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 JAPAN

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JAPAN

Kamakura Period (1192-133S). — Principal works: "Gempei seisui ki" (history of the grandeur and de- cline of the Minamoto and the Taira); "Heike mono- gatari " (account of the Taira family) ; " Hogen mono- gatari" (history relating the war of Hogen); "Heiji monogatari " (history of the war of Heiji), a classic work; and many other less important books. This epoch produced an anthology entitled "Hyakunin isshu " (the hundred-bodied head) ; this is a collection of 100 tanka (poems of thirty-one syllables) by 100 different men, and was very popular. The time be- tween 1332 and 1603 was singularly barren of literary productions. Three principal works belong to this period: " Jinkoshoto-ki " (history of the true succes- sion of the divine emperors); "Taihei-ki" (tale of peace); "Tsurezure kusa", a collection of .sketches and anecdotes, a classic work composed in the four- teenth centiirj", which occupies a very high place in Japanese literature. To this period belong the No, lyrical dramas, and the Kyogcn, comedies. In ancient times the only public representations were the sacred dances called kagura, at the gate of the tem- ples, in honour of the gods. To these in the fourteenth century was added a spoken dialogue which was the origin of the Xo. The Kijogen was a sort of comic piece performed between the Xo.

Yedo or Tokugawa Period. — This period embraces a greater number of subjects than the others. One of the earliest works of the time is the "Taiko-ki" (History of Taiko Hideyoshi), 1625. The study of Chinese books was then given the place of honour. The chief promoter of this movement was Fujiwara Seikwa, who founded a school of Confucianism and left a number of disciples, the most famous of whom was Hayashi Razan, also called Doshun (1583-16.57). Arai Hakuseki (16.56-1725) is also numbered among the most learned in Chinese (Kangakusha). Then come Ibara Saikwaku, founder of a school of popidar literature; Chikamatsu Monzaemeon, Japan's most famous dramatic writer, who composed ninety-seven joruri (dramas) ; Basho (1644-94) ; and Keichu (1640- 1701); Kado Azumamaro (1669-1736) opened at Kyoto a school in which he combated the Chinese ideas then in favour; the most distinguished of his disciples was Mabuchi, who left numerous works which are indispensable to those who now study the ancient Japanese language; Motoori Xorinaga (17.30-lSOl), the greatest of the Wagakusha (scholars of Japanese literature) and one of the most remarkable men Japan has produced; he pubUshed fifty-five works in more than 180 vohimes; Hirata Atsutane, one of the most learned writers of Japan (1776-1843). Kyokutei, Bakin, Tanehiko, Jippensha, Ikku, and Tmenaga Shusui are renowned as romance writers. Rai Sanyo (1780-1832) is distinguished as an historian, his two chief works being the "Xihongwai-shi" and the "Ni- hon seiki", which are of great value for the study of Japanese history. Another important work of the Yedo period is the "Dainihonshi ", a great history in 243 volumes, written by a commission of scholars.

Re.storationPeriod(1868-1909). — During this period a veritable passion for European learning took pos- session of the nation. Many young men went to Eu- rope and America to study. Soon a group of writers gave translations and original works in response to a general demand for ideas concerning European learn- ing, customs, law, and institutions. The most dis- tinguished of these authors was Fukuzawa Yukichi, founder of the School of Keio-gijiku. The most note- worthy works are: "Kaikoku shimatsu " (1SS8), by Shimada Saburo, a collection of documents treating of the opening up of the country; "Shorai no Nihon" (.Japan of tlie Future), l)y Tokutomi Ichiro: commen- tary on the Constitution, by the Mari(uis Ito; the "Kyoikugaku" (The Science of Education), by Nose Ei. The best known novelists are: Tsubuchi Yuzo, Sudo Nansui, Osaka Tokutaro, anil, the most cele-

brated of all, Koda Nariyuki. Among poetic works is the "Shintaishiho", or reform of Japanese versi- fication, in imitation of European poetry, published by Toyama Masakatsu, in collaboration with Yatabe Ryokichi and Inoue Tetsujiro.

Painting. — Among the arts painting has always held the first place in Japan. In the beginning, when relations with Corea and China were not yet estab- lished, the fine arts were wholly in a state of infancy. During the reign of Kimmei Tenno {\. n. 540) the Chinese arts were introduced. Painting and sculpture entered Japan with Buddhism and Confucianism, and the cultivation of the fine arts began. The oldest ex- tant picture was made during the reign of the Empress Suiko (.593-628), and is preserved in the temple of Horyuji, near Nara. Several pictures of the Nara pe- riod (710-784) are in the temples of Yakushiji and at Nara. The most celebrated painters of the Hei-an pe- riod (800-1186) are: Kudara no Kwanari (853), of Corean descent; the bonze Kukai or Kobo daishi, a religious painter; Kose Kanaoka (885-897), founder of the most ancient Japanese school, Koseryu (Kose genre), also called the primitive or Buddhist School; Fujiwara Motomitsu (1097), founder of the Yama- toryu School (Japanese genre) ;TobaSojo( 1053-1 114), a bonze, author of the humorous genre which is called after him Toba-c.

During the Kamakura period (1192-1338), in the thirteenth century, appeared a celebrated painter, a descendant of the powerful family of the Fujiwara, Fujiwara Tsunetaka, who founded the Tosa School, derived from the Japanese Yamatoryu School, of which it became the principal branch. This school avoided Chinese influence, and applied itself to repre- senting the scenes of the legends and history of Japan. In the beginning of the fifteenth century (Ashikaga period, 1332-1603) Josetsu founded a school of paint- ing according to Chinese principles. Among his pupils were Se-sshu, Shubun, and Kano Masanobu. Sesshu (1420-1503) is regarded as one of the greatest painters of the Chinese school. Kano Masanobu (145.3-1490) gave his name to the School of Kanoryu, which pro- ceeded from the Chinese School of Josetsu, and is sub- divided into several branches. Kano Motonobu is the most famous representative of this school. At the end of the fifteenth century all Japanese painting be- longed more or less to these two artistic sources, Tosa and Kano. The Tosa School represents Japanese art almost without foreign admi.xture; that of Kano be- longs to Chinese influence.

Yedo Period (1603-1868).— Ogata Korin (1661- 1716) created a manner of painting which was, so to speak, intermediary between the two schools of Kano and Tosa, uniting the decorative principles of both. The school which he founded is called by his name, Korin-ha. It was the first to employ gold and silver powder in painting. Sakai Hoitsu is the best known representative of the Korin School. Maruyama Okyo, founder of the school of this name, rejected the hither- to received principles, and undertook a reform based on the ob.servation of nature. With him idealism tended to disappear and realism began. His principal disciples were Sosen, Rasetsu, Genki, and Sojun. About the middle of the seventeenth century Iwasa Matabei inaugurated a new style of painting. He aimed above all at reproducing the scenes of ordinary life. It is called the popular and realistic school (Ukiyo-e). The most celebrated painter of this school was Hokusai (1760-1849), who marks the end of the Japanese evolution in the direction of absolute inde- pendence of every school, system, and convention. Except for Kikuchi Yosai (1788-1878), who com- pletes the list of great stylists, everything centres around Hokusai, everything is inspired by his manner and his genius. At his death an irrcp:iral)li' decadence began. Japan imitated, it no longer created. To-day it IS in a period of transition in art as in all other