Page:A Grammar of Japanese Ornament and Design (1880).djvu/31

13 The artisan-artists had until this time been content to admire respectfully the works of their titled and “two-sworded” superiors, who, almost monopolizing the educational culture as well as the military and civil domination of the country, had hitherto found little difficulty in limiting the practice of art to their own body. It is true that a kind of popular art had been originated by Iaasa Matahei, Hishigawa Moronobu, and to some extent by Hanabusa Icho; but all three of these painters were noted pupils of orthodox academies, and kept the new fashion within the samurai circle, while Hokusai, the soul of the Ukiyo-ye, was a man of the people, and made no attempt to emerge from the station in which he was born. Perfectly contented with the appreciation of those with whom and for whom he laboured, the chief aim of his ambition was the foundation of the great and essentially popular school, to which we owe directly or indirectly the artisan-artist now existing in Japan.

The main characteristics of the older Japanese art may be briefly summarized as follows:—Composition, nearly always good, though unguided by written laws. Drawing, almost invariably conventional, the outlines of human figures and of most mammalia incorrect, although the action is commonly truthful and spirited, and the proportions true. Manipulation, generally good, constituting, in fact, the most important element in the eyes of the native connoisseur, by whom painting was looked upon as a kind of calligraphy. Colouring, invariably good, the Japanese being masters in the skilful distribution of harmonies and contrasts; the tints are seldom gaudy, whilst gold is lavishly used. Many of the greatest artists prefer to use black ink without intermixture of colour, drawings in silhouette, chiefly representing the bamboo or orchid, frequently with marvellous skill, being constantly met with. Chiaroscuro is entirely omitted, and projected shadows are seldom depicted.

The present period is one of transition; the older school of painting is disappearing, and the more inferior of the modern draughtsmen for the most part make a wretched compromise between the native styles, and what they consider to be the Western method, although, according to Mr. Anderson, the ancient skill is by no means lost, and there are yet workers who can equal in execution and originality of design almost anything that has been produced in former times.

F all the art manufactures of the Japanese, their lacquer must certainly stand in the foremost rank; fine as their ceramic and pottery undoubtedly is, it will not bear comparison with their productions in this art. Other nations have produced porcelain and pottery, as fine as theirs, but no nation has originated lacquer ware (urushi mono) to be compared with that of Japan. It stands alone for perfection of manufacture, high finish and artistic worth, and its entire originality. Although in most things artistic, Japan is but a reflection of China, in this branch of art there is no comparison between the productions of the two countries. What is known as Chinese, Persian, and Indian lacquer is mere painted wood, compared to the highly finished and beautifully decorated ware produced by the Japanese. When one considers the variety of its applications; to wood, metal, ivory, porcelain, tortoiseshell, mother-o’pearl, and even egg-shell; its adaptation to every form; and its colour, varying from pure gold to intense black, its popularity is not surprising. It is difficult to imagine anything more delicate and refined than some of the masterpieces of this art.