Page:Brinkley - Japan - Volume 7.djvu/367

 outgrowth of the second branch of the first school, just described; for one can readily understand that from placing the decorative design in a monochromatic field of low tone, which is essentially a pictorial method, development would proceed in the direction of concealing the mechanics of the art in order to enhance the pictorial effect. Thus arose the so-called "cloisonless enamels" (musen-jippō). They are not always without cloisons. The design is generally framed, at the outset, with a ribbon of thin metal, precisely after the manner of ordinary cloisonné ware. But as the work proceeds the cloisons are hidden,—unless their presence would contribute to give necessary emphasis to the design,—and the final result is a picture in vitrified enamels. This remarkable tour de force has created some discussion. There are those that question whether the principles of true art are not violated when an attempt is made to produce pictorial effects by the aid of such materials as vitrified pastes. The purist may find that objection unanswerable. Yet it seems to be opposed to the practice of artists in all ages. Neither in ancient nor in modern Europe has any canon been obeyed that sets limits to the range of decorative motives. If the sculptor may apply to a frieze or the keramist to a vase subjects of which the technical and artistic quality is estimated by their fidelity to nature, why should similar latitude be denied to an artist working with enamels? At all events it is certain that fine specimens of musen-jippo are beautiful objects. They are imperishable pictures in vitrified pastes, remarkable as to technical skill, harmonious and at the same time rich in colouring, and possessing pictorial qualities which could not reasonably have been looked for in such material.