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KERAMIC ART OF JAPAN

Keramic Art OF

Japan, BY

GEORGE

AUDSLEY

A. AND

JAMES

BOWES.

L.

LONDON

:

HENRY SOTHERAN & 36,

PICCADILLY

;

136,

STRAND

MANCHESTER

:

;

77 49,

&

78,

QUEEN STREET,

CROSS STREET.

MDCCCLXXXI.

CO., CITY.

LIVERPOOL PRINTED BY

D.

[

:

MARPLES &

CO.,

All rights reserved.}

LIMITED.

In compliance with current copyright law, U. C. Library Bindery produced this replacement volume on paper that meets the ANSI Standard Z39.48-1984 to replace the irreparably deteriorated original.

1994

DEDICATED BY SPECIAL PERMISSION TO

THE MOST DISTINGUISHED COLLECTOR AND PATRON OF

JAPANESE ART

HIS

ROYAL HIGHNESS

THE DUKE OF EDINBURGH K.G., K.T..

WITH EVERY FEELING OF RESPECT BY

HIS ROYAL HIGHNESS'

OBEDIENT SERVANTS

The Authors

229670

INTRODUCTORY

ESSAY

ON

JAPANESE ART.

PREFACE.

is

THERE more to

the

probably no subject more interesting student of art, nor one which it is

difficult to describe in

adequate terms, than that

which embraces the art-works and art-thoughts of the We have therefore to crave the indulgence Japanese. of our readers for all the shortcomings in the present attempt to lay before them a brief outline of Japanese art generally, and a sketch of the Keramic art of in particular.

Japan

us

It is unnecessary for

with

reference

solicit

extent, to

might

of our readers

be

enlarged

for materials of

be embarrassing,

our

our Introductory

the indulgence

which

one

to

Work

say anything more

to

but

required that

interest

upon

it

;

to

the subject

is

to

are so

the limit

than

Essay,

and

almost

any numerous as chief

aim of

should be condensed into

the smallest space consistent with

utility.

In writing the chapters devoted

to the considera-

of the Japanese Keramic manufactures, and in carrying out a work not hitherto attempted, namely, tion

the classification of Japanese pottery, great difficulties

PREFACE.

viii

have

been

had

information

to be

traced to

stream

available

Every

experienced.

source

its

of

collections

;

and examined, both at home and abroad ; Japanese authorities had to be catechetically examined, and the salient points of their ofttimes conhad

to

reached

be

and noted ; and

flicting statements picked out

an extensive

In the the sources

on

formed for reference and study. pages of the IVork we have acknowledged is

fapan,

resided

and

in

those

who

taught

us

including

have

the

to

Keramic

men

present time have history

visited

and

nothing

of the

country;

labours of Kcempfer

in

a similar direction

It is a

are painfully insignificant.

natural

has been

absolutely

the

modern exertions

those indefatigable

have

industry

with

comparison

Siebold,

special information

rather remarkable that modern writers

there,

relative

indeed,

to be

from which

It

derived.

with all the links as complete

collection,

had

as possible,

lastly,

not existed,

question

if,

had

we should at the

known half what we do about the of the Japanese islands, and the

manners, customs, and indtistries of the inhabitants.

Putting aside the results of our own studies, we

have

to

derived

acknowledge

from

the

the

special

Reports

assistance

issued

by

the

we have Japanese

Commissioners, at the Exhibitions held at Philadelphia in

the

1876,

and Paris

direction

of

in

1878

;

the Japanese

and that

written,

Government, for

by the

Department of Science and Art, at South Kensington

PREFACE.

From

Museum.

and

information

these

IX

we have

been enabled to give

dates in connexion with

the

minor

factories which othenvise could not have been furnished.

IVe have great pleasure in recognising the kind assistance of our numerous Japanese

much

valuable

friends,

about

information

from whom

their

interesting

manners and customs, has been obtained.

country, its

we must thank Mr. Sanjo, Mr. Minami, Yoshiyama, Mr. Tsubouchi, Mr. Ota, Mr.

Among Mr.

these

Fukagava

and our

;

special thanks

Yamanobe for having marks and monograms. ledge the services of

personal

supervision

produced

in

the

translated

are due to the

and

collection

of

Here we gratefully acknow-

M. Racinet, under whose careful the

coloured

art-printing

plates

have

establishment

Firmin-Didot et Cie, of Paris. To all who write on Japanese difficulty

Mr.

of

matters,

been

MM. the

uncertainty which at present beset the

Japanese language must prove IVe freely acknowledge that extremely embarrassing. we have been unable to surmount the difficulty ; and of

orthography

who

authors

reference

to

relations

with

way

the

assisted us.

the

have

language

IVe have set

had more intimate

and tip

people

has in no

no theories of our

adopted the modes of spelling works and maps we have referred

own, but have simply

found to

in

the

for information.

Students

of the language

have

taken exception to this simple mode of procedure on

PREFACE.

our part, and although we had hoped, in the present to

edition,

we think

plan,

orthography upon some settled desirable to delay doing so until a

the

revise it

scheme has been formed by those engaged in That much doubt exists the study of the language.

definite

proved by the difficulty which modern writers have found in deciding upon the correct mode of is

word Shdgun ; in the Japanese Government Reports we find it written Shogun ; Mr. F. Ottiwell Adams, in his " History of Japan," the

spelling

writes

it,

single

as

Tycoon, which

we have is

spelt

and

Shdgun,

it,

also

another name for the same individ-

ual ; Mr. Dickson, Shiogoon; Mr. Mossman, Siogoon ;

Mr. Mitford, Shogun ; Dr. Siebold, Sjogun ; and Mr. Satow, like Mr. Adams, uses Shdgun and Sir Rutherford Alcock, in his JVork on Tycoon. Japan, does not introduce the word at preferring the term

Tycoon.

As

all,

invariably

a further evidence

of the difference of opinion

which prevails as to the correct rendering of Japanese words into our language,

we

may

point

out

throughout his work, spells

the

name of

that

the

last-named

"The Capital

author,

of the Tycoon,"

the capital itself Yeddo, although

Mr. Adams, of the British Legation, writes emphatically

that

"there can be only one

Liverpool, Christmas, 1880.

(

d' in

Yedo."

CONTENTS. Introductory Essay on Japanese Art

...

PAGE T

Keramic Art of Japan

m

Hizen

j„

-

Satsuma

-----....

Ka ga KlOTO

jgj

l8l -

197

Owari

223

Minor Provinces

—

Awagi

.... ....

BlZEN

Chikuzen

Harima Higo

-

Idzumi

IDZUMO

23«5

23^

-

----.-.. ... ----..._ -----.. -

-

237 2^7 238

2?Q 2^Q

CONTENTS.

x ji

—continued.

Minor Provinces IGA-

24

-

-

--------------

2 4°

-

Ise

Iwaki

IWASHIRO

Kn

Mino

Musashi

Omi

-

-

-

2 47

.... -

-

-

2 45

--

-

Setsu

2 44

-----"'

Mutsu Nagato

244

•

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

2 43

_

"

"

-

-

2 43

-

-

248 2 48

-

-

-

-

2 49

-

-------

Tamba

250 2 5°

-

Tosa Totomi

-

2 5°

-

-

25 x

Yamashiro

Yamato

-

Marks and Monograms Index

-

-

-

-

25 I

••

--------

-

2 ^i

289

INTRODUCTORT ESSJT ON

JAPANESE ART. comparatively speaking, knew but little of the subject of Japanese Art prior to the Paris Exhibition of 1867. Interesting and instructive as were all the

EUROPE,

embraced in that immense Palace of Art and Indusfew, if any, were more fascinating and suggestive to the student than that which was devoted to the exhibition

sections try,

art

The productions of the Empire of Japan. the collection of exhibits was made by Japanese Commissioners,

of

the varied

under the

direction

of

the

fully illustrating the natural

Shogun, with

late

and

artificial

the view of

productions of their

With one remarkable exception * every

country.

link

was

which we are

and every branch industry No such collection has was acquainted fully represented. been brought together before or since, and it is much to be regretted that it could not have been kept intact in some perfect,

National

The into

Museum

for the study of all lovers of Oriental Art.

and have, therefore, passed the hands of numerous Collectors, and have been disobjects

tributed

valuable *

with

of

all

sent were

for

over Europe,

collection

The department

sale,

a

having

alluded to

is

its

that of Cloisonne

nothing being exhibited since the deposition of the Shogun.

sentative works;

considerable

found

at

all

way

proportion to

this

of

the

country.

Enamel, which was deficient in reprewhat has been sent to Europe

equal to

JAPANESE ART.

2 of

Several pieces the

subjects

for

representative character furnish illustrations of our present work.

the most

the

Previous to this Exhibition our knowledge of Japanese Art was chiefly derived from the objects imported into Europe by the Dutch traders, from the presents given to the several Embassies that have visited Japan,

and from the

articles collected

and described by such travellers in the country as Kaempfer The importations of the Dutch consisted and Siebold. almost entirely, so far as art work is concerned, of Porcelain two descriptions one decorated with designs in red, blue, " Old and gold, and commonly known as Japan Ware," and

of

the

:

other decorated with

devices

in

blue

only,

or

in

rare

instances with blue and applied ornamentation raised, coloured, The finest collection of these wares is to be and gilded.

found in the Japanese Palace at Dresden. sented to the

members

of rich dresses,

silk

of the different

fabrics,

The

articles pre-

Embassies consisted

and objects of lacquer.

Where

except in a The objects collected by the few cases, impossible to say. few in travellers were number, although of great beauty early and interest, but unfortunately they have of necessity been

these specimens

are at the

present time

it

is,

over the globe, and remain therefore quite beyond the reach of the ordinary student. Siebold has certainly done more than any other traveller distributed with their

owners

all

us information on the natural and artificial productions of Japan, but the least valuable portion of his labours in giving

are those in the direction of Art.

much

does

not

many

profitable years of his

food

for

His Museum, at Leyden, the

supply artist, being chiefly devoted to the display of the natural products and manufacturing appliances of the country in which he spent so

the

above facts

student

who

life.

be readily seen from difficulties surrounded the

It will

that very great desired to investigate

the

art

thoughts

and

labours of a existed,

country with which so little free intercourse until the first truly representative collection of its

It will always remain productions was displayed at Paris. a matter for regret that no descriptive catalogue was pre-

JAPANESE ART.

3

pared of this superb collection, which, commencing with

life-

mounted warriors in all the glory of their inlaid steel, gold lacquer, and wrought silk armour and horse trappings, embraced all the artistic productions of the country down to sized

toy porcelain sake cup and the commonest sheet of paper, valuable only for the few but truly artistic strokes of the

the brush exists

;

No

contained.

written information of any kind and indeed the collection appears to be remembered it

only by some few artistic minds, who were startled out of apathy by so much that was beautiful, novel, and

their

deeply suggestive

in

every object it comprised. No treatise specially devoted to the subject of Japanese Art has been written by any of the travellers in Japan, and, indeed if, from the numerous works on the country and the

manners and customs of its interesting people, all the remarks were collected which have a bearing on art, they would produce but a fragmentary and sketchy essay on the subject.

No

one appears to

have

purpose of investigating inhabitants

and

;

this

visited

the

fact

is

the

arts

much

and to

country art

for

the

thoughts of

set its

be regretted, for so

great are the changes which modern civilisation and commercial intercourse have lately made and are making every day, that at a very early date but little will be found remain-

ing of the national art works or art thoughts to enrich our present imperfect knowledge. The task of fully investigating and recording information regarding the arts of such an exceptionally gifted and ingeni-

ous people as the Japanese,

is

one

sufficiently

important and

Had England or any Government to take up. France realised this, when awakened to the subject by the

dignified for

collection

sent to

the

Paris

Exposition, labours as ours would have been uncalled art

for,

insignificant

and European

would have been most materially enriched. the authorities at the South Kensington Museum

literature

What have been

such

to

such

to

pass ? Perhaps they will essay to do something when Japan is Art And further, we may be excused for Japan no longer.

doing

permit

golden opportunities

JAPANESE ART.

4

in letting many of the asking what they were thinking about finest objects from the Paris collection be sold in London,

by public auction, without acquiring them for their important The two mounted warriors, which we have Art Museum. one of our already alluded to, were sold at the sale to to the leading curiosity dealers, for a sum about equivalent These value of one of their swords or one of their stirrups.

superb pieces of work have, we enrich a collection in Vienna.

understand,

gone to

since

present essay is an attempt to furnish, in a concise form, the information we have been able to glean of Japanese Art, from intercourse with natives who have visited Europe,

Our

from the labours of others, and from several years of personal It will study of the works which we have had access to. of necessity be

imperfect. viewed from any stand-point, will be found Art, Japanese to present characteristics peculiarly its own, which distinguish other nations of the East. it from the arts of all

Eastern hemisphere, and observing the close proximity of the two countries, Japan and China, one would naturally expect to find great simi-

On examining

map

of

the

manners and customs, and hence, of

larity in their in

a

their arts.

Such, however,

is

not the case,

necessity,

for

few,

if

any, bonds of sympathy exist, and indeed very few outward marks of resemblance are observable in their respective

manipulation of their art works, even when the materials used are almost identical, there are in every instance so many and such important differences, that one works.

In the

might suppose that intercourse had never existed between the countries and indeed that they were separated geo;

graphically by wide

oceans or untravelled wastes.

There can be little doubt that intercourse existed, in some form, between China and Japan, long before the Western traders attempted to open communication with the latter country but we have no proof that the intercourse was ever of long duration, or of a very friendly nature. Let the communication between the two countries have been ;

JAPANESE ART.

what

it

it evidently failed to affect their respective careful survey of the works of both nations fails

may,

arts, for a

to

5

prove a systematic copyism on one side or the other. The want of artistic sympathy, and the absence of evi-

may reasonably be accounted for when mind that the Chinese have always been too conservative and self-opinionated to learn from others, believing all the world to be wrong, and right only to be found in their own empire and that the Japanese, although ever dences of copyism,

we bear

in

;

ready

(as recent

superior

events

knowledge

have

and

proved) to benefit from the attainments of those they were

brought in contact with, found little in the Chinese from which they could gain practical or artistic instruction. Their own ornamental arts and manufactures were equal, and in

most instances superior, to those of the Chinese and their cultivated by their keen appreciation and earnest taste, observation of the beauties of nature, was more correct and ;

refined than

the

Celestial

that displayed

by the more conceited

artists

of

Empire.

There are several objects frequently introduced in Japanese decorative art which are common also to Chinese, and may have been at a very early period derived from China, but beyond the original ideas no copyism can be found indeed, so marked is the respective treatment of similar objects by the artists of the two countries that there is seldom the slightest difficulty in pronouncing their nationality. ;

One cannot even

glance over the wide field of Japanese Art without being struck by the loving appreciation The Japanese artist is of the works of nature it displays. indeed

hastily

an ardent student of nature

;

he watches her

silent

operations with keen perception, and notes her changes of mood and costume with loving eyes, until each detail of her

marvellous handiwork, and each expression of her changeful face, becomes imprinted on his mind, to be transferred to every work he sets his hands to do. for

In the animal and vegetable worlds he is ever watching expressive action, or seeking for lovely forms and com-

JAPANESE ART.

6

how his

and when

of colour;

binations

satisfied

with his research,

boldly and truthfully he depicts that which has pleased artistic

taste.

Another remarkable trait in the character of the Japanese artist is his keen appreciation of, and intense love for, the

humorous and grotesque. Nearly all departments of his work bear evidence of this, and one occasionally finds that his humour has led him into broad caricature, and through its

many phases

the representation of indecent subjects. wonderful skill the Japanese artist displays

into

Besides the

the rendering of animate and inanimate natural forms for decorative purposes, he evinces great ingenuity in designing geometrical and other conventional devices, and in the appliin

cation

of

them

the

to

ornamentation

of

surfaces

of

all

This brings us to the consideration of that departshapes. ment of art which, on account of its being the most primitive, may be accepted as the appropriate starting point in our resume of the subject of Japanese Art.

The

made by any

nation in the shape of ornamentation would unquestionably be of the greatest simplicity, and would naturally partake of an angular rather first

attempts

than a curvilinear outline, such as might be suggested by the accidental throwing together of pieces of wood, or in basket making, or wattling for the construction of huts and ;

this may reasonably account for the appearance of ornaments of the fret or zigzag character in the art productions of

nearly all ancient nations. introduced in Japanese Art,

Fret

both

patterns are frequently in the shape of borders

A critical good effect. examination of a large number of works tends to prove that the Japanese artist is unerring in his judgment regarding the fitness of things and his disposition of such hard forms as frets and diapers, in combination with floral and other free and flowing designs, is always pleasing, and invariably tends to impart a steadiness and firmness to his otherwise and

diapers,

and

with

unvarying

;

erratic fancies. inclined,

The

artistic

and the curved

is

combination of the straight, the

evidently carefully studied

by the

t-'y

U^ISI^HMflls G]

ill

u^iiimw 1=3 ii=iii=] El 1

'

i

[

JAPANESE ART. artist

Japanese

We

this is done,

his love for irregudisposition of his varied

scope in the have more to say regarding this love for on in our essay, so may confine ourselves

its

gets devices.

larity

and while

;

J

full

shall

irregularity later at present to the subject

of the

There are not so many work as are to be met with

fret,

varieties

the

in

and of

derivatives.

its

frets

Greek

;

in Japanese and the con-

tinuous square form so common in the latter is, to the best of our knowledge, never found in the works of the former.

Figure

Greek

Plate

i,

I,

is

the

we have seen

fret

nearest approach to the ordinary in Japanese Art is it taken ;

from a Porcelain dish, decorated with blue. It will be seen, on comparing it with the accompanying woodcut, that the love

of

has induced the

artist to depart from the and uniform square division found in the Greek, and to adopt an alternating division of upright and oblong parts.

variety

severe

The

line

forming the pattern

is

continuous, as in the Greek

15I5M5151! GREEK FRET.

fret,

and

continuous

on

this

account

the

example met with

is

interesting,

for

Japanese Art. commonest forms, and may, Figure for the sake of distinction, be termed the oblong disconFrets of this nected fret, each part being perfectly distinct. frets

are

rarely 2 represents one of the

in

description are frequently formed of parts varying in length, which are extended or reduced to suit the peculiarities of the

are

objects to which they are applied. two other varieties of disconnected

taken from the rim of the

a

Kioto

margin of a large Imari

vase,

dish.

Figures 3

and 4

the

former

frets

;

and the

latter

from

JAPANESE ART.

8

devices derived from the fret are used

Numerous simple

by the Japanese artist, in almost every department of his work. These do not call for special comment in our essay, but the few illustrations on Plate I, Figures 5 to 8, may prove interesting to the

Up fret

student.

we have been considering the

to this point

narrow spaces, such we have now to draw attention to

ornaments which are

as borders

and bands

class of

;

confined to

and application to larger surfaces, in the of diapers. shape Figure 9 is a drawing of what may be is it called the fret diaper par excellence of the Japanese

their modification,

;

more commonly used, perhaps, than any other surface enrichment, and is constantly met with in every branch of their art

manufactures

;

is

it

used

their

in

alike

common

toy

and on the rich silk and gold brocades of their emperor and highest nobles. The drawing is taken from a lacquer cabinet, where the diaper appears on all the straw boxes,

external

surfaces disposed in the most erratic manner. number of diapers derived from the fret, or

into .The which the fret enters as a component part, is considerable and the remaining figures on Plate I are representations of the most characteristic, and those most frequently used. ;

The

Japanese artist delights in diaper descriptions, and his invention never seems

however much a

covering adheres to

may

indulge entirely with

surface

one

them

tributing in to each

he

design, in

a large plaque

The woodcut on

all

fail

him, for variety. In he seldom work,

adopts

several,

dis-

shaped compartments fitting remarkable instance of this exists in with blue.

This

is

with no fewer than eleven different designs. the next page represents a portion of this in

fac-simile.

Another instance drawer of

generally

of Porcelain, decorated

entirely covered,

interesting piece

diaper

to

of

irregularly

A

other.

but

love

his

work

is

before

us

as

we

a

write,

namely, a sunk panel

lacquer cabinet, which has its decorated with six different diapers, each of which

an irregularly shaped division of the

field.

occupies

JAPANESE ART.

This method

of

angular spaces and to be

peculiar to

arisen

out

dividing

filling

g

a surface into unsymmetrical

them with

different designs

appears

of Japan, and has, no doubt, of their dislike to diametrical division, and their

the

artists

PLAQUE OF IMARI PORCELAIN DECORATED WITH DIAPER WORK (BOWES COLLECTION.)

restless

their

love

inlaid

differently

peculiar

and

of variety. or veneered

grained

and

and

pleasing

They follow the same practice wood work, where the pieces coloured

effect.

light tinted woods, are cut

woods and

Frets

up

produce

a

diapers,

in

into triangular

in

of

very black

and other

unequal-sided figures, and frequently introduced along with the plain grained woods in this veneered work. Leaving the fret diapers, we have next to consider to

what extent geometrical forms are used by Japanese artists in their ornamentation. These, as might be expected, most form of diapers, constructed by the intersection of straight or curved lines, or by combinations of the triangle, the square, or the circle. Both hexagonal

commonly appear

in the

JAPANESE ART.

IO

and

forms

octagonal

are

of

course

frequently

met

with.

In the woodcut of the porcelain plaque, it will be observed the diaper of the main division on the left hand is

that

formed by intersecting

main

division

circles,

while that in the right

manner produced by intersecting simple hexagonal or honey-comb diapers in

is

like

Two hexagons. occur in the upper half of the square

and

hand

lozenge

straight lines, are

form,

shown

;

plaque

;

four

varieties

of

produced by the intersection of and one, in the right hand lower

corner, commonly termed the fish-scale diaper, is produced by overlapping circles. Various combinations of the above types are introduced

by the Japanese

together with many forms produced by wavy or curved lines. The accompanying

artist,

the intersection of

woodcuts represent three diapers, the outlines of which are produced by these means.

FROM A BOWL OF

The illustrate

cuts

an

ISE

BANKO WARE (BOWES COLLECTION).

are

interesting on another ground, for they additional method of dividing a surface for

ornamentation. In this case, the object being round in form, the artist has broken up the surface with curved lines before

/o

J.AlieTniar. Photo'ntb

Luadot

PLATE

II.

Alierras- Photo

'..th

^..oHoc

PLATE

II.

JAPANESE ART.

One lozenge

II

pattern has been introduced to give value and steadiness to the numerous and It may be interesting to the reader conflicting curved lines. filling

in

his

know

diapers.

that the bowl

fret

question is only about two-thirds covered by the four diapers, the remaining portion being decorated with a freely drawn spray of flowers in rich colours. On Plate II are given the more important varieties of geo-

to

in

metrical diapers which are met with in Japanese Art; they are derived from works in porcelain, lacquer, and other materials. It is not an unusual thing to find diaper work,

ornamenting a considerable flat surface, disturbed or broken the plain spaces between being left up into fragments ;

without

further

delicate scroll

the

or

forms

set

being relieved with some enrichment directly contrasting with or

treatment, floral

of the

An

diaper.

instance

of

this

latter

a lacquer box, decorated with detached irregularly shaped masses of geometrical diaper, associated with most delicate fronds of fern.

treatment

The

is

before us

woodcut

:

it

below

is

is

a

simple

illustration

from

a

FROM A JAPANESE BOOK.

Japanese block book, showing the manner in which diapers are broken up, doubtless for the sake of securing a free and artistic effect when used in certain positions or for certain

purposes,

according to the fancy of the

artist.

JAPANESE ART.

12

We

have reason to believe that the Japanese have, from the earliest period of their art, been fond of simple geometrical forms; this may be illustrated from their heraldry,

which

in

are

be

to

found

numerous

geometrical

figures,

Daimios. adopted as the crests or badges of Princes or few of these are here given.

o o

ai7> i.

SATSUMA.

5.

OWADZIMA.

The as

;

2.

CHIKUGO.

6.

HICONE.

3.

KUWANA.

7.

4.

ASIU.

for

furniture,

textile

NAN15U.

8.

heraldic badges, generally, are very

ornaments

the like

A

fabrics,

and are invariably satisfactory

in

AKITA.

commonly used

wall-papers, their

and

disposition,

alone in the shape of powderings, or in conjuction with other ornamental forms. Even the unpromising figure No. 8 in the

above woodcuts, associated with elegant a tasteful decoration in the hands

floral sprays,

of the Japanese

becomes artist.

Designs of the greatest possible severity, probably copies from ancient work, are frequently met with in Japanese Art.

Sometimes the details are wrought out with all the delicacy and truth of Greek ornament, and at others they are so archaic as to remind one of Egyptian decoration. A remarkable example of the latter treatment is to be seen in a fine

Satsuma vase, in the possession of Val. C. Prinsep, Esq., which was illustrated in the folio edition of this Work. The neck and bell mouth are very suggestive of Egyptian ornament.

hi

ft,

JAPANESE ART.

Of the

the

all

methods adopted

13

for

the

ornamentation

of

surface, perhaps those in which flowers and foliage enter are the most beautiful and characteristic in those flat

;

the Japanese artist has no rival. It would indeed be imin a brief essay like the present, to give the reader possible, even a slight idea of the endless variety of designs one

meets with

in

departments of Japanese Art. be understood that we are now confining

will

It

all

remarks to the methods used surfaces

;

we

shall

shortly

for the

come

to

all-over

those

our

decoration of

adopted for their

or partial ornamentation. In designing floral diapers the Japanese do not, as a rule, follow the uniform or accurate spacing and repetition aimed at

free

by European artists, but rather strive to disguise the "repeat," and to impart the greatest amount of irregularity possible.

On

Plate III

are

ornamentation of the

The

three interesting designs used for the deer-skin leather made at Tokio.

fine

taken by photography direct from the stencils used by the leather workers. The designs are all of a floral nature, and, with one exception, are of the most illustrations

are

and, although the complete stencils measure 2 feet 3 inches long by i foot 5 inches wide, there are no attempts to make any portion of the patterns repeat. Figure

free description

2

;

a diaper, and while freely designed, repeats with precision as an ordinary diaper, such as Figure 12,

is strictly

the

same

Plate

I.

It

will

on examining the two designs, that the whole ground-work is composed be

seen,

Figures 1 and 3, of minute over -lapping

leaves,

with

the

introduction,

at

irregular intervals, of small flowers and animals in various attitudes. These designs are quaint in style, and faithfully

the freedom

by the Japanese artists in their ornamentation. It is not unusual to find the flowers of the chrysanthemum adopted as a surface decoration, and for this purpose they are densely massed, the flowers shown overlapping each other, and variously coloured, those in front illustrate

exercised

being more richly tinted than those behind. Free, flowing, or scrollwork designs of a

floral character,

JAPANESE ART.

14

which more closely approximate to European ideas, are frequently met with in the textile fabrics, embossed papers in of

imitation

Indeed,

leathers,

and wall-papers

in

produced

Japan.

patterns in the common paper strongly resemble those of fine old Italian

we have seen many which

leathers

brocades.

we have

confined our remarks to the Japanese treatment of diaper work, that is to say, of geometrical or free designs which are more or less of an accurately repeating

Hitherto

own

and wall-papers, may be carried over any extent of surface. And we have

nature,

and which,

like

our

carpets

pointed out, in connection with these patterns, that the love of irregularity and variety prevents the Japanese artist from

— —

uniformly adopting any one design for any one object, as is the usual custom in European art, where perfect repetition and diametrical division are accepted as essential rules, but rather inclines

him towards extreme freedom, and

in

many

instances to inordinate conceits in their disposition. The various methods commonly adopted in the decoration

by diaper work

of a surface

The

follows.

illustrations

may on

be briefly

Plate

IV

summed up

as

intended

to

are

represent the side of a lacquer box or cabinet. i. The uniform distribution of one pattern

over

the

entire field.

application of a single pattern to an undiametrical division of the field.

2.

The

3.

The

application of two or metrical divisions of the

more designs

to

unsym-

field.

4.

The ornamentation

5.

broken-up masses of diaper. The application of straight or curved bands of different

of

the

surface

by disturbed or

across designs, vertically, horizontally, or diagonally, the field. 6.

The

application of masses of diaper in medallions of various shapes, placed at irregular intervals on

the

Next

in

field.

order to diaper work comes that class of orna-

hi

ft,

fcj

Wm •

p

^/&j&j&j^/&j&jB

j:

mmmm.

el^ila

J

^

L

PLATE

V.

wsm^wM®

PLATE

V.

JAPANESE ART.

ments

commonly termed

'5

powderings,

that

ornaments

is,

powdered or distributed at regular or irregular intervals over In Western art, the system of regular a field or surface. distribution

may

be said to be universally adopted, although or seven years, owing to acquaintance

during the last six with Japanese Art,

considerable license has been taken by our designers in this direction. Contrary to our European the Japanese artist almost notions, invariably practises

with

regard to the designs which fall under the class of powderings. In these his fancy may be said to run wild but with what unerring judgment and

irregular

distribution

;

unvarying success

does

he dispose his forms.

In the ac-

• • • • • • • •

Ir

1

• • • POWDERINGS OF EUROPEAN DESIGN.

companying woodcuts are shown two of our commonest powderings, one expressing upward growth, and the other regular radiation, and both indicative of extreme propriety, and a lavish use of square and compass. On Plate V are given six

examples, photo-lithographed direct from Japanese wall-

papers, their

on

which clearly show the if

different principles

indeed they can be

designers work, any defined principles.

We

are

said

on which to

work

strongly inclined to think that they depend entirely upon that inborn taste and accuracy of eye which appear to serve them at every turn, far better indeed than all the teaching of the schools assists

us on similar occasions.

JAPANESE ART.

16

limited dimensions by hand, endeavours to avoid repetition invariably

In decorating surfaces of the

artist

Japanese forms or the regular disposition of his powderings of course, in such things as wall-papers, and stamped or of the

;

stencilled

a

leathers,

must of necessity Plate sented on

certain

more

or

less

remote,

The

wall-papers which are repretaken from the full-sized sheets Japan, which measure about 18

exist.

V

repeat,

are

paper, as printed in inches by 13 inches, and while none of the designs are accurately repeated or disposed on these sheets, as groups of

with every sheet used to cover the wall. A careful inspection of these designs will prove how studiously the artists have endeavoured to avoid any feeling of stiffness, they

will

and

to

repeat

cover any

demonstrative

of

expression

unlimited

repetition.

works entirely ornamented by hand, repetition and measured division are systematically avoided. Exception as of devices in the case such made of be must, course, heraldic badges and religious symbols, which admit of no In

But modification without impairing their true significance. are as devices used, they very frequently are,

when such

shape of powderings, they are invariably disposed sometimes in what at first glance may irregularly, and They are used singly, or appear to be careless confusion.

in

the

in groups, placed side

by

connected by being made do not remember ever to have

side, or

We

overlap each other. seen a specimen of Japanese powdering at all resembling European examples in the matter of regular disposition of

to

their

details.

fond of introducing into their works a system of decoration which may be said to be peculiar to themselves. This is known as the medallion system, and

Japanese

artists are

although it strictly belongs to powdering, of which it is an extended form, yet it produces very different results. A medallion is a definite form, usually geometrical in its

outline,

separated from

decorated by difference

cu

the

general

colour,

field

material,

of

or

the

object

by a boldly

JAPANESE ART.

1

7

margin or border, and filled in with some special decoration. For instance, Figure 6 on Plate IV represents the side of a cabinet ornamented with medallions of diaper defined

work. are in

are

In

same manner as powderings, the medallions

the

disposed the most

or

manner.

eccentric

in

groups, overlapping All varieties of treatment

singly,

irregularly,

followed in filling in the medallions

landscapes, foliage, animals, and figure subjects being most frequently met with. Flowers and foliage, animals and birds are frequently so

or

coiled,

otherwise

medallions

circular

as

disposed,

;

form

to

themselves

in

being depicted for sake of distinctness

;

ground-work to that of the object decorated. methods of combining and decorating medallions are shown on Plate VI.

upon a

different

Several

The

treatment

decoration

medallion

of

illustrates,

perhaps more clearly than any other class of surface enrichment, the positive dislike of the Japanese artist for When two or more uniformity and diametrical division. medallions different

and

are

and

outlines,

when

forms

introduced,

are

chosen to use

the

only,

always

different

the

by

for

circles

contain

invariably

combined, selected

almost

are

they

designs

we may

ment,

cabinet, which

overlapping, opposite has unless the artist purpose,

when,

for

the

sake

of

variety,

in

floral

arrangements of diaper-work as are and in illustration of the latter treat-

describe is

;

most

he adopts those of different sizes for combination. Medallions are frequently associated with free designs, or with such indicated in Plate IV;

of

the

itself

decoration

an

epitome

of a of

lacquer-work school of

this

back, and two sides are flat surfaces, the front being furnished with double doors, sliding On these panels, and a long drawer underneath the doors.

ornamentation.

The

top,

six disposed twelve medallions of different shapes, eight out of the total number being comon the plete and four broken medallions, the latter being

several

front

of

portions

the

are

cabinet,

and

doors and lower drawer.

cut

The

into

by

back,

the

top

panels

and

of

sides

the

have

JAPANESE ART.

I8

each two medallions

forms, one being placed on the plain black ground, and the other breaking into an angular mass of fret diaper which occupies about one-third The artist has here contrived, by coupling of the surface. of

different

medallions, by disposing them in different and by cutting up the ground in a different way

differently-shaped positions,

with the

diaper-work,

make

to

every surface

of the cabinet

a distinct and independent design, yet, when all is combined, This cabinet, which we have a pleasing and artistic whole.

used as an illustration, because it happens to be at hand, must not be taken as an exaggerated specimen of Japanese Art treatment, for there are many other examples which

might be mentioned, which present still greater departure from our usually accepted ideas regarding the correct disposiSee the two covers of Kaga Ware- on tion of ornament.

XXIII, which are apt illustrations method of disposing medallions. Plate

of

the

Japanese

We

could enlarge considerably upon this branch of our subject, but feel that enough has been said, aided by the numerous illustrations, to carry our readers on with us to

where our subject widens very considerably, becoming more generally interesting and more difficult to treat connectedly. At a previous portion of our essay, we stated that one this

point in

our hasty

review,

could not glance over the wide field of Japanese Art, without being impressed by the loving appreciation of the works of nature which it displays and this is strictly true, for the ;

Japanese artist is a most faithful and discerning student of Natural History, so far at least as the office of delineator extends. In representations of such objects as flowers, foliage,

and birds, for ornamental purposes, the Japanese artist has no rival. So true in form, so tender in feeling, and yet so bold and graphic are his drawings, that one can simply admire and wonder attempt to imitate, and fail.

—

To

so

accurate

and

clever

a

craftsman

one

would

naturally surmise that the most beautiful objects and the bright side of nature would alone recommend themselves ;

JAPANESE ART. is

however,

such,

far

from

every phase and mood, and him materials for his art.

19

being the all

one

for

case,

finds

classes of objects, furnishing

From

magnificent flowers, which the skill and patience of his native gardeners have increased to gigantean proportions, down to the modest daisy in the from the lofty fir, down to the dwarf oak tree, which grass,

—

can be covered by a man's hand,

— from

the mythical Ho-ho, with its superb tail of waving plumes, down to the tiniest feathered inhabitant of his island home, everything comes

—

an equal share of his careful study, and receives an

in for

truthful

equally

shown

the

in

rendering

bud, in

at

The

hands.

his

flowers are

the trees bloom, and in decay breeze, in autumn's stripping blasts,

full

;

waving in the summer and with barren branches weighted down with winter's snows; and the birds in all their varied movements and graceful positions.

The

flowers most

commonly met with

are the chrysanthemum, peony, wistaria,

and

in

iris,

Japanese Art

lily,

hydrangea,

nearly all the varieties of flowers common to the country are used for ornamentation, in combination with the above.

convolvulus

carnation,

The

grasses of ;

lily

;

but

most frequently met with are the paulownia Reeds, creeping plants and plum, fir and palm.

trees

imperialis,

artist

water

descriptions are favourites with the Japanese in the first class, the stately bamboo holds the

all

and,

most prominent position, on account of its almost universal utility and the symbolic value attached to it. It is evident that vegetation of all kinds, and in all seasons, forms a special source of delight to the natives of Japan, and particularly to those residing in the large towns. Doubtless, the natural richness of the country and

the profusion and beauty of its vegetation, cultivate the love and we are quite safe in of and taste for trees and flowers ;

and saying that in no other country in the world is this taste love so general and so widely spread amongst all classes of the community. During the long summer evenings, and the various

holi-

JAPANESE ART.

20

days, the people resort to the temples and suburban places of amusement, which are invariably situated in romantic spots,

and planted from earliest and taste for become that

and cultivated with the greatest skill. Here, learn their in love the dwellers towns infancy, the beauties of nature and so strong do these on all possible occasions they endeavour to ;

surround themselves with their

those

imaginations

objects which tend to which beautiful scenes

recall

to

they

so

keenly enjoy.

Gardening is carried to great perfection in Japan, and immense ingenuity is expended in the formation of what may These are commonly be called miniature pleasure grounds. and are so attached to the better class houses in the towns ;

designed as to represent considerable tracts of natural scenery, embracing hills, rocks, lakes, waterfalls and trees, combined with such

human

like.

miniature

were

trees

as bridges, winding roads, watercarry out this pretty idea properly, necessary, not simply young or small

devices

wheels, and the

To

but perfectly developed trees, with all the twisted and knarled limbs of the forest giants the art of dwarfing, of necessity, became a study, and took its place as one of the saplings,

;

So successful did the experts country. become in cramping the exertions of nature, that prodigies have frequently been seen and recorded. Siebold states that industrial

arts of the

Japanese dealer in plants offered him, in the year 1826, a Ume in full bloom, scarcely three inches high. This masterpiece of gardening was in a small varnished box, having In the highest three rows like those used for medicines. a

was the Ume tree, in the middle one an equally small fir tree, and in the lowest a bamboo, hardly an inch and a half high. Judging from photographs and descriptions of the miniature

pleasure

commonly used

is

grounds, the height of about three or four feet.

the

dwarf trees

From

the

same

sources one learns that in dwarfing everything approaching symmetrical growth of the branches is avoided, and the greatest possible are aimed at.

wildness,

freedom,

and

indeed

distortion,

JAPANESE ART.

21

The Japanese gardeners

are, however, not content with such as objects dwarfing naturally develop to great size, but are likewise fond of unnaturally developing objects which, in

a wild state, are insignificant. Flowers of several descriptions are cultivated until they attain immense proportions, and the blossoms of some fruit-bearing trees are subjected to this they attain the size of cabbages. It is unnecessary to add that little heed is taken of the fruit of such trees, but we may point out the fact that this

magnifying

process until

practice proves how much more the Japanese delight in what is beautiful to the eye than in what is pleasant to the palate.

Perhaps the most interesting use to which the dwarf trees

and

gigantic

flowers

are

put,

is

in

the formation

of

the

ceremonial bouquets, with which the people delight to orna-

ment the

interiors

occasions.

festive

of their simply-ordered apartments on all These bouquets, or portable gardens as

may sometimes

be termed, are formed in a most ingenious way of dwarf trees, flowers, and straggling branches cut from the fir, plum, or other favourite tree. All these apparently elements are associated incongruous together in what, at first they

most

charmingly free and easy disorder but, on further acquaintance, one finds that these ceremonial bouquets have each its prescribed constituents appears

sight,

to

be

the

;

and arrangements. In a work on the " Manners and Customs of the Japanese in the Nineteenth Century,"* the following remarks occur, relative to these bouquets. 11

kettle,

Tea made is

classes.

drunk

in

the

ordinary way, or boiled in the tea and indeed all day long, by all

at all meals,

But there

is

another mode of preparing

tea,

which,

expense, through the various utensils and implements employed in its concoction, all of which Japanese etiquette requires to be ornamental and costly, is wholly con-

on account of

its

higher ranks, and by them given only upon The expense must grand occasions and in great ceremony. consist wholly in the splendour of the lacquered bowls, silken fined

*

to

the

Apparently a compilation from Siebold, and more recent writings of Dutch (No author's name.) London, 1841. John Murray.

to Japan.

visitors

22

JAPANESE ART.

napkins, &c, without which this tea cannot be offered, since the materials and process, as described, convey no idea of extravagance. The finest kinds of tea are ground to powder ;

a teaspoonful of this powder is put into a bowl, boiling water is poured upon it, and the whole is whipped with split

bamboo

till

The

creams.

it

tea thus

made

is

said

to

be

a very agreeable, but a very heating, beverage. " When company are invited to such a tea-drinking, the

room

in

picture

which they are

must be adorned with a of the philosopher and bonze Darma, its inventor,

probably,

as

received

patron kami or decorations of a reception

he appears to be esteemed

The

its

adaptation of the room, to this and other occasions, is, in Japan, a science not to be easily acquired. In a handsome Japanese drawingsaint.

room there must be a

toko

— that

to say, a sort of recess, of the very finest woods.

is

with shelves, expensively wrought In this toko must be exhibited a single picture, no more, beneath which must stand a vase, with flowers. Now, not

—

—

only must the picture be

suited

to

the

particular occasion,

and therefore constantly changed, but a similar congruity the flowers

is

in

the kinds, the intermixture, the indispensable even the proportion between the green leaves ;

number, and and the gay blossoms, must

be

regulated according to laws that govern these variations all

the especial occasion. The are formed into a system, and a book treating of this complicated affair is one of those studied by young ladies at

school."

Two

rolls

are

in

our possession,

each of which

is

of

considerable length, and entirely filled with representations of these bouquets, all different in arrangement and design, and having descriptions attached to them. The rolls are hand-drawn

and coloured, and doubtless form illustrations to some such as that which is alluded to in the above quotation.

treatise

As representations of these ceremonial bouquets

frequently

occur in Japanese Art, a few outline drawings are given on Plate VII. In the formation of the bouquets, dwarf trees and clusters of giant flowers are associated together without

JAPANESE ART. the

slightest

anything

23

attempt at symmetrical arrangement indeed, or balance of uniformity parts appears to be ;

like

A piece of bamboo groupings. sometimes rises vertically from the vase, amidst the flowers, with a stray leaf or two of its own a delicate creeper twining around it, or a slender branch of some choice plant, stuck studiously avoided in

these

;

through a hole in its side, and deriving moisture from water or soil contained within or, when the bamboo is of consider;

a perfect miniature fir or oak tree dimensions, planted in soil contained in the top joint, and flourishing as

with

able

luxuriantly in

mountain

its

side.

vase as

So

far,

more favoured

friends

on the

a picture of the mild type but there is another which may be

of Japanese bouquets termed the wild type, far ;

its

we have more

artistic

and

full

of character.

This consists of dwarf trees, gigantic flowers, and bamboos, as before, with the startling addition of the most contorted and gnarled branches which badly brought up trees might be

These branches are sometimes dead, or expected to supply. at least devoid of foliage, and at other times carry quaint tufts of leaves at their extremities, and, being so fantastically twisted, they

manner,

or,

wander about the bouquet

when

in

the

of an independent turn, strike

most off,

erratic

tufts

and

all, yards from the vase in which they are planted. Nothing can exceed the taste and skill displayed by the and, Japanese in the arrangement of bouquets of this class bearing in mind their powers of dwarfing and enlarging, it ;

our impression that these are not always cut bouquets, but rather skilfully arranged and cultivated miniature gardens,

is

with

every flower, interest in the soil

tree, filling

and

branch

having a substantial the vessels from which they spring.

We

have ventured to say this much on the subject of bouquets, because we feel that it affords satisfactory proof of the innate taste of the Japanese for irregularity in art, and graceful freedom as displayed by natural objects. The Japanese would as soon think of clipping box or holly bushes into the forms of chairs, bee hives, truncated cones, or peacocks, as was the custom with our Elizabethan ancestors, as they would of trying

JAPANESE ART.

24

to turn those articles into the

form of a natural shrub; and

one cannot help feeling that arts that such is the case.

is

But

to

a very good thing for their

the subject of flowers as met with Of all the flowers introduced in Art works.

return

in

it

Japanese ornamentation

to

unquestionably the it is cultivated largely throughout the country, and favourite is much used for floral decorations on certain occasions. the

chrysanthemum

is

;

The Japanese name

chrysanthemum

is

kiku

;

and

of the year, during which it is in full bloom, On the ninth day one of the principal called Kiku-dzuki.

month

the ninth is

for the

of the country

festivals

and the chrysanthemum blem of happiness, into

held

This the ceremonies of the day. great mirth and feasting, happiness all

a period of being strictly the order of the day. on pleasant spots on the adjoining is

festival

—

—the

Festival of Happiness enters largely, as the Japanese em-

is

Pleasure parties pic-nic hill

where beautiful eating and drinking,

sides,

views can be had, and spend the day in

and in strolling about, admiring the ever-changing views and various effects of the light through the passing hours of the day, winding up with a magnificent sunset, after which they return to their homes to complete in

lively

conversation,

the slow process of intoxication by drinking sake. of sake, which is a fermented liquor brewed

The

drinking

from

rice,

is

turned into one of the ceremonies of the festival, in the vessels kiku flowers,

of the flowers,

or

by placing more probably detached petals

which are drunk with the

sake.

In the large

expend considerable time and ingenuity in forming figures of men, models of interesting objects of natural scenery, such as the beautiful mountain Fusiyama,

towns

people

and the the

like,

entirely

of kiku

flowers.

Last, but not least,

chrysanthemum has furnished one of the Imperial

crests,

termed the Kiku-mon. In works

the kiku figures very largely, and is treated in a great variety of ways, sometimes conventionally, and at others naturally. In decorating a flat surface, such as the

lid

of

art

of a lacquer box, the artist frequently covers

it

with

JAPANESE ART.

25

two or three layers, the upper or outer one being detailed and most highly finished and coloured, each

flowers in carefully

succeeding layer underneath, seen through the interstices of the others, being less and less manipulated and powerful in tone. Some specimens of this mode of ornamentation are of great beauty and refinement. Continuing the star treatment of the flower, we find the chrysanthemum commonly disposed as a powdering in class

all

made

objects,

departments of art work and in high the palace of the Tenno, the crest almost invariably adopted as the orna;

for

form of the kiku

is

mentation, and

usually disposed as a powdering.

is

KIKU-MON OR KIKU CREST.

Of the

free or natural treatments of the

chrysanthemum

impossible for us to speak ; their name is legion, ever varying with the caprice or inventive power of the artist, and the form or use of the object decorated. in

Japanese decorative art

it

is

our intention to avoid in this essay anything of the nature of a dissertation on technical or formative processes, it may not be out of place to allude briefly to the

Although

several

it

is

methods adopted by the Japanese

artist in

developing

In or accentuating his floral designs for decorative purposes. lacquer work we frequently find the flowers richly raised in the

material,

or

delicately

carved

out

of

ivory,

white

and and

mother-of-pearl, coral, lapis lazuli, gold, silver while the stems bronze, and applied or inlaid on the surface and foliage remain in raised gold or coloured lacquer, or are,

purple

;

after the fashion of the flowers, applied in

and

is

wood and

In works of ivory a similar practice carried to the greatest point of delicacy and

variegated green stones. obtains,

carved

D

26

JAPANESE ART.

In metal work, the floral designs are frequently applied in variously coloured alloys, relieved by inlays of the In all the processes of coloured ornamenprecious metals. accuracy.

alluded to, the Japanese artists are remarkably In porcelain manufacture, the necessary employment

tation above skilful.

of

impossible to apply any of the the floral decorations are consistently

extreme heat renders

above

materials at

therefore,

it

;

the

raised

most,

enamelled.

the

in

clay,

and

richly

however, is frequently Lacquer applied to finished articles of porcelain and stoneware. Associated with the kiku in decorative works is very ornamentation,

commonly found

the botan or peony, which, with its luxuriant crimson coloured and fully opened flowers, gives great richness to the compositions into which it enters. are

We

aware to what extent the Japanese gardeners cultivate the peony, but, if we may judge from the representations not

met with

in

to

developed used

seldom

would suppose it to be It is great perfection and immense size. alone as a decorative medium, and in this works

of

one

art,

evidently held in less esteem than the chrysanthemum. The most beautiful representations of the botan are to be found on the celebrated Satsuma faience, where it

is

is

it

respect

cleverly

treated

as

a

decorative

sufficiently conventionalised to render

A

trusive.

favourable

example

of

it

object by being harmonious and unob-

this

treatment

is

be

to

seen on the exquisite Tray illustrated on Plate XV. Our readers will observe, notwithstanding the natural

freedom tray,

the

infused

how

deftly

into

the

the general floral

on

demands imposed by decorative

ornamentation of a

in the total

decoration

this

art,

in

—

surface, have been recognised absence of cast shadows, and in the conventional flat

given throughout by the employment of the gold in the botan and other important flowers. There lessons in this one example, as well as throughout

feeling

outline

are

every plate of this

Work, which our decorative

artists

would

do well to study carefully. Another plant, almost as frequently met with in works

JAPANESE ART.

2J

as the botan, and quite as highly esteemed by the Japanese, is the wistaria, or, as it is called by them, fuji. Siebold speaks very highly of the beauty of this plant as of

art

it

grows

in

and

Japan,

particulars regarding

grows

to

a great size,

that the Japanese train

he

The

it.

and

also

some

gives

interesting

which

fuji is a creeping plant

such

a

spreading habit so as to form arbours and covered

it

of

is

walks

in their gardens and temple grounds. Its roots extend a considerable distance, producing several stems, which reach the size of from three to four inches in diameter, and, climbing like our honeysuckle, frequently attain the height

of

eighteen feet, where, supported by a trellis-work, they spread out into foliage covering a space of twenty to thirty feet Below this the graceful racemes hang in square. three feet long and, waving in the It is usually spring air, produce a most beautiful effect. in this drooping position that the flowers of the fuji are

luxuriant

masses,

often

represented in art. The wistaria is in

;

bloom

full

in

the months of

and May, and during that time

April resort

all classes of people the gardens, strolling along the covered paths, or congregating in the arbours to amuse themselves in drinking

to

their

the

favourite

rice

spirit,

sounds of musical

and

in

dancing

instruments.

It

is

and

singing to here they im-

provise pieces of poetry in honour of the plant or in praise of the sweet spring-time, and, writing them on slips of paper, attach them to the most beautiful bunches of flowers. These

amusement, both to the authors themselves and who follow and read them. Japanese literature is rich in witty and amusing stanzas written in honour of the fuji, in which it is alluded to as the emblem of youth and spring. Pictures of the plant are on certain festivals and holiare

sources

of great to those

days placed in the principal reception rooms of the Japanese houses, and generally adorn the places of honour. Siebold mentions a curious custom in connection with the fuji.

During

a

journey

to

Yedo, he

noticed

in

the

28

JAPANESE ART. temple, on the bunches of flowers not yet in bloom, small notes of all colours ; and was informed

court of a full

young persons fastened them

that

there,

ultimately accepting vigorous development of their respective bunches as presage of their fate in their future married lives. The iris is a very general favourite with the Japanese

the more or

artist,

less

doubtless on account of

its

stately yet graceful habit,

which forms a pleasing variety of lines with those of other It is evidently introduced in the and freer-growing plants.

Satsuma

already mentioned, for the purpose of relieving the foreground, and imparting solidity to that portion of the composition which, consisting of stems only, would tray,

appear weak and unsatisfactory. In works of lacquer, ivory and flowers,

in

different

iris

(kosai)

and is generally accentuated by having and sometimes both flowers and leaves, applied materials. The most favourite material for the mother-of-pearl, the purple and white varieties

is

beautifully

representing,

and white gold and

iris.

when

carefully

carved,

In bronze work the flowers are

the

purple

commonly

silver.

Although

lilies

of

grow to the greatest met with almost every-

varieties

many

possible perfection in Japan,

where,

the

appears,

frequently its

flowers

metal,

and are

even in profusion by the roadsides, they are not so

frequently represented on works of art as are the previously

mentioned flowers. far

This

is

more common and of

not readily accounted

for, objects

beauty being more Japanese lilies have long been

less

intrinsic

used for decorative purposes. greatly esteemed by our florists, and immense quantities of bulbs

are

annually

imported

into

Europe.

The Japanese

name for the lily is yuri. The hydrangea (otaksa), convolvulus lily

(hasu),

(asagao), and waterare very often depicted on works of lacquer and

the convolvulus, from its creeping habit, being ; an especial favourite in free designs. The water-lily flowers and leaves supply many suggestions to the watchful artist, which we see carried out in his articles of porcelain and porcelain

JAPANESE ART.

From

bronze.

the plant alone, with

20,

its

leaves,

flowers,

and

he

buds, designs teapots, cups, plates, and such like, in and perfume burners, candlesticks, and other porcelain articles of everyday use, in bronze. The water-lily has for centuries been held both in India ;

and China

a

in

of

sort

veneration, being accepted as the of special symbol fertility and reproduction and, doubtless, a similar idea obtains in Japan. The figures of Buddha, and numerous other deities and saints, appear in all these ;

countries, seated or standing on the flowers or leaves of the water-lily.

Much more

could be said in connection with the artistic

we must recognise the limits imus in our essay, which, embracing all branches

treatment of flowers

posed upon of art,

;

but

must of necessity leave

imperfectly described. claim our attention, and, as they appear to

Trees next

all

be more esteemed than flowers, and enter very largely into the ceremonial observances of the Japanese, they deserve to

be rather more

treated.

fully

rank, as the grandest of all the trees of Japan, the kiri, to which Siebold gave the name by which

First in

comes it

best

is

of

this

known

tree,

the

to botanists, paulownia imperialis.

learned

Doctor

— says

"

*

We

Speaking have given

name

of paulownia to the new species formed by the kiriy which up to the present time wrongly passed for a bignonia, in order to pay our homage to the name of Her

the

Imperial and Royal Highness the hereditary Princess of the It Netherlands. is not merely the beauty of the plant which induced us to distinguish it, but rather because the leaf of the kiri, ornamented with three stems of flowers, was used as armorial bearings by the celebrated hero Taikosama, and,

held in honour in Japan. The kiri is one of the most magnificent vegetable proIts stem, with a diameter of two to ductions of Japan. for this

reason,

is

still

"

three

feet,

*

rises

to

a

height

of

thirty

Translated from the Flora Japonica, by Dr. Ph.

Fr.

to

forty

de Siebold.

feet.

1835.

It

JAPANESE ART.

30

branches into limbs, not numerous but strong, at right angles, have forming a vast crown. The broad leaves are opposed, stalks, are notched at the base in the shape of a heart,

and perfectly unbroken, or else cut into three unequal lobes (the middle one of which is the longest), pointed and covered with a whitish down. The beautiful and odoriferous oval

flowers

grow from the beginning of the month of

the leaves are developed.

They

bunches, and thereby resemble

April, after

are disposed in large double our horse-chestnut blossoms,

as they also resemble, by their form, size, and colour, the The capflowers of the purple foxglove (digitalis purpurea). the in towards them from sules which spring autumn, ripen fall

of

the

and

leaves,

seeds furnished with a

contain

a

large

number

of

small

membraneous and transparent wing."

While Siebold notices that, from the fact of the favourite and renowned hero Taikosama having adopted the leaves and flowers of the kiri as his armorial insignia, the tree is held in high estimation in Japan, he does not mena similar crest forms one of the two used by the Emperors of Japan. It was very probably adopted by them

tion that

KIRI-MON OR KIRI CREST.

The woodcut which appears crest in the form now commonly

Taikosama's death.

after

represents the Imperial

The

here used.

appears in art works, both naturally In the former method, it is in with the usually conjunction mythical bird the ho-ho, of which we shall have to speak later on. When convenkiri frequently

and conventionally rendered.

tionally rendered,

or in

the

a

it

somewhat

same.

is

either

similar

in

form,

the or

shape of the Kiri-mon a

free

modification

of

JAPANESE ART.

The

Kiri-mon,

when used

a

as

3

I

is

decoration,

disposed seldom alone, being generally assopowdering, ciated with the other The Imperial crest, the Kiku-mon. is latter, as already pointed found out, alone, and usually is much more frequently used than the Kiri-mon in art works. When the kiri enters into the construction of alla

as

but

over

patterns or diapers it is invariably freely treated; a beautiful instance of this may be seen on a piece of Japanese silk and gold brocade (Bowes Collection), where the diaper is

entirely

composed of

sprigs

of

the kiri with

the flying

ho-ho.

There

is no tree so frequently represented in works of Art as the plum (time), and its flowers (ume no Japanese are This tree hana) special favourites in ornamentation.

grows throughout Japan, but to the greatest perfection in the northern districts of the empire, where it attains the height of fifteen to twenty feet. In its wild state it seldom grows above twelve feet, while in hedges and such like its is

height largely

commonly about

flowers

or

nine

feet.

The ume

is

gardeners, both on acflowers and the use of its fruit.

by the Japanese

cultivated

count of the beauty of

The

eight

its

however, the most

are,

highly

We

esteemed, and have not met

represented on works of art. with a single instance where the fruit was portrayed in any form. The tree is covered with blossoms in the beginning alone

are

of

February; and Siebold informs us that, at that time,

all

temples and the private dwellings of the Japanese are decked with branches of ume He in bloom, as the symbols and heralds of the spring. also informs us that the flowers vary much in colour; those the

altars

of the yield

of

the

wild trees flowers

of

idols

in

the

being white, while the cultivated varieties all shades between white and red, and

sometimes of green and yellow tints. The choicest varieties are those which have double flowers; and these are usually planted as shrubs in the private gardens of dwelling houses, and in the precincts of the temples. The Japanese appear to be fond of collecting varieties of the ume, and Siebold

JAPANESE ART.

32

the richest collection, numbering several hundred varieties, belonged to the Prince of Chikuzen. In Japanese literature the ume tree is very frequently

mentions that

mentioned,

and

the

(in

has

connected with the legends of the saints,

being historical

Such being the tree

his time)

case,

gradually

of

records it

is

come

moralists

great

and

poets.

not to be wondered at that the

looked

be

to

upon

as

sacred.

In certain places in Japan, where pilgrimages are instituted, persons are shown the trunks of ancient ume trees, under pleasant shades deified princes reposed, celebrated lawgivers revised their moral codes, and where priests and

whose

poets composed their sublime psalms and poems. Cuttings secured by the devotees from these sacred stems have always been held in great esteem by the people. In art, the ume is usually represented as a tree of a

inspired

angular and spiky habit, so represented, as in winter, with neither peculiarly

much

so that

leaves

when

nor flowers,

The ume is distinguished from all others. beautifully shown on the upper portion of the Satsuma tray, Plate XV, where, from its deep red flowers, it evidently

it

is

easily

represents the most

some choice

variety.

The

wild

ume

is,

however,

art, and when it appears on blue and white porcelain it forms a most exquisite decoraThe so-called "hawthorn pattern," which of late years tion. has been so valued and sought after by collectors of " blue and white," is simply decorated with the white ume flowers on a blue ground. The ume is found in all departments of Japanese Art

commonly used in

;

when

applied

sometimes

it

to is

porcelain

wrought

it

is

in relief.

generally painted, although In blue and white porce-

appears either in white on a blue ground, or outlined and shaded with blue on a white ground. In lacquer work

lain

it

it

is

treated,

like

the

chrysanthemum,

in

variously

tinted

raised lacquers, or in applied metal, mother-of-pearl, ivory, &c. In bronze work the ume flowers are commonly wrought in silver.

Next

in

importance comes the

fir

tree (matsu), appear-

JAPANESE ART.

33

The ing on works of art almost as frequently as the time. fir tree is grown all over Japan; where it does not grow wild it is acclimatised by careful cultivation; it is held in the highest estimation by the people, and has wound round

a mantle woven

of pretty fables and miraculous and legends, which secures it great consideration from both young and old. It is popularly believed to have an almost supernatural longevity, and to exercise a beneficial influence on mankind. It is said to be quite indispensable to the happiness and comfort of the true Japanese, and is it

tales

therefore to

be found wherever he

temples of the gods and

During and place of honour gate patrons.

its

Firs surround

the

chapels of saints and branches adorn the entrance

shade

festivals

lives.

in the

the

reception hall

and, along with other symbolical trees and flowers, it adds beauty to the last resting place of the dead. The fir tree is one of the favourite symbols of long

life

and prosperity, and

;

in that idea

planted along with the ume before the palace of the Emperor. Siebold, our greatest authority on all matters relat-

it

is

ing to the flora of Japan, says that the art of the Japanese gardeners has been exhausted on the cultivation of these firs:

they prune and cut them in every way; they extend their branches fan-like as wall-trees, or give to the branches so In that artificial cultivadisposed the shape of a flat plate.

and one is as much astonished at finding specimens of enormous proportions as at seeing the tree reduced to the smallest possible size, easily covered by one's hand. During Siebold's stay at Osaka, he went to see the celetion extremes meet,

brated tree

the "

before

Theehaus Naniwaja," the branches

extended to a circumference of He also informs us that one hundred and thirty-five paces. on the high roads fir trees form avenues of a hundred of which,

artificially

trained,

and that single trees, planted length serve throughout the empire as distance

in

leagues hillocks,

;

upon marks

along the roads.

The growing

Japanese Art in its natural habit of sometimes whole trees being depicted, and at others

fir ;

appears

in

E

JAPANESE ART.

34

not so frequently found on works of in bronzes and lacquer work. Nothing can well

branches only. Keramic Art as

It

is

surpass the masterly manner in which the fir trees are rendered in the fine cast and highly relieved bronzes of Japan, except, perhaps, the superb and life-like modelling of the falcons or

which very commonly appear perched on their branches,

eagles,

same bronzes.

in these

In almost

duced by the Japanese and as such and prosperity

as

artist it

;

all

cases the

the

emblem

screens in

ment

crane,

indeed,

and,

dwellings,

ornamental

their

of

is

intro-

long

life

frequently associated with all of which are accepted

is

and tortoise, emblems of longevity and happiness,

the bamboo,

fir

of

the pictured

in

wall-

throughout every departThe tree is sometimes

arts.

depicted laden with snow, a fitting emblem of the blessings of long life, even when the snows of its winter have fallen. It

a

is

artistic

be

whole range of Japanese and may to temporal blessings

symbolism alludes

summed up

the

that

thing

strange

;

a happy spring-time,

in

Much

hood, and a long life. from the simple mode of

of

no

this,

common

living,

man-

a prosperous

doubt,

to

all

arises

classes

of

the people, and their intense love for the beautiful in nature, a love which in all seasons and places is fully satisfied in their picturesque and fertile land.

A

symbolical Japanese art, the

minds fir

are

tree

growing

unable

upon

it

in

is

the

grasp. back of

from carved

the

dark

coloured

centre

of

same

of

preserved

consists of a tailed tortoise

a hard

the

This

to

illustration

highly interesting blems of longevity

in

meaning of which our unenlightened

full

totally

met with

sometimes

is

composition

in

this in

a

consists

tailed

tortoise.

a

of

A

treatment of the emthe

Bowes

Collection

:

the act of walking, carved with tail of metal wires

wood, back rises

;

a

fir

tree,

beautifully

wood, and amidst its branches is a nest containing three young birds and two standing all of which are of ivory. cranes, Surmounting the whole composition, and resting on the topmost branches, is one of those rock crystal balls for which the Japanese lapidaries in

the

hard

JAPANESE ART. are

so

The

famous.

fir

tortoise,

35

and cranes are

tree,

all

accepted emblems of long life, but the meaning intended to be conveyed by the crystal globe is somewhat obscure. We

have met with another representation of the combined

and

a

small

screen

tor-

Kioto faience, but in this case the cranes and ball were not depicted.

toise

fir

tree

The bamboo

in

one

(take),

vegetable productions

of

of Japan,

ornamental purposes.

is

of

most

the

useful

much used by

of

the

artists for

Its

straight ascending habit, totally of any other object they depict, no doubt comto their attention and, relieved by its frequent

unlike

that

mends

it

;

jointings and graceful crown of foliage, it becomes in their skilful hands a beautiful and effective ornamentation. For narrow upright spaces nothing can be more appropriate and a few jointed stems, with an occasional leaf or two, and a deftly drawn little bird in flight, make one of those compositions which the mind will ever associate with the Bamboo is nature-loving and painstaking artists of Japan. ;

much used by and

household

the natives in the construction of their houses articles

objects

are fashioned

quered.

Like the

symbol

of

fir

and

;

from

longevity,

on

wood, carved,

its

the

tree,

beautiful

many

bamboo

account,

is

ornamental

inlaid,

or lac-

accepted as the

Kaempfer

says,

of

its

He also adds, that he generally supposed long existence. was informed that the common bamboo will grow for several hundreds of years, and in support of that statement he was shown specimens in various parts of Japan which had reached extraordinary dimensions. The Japanese fashion flower pots of the quaintest possible description from short lengths of bamboo, by cutting openings of various shapes between the natural joints, through

which

the

plants

but manner and astonishing work they do a

in

grow

very

pretty

;

perhaps the most ingenious with bamboo is the delicate and faultless basket-work with

which they enclose the small porcelain cups of Hizen and Mino. Simplicity

of

taste

is

a

distinct

characteristic

of

the

JAPANESE ART.

36

Japanese artist, and perhaps the most eloquent proof of this is to be found in his tender little sketches of blades of grass. These trifles, as they may be called in comparison with his essays of decorative art, are not, however, tender only they are almost invariably expressive of something Here is a little medallion, with a few beyond themselves.

grand ;

bent strokes in black against a half-displayed disc of white the grass-blades say, How pleasant it is to bend to the ;

rich Here is another night-wind in the bright moonlight in growth are its grasses, laden with seeds, and bending in !

beautiful fern-curves

;

each blade seems to sing,

;

How

delight-

breezes as they sweep over the meadows And here is yet another, with all its blades crushed and broken, which tells that autumn has dried them, and that

ful

are the

the

cruel

summer

blasts

!

swept over them

of winter have

How easy it troying angels as these, insignificant sketches !

to

is

the

detect,

in

deep-seated

like

des-

even such love

for

inborn in the Japanese mind, and also the simplicity of that love, which is content to select such humble elements as grass-blades wherewith to express

Nature which

is

refined

itself.

will

It

be observed, from the few foregoing remarks

to vegetation generally, that the artists of Japan are not content with producing artistic combinations in their ornamental works, but that they aim at expressing some

relative

some power in Nature, which in itself has no physical form and we have ample proof that such are their ideas by the names they frequently give to their poetical

idea,

or

;

graphic drawings.

We

interesting

when we come

graphic

subject

delineation,

shall

as

have something to say on this to

displayed in

particularly of art works of the

speak the

Japanese.

ornamental purposes in all the varied productions of the Japanese art workshops, down to the humblest article of everyday use. We have beside us, as we write, a few of the commonest cotton towels, sold in Japan at about the value of our Flowers,

penny,

each

and

trees,

one

of

grasses

which

is

are

used

decorated

for

with

devices

of

JAPANESE ART.

bamboos

flowers,

to

an

repay

and

such-like

ornamentist

37

objects,

sufficiently

artistic

and

several

days of study;

for

sheets of the note paper used by the ladies of Japan, which are ornamented with graceful sprays of flowers in delicate assisted

tints,

by embossing

the

in

petals of the flowers. taste of the Japanese,

These are ordinary instances of the and distinctly illustrate how thoroughly the beautiful

pervades artistic

completely

classes

thought

Perhaps, of

life.

day

all

all

the

of

surrounds

love

of

the

community, and how

them

in

their

everythe porcelain painters vegetable forms for the

their artists,

most skilful in adapting and for illustrations of this fact purposes of ornamentation we have only to refer our readers to the Plates of the are the

;

Work. Next to vegetation, the

present in

the

artists of

and

representation of birds love for depicting them, ;

an equal

junction with vegetation. an inexhaustible page of

The

Japan are most

skilled

they appear to have alone or in con-

either

natural habits of birds supply

and one can observe everywhere in their works how painstaking and enthusiastic they are in its prosecution, by the care and accuracy with which every action and favourite position of

their

birds

are

rendered.

Nature

It

for

is

their

in

chiefly

lacquer, illustrated books and original finds the best specimens of their skill

study,

their

drawings in

this

pottery,

that

one

department,

although some remarkably choice specimens are to be met Let the with in metal work and in ivory carvings. material, however, be what it may, wherever there is a bird depicted there is food for our study and cause for our admiration.

most frequently represented, and consequently the most carefully studied by the Japanese artists, are the crane, tame and wild ducks, wild goose, peacock, pheasant, raven, hawk, falcon, ordinary domestic fowls, and several of

The

the

birds

small birds

The crane by

all

common (tsuru)

classes of the

is

to the

held

community

country. a sort

in

in

of semi-veneration

Japan, and

is,

on account

JAPANESE ART.

38

very generally accepted as an For these reasons, it is one of the emblem of longevity. is greatest favourites with the artists of the country, and introduced in ornamentation throughout the entire range of of

its

supposed

long

life,

countless ways and, indeed, the it is impossible to imagine any position living bird could and assume which is not depicted by the Japanese artist

their

arts.

It

treated

is

in

;

;

imagine anything more artistic, from a decorative point of view, than their manner of treating it There is one rather remarkable fact in these varied positions. to

difficult

it

is

in

connection with

the

avoid representing of their art works, a

be accounted bird — a

as

it

for

dead.

a dead

by the

— represented A

in

that the

is,

During

many

Japanese

study once having seen

crane.

This

symbolic

value

may

years'

satisfactorily

attached

to

the

dead crane would scarcely be an expressive emblem

of longevity.* In works of Keramic

and

which

we do not remember

of

representation

crane,

in

others

some cases in

art,

the

crane

is

very frequently

singly, either resting or in flight

great numbers,

in

all

kinds of

;

positions.

instance of the latter exists in a large dish of Hizen possession of Enoch Harvey, Esq., of porcelain, in the Liverpool, which is entirely covered with a flight of white fine

cranes upon a blue ground. In some specimens of faience, the cranes are cleverly painted in relief by using thick opaque white and black enamels for the body and the tail feathers.

In lacquer work, cranes are very often introduced in the ornamentation, and are exquisitely manipulated in gold and *

"The

the chief of the wild birds of the country, and hath this nobody may shoot him without an express order from the The Cranes and Tortoises are Emperor, and only for the Emperor's own pleasure or use. recon'd very happy animals in themselves, and thought to portend good luck to others, and this by reason of their pretended long and fabulous life, of which there are several remarkable instances recorded in their Historical Writings. For this reason, the Imperial Apartments, walls of Temples, and other happy places, are commonly adorn'd with Figures of them, as also with figures of Firs and Bamboos, for the like reason. I never heard the Country-people and Carriers call this Bird otherwise than Tsuritsama, that is, My (rreat Lord Crane. There are two different kinds of them, one white as snow, the other

peculiar

Tsuru, or Crane,

Imperial

is

Privilege, that

grey or ash-coloured.''

— Kicmpfer.

JAPANESE ART. coloured lacquers, or carved in attached to the surface.

39

ivory or mother-of-pearl and

As Kaempfer mentions, the screens and wall decorations dwellings and temples are commonly painted

of Japanese

with are

and

representations of cranes; frequently depicted

for these

purposes they other symbols of lon-

with

life-size,

and happiness, such as the fir, bamboo, and plum. When the birds are drawn in upward flight, they are usually surrounded with conventional clouds, giving the idea of gevity

space

when they

;

are

shown

in

downward

a

flight,

a few

tops of trees appear at the bottom of the picture, graphically indicating their near approach to earth. Cranes are favourite objects with the skilful embroiderers of Japan and, executed in fine twisted silk, with every important feather accurately wrought, very beautiful objects ;

they are. In metal work, the bird is frequently met with, either cast in bronze or wrought in the precious metals, relieved coloured portions with other metals or alloys. The Japanese are fond of having representations of the crane, in bronze, placed in their miniature landscape gardens; and in

for

the

this

purpose they are cast

in

all

sizes

and

most

in the

attitudes.

life-like

In

original

Japanese

artist

sketches,

on

fans,

draws the crane

and

in

woodcuts,

the

in absolutely countless posi-

but expressing every habit and motion of the bird of all these, those which show his skill in foreshortening are the most interesting. This remark, however, applies with equal force to the whole range of his bird drawing.

tions,

A

;

law existed

Japan, and is no doubt still practically observed, that no firearms should be used within a radius of thirty miles from the Imperial palace, and this encouraged, to

a great extent,

in

the

sport of falconry, and consequently its scenes. The screens which the

the taste for depicting Japanese use so commonly in their

dwellings as temporary partitions, and their indispensable fans, are frequently painted with sporting scenes and many books, entirely devoted to ;

JAPANESE ART.

40

which charming woodcuts are to be found. Both in hand paintings and woodcuts, we find repeated evidences of their skill in bird drawing, and every conceivable position and action of the falcon and its quarry falconry, are printed, in

delineated.

Falcons (taka) and eagles (washi) do not appear upon works of Keramic art or lacquer so frequently as cranes and some other birds, but when they are represented they Pheasants quite sustain the credit of the Japanese artist. (kiji)

are great

ornamentation.

favourites,

There

is

and are very often introduced in one variety of great beauty which

Kaempfer took particular notice of during his residence in " One kind, parJapan, and in speaking of which he says lustre and colours is for the various remarkable ticularly,

—

of

its

feathers,

and

man's length,

half a

the beauty of its tail, which equals and in a curious variety and mixture

for

and gold, is no ways This beautiful bird is a inferior to that of a peacock." favourite object with the painters of Satsuma and Tokio, and is usually accompanied by its hen, which is much inferior in shape and plumage. Ducks of several varieties are portrayed, but one species of the

finest

colours,

blue

chiefly

this, called by the Japanese oshi kamo, is particular favourite study, chiefly on account of the beauty of

in

;

colours.

takes

Kaempfer I

oshi

—

in

kamo,

its

his

One kind, parthe following words cannot forbear mentioning, because of the sur-

History of Japan,* ticularly,

notice

the

of

a

in

prising

beauty of

its

showed

its

in

picture saw the

:

which

male, colour,

I

is

so

great,

that

could hardly believe

being

my own

very common one. Its feathers are wonderfully diversified with the finest colours imaginable, about the neck and breast chiefly they are red. The head is crowned with a most magnificent eyes,

till

I

bird

itself,

it

being

a

The tail rises obliquely, and the wings standing topping. up over the back in a very singular manner, afford to the eye a sight as curious as uncommon." *

Kaempfer gives the name of

this

bird

as

Kinmodsui.

JAPANESE ART.

4

I

generally understood that the beautiful drake and duck, when represented together, are accepted by the Japanese as the emblems of conjugal felicity. The drake is It

is

sometimes represented alone, however, no doubt on account of its great beauty an instance of this occurs in a flower :

stand

Satsuma

of

the

in

faience,

of

possession

W.

J.

Audsley, Esq., where it is carefully modelled and placed upon rock-work rising from the centre of the water basin.

The peacock

(kujaku)

from the Japanese

artist,

receives

careful

study in as a decoration represented being frequently

common

all branches of pottery and in blue by the Hizen artists, drawn porcelain painting, being and in brilliant colours by those of Satsuma. The peacock

materials.

all

is

It

is

in

not a native of the Japanese islands, having been introduced

there about two centuries ago. A story is told connected with its arrival in the country which runs somewhat as follows :

On

the

New

—

Year's day festival a Prince of Hizen entertained

banquet numerous distinguished guests, who had come to pay their respects, and to compliment him in the

at a

his court to

day. The guests, after the entertainment, were asked to inspect the numerous presents made to the Prince, and expressed extreme admiration at two foreign birds

manner usual on that

which they had never seen before these happened to be a peacock and hen. The Prince took occasion, while they were discoursing on the beauty of one bird in particular, :

to

ask which of the two was the cock and which the hen.

The gentlemen

to

turning

the

gaily

dressed

ladies,

and

desiring to compliment them, unanimously decided that the most beautiful must be the hen bird, while the ladies very

modestly

apprehended

the

cock.

"You

the

ladies;

"Nature

are

that

the

right,"

finest

said

herself will

the

plumaged

bird

Prince,

bowing

was to

have the male best clad;

and it seems to me incomprehensible that the wife should have more pride and desire to go more richly dressed than her husband, who must he at the expense of maintaining her." for

An

excellent

a heathen

New

Prince.

Year's sermon, as Ksempfer says,

JAPANESE ART.

42

The

wild

goose (gan) receives very

skilful

treatment at

and is, like the crane, of Japan In the folio edition delineated in every conceivable attitude. of this Work we illustrated a large dish of Kioto faience, hands of the

the

from

artists

Bowes

the

;

Collection,

was

which

most

artistically

decorated with a group of wild geese. The ordinary domestic fowls are often

depicted by the Japanese artist, the cocks (ondori) being the greatest favourIt is stated that cocks are commonly kept in temple ites.

grounds, and are carefully attended to by the priests and others because they foretel changes of the weather, and, by the regularity of their crowing, mark the passage of

These

reasonably account for the frequent representation of the cock perched on the top of a temple The Japanese draw the cock in a most spirited drum.

time.

facts

may

manner, and never

fail

to represent its

proud and pompous

carriage.

We

have thus

introduced in

birds

alluded

briefly

Japanese

the

to

artists'

work.

more important not at

It is

all

necessary for us to enlarge upon the subject of the lesser birds which are so frequently represented in their charming drawings, further than to say that they are invariably drawn with studious care and strict truthfulness to nature. In

wherever there

short,

a bird

is

one finds the result

there

of

depicted in

Japanese Art, study, and an object

careful

worthy of earnest attention. Kaempfer remarks: "Considering

—

the

largeness

and

but sparingly supplied with four-footed Beasts, wild or tame. The former find but few desert places, where they could increase and multiply, extent

and

of the

follow

bred

Japanese Empire,

their

usual

shy

it

way

is

of

life.

The

latter

are

only for carriage and agriculture. Pythagoras's of the transmigration of the soul being received almost universally, the natives eat no flesh-meat and living,

up

doctrine

;

as

they

improve turning

it

do,

chiefly

the

ground

into

upon to

meadows

vegetables, much better

they

know

advantage,

how than

to

by

and pastures for breeding of cattle."

JAPANESE ART.

Such being the

we

case,

cannot

be

surprised that quaddepicted by the Japanese

comparatively seldom The horse is certainly often met with in works of

rupeds are artist.

sometimes

art,

43

more frequently with

but

alone,

its

rider.

almost entirely devoid of wild beasts of prey, the Japan like animals being unknown lion, tiger, leopard, and such is

in

the

are occasionally made by from animals, descriptions or crude may have reached them from neigh-

Poor attempts

country. to

artists

depict

these

representations which bouring countries; but the absence of personal examination and study from the life are clearly manifest in all these attempts.

Of

quadrupeds the horse {tuna) is most frequently drawn by the Japanese artists, and it is often delineated with great skill and The votive pictures knowledge of foreshortening.

hung

all

Shinto

the

in

temples, called by represent the horse, and

natives yema, are amongst the

the

most usually most skilful efforts of the Japanese artists. The dexterity and rapidity with which he draws these yema are altogether remarkable and the methods resorted to in some cases are amusing. It would appear to be a favourite test of ;

skill

to

amongst painters

delineate the

horse in these votive

the shortest space of time, with the and under the most difficult conditions. strokes,

fewest brush

pictures in

— given that

be

may

of

an

painting a

artist

horse, which, to increase the

difficulty,

instance

yema with two

at an angle and wide apart and both brushes continuously used together

brushes, held

One

one

in in

hand, drawing a

the artist has chosen

In the ordinary block books of the upside down. country the horse is a common illustration, and, in some instances, pages are devoted to numerous small studies of

to

the

depict

animal

every conceivable

in

and without a

The

allied

closely spirit

and

action,

with

rider. (kitsune)

;

in fact, to

mischievous

less

literature of the country

peculiar events

in

by the

believed

is

to the devil

more or

and the to

fox

position

which

the

in

Japanese to be

be possessed of some

habits

and disposition

;

contains frequent allusions

fox-demons take no insig-

JAPANESE ART.

44

The Japanese also believe assume the human form at

nificant part.

the

to

power

semblance

individuals

of

foxes have

that

and, indeed,

will,

the

at

time.

to

take

Of

course, in the popular stories, the appearance of a friend assumed for the purpose of deceiving the individual with

is

whom

the

that

that the

indicate subtle

friend

fox

than

powers

on

is

is

to

and this would be endowed with more

of

transformation,

terms

familiar

believed

even

that

living

:

powers

closely approaching omniscience and omnipresence, or if such powers are denied, that the fox has communication with some all-knowing being who directs its vagaries, mischievous

At the

or otherwise.

risk of

being considered discursive,

we

a story of a fox given in Kaempfer's interesting and instructive work. In speaking of the Japanese table here

quote

of unlucky

"

To

"

He

or unfortunate

days, he

says

—

give more Japanese say that it

weight and authority to this table, the was invented by the wise and experienced Astrologer Abino Seimei, a man of great quality and very eminent in his art. He was born a Prince. King Abino was his father and a fox his mother. Abino Jassiwa Jassima was married to this fox upon the following occasion. the

once

out

with

a

servant of

his

to

be

in

who is the God and Protector of the meanwhile some courtiers were hunting the fox with-

temple

foxes,

happened

of Inari,

doors,

order

in

to

make use

the

of

lungs*

for

the

It happened on this that preparation of a certain medicine. a young fox, pursued by the hunters, fled into the temple,

which stood open, and

the very bosom of Jassima. The King, unwilling to deliver up the poor creature to the unmerciful hunters, was forced to defend himself and his

fox,

himself

and with

to

repel

took

force

shelter

by

force,

in

wherein

he

behaved

much

bravery and success, that having defeated the hunters, he could set the fox at liberty. The hunters, ashamed, and highly offended at the courageous *

so

It appears that, in early times, the Japanese physicians believed in the efficacy of certain internal parts of the fox, such as the liver and lungs, as a medicine for some complaints. The parts had to be extracted from the animal before life was extinct.

JAPANESE ART. behaviour of the

45

King, seized in the height of their resent-

ment an opportunity which

offered

to

kill

his

father.

royal

Jassima mustered up all his courage and prudence to revenge his father's death, and with so much success, that he killed the

traitors

with

his

own hands.

The

fox,

to

show her

gratitude to her deliverer, appeared to him, after the victory which he obtained over the murderers of his father, in the

shape of a lady of incomparable beauty, and so fired his breast with love, that he made her his wife. 'Twas by her this son, who was endowed with divine wisdom, and the precious gift of prognosticating and foretelling things to come. Nor did he know that his wife had been that very fox, whose life he saved with so much courage in the temple of Inari, till soon after, her tail and other parts beginning to grow, she resumed by degrees her former

he had

Kaempfer

shape." of

finishes

the least considerable It

is

— " This

by adding

of the

histories

is

of their

not

one

Gods."

absolutely necessary, for a proper understanding art of such a thoughtful people as the that some knowledge should be obtained of the

and study of the Japanese,

popular literature of the country.

We

have given the

fore-

going curious because

it

specimen of its legends or mythological tales, forms a key to the whole subject of the popular

promulgated by the priests amongst the more ignorant and wonder-loving sections of the community. There are numerous other tales common in the country, superstition

which foxes take very prominent parts in playing wicked and pranks and unkind jokes upon unwary human beings many of the stories are of the most mirth-creating character,

in

;

while they are not devoid of wisdom in their hidden moral. There can be little doubt that at no very remote period there existed, and even to some extent there still exists, in

Japan a firm belief that foxes and certain other animals were endowed with the power of assuming human and other forms at will, or at the bidding of some ruling being there;

we can scarcely be conceits we meet with

fore,

surprised at any vagaries or fanciful in the art works of the country.

JAPANESE ART.

46

Unfortunately the key to

We

all

these

is

at present out

of our

imperfectly acquainted with the vast mass of Japanese literature, and the popular beliefs and fallacies of past and present ages but, in the future, as reach.

are

only very

;

Japan becomes more connected with the West, and Europeans more learned in its languages, we shall doubtless have ample opportunity of investigating these interesting subjects. Of all the other animals which are supposed to

be

endowed with these supernatural powers, the badger (tanuki) appears to be the one most frequently mentioned in the popular tales of the

fox,

but as

;

is

it

its

imaginary pranks resemble those

unnecessary to allude to them further.

and humorous

ivory carvings of the Japanese, no animal is so frequently met with as the monkey or ape (saru), and the greatest skill is displayed in its

In the grotesque

its natural propensities to mimic human representation actions are carefully noted and turned to good account in ;

these curiosities of the

monkey

is

art.

On works

sometimes

of porcelain and pottery, introduced in the form of a gro-

are given on Plate XXVII, good where two flower jars are represented, upon which are two monkeys, modelled in relief, and grotesquely rendered with illustrations of this

tesque;

unnaturally long arms. The other animals which are constantly found in works of Japanese Art, such as oxen, deer, bears, dogs, cats,

and frogs, scarcely call for particular comment, well represented in drawings, and generally with being fairly great artistic power in carvings, metal work, and the like. rabbits, rats

A

careful survey of Japanese

Art clearly shows that of

all

natural It

is

objects quadrupeds are the least frequently depicted. rather difficult to account for this except upon the

comparatively few in the country, and, as we said before, the absence of favourable opportunities for personal examination and study from the life.

ground of there

But apart from

being

this,

we suspect

that the

disinclination

to

four-footed animals proceeds from the fact that they do not readily lend themselves to the capricious and fanciful

depict

JAPANESE ART. tastes

47

and mannerisms of the light-hearted

The monkey forms an

to

the

of Japan.

artists

list

of quadrupeds, depicted in that

exception a being practically biped, and is generally It is the monkey's power capacity in Japanese Art works. and impulse to mimic man which makes him such a favour-

and

any extravagance or exaggeration in delineation that the most fertile brain can realise. We may mention that the elephant, sometimes seen in Japanese work, is a Buddhist emblem, and is copied from Indian ite,

justifies

Art.

The Japanese

of the present day hold with considerable the belief of their forefathers, that in the early ages respect of their race they were a nation of fishermen. It is not

a

common

who have become

thing for nations or individuals,

great and powerful, to strive to remember, and or inform others regarding, their humble origin.

much

where so

many

centuries,

private

power

and

combined with a

arrogance of

nobility

to

remind

In Japan, existed

for

and

an

soul

where self-immolation altogether unique code of honour; has ever been preferred to personal and family disgrace, or indeed to the taint of suspicion we have an instance ot ;

this

We

uncommon

endeavour, say the Japanese, humility. to keep before our minds the fact that we have ever been a nation of fishermen, and have been fed from the treasures of

the

sea

;

it

therefore

behoves

us to

be humble-

minded and not given to enervating luxury whatever our may be, and whatsoever we give or receive, let us remember our humble origin, and strive, with the simplicity and thrift of our forefathers, to be as great as they were. To keep up and express this sentiment, the natives of Japan, ;

wealth

from the highest to the

lowest,

invariably

accompany

their

We

will not go so presents with a piece of dried fish. far as to say that the practice in modern times is one of habit rather than of genuine sentiment, but we gravely suspect that, in high quarters, it has a taint of the "pride that

apes humility." practice

is

Be

this

as

of very ancient

it

may,

origin,

it

is

certain

that the

doubtless dating from

a

JAPANESE ART.

48

time when the presents of fish were of intrinsic value as articles of food. ever

since,

the

gradual

substantial It

of

introduction

ones and

has been continued

more

costly

gifts,

reducing the accomusually shape panying presents of fish until the slender strip of dried fish alone remained, a symbol only of past ages, a remembrance of the occupations of the founders of " Great Japan." With the above facts in view, it cannot be wondered of works

the

in

of art,

—

and other productions of the sea are so freinto Japanese Art, and always rendered introduced quently Of all animated with the greatest truthfulness and skill. at

that fishes

objects,

birds

Japanese

certainly the

are

no

artist,

doubt

on

favourites

greatest

account

of

their

with the beautiful

plumage, the gracefulness of their actions, and the propriety with which they may be introduced, alone or with flowers

and

foliage,

shell-fishes

in

classes of ornamental art

all

rank next in his

times receive in their representation fined and choice manipulations.

An

;

but fishes and

appreciation, and

some

certainly

of the

most

at re-

be given at this point. The woodcut opposite represents a button, probably once attached to a Japanese smoking apparatus, in the form of a fish with instance

of this

may

a portion of one side cut away, executed in the most perfect and beautiful manner in inlaid and incrusted lacquer. There a custom, apparently peculiar to the Japanese, which is followed at certain ceremonial banquets; namely, that of is

bringing fish

alive

in

water vessels to the table, afterwards

cutting them up and eating them while

A

description

in a quivering state.

custom given by a native of Japan There are certain fish detailed as follows

of

the

—

be briefly caught in an inland lake, situated amongst the mountains, which are highly prized as a delicacy by the epicures of the

may

:

These fish are caught alive, placed in vessels of country. the lake water, and conveyed to the cities with great care, so that they may appear at table in a perfectly healthy condition. Placed in portable cisterns of porcelain, lacquer or bronze, they are in view of the guests during the banquet,

JAPANESE ART.

49

and when the proper moment arrives to eat them, one is taken from the cistern, and a piece of moist paper is laid over its eyes, on the application of which the blindfolded fish lies per-

A

still.

fectly

knife

sharp

then

is

two dexterous cuts, about one-half of one side of the fish is removed and immediately handed to with

and,

taken,

the principal guest, who proceeds to eat the delicate morsel with certain

condiments, while the is

still

fish,

alive,

replaced in the water.

The cut

is

object depicted in the woodevidently intended to represent

the fish

this

at

modelled with a

stage, for portion of one

Japanese materials

the

:

rendered apparently

on

skin

minute

a

in

imbedded

is

side

fins,

tail,

;

front

mosaic of

composed in

the

is

work,

fish

spines the teeth seem

lacquer be those of the natural

the

it

This interesting specimen of Art is executed in various

removed.

to

latter

fish

;

and

and other parts are in cut portion, towards

The

gold lacquer. the tail, is most ingeniously represented

»^

by tinted mother-of-pearl, manipulated in the skilful manner which seems to belong to works of Japanese Art. This is simply a button or pipe- case holder, and is modelled from a small fish,

but

it

clearly proves that its artist

considered the fish a worthy and digniand that too much care and

fied study,

labour could not be expended on faithful representation. The button of everyday use,

so

to

speak, G

FISH IN INCRUSTED LACQUER (BOWES COLLECTION).

its is

in itself a simple object

but the art and loving care

JAPANESE ART.

50

bestowed upon

elevates

it

the dignity and value of a

to

it

high art jewellery, and carries us back in masters of art were imagination to the time when the great content to spend months of toil, and lavish the wealth of their minds, upon a lady's fan or the handle of a dagger. of

choice piece

A

does

stamping press

Birmingham

all

such work for us

doubtless be sent to Japan, stamping out all traces of its truthful

now, and stamping and will thus aid in

presses will

and beautiful national Art. But to return to our subject. In Japanese work, fishes are everywhere met with, depicted with the greatest freedom of hand in Indian ink, a few shaded dashes of the brush represent them most lissom action of

the stiffness

sufficing to

in

the

life.

death or in

of

Laboriously

with

drawn,

the greatest accuracy of detail, and in their natural colours, they sport amidst the curling waves, or dart up a waterfall. Carved in ivory, they form a cosmetic box for a lady's toilet; they are cast in bronze for a water vessel, or sculped in

and gold

steel

porcelain

for

for

a

a warrior's

flower

vase,

or

sword for

or modelled

hilt,

dishes

the

for

in

table

;

wrought in wood and lacquer they form ornaments for cabiand, nets, and all manner of beautiful household articles ;

lastly,

and

they

are

elevated

formed of oiled

on

tall

poles

to

paper, indicate

expanded

some

with

air,

occasion

of

great festivity.

Judging by native drawings, the seas around the Japanese islands appear to yield a great variety of fishes, crustaceans, and other marine animals, many being remarkable for their

uncommon forms and the brilliancy of their colouring. later on we give a series of reproductions from an

A

little

interest-

ing book of coloured drawings on silk, in which the leading varieties of Japanese fish are graphically portrayed.

The Japanese in

which

are

fishes

frequently indulges in caricatures, an instance of prominently introduced

artist

;

termed a caricature, this, although properly may be seen upon a Kioto basin, figured on Plate XXIV. The subject is legendary, and represents a marine battle, it

cannot

be

JAPANESE ART. in

which

all

denizens of the

the

hands of an

the

51

deep are engaged. such a scene would

In

be ordinary artist the but of this basin has succeeded in ridiculous, painter a of decorative art full of character and producing piece expression every fish seems to burn with martial glory, while the mighty dragon lashes the waves with his scaly tail, and the eight-limbed devil-fish, the very impersonation ;

of an

inhabitant

some

of

infernal

cave

or

bottomless

pit,

brandishes his deadly weapon in the fray. A carp (koi), drawn in the act of ascending a watera subject very frequently met with in all branches fall, is of

Japanese

Art.

and, than any other native artists. situations,

The depicted,

carvings the artist

It

is

indeed,

it

octopus,

is

an

being

fish,

or in

drawn in various other more commonly represented

also

especial

devil-fish

the

especially of the Japanese

(tako),

favourite

is

also

quaint ivory netsuke or

;

and

one

sometimes

with the

frequently

humorous finds

that

has indulged in very broad humour indeed, not but it is unnecessary for altogether free from indecency us to dwell upon this questionable phase of Oriental art;

thought. Shells are great favourites in ornamentation, and particularly in that of lacquer work, where, executed in richly raised

gold and tinted lacs, they present very pleasing effects. Coral and seaweed are likewise introduced, sometimes along

and at other times alone, but invariably in a successful manner. Both reptiles and insects are pressed into the service of the ornamentist, and are truthfully represented wherever We have had the opportunity of they are introduced. examining some rolls of silk fabric, painted with representations of snakes, lizards, frogs, land-crabs, and all the varieties of insects common to Japan. Executed in thin bodythese with the greatest delicacy combine colour, paintings and beauty of detail the soft effect of the natural colours, with

shells,

indicating the

most accurate

observation

and

careful

study

JAPANESE ART.

52

on the part of the

artist.

lacquer-work, in the form

Several important specimens of of large

saucer-dishes, have been

coiled serpents brought to Europe, upon which magnificent are depicted, in raised metallic work and coloured lacs, with

eyes of

Snakes are favourite and teeth of ivory. netsuke, where they are usually found associated

crystal

objects

for

with

human

a

skull,

decayed

fruit,

or

some such emblem

of death.

Insects are almost as frequently introduced into their works as birds and fishes; they are wrought in coloured materials

upon such objects as ivory boxes, fan handles, buttons, and the like; carved with the utmost fidelity in netsuke; sculptured and inlaid in bronzes; painted on fans, screens, and all articles of porcelain, faience, and lacquer. The immense variety of treatment of natural objects met with in Japanese Art renders the subject almost inexhaustible; and we feel, conscientious labourers as we desire to be, that we cannot do justice to it within the limits There is, perhaps, nothing necessarily imposed upon us. which astonishes the student of Japanese Art so much as the endless variety it presents; fact that each work is the

this is

result

accounted for by the of

individual

genius.

our sense of the word, may be said to Manufactories, have been unknown in the best days of the Empire; each in

worked out his own inspirations, own ideas, and in his own way; hence it is that we find so much variety and originality in almost Much of this is everything which has come from Japan. and every

artist

according to

or artizan

his

and constant changes are going on in the in writing a footprints of Western civilisation and, alas dissertation on the Art of Japan, the essayist must look almost exclusively to its works in the past, and shut his eyes to its modern phase.

altered

now,

!

;

Having thus briefly mentioned the natural animals or living creatures most commonly introduced by the Japanese in their works of art, and leaving the human form for the present, we come to the subject which next presents itself for our

JAPANESE ART.

53

consideration, namely, that of fabulous or chimerical creatures. It is to be regretted that the slight acquaintance with

Japanese literature which at present

leaves this inter-

exists

esting subject in considerable obscurity, and surrounded with One readily learns the externals, difficulties to the student.

or what Japanese Art presents to the eye, but it obtain a true or even moderately difficult to

knowledge of the symbolic, of the

limned on

all

satisfactory or poetic significance which are so constantly

of native

descriptions

extremely

religious,

chimerical creatures

several

is

work.

Our personal and repeated questioning

some

of

of the

Japanese who have visited England and the resulted in the acquisition of much knowhas not Continent,

most

intelligent

ledge with It

ject.

to the

reference therefore

is

more

fortunate

rather of the external, or

subtile

we

that

points of the subhave here to treat

than of the theological

art phase,

and mystical. First

dragon

rank

in

(riyo),

of

all

which was

times from Chinese Art.

China

and

fabulous

derived

doubtless

In

all

creatures

essentials

comes

the

in

very early

the

dragons of

only practical difference being in their imperial rendering, where the former has five claws and the latter three.

Japan are

The dragon great force

alike,

the

invariably depicted in Japanese Art with and in every conceivable attitude. spirit,

is

and

body long, snake-like in its proportions, covered with scales, and furnished with rows of prominent pointed spikes along its back; the legs, four in number, are likewise scaled, the and armed with spikes on the outside of the joints Its

is

;

feet, divided into three members, terminating in curved claws, The most are represented as very muscular and supple.

characteristic

creation

of

and

fearful

looking

the Eastern mind

is

part its

of

head

:

this

monstrous

derived

in

the

instance from the most angry type of serpent head, it has been added to and elaborated into an object altogether fearful. Around both upper and lower jaws, the corners of the first

capacious mouth, and the eye-brows, are rows of formidable

JAPANESE ART.

54

the

base of

from the

spikes;

extend backwards

;

long

skull

double-pronged

horns, or gigantic

flexible

the sides of the nose; the

grow from

horns

antennae,

armed with about the head and

mouth

is

pointed teeth and wild-looking tusks; the junctions of the legs with the body are flame-like forms,

From which appear to coil burning round those portions. such a description one would imagine that the dragon was intended evil

every

—

personate the devil to be the incarnation of but such does not appear to be the principle

to

;

Japanese view

we

and here the

;

assured thus

are

difficulty

we

far,

commences,

for while

cannot arrive at the definite

Japanese hold with reference to the monster. So as we can learn, the dragon is believed to exert a the

ideas far

potent influence over nected with emperors

all

important and national events con-

and heroes.

— " The

Kaempfer says chronicles and histories of their gods and heroes are

fabulous

of this animal.

stories

bottom of the

at- the

represent snake,

it

scaly

all

along monstrous and

prickles

sea,

their

in

as

books

:

They in

its

a

as

believe that

it

full

of

dwells

proper element. They huge, long, four-footed

over the body, like a crocodile, with sharp back but the head is, beyond the rest,

its

;

Some

terrible.

of

the

Japanese Emperor's and the like, as also the furniture and hangings of the Imperial Palace, are adorned with figures of this dragon, holding a round jewel or pearl his

cloth,

the

arms,

scimitars,

knives,

be regretted that Kaempfer has not given us some good specimens of these chronicles and histories, to guide us in understanding the Japanese belief in the dragon he certainly gives us one legend in in

right

fore-claw."

It

is

to

:

connection with the lake of Oitz, which we here transcribe. " A dragon, an animal in high esteem with most heathen nations of Asia, but particularly with the Chinese and

legs,

Oitz.

dra, big,

who

in their pictures as

having hands, and two horns, lived upon the shores of the lake of There was at the same time a very large scolopenor forty-leg, as long as two men and proportionately lived upon a mountain, or rather round hill, situate

Japanese,

represent

it

$q

^

Pi

JAPANESE ART.

on the road

about two

miles

55

from

habitation

the

dragon, which, from this

Makaddo

or

Yama, very

forty-leg

monstrous animal, is This forty-leg mountain.

much

infested

habitation

of

the

laid

the

dragon,

by her. eggs between the two animals,

its

where

Upon

it

of

the

called

monstrous

and

roads thereabouts,

the

night-time came down from

the

still

in

mountainous seat to the destroyed and ate up a

this

stout

wherein the

battle

dragon

arose

obtained

a

To perpetuate the complete victory, and killed her enemy. memory of this action, a temple was erected in that part of the

village

called Tawarrattadu,

and was shown

us,

Although water

which temple

still

exists,

convincing proof of this event." appears to be the proper element of

as

a

the Japanese dragon, it is by no means confined to it, being at times depicted amidst clouds and flame in the same

manner as the

We

Chinese

animal

is

commonly

represented. legendary history or

of

are

opinion that, if Japanese could be thoroughly known, it would be found mythology that there existed a belief in two descriptions of dragons one inhabiting the sea, and the other the regions of the

—

we have

however, met with anything in the form and indeed in Chiof a winged dragon in Japanese Art nese Art, where the dragon is clearly depicted as an air

;

not,

;

of the

inhabitant

the

air,

same absence

remarked.

of wings

is

to

be

a

In Plate VIII, Fig. i, given spirited amidst a clouds, copied from drawing Japanese dragon a native roll in the possession of J. Beck, Esq. and in the folio edition of our Work is represented a vase of Kioto is

of

;

ware,

which

in is

the possession of Holbrook a beautiful rendering, in

issuing from the

waves of the

sea.

of

Esq., upon the dragon

In these

illustrations

Gaskell, relief,

the

dragons are substantially alike in all essential features, and have the same flame-like appendages. The dragon appears to have been a greater favourite

with the ancient than with the modern artists, and accordingly is more On objects of cloisonne frequently seen on old works.

enamel

it

often occurs

;

for instance, in the

Bowes

Collection

JAPANESE ART.

56 of

this

numbering about two hundred specimens, no

ware,

On these fewer than forty are embellished with dragons. interesting pieces the creature is rendered in several different sometimes with four claws, instead of the more usual Imperial style, with three only; in a few instances it is

ways

;

and on two pieces are depicted fighting with an eagle dragons in the act of fighting together. The dragon enters into the mythology of Japan, and is In a evidently connected with the lives of certain saints. ;

roll

mythological

(Bowes Collection),

great interest, are two

with drawings of

filled

figures of saints

one

;

is

that

of an

man

holding aloft an incense burner, and riding upon a dragon, which is walking in the sea the other is that of a saint, holding a fan, and standing erect upon his

aged

;

through the water, appears to have miraculously assumed the head of a dragon. Of the fabulous animals of Japan, the next in order of which,

staff,

darting

importance is the kirin. This creature is represented in art with the head and breast of the dragon, the body and legs of a

and a

deer,

ventionalised

tail

of

lion

somewhat similar to China and Japan are

of the

appendages

that of the con-

the

;

also

to

flame-like

this

creature, given dragon the of the with the appearing junctions legs body. The kirin is believed to be an animal of good omen, and of at

such extreme swiftness

avoid

of

although will swerve from

gentleness, foot,

it

that,

injuring an insect or crushing a

gifted its

leaf.

with

direct

great

path

to

The Japanese

have described the kirin as a supernatural animal, requiring for its creation the concurrence of a certain constellation in heavens, and the birth of a

the

A man

*

seijin

upon

earth.

Repre-

endowed by nature

human

penetration

things,

and withal so

;

a

man full

with an incomparable understanding, and a more than capable to dive into the mysteries of divine and supernatural of love towards mankind, as to reveal his discoveries for their

common benefit. There are famous, as such, the two Chinese Emperors Gio and Sinn, the memory of whose excellent government, and the great discoveries they made in the knowledge and virtues of two Chinese Philosophers natural

truths

;

Dharma

will always be dear to that Empire ; Koosi and Moosi, Shaka, an Indian Philosopher, and great discoverer of superChina, and Sotoktais in Japan, both founders of particular sects,

plants, ;

in

and persons of an unspotted holy

life.

— Kampfcr's

History of Japan.

JAPANESE ART.

57

are very frequently met with in all of departments Japanese Art, alone or in conjunction with the mythical bird called the ho-ho, but we have seen only

of the kirin

sentations

one instance of the creature under

its

peculiar constellation square dish of porce;

a copy of this, which occurs on a painted with blue, we give in Fig. 2, Plate VIII. The kirin is upon the earth, as is indicated by the rock and tree, but the artist, desirous to convey the idea of

lain

swiftness

and lightness of

clouds.

The

has depicted it treading upon shown, in the conventional manner peculiar to the astronomers of the country, directly above the head of the creature.

We creature,

unique,

the

but that

ancient

it

is,

is

know much regarding

do not

which

belief

foot,

constellation

appears that

had been

Japanese to have one

only

the

kirin

form

exact

in

this

believed

existed

at

of

mythical be to

the

same

time, being called into existence under the conditions before detailed. have only met with one instance where two

We

kirins are

iron

depicted

together damascened with

dish,

Bowes

Collection.

which has

all

the

this

;

is

upon a

very

ancient

This curious

recently added to the specimen of Japanese Art,

evidences

being

silver,

of

many

centuries

old,

probably a work of the warlike or iron age of Japan, was doubtless a commemorative piece, recording some reputed event of consequence to the Empire. " History of Japan," a drawing Kaempfer gives, in his of the Japanese kirin, and also another drawing of what

according to the Chinese rendering. The latter represents the animal commonly known by the term kylin, and we gravely doubt if it is intended to repre-

he says

is

the kirin

any way akin to the peaceful light-footed kirin of Japan. An animal very similar to it in outward appearance is frequently seen in works of Japanese Art, but this, we are informed by natives, is intended to represent the lion. The rendering is strictly conventional, and we are There are of opinion it is copied from the Chinese kylin. sent a creature

no lions

in

in

the Japanese

islands,

H

and therefore the ancient

JAPANESE ART.

58 artists,

their

in

seclusion,

could

arrive

no correct

at

beasts, no ideas at all which reached them from

king of

regard to the the few art works

ideas with

save

entire

from

China or the Corea. Although greatly modified in details, and endowed with supernatural powers, the Chinese kylin the proportion has no doubt been derived from the lion of the head, the ample mane, the feet with hooked claws ;

and

tufted

the

original

tail,

all

clearly

source of the idea

created the

fabulous

beast.

from In

point

the

to

which

lion

as the

the Eastern mind

Japan the kylin does not

appear to be understood, while the conventional form, representing the lion, is of constant occurrence in works of art. Plate VIII, Fig. 3.

A

Japanese, with

whom we

were con-

versing, on being shown one of these drawings, unhesitatingly uttered the word " shishi," which signifies a lion; and,

on being interrogated, he stated that the drawing was intended to represent the natural lion, and not a fabulous beast. The shishi is frequently introduced in Buddhist subjects,

sometimes along with the elephant similar intention, both the lion and of India,

the

of

(zoj,

and clearly with a

elephant of

the

being natives

Buddha.

birthplace religion shall have to allude to this part of our subject again we come to speak of mythological art-subjects.

We when

Kaempfer gives two additional kinds of chimerical animals, to which the names suugu and kait su are attached; descriptions afford literally no information relative to their attributes or significance. The suugu is somewhat

but his

a tiger in shape and marks, but not of a very ferocious aspect, and has the flame-like appendages apparently common to all the Japanese fabulous animals. do not remember

like

We

to su,

have seen this creature in any work of art. The kait on the contrary, is often introduced by Japanese artists.

representations of this animal occur on the doors of two valuable lacquered cabinets in the collection of His

Beautiful

On Plate VIII, Royal Highness the Duke of Edinburgh. we a Fig. 4, give drawing of the kait su as most commonly the represented by Japanese.

JAPANESE ART.

But of

59

chimerical animals the tailed tortoise (kame) is unquestionably the favourite, and the most frequently introduced in works of art. Unlike the other fabulous creatures, which are altogether unnatural in appearance, and born of the

all

perfectly natural in the form of its from the ordinary tortoise by the addition body, differing only of a long hairy appendage or tail. As this creature is not

imagination,

believed to be

on

that

it

is

endowed with any supernatural perhaps, be more correct

account

The Japanese

emblematical animal.

it

gifts,

to

call

would, it

an

believe that the tortoise

under favourable circumstances, for several hundreds of years; they have accordingly accepted it as an emblem of lives,

and introduced

longevity,

with that significance into every works. The tail indicates great

it

department of their art to age, and is supposed centuries

we have heard

;

grow only said

it

after

that the

the

lapse

tailed

tortoise

thousand years of life, whilst without a only one thousand years is signified.

represents ten

of

tail

The names given to this tortoise by Kaempfer are ntooke and minogame, but we have been unable to find the words in any other authority. Minogame is certainly given in Titsingh's work, but evidently taken from Kaempfer. Titsingh, in his interesting "Illustrations of Japan,"* details

ceremonies observed at the Court of Shogun on

the

the evening of the third day of the first month of the year, and adds " Each prince presents the Shogun with a varnished cup, on which are painted, in gold, representations of cranes, tortoises, fir-trees, and bamboos, as determined by

—

a

special

emblems

All these ornaments are accepted regulation." of longevity, and therefore the cups are expressive

of new-year wishes for long It

is

absolutely

life.

impossible

which the emblematic tortoise

is

to

enumerate

presented in

the

ways in Japanese Art ;

* Illustrations of Japan ; consisting of Private Memoirs and Anecdotes of the reigning dynasty of the Djogouns, or Sovereigns of Japan ; a description of the Feasts and Ceremonies observed throughout the year at their Court ; and of the Ceremonies customary at Marriages and Funerals, &c, by M. Titsingh, formerly Chief Agent to the Dutch East

India

Company

at

Nagasaki.

4to.

London, 1822.

JAPANESE ART.

60

and in every kind of appears in every variety of treatment, it is formed into dishes, In porcelain and faience material.

it

and tasteful ornaments, and painted on all it is carved in wood and Keramic ware cast and wrought in metal, forming ornamental perivory fume-burners, and other articles of utility; fashioned into and introduced as an expressive ornament lacquer boxes

teapots, bottles, descriptions of

;

;

;

on

all

objects

finished

in

lacquer.

There remains only one other chimera belonging to the Japanese, and, artistically speaking,

most refined and in

of

creations.

their

all

This

is

form of a bird, of rich plumage, furnished with a

the

superb

beautiful

unquestionably the

is

it

tail

of long

feathers.

waving

It

is

somewhat

difficult

to give the true pronunciation of its name according to the Japanese, there not being an English equivalent for the

sound of the second syllable of the word. Listening to a native repeating the name, we wrote it down ho-ho, but the usual sounds of these letters produce by far too hard a result. is

Hepburn

rather better,

spells

it

and

although his

method

short of conveying the liquid sounds Many years' use of our original spelling it agreeable to our ideas, and, with these

of explanation,

we

shall continue to

adopt

present Work.*

in the

On

made

way

howo;

falls

it

of the Japanese.

has naturally few words by

it

Fig. 5, is given a copy of a spirited of this fabulous bird, from a roll of native hand rendering In the original it is in rich colours, such as drawings. Plate VIII,

and dark greens, &c. The ho-ho is a great favourite with the Japanese artist, and he never fails to depict it with elegance and gracefulness. As a purely decorative object it gives almost unlimited

scarlet, yellow, light

and dark

blues, light

to the designer, who can with facility dispose the and wings pliant tail plumage to suit any form of object an example of this may be seen on the centre dish in

scope

;

Plate *

are

XVI.

Kjempfer

given in

calls

the bird by the

Hepburn.

name " Foo" but

gives

the

same characters

for

it

as

JAPANESE ART.

61

Like the generality of the chimerical animals, the ho-ho appears more frequently in ancient than in modern art-

having been introduced at a time when firmly believed in than it is now.

works,

existence

its

was more

The Japanese who have been brought

into

intercourse

with Europeans and Americans have doubtless lost many of their national ideas, but in the interior of Japan the priests

and the natives still believe, the fabulous stories of the Gods and ancient heroes of their Empire. The belief

.teach,

connection with the ho-ho

in

of the

regions

and descends

out

air,

earth

to

of the

— of

some person,

and

beneficial

in

short,

influence

bird

found alike natural

two examples

in

others

at

feathers,

some cases the and it is depicted it

sometimes

;

it

appears

When

to

portion

time

it

ese

Art.

ally

and

is

it

is

seldom

closely resembles

on Plate

VIII;

our

of

Essay

are

differently designed.

we now

enter

upon,

the

may

;

of the It

is

be called Graphic Delineation, is one at the same most difficult to do full justice

of which

which

as

tail

two birds are represented together

usually happens that their tails

The

it

differ

likeness to feathers altogether disappears, as an elegant flowing mass of conven-

scrollwork.

subject

upon the

do not

Its

in

tional

is

is

head, body, and wings very materially in the representations, but its illustration.

its

who

treated in various ways, from which infer that there are no strictly prescribed rules for

we

fact

sight

dwells in the higher or knowledge of man,

it

only at the birth of a great warrior,

philosopher, or law-giver to exercise an important country. In art the

that

is

greatest

interest

to the student of Japan-

embraces the methods of representing graphic-

artistically

objects

of nature at

and the modes of expressing,

by simple

rest or in

motion,

delineation,

ideas

present in the mind of the artist. will preface the few following notes by desiring our readers to bear in mind that all branches of Japanese Art or

fancies

We

are

decorative,

and that the correct principles of decorative

JAPANESE ART.

62

vary materially from those which of necessity obtain in The Japanese are, in every sense of the pictorial art. art

students

word, devoted there

yet

is

still

;

admirers

of

natural

scenery

;

no record having essayed to portray the methods accepted by us as artistically there is scarcely an article of common everytheir

after

landscapes correct

and of

day use throughout their land upon which there is not an impress of their love for nature's handiwork, or which is The Japanese have had no not an essay of artistic skill.

De Wint,

but yet their artists have seldom to produce works more or less beautiful and interesthave our treasures of art hanging in the closed

Cox, or

Turner, failed

We

ing.

and the generality of our manumansions of the wealthy factures and our articles of everyday use are more or less Here art and taste and beauty are for the wealthy ugly. ;

;

the

must needs

poor

In Japan

existence.

forget that there are such things in the poorest peasant has his tastefully

decorated sake-cup or rice-bowl of porcelain or lacquer,

and

enjoys his graphically painted fan. What we wish our readers to understand by the term Decorative Art, we may here briefly describe. It is not

painting on canvas, or a drawing on paper, framed and glazed, valuable and beautiful in itself; it is art,

like

the

art

and

to

an

oil

which adds beauty and interest to objects of

common

the

articles

of everyday

life.

The

utility

distinc-

drawing on paper, framed and glazed, can be hung anywhere, or, simply mounted, it may be shut up such a drawing represents high art, and in a portfolio

tion

is

this

a

:

;

greatest effort of human intellect and on the other hand, a drawing on a fan, skill in delineation reference to the object to which it is applied, with treated

perhaps displays the ;

and

still

sentative

of beauty, interest of decorative art.

full

There

upon

No

as

other

can exert

and expression,

is

a repre-

no reason why decorative art should be looked indeed, it has a noble mission to fulfil. ignoble is

;

description of art can be so widely spread, or so beneficial an effect on all classes of mankind ;

JAPANESE ART.

63

only art which can be linked with every waking hour of our lives, which can meet us at every turn. Speaking of decorative art, of course in its highest development,

it

the

is

—

Mr. Ruskin says: "Observe, then, between decorative and other art fixed

tion

and

The

only distinction the being fitted for a

first.

is

that place related, either in subordinacommand, to the effect of other pieces of art. the greatest art which the world has produced is

place or in

And

all

thus

fitted

;

in

a

for

and

place,

subordinated

a

to

purpose.

There

is no existing highest-order art but is decorative. best sculpture yet produced has been the decoration of a temple front the best painting the decoration of a room.

The

;

merely the wall-colouring of a suite the Vatican, and his cartoons were made

Raphael's best doing of apartments for

in

tapestries.

is

Correggio's best doing

two small church cupolas

Parma

at

Venice

thoughts,

common It

and

while Titian

;

the

decoration

of

Michael Angelo's, of

;

a ceiling in the Pope's private chapel ing and side wall belonging to a

is

;

Tintoret's, of a ceil-

society at Veronese threw out their noblest

charitable

not even on the inside, but on the outside of the brick and plaster walls of Venice."

must not be understood

that, in quoting

Mr. Ruskin's

glowing words, we claim for the decorative art of Japan any such high position as is readily accorded to the works of the great masters he alludes to; in short, the art of

We simply art at all. ask for the Japanese phase of decorative art that it shall be looked upon as a development unique in itself, and perJapan cannot be called monumental

fectly satisfactory

so far as

its

office

extends.

It

has been

in many quarters, by men who have never studied from a correct point of view, and who have not thought worth while to ask themselves if it is just to compare

condemned it

it it

with the advanced and highly cultivated works of Western

genius

and science.

of perspective;"

remarks islander

"he

"

The Japanese

artist knows nothing understand aerial effects," are not does made concerning the nature-adoring

frequently of the East

;

but

we

question

if

any

Western

JAPANESE ART.

64

has ever loved nature more keenly, or studied more her wondrous works, than the humble decoattentively artist

rative

of

artist

He knows and

Japan.

much much as

uses as

of

is works require, and quite as commonly found in the most correct efforts of other countries; he is infinitely more appreciative of, and truthful to, the principles of nature in his representations of animate and

as

perspective

inanimate

his

creation

than

Western

any

while

artist,

as

a

not surpassed by him. things claim the admiration of the student more than the power of expression, combined with simplicity of colourist

he

is

Few

treatment, which Japanese Art almost invariably displays. Many instances of this graphic delineation will be given in the following pages, while, from the extreme and sometimes

insurmountable anything

like

difficulty

their

of

integrity,

reproducing

works

in

do justice

to

original

the attempt

to

them by description would be hopeless.

The term graphic

delineation, as used here,

understood to refer to drawing only;

it

must not be

includes the

representation of any object or idea in any material; but it does not refer to the material so much as to the characteristic

method adopted in

that It

to

represent the object or express the idea

material.

must be

attention to

freely

Japanese

that into which the

admitted, by Art, that its

human

all

who have

paid any

weakest department

figure enters.

is

There is a strange which nearly always

conventionalism, not easily accounted for, presents itself in a Japanese rendering of the figure; not the same conventionalism which is observed in

it

is

the

miniatures of early manuscripts, or the quaint glass of the twelfth tive

and thirteenth centuries,

in

Europe

;

nor

is

it

indica-

of a total disregard for, or ignorance of, anatomy but bears indication of traditional caprice or popular ;

rather

mannerism. No doubt the clumsy and withal gorgeous armour of ancient times, and the peculiar stiffness of the costume, had much to do with this conventionalism. That the Japanese artists are not incapable of representing

national

JAPANESE ART. the

human

figure

the

in

65

manner we

consider

artistic,

is

shown by an inspection of the beautiful and expressive That ivory carvings which have come from their country. they study anatomy there is conclusive proof. In the International Exhibition of 1874 there was shown an ivory clearly

about nine inches high, in which every individual bone was distinct, and carved with the greatest precision skeleton,

and fidelity to nature. This truly wonderful little work must have been the result of most careful study and accurate investigation, and it is quite impossible to do justice to its merits in a description without appearing to exaggerate. On the other hand, it must be allowed that it does not prove that the artist was equally versed in the subject of muscular

development, the knowledge of which requires the practice of

We

dissection.

has

are

led

to

believe

that

the

human body

been systematically dissected for scientific purthe but some little acquaintance with its poses by Japanese internal structure and organs must have been acquired not

;

by some means, or their curative system of moxa burning could not have been so fully developed as it appears to be.

The Japanese sports,

the

fond

of

certain

and wrestling muscles are invariably

particularly

athletes

are

;

in

kinds their

represented

of

athletic

drawings

of

unnaturally

This practice seriously mars the otherwise truth-

developed.

We

and

say expressive character of the delineation. that the muscles are invariably exaggerated this applies to all drawings of athletic sports, save those intended as cariful

;

which may be traced every imaginable deformity and attenuation of which the human frame may be supposed to be capable, thus imparting to the drawings a most catures, in

ludicrous

character.

While examining the better class drawings of the human figure, the student of Japanese Art cannot fail to be struck with the life-like action they express. These drawings are rarely highly finished or minutely detailed; sometimes halfa-dozen strokes of the brush complete the figure. 1

In this

JAPANESE ART.

66

branch of graphic delineation the Japanese French sketchers.

To

find

highest

by the

portrayed

wood

the

and

ivory

development of

Japanese carvings,

artists,

artists equal the

facial

we must

bronzes

and

expression look to their

theatrical

masks

:

GROUPS OF THEATRICAL MASKS FROM A JAPANESE BLOCK BOOK.

in

the

carvings, every passion

which

belongs to humanity,

and every shade of humour, is to be traced on their expressive faces and in the masks every abnormal development and every extravagant distortion is presented which the ;

human fanciful It

which

features

could

be supposed to suggest to the most

imagination.

unquestionably the expressiveness of Japanese Art imparts to it its high claim upon our attention. is

There may

generality of instances, indications of a peculiar carelessness of mere technical art or studied skill be,

in the

JAPANESE ART. in is

outward form

;

we cannot avoid

but

present that which

67

appeals directly

realising that there and very strongly to

the imagination which creates strong emotions in the mind, rather than merely satisfies the eye. Now this is by no means the case with the generality of European Art, where ;

more attention

paid to the gratification of the eye than to the stirring of the soul with varied emotions. Japanese Art springs from the brain, and does not affect the studied is

and laboured renderings of the Western modern schools and thus it speaks directly to the mind, not with one voice ;

but

only,

strains

in

or

powerful

weak,

the

to

according

of each

individual imagination. take up carelessly a sketch of a figure, or group of figures, such as is readily to be found in the block books or off-hand drawings of the Japanese, at first sight

strength

we

If

we

are

much

struck

only

delineation

with

;

simplicity and spirit to marvel

the

we begin

on second view

the

of

how

so

suggestive can be told by so few touches and at this point the mere delight of the eye ceases, and our minds take hold of the matter, finding an intellectual that

exercise

is

;

such

of

in

magnitude,

proportion

humble

the

to

cause, that they are drawn into communion with the artist's soul, and find that the drawing is but a symbol of some

great moral reality, after all. sketches by our Western artists

be said? artists

of

We

have,

Japan;

it

of

which

something

indeed,

and

Do we

be

will

to

well

often

meet

with

the

same

may

learn for

us

from

the

when we

acknowledge that all that is perfect does not of necessity belong to our boasted civilisation, or spring from our high state of mental culture. We question if we have an artist or

poet

amongst

us

who

loves

nature

more

ardently than does the untutored artist of Japan. before mentioned that anatomy must be

We

way

studied

studied from

in

Japan, but

it

a scientific point

truly

in

quite clear that it of view. Indeed, the

is

or

some is

not early

Japanese held an extreme dislike for touching a dead body, So far and believed that to do so was to become defiled.

JAPANESE ART.

68 as

we have been

able to

from the nude figure

in

the

artists

do

not

study rather but any systematic manner, learn,

depend upon their natural quickness of perception, laying or some greater stress upon the expression of action, the passion or sentiment, than upon the correct drawing of in

figure

all

details.

its

study of the nude, for

is

it

Every facility is given for the the custom of the poorer classes

go sparingly clad in warm weather; this may be seen to be the case from countless native drawings, but nevertheless the artists of the country do not show any love for delineto

ating the nude

figure

for

its

own

sake.

Men

wrestling,

playing practical jokes upon one another, or engaged in games of amusement or skill, are frequently depicted naked, or almost so, not for the love of the nude, but simply

because the

artist

saw naked men engaged

in

such

occu-

pations before his eyes every day. Some of the most satisfactory

human

representations of the are to be found in the decorative

paintings

and figure which are hung behind Buddhist

paintings

are remarkable

face

specimens

of

altars.

delicate

and

These skilful

manipulation, resembling in this respect the finest miniatures of the middle age manuscripts. As might be expected,

they are treated in a severely religious style, like that of the icons of the Greek Church and are most accurately ;

detailed, painted in full-toned colours,

The

and elaborately

gilded.

character of the drawings is carefully maintained throughout, by the avoidance of much relief shading decorative

and of

all

cast shadows.

artists

do not introduce

plicity

of

outline

Generally speaking, the Japanese shading, preferring the sim-

much

drawing, of decorative work.

so

suitable

for

their

description

In the foregoing remarks, our readers must not understand us to have alluded to the stiff and severely conventional figures which are to be seen upon some descriptions

Keramic wares made in Japan, such as the modern Hizen porcelain and Kaga ware. These figures are evidently traditional in the districts, and the porcelain painters go on of the

JAPANESE ART.

69

The subjects commonly copying them almost by instinct. found on the Hizen or Nagasaki ware are warlike, with the figures of noted warriors and heroes, clad in their cumbersome

armour

many-jointed

of

steel,

and and

lacquer too stiff

gorgeous in appearance, but far or be graceful in reality or representation angular theatrical, with the figures clad in fantastic garments, imivery

silk,

to

;

or scenes of court life, with the tating butterflies or birds figures of nobles or ladies, clothed in the stiff and many;

brocade costumes of ceremony.

folded

On

the

Kaga

ware, groups of aged men, and theatrical

and court scenes, are usually depicted they are

conventional,

;

in

quite different

but, style

although very to

the

Hizen

mannerisms. In Japan

by

strict

when

all

rules,

matters of

from the

costume

earliest

have

times

been regulated

until

very recently, nations broke them down.

Western had prescribed costumes and modes society of wearing them, and they were of such a fashion as Such being to render graceful drapery lines impossible. intercourse

All

classes

the

case,

is

it

not surprising that in Japanese Art

we

find

represented, more attention being ornamentation than to its disposition in graceful

drapery

very

paid to

its

folds

with

of

indifferently

and flowing

lines.

In sculpture the Japanese have reached their highest standard in the representation of Buddha, and notably in Much that wonderful work in the temple of Kama Koura.

has been written and said about

this extraordinary statue but the remarks of Mr. James J. Jarves, the talented writer on Art, appear to us to be most suitable to our present " The purpose, and we therefore quote them in extenso. highest use to which the art of the Orient has ever put

the

human

figure

of Da'iboudhs

centuries height,

the

old

at ;

sitting

customary

a

is

very

Kama bronze

with lotus

his

;

happily exemplified in the

Koura, effigy

knees

flower,

in

Japan, more

of

Buddha

doubled

forming

a

than

sixty

beneath colossal

statue

feet

him

six in

on

statuesque

JAPANESE ART.

70

whole of severe grandeur, and even majesty, combined with extreme simplicity of appearance and treatment. The great

Hindoo reformer

enjoying his nirvana, or the ecstatic disregard of outward things which he held out to his disciples as their final compensation for various probatory reincarnations is

on the earth and having extirpated every feeling which unites the heart to the world and its fleeting pleasures and % illusive

Absorbed

hopes. part of

it,

in the

Eternal Soul, and forming an integral some believers conserving a complete

yet according to

whilst

individuality,

others

hold to

its

entire

loss,

in

either

no longer suffers changes or modifications of its everlasting beatitude. Christian Art presents no motives equally abstract and destructive to all the common forms case the soul

human

every example we find absolute individuality, active or passive, but positive of some But in Daiboudhs there was to portray a human degree. of

reflecting a sentient

face bliss,

having attained to

of

baffling

it,

In

self-consciousness.

all

as consolation for

soul absorbed in all

its

own impassive

knowledge, yet disclosing none

enquiry into the unknown, and promising all personal ills a like impersonal happi-

an absolute annihilation, just according to the interpretation each believer gave to this spiritual riddle. The artist has met with no common success in dealing ness, or else

mystical an idea. Retaining the general characteristics of the human model, largely and majestically conceived, he has constructed this gigantic statue, which, while suggesting man, inspires less awe from its massive severity of form

with

so

than

its

mundane for it

inscrutable

calm

and

measureless

distance

from

and cares. Whether as an immense idol the unlettered, or an elegant symbol for the uncultivated, interests

is

wonderfully drapery flow over

impressive. Long wave-like ripples of its shore-like limbs a head-dress of shells ;

forms an effective ornament, whilst the broad contours and masses, and the unspeakable repose and benediction which illumines its every feature, each and all harmoniously unite

image of intensified enigma. A people who could thus embody the most illusive of metaphysical mysteries into a stupendous

JAPANESE ART.

must

had

have

capacities

of

an

exceedingly

71 of

conception

lofty

the

art."

With such a key as this, the student of Oriental Art must look with far deeper interest upon the numerous representations of Buddha which have come from Japan. They all bear more or less the semblance of the great

Kama

Koura, and are one and all remarkable for the air of holy calm and passionless repose of soul and body which characterises it. Speaking of such representations, Mr. Jarves remarks "Various expressions are given to the statue

at

—

Buddhas, but nirvana flesh,

as

all

the

undergone

supreme repose and joy of many wearisome incarnations

reflecting

finality

to

attain

this

in

in

purity of soul by per-

thorough

It sonally overcoming every earthly passion and weakness. is at once seen that the Oriental sculptor, in obedience to

his

abstract

practice

of

was obliged

motive, his

Grecian

reverse

to

virtually

He

brother.

tried

to

the

make men

god-like on the physical and intellectual plain of well understood human constitution. The former proposed to himself the more arduous task of sinking both into an abstract spirit ualisation, negativing all merely

and creating an

ideal

mate, perfected reminder."

bliss,

The which

destitute

natural habits

are

familiar

to

human

faculties

and ambitions

form which should suggest a consumof

every

and ways of the

artists

life

of

earthly

of the

Japan

taint

or

quadrupeds

supply

many

choice studies for graphic delineation, and much artistic skill is displayed by these cunning draughtsmen in their porThe most remarkable peculiarity observable in the trayal. generality of Japanese drawings of animals is their simplicity, a few lines only being employed to represent an animal, and to express the most violent, exertion, or the most profound

Of

repose.

all

the

larger

quadrupeds

the

horse

is

the

greatest favourite, and is invariably delineated with force and character and, indeed, in many instances skill of no mean ;

order to the

We

have already alluded displayed in foreshortening. of in a the horse votive picture, and to the drawing

is

JAPANESE ART.

72

unusual way the artist chose to delineate and up-side down, as a test of skill; but

with two brushes

it,

we may

here state, that a very large proportion of the high class drawings of animals which we have had an opportunity of examining

bear

of

evidences

most

rapid

execution,

and

a

power

of

graphic delineation certainly unequalled by the artists of It may be questioned whether any other Eastern country. this impulsive, off-hand style of drawing is in itself con-

and whether, being so progress in art fascinating in itself, it tends to direct the mind and hand but it to more sustained efforts and more matured works ducive

to

real

;

;

cannot be doubted that

it

displays great freedom of hand,

It quick perception, and an intimate knowledge of nature. is a strange thing that the simplicity we have been speaking of should be so much sought after by the artists of

Judging from the marvellous delicacy and Japan. and accurate detail in all the art manufactures

minute of

the

country, it would be reasonable to expect to find, in drawings of animals, almost every hair shown, and every detail

microscopic accuracy. While examining these graphic sketches, one cannot help feeling that in every case the artist has endeavoured to call to the mind of the depicted, with

some

and natural habit of the animal he has drawn, rather than the outward semblance or peculiarity of the animal itself; thus tameness, wildness, affection, observer

characteristic

gracefulness, swiftness, suppleness, or playfulness turn suggested to the mind by these drawings as readily as they would be conveyed by the pen of the poet. Birds are still greater favourites than animals with the

ferocity,

are

in

and, as might be expected, are drawn more and with frequently, greater skill and care, than any of the four-footed animals. The same power of graphic delineation observable in the representations of animals, is still more

Japanese

artists,

remarkable in the case of birds, whose

them the

fit

objects

Japanese.

for

soft

plumage renders

quick and feathery brush-strokes of of the most artistic and beautiful

the

Some

drawings are those which are executed with the fewest appli-

72 -73

-^>

^

PL^ T£

/

'

PLATE

IX.

JAPANESE ART.

73

cations of the brush, and shaded by graduated pressure only.

Such drawings cannot be

reproduced, either by

satisfactorily

wood engraving to

or lithography; we are therefore compelled omit illustrations of them in these pages. On Plate IX

are reproductions, in autotype, of eight leaves, from books of Japanese drawings, in the possession of W. C. Alexander, Esq. These represent a more elaborate treatment, which is,

notwithstanding, characterised of the cleverest off-hand

skill

Of

all

by

the

force

and

artistic

sketches.

the birds of Japan, the crane is the best beloved of the native artists and it is invariably depicted with a and character which it is almost hopeless to attempt feeling all

;

Both resting and in flight, its position is always and represented in the most natural and life-like manner one examines few drawings of groups of these birds without

to imitate.

;

finding satisfactory proofs of Japanese skill in foreshortening. But it is unnecessary to individualise any of the birds introduced by the native artists, for all varieties are drawn with

On Plate X are given equal truthfulness and graphic power. some facsimiles of Japanese woodcuts, reduced by photolithography, from the pages of one of the common school books of the country they are remarkable instances of the ;

artistic

effect

which a few

lines

and touches

can

produce, applied by the hand of a master. Throughout the Plates of this Work illustrations of bird

when

drawing are to be found, but

drawn

to

the

Satsuma

The Japanese

are

tray,

very

particular attention Plate XV.

skilful

in

may

the representation

be

of

fishes, which, however, do not supply the same range for Nevertheless, they are very study as do animals and birds. frequently met with in works of art, and are invariably well drawn. Four pages from a book of drawings of fishes are

reproduced on

Plate IX.

The works from which we have

photographed all the illustrations on this Plate are splendid specimens of graphic delineation throughout. All the drawings are coloured in quiet low-toned colours, which clearly proves their age and high class nature. K

The

generality of

JAPANESE ART.

74

modern

the

which

drawings

come from Japan bear

have

evidence of a falling off in originality of treatment and perthe importation into Japan of the crude fection of colouring pigments which modern science has introduced, has, doubtless, ;

done much

to

refinement

the

impair

of

the

native taste

;

receiving these brilliant

be that the Japanese, from the West, fancy that we must admire them, and therefore use them lavishly in the works intended for

but

may

it

colours

European market. Of insect drawings

the

everything the

like

with

full

view

points

to

artistic

expression ; as adjuncts,

duced

unnecessary to speak

is

essays, they of course, do not present

neither

;

are

they susceptible

we accordingly in

drawings

always carefully depicted.

in detail

We

;

are treated

artist

Japanese Insects,

justice.

the

it

find

of

of

them generally

birds

and

many much intro-

flowers,

and

have met with one remark-

it occurs able specimen of the artistic treatment of insects on a Kioto vase, in the possession of John Grant Morris, Esq. On a broad band round the vase are depicted a number of insects marching like soldiers, bearing weapons and other ;

the whole composition is treated with considerable and humour, and conveys the idea of a very important

objects force

:

When

ceremonial.

own

are

represented alone, for their beauty, they are finished with the accuracy of an entoinsects

mological study.

We tion,

have already said much on the subject of vegetaand have little to add here, excepting a few remarks

on the modes of delineating it in art works. In the quaint on fans, in block books, on screens and lacquerpictures work, complete trees are rarely represented indeed, it is seldom that the Japanese artist reproduces entire trees, save in their dwarfed form. A branch thrown artistically across ;

the

bamboos, rising from the ground line, giving a most graphic idea slender growth graceful racemes of the wistaria, pendent from branches disposed at the upper part of the picture, and and silky waving in the summer air picture

;

a

cluster

and disappearing of their tall and

of

at the top

;

;

k

#

-

' '•

ffvl ,J2r*

v' I

Ul

:

£-*

s

7y

JAPANESE ART. the

of

sprays

favourite

branches of the

ume,

associated

or

alone,

are the most usual

or bamboo,

fir

75 with

methods

of introducing trees in pictorial representations. Many of the ordinary printed books of the country contain studies of trees as they appear during the different

seasons of the

and

seen

as

by daylight and snow-storms.

year,

in

wind, rain, All these studies

and

moonlight,

drawn with a freedom, power of expression, and truthfulness to nature which place them abreast of high art work, and which is calculated to surprise those who examine them for the first time, especially if they are

hold the popular notion that there is amongst the natives of Japan.

little

the

before

many

the kind

of

studies

they are of to

alluded to

quite

in

On

charms.

is

thing

by

we

and

evident

the

it

only

regret

that

impossible for us

pages without destroying their the examination of such sketches one :

the

and attentively changes which vegetation seasons, and the apparent

upon

;

about eighty distinct

these

sketchers,

it

write,

are

such a nature as to render

reproduce them

greatest

we

us as

true art apprecia-

In one book, amongst

tion

different

artists

Japanese watch and

record

undergoes

during

alterations

and

lights

of

the

are

the the

effects

day

open-air natural

passing

produced

and

of

the

night.

The Japanese effects,

are particularly fond of moonlight delineate the forms of peculiar kinds of cleverly Of by throwing them across the moon's disc. artists

and

vegetation course they appear quite black, and in hard contrast to the white background of the moon yet their individual charac;

so graphically portrayed, by the outlines only, that they are distinguished with perfect ease. On Plate XI are given illustrations of six pages from

ters

are

a book of Japanese paintings on silk. of the six seasons, or rather of

tical

their will

have

These are emblemathe

honour by the natives of Japan. be observed that distinct

different

meanings or

flowers

significations,

festivals

held in

In each drawing it these are depicted ;

and are introduced

JAPANESE ART.

jfi

as tive

ornaments

days.

The

Seasons),

and

festival

Six

(New

on the respecBook is entitled Shin Rokassen, was painted by an artist named

the dwellings of

in

classes

all

Goeku-do-gen-ye, about sixty years possession of Mr. Bowes.

ago

;

it

is

now

in

the

emblematical of the first season, or the New The the flower represented is fuku-ju-so. and Year Festival, streamer-like object is usually made of rice straw, and hung

up

is

i

Page

the

during

and the

delicacy,

The

festivities.

shuttlecock

lobster forth

sets

is

the

new year popular game

the

season.

of the

Page 2 expresses the second season, Hena, or the Feast of Girls, and the flower is the cherry blossom, or the emblem of March, the month of the festival. Dolls ornament the houses during the festivities. Page 3 is emblematical

season, or the Feast of Boys and the kakitsubata, or sweet flag, the flower month of the of May, is introduced to represent the of

the

third

;

The armour

festival.

animate and excite

is

in

to

the

express the feeling which should youthful breast the ambition to

become a great and renowned warrior. Page 4 expresses the fourth season, Tenabata the

:

the

season,

flower

hagi,

or

delineated

is

On

lespedza.

or

the

the

accepted

the

night

of

festival

flower

of

Tenabata

music and poetry are the favourite amusements. The koto, the chief Japanese musical instrument, represents the former, while It

is

the

ornamented

upon

such

to the occasion is

represent the latter. sheets of paper that the poetry special written. Everyone in Japan who can write of

slips

paper

poetry at all does so on this day, with a desire to gain in the art.

Page

5

sets

forth

the

fifth

skill

season, and the Festival of

Happiness, and its special flower, the kiku, is depicted along with the sake cup and a As we have bag of money. already alluded to this important festival,* it is not neces*

Page

24,

ante.

PLATE XL

^-

76-77

PLATE

XI.

JAPANESE ART.

77

The word painted on the inner again describe it. side of the sake cup signifies longevity. sary to

emblematical of the last season of the year, called by the Japanese Saibo. The dwarf tree in the flowerthe is the blossoms of ume, which, produced at this period pot

Page 6

is

the year by artificial heat, are given along with dried the two small fish are dried sardines. salmon, as presents of

;

At

this

season

cured for

the

fish

are

new

in

caught

great

quantities,

to

be

festival.

year's drawings are executed in the

most careful manner, with both transparent and body colours, and are singularly All the

effective in the originals. The autotype reproductions in our Plate, to a great extent, fail to convey a true idea of the drawings, chiefly on account of the difficulty with which

and yellows are photographed. An examination of the charming little medallion drawings, which are constantly met with in Japanese art works and illustrated books, clearly proves that their artists have a reds

Somegreat love for expressing in each some definite idea. times this is done by the introduction of vegetation, and sometimes of other objects. Wind is graphically expressed, by a few bent grass blades; by a wafted branch of drooping willow by a tree with every pliant branch bent in one ;

and its leaves quivering by a bird, powerless, and with sideward motion or by a man, bent forward, and drifting Rain, gentle as that of holding on his hat with both hands. direction,

;

;

summer, is expressed by a few almost perpendicular lines, wide apart and much broken spring showers, by thin lines, slightly and winter rain, by opaque, falling upon early vegetation heavy lines, closely placed, very oblique, and falling at different angles, as the unequal and fitful gusts of wind deflect the drops. Clouds, high and fleecy, are indicated a few curved lines by placed far above the tops of mountains or tall-growing trees when low and rain-charged, they are disposed in horizontal masses across the outline of a mountain. Mist is depicted somewhat in the manner of the rain-clouds, but by thinner and lighter layers crossing ;

;

;

JAPANESE ART.

78

A fog nearer the ground, such as rocks and trees. sea is always cleverly shown, by the total absence

objects on the

of anything save the immediate foreground and the a fog at sea, a few masts and sails of vessels ;

masts

the

of

and

outlines

of

the

tops of by the

sails

only, placed about the centre of the picture. This branch of Japanese Art might be enlarged upon but we have said enough to show how deftly, indefinitely

tops

;

and with what simple means, the Japanese artist tells his and it is this habit of story loving tales about nature telling which gives a piquant character to all the works ;

Look over

he turns from his hands. fans

;

take them fan,

are

they

painted

up

one

moonlight

fan,

group of Japanese

simply, and one,

by

a

and

but perhaps roughly name them. Spring-rain ;

sunset fan, snowy-pine fan, rainbow fan, fan, summer-wind fan, would probably be

emblem-of-spring

amongst the pretty titles which their graphic little pictures would suggest even to the cold and unpoetical mind of the West. There is much to be learned from a box of common paper fans, which cost about a penny a-piece in the streets of Tokio.

But we must return to the subject of vegetation. The artistic efforts of the Japanese artist are those most truly which display the simplest modes of delineation, and are generally

executed

have been given of watching the

Indian ink

in

only. Many descriptions those who have had the opportunity by natives at work, and all bear witness to

remarkable quickness of imagination and execution they A traveller in the country related to us that on one display.

the

had the pleasure of observing a screen painter his studio, which consisted of a portion of the house,

occasion he at

work

in

screened

from the

own

finished productions, but open to the street being struck with his great freedom this of hand, he requested him to draw a bunch of grapes off

rest

by

his

;

;

was given as a difficult task and test of skill, for the traveller had in his mind the laboured works of his own country, and naturally expected that, from the time required to depict

JAPANESE ART.

79

the artist would laugh and shake his head. Judge of his surprise when the artist seized a piece of screen paper, and, dipping the point of his thumb into a dish of Indian the

fruit,

proceeded to make a number of softly shaded crescentlike forms close together. Thinking that he must have been misunderstood, but saying nothing, he watched with growing ink,

interest

the

movements of

rapid

forms being

crescent

finished,

were

his

his

the

friend.

artistic

first

The

and thumb

finger

and

transferred to the together dipped paper, and with a few rapid movements produced two shaded forms of irregular outline. With his thumb-nail he added into

and

ink

touches, and politely handed the finished sketch, which displayed a bunch of plump round grapes, with leaves and stalks complete.

three

This

dark

is

lines,

sundry

by no means a bad

other

trifling

illustration of the ready

methods

by the Japanese artists in representing simple While speakobjects, for which they are justly celebrated. ing of the artist painting the horse in a votive picture, we resorted

to

mentioned that he was amusing himself with a test of skill, and it appears that it is a somewhat common practice amongst the

brethren

We

similar fashion.

brush

the

of

to

their

indulge

have one illustration

in

fancies

in

a

a Japanese book,

which shows an artist seated upon a stool, opposite a screen, which he is painting with no fewer than five brushes, one held in each foot, one in each hand, and one in his mouth. This is doubtless an exaggeration. Another humorous sketch

on the same page shows the artist to be of such transcendent genius, and the horse he had been painting proved so life-like, that it became endowed with vitality and ran away

The amazement

from the paper.

expressed. In examining the

we cannot combined

to

fail

with

the

Outline, as a rule, finished

with

example of

be

is

this

artist

is

cleverly

Indian ink sketches of the Japanese, struck with the remarkable freedom, great

accuracy,

which

avoided, and each

one application

—a

the

of

of

the

detail

brush.

they

display.

appears to be We have an

drawing of a bird resting on a spray,

80

JAPANESE ART.

with

not

a

of out-

particle

;

pressure as to produce all the effects of light and a few dark lines on the bird and leaves and a few

its

shade

is

each feather, branch, leaf, and flower executed with a single brush stroke, so graduated

is

petal

There

leaves.

sketch

in this

lining

in

and

flowers

;

Notwithstanding the simple complete the drawing. means and freedom of execution which the artist adopted, dots

the

result

the

eye.

We

is

and

beautiful,

truly

in

way

every

pleasing to

department of our essay by briefly mentioning the principal inanimate objects introduced and the characteristic manner into works of Japanese Art, conclude

shall

them.

of representing

Throughout the one

entire

form

peculiar

this

range

of

that

introduced,

Japanese Art there truncated

a

of

is

cone,

with gently curving sides this represents Fusiyama, an extinct volcano. It is held in the highest admiration by the natives ;

of the

great beauty and religious E. B. de Fonblanque,* speaking of Fusiyama,

on account of

empire,

associations.

says:

— "If

there

one

is

of Japanese,

classes

their sacred mountain,

monument

the

centuries

are

convulsion

proud

of

father

a

in

first

;

— the

of their

all

for

temple, the grave, and faith.

Two

hundred

single night,

created by a Fusiyama reared its

challenged the worship and the love of from the extreme ends of the island, gazed

time

mist of evening.

change

among

and

who, awe and devotion upon

the

universal

deep and earnest reverence

supposed to have elapsed since,

millions

with for

sentiment a

Fusiyama

the

of nature

crest,

is

it

its

the

in

And

this

snowy peak as it morning sun, or faded its

of

the

reverence has survived time and

has grown with the growth and

the

glittered

into

strengthened with

the

strength Japanese people. Fusiyama is their ideal of the beautiful in nature and they are never weary ;

of

admiring,

glorifying

and reproducing

it.

It

is

embossed, carved, engraved, lacquered, modelled on *

"

Saunders,

Niphon and Otley

&

Co.

Pe-che-li

1862.

;

or,

two years

in

painted, all

Japan and Northern China."

their London;

81

JAPANESE ART.

wares

;

men

carry

it

in

persons, and children Fusiyamas of mud, as our

their

all

share

the

in

partake

they with

own make

dirt-pies.

be

alike

.

in the

While

.

whether

doubted

admiration, may in the religious associations it

Fusiyama, or

mass

pockets, women wear it on by the roadside build miniature

their

connected

perfect confidence with

which the

people view it, not only as the shrine of their gods, but the certain panacea for their worst evils, impending bankruptcy or cutaneous diseases, to unreof the

dearest

from quited

love

or

ill

luck

at

play.

The annual pilgrimage

is

If accordingly performed by thousands upon thousands. attended with beneficial results, the gods are praised and if otherwise, the pilgrim has the Fusiyama is glorified ;

satisfaction

melancholy fault and require

to

further

know

that

expiation.

his

Men

own of

sins

rank

are

at

never

take part in these pilgrimages, and women are only allowed to do so once in every sixty years." Many quaint conceits are produced by the artists of

Japan,

in

which

the

mountain

takes

a

prominent

place.

ORNAMENT OF OWAUI PORCELAIN.

met with in metal work, lacquer work, and works The above woodcut, of an and porcelain. pottery

They of

are

L

82

JAPANESE ART.

•

FUJIYAMA FROM THE

SEA.

•

_

JAPANESE ART.

ornament

in

moonrise,

the

sides

of

porcelain

decorated

with

appearing

from

disc

full

83 represents a behind the sloping

blue,

Fusiyama. between fourteen and

rises to

Fusiyama feet

above the

the

outskirts

Tokio.

of

from that point which

It

the

is

distinctly visible

is

appearance

it

most frequently depicted

is

The Japanese

drawings.

and

level of the sea,

thousand

fifteen

presents native

in

content with

not

however,

are,

from

representing it from one point of view, or as seen under one condition of the atmosphere. Books are printed wholly devoted to representations of the sacred mountain as seen point of the compass, in sunshine and rain, intersected by clouds or with its top disappearing in It conthem. One of these books is in our possession.

from almost every

tains

double

twenty-four

into

views,

page

every

one

of

position and with varied outline. On the opposite page we give a copy of a page from another book, which shows the peak of the

which

is

Fusiyama

introduced

in

a

different

mountain as seen from the sea. The top of the mountain is covered with perpetual snow, amidst which stands the temple of Fusiyama, the Fonblanque describes goal of all the native pilgrimages. " little it as a hut, adorned with a modest, unpretending few

in

gods

Here the devout return

and

have

particularly

number the

their

devices,

pilgrimage.

lay

in

the

of

virtue

cure

only limited extent of the fee." is

Mountainous

their is

of

accomplished their

having

attributed

cutaneous

by the

size

these

to

diseases,

the

of

scenery

are

objects,

such

as

studies

and

favourites

assumed

enthusiastically

after

admired, forming eagerly sought of the country. Indeed, we may say that

their

mountains or have

rocks,

stamps,

and

garment

special

which, by natural causes, some fantastical or unusual appearance, are isolated

ornaments.

upon the altar, and in stamped with strange figures

and rocky with the Japanese and all ;

tinsel

offerings

garments

Great for

their

token

common

some

and

lava,

by the

artists

any object

out

JAPANESE ART.

84

common

things in nature is prized and and these feelings have suggested admired by the Japanese the practice of mounting curious and unique specimens of native ores and other valuable minerals as ornaments, and the

of

order

of ;

dwarfing and unnaturally distorting trees and plants for the embellishment of their miniature pleasure gardens of

and of

the the

of

interior

country

scenery, which

their

teem

The ordinary books sketches of mountain

graphic instances are

many

in

dwellings.

with

cannot

be

to

fail

sketches

little

artistic,

and

and truthful indeed, the observer struck with the remarkable graphic power

in every case are expressive

of these

truly

;

;

much

so

and told so

clearly, that there is standing the artist's intentions. In the high class books of

told

is

by so few

lines,

no possibility of misunder-

hand drawings, and

in the

albums or sketch books of distinguished artists, several of which have reached Europe, and have become the most prized possessions of collectors of Oriental Art, drawings of scenery of all descriptions are met with, and are, in the generality of cases, rendered with the freedom and truthfulness which great artistic culture and watchful study alone can give.

Of course they of

Japanese

all

Art,

display the mannerisms peculiar to works there are instances where the draw-

but

ings closely partake of what correct school of landscape

is,

in

our

opinion, One of

painting.

the the

more most

remarkable sketch books which we have had the opportunity is in the possession of William Goodwin, Esq.

of studying It

contains

many

landscapes,

of

studies

of

men, animals, birds, foliage which are singularly effective

and

and

beautiful.

A

is

not

survey of Japanese Art clearly proves that it weakest where it deals with objects in nature which do careful

present

and such

power

;

like

but

represented. trayed,

hard

outlines

are rendered

clouds

and

These

latter

;

rocks,

with

mountains, trees, birds,

great water are are,

fidelity

always

however,

and

artistic

indifferently

satisfactorily

por-

from a decorative-art point of view, where expression

JAPANESE ART. rather

studied

than

85

accurate

but they representation never appear to have received the painstaking study and skilful manipulation bestowed upon other objects. is

There he

lines,

no mistaking what

is

when he

;

water.

depicts tells

you that a

river, a waterfall,

The woodcut,

it

If

he

is

a

a

artist

uses

merely

winding brook, or a

lake,

rippling

Japanese

intends

half-a-dozen

a

rushing storm-tossed ocean.

Fusiyama from the sea, The vigorous curves, and the irregular this. illustrates lines and sprinkled dots above, really convey to the mind the idea of the stormy waves of the sea as forcibly as the most finished production of Western Art would do. The artist of this sketch wanted no more than the suggestion he was drawing the peak of the beautiful Fusiyama, and simply told the direction from which the sketch was taken. Very much more could be said upon this interesting of

previously given,

;

we

subject, but

our

Students

essay.

interesting

consider

field

this

find

will

the purposes of Japanese Art a most

sufficient

in

for

and a great deal may be learnt from the

;

humble labours of the nature-adoring artists of those beautiful There is no question that in the islands of the Pacific. art of graphic delineation the artists of Japan have no rivals throughout the entire

Eastern world.

In concluding our Essay, we have only a few words to say on the religious or mythological aspect of Japanese Art; and, with our present limited knowledge of the religious ideas

and dogmas of the Japanese sects, and of their mythological literature, we have to express our views with caution and reserve. We have certainly more to do with the outward semblance of the artistic representations than with their religious or

dogmatic signification

some

extent

their

;

necessary to realise to and intention in order to form an yet

it

is

origin intelligent appreciation of their artistic excellence or allegorical

expression. At the of the

outset

religious

we must

art

of

the

recognise the great importance Japanese, linked as it is with

86

JAPANESE ART.

most valuable and beautiful works, and clearly embodying their highest ideal powers and contemplative faculties. Religion and hero worship have in all times and all places

their

the

supplied

highest

inspiration

—

Mr. Jarves remarks: "The and omega of inspiration of

and power.

influence

To

the

it

to

impulse,

its

express

art

antedates

It

art.

instinctively

find

its

turns

of races

longings

this

subject

the

is

as

alpha

regards

its

and outlasts as by an irrepressible others.

all

solace

deepest

On

motive

religious all

soul

passionate

in

for

in

present another.

life,

and

No

to

matter

whether it assumes the forms which we loosely classify under the generic divisions of Paganism and Christianity, or the the vital, shapes engendered of the numerous sects emotion at the root of all is one and the same

specific

;

human

:

viz., the

desire

to

realise

outward senses, in approabstract ideas which underlie

the

to

language, the the soul's consciousness of a creative force superior to material

priate

itself,

and which sways its destiny for good or evil by occult or There is in principle no more idolatry in means. one form of its expression than another. Idolatry consists

visible

in

ignorant or superstitious use to which the art-forms of this desire are put. Paganism, as exhibited under

the

born the

of the

rites

idolatry

as

worship, is as free from religion, as even the strictest

Shinto

primitive

any monotheistic

Judaism, whilst Buddhism is not more coarsely materialistic in its sacred mythology as rendered by art than is Romanism. with

In

dealing despite the

fetichism

of a

object

the

blind

sacred

art

of

any

people

of the absolutely ignorant,

a holy book, an image, or the place of the creative will

be

devotion

any abstract dogma put itself, which is past all

whatever,

whether the

in

finding

out,

in

fine,

sheer

despite

we should

place all art consecrated to religious uses on an equal footing as regards its fundamental motive, view the feeling which originates it with individual

idolatry

in

respect,

and,

esteem

it

in

or

race,

it

judging as

it

according mental motives into pure

exclusively

on the

side

successfully incarnates artistic forms."

its

of

art,

funda-

JAPANESE ART.

87

Turning our attention without more preface to Japanese Art in its religious development, we meet with several classes or systems of representation the first confines itself to the of of the deities, saints, and heroes depiction single figures second to the representation of one or more of these sacred ;

;

communication with human beings the third displays groups of gods or saints, engaged in various occupations, and sometimes attended by ordinary human beings, the mythological creatures, or other animals which appear to have sacred attributes or functions and the fourth conin

personages

;

;

fines itself to the delineation of

dogmatic subjects, chiefly with allusion to a future existence and the awards which await

good and

beyond the grave. There are, of course, certain other subjects occasionally met with which can hardly be classed under any of the above systems.

the

evil

In treating of Japanese mythology, we must limit our remarks to the representations or subjects found in works of art, and therefore do not purpose to touch upon the

complex

in

question

country to which

connection

with

the

of

the

more or

less

religions

certain of the subjects allude

directly.

We

have not met with any attempts to depict the Creation in Japanese Art, although we learn from Siebold that the native artists have essayed the rather undefined

and

difficult

task

;

of course,

from

their

of view,

point

the

Creation was confined to Japan, the original and great sun In a series of six drawings given in Siebold's country.

Japan, the works of creation are thus set forth. The first is simply a white disc, which represents the beginning of the globular mass of uncreated matter, which, things the earliest epochs of time, consisted of the clear and the turbid in an undivided state. The second is a disc all

;

in

divided

into

two portions, the upper of which

is

white

and

the

lower dark

the

separation of the solid from the gaseous, the creation of heaven and the earth. The third displays the first

the

effect

of

the

;

this represents the result of primal motion,

consolidation

of

turbid

matter,

which the

JAPANESE ART.

88

Japanese say was

like

mud covered with this mud sprang a

Out of the centre of a plant, which grew and called

being, the epoch

and

ous,

created,

transformed

Kuni-soko-tatsino-mikoto.

in which,

water and clouds. that

shoot, like

itself

The

a

into

fourth

on the complete division of

primal

represents solid,

aque-

gaseous matter, Pan-ko, or primitive man, is invested with god-like powers, to promote the

The

mation of the universe.

fifth

represents

of

the

self-

for-

creation

Japan by the god Iza-na-gi and the goddess Iza-na-mi (the third and fourth self-created beings), who stand on the bridge of heaven and direct the work. The Islands

of the

sixth

of

shows the same

deities creating living creatures, desiring

to perfect the labours they

had undertaken.

While upon the subject of the Creation, we may quote a passage from a pamphlet, written by Yasukawa Sigenari, a Japanese who resided and studied for some time in England. " The first period of Japanese history may be termed the kami word kami or the spiritual age, the age of There are five of these spiritual meaning a god or spirit. The rulers mentioned in the ancient history of the country. third and fourth stood in relation to each other of male and female. The first four were supposed to have been selfcreated beings, the fifth being the son of the third and '

'

Their

fourth.

'

'

names

'

'

order are Ame-no-minaka-nushi, the Mutzubi-no-kami the third and fourth do not in

second being appear to have had any particular cognomen,* and the fifth was called Amateratzu-ogami. It was the second of these ;

kami

who

made

the

country,

and

the

third

and

fourth

and animal and vegetable life. time the country was called Miszho-no-Kuni.

created the mountains, rivers,

During "

this

The

Japan begins 2533 years ago, the first emperor being Ninigi-no-mikoto, who is supposed to have been the grandson of Amateratzu, who conferred great honour upon him by presenting him with three sacred things a stone or jewel, a sword, and a mirror. The possession of these real

history

of

—

*

These are Iza-na-gi and Iza-na-mi, given

in Siebold's plate of the Creation.

JAPANESE ART.

89

things showed that Ninigi was to be the ruler of the country. From this time to the present day the Japanese gods are

always represented with a mirror; dates the worship of the kami." *

and from

this

period also

be seen that the description by Yasukawa Sigenari substantially agrees with the scheme given in Siebold's drawIt will

ings

;

the

to

two kami

first

are,

however,

and Siebold alone supplies the names of the third

different,

and

names given

the

fourth, or active creators.

There are no mythological personages so frequently met with in Japanese works of art as the seven deities of Good the

Fortune,

true

household

gods

of

the

laughter -loving

Separate representations of these deities are much more common than collective ones, and statuettes or figures of them appear to be made in great numbers as household

Japanese.

ornaments. We give representations of several of these figures on Plates XXXI and XXXII. The woodcut on the following page is from a tray of late period Kioto faience, painted in coloured enamels and gold. seven overlapping medallions

decorated with a group of of different shapes, each con-

It is

taining one of the deities, with

perhaps somewhat

its

accompanying

attribute.

one clearly to realise the beliefs held by the Japanese with reference to their household gods that they do not worship them in any way as idols is very certain, nor do they hold them to have the It

is

difficult

for

;

remotest connection with a future

and good

tions

offices

they

are

state.

In

temporal,

all

and

their

rela-

have to do

with living humanity. These seven deities are clearly the growth of imagination, linked with the universal ideas of earthly welfare and happi-

they are impersonations of powers, unknown and undefined, capable of granting those blessings and gifts upon ness

;

which the Japanese base all their happiness in this life. They bear no resemblance to the household gods of the ancient Romans, which would be reverenced as kami in Japanese A

Sketch of (he Japanese Empire,

by Yasukawa Sigenari.

M

London, 1873.

go

JAPANESE ART.

JAPANESE ART.

The seven

religion.

deities

gi

appear to have been elected by

the people, and to have no connection with any peculiar sect, or to be supported in their position by priestcraft. desire

"We

long life, happiness, wealth, contentment, and those gifts which can best secure these let us up and make gods after our ;

own

which

and blessings who had spoke and yet loved ease and excitement sufficiently to envy the idleness and luxury of those they had to bow down to as their lords and masters. Out of the for what all few received mankind desired but popular longing fashion,

shall

dispense

such

according to our needs." So to toil for their daily bread,

gifts

the multitudes

in the

ordinary course of events, sprang these seven incarnations of the blessings of life and the gods of Long Life, ;

Wealth, Daily Food, Contentment, Ability, Love and Glory were taken into the people's hearts and homes, to be reverenced and appealed to with a strange mixture of superstition and faith and approached with an individual ceremonial ;

devoid of set forms or expressions. Each man's choice deities were those which embodied his most pressing wants, or his most wished-for gifts and he took them to himself, and ;

reverenced or besought them his

after

his

own

fashion,

and

at

good pleasure.

With such a beginning,

not to be wondered at that

is

it

a childlike these

simplicity of trust should in time beneficent beings deities which gave all ;

grow around good things

make the rich happy, the tradesman prosperous, required and the poor contented, but which imposed no slavish worship, demanded no self-denial, and threatened no punishments for to

breach

of

The humble

reverence.

home with of

precincts before even

his

pleasant

the

temples

little

gods

dedicated

devotee ;

to

he the

had

was to

celestial

safe

at

seek the deities,

state promises affecting were pressed on his notice he naturally turned with a mixture of fear and respect from the deities of the priestly

or

threats

his

future

;

religions,

and

patted,

with

self-satisfied

complacency,

the

high and polished head of his giver of long life, the staid and venerable Shiou-R6, the being who would indefinitely

JAPANESE ART.

g2

postpone the hour when he would have to set his household gods aside, and face the offended deities of the eternal existence.

Speaking of the seven gods, Jarves aptly says: "The chief business of the domestic divinities is to procure for the" gifts they most prize, shall we add unregenerate men,

—

—

such as length of days, food, riches, talents, fame, love and contentment though, possessing the others, the last would but the household gods, evidently from seem superfluous ;

;

much

experience of humanity,

knew

However much

better.

smack of earthly ambitions, the Japanese do yearn for them with a sincerity and openness calculated to mollify the strictest minded of their family deities, who, it the

six

first

would appear, are never tormented with our whip-the-devilround-the-stump modes of supplication for the same good A Japanese sees no impropriety in asking things of life. his divinity to give him a lucky number in a lottery, or to

him

amours, without any of the specious bribery or persuasion which characterises European help

in

business

his

or

'

Too prayers of a similar strain to saints and madonnas. naive a child of nature for any subterfuge, he goes directly to his aim with the greatest plainness of speech but is not ;

An amount

very greedy as regards his spirit benefactors.

good would

fortune suffice

to

sufficient

satisfy

a whole village

one Anglo-Saxon's

of

wishes

of Orientals."

A

family rarely places itself under the guardianship or from two to four are most patronage of all the divinities ;

commonly to left

their

selected,

according

The god

favours.

out of the household

to

the

of long

ideas life

The poor

list.

of the

aspirants

however, rarely seek for long life,

is,

and contentment the artisan for long life, and food the tradesman for long life, wealth ability daily and contentment the soldier for long life, love and glory and the noble for long life, wealth, talents, love and glory daily

bread

;

;

;

;

;

union of which, and contentment.

the

It

is

now time

he believes, for us

to

will

secure

him happiness

describe these popular deities,

JAPANESE ART. as

which,

works of First

we have said, are art, and we shall do

so

so

93

frequently as briefly

met as

with

possible.

order of importance comes the god of long

in

in

life,

by the Japanese Shiou-R6, and sometimes Girogin. This is a most venerable and staid figure, with a white beard, This and a head having an enormous development upwards.

called

development is said to be due to his continually scheming and racking his brains how best to promote human happi-

and secure

ness,

made the

a riddle to this

head is

reply

He due

he believed

is

long-headed

his votaries their desired

to

to

of

to

effect

that

be,

— "Which

long

life.

So

the Japanese have is the longest thing,

Shiou-R6 or a spring day?" The sensible one can tell, both are so long."

— "No

usually represented in art with considerable respect, his sacred and venerable character, and his face

is

But generally bears a solemn and contemplative character. at times the native humour breaks through even the peculiar respect due to Shiou-R6, and imparts to his image that produce laughter in the beholder. On Plate XXXII is a figure of this god, which represents him, after a weary time of contemplation, enjoying a magnificent His time of conyawn and expressive stretch of the limbs.

which cannot

fail

to

templation over the affairs of humanity has been too much for even his lively brain, and drowsiness has overtaken him, to

be dispelled only by some more than

prayers for his single commodity, cut on page 90 he is represented

usually clamorous In the woodlongevity. reclining,

with his head

supported on his hands, contemplative in expression, and In neither of the repre.surrounded with books of study. sentations

alluded

characteristic

which

are,

longevitv the crane ;

carries in

a

as

he or

long

a standing

other.

to

attributes

before is,

he

is

or

position,

by

the

and

either

tortoise,

of

both

his

of

Japanese emblems of

represented with either He almost invariably side.

often

however,

staff,

crane

mentioned,

tortoise

with

attended

— the his

crook,

and

in

very

one hand, when depicted often

a

fixed

fan

in

the

JAPANESE ART.

94

The second

Daikoku, the god of riches. He is generally short, stout man, with a good-natured countenance, dressed as a daimio of the old school, and wearing a cap, which is placed low down on in

is

importance

a

represented as

He is seated on bales of goods, or bags of a bag over his shoulder containing treaand carries rice, characteristic attribute a in his right hand is his sures The moral of this figure is described as miner's hammer.

his

brow.

—

;

follows

— Human

:

and

of ambition of stature,

nature pride,

incline

to

it

to

it

being

prone to excess

extremely

most fit that it should be low assume a humble attitude at all

is

low so as to prevent the eyes and to dispose them to view with from looking too high, The bag, carried on the ease the sad realities of life. shoulders, and the neck of which is usually grasped by the

times

left

the

;

hand,

The

retain

miner's

which

placed

represents

to

difficult

is

cap

alone

;

wealth,

difficult

outlet

its

hammer

is

has

the

the

to

to

emblem of

this

and equally

attain,

be

firmly

controlled.

hard

of

labour, by can be honestly Daikoku is seated

life

good things bales upon which represent property acquired by honest industry, that which alone serves to raise the lowly to position and comfort.

obtained

;

and

the

The Japanese, however,

are not content with investing their favourite deity with the attributes of wealth they must needs in a at his little touch of humour indulge expense, by some;

times depicting a living and active companion along with him. This companion is a rat, the embodiment of the destroyer of property. As the Japanese idea of wealth is almost exclusively bounded by rice, the as its destroyer.

rat is

peculiarly appropriate,

According to Kaempfer, Daikoku is believed by the Japanese to have the power, by knocking with his hammer, of producing from his treasure bag whatever his votaries

and they have the greatest faith in his generosity and good feeling, and are importunate in their demands on require

;

his

favour.

all

classes

The day are

most

of

the

zealous

rat

is

at

the

the

season

shrines

at

which

of Daikoku.

JAPANESE ART.

god

the

;

too

is

Nothing

his

sack-mouth

his

Whether the to

nothing too trivial to ask must resound with the blows

great,

heavens

hammer, and

Next

gifts

called

in

all

petitions

are

are

obtained

or

order

Yebis.

The

original

the

of

not, however,

of fisherman fish

indeed,

the

is

ancient Japanese the

to

lot

believed

and

his

of

certain

is

its

devotions

Daily

him

a fisherman.

of

to

Food, be a

reduced from

esteemed on this account,

his

He was

for the vocation

was much respected amongst the old Japanese and rice were to them what meat and bread ;

have been to western nations.

and

of

hold

its

day

supplicants. favourite God of

Sun god, disgraced,

less

the

on that day.

granted not, the

of

hearts of the

estate

high

relax

from the amount of hope

the

in

brother

hand must indeed

left if

be a happy one,

has inspired

95

Kaempfer says:

contribute

Productions, sustenance of the Natives, its

as

full

the

as

— " The

Sea,

much towards

the

growth of the Country,

The Sea all about Japan is plentiexcepted. fully stored with all sorts of sub-marine Plants, Fish, Crabs, and Shells, of all which there are very few but what were Rice only

by their indigent Ancestors, and are so to this day. There are even many which in these wealthy and refined eat

Ages appear upon the sumptuous tables of People of the Speaking of the god we are describing, highest quality." " the same author informs us that: Jebisu (Yebis) was Tensio Daisin's brother, but by him disgraced and banished is said of him that he It into an uninhabited island.

—

could

live

two

or

three

under water.

days

He

is,

as

it

Neptune of the Country, and the Protector of Fishermen and Sea-faring people. They represent him an angling-rod in one hand, or the sitting on a rock, with

were,

the

celebrated

Yebis

household

He

is

fish is

Tai,

or Steenbrassem,

certainly gods, as the

usually

one

giver represented as

of

the

in

the

most

other."

popular

of

the

of daily food ought to be so. a short, stout figure, with a

happy and humorous countenance, dressed in loose garments, wearing on his head the yeboshi, or black cap worn by

JAPANESE ART.

96 of rank

persons

and

tai,

with

generally

it.

caught

attribute, the fish

and invariably with his

;

Jarves

the

fishing-rod " this

of

says

god

:

—

with

My

which

pet

deity

he is

amphibious Yebis, provider of daily food, a jovial marine demon, commonly seen with a gigantic craw-fish as his head gear, sea-weed for waist drapery, and spindle As he slips legs of agile tenuity, ending in crispy claws. the

on

along a

back

the

a

of

fiend-like

dolphin, performing his gifts, there is out holding

whilst

nautical

fandango of benevolence and jocoseness in his lumpy countenance, and his bright eyes sparkle with vulgar fun and mixture

a droll

robust

Before

life.

me an

antique bronze Yebis

is

caracol-

ing on the back of a monster fish, the ocean scud flying over both of them, with the rollicking waves keeping time to their movements, and all done with such flexibility and of modelling and vitality of spirit as to make it not only a masterpiece of art in every respect, but a most type of the good fisherman's genial caterer and fitting

fineness

protector." it describes

fortune

A

We a

given the above quotation because treatment of the god it has not been our

have

meet with, and evidently an unusual one.

to

almost every house, At Nishireverently placed on the kami-dan or butsu-dan. between chief Osaka and is the Kobe, temple to no-miya, his

figure of Yebis is to be found in

honour

in

a

Japan,

shrine

much

frequented

by

all

but more especially by merchants and artisans, who have need to pray without ceasing for daily food and other The twentieth day of the tenth goods the gods can give. month is the great annual festival of the favourite Yebis. classes,

The

fourth

the

spirit

in

other

domestic

life,

full,

household deities

of the

He

of contentment.

is

Hotei, the god the personification of a contented

Without home, fire, or poverty. comforts, he leads a roaming Bohemian

midst

of

wandering about with but more often empty

instead

among

of

is

being

a :

wallet

when

discontented

and

in

or

the

sack, latter

unhappy, he

his special friends, little children, telling

sometimes condition, sits

down

them amusing

JAPANESE ART.

97

and allowing them to play with his wallet, or roll over his portly body. So speak the popular legends. Hotei is usually represented as a squat, stout figure, with a large belly, which is generally exposed by stories,

freely

the scantiness of his

head is uncovered, and he carries a fan and Sometimes he is sack, generally lamp. depicted seated on a buffalo, and at others on a sack of On Plate XXXI there is an admirable reprehemp. sentation

playing this

his

;

of the god, in his character of happy vagabond, with a child, who is tumbling about his empty

For

sack.

attire

figure is

Jarves says

expression and quaint humour, amongst the best we have seen of this deity. " The Japanese are very shrewd in the ethical

characteristic

:

—

of their deities.

distinctions

Hotei

is

the

pattern

god of

contentment, not in riches, which they know cannot be, but in poverty

;

so they leave the wealthy and famous to their material sources, and reserve the pure senti-

own moral and ment

for

those

who have nothing

else

to

rely

on

for

their

A

happiness. dreamy, yawning, obese vagabond is Hotei, of the Diogenes pattern, minus his sham philosophy

daily

and shameless egoism, but equally liking to bask *

*

He

in sunshine.

a prodigious favourite with country folk, particularly children, to whom, as he lazes away his time in is

some picturesque gifts, allows them fat

with

body as

he

he

tells

pleasant tales, brings little to play him tricks and scramble over his takes his noon-tide naps, or edifies them spot,

magnificence of the heavens, the stars, and whatever in nature or life will most amuse or excite stories

of the

their youthful imaginations."

Tossi-Toku, the learned and venerable doctor, god of He is, however, notgenius and talents, comes next in order. withstanding his grave and learned seignorship, said to be very accessible to little children, casting aside his dignity and con-

descending to inspire them in require both thinking heads

all

sensible

amusements which

He is and skilful fingers. usually represented as a grave and amiable old man, clad in an ample gown with long sleeves and stole, attended by a N

JAPANESE ART.

98

fawn, and carrying in his hands a fan, and a long staff on His wonderful learnwhich are suspended his manuscripts.

expressed by the

is

enormously developed upper portion quickness of perception by his large He is a perpetual wanderer, distriears and sharp eyes. He is buting as he goes his precious gifts of knowledge. specially worshipped at the new year, when his votaries ing

of his

and

head,

his

him to grant them wisdom and foresight, them in all their undertakings during the year. The most remarkable of all the household deities of the

earnestly beseech to guide

Benzaiten, or Benten, the goddess of love, This divinity does not appear to be beauty and wealth. looked upon, like the Aryan Venus, as the goddess of mere physical beauty and sensual love, but rather as the type of

Japanese

is

an

womanhood,

perfect

She

accomplished,

staid

and

motherly

generally represented seated, in a contemplative mood, running her fingers over a stringed instrument of her own invention. As the personification of the sea, that

individual.

fertile

source

is

of food

frequently represented

and wealth

she

the

Japanese,

she

is

standing or sitting on the sea-shore,

playing some heavenly melody

When

to

to

the

wave accompaniment.

depicted without the instrument, she carries in one hand a key, and in the other the priceless pearl, and is is

richly attired

in

a blue mantle,

with

the

sacred stole,

and

wears a diadem. Kasmpfer tells a long story about the origin of this Bimsio, the goddess, which may be summarised as follows. daughter of a rich man, was married to one named Symmios Dai Miosin but not having any children for many years, she earnestly besought the blessing of the gods. Her prayers ;

were

time answered by her miraculously giving birth to hundred eggs. The poor woman, surprised and full of fear, packed the eggs in a box, marked it with the word " Fosjoroo," and threw it into the river Riusagawa. The box in

five

was found by an

who, discovering it to be home to his wife, and after some anxious This was to hatch them artificially.

old

of eggs, took it deliberation decided

full

fisherman,

JAPANESE ART.

99

done, and the result was the production of five hundred male The worthy couple, short as their means were, re-

children.

solved to bring up, as best they could, this fearfully numerous family, feeding it with minced mugwort-leaves and boiled

When

the boys had grown up they had to shift for and themselves, accordingly took to robbery as a means of subsistence. On going to a rich man's house, situated some distance up the river, and demanding food, they were questioned as to who they were they told the story of the eggs, from which they had sprung, and were recognised by the mistress of the mansion as her sons, for she it was who had given birth to the eggs, and afterwards thrown them into the river. The kind mother, now realising her want rice.

;

of faith in the

in,

acknowledged

for

goodness of the gods, took her sons them, and prepared a sumptuous feast

them and numerous rice

were presented

guests, to

with

whom

cakes of mugwort and " The mother of

due formality.

these children," says Kaempfer, " was afterwards placed among the goddesses of the country, by the name of Bensaiten. They believe that she is waited upon in the happy regions of the gods by her five hundred sons, and they worship her

This goddess appears, according to our authority, to be specially worshipped on the second great annual festival, held on the third day of the third as the goddess of riches."

month, when cakes of mugwort and rice are handed to every guest present at the domestic festivities.

None

more recent writers on Japan give any hint but the goddess is spoken of as the mother of " Benten is Jarves, for instance, says, prolific, I

of the

of this story, fifteen sons.

She has fifteen sons, all of whom, save one, are well educated and trained to follow either a useful occupation or a learned profession. The first is an author, another is an confess.

still another a metal founder, a banker, a farmer, a merchant, a tailor, a silk-grower, a brewer, a clergyman, a doctor, an expressman, a breeder of animals, and lastly, a

office-holder

;

baker, only the fifteenth son has no profession. Possibly he is the 'spoilt child,' or the 'black sheep,' which, like mistakes,

JAPANESE ART.

IOO

* * creep into the best families to their utter vexation. Be this as it may, fourteen serviceable citizens given to the state, and an ornamental one thrown in as loose change, will

good credentials of sound womanhood and as strong The Japanese arguments for its rights as we can conceive. are right in honoring Benten as the best type of her sex. She is worshipped on a far higher plane They do more. as the fecund principle of virtue and benefaction, personifying the nourishing ocean that provides, feeds, and enriches, are as

and

also

In

Seas.

this

brow with imperial

Under

a

great empire of the far Eastern the Japanese encircle her beautiful

the

glorifies

shape divine

crown

aureola,

her

head

an

with

and clothe her in magnificent robes. diadem, any of her forms, however, there is none of the and

mythical, illogical, the Romish ideal

undesirable

woman.

virginity

Benten

is

to

attributed

always

the

mother,

a substantial benethe fecund generator, provider, educator factor and producer of mankind, and completest embodiment ;

of

the virtues

and

most

deeds

useful

and

pleasurable

to

man." In

goddess, introduced displays eight arms, with hands

certain

representations

the

of

Buddhist temples, she Her head is bearing emblems of her many good offices. adorned with three celestial flames, symbolical of the mystic into

In

triad.

earth,

the

fertility.

this

form she

Women

life

of

all

the comforts and blessings

charming. all

creeds pray to Benten for attractiveness, and men seek her aid to enable them

and riches become wealthy by the

ability .

the protecting genius of mother those gifts which promote its

dispenser of all She is the giver of

which make

to

is

;

exercise

of

their

The

genius.

day of the snake is considered the one most propitious on which to visit her shrines, which are generally built on small islands or near water and accordingly on that day they are crowded by devotees, who, as actors and poets, live by ;

the

skilful

sacred to

use

of their

Benten,

and

natural talents. is,

therefore,

The snake

frequently

is

held

represented

JAPANESE ART.

IOI

her shrines, and encouraged to frequent their neighbourThe worshippers are careful not to injure the reptiles hood. in

for

anger of Benten, and the con-

of experiencing the

fear

sequent refusal to their petitions.

We the

now come

the last of the

household deities

Bisjamon, the god of glory. met with than the previous six,

Japanese,

frequently said to be

of

to

all

peculiarly the virtues.

knightly

warriors,

and

is

king

He

of men,

the

is

accordingly held

the

patron

more

He and

is

may

of less

be

personification of princes and

repute by them peace-loving sections of the in

than by the humbler and more community. Bisjamon never finds a place by the humble hearth alongside the merry Yebis and Hotei. He is not popular deity, for war, by means of which his chief honours are dispensed, seldom brings blessings to the a

tradesman or labouring man.

Bisjamon frequently empties

their purses, destroys the fruit of their toil, and burns down their houses, that his special votaries may be rewarded with the victor's or hero's laurels. Bisjamon is also the heavenly

protector of

much

He

is

the

priestly

class,

and the bonzes show him

respect and patronise him out of flattery to the nobles. represented as a warrior clad in rich armour, with

Somea lance in his right hand, adorned with streamers. times he holds in his hand a pagoda or model of a temple, have before us as we write as the patron of priests.

We

a very beautifully painted Buddhist picture, mounted in the manner peculiar to the Japanese, with unequal sized margins of silk and gold brocades, and roller with polished rock-crystal ends. flower,

The and

principal figure is Buddha, standing on the usual absorbed in his nirvana and on his right hand, ;

with his feet resting on a crouching demon, stands a majestic figure of Bisjamon, who is clothed in gorgeous robes, which

almost cover his cuirass and the rest of his defensive armour; his head is protected by a richly ornamented helmet surhis right hand holds a tripleplume carries a small pagoda. Behind left his and pronged spear, his head is a large circular nimbus, on the rim of which

mounted by a

scarlet

;

102

JAPANESE ART.

are

three

on the

figure

The emblems of the human soul. Buddha is that of Fudo, the god of

flaming orbs, of

left

punishment, a demon with deep blue coloured body, partly In his right hand is robed, and surrounded with flames. a

naked sword, and are

figures

from saints

this

in

in

are,

or

portrayed

frequently

all

nearly

human

some other

or

green,

are

and

art,

coil

of

The two

rope. to

picture,

personify

hell.

Demons of

a

left

intended,

evidently

heaven and

his

in

in

Buddhist

instances,

works

distinguished

beings by being painted red, blue, a mode of treatment rich colour ;

which very materially adds to their infernal aspect. They are sometimes tusked and horned, but we do not remember ever to have seen them represented either with cloven hoofs or

The Japanese do

tails.

western idea of the phelian

We

either

devil

development. cannot pass

not

appear to have realised the in

his

bestial

over the

giving a brief description dered by Japanese artists.

subject of of the Buddhist

or Mephisto-

demons without Inferno,

as ren-

A

few copies of this interesting work appear to have been brought to Europe, one of which is now unrolled before us, and may be thus described :

It

is

a

roll

mounted on paper, about

of silk tissue

long by io£ inches wide

;

the painting, which

is

n£

—

feet

continuous,

For convenience of description, It cominto four sections. painting may mences at the right end, and reads towards the left, like all Japanese books and rolls. The first section opens with measuring 10

feet in length.

be

the

divided

human figures, dressed in grave clothes, finding their from a dark valley towards a direction-post which marks way the ford of a mighty rushing river one being is depicted three

;

and holding up passing his white garment with the other and on the left bank are two pallid creatures peering into the dreadful land they have now to enter. The valley and the river are emblems across,

with

a

staff

in

one hand ;

of

death

and

world beyond.

the

Far

grave, the cold passage towards the on the bank is seated a terrible grey-

JAPANESE ART.

headed

(San zu no Kane-baba*), resting against dead tree she is grinning in a fearful

giantess trunk of a

the

manner

IO3

:

at a

group of four miserable beings kneeling at her from whom she is removing the grave clothes feet, before she allows them to proceed on their journey. In

and

scanty funeral garments they have travelled the valley of the shadow of death, and forded the mighty river;

their

naked

almost

now

have

they

to

appear before the dread

judge who is to pronounce their awful punishment. The second section opens with the great tribunal. The judge (Emma-oh), a huge red giant, is seated behind

book club

a

of

upon

which

He

holds in

records.

or

culprits

two

table,

a blow of

with

bat,

or emphasise

assistants

and

spread

his

right

which

he

On

remarks.

his

a

is

blue

demon,

a

of

page

hand

may his

a

the of

sort

frighten

his

hand are tusked, and

left

horned,

on the right of the judge is holding a ponderous mace a recording scribe, with a brush and a tablet covered with ;

Near the right end of the table is an elevated stand, supporting two heads, one that of a kind-looking female, and the other that of a red demon with piercing eyes and open mouth, from which latter issues a red stream, directed downwards upon the miserable human beings writing.

who

crouch

alluded

to

before

the

our

note

in

table.

The

explains

writer

the

heads

in

the Review

thus:

— "One '

'

with searching eyes and open, accusing mouth, is Seeing The other, less active, is (Mi ru me), an awful witness.

'Hearing' to

reveal.

(Ki

and

ku me), pale-faced

These

two

thoughtful,

are

obviously watching, confessions of several

to

waiting check

wretched completeness wicked ones, who crouch, groaning and entreating, in front The tribunal is held upon an of the judge's table." the

of

the

elevated platform, from which steps lead down into the floor now enter the world of punishment, and the of hell.

We

*

writer

For

the

in

the

similar Inferno,

Japanese names of tbe Theological

was

assisted

Review

(vol.

chief

by a Japanese

actors

1874), scholar.

xi.,

in

in

we

indebted

to

a

penning a description

of

a

these scenes

who

are

JAPANESE ART.

104

we meet with

scene

first

a

is

demon holding up

red

a

yelling terrified being to see, in a huge mirror (the mirror of memory), a reflection of the crime which has consigned

him

to

We

torture.

infernal

learn

crime

his

from

the

scene dimly portrayed in the mirror, a farm-house in flames, and the incendiary hurrying away, through the darkness of the night, with his burning torch. Adjoining the mirror,

another red demon erous

and

rock,

a

weighing

which

sin

sinner

with

watching,

mortal

of

weight

is

against a pondthe effect of the

glee,

down

carries

green demon

the scale

and

;

on, hurrying away with a blazing chariot full of agonised creatures whose immediate destination, burning as they are, appears to be a lake of " the ice (Hachi kan zigoku, where eight times cold "),

a

further

still

we

is

see

their struggling creatures endeavouring to keep heads above the surface. Surely in Hachi kan zigoku extremes meet, and the climax of torture is reached.

In

the

third

punishment in

a

stake

pounded

wretched

knife,

mortar

crushed with

between

an

restored,

The flame,

is

seems

to

and

of blood,

sinners

these

of

to

of

for

beaten

to

punishments

is

experience fully the

and

rocks,

huge

immense

spiked this

increased

Buddhist by the belief that at every

the

new phase

section

torn by carrion birds, cut and tortured

club,

a

butchery, The horror

is

numerous

upon a

the

and green fiends are engaged in and streams of blood are flowing

red

Blue,

may

enter

termed

be

and

in

we

section

the

find

with

pieces

with

;

we

it

it

pestle. fearful

everywhere. tenfold

infliction the

to

body

recurring torture.

which may be called the section of it and imaginative of the series be a composition in which whirlwind, lightning

last

division,

the

most

fearful

;

mastery, and combine to torture lost in their dreadful In describing this scene agony. " The last the writer in the Review says Theological fire

struggle

for

the

the

:

of

—

represents the final pit called Eight times a vast whirlpool of lurid storm, broken by awful deep streams of blood-red lightning the whole scene seen through

design '

—

'

all

—

JAPANESE ART.

IO5

On the outer edge writhe serpents, ever raging flames. watchful to prevent escape. Within, a three-headed monster, girdled with skulls, whirls a flaming, red-hot club. Another, with a bull's head, gathers the miserable ones, and thrusts

them

a mighty cauldron that boils in the of fiercest fires while over this finale of horrors into

bleeding

midst

;

hang, head downwards, poor creatures whose anguish is even there enhanced by the fear of falling in. Over the abyss floats a gigantic head of Seeing, that terrible accuser, here glaring on each tortured sinner a too lasting there

With the

recollection."

description of this thrilling picture almost take leave of Japanese demonology, although

we may must

be

understood to exist entirely in the fearful phase presented by Buddhist superstition and craft. There is much fun and cruel humour mixed up with the purely it

not

—

"Japanese demonology of Japan. Jarves remarks: do not seem to be the incarnate enemies of men,

national devils

bent on destroying their souls, like the orthodox Christian demon. On the contrary, they have a marked preference for playing tricks with their bodies, and getting out of

them while I

refer

to

in

the

the flesh

all

of impish entertainment. not the imported Buddhist

sorts

aboriginal devils, roast their

The former

by coarse jokes and pointed jeers, which is better fun for them than to broil sinners on real coals of fire in an eternal place of torment. Sometimes the living men, by the aid of superior laugh spirits, get the better of these devils, and turn the is a it on their teasers and frighteners. Psychologically, varieties.

victims

singular recognition and treatment of evil in life, accepting but the spirit it thus half seriously and half jocosely seems characteristic of the Japanese in almost everything in their art. And yet in matters of etiquette they are ;

unsurpassed in gravity, suavity, and elaborated, complicated ceremony." impossible lor us to go deeply even into the artistic aspect of the mythology of Japan in a book we have the present like with the theological aspect o It

is

quite

;

JAPANESE ART.

106

nothing whatever to do. We must, therefore, pass over the numerous Buddhist drawings of saints and deities which are so frequently met with on vases, bowls, hanging pictures,

and

books and

in

peculiarities

works of art they present few There are three figures of Japanese.

rolls

strictly

however, which

deities,

as

:

we must not omit

mention

to

;

these

The god of the are the gods of the wind, thunder, and war. as a is wind (Kaze no kami) represented grotesque monster, over his

with an immense inflated bag mouths of which he holds in

about on the storm,

drifting

his

the two

shoulders,

and from which

hands,

The god

the

blast

of the

is

depicted

issuing

thunder [Kaminari sama)

with great force. is another grotesque creature, half man, half beast, depicted leaping about amidst dark clouds, and striking, with the sticks

he

encircles

carries his

his

in

The god

head.

a

hands, of

war

ring is

of

drums

which

a figure with three

heads and many arms, which wield different weapons, such as the bow, sword and spear. He is depicted rushing standing on the back of a wild boar or horse. these creations of the imagination are and are always rendered in a way singularly expressive

through a

the

air,

wild

All

;

which

fully sustains the acknowledged artist in graphic delineation.

power of the Japanese

At the conclusion of our essay, we cannot help realising how imperfect and full of shortcomings it is. Our apology, however, must be the vastness of the subject, and the difficulty the

European mind

always experience in thoroughly details. multitudinous understanding hope, nevertheless, that the present humble contribution towards the it

will

We

in all its

general history of Oriental Art will not prove to be deficient in practical value to the student of that interesting subject.

We

have endeavoured, by classifying our remarks as much as possible, to increase their utility, and to render them convenient for reference yet we feel that the adoption of such ;

a method has imparted a certain hardness to the composition which a more flowing and, we may say, sensational treatment

would have avoided.

Had we

adopted

the

latter

style

of

JAPANESE ART.

I07

would have the disadvantage of inordinate length without the compensation of one additional fact to add to its utility.

writing, our essay

With these followed

few

words

in

explanation

of

and

the

the

system

throughout previous pages, by way of apology for any obvious deficiencies, we commend our essay to our readers' kind consideration.

er

DAI NIP-PON-GREAT JAPAN.

KERAMIC ART OF JAPAN

KERAMIC ART OF

JAPAN. can

be little doubt that the art of making was pottery practised in Japan at a very early date, and that it was introduced into the country by workmen from Corea, where it had been known for some time The art is unquestionably of Chinese origin, previously. and was, along with many other branches of industry, learnt

THERE

by the

intelligent

Coreans from Chinese experts.

Japanese legends state that pottery was made

in

Japan by Oosiu-tsumi, who flourished long before the commencement of the Japanese era, 660 B.C., but nothing is definitely

known regarding facture

into

the

Japan,

date of the introduction

and

of the

manu-

professed to be fixed by a the least of it, very doubtful. has translated this chronicle,

that

Japanese chronicle is, to say Dr. Hoffman, of Leyden, who

says that it states that in the year 27 b.c the followers of a certain Prince of Sinra came from Corea to establish

themselves in Japan, and founded the first corporation of manufacturers of pottery be this as it may, one feels very The art of little faith stirring within one on the subject. ;

fashioning clay into vessels for holding water or for cooking, and subsequently rendering them durable by burning in kilns or,

indeed, the art of imparting to

them

a rude

— decoration —

KERAMIC ART OF JAPAN.

112

may have been known as

b.c.

27

which the

;

in the

Japanese islands quite as early

accepting that date as the year in manufacture of pottery was introduced by the before

but,

Coreans into Japan, one must have more tangible facts to go upon than the simple statements of a Japanese chronicler, who, probably, in ignorance of the real origin of the art in his country, would naturally date it back to the most remote epoch he ever heard spoken

The promulgation has

another of to

of.

a

of

been

invariably

attended

new manners, customs, and suppose

refined

art

when

time

On

of

some

very

by the introduction and it is reasonable

;

such

of

which we

as that

hastily

Japanese

early

arts

introduction

one country to

a

and

delicate

would occur at a religious communication

treat

important

between China, Corea, and Japan.

existed

was

the

that

from

religion

introduced

about

the

what

reviewing history,

from

middle

of

we

little

find

is

known

stated

it

that

regarding

Buddhism

China, through Corea, into Japan This is a much the sixth century.

more reasonable date to which to assign the commencement of the industry; for the planting of the new religion would of necessity bring in its train numbers of its priests and professors, men more or less highly educated for their day, and personally acquainted with those arts and manufactures whose aids were sought for the purpose of beautifying and adorning their temples and religious services. In

commencement

the

of

had attained a sure footing the annals

state

that,

at

century Buddhism Islands for in the Japanese seventh

the

that

;

period,

there

country 46 temples, 816 priests, and 569 devoted their lives to religious observances.

existed

in

persons

the

who

therefore probable that during the half-century just alluded to considerable religious intercourse existed, more or It is

less

direct,

hints,

with China and Corea

attended

with

specimens

;

and that many valuable of

manufacture,

reached

Japan, relative to various industrial arts and, in particular, with reference to the art of fabricating articles of pottery. ;

KERAMIC ART OF JAPAN.

A that

issued

report

in

724

a.d.,

the

by a

Government

Japanese

named

priest,

II3

a

Giyogi,

states

native

of

the

province of Idzumi, invented or introduced the potter's wheel and instructed the people in the use of it. Examples of his work, in the form of exceedingly rude earthenware vessels,

are

said

still

to exist

the

temple of Todaiji, in also learn, on the same

in

We province of Yamato. authority, that the manufacture

the

rapidly that it

the

after

was

flourished

introduction

of

earthenware

the

increased

wheel,

potter's

and

developed by Kato Shirozaimon, who

further

at

of

Seto, in the

province of

Owari, in 1225 a.d. the art of making pure porcelain was introduced into Japan about 15 13 a.d., by Gorodayu Shonsui on his return from ;

China, which country he, like Shirozaimon, had visited for the purpose of acquiring a knowledge of the manufacture.

He

in the province of Hizen, and succeeded in prothe various kinds of porcelain which still form the ducing trade of that district, and which are known by the staple

settled

— Sometsake,

following names: the glaze Hibi ;

celadon

ware

and

or

crackled

ware

otherwise

Nishikide*,

;

blue under

Seiji

called

yaki,

or

Gosai,

or

various colours, in which manner the greater of the productions of the Hizen factories is still

decoration portion

;

yaki,

or decoration with

in

The

process of making porcelain was greatly a Corean potter named Risamper, who settled improved by at Arita, at the close of the sixteenth century, and dis-

painted.

We neighbourhood. think there is good reason to suppose that the manufacture of artistic pottery and porcelain in Japan dates from this covered

the

suitable

material

in

the

and we now proceed to trace its progress introduction of the wares into Europe. period,

In

wrecked

the

year

during

a

1542

a

voyage

Portuguese from Siam

and the

merchantman to- Qhina,

was

upon the

Japanese coast, in the eastern part of the island of Kiusiu. During the few following years the Portuguese visited the Islands for the purpose of trading, and appear to have been well

received.

Then came

the p

active

efforts

made by

the

KERAMIC ART OF JAPAN.

114

Japan the far as Europeans are conreligion of the Cross, which, so cerned, occupies the page of its history, up to the time when the first period of the Dutch settlement opens. Kaempfer tells us that this period, from the first settlement in the town and island Hirado, and the privilege of free trade and commerce,

Jesuits, directed

till

the

in

the

by Francis

Xavier,

to

plant

in

removal of the factory to Nagasaki, was comprised And he further years between 1601 and 1641.

informs us that

at

that

time

the

trade

of

the

Castilians

and Portuguese, who had a large and flourishing settlement Nagasaki, and who had considerable advantage over the

at

commerce, was in its greatest In 1641, however, all this had ceased, the Christian vigour. religion had been almost totally extirpated in Japan, and the Castilians and Portuguese had been finally expelled the

Dutch

certain branches of

in

country.

From

that year the Dutch were confined to the island close to Nagasaki, where they continued their

Deshima, export and import trade under varying restrictions. Under the circumstances we have detailed, it is reasonable

to look to the latter half of the sixteenth century for the first arrival of

isolated

specimens of Japanese Keramic wares in Europe

conveyed by the vessels which went between Portugal and Japan, carrying the

specimens,

came and

—

indeed,

and emissaries of the Roman Catholic faith. That numerous illustrations of Japanese Art-manufactures found their way to Europe in this manner, and at this time, there is no reasonable doubt, but unfortunately no means exist whereby we may distinguish works of the epoch referred to

priests

from those of later periods.

The Portuguese having been finally expelled from Japan previous to 1641, we must look upon the Dutch as, after that and we may date, the only direct commercial link with Europe :

naturally surmise that between 1641 and the end of the cen-

tury the first extensive importations of the varied productions of Japan took place. Speaking of the Dutch trade between 1641 and 1686, Kaempfer states that the annual exports

KERAMIC ART OF JAPAN. comprised

one

about

hundred

bales

of

115

China

further alludes to the presents made by the Ministers to the resident Director of the

annual journey of ceremony of porcelain.

articles

to

All these,

the

ware

;

Emperor and

and his

Factory on his

Court,

as

comprising found their way

doubtless,

and from thence were distributed through Europe. This, then, is the period we consider to form the most satisfactory starting point for our review, and the only possible one for our illustrations of the Keramic Art of Japan. to Holland,

If

we now

our attention to the Continent we find

turn

the dates to agree substantially with the period during which the most important collection of old Japanese porcelain in Europe was brought together, namely, that preserved at

Dresden. the

We

are

informed

Collection

Royal

of

by

China,

Graesse, Director of that the specimens were Dr.

by August II, King of Poland and Elector of Saxony, between the years 1698 and 1724, for the purpose of decorating the rooms and banquet halls of the so-called all

collected

Japanese Palace. There can be

little

doubt that

the

was

principally obtained from Holland, from the Dutch settlement at Deshima

may

have

been

procured

from

the

Japanese

porcelain

being imported direct but certain specimens

;

Portuguese,

they were imported at an earlier date. the older vases, which are decorated

It is

with

by

whom

probable that applied

raised

ornamentation, may have been brought from Japan through the aid of the Jesuit missionaries, who had at one time We were informed access to the interior of the country.

Japanese Commissioner of the Keramic department at the Vienna Exhibition of 1873, that about two hundred years ago a manufacturer of porcelain in Hizen made what we know by the name " Old Japan," and traded

by an

intelligent

with foreign nations in contravention of the then existing law. On this being discovered by the Government, the manufacturer, Tomimura Kanyemon, was compelled, to commit the

Hara Kari. The greater

portion of the Japanese porcelain preserved

KERAMIC ART OF JAPAN.

Il6 at

Dresden

is

the highest

of the " Old

"

Japan

excellence in both

description, and, being of

quality

probably comprises the .very wares

and decoration, most

made by

the

unfortunate

Tomimura Kanyemon. Nagasaki the place where the important Portuguese trading settlement existed up to 1639, and it where the Dutch factory of Deshima existed after 1641 is

;

also one of the principal seaports of the province of Hizen, and was no doubt that from which Tomimura Kanyemon's manufactures were shipped. is

—

" Old Japan," namely, a fine white porcelain, richly decorated with flowers and birds, in occasional introduction of blue, red, and gold, with the All

black,

one

from

the ware

— was

made

hundred Japan,

known

in

bales

does

as

Hizen. of

not

Kaempfer, in informing us that

ware were

China give

we may

any

annually

particulars

of

its

shipped quality

suppose the porcelain which formed a portion of the presents from the Mikado and the nobles of the Court, was of a high class. Many of these presents are doubtless to be seen in the Dresden Color appearance

;

but

lection, while the bulk of the

at

least

specimens, including

Tomimura

Kanyemon's smuggled wares, are the ordinary exports of the Deshima Factory. " Large quantities of Old Japan," or what may be more correctly termed old Hizen Ware, were evidently imported Europe during the earlier part of the last century and, the Dresden Collection, much still remains in the possession of old families and private collectors. We are informed by Dr. Graesse that the Imperial Collection was

into

;

besides

much

having been at a later time reduced These were doubtless disposal of many duplicates. purchased by wealthy art lovers (in whose families they may originally

larger,

by the

be treasured as heir-looms to this day),

or passed in

some

cases into the hands of dealers in the great cities of Europe, and thus became widely separated from the parent collection. The province of Hizen appears to have at all times pro-

duced the best porcelain wares of Japan, and this fact is easily accounted for by the district furnishing the necessary

KERAMIC ART OF JAPAN. of

materials

perfect

quality for

its

II7

and

fabrication,

the

in

The principal supply of this petro-siligreatest abundance. ceous rock is obtained from Idsumiyama (the mountain of The chronicle Idzumi), in the neighbourhood of Arita. translated by Dr. Hoffmann enumerates eighteen principal we

of which

Hizen which

names

situated on the slopes of this mountain, the

factories

shall

The productions

wares. exist

still

give

when we speak more

Imari, and are Hizen produces

most

of

of

usually exported from therefore commonly known are

particularly of the factories

the as

seaport of Imari ware.

kinds of porcelain, decorated in blue, or in various colours, and with lacquer celadon, and some varieties of stoneware and probably the largest quantity of Keramic manufactures generally of any province in the all

;

;

Recent demands from European nations Empire. caused considerable activity in certain districts of Hizen a

common, gaudily decorated

have

and

;

supposed to satisfy ship loads from Naga-

porcelain,

western taste, has been exported in

It is correspondingly known as Nagasaki ware. unquestionably the very worst production of the Hizen

saki,

and

factories,

is

both

as

regards

absolutely worthless from Next to Hizen the

important potteries,

an

and

shape artistic

province

and produces

decoration,

and

point of view. of Owari has the

all

varieties

is

most

of porcelain,

Some and certain descriptions of faience and stoneware. are of specimens of the blue and white Owari porcelain the greatest possible beauty and interest; and the quality of the

paste,

though apparently softer than that of Hizen,

rather remarkable, It is very transparent. the leading porcelain notwithstanding the fact of Hizen being the should that Owari district, general name by which give is

and

fine

and earthenware are known in Japan. According the word Setomono signifies porcelain, earthento Hepburn, ware, and crockery generally, and is derived from Seto, a place in Owari, where most of the wares are manufactured porcelain

;:

;

*

Japanese and English Dictionary, by

J.

C. Hepburn.

Shanghai, 1872.

KERAMIC ART OF JAPAN.

Il8

mono

signifies

articles

however,

Japan,

or things.

In

the

southern part of

term

the

Karatzumono, called after the also used in the same sense, but

of that name, is means no so generally. by factory

From

repeated interviews with skilled Japanese, and from examinations of specimens of the oldest wares existing

and private collections, we are of opinion that potteries were established in Kioto at a very early period. This is more probable when we come to think that for centuries it was the great centre and seat of all the arts, and the theatre of the highest religious and courtly ceremonials. There dwelt the Emperor in an invisible glory, in

public

gilded prison, entirely surrounded with his powerful Court, the members of which vied with each other in point For their use the lacquer artists of refinement and luxury.

in

a

produced those boxes and cabinets which have ever remained the ivory workers manipulated matchless and unrivalled ;

those

grotesque

best works

of

and humorous carvings which surpass the western

ingenuity in their

class

particular

;

the metal workers wrought an alloy of art and bronze which became more valuable than gold ; for their delight the temple

dances were conducted in

all

their

weird imagery,

and

for

them the inspired poets sang. It is probable that whilst the Hizen and Owari factories were producing their usual wares, Kioto artists were fashioning and decorating rare from clays of all descriptions, conceits of which we have seen but few, but which fortunately do not simply exist in our imaginations. conceits

Writing of Kioto

in

his

—

day (i6go), Kaempfer says is the great magazine of all Japanese manufactures commodities, and the chief mercantile town in the :

" Miaco*

and

There is Empire. where there is not refine stuffs

scarce

a

house

made

in

this

large

capital,

Here they richest weave the copper, money, print books, with gold and silver flowers. The best and scarcest something

or

sold.

coin

Miaco was the name commonly used in Ksempfer's time for the imperial the Court to Tokio, it has been officially called Kioto.

since the removal of

city,

but

KERAMIC ART OF JAPAN.

most

the

dies,

artful

of

sorts

all

carvings,

1 10,

musical instru-

sorts of things

ments, pictures, japanned cabinets, gold and other metals, particularly in all

in

wrought

steel, as the best

tempered blades, and other arms are made here in utmost perfection, as are also the richest dresses, and the best fashion,

all

sorts of toys, puppets,

after

heads

their

moving

the

of themselves, and numberless other things too many to be In short, there is nothing can be thought here mentioned.

but what

be found at Miaco, and nothing, though never so neatly wrought, can be imported from abroad, but what some artist or other in this capital will undertake to of,

may

it. Considering this, it is no wonder that the manufactures of Miaco are become so famous throughout the

imitate

Empire, as to be easily preferred to

name in

sold,

they

though perhaps they have the

being

there.

the chief streets,

of

quantity

through Miaco, manufactures of this

made

presents to be

for

there

indeed,

but

passes other of the or

true

'Tis

goods.

body use,

only

particulars,

made

others,

because

There are but few houses where there is not something to be and for my part, I could not help wondering, whence can have customers enough for such an immense of

all

some

in

inferior

all

what

any

buys something or

city,

to

scarce

is

his

either

his

own

and

rela-

for

friends

tions."

The manufactories

would most likely be many and small, altogether different from the active wholesale nature of those of Hizen indeed, one would expect to of Kioto

;

find

to

the

all

each

suit

and

taste

famous

workmen whim or

luxury or

Kaempfer of

the

scenes

from

of imagination,

Mikado,

fashioning, articles of

artists,

in

point other in

of

portraits in

wrapt

their

heavenly

or courtly pageants of ornamental decorafertility

of

invention,

and dexterity of manipulative

points to

and

with

kami

;

clearly

them

favourite

or, performances each with only, vying

richness

first-class

fancy, unique and special

with

theatrical

tion

Kioto

painting

their

poets,

contemplation,

;

at

such

such a state of art it

unquestionably

in

was

skill.

the in

city its

KERAMIC ART OF JAPAN.

120 palmiest

now made

kinds

Several

days.

of porcelain

and faience are

it is unnecessary to individualise describe them particularly to have them here, as we shall when we come to the section devoted to Kioto wares. North-east of Kioto lies the province of Kaga, which

has

long

red

and

in

been

celebrated

ware are

the

in

its

decorated in rich

wares,

stated

is

to

have been

No specimens of Kaga century. in the Dresden Collection, or indeed

16th

be seen

to

for

The manufacture

gold.

commenced

but

Kioto,

any of the well-known old collections on the Continent. None of the early travellers speak about Kaga in any parwondered at, ticular way, although that can scarcely be in

that

seeing

European

lies

it

travellers

far

from

away

usual

the

routes

of

Kaempfer mentions the

in the

country. the province of Jeetsju, a certain kind of earthen pot is made, but gives no further information on the subject. and it is probable the Jeetsju adjoins Kaga on the east fact that, in

;

have

allusion

time,

may may have

reference

extended

to

into

potteries

which,

Kaga, or which

his

in

may have

been moved to a more convenient locality in the province, and there fostered under the protection of the wealthy and

The Kaga factories are powerful princes of Kaga. celebrated in Japan, and their beautiful productions are European

prized by

collectors.

The ware was almost unknown Paris

very

much

in

Europe prior to the

where a large and shown, and where its

Exhibition,

valuable

series

of

brilliant red, gold, specimens was and soft white ground, in contrast with the polished black lacquered cabinets and stands, claimed both attention and

admiration.

we now that

call

Unquestionably the finest specimens of what the middle period ware came to Europe on

occasion,

illustrated

We

in

and

several

authenticated

Paris

pieces

are

which,

within

the

our Plates.

now come

to

another

province,

two centuries, has produced exceptionally interesting and beautiful works of pottery. This province is Satsuma, situated on the south-west of the island of Kiusiu, and last

KERAMIC ART OF JAPAN. separated from a arm of the sea

;

121

province of Hizen by an and on land, by the provinces of Higo

portion of the

and Chikugo. The manufacture of pottery in this province dates from the latter part of the 15th century; but the very choicest pieces which have reached Europe appear to have been produced from early the present

of

beginning

the

in

before

one,

century to the the traditions of the last

province were upset by the introduction of cotton mills, and the liberal encouragement of western manufactures and commerce by the enlightened Prince of Satsuma. The

ware

which

for

firm

and

texture

more or

glaze

Satsuma

celebrated

is

delicate

creamy

is

a

faience

covered

tint,

of a

with

a

crackled.

less

Having thus briefly mentioned the principal districts of Japan in which the Keramic Art is practised, and to which we shall again have to refer in the sectional chapters attending our illustrations, we give a sketch of the

Hizen, our translated by Dr. Hoffmann ture

in

we

that

not

issued

by

years

with

stantially

and we

;

here

mention

of

variations

slight

the

same,

and of

the little

information given is subvalue for the purpose of

comparison or of elucidating the which arise.

The

may

opinion that the chronicle referred to has basis of the various reports which have been the Japanese Government during the last few

are

formed the

;

may

it

prove uninteresting of processes porcelain manufacauthority being the Japanese Work

if

material used

in

the

numerous doubtful points

formation

of

the

paste

is

extracted from Idsumiyama, in hard and solid pieces, which have to be reduced to impalpable powder by hammers and The latter are either worked by men, who stamping mills. tread upon and depress the ends of the pestle levers, or by a revolving shaft with pins at intervals, set in motion by a

On

water-wheel. the

"hard

earth,"

the

as

conclusion of the pulverising process, it

is

called

is

removed

and mixed with a certain proportion of (Kaolin), and put to soak in -tanks of water,

from the mortars "soft earth"

(Petrosilex),

Q

KERAMIC ART OF JAPAN.

122

being

The

mass

fluid

other

is

render

to

stirred

frequently

now

filtered

where the

reservoirs,

admixture

the

rush

through

perfect.

baskets

allowed to

materials are

into

settle.

coarsest particles, being the heaviest, go to the bottom and the others subside by degrees, according to their

The first,

the

until

densities,

water

perfectly clear.

left

is

The water

is then run off, and the upper layers of the paste removed to form the finest porcelain, the middle layers to form the

and the

second quality, as

The

useless.

lower

now

is

paste

be thrown away and afterwards dried, under feet in shallow

trodden

kneaded

to

deposit

(most probably fresh water, when it is in a state to be with troughs) formed into articles of use by the throwers and moulders. The "thrower's wheel" used in Japan appears to be a

very primitive contrivance, consisting of two horizontal discs connected together by a vertical axle, the lower end of

which turns

upper

The

and,

by

The workman

disc.

dexterous use of

a

axle,

centre of the top

with

his

fingers into

and

volving mass

Great

skill

is

disc,

his

to

in

again underneath

machine,

and places

clay

it

in

firmly adheres, and rapidly converts the re-

which

this

is

upon the lower disc, He throwing wheel. it

shape of a bowl,

shown

course,

at this simple

feet

thumbs he

the

of

journal-bearing sits

motion to the imparts a rapid then takes a lump of the porcelain the

about ;

supported by passing through a

upper

is

fixed

forming a revolving table. the

disc

the placed near the ground on the top of the axle,

is

diameter,

is

The lower

socket.

fixed

and and is small,

three feet in disc

a

in

part

cup or vase.

of

the

process,

for

most delicate egg-shell cups and saucers, which we admire so much, are first formed by the fingers and thumbs of the potter from shapeless masses of pliant When the thrower has finished an article to his clay. satisfaction, he carefully removes it and passes it to an here the

attendant, after

who

which

turned, both

it

places is

inside

it

again

and

in

placed out,

shade

the

on

until

it

to

harden

slightly,

wheel or lathe, and has attained its perfect

a

KERAMIC ART OF JAPAN. form and finished thickness

123

has been done, the handles or other raised portions, which have been previously moulded and finished, are fixed on with "slip," or fluid

The

article

The ovens quently demand constant

The

heat

fluctuating in

or

completed. When the porcelain

is

by

day

and night, to desirable limits.

exceeding oven before

the

placed lighted, and are allowed to cool is

then

is

attention

are

articles

this

slowly dried in the cover, and is ready for the first baking. are heated entirely by wood, and conse-

porcelain paste. shade, or under

prevent the

after

;

gradually

the

fires

are

when the baking

removed from the oven,

it

is

well

washed in fresh water, and wiped clean with a cotton cloth, after which it is ready to receive its decoration. When the painting is complete (that is, as regards porcelain decorated with blue), the articles are covered with the glazing prepaThese are ration, and finally burned in the grand ovens. usually large, and erected in groups on the plateaus of the hills. Six furnaces together are stated to occupy about one

hundred and ninety-five heat

may

feet,

and are so constructed that the

circulate throughout the entire group.

Each

oven,

however, has its own fire, which is steadily kept up day and night, for about one hundred and twenty hours, with logs of

wood.

The

porcelain articles are supported in the oven by scaffolds of potters' clay large dishes and such like being ;

held up on several small cones of clay, which, when afterwards broken off, leave the marks on these articles which are often

found upon Japanese porcelain. articles are

washed

After the grand firing, the It is stated that and are ready for use.

preparation of the paste and the final firing just described are so numerous that each article of porcelain has to pass through the hands of no fewer the processes between the

than seventy-two workmen. The decorations on porcelain are

executed

after

coating of glaze ratively

;

the

final

and are

low temperature.

enamel colours and gold burning of the paste and its

fixed

in

in

small ovens at a compa-

KERAMIC ART OF JAPAN.

124

processes of painting in blue and in enamel colours are doubtless identical with those followed in China, and in all essential features similar to those adopted by porcelain

The

painters in

The

Europe.

on

speaking, a stain laid before the glazing composition when used, the blue tint only

strictly

is

from

produced

blue,

cobalt,

It is

applied.

is,

and

after the first baking,

almost black

coming out under the powerful Several varieties of blue and white fire of the final baking. in are Japan, which, in some cases, are produced porcelain widely different in tone and character of treatment, while in others they approach so nearly to one standard, that all

chance Blue

of

classifying

that

in

themselves

tions

direction

usually not,

peculiarities

and

marked, that

indeed,

the

is

lost.

we

are

inscrip-

much

information, for, with the in Owari, on which the word "Seto"

convey

exception of ware

;

their

by

is

however,

porcelain,

assisted

them

made

generally appears, they .very rarely denote the province in which the wares were made, although they frequently contain the maker's name but once identified from authenticated ;

it

is

specimens, easy their manufactories.

The

three

afterwards

districts

of

Japan

form a

to

which

direct

produce

clue

to

the best

blue and white porcelain are Arita in Hizen, Seto in Owari, and Kioto in the province of Yamashiro. At Arita, large

and important pieces are frequently made for instance, the Japanese Court at the Vienna Exhibition of 1873 contained several contributions from its factories, in the shape of vases and temple lamps, ranging from five feet to six feet six inches The blue of high, which were perfectly sound throughout. ;

Arita

Seto

appears to be preferred ;

and

experience

it

is,

as

inclines

by

the Japanese

to

that

of

a rule, richer in colour but our own us to prefer the productions of Owari, ;

on account of their superior finish and delicacy. The plaque illustrated on Plate XXVIII, which was made in Seto by Kawamoto Masukichi, a leading manufacturer in the district, is

altogether a remarkable

Owari

potters

and of the

evidence of the painters

in

skill

blue

;

both of the and,

in

our

KERAMIC ART OF JAPAN.

25

exceeds any work of a similar nature produced

opinion, far elsewhere.

The

1

decorations

floral

be

to

seen

on

pieces of a clearness

fine

Owari porcelain are drawn and shaded with and delicacy approaching the exactness of botanical diagrams, and surpassing anything we have seen throughout the whole One remarkable instance range of blue and white porcelain. of this as

we

perfect write.

procured at

on a

painting,

few

Comparatively

candlestand,

is

before

us

Kioto

the

of

specimens

have come to hand in Europe at

tall

an authenticated piece of Owari porcelain the Vienna Exhibition. It is

porcelain indeed, had not the Sections

;

Vienna embraced authenticated pieces of blue and white

from the Imperial city, we should have doubted whether its manufacture was carried on there to any extent. It is quite safe, however, to surmise that wherever porcelain is fabricated in

Oriental

it

countries,

decorated with blue.

in

will,

some fashion

or

other,

be

fabricated in Kioto appear to have been always more highly prized by the Japanese than those produced elsewhere. It was the case in Ksempfer's Articles

and it appears to be so in the present day, judging at least from the sums asked for Kioto porcelain at the Vienna Exhibition, in comparison with that from other

time,

The specimens we secured

districts.

quality,

and the blue

manipulated,

but

is

full

and

cost

they

rich

about

are

in

four

certainly

tint,

and

times

as

of fine

artistically

much

as

corresponding articles of Arita or Seto make would have been priced at. From what we have seen, and the infor-

mation we have porcelain

been

decorators

able

of

Kioto

to

gather, it appears that the do not affect the high and

laboured finish of the artists of Owari in their blue porcelain, rather striving after artistic results by free and skilful drawexpressing, but not in reality rendering, minute detail. The ancient blue and white Japanese porcelain, which, " Old doubtless, came over with the blue, red and gold, or

ing

;

Japan be

"

ware,

expected.

is

In

not the

by any

means

Collection

at

so

plentiful

Dresden,

as

might

comparatively

KERAMIC ART OF JAPAN.

126

few pieces are to be seen which can, with any degree of It is unfortunate certainty, be pronounced to be Japanese. that the objects were disarranged when they were removed

from

where

saloons

the

were

they

originally

placed, and considerable

where they were correctly inventoried and now difficulty will be experienced by any one who essays to separate the Chinese wares from those of Japan, so far as There are conthe blue painted porcelain is concerned. ;

siderable

appears

quantities of to have been

copyism indulged so

The much

the

in

and texture of the old Japanese porcelain is those of the Chinese, or so-called " Nankin," of

like

date, that

in

although

is

it

wares

respective

guide,

blue

quality

same

the

much

by the

in

Holland, where it appreciated, judging from the Delft manufacturers.

Japanese

;

a matter of difficulty to individualise decoration is usually the best

the

very

many

instances

that

cannot

be

There is one style of blue and white porcelain, lately become much prized and sought after, and termed amongst collectors the " hawthorn pattern," which depended

has

not

upon.

yet

been

authoritatively

classed

amongst

Chinese

or Japanese productions. The opinion in certain quarters has been decidedly in favour of a Chinese origin, but that opinion has been held by those who were content to call its

decoration the

" hawthorn

ware

this

The

peculiarity of ornamentation, which consists

pattern."

exists entirely in its of white flowers upon a clouded blue ground. simply

flowers,

These

which certainly do resemble our hawthorn, are those

favourite time of Japan, the emblem of Spring time, and health. Two fine covered jars are preserved in youth where are Dresden, they represented as Japanese. Specimens of this ume porcelain are difficult to meet with, and command

of the

exceedingly high prices.

There

are

several

preserved Hampton over by William and Mary, there

by them,

favourite

resorts.

specimens of the old ware Palace, which were brought

good Court

in

for

and doubtless placed Hampton Court was one of the King's in

1689,

KERAMIC ART OF JAPAN.

in

I

27

Porcelain, painted or enamelled with colours, is produced all the porcelain districts of Japan, but Hizen contains

largest manufactories, and ware of this description than

the

The enamel are in

and the metals used in the decoration on after the final burning of the paste,

colours

cases laid

all

consequently produces more any of the other provinces.

and are therefore above the glaze. cases

the

painters

are

articles

are

where the

own

appears that in some

It

independent of the factories fashioned and baked, and work at quite

owning, separately or jointly, small a ovens, where, comparatively low temperature, the easily fused enamels are fixed. their

residences, at

The enamels used on Hizen

some cases

are in

of con-

siderable thickness, appearing in high relief, and imparting a The peculiar red enamel is laid jewelled effect to the ware.

on

medium wax when

in

ing dull

orange

more

thickness, and assumes the appearance of sealfixed there is, however, another red, or rather ;

tint,

which

is

a stain than an

like

laid

on

so

thinly as to appear this tint is most

enamel colour

;

and imparts to the modern ware made for the European market, into which it is largely introduced, The red enamels used by the a tone of great vulgarity. offensive in its effect,

painters are much superior to those of Hizen, while those of Owari approach in most respects the latter, and consequently lack refinement.

Kioto and

The

Kaga

red found

on old Kaga

is

of remarkable

richness

and depth, neither appearing like a mere stain or at all approaching the thick and glossy effect of a sealing wax varnish. The red of Kioto, as met with in the celebrated Yeiraku ware,

is

also a pure

and

brilliant

enamel, capable of

on very thinly without losing intensity. The red being enamels of Kioto and Kaga are chiefly relieved by gold. Generally speaking, the gilding met with on Japanese wares laid

of a very inferior description, in comparison with European work, and appears to be imperfectly fired or fixed. In numeis

examples, the gold tested by us was found to be laid on with some fixing material, simply dried, and not subjected rous

KERAMIC ART OF JAPAN.

128

We

have just said that the red enamels of the Kioto and Kaga wares are relieved by gold, but we doubt if it is not an inferior metal that is used, for, on expo-

to the kiln

at all.

sure to the

air,

visibly tarnishes.

it

It

resumes

again on being rubbed with any soft material. Enamelled porcelain is made in Owari quantities, but

does not, so

it

we

as

far

its

in

brightness

considerable

are aware, present

any marked features, generally resembling ordinary Hizen, and sometimes bearing evidences of copyism from works of Kioto

artists.

Keramic wares of Japan are the several varieties of enamelled and painted There is faience produced in Kioto, Kaga, and Satsuma. no doubt that a fine faience presents a better ground to receive enamel colours than the hard and polished surface of porcelain and the delicate tints of the pastes, covered Unquestionably

most

the

characteristic

;

they almost universally are with a waxy-looking crackled this glaze, lend a great charm to the coloured decorations as

;

and Satsuma wares. In many specimens of Kioto ware the enamels are laid on in considerable body, and so as to almost cover the is

particularly noticeable

entire

ground, which, the coloured designs

manipulated

with

subjects and

floral

In or

flat

the

greatest devices.

according to the

painting, are

executed

the leaves are kept

flat

in

by

being executed in gold. The decorations met

Japan are always difficulty,

those

country,

in

distinguishing

them

is

at

difficulty, in

in the case

all

fact,

of old

figure

treated for raised

fancy of the article

;

artists,

both

for instance,

enamels thickly laid on, while washes of colour, or by

delicate

with

characteristic,

to

in

delicacy

are

commonly appearing on one

the flowers

only

possible

enamels

the

the

as

dividing lines to examples the colours are

other

in

;

Kioto

acts

indeed,

Satsuma work,

styles very

The

the

in

on

the

and

conversant

Keramic

hence with

wares of

there

the

art

is

of

little

the

Japanese from Chinese works. which arises in deciding between specimens of porcelain decorated

KERAMIC ART OF JAPAN.

120,

with blue, in which the works of 'the two countries frequently resemble each other very closely. The quality of the

does not

paste it

with any degree of regularity, nor does characteristics in these early pieces.

differ

present any marked

The Japanese

appear, since the introduction of the art, to have been quite as skilled as the Chinese in the prepara-

and

of the porcelain clay,

tion

their

in

manipulation of

it

;

of late, indeed, they have surpassed the manufacturers of the Celestial Empire in the fabrication of the finer descriptions.

The

which most frequently occur

objects

the decora-

in

on Japanese wares are such flowers as the chrysanand branches of the themum, peony, wistaria, and iris tions

;

ume,

paullownia

fir,

bamboo

recurring the tailed

animals

the

of

the

them

the

peacock,

conclusively stamp of the landscapes,

introduced in

There

indeed, trade,

in

its

treatment

nationality the crests

and

with

not

again allude to frequent occurrence on

;

distinctive that

they

same may be

said

the or

badges

occasionally

absolutely no difficulty in deciding the nationthe varieties of Japanese faience, for, to our

no

other

be

is

it

with

styles,

nature

produces anything The Corea may

them.

wares similar to

highly

by the

nation

Oriental

compared

we may

used the

natural

decoration.

contribute

various

such

have given full descripall the above objects

and are always so their

and

of

need

so

constantly the dragon,

the conventionalised), carp and several other

the

We

insects.

that

those of Japan

when

probable a very interesting

find

Keramic productions. Articles of porcelain and

been

as

is

all

knowledge, which can

to

animals

Figure subjects are of

porcelain,

certainly

almost

(much

pheasant,

Essay,

the

and ho-ho ;

lion

Japanese

here.

ality of

fabulous

kirin

horse,

Introductory

Japanese

of

such

;

and numerous

fishes,

tions in

the

falcon,

stork,

imperialis,

tortoise,

as

with

Japanese executed of

the

faience

as in

wares R

it

for

at

and,

all

research

periods

ornamentation

quite

themselves.

;

opened up for

field

have

subjects materials

is

at variance

The

material

KF.RAMIC ART OF JAPAN.

I3O

most

from

prepared

the

with various

exudes from the

gum which

of Japan, called

tree

When

used.

commonly

an

of

article

porcelain

the

be decorated with lacquer,

to

is

varnish

peculiar

by the natives This is prepared with great care, and coloured red and dark green being pigments, black,

Urushi-no-ki.

faience

a

lacquer,

resinous

Rhus vernix or varnish

most

is

adopted

frequently

or

artistproceeds

He entirely covers the following ways material as a groundwork its article, simply looking upon for his varnish, and ornaments it with various designs in specimens of this treatment are frequently gold and colours met with, the most notable being the large trumpet-mouthed He vases, made in Hizen, and exported at Nagasaki. in

one

of

the

:

;

partially

the

inside

to

find

to

the

are

in

surface

its

that blue

of

ornamental

and

the

be in

the

lacquered enrichments of this

this

in

unlacquered

the

shape

like.

He

leaving

which have

and decorated by, the specimens

left

article,

forms

;

case

it

usual

is

enamelled decoration has been applied

or

found

boxes

state

original

to

portions

generally

dishes,

by covering the external surface, leaving

it

lacquers

;

of

partially

lacquers

medallions

and

already

pottery painter, as to produce a

method are

specimens of this cups and saucers,

been

and final

to be seen in

the

other

prepared so

treats

artistic

for,

his

result

;

vases, plaques

cabinets, and indeed on every kind of object produced Or the artist selects some choice specimen by the potter.

for

of crackled or quaintly splashed ware, or enamelled porcelain, and decorates it with figures, flowers, or birds, in raised

lacquer.

This

last

treatment

is

the

most

uncommon,

although examples are occasionally to be seen. Another system of applied decoration, which, however, does not appear to be resorted to in modern manufactures, consists of raised and

embossed works, formed of a glutinous paste of rice, or a material somewhat resembling papiermache. The most important examples we have seen of this manufacture are in the Dresden Collection, where there are numerous large vases, but, unfortunately, they

KERAMIC ART OF JAPAN. are

in

a

decoration

condition. The system dilapidated represented by these remarkable specimens

very

I3I of

was

evidently an accepted one in Japan at the time of their manufacture, probably between two and three hundred years ago, for in the places where the composition ornaments have fallen off, we observe that the potter has prepared a

The vases are only ground for their reception. partially ornamented by the reliefs, the other parts being The reliefs are glazed and decorated in the usual manner. rough

in

cases of very beautiful design, consisting of animals, and flowers, upon grounds of diaper work. The grounds

many

fruit,

have been gilded, and the flowers, buds and other devices It is difficult to appear to have been in brilliant colours.

form a correct idea of these interesting works as they were in their original state, but enough remains to assure us that they must effective of the

have been amongst the most beautiful and art

productions of Japan.

THE RED SUN OF JAPAN.

CREST OF THE PRINCE OF HIZEN. From a Malm

Roll o/ Flags.

HIZEN.

HIZEN.

Province of Hizen

THE

the

of

island

is

situated in the north-west of

and,

Kiusiu,

with

the

exception

of

capital,

the small island of Hirado and the Goto group, most westerly portion of the empire of Japan. Its is a town of considerable situated Saga, importance,

at the

northern

is

the

Hizen extremity of the Gulf of Simabara. that of Nagasaki, in whose ports open to trade waters the fan-shaped island of Deshima, constructed for the has two

:

Portuguese, shortly afterwards became the permanent factory of the Dutch company, and hence has for centuries been

and that of Imari, from which European ears of the Keramic manufactures of the province large quantities

familiar to

;

have been shipped.

Both these ports give their names to porcelain exported names which are, however, incorrectly applied, wares being manufactured in either place. Porcelain

—

from thence

no

appears to be the

island

made kilns

made

of Hirado.

chiefly

in

of Ichinose,

Kuromouda

in

the

various districts of Hizen, including The wares shipped from Imari are

town

Hirose,

of

Arita

and

in

the

adjoining

Nangawara, Ohotaru, Hokao and

productions of all these factories, and of the neighbouring ones of Ohokawachi, Mikawachi, Shida, Ko-Shida and Yoshida are known by the general name of

Imari

;

ware.

the

From

the

of

nearly all the varieties of the wares produced in the province are exported. port

Nagasaki

KERAMIC ART OF JAPAN.

I36

The Portuguese,

the

first

western traders

who reached

the Japanese islands, landed in the country in the year 1542, from one of their ships, which, as we have already stated, was driven upon the hitherto unknown land. At the time of

were no laws or restrictions with regard to hence the Portuguese, realising foreigners or foreign trade the great advantages to be gained by establishing business their arrival there

;

relations with the Japanese, speedily settled

a factory in the

country.

unnecessary to follow the progress of the Portuguese trade from this time until its total cessation under Imperial edict in 1639. Kaempfer, the great authority on all It

is

matters relating to the early trade with Japan, does not go into particulars as to the commodities exported from the

Portuguese factory, only incidentally mentioning facts relating the shipment of bullion/'' But from what he states,

to

one

may

were

readily

specimens of porcelain The wares they would be

rare

their

amongst

exports. ports in Bungo or Firando (Hirado), they traded in the earlier portion of their com-

offered, either

at

surmise that

which

at

the

* '• Here I shall leave for a while the affairs of religion, to say a few words conThe merchants in their trade, and cerning the commerce and trade of the Portuguese. the priests in the propagating of the gospel, prospered equally well. The merchants married the daughters of the richest inhabitants, and disposed of their goods to the best

advantage. curiosities,

The gold medicines,

of

stuffs,

the country was exchanged against and other things of the like nature.

of this precious metal were

import

and

to

their

rising

their

trade they

export

greatness

came

exported every year, for at that time they had

what goods and

they imported thither

in

their

with only

and

European

Indian

Upwards of 300

what quantity they pleased.

full

tons

liberty to

At the time of

large ships, but upon the decline of their galliots, as they call them, or smaller vessels.

goods

in

of Bungo and Firando. Then they came only to upon the goods imported was at least cent, per cent., and they got not a little upon what they exported. It is believed that had the Portuguese enjoyed the trade to Japan but twenty years longer, upon the same foot as they did for some time, such riches would have been transported out of this Ophir to Macao, and there would have been such a plenty and flow of gold and silver in that town, as sacred writs mention there was at Jerusalem in the times of Solomon. It is needless here to enter into all the particulars of their trade, and I think it sufficient to mention that even in the last years of their going to Japan, when their trade was in its greatest decline, I mean in 1636, 2,350 chests of silver, or 2,350,000 (hails, were carried on board four ships from In 1637 they imported goods, and exported money, to the value of Nagasaki to Macao. 2,142,565 (kails, on board six ships; and in 1638, to the value of 1,259,023 (kails, only with two galliots. And I found it mentioned that, some few years before, they sent

They

first

Nagasaki.

away,

put

The

into

the

harbours

gain

on board a small ship of

theirs,

upwards of one hundred tons of gold."

— Kampfer.

HIZEN. mercial relationship,

or

at

the

137

of Nagasaki, to which would be the productions of

port

they were latterly confined, There is very little doubt that some Hizen.

of the

oldest

is now in Europe was imported between the years 1550 and 1639. It Portuguese, is unfortunately impossible for us now to do more than hazard an opinion on the subject, however strongly exami-

Japanese

pottery

which

by the

and

nation

of

comparison

examples

may

our

satisfy

own

The

minds.

only conclusive testimony would be systematic date or reign marks, but these, unfortunately, are very seldom met with on ancient Japanese ware.

We now

come

consider the era of the Dutch trading settlement in Hizen, which is more important in the history of Japanese Keramic Art than that of the Portuguese, simply because we have trustworthy information to guide us. The to

patent granting free trade to the Dutch factory, first established in Hirado, appear to have been given by the reigning Emperor Ijejas, in the year 161 1, and, so far as letters

we can

gather,

Dutch had somewhat

the

similar

privileges of the latter, up to the expulsion and the issuing of the Imperial proclamation in the year 1637,* which was at once the death-blow to Portuguese ambition,

to those of the Portuguese,

and

to unrestricted trade with

1635

tne

island of

any foreign nation.

Deshima was

the harbour of Nagasaki, for the Portuguese traders from the town

In the year

raised by the Japanese in purpose of shutting off the

them under watch and ward on their final expulsion, it was to decided remove the Dutch factory from Hirado, and In 1641, to place it under similar conditions on Deshima. therefore, the Dutch took up their residence in the island and from that time, under humiliating and distressing prison proper, and keeping

;

;

enactments, they continued their still lucrative trade. The proclamation issued with reference to the Portu-

guese remained substantially *

in the

in

force

after

their

expulsion.

The Portuguese, notwithstanding this proclamation, succeeded in maintaining a footing new island factory of Deshima until about two years later, when at last, fearing that

their lives

would be taken, they

left

the Japanese shores.

KERAMIC ART OF JAPAN.

I38

publication there was no let or hindrance to foreigners visiting Japan, or to natives leaving the islands but after its issue and returning at their own pleasure

Previous to

its

;

different, may be imagined from the tenor of several clauses of the proclamation, which we here

things were widely

"

Ksempfer's words

in

give

No

"Japan, "

—

Japanese ship, or boat whatever, nor any native of shall

to

contrary

presume

to

"put "

go out of the country: and the ship, with die,

to

shall

this

and goods aboard, " All Japanese,

11

:

Sakaki Barra Findano Cami and to Baba Sabray Sejimon.

To "

"

as

be

shall

who

sequestered

shall

acts

crew

the

further

till

from abroad,

return

who

order.

shall be

death.

Whoever

discovers a Priest shall have a reward of 400 to 500 shuets* of silver, and for every Christian in proportion. 11 All persons who propagate the doctrine of the Christ -

"

ians, or bear this scandalous name, shall be imprisoned " in the or common of the town. Ombra, gaol " The whole race of the with their

mothers, be banished

Portuguese,

"

nurses,

and whatever belongs

to

them,

shall

"to Macao. "

Whoever presumes

"to return " all

his

"them "

he

after

family

;

been

banished,

whoever

presumes

to

hath

also,

bring a letter from

abroad, or shall with die,

to

be put to death. nobleman, nor any soldier,

intercede

for

shall

No

"purchase anything of a " Given

in

the

foreigner,

thirteenth

shall

be

suffered

to

etc.

year of our reign, Quanje 19,

"in the 5th month. " "

"

"

*"A ounces,

Signed, Saccaja Sanikkeno Cami, Dijno Ojeno Cami,

Matzendeyro Insemo Cami, Obono Bongono Cami."

Cangano Cami, shuet of silver weighs

which

is

about five ounces, so that 500 shuets about 2,500 Rixdollars, or 500/. sterling." Kxtnpfer.

—

amount

to

2,500

HIZEN.

The

first

period

years, namely, from

1611

the

until

of the

139

Dutch trade lasted about

the

the

of

granting settlement in Deshima,

thirty

patent in and there can be letters

Dutch East India Company, and continually going coming, conveyed specimens of porcelain from the Hizen factories, together with their more valuable and more highly prized cargoes of gold and silver. We can find, however, no records of the trade in Hirado which doubt that ships of the

little

forming any idea as to whether or not porceformed an article of commerce during its continuance.

assist lain

After

us

in

the

settlement

at

Nagasaki

we

have

some

hints

supplied respecting the state of the trade and the class of commodities exported from the factory. The Dutch suffered the at hands of the great indignities Japanese officials, looked of on account their being upon, religion, as little

and professed enemies of the nation yet, notwithstanding these drawbacks, and the exacting restrictions laid on all their business operations, the first year of their occupation of Deshima is stated to have been one of the most profitable on record the imports having better

than

traitors

;

;

realised above £700,000, and the exports being in proportion. From this time porcelain became a standard article of

and Kaempfer gives the annual export at about one hundred bales, exclusive of the private consignments in the shape of presents made to the Embassy during its yearly visit to the Emperor's Court at Kioto.

trade,

We

no

given us by this experienced author, who was Physician to the Dutch Embassy, and consequently visited the Court, regarding the nature of have,

however,

information

the wares included in the annual shipments, or in the presents from the Emperor and his nobles to the members of the

Embassy and, therefore, we can only gain the desired information by turning our attention to Europe, and tracing the importation of the said wares, and, where possible, their ultimate destination. Unquestionably the greater portion of the ;

porcelain, and, indeed, its

of

all

the artistic

articles,

would

find

way direct to the Dutch ports, and there the annual con-

KERAMIC ART OF JAPAN.

I40

signments of the one hundred bales would for the first time be opened up and their contents disposed of. Without going into further particulars, we are assured that Holland imported,

East India Company, large quantities of Oriental porcelain and other works of artistic manufacture during the period above alluded to, namely, the latter through the agency of

its

half of the seventeenth century * and we may accept it as a fact that the greater proportion of these wares came from ;

Nagasaki, and were therefore the productions of the porcelain districts of the province of Hizen.

The

may have embraced

early importations

several varie-

manufacture, but our personal investigations lead us to believe that only two important kinds were sent to Europe ties of

—

one a blue

white porcelain, very richly decorated with red, and gold, and the other a similar porcelain, decorated fine

description has long been known " to collectors by the rather vague name of " Old Japan and large and important collections of it exist in public and private cabinets. The most important, however, is the Imperial

The former

with blue only.

;

Collection

at

Dresden, to

and we

shall here give

we

confining our

which

we have already

alluded,

some

particulars with reference to its contents. In the first place, it will be advisable to prove that the ware now under review is of Hizen manufacture, as

are

present remarks to the

wares of that

province.

That the "Old Japan" ware was made in Japan, and it was imported by the Dutch East India Company, there is no doubt. As the port to which its trade was exclusively confined was situated in the province of Hizen, and as Hizen was the original and principal porcelain district in the empire, as we have shown in our chapter upon Keramic Art,f it is reasonable to surmise that the ware was manufacthat

tured in the province.

Still

we lacked some

*

Jacquemart states Japanese porcelain; porcelain f

destined

Ante

p.

113.

and for

that,

that

Europe.

in

in

1664, the

there

arrived

same year

in

there

definite information

Holland 44,943 very rare pieces of left

Batavia

16,580

other pieces of

HIZEN.

on

this

sioner

point, until it was given us by a learned Commisof the porcelain department at the Vienna Exhibition

He

informed us that the said porcelain was made Hizen about two hundred years ago, and exported from

of 1873. in

I4I

and he further told us of an by the Dutch on which occurred about that time. This incident, record, incident embraced the illegal dealings of Tomimura Kanyemon, Nagasaki

;

the porcelain manufacturer, and his death by the Hara Kari, to which we have already alluded. The larger proportion of the Japanese Collection at

Dresden consists bottles,

and

jars,

Nishikide

of covered

dishes

with

fashion,

beakers,

vases,

of

floral

all

devices,

gourd-shaped

decorated

sizes,

birds,

conventional

the

in

animals

and

blue

and

in

ornaments, boldly painted red, with the occasional introduction of black. The flowers

gold,

most frequently met with are the chrysanthemum and peony and branches of the nine, fir, and paulownia imperialis with ;

the

graceful

what for

at a

their

pared

commonly

while

examining

loss,

student

One is someappear. these works, to account treatment

artistic

markedly peculiar

the

that

bamboo,

Art

of Japanese

would

national.

to

pronounce strictly and of necessity present

certainly,

but, long passed away one cannot help asking

making

;

if

art

—a

treatment

scarcely They are

pre-

ancient,

thoughts of schools allowance

full

be

for

there ever could have

this,

been an

which modified their artists' national tastes. Jacquemart mentions that he learned from the Ambassades Memorables Dutch exercised a the that considerable influence over the porcelain manufacture of external

influence

at

work

Japan, and that Wagenaar,

who

for

a long time represented

Japan, had porcelain painted to his own designs were or modifications, the native because productions account of their not on scarcely to his taste, principally

Holland

having

in

enough

difficulties

has

much

of the

flowers.

student

probability on its of the ware, in

If

such

disappear. side

many

;

and cases

was

the

case,

the

This theory certainly the

lavish

richness

of

absolutely over-crowded

KERAMIC ART OF JAPAN.

142

In Plate ornamentation, tends to prove its truth. selected from the Dresden an illustrated example

with

XII

is

This

is

Hizen ware, and most marked. is

is

Collection.

an excellent representative of the old of a type in which Japanese treatment

Some

have

most interesting pieces

of the

in

the

the

kiku-mon, in Imperial crest, and possibly these may be the productions of the relief; * unfortunate Kanyemon. Collection

the

The texture,

of the

paste

and pure white,

ware

Hizen

old

is

The leading peculiarities of pulation. almost invariable adoption of in the

of uniform

and careful mani-

skilful

denoting

hard,

decoration consist

its

the

red,

and

blue

and the massing together of chrysanthemum and peony gold flowers, so as to cover the entire surface with a scrollwork ;

or twining composition, ventional ornamentation. lines

marginal whole

or

to

fill

Black

panels

by con-

divided

sometimes used

is

round the panels, and

in

some

in

the

rare instances

ground of the object is covered with a fine black enamel, upon which the brightly coloured and gilded

the

decoration

out with

stands

effect.

great

The most remarkable specimens ever,

which are

in

the

Dresden

of Japanese Art, howCollection, are those which

are partly covered with a raised incrustation. These specimens are in the form of vases, about thirty inches high, decorated

on the exposed portions with blue flowers and roughly greater

executed.

portion

of the

some composition, and

The work in

surface

which

in

relief

of the rice

extends

vases.

flour

scrolls,

is

It

said

rather

over

the

consists of to

enter

an unglazed ground prepared by Much of this raised ornamenthe porcelain manufacturer. largely,

is

applied

to

showing the rough ground, with the outline of the designs marked upon it in black. Many of the designs are very elaborate in character, and executed tation has

scaled

with great

skill.

*

to

off,

They comprise masses

of flowers, with the

Ksempfer gives in a list of the contraband goods, none of which the Dutch were suffered All prints, pictures, goods, or stuffs bearbuy or export, "The Emperor's' coat of arms.

ing the same."

HIZEN.

and

bamboos and is

painted and

richly

their

dragon, and conventional

kirin,

mythical

or

painting

ho-ho

Of

at

of these

origin

but,

at

factories,

ware

or the

entirely,

particular

inches birds

a

them to have been made and sent to Kioto to be artists there.

be of Chinese origin,

there

above,

are

and

several

specimens termed reticulated, porcelain, and in of covered jars and beakers, about eight

what

or

may

itself

the decoration Japanese. In addition to the of pierced,

decoration

little

may

they

;

their

reason to say that they are Hizen probably be the work of Kioto artists

have, however, all

from

judging

work by the celebrated

finished with the raised

We

remains of

They may be

uncertain.

is

rather incline to believe

Hizen porcelain

the

little

present time, but enough slight idea of their original

vases

Hizen work,

we

in relief,

modelled,

carefully

course

trees,

effect.

magnificent

altogether

all

the

at

preserved to give us some

The

waterfalls,

rocks,

;

devices,

gilded.

gilding

143

set

is

gilded and decorated with flowers and These are fine and interesting colours.

high, richly in the usual

pieces.

There do not appear to be any pieces in the Dresden Gallery on which the crest of the Prince of Hizen appears.

We of

have

us

before

reticulated

This with

commencement

of

crest copied

The almost

known

striking

those

which

itself.

for

pierced

old

Hizen At the

is

roll

dishes

is

of

a

given

woodcut of the

of flags.

very large, and embraces The the nishikide ware.

thoroughly Japanese, in treatment, are are decorated with Imperial kiku crests, and

sixteen

Specimens

;

in

only specimen the crest introduced.

section

variety

suspended

and

means common country

of

crest

of

from a Japanese

most

by

having

covered vessel

small

a

write

the the

is

this

collection

every

formed

with

ware,

compartments. we have met

we

as

:

flutings

of

some

instance,

the

moulded

this fine in

into

form

kiku

of

ware

the are

crest

by no

examples are preserved in this of His Grace the

the Collections

KERAMIC ART OF JAPAN.

144

Duke of Devonshire, at Chatsworth A. W. Franks, Esq., of Mrs. James Rawdon, and William Bartlett, Esq., London of Liverpool. The peculiarity of this ware exists not ;

;

only in

its

but

kiku-mon,

with

many

also

kiku

or

shaped

being

in

of

its

moulded

the

in

form of the

being decorated over

different

sizes

and

colours,

its

surface

sometimes

The rarest pieces are bowls, and sometimes in relief. we know but very few good examples. One of which represented in Plate XIV, from the Bowes Collection, is interesting on account of the number and variety of the colours used sky-blue, light green, lemon yellow, purple, flat

;

appearing, in addition to the usual red, dark This blue and gold of the more ordinary old Hizen ware. each one with four bowl is covered internally designs,

and

black

repeated four times in the sixteen petals or fluted divisions, and with eight small kiku, four of which are in relief.

The

exterior

is

and seven kiku

also in

decorated with

richly

flat

painting.

Two

diaper

designs,

bowls of a similar

class, but not quite so elaborate in decoration, are preserved in the Chatsworth Collection.

There is one other description of the old red, blue and gold Hizen which is almost as uncommon as the kiku ware this is decorated with foliage or flowers in relief :

—

—

rather sparingly used on a ground of the purest and most highly finished white porcelain. Collectors desirous to acquire specimens of "Old Japan"

must exercise some caution,

for clever imitations

have been

and also by several conmany hundreds of pieces of original ware have been repainted, added to, or otherwise tampered with since their arrival in Europe. There is little difficulty in detecting the imitations, on account of their general accuracy of finish, the nature of the paste, and the stiffness and inartistic character of their decorations but it is by no means an easy task to decide at once whether or not an

recently produced by Arita tinental manufacturers, and

potters

;

Oriental

piece

painter's

kiln.

has

passed

through an

European porcelain

HIZEN.

The

Hizen ware which remains

of old

division

I45

to be touched upon includes white porcelain, decorated with blue only. Comparatively speaking, little of what may be termed authentic old blue and white Japanese porcelain is known

to

We

exist.

speaking of ware

are

of

same date

the

as

blue and gold. It is highly probable that the early traders were led to look upon it as not worth their while to import the ordinary blue and white porcelain into Europe, especially as a much more effective and gorthat

decorated

in

red,

geous ware was so easily procured

The

in

Japan.

Hizen are decorated bold and artistic manner, style, with floral and conventional designs, executed in an intense blue, almost approaching black in the shadows, and a cold finest

the

after

purple

in

much

the

specimens of old blue

sometsuke

the

lights.

same as

The

quality of the porcelain itself that of the richly coloured ware. It

to give

impossible readily be distinguished quite

The

celain.

a

in

rule

any from

whereby Chinese blue

this

ware

is is

may

and white por-

is in the however, points, commonly found on the underside of important pieces. These points are where the small used to support the pieces in the final firing clay props

best

general

guide,

numerous broken

— have Of

—

once

been

in

some

course,

and subsequently broken

attached,

cases, the peculiar art treatment

but

rule,

unfortunately the ancient present the most characteristic

now

accept

guide

;

as Japanese

is

off.

a safe

pieces do not, as a features of what we

Art.

The variety of blue and white porcelain, which has been known to collectors for some time under the name of the Hawthorn ware," and to which we have already referred, 11

appears to belong

strictly

the

to

old

Hizen period.

It

is

quite different, as regards artistic treatment, from all other blue and white porcelain and probably on that account it has lately grown into great favour. There has been, and ;

doubtless

considerable

uncertainty regarding its and while we are not in a much better position nationality to settle the question than others are, we may give the still

is,

;

T

KERAMIC ART OF JAPAN.

I46

why we

reasons to

be

certain specimens of the

ware

Hizen.

old

The

believe

fully

which has given rise to the popular name, is of course not our hawthorn, notwithstanding that it is to some extent similar to it in form it is that of the favourite and symbolical tree of Japan, the time. We do not wish to flower,

:

we

but

porcelain,

that

idea

convey the

do

this

tree

wish

it

never appears on Chinese to be understood that its

presence in any important condition is a very strong evidence The Chinese occasionly introduce it, of a Japanese origin. a never-dying object of beauty emblem of spring-time, youth, and

but to the Japanese artist and interest his choicest

it

—

happiness

— the

which must be planted

tree

and which must blossom of the sacred

The flowers,

white

is.

for ever

every shrine,

Emperor.

decoration

the ware

of

consists

or sometimes of flowers

on

time,

at

before the Imperial palace

a

clouded

branches and

of

only, of the wild or single

ground

of

blue.

arrangement of the designs nor their execution features effective

haps

a

peculiarly

amidst the more ordinary greater

Two

rare.

worthy

Collection,

pieces only are and these are

be found

to

present

any

ware

is

styles, and, what is perfavour of collectors, it is

the

passport to

the

The

admiration.

of

Neither

classed

the

in

the

old

whom we

have

with

along

Dresden

Japanese wares.

Jacquemart mentions that Wagenaar, to

connoisseur, and was very skilful in matters relating to porcelain and that he invented, while resident in Japan, a pattern of a white flower on a

already

alluded,

was

a

great

;

blue

which

ground,

was

executed

Japanese artists, and proved so hundred pieces on which he had

under his directions by

beautiful it

that

out of two

painted not one remained

This information appears to be gathered from the Ambassades Memorables. Can the porcelain thus decounsold.

rated with celebrated

a "

white

flower

Hawthorn

on a blue ground be our now

Wagenaar, meeting the ume

"

possible that everywhere, and seeing the admi-

pattern

?

Is

it

not

HIZEN.

147

it was held by the natives, could readily have the realised simple expedient of reversing the usual custom of painting the flower in blue or colours upon the white

ration in which

and having upon a dark ground ?

porcelain,

it

reproduced

in

natural

its

colour

highly probable that at later dates the Chinese produced a similar kind of ware, in imitation of Wagenaar's designs, for we have met with some inferior specimens of lime porcelain, bearing a mark similar to the Chinese " leaf." It

is

The Japanese which

to

1799,

chronicle published

we

other

among many

have

previously

in

Osaka

in

the year

contained,

referred,

matters relating to the manufactures of

country, a description of the art of porcelain making. It is comprised in the fifth volume, entitled Imari yaki, which signifies Imari work. have already given a concise

the

We

of the principal processes of porcelain fabrication as practised in Japan, derived from Dr. Hoffmann's translation outline

of this

and we now allude to it as our authority of porcelain factories which existed in Hizen at

volume,

for

a

the

last century, some of which, along with remain at the ones, present time. The learned Doctor gives us the following information:

list

end

the

of

additional

The

—

manufactories

principal

in

which the

finest

porcelain province of

Japan is now made are situated in the Hizen, and especially in the district of Matsura, near the town of Ureshino, where the materials necessary for its fabrication are found in the abundance, and greatest in

in

his

speaks

of

Kaempfer, 1732,

village of

In

the

to hold water

the

in

factories

as

in

Amsterdam

in

existing in the the sides of the

Ureshino, and upon several other places in the province.*

is in Hizen, they make that sort of large earthen pot use of at sea instead of casks, and called by Europeans Martuan, of Martan, where there is a great quantity of them made, and from thence

village of

which

from the kingdom

Japan, printed

Hizen

Suwota, at

mountains *

Work on

is

Suwota, which

made

all over the Indies. This commodity can be exported from Suwota by water, a very large and commodious river running from thence eastward over a large plain into the Gulf of Shimabara. At this same place, as also at Ureshino, and upon the neighbouring

exported

KERAMIC ART OF JAPAN.

I48

He says that the Japanese author. of the Empire of all the products of the different provinces none can compare with that of Hizen, known as Imariyaki; But

return

to

not, however,

because

it

is

to

on account of its being made there, but simply shipped from Imari to all parts of the country.

no potteries, those producing the ware, about twenty-five in number, being all situated on the declivities of Idsumiyama, or the "mountain of springs," from In Imari there

are

which are extracted the porcelain earths. The more remarkable and celebrated factories are eighteen in number, and are

known by

the following

Oho-kawachi-yama

Mi-kawachi-yama

.

.

.

.

.

.

Idsumi-yama Kan-ko-hira

names

:

—

Great mountain between the

rivers.

Three mountains between the Mountain of springs.

rivers.

Fou-ko-hira

Beautiful upper plateau. Beautiful principal plateau.

Oho-taru

Great vase.

Naka-taru

Medium

Shira-gawa Hine-koba

White stream.

Akaye-machi Naka-no-hira

Quarter of the painters Middle plateau.

Iwaya

Grotto, or rock-house.

Naga-hira

Minami-kawara Hoka-o

vase.

Old pine

Long

....

tree.

plateau.

South bank.

Outward end.

Kuromouda

Black

Hiro-se

Wide

Ichi-no-se

First stream.

According to

in red.

field.

stream.

the Japanese

writer,

the

two first-named

hills, besides several other places up and down Hizen, is made Japanese porchinaware out of a whitish fat clay, which is found there in great plenty. This clay, although it be of itself good and clean, yet it requires nevertheless a good deal of kneading, washing, and cleaning, before it is brought to that degree of perfection that the dishes, pots, and other chinaware made of it become transparent. This manufacture being so " that human exceedingly laborious and troublesome gave birth to the old fabulous saying bones are an ingredient of chinaware. Suwota is famous for extraordinaiy good china

mountains and

celain

or

:

'

pots and dishes and chinaware, which are

made

very Extracts

there.

—

from A'ampfer.

HIZEN.

we

which

to

factories,

I4g

refer

will

later

belong to two

on,

princely houses, who have possessions in the province, and the wares produced in them are for the particular use of their proprietors, and are not brought on the market but ;

the

near Arita, in the

other establishments, situated

district

belong to residents in Hizen, whose works are He likewise informs us that the principal trade commodities. of Matsura,

quantity of

is

it

although

and

blue

white

not of the

finest

made

is

porcelain

at

Hiro-se,

These particulars

quality.

porcelain works of Hizen apply to their state about 1799, and bring our imperfect knowledge down to the commencement of the present century, when what may be termed the middle period of Japanese Keramic Art

regarding the

period during which many of the most and characteristic works were produced, not interesting much in Hizen as in some other districts of so perhaps the

commenced,

the

The works

Empire. are

facture

of

this

individualised

chiefly

of

Hizen manu-

careful

manipulation,

period

by

and refinement absence of date general

characteristic of Japanese treatment in design

The

and sobriety of colouring. marks renders it impossible

what are the middle

the

come

to

exact

remainder

the

of

descriptions

The

period.

Europe

us to

for

are

principal

mostly

authoritatively

ware which belong to specimens which have

decorated

with

blue,

treatments

varied

very

present

define

in

while poly-

chrome.

The

decorated porcelain attributable to this period characterised principally by the purity of its paste, and the bold and thoroughly Japanese treatment of its ornablue

is

mentation.

The

larger

form of saucer dishes,

pieces,

a

modern Hizen ware, flowers and birds drawn ways, the tint

pieces are of all of which are

blue

than

shape

very

in

the

commonly met with

present compositions of The freely and with great skill. various forms and decorated in many

in

lesser

which are frequently

also

that

varies

used

usually

artistic

much, in

but

later

The

and quaint. as

works.

a

rule

it

Two

is

colour of colder in

characteristic

KERAMIC ART OF JAPAN.

150

specimens of these artistic and quaint objects are illustrated by the woodcuts on this and opposite pages. The late period ware might with perfect accuracy be

termed modern, as it has been produced during the twenty the reason why we feel years between 1850 and 1870 ;

PAPER WEIGHT IN HIZEN PORCELAIN (HENDERSON COLLECTION).

disinclined

to

strictly,

The

and

best

term

name

reserve that

modern is, that we ware made during the

it

for

indeed

to

for

order,

specimens of the

late

the

would

rather

last few years, European market.

period ware

came over

to

and more recently to the These were characterised by a 1873. pure Japanese treatment, both in form and ornamentation late of strictly Japanese being, representative speaking, Keramic Art, having all the evidences of national carefulness, and of being made for local use and decorated to

the

Paris

Exposition

Vienna Exhibition

in

1867,

in

;

suit

native

At porcelain

taste.

Paris of

were very

exhibited fine

specimens of Hizen amongst which were egg-

several

quality,

HIZEN.

151

and some pieces of a special manufacture, ware, Of this latter description we decorated with intense blue. are fortunately able to give illustrations on Plate XIII, shell

from dishes

in

the

of Joseph

collection

interesting pieces were

procured by

Beck,

their

These

Esq.

present

possessor

PAPER WEIGHT IN HIZEN TORCELAIN (HENDERSON COLLECTION).

from the Hizen Commissioners at the Paris Exposition, who stated that ware decorated with such intense blue was only

made

for

exceptional

These

use.

dishes

bear

a

mark

them to have been made by Kiso, at his residence, Zomokuan. Great quantities of blue and white porcelain were made during this period and generally of fine quality and characteristic decoration. The woodcut on page 9 of our Introductory Essay represents a plaque of late manufacture. There was a large and. interesting collection of Arita ware at the Vienna Exhibition, in the form of immense stating

;

vases, cisterns six

feet

high

:

and temple lamps, several pieces being nearly the decoration consisted of flowers, birds and

in ordinary blue, in some cases associated with ornamentation. The most remarkable fact in conlacquer

animals,

KERAMIC ART OF JAPAN.

Ij2 nection

with

these

throughout,

and baking.

are

now

We

vases

that

is

they skill

were

in their

perfect

forma-

These noble specimens of the potter's art the possession of Lord Dudley and F. G.

tion

Dalgetty,

large

fact showing the greatest

a

in

Esq.

some of the pieces were partly decorated with lacquer, and we may now add that the practice of lacquering porcelain is much followed in Hizen mentioned

that

The large vases, covered on the present time. exterior with black or parti-coloured lacquer, and ornamented with complicated line work, which are to be seen in almost at

the

are

every dealer's shop, Nagasaki or Imari.

made

Hizen, and exported from

in

impossible to give anything like adequate descriptions of the varieties of the wares, decorated with which were produced at the Hizen coloured enamels, It

is

quite

we must, therefore, be period content to describe briefly the leading peculiarities of the groups under which all the numerous varieties may be factories

during

classed.

The

the

decorated with

group represents by productions of

;

group embraces objects of ordinary thick colours and gold and this

first

white porcelain,

late

all

group embraces

;

number

far the

of the

ordinary largest the districts in the province. The second objects of the fine transparent porcelain,

minute and delicate designs in outline, filled colours in light washes, or in raised masses or

decorated with in

with

a jewelled effect to the ware. The objects produced in this class are usually small, and take the form of cups and saucers, sake cups and bottles, small teapots, dots,

imparting

and

The

group embraces those objects in egg-shell porcelain which have always met with The extreme deserved admiration at home and abroad.

plates,

of

delicacy

the

some

wonder how they state,

or

baking. in the

how

No

like.

third

specimens is such as to cause one to could have been turned in the unbaked

they kept their forms during the process of nation has been able to equal the Japanese

fabrication

of

such

ware,

although

attempts have

HIZEN.

been made to imitate

frequently

much

is

so prized in Japan the white state to ;

The

it.

much

in

brought the

I53

that

so,

Tokio

Hizen egg-shell quantities are

be

to

decorated

there.

artists

by Tokio

of

Many exquisite specimens were shown at Vienna. The decorations painted egg-shell on egg-shell porcelain executed at Hizen are not, as a rule,

being rather hard and crude in colour, bear evidence of haste and carelessness in

satisfactory,

and appear to manipulation,

a

demand

for

the

is

stated

porcelain in

when

1837,

no

fact

The

manufacture

have

to

was

it

it by Ikeda Yasujio tougher than that ;

fourth

attributable

ware.

group

been

found

in

class

a

and

great

egg-shell lately as

so

mountain

the

grey

with

ware of crackled, and

drawn

artistically

with

relieved

slightly

porcelain,

interesting

boldly

tint,

Idsumi.

of

crackled

of

The most

cold

decorated

elaborately colours,

of

is

of

commenced

comprises objects

decorated in various ways. this

the

to

made at the factory of Mikawachi, is made from Amakusa clay, which

is

The

doubt

flowers

This

gold.

in

crackled

porcelain gains its peculiar cold tone from the dark lines of its crackle, as much as from the light grey tint of its glaze. Porcelain of this description is sometimes decorated with

designs executed in coloured and gold lacquer, which have a very pleasing effect upon the quiet ground of the ware.

We ductions

now come of

which

all,

most modern and

the

to

known

are

as

because they are shipped from that port of

"

;

inferior

Nagasaki

pro-

ware,"

these consist of vases

covered jars, dishes, boxes, and the like, and are usually elaborately but coarsely a painted with colours of anything but refined tones all

toilet

sizes,

suites,

tea

services,

—

disagreeable

red,

being amongst understood that article

into

the sent

by

weak-toned

most

the it

has

tradesmen

existence

this

all

blue,

prevalent. the

been

over

and It

a

demand

for

which

Europe and untraditional

inartistic

green be clearly

light

must

a

cheap

has

called

ware

from

which immense quantities have been Europe and the United States.

Hizen to

a

factories,

of

u

KERAMIC ART OF JAPAN.

154 In conclusion

we may

briefly refer to the factories

which

rank next in interest to that of Arita, to the productions of which, and the adjoining kilns, our remarks, so far, have

had reference. That of Karatzu, situated

chiefly

in the northern part of the been have to said founded, in the seventh century, province, and it was here that glazed pottery was first made in is

no examples of Japan and only inferior ware

artistic

;

ancient

this

is

the

islands,

general,

just

come

before

us,

at the present day. So associated with the manufacfactory as we have already stated, its name

closely ture of pottery that, has given rise to the

of

merit have

made

is

use,

the

in

term

Karatzumono, as Setomono is used

southern to in

part

of

the

pottery in parts of the

signify

other

country.

About

miles to

six

the

south

of

Arita

is

situated

the

Mikawachi, which was established about 1650 factory by a Prince of Hirado, and the productions of this kiln have commonly been called Hirado ware. They were made Prince and for presentation to his friends. for the use of the the most characteristic of the productions was a Amongst of

porcelain of fine quality decorated in the sometsuke fashion, with a number of boys playing under a pine tree on the are seven choicest pieces boys, but on the less perfect are five there or three. These, and indeed specimens only ;

which we have seen, are of small size, and amongst the few good specimens of old work which have been received in this country we may mention statuettes of glazed, and partially glazed, porcelain,

all

examples of Mikawachi

the

either

white

or

slightly

ware

touched

with

blue

and

brown

;

coloured enamels and bowls, delicately perforated paper weights formed of branches of trees, around which are twined wild flowers. These works afford a marked contrast to those now produced, which exhibit all the faults to which we have referred in our remarks about the Nagasaki porcelain recently made for export. Amongst them are an inferior kind of

hanging

flower

vases,

decorated

covers

for

with

;

HIZEN.

155

and celadon, boldly crackled, the dividing lines being emphasised by some black substance having been rubbed into them. egg-shell porcelain

The

factory of Ohokavvachi was established at the village of Iwayagama in the middle of the seventeenth century in ;

1710 to

it

was removed

the

north

of

to its

Arita,

present situation, about three miles by Prince Nabeshima, of Hizen.

Until very recently the kiln has been under the direction of the Princes of Hizen, and all the wares produced were for

their

own

use

or

presentation to of the country.

for

Mikado, the The earliest and the

Shogun, or the princes most valued examples comprise the works of the founder of the kiln, and his immediate successors, and are in the form of statuettes of stoneware and earthenware in some ;

instances they are undecorated, whilst in others the garments are ornamented with celadon glaze and gold, and in a single specimen we find a portion of the figure painted in

Three of these statuettes are illustrated in Plates XXXI and XXXII. At the same period, a light brown it was stoneware, covered with celadon glaze, was produced made in the form of flower pots and small objects, ornamented with dragons, clouds, and various designs modelled colours.

;

in

low

relief.

After

removal

the

of

the

factory

from

porcelain decorated in blue was made, and of this ware were called Kushide, meaning with the comb teeth, because it was ornamented with

Iwayagama, some kinds ware a

Of examples painted with design of this character. coloured enamels few have been sent to this country, but there is a plate of this description in the Bowes Collection which was made to the

by

order

of

Shogun, whose crest only produces inferior wares.

it

the

Prince for presentation

bears.

The

factory

now

HIZEN.

PLATE

Triple

XII.

of

gourd-shaped Bottle, decorated with floral

beautifully of the ornamentation

old

sprays.

this

is

Arita

porcelain,

The

disposition worthy of study.

piece upon and largest bulb the flowers and leaves are placed close together, and rise vertically, giving the idea of strength and supporting power the middle bulb is also

On

the

lowest

;

sprays disposed spirally, giving the idea of lightness and the need of support and the top bulb is covered with light branches of red ume, pendant treated

but with

richly,

;

from the neck-band against the to decorate

clear

like

sky.

the branches of a drooping tree seen It

would,

such a complex shape

a

way more

a

decorative

satisfactory art

In

the

point

to

the

of view.

probably, be impossible as is here presented in

eye,

or

Height,

more sound

from

28 inches.

Royal Keramic Collection, Dresden.

Imp.Firmin-Didot

Bauer

ft

C ie Pari;

lith.

or

a

ru

vtt

f

Jt)

Tmp.Firmin-Didot

Bauer

3c

C", Paris

lith

PLATE

XII.

HIZEN.

PLATE

A— Square-shaped

XIII.

Dish of

late

boldly painted with the Japanese blue. 14J inches square.

B C most

— Circular

carefully

medallions intensity.

and B,

Dishes

and

7

of

in

inches,

In

and

Arita

porcelain, foliage in rich

period Arita porcelain, painted with diaper-work,

late

minutely

foliage

period

lion

blue

and C,

and great richness q£ inches in diameter. of

the possession of

Joseph Beck, Esq.

X Si

4-

I5%-I5°t

S3

HIZEN. PLATE

A

XIV.

l6o

KERAMIC ART OF JAPAN.

E

— Basin,

of old kiku

ware,

formed

of

sixteen

fluted

compartments, springing from a large kiku in the centre, and decorated with several lesser kiku modelled in relief, and over both

irregularly powdered fluted compartments

are

conventional designs.

F — Basin,

archaic

of

Diameter,

peculiar inches. gj

In

the

painted

Diameter,

old

style

exterior

with

and

interior.

The

and

other

diapers

j\ inches.

Arita

decorated

to

this

porcelain, examples of

possession

of

in

the

manufacture.

James L. Bowes, Esq.

Imp. Firmm-Didot Chataignon

&.

C'

e

Pans

lith

PLATE

XIV.

Y. to