Page:A Grammar of Japanese Ornament and Design (1880).djvu/25

7 APANESE architecture is an architecture of wood, a material which does not convey the idea of grandeur or duration. Although the Japanese have used stone for many centuries, for their castle moats, boundary walls, and the bases or foundations of their buildings, yet they have not made any progress in its adaptation. This is to be accounted for by the liability of the country to earthquakes, which occur so frequently that scarcely a month passes without some shocks of greater or less force being felt. This has dwarfed their buildings, from the temple and palace, to the peasant’s hut, and induced them to make use of the most perishable of materials. Thus Japanese architecture is under immense disadvantage when put in comparison with European. Architecture as understood in Europe cannot be said to exist in Japan; it is but artistic carpentry, decoration, and gardening. The Japanese know the science of building, but not the art. The framing of their buildings is very clever carpentry, designed to meet the sudden shocks to which their buildings are always liable, the timbers being cleverly dovetailed and keyed together, so that if they are shaken out of an upright position they can be pushed back again, and wedged up into their original perpendicular state.

The Japanese doubtless obtained their first ideas of architecture, like the sister arts, sculpture and painting, from China, and the Buddhist religion brought with it from India many native characteristics and details. Without going deeply into the subject, we may notice one particular feature which is purely Indian, namely the tori-i, which corresponds with the toran of India: again, in their carvings the elephant and tiger, which do not exist in Japan, are frequently depicted. The tori-i was originally a perch for fowls offered up to the gods, not as food, but to give warning of daybreak, and it was erected on any side of the temple indifferently. In later times, its original meaning being forgotten, it was placed in front only, supposed to be a gateway. Japanese antiquarians tell us that in early times, before carpenters’ tools had been invented, the dwellings of the people who inhabited these islands were constructed of young trees with the bark on, fastened together with ropes made of the rush sugé (Scripus maritimus), or perhaps with tough shoots of the Wisteria (fuji), and thatched with the grass called kaya. In modern buildings the upright posts of a house stand upon large stones laid on the surface of the earth, but this precaution against decay had not occurred to the ancients, who simply planted their posts in holes dug in the ground.

Architecture in Japan, considered as an art, dates from the first temple. In the ages of faith, man thought of the houses of the gods before decorating his own habitation, and it is to the temples of Shintô and Buddha one must first look, then to the burial-places and shrines of the Mikados and Shôguns, and next to the yashikis (palaces) of the Mikados and nobles. The temples and burial-places still remain, but the yashikis are things of the past, and since 1870 are either dismantled and in ruins, or, despoiled of all their beauty and grandeur, are occupied by traders, or used as barracks for the soldiers.

All the temples in Japan are composed of two types, the Shintôist and the Buddhist. The principal of these are to be found in Isé, Nikko, Osaka, Kiôto, and Tôkiô (or Yedo). The two principal groups in Yedo, are at Uyeno and Shiba; unfortunately at both these