4 ,there are two other kinds of birds painted in ,november3 ,the beach birds1 known as chi dori 7,plate ,,lxiii1 #b71 and the wild duck flying over the marsh grasses 7kamo ni ashi7 7,plate ,,lxiii1 #c74 ,okyo and the artists of his school excel in their vivid treatment of these last three subjects4 ,december--,the cold weather chrysanthemum 7,,kan ,,kiku71 the narcissus or hermit of the stream 7,,sui ,,sen71 and the snow shelter of rice straw 7yuki kakoi7 7,plate ,,lxiii1 #d7 are three favorites for ,december4 ,in this latter lovely subject the white chrysanthemums are huddling below the protecting snow shelter of rice straw1 one or two of the flowers peeping out1 their leaves being reddish on the rim and light green within4 ,the narcissus is much painted during ,december4 ,there are many ways and laws for painting this flower4 ,another winter subject is called joji ,,bai1 consisting of the plum tree with snow on the branches and small birds perched thereon4 ,kyoto artists much favor it4 ,december landscapes are all snow scenes 7yuki no ,,san ,,sui7 7,plate ,,lxiii1 #e7 and countless are the ways in which they are treated4 ,another subject is nukume dori--a falcon perched upon a tree covered with snow1 holding in its claws a little bird 7,plate ,,lxiv1 #c74 ,the falcon does not tear its victim to pieces but simply uses it to warm its own feet2 this accomplished1 it lets its prisoner escape and during twenty-four hours refrains from flying in the direction the little bird has fled4 ,noblesse oblige4 ,the snow man or snow daruma 7yuki daruma7 7,plate ,,lxiii1 #f7 is painted this month by artists of all the schools4 ,the four seasons 7,,shi ,,ki7 form a series susceptible of the most varied and engaging treatment and presentation4 ,the seasons are sometimes symbolized by flowers1 occasionally by birds1 again by the products of the earth1 and often by landscapes4 ,sometimes human figures are used for the purpose4 ,in spring 7haru7 a young daughter 7musume7 may be represented looking at the cherry blossoms 7,plate ,,lxv1 #a72 in summer 7natsu7 she will be crossing a bridge or enjoying the cool of the riverside 7,plate ,,lxv1 #b72 in autumn 7aki7 she is seen in the fields1 probably gathering mushrooms 7,plate ,,lxv1 #c71 and in winter 7fuyu7 she will be seated indoors playing a musical instrument 7,plate ,,lxv1 #d74 ,while the other kakemono is always to be changed in the tokonoma or alcove according to the seasons1 ceremonies or festivals1 there are certain pictures appropriate to any season1 e4 g41 rocks and waves 7iwa ni nami72 pine and bamboo 7matsu take72 or the ,okyo double subject called shikuzu ni fuku tsui 7pendant paintings73 ,the end of spring1 a crow and the plum tree 7,plate ,,lxiv1 #a72 the end of autumn1 the bird hyo dori and the persimmon tree 7,plate ,,lxiv1 #b74 ,the reason is that all such subjects are in harmony with conditions the year round4 ,historical subjects 7,,rekishi ,,gwa ,,dai7 suitable for ,japanese painting are extremely numerous subjects and are divided into categories corresponding to the following periods3 ,the ,nara1 the ,heian or ,kyoto1 the ,kamakura ,yoritomo shogunate1 the ,higashiyama shogunate1 the ,yoshimasa shogunate1 the ,momoyama or ,taiko ,hideyoshi1 and the ,tokugawa ,iyeyasu shogunate brought down to the present ,meiji period4 ,these with their numerous subdivisions supply an infinite number of subjects for pictorial treatment4 ,special favorites are 8,benkei and ,yoshitsune at the ,go ,jo bridge10 or 8passing through the ,hakone barrier10 and 8,kusanoki ,masashige at ,minatogawa40 ,when ,shaka was born he stood erect1 with one ,buddhist hand pointing upward and the other downward and exclaimed3 8,behold1 between heaven and earth ,i am the most precious creation40 ,his birthday is the subject of the picture 7,plate ,,lxvi1 #c7 called ,,kan ,,butsu ,,ye4 ,it represents the ,buddha as a bronze statue erect in a tub of sweet liquid4 ,this the faithful worshippers pour over his head and subsequently drink for good luck4 ,shaka's death is commemorated in the picture called ,,nehan1 nirvana4 ,the lord1 ,buddha1 is stretched upon a bier tranquilly dying1 an angelic smile lighting his countenance1 while around are gathered his disciples1 ,rakkan and ,bosatsu1 and the different animals of creation1 all weeping4 ,a rat having gone to call ,mayabunin1 mother of ,buddha1 has been pounced upon by a cat and torn to pieces4 ,for this reason in paintings of this moving scene of ,shaka's death no cat is to be found among the mourning animals4 ,the artist ,cho ,densu1 however1 in his great painting of ,,nehan 7still preserved in the ,temple ,to ,fuku ,ji at ,kyoto7 introduces the portrait of a cat4 ,it is related that1 while ,cho ,densu was painting1 the cat came daily to his side and continually mewing and expressing its grief1 would not leave him4 ,finally ,cho ,densu1 out of pity1 painted the cat into the picture and thereupon the animal out of joy fell over dead4 ,the lotus 7hasu7 symbolizes the heart of a saint 7hotoke74 ,it rises untarnished out of the mud of the pond1 nor can it be stained by any impurity1 the leaves always shedding whatever may fall upon them4 ,it is painted usually as a religious subject4 ,the principal matsuri or ,shinto festivals occur at different seasons of the year in different parts of the empire4 ,the summer months1 however1 claim most of them4 ,the ,kamo no aoi matsuri takes place at ,kyoto and consists of a procession1 a ,,no dance and a horse race4 ,the picture appropriate for this festival is 8the ,kamo race course0 7,kamo no kei ba74 ,the matsuri at ,nikko is a great procession1 with three mikoshi or shrines carried on the shoulders of multitudes of men4 ,there are three ,nikko matsuri connected with the ,tokugawa shogunate4 ,inari1 being the god of agriculture 7ine1 rice71 the picture of a fox 7,plate ,,lxvi1 #d71 that god's messenger1 is appropriate4 ,another festival1 the ,,gyon matsuri1 of ,kyoto1 is celebrated with a great procession in which enter all sorts of amusing floats and every kind of amusing practice4 ,these are variously reproduced in commemorative paintings4 ,i will only refer in passing to the many subjects supplied by the beautiful poetry 7,,hokku and uta7 and celebrated romances 7monogatari7 of ,japan4 ,enough has been said to show that the ,japanese artist has an unlimited range of classic subjects from which to select4 ,other subjects unassociated with any special time of the year represent1 e4g41 various utensils of the tea ceremony 7cha no yu7 7,plate ,,lxvi1 #a7 when macha1 a thickened tea1 is used4 ,the tea ceremony 7,plate ,,ii7 is performed in a small room fitted with four and a half mats4 ,were the mats only four 7,,shi7 in number they would suggest death 7shi74 ,furthermore1 an even number being considered negative 7,,in7 is not favored4 ,mats are three by six feet in size and must always be so laid as not to form crosses1 which are unlucky4 ,in the alcove of this room no kakemono is permitted but one in the pure ,japanese style4 ,the subject of the painting will depend upon the season1 while all red colors are proscribed and sumi pictures of the ,kano school are most appropriate4 ,the treatment must be simple 7,,tan ,,paku72 for instance1 a single flower spray1 a branch of the plum1 a hermit1 or a solitary mountain peak4 ,in the ceremony of ,,sen ,,cha 7,plate ,,lxvi1 #b71 which is the ,chinese way of making tea1 these strict rules of cha no yu are relaxed4 ,the water-fowl design1 called midsu tori4 ,,chapter ,,seven4 ,,signatures ,,and ,,seals ,there are many books upon the subject of signing and authenticating a painting4 ,two well-known works are 8,,gwa ,,jo ,,yo ,,ryaku0 and 8,,dai ,,ga ,,shi ,,san40 ,in ,china literary men often add descriptive matter to their paintings1 writing prominently thereon3 8,in a dream last night ,i witnessed the scene ,i here attempt to reproduce10 or 8,on a boating excursion we saw this pine tree shading the banks of the river40 ,such additions to the picture enable the artist to exhibit his skill as an expert writer and are considered to heighten the general effect4 ,often original poetry takes the place of prose4 ,the year1 month and day will be added1 followed by the signature of the writer1 with some self-depreciatory term1 such as 8fisherman of the ,north ,sea10 8mountain wood-chopper0 or 8hermit dwelling amid the clouds and rocks40 ,such signature1 with one or more seals scattered over the face of the work1 is in art called ,,rakkwan1 signifying 8completed40 ,in ,japan a somewhat different way of signing prevails4 ,the artist's signature with his seal under it is appended to the painting1 not in a conspicuous but in the least prominent part of it4 ,painters of the ,tosa1 ,fujiwara1 ,sumiyoshi and ,kasuga schools in signing their work first wrote above their signatures their office and rank1 e4 g41 ,unemi no ,kami or ,shikibu ,gondai no ,kami in the square or round ,chinese characters4 ,the ,kano artists signed their names in round characters 7,,gyo ,,sho7 and did not add their secular rank or office but wrote before their signatures their ,buddhist titles2 thus1 ,,hogan ,motonobu1 ,,ho ,,kyo ,naganobu1 ,,hoin ,tsunenobu4 ,in the ,maruyama period all titles and rank were omitted and simply the name 7namae7 or the nom de plume 7,,go7 was written1--thus1 ,okyo1 ,goshun1 ,tessan1 ,bun ,cho--strict attention being paid1 however1 to executing the ,chinese characters for such signatures in both an artistic and strikingly attractive way1 whether written in one or another of the three usual forms technically called ,,shin1 ,,so1 ,,gyo4 ,the date1 ,,nen ,,go1 preceding the signature upon a painting is often indicated by the use of one of the twelve horary characters 7,,ju ,,ni ,,shi7 along with one of the ten calendar signs 7,,ju ,,ran74 ,these1 in orderly arrangement1 comprehend a cycle of sixty years2 in other words1 they are never united the same way or coincide but once during that period4 ,no artist under sixty should1 in signing his work1 allude to his age1 much less state his years4 ,for him to be able to write seventy-seven before his name is most auspicious--one way of writing kotobuki1 the luckiest word in ,japanese1 being to employ two sevens which1 thus compounded1 is said to be the ,,so ,,sho character for that word4 ,very young persons are permitted in signing their paintings or writings to add their exact ages up to thirteen4 ,where ,chinese literary artists add poems to their paintings as many as eight seals may be observed thereon4 ,in ,japanese paintings never more than two seals are used and these follow and authenticate the signature4 ,the correct distance at which a kakemono is to be viewed is the width of a mat 7tatami7 from the alcove where the picture is hung4 ,it is bad form to look at it standing4 ,before critically examining the work a ,japanese will scrutinize the artist's signature and seal4 ,it is a cardinal rule in ,japan that the signature be affixed so as not to interfere with the scheme of the picture or attract the eye4 ,if the picture looks to the right the signature and seal should be placed on the left1 and vice versa2 if the principal interest is in the upper part of a picture these should be placed lower down1 and vice versa4 ,as every painting has its division into ,,in and ,,yo the ,,rakkwan is placed in ,,in4 ,some artists partially cover their signatures with their seal impression4 ,lady artists add to their signatures the character ,,jo1 meaning woman4 ,veteran painters will sometimes write before their signatures the character for old man 7okina74 ,the artist's seal is often a work of art and his family name 7,,myoji7 or his artist name 7,,go7 is usually engraved thereon with the ,chinese seal characters called ,,ten ,,sho4 ,where two seals are affixed below the signature one may contain a classic aphorism1 like ,,tai ,,bi ,,fu ,,gen 7the truly beautiful is indescribable7 or ,,chu ,,yo 7keep the middle path74 ,before seals were used writings were authenticated by scrolls called kaki ,,han4 ,even now such scrolls are used4 ,the principles on which they are shaped are derived from astrological lore 7,,eki74 ,seal engravers deservedly enjoy renown for learning and skill4 ,to carve a seal is the recognized accomplishment of a gentleman1 and the most famous living seal engraver in ,japan is an amateur4 ,seals are of jade1 rock crystal1 precious woods1 ,formosa bamboo root1 gold1 silver or ivory4 ,the best hard stone for seals comes from ,china and is known as the cock's comb 7,,kei ,,ketsu ,,seki74 ,an artist during his career will collect numbers of valuable seals for his own use4 ,these at his death may be given to favorite pupils or kept as house treasures4 ,bairei left instructions to have many of his seals destroyed4 ,the seal paste 7,,niku7 is made of ,diana weed 7mogusa7 dried for three years1 or of a plant called yomogi1 or with soft1 finely chopped rabbit hair boiled in castor oil for one hundred hours with white wax and then colored red1 brown1 blue or tea color4 ,the seal should be carefully wiped after it is used1 otherwise this paste hardens upon it4 ,japanese paintings are seldom framed1 as frames take too much room4 ,frames are used chiefly for ,chinese writings1 hung high in public places or about the dwelling1 and are called ,,gaku1 meaning 8forehead10 in allusion to raising the head to read what the frame contains4 ,it is etiquette that such framed writings be signed with the real name rather than the nom de plume4 ,two kinds of seals are affixed to the frame3 ,one1 on the right1 at the beginning of the writing1 and called ,,yu ,,in1 containing some precept or maxim2 and one or two1 on the left1 after the signature1 bearing the artist's name and any other appropriate designation4 ,all writings in ,chinese or ,japanese read from right to left1 and frequently are the sole ornament of a pair of screens4 ,for the guidance of experts who pass on the genuineness of ,japanese paintings there is a well-known publication1 8,,gwa ,,ka ,,rakkwan ,,in ,,shin10 by ,kano ,jushin1 which contains reproductions in fac simile of the signatures and seals of all the celebrated artists of the remote and recent past4 ,in concluding this work1 which ,i am conscious is but an imperfect survey of a vast and intricate subject1 ,i would call attention to the fact that in both ,europe and ,america there is a wonderful awakening to the dignity1 simplicity and beauty of ,japanese art4 ,this is largely to be attributed to the careful and scholarly writings and publications of ,messrs4 ,anderson1 ,binyon1 ,morrison and ,strange in ,england1 ,fenollosa in the ,united states1 ,de,goncourt1 ,gonse and ,bing in ,france1 ,seidlitz in ,germany1 and ,brinkley and ,okakura in ,japan2 and all students of art must render to them the homage of their sincere admiration4 ,the object of all art1 as ,cicero has truly said1 is to soften the manners1 by training the heart and mind to right thoughts and worthy sentiments4 ,to such end nothing will more surely contribute than a faithful study of the painting art of ,japan1 and the further we investigate and appreciate its principles the more we will multiply those hours which the sun-dial registers1--the serene and cheerful moments of existence4 ,,explanation ,,of ,,head-,,bands ,,design ,,of ,,title ,,page4 ,butterflies and birds1 known as cho tori4 ,,chapter ,,one4 ,the flower and leaves of the peony 7,,botan71 as conventionalized on ancient armor 7yoroi74 ,,chapter ,,two4 ,fan-shaped leaves of the icho or ,,gin ,,nan 7,salisburiana71 placed in books in ,china and ,japan to prevent the ravages of the bookworm4 ,,chapter ,,three4 ,the design called 8,dew on the ,grass and ,butterflies0 7tsuyu1 kusa ni cho74 ,,chapter ,,four4 ,the pattern 7moyo7 known as bamboo and the swelling sparrow 7take nifukura susume74 ,the parts of the bird are amusingly conventionalized--in the ,korin manner4 ,the word ,,fukura written in ,chinese contains the lucky character ,,fuku 7happiness74 ,,chapter ,,five4 ,maple leaves are associated with ,ten ,jin 7,sugiwara ,michizane71 patron of learning4 ,children in invoking his aid in a little prayer count the points of the maple leaf1 saying1 8yoku te agaru0--assist us to be clever4 ,in ,japanese the maple leaf is called kaide1 meaning frog's hand4 ,,chapter ,,six4 ,the chrysanthemum pattern4 ,,chapter ,,seven4 ,the water-fowl design1 called midsu tori4 ,,plates ,,explanatory ,,of ,,the ,,foregoing ,,text ,,on ,,the ,,laws ,,of ,,japanese ,,painting ,the ,eight ,ways of ,painting in ,color1 ,called the ,laws of ,coloring 7#c7 ,most ,careful ,method of ,laying on ,color4 ,plate ,,viiii4 ,most ,careful ,method of ,laying on ,color4 ,plate ,,viiii4 ,the ,next ,best ,method4 ,plate ,x4 ,the ,next ,best ,method4 ,plate ,x4 ,the ,light ,water-,color ,method4 ,plate ,,xi4 ,the ,light ,water-,color ,method4 ,plate ,,xi4 ,color ,with ,outlines ,suppressed4 ,plate ,,xii4 ,color ,with ,outlines ,suppressed4 ,plate ,,xii4 ,color ,over ,lines4 ,plate ,,xiii4 ,color ,over ,lines4 ,plate ,,xiii4 ,light ,reddish-,brown ,method4 ,plate ,,xiv4 ,light ,reddish-,brown ,method4 ,plate ,,xiv4 ,the ,white ,pattern4 ,plate ,,xv4 ,the ,white ,pattern4 ,plate ,,xv4 ,the ,black or ,sumi ,method4 ,plate ,,xvi4 ,the ,black or ,sumi ,method4 ,plate ,,xvi4 ,landscapes1 ,birds1 ,trees and ,streams ,the ,rule of ,proportion in ,landscapes4 ,plate ,,xvii4 ,the ,rule of ,proportion in ,landscapes4 ,plate ,,xvii4 ,heaven1 ,earth1 ,man4 ,plate ,,xviii4 ,heaven1 ,earth1 ,man4 ,plate ,,xviii4 ,pine ,tree ,branches4 ,plate ,,xix4 ,pine ,tree ,branches4 ,plate ,,xix4 ,winding ,streams4 ,plate ,,xx4 ,winding ,streams4 ,plate ,,xx4 ,a ,tree and ,its ,parts4 ,plate ,,xxi4 ,a ,tree and ,its ,parts4 ,plate ,,xxi4 ,bird and ,its ,subdivisions4 ,plate ,,xxii4 ,bird and ,its ,subdivisions4 ,plate ,,xxii4 ,laws of ,ledges ,peeled ,hemp-,bark ,method for ,rocks and ,ledges 7a7 ,the ,axe strokes 7b74 ,plate ,,xxiii4 ,peeled ,hemp-,bark ,method for ,rocks and ,ledges 7a7 ,the ,axe strokes 7b74 ,plate ,,xxiii4 ,lines or ,veins of ,lotus ,leaf 7a74 ,alum ,crystals 7b74 ,plate ,,xxiv4 ,lines or ,veins of ,lotus ,leaf 7a74 ,alum ,crystals 7b74 ,plate ,,xxiv4 ,loose ,rice ,leaves 7a74 ,withered ,kindling ,twigs 7b74 ,plate ,,xxv4 ,loose ,rice ,leaves 7a74 ,withered ,kindling ,twigs 7b74 ,plate ,,xxv4 ,scattered ,hemp ,leaves 7a74 ,wrinkles on the ,cow's ,neck 7b74 ,plate ,,xxvi4 ,scattered ,hemp ,leaves 7a74 ,wrinkles on the ,cow's ,neck 7b74 ,plate ,,xxvi4 ,laws of ,trees and ,rocks ,the ,circle 7#a74 ,semi-,circle 7#b74 ,fish ,scales 7#c74 ,moving ,fish ,scales 7#d74 ,plate ,,xxvii4 ,the ,circle 7#a74 ,semi-,circle 7#b74 ,fish ,scales 7#c74 ,moving ,fish ,scales 7#d74 ,plate ,,xxvii4 ,theory of ,tree ,growth 7#a74 ,practical ,application 7#b74 ,grass ,growth in ,theory 7#c74 ,in ,practice 7#d74 ,plate ,,xxviii4 ,theory of ,tree ,growth 7#a74 ,practical ,application 7#b74 ,grass ,growth in ,theory 7#c74 ,in ,practice 7#d74 ,plate ,,xxviii4 ,skeleton of a ,forest ,tree 7#a7 ,same ,developed 7#b74 ,tree ,completed in structure 7#c74 ,plate ,,xxix4 ,skeleton of a ,forest ,tree 7#a7 ,same ,developed 7#b74 ,tree ,completed in structure 7#c74 ,plate ,,xxix4 ,perpendicular ,lines for ,rocks 7#a74 ,horizontal ,lines for ,rocks 7#b74 ,rock ,construction as ,practiced in ,art 7#c and #d74 ,plate ,,xxx4 ,perpendicular ,lines for ,rocks 7#a74 ,horizontal ,lines for ,rocks 7#b74 ,rock ,construction as ,practiced in ,art 7#c and #d74 ,plate ,,xxx4 ,different ,ways of ,painting ,rocks and ,ledges4 ,plate ,,xxxi4 ,different ,ways of ,painting ,rocks and ,ledges4 ,plate ,,xxxi4 ,laws of ,dots ,wistaria ,dot 7a74 ,chrysanthemum ,dot 7b74 ,plate ,,xxxii4 ,wistaria ,dot 7a74 ,chrysanthemum ,dot 7b74 ,plate ,,xxxii4 ,wheel-,spoke ,dot 7a74 ,,kai ,,ji ,dot 7b74 ,plate ,,xxxiii4 ,wheel-,spoke ,dot 7a74 ,,kai ,,ji ,dot 7b74 ,plate ,,xxxiii4 ,pepper-,seed ,dot 7a74 ,mouse-,footprint ,dot 7b74 ,plate ,,xxxiv4 ,pepper-,seed ,dot 7a74 ,mouse-,footprint ,dot 7b74 ,plate ,,xxxiv4 ,serrated ,dot 7a74 ,,ichi ,,ji dot 7b74 ,plate ,,xxxv4 ,serrated ,dot 7a74 ,,ichi ,,ji dot 7b74 ,plate ,,xxxv4 ,heart ,dot 7a74 ,,hitsu ,,ji ,dot 7b74 ,plate ,,xxxvi4 ,heart ,dot 7a74 ,,hitsu ,,ji ,dot 7b74 ,plate ,,xxxvi4 ,rice ,dot 7a74 ,,haku ,,yo ,dot 7b74 ,plate ,,xxxvii4 ,rice ,dot 7a74 ,,haku ,,yo ,dot 7b74 ,plate ,,xxxvii4 ,laws of ,waves and ,moving ,waters ,waves 7a74 ,different ,kinds of ,moving ,waters 7b74 ,plate ,,xxxviii4 ,waves 7a74 ,different ,kinds of ,moving ,waters 7b74 ,plate ,,xxxviii4 ,sea ,waves 7a74 ,brook ,waves 7b74 ,plate ,,xxxix4 ,sea ,waves 7a74 ,brook ,waves 7b74 ,plate ,,xxxix4 ,storm ,waves4 ,plate ,,xl4 ,storm ,waves4 ,plate ,,xl4 ,laws of ,lines of the ,garment ,silk-,thread ,line 7upper74 ,koto string ,line 7lower74 ,plate ,,xli4 ,silk-,thread ,line 7upper74 ,koto string ,line 7lower74 ,plate ,,xli4 ,clouds1 ,water ,lines 7upper74 ,iron-,wire ,line 7lower74 ,plate ,,xlii4 ,clouds1 ,water ,lines 7upper74 ,iron-,wire ,line 7lower74 ,plate ,,xlii4 ,nail-,head1 ,rat-,tail ,line 7upper74 ,tsubone ,line 7lower74 ,plate ,,xliii4 ,nail-,head1 ,rat-,tail ,line 7upper74 ,tsubone ,line 7lower74 ,plate ,,xliii4 ,willow-,leaf ,line 7upper74 ,angle-,worm ,line 7lower74 ,plate ,,xliv4 ,willow-,leaf ,line 7upper74 ,angle-,worm ,line 7lower74 ,plate ,,xliv4 ,rusty-,nail and ,old-,post ,line 7upper74 ,date-,seed ,line 7lower74 ,plate ,,xlv4 ,rusty-,nail and ,old-,post ,line 7upper74 ,date-,seed ,line 7lower74 ,plate ,,xlv4 ,broken-,reed ,line 7upper74 ,gnarled-,knot ,line 7lower74 ,plate ,,xlvi4 ,broken-,reed ,line 7upper74 ,gnarled-,knot ,line 7lower74 ,plate ,,xlvi4 ,whirling-,water ,line 7upper74 ,suppression ,line 7lower74 ,plate ,,xlvii4 ,whirling-,water ,line 7upper74 ,suppression ,line 7lower74 ,plate ,,xlvii4 ,dry-,twig ,line 7upper74 ,orchid-,leaf ,line 7lower74 ,plate ,,xlviii4 ,dry-,twig ,line 7upper74 ,orchid-,leaf ,line 7lower74 ,plate ,,xlviii4 ,bamboo-,leaf ,line 7upper74 ,mixed style 7lower74 ,plate ,,xlix4 ,bamboo-,leaf ,line 7upper74 ,mixed style 7lower74 ,plate ,,xlix4 ,laws of the ,four ,paragons ,the ,plum ,tree and ,blossom4 ,plate ,l4 ,the ,plum ,tree and ,blossom4 ,plate ,l4 ,the ,chrysanthemum ,flower and ,leaves4 ,plate ,,li4 ,the ,chrysanthemum ,flower and ,leaves4 ,plate ,,li4 ,the ,orchid ,plant and ,flower4 ,plate ,,lii4 ,the ,orchid ,plant and ,flower4 ,plate ,,lii4 ,the ,bamboo ,plant and ,leaves4 ,plate ,,liii4 ,the ,bamboo ,plant and ,leaves4 ,plate ,,liii4 ,painting ,subjects ,sunrise ,over the ,ocean 7#a74 ,horai ,san 7#b74 ,sun1 storks and ,tortoise 7#c1 #d1 #e74 ,plate ,,liv4 ,sunrise ,over the ,ocean 7#a74 ,horai ,san 7#b74 ,sun1 storks and ,tortoise 7#c1 #d1 #e74 ,plate ,,liv4 ,fuku ,roku ,ju 7#a74 ,the ,pine ,tree 7#b74 ,bamboo and ,plum 7#c74 ,kado ,matsu and ,shimenawa 7#d74 ,rice ,cakes 7#e74 ,plate ,,lv4 ,fuku ,roku ,ju 7#a74 ,the ,pine ,tree 7#b74 ,bamboo and ,plum 7#c74 ,kado ,matsu and ,shimenawa 7#d74 ,rice ,cakes 7#e74 ,plate ,,lv4 ,sun and ,waves 7#a74 ,rice ,grains7#b74 ,cotton ,plant 7#c74 ,battledoor 7#d74 ,treasure ,ship 7#e74 ,plate ,,lvi4 ,sun and ,waves 7#a74 ,rice ,grains7#b74 ,cotton ,plant 7#c74 ,battledoor 7#d74 ,treasure ,ship 7#e74 ,plate ,,lvi4 ,chickens and the ,plum ,tree 7#a74 ,plum and ,song ,bird 7#b74 ,last of the ,snow 7#c74 ,peach ,blossoms 7#d74 ,paper ,dolls 7#e74 ,nana ,kusa 7#f74 ,plate ,,lvii4 ,chickens and the ,plum ,tree 7#a74 ,plum and ,song ,bird 7#b74 ,last of the ,snow 7#c74 ,peach ,blossoms 7#d74 ,paper ,dolls 7#e74 ,nana ,kusa 7#f74 ,plate ,,lvii4 ,cherry ,trees 7#a74 ,ebb ,tide 7#b74 ,saohime 7#c74 ,wistaria 7#d74 ,iris 7#e74 ,moon and ,cuckoo 7#f74 ,plate ,,lviii4 ,cherry ,trees 7#a74 ,ebb ,tide 7#b74 ,saohime 7#c74 ,wistaria 7#d74 ,iris 7#e74 ,moon and ,cuckoo 7#f74 ,plate ,,lviii4 ,carp 7#a74 ,waterfall 7#b74 ,crow and ,snow 7#c74 ,kakehi 7#d74 ,tanabata 7#e74 ,autumn ,grasses 7#f74 ,plate ,,lix4 ,carp 7#a74 ,waterfall 7#b74 ,crow and ,snow 7#c74 ,kakehi 7#d74 ,tanabata 7#e74 ,autumn ,grasses 7#f74 ,plate ,,lix4 ,stacked ,rice and ,sparrows 7#a74 ,rabbit in the ,moon 7#b74 ,megetsu 7#c74 ,mist ,showers 7#d74 ,water ,grasses 7#e74 ,joga 7#f74 ,plate ,,lx4 ,stacked ,rice and ,sparrows 7#a74 ,rabbit in the ,moon 7#b74 ,megetsu 7#c74 ,mist ,showers 7#d74 ,water ,grasses 7#e74 ,joga 7#f74 ,plate ,,lx4 ,chrysanthemum 7#a74 ,tatsutahime 7#b74 ,deer and ,maples 7#c74 ,geese and the ,moon 7#d74 ,fruits of ,autumn 7#e74 ,monkey and ,persimmons 7#f74 ,plate ,,lxi4 ,chrysanthemum 7#a74 ,tatsutahime 7#b74 ,deer and ,maples 7#c74 ,geese and the ,moon 7#d74 ,fruits of ,autumn 7#e74 ,monkey and ,persimmons 7#f74 ,plate ,,lxi4 ,squirrel and ,grapes 7#a74 ,kayenu ,matsu 7#b74 ,evesco or ,ebisu 7#c74 ,zan ,kiku 7#d74 ,first ,snow 7#e74 ,oharame 7#f74 ,plate ,,lxii4 ,squirrel and ,grapes 7#a74 ,kayenu ,matsu 7#b74 ,evesco or ,ebisu 7#c74 ,zan ,kiku 7#d74 ,first ,snow 7#e74 ,oharame 7#f74 ,plate ,,lxii4 ,mandarin ,ducks 7#a74 ,chi ,dori 7#b74 ,duck ,flying 7#c74 ,snow ,shelter 7#d74 ,snow ,scene 7#e74 ,snow ,daruma 7#f74 ,plate ,,lxiii4 ,mandarin ,ducks 7#a74 ,chi ,dori 7#b74 ,duck ,flying 7#c74 ,snow ,shelter 7#d74 ,snow ,scene 7#e74 ,snow ,daruma 7#f74 ,plate ,,lxiii4 ,crow and ,plum 7#a74 ,bird and ,persimmon 7#b74 ,nukume ,dori 7#c74 ,kinuta uchi 7#d74 ,plate ,,lxiv4 ,crow and ,plum 7#a74 ,bird and ,persimmon 7#b74 ,nukume ,dori 7#c74 ,kinuta uchi 7#d74 ,plate ,,lxiv4 ,spring 7#a74 ,summer 7#b74 ,autumn 7#c74 ,winter 7#d74 ,plate ,,lxv4 ,spring 7#a74 ,summer 7#b74 ,autumn 7#c74 ,winter 7#d74 ,plate ,,lxv4 ,cha no ,yu 7#a74 ,sen ,cha 7#b74 ,birth of ,buddha 7#c74 ,inari 7#d74 ,plate ,,lxvi4 ,cha no ,yu 7#a74 ,sen ,cha 7#b74 ,birth of ,buddha 7#c74 ,inari 7#d74 ,plate ,,lxvi4 ,,footnotes #a ,this is a translation from the original manuscript of ,,iwaya ,,sho ,,ha1 or ,iwaya ,sazanami1 one of the most widely known and popular writers on ,japanese folk-lore4 #b ,translated from the original manuscript of ,hirai ,kinza1 noted scholar1 lecturer and author4 #c ,preparer's ,note3 ,the only editions available to me have these plates in black-and-white4