Page:Brinkley - Japan - Volume 7.djvu/421

 *Ogawa Shōmin, lacquerer, 362.
 * Ohori Masatoshi, hammerer of metal, 312.
 * O-i. See Wong Wei.
 * Ojime, fashion, 173.
 * Okamoto family of Hagi, metal-carvers, 279, 374.
 * Okamoto family of Kyōtō, sword-decorators, 294, 374.
 * Okamura Masanobu, xylographer, 46, 48.
 * Okano Hohaku, figure-sculptor, 199.
 * Okano Kijiro, sword-decorator, 310.
 * Okazaki Sessei, art-founder, 145.
 * Omori family, sword-decorators, 292, 303, 306.
 * Omiva Yamato Bokunyu, mask-carver, 168.
 * Ono. See Jikan.
 * Ono Goroyemon, sculptor and founder of the Kamakura Daibutsu, 111.
 * Ooka Shunboku, xylographer, 46.
 * Oshima Katsujiro, art-founder, 144.
 * Oshima Yasutaro, art-founder, 144.
 * Ouishi, art-founder, 138.
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 * , of bronze, 126, 127, 372; of Japanese alloys, 233, 235; of copper, 236, 372; of iron, 237; of pewter, 317.
 * Perspective, in Japanese pictures, 4, 15, 58; in Chinese pictures, 22, 25.
 * Pewter, composition, 317; use, 317; patina, 317.
 * Pictorial art, Japanese, character, 2; decorative purpose, 3, 6; effect of purpose on characteristics, 4, 32; impressionistic, 5; motion, 6; exclusion of the nude, 7; ignorance of anatomy, 8; influence of ideographs, 8, 11, 31; styles of touch, 9; manual dexterity, 9–11; materials, 11; position of the artist while painting, 12; mannerisms, 13; multiplication of copies, 13; effect on criticism of inaccessibility of originals, 14; character of religious paintings, 15, 23, 30; relation to Chinese, 16, 21–24, 26, 37–40; influence of Buddhism, 17, 29; beginning of secular, 27–29; continued precedence of religious, 29, 30; technique of religious and secular, 31; first native school of secular, 31; Yamato school, 32, 33; Tosa school, 34; Kose or Classical school, 34; Takuma school, 35; objects of the work of these schools, 36; caricatures, 36; renaissance of Chinese influence, 37–41; periods in development, 41; development of the decorative mode, 42; reaction against the Classical school, 43; genre painting and the Popular school, 44; development of wood-cuts and coloured prints, 45–51; analysis of the work of the Popular school, 55–59; branches of the Popular school, 59–62; present conditions, 62–64; effect of Western ideas, 64–68; in architectural decoration, 151–155, 158; ancient distemper painting, 152; no frescos, 152; no portraits, 368. See also Fine arts.
 * Picture-galleries, why none in Japan, 4, 14.
 * Popular school of pictorial art, development of genre, 44; development of xylography, 45–51; Occidental popularity, 55; use of colour, 56; drawing, 57–59; absence of texture painting, 58. See also Pictorial art.
 * Portraits, statue, 115; no pictorial, 368.
 * Puppets of Nara. See Nara ningyo.
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 * , sculptor, 110.
 * Refining metals, Japanese process, 371.