MIYAKO ODORI.
We suddenly found ourselves before the entrance to an unfamiliar by-street, and turned to our guide to inquire the meaning of what we saw. The huge red lanterns hanging in a perpendicular row from two high poles, evidently had a significance about which we were in the dark, and the exhibition of haste, which we observed on the part of these leisurely Orientals, surely was inspired by no everyday event. The girls were looking their prettiest with their hair filled with flowers and their pale grey kimonos tied with that magical sash-knot, which is the despair of their Western sisters. Along with them trotted their smaller brothers in bright-coloured flowing robes, their little heads cropped close with the exception of a solitary tuft. Fathers and mothers of sedater age and deportment displayed an eagerness that was equally strong, if more quietly marked.
Our attending coolie informed us that we had hit upon a festival that has particular attractions to the foreign eye. You have probably heard of those sacred cherry-blossoms that are so dear to the hearts of the Japanese, and which, with the chrysanthemum, are their chief floral pride. It is true that meddling foreigners have said that they are not cherry-blossoms at all; but that does not seem to prevent the delicate mingling of pink and white from being a very beautiful flower. It is in the month of April that they are to be seen at their best, and it is then that this æsthetic people assemble in different ways, and touchingly illustrate the part that these flowers play in their lives,—for the Japanese without their cherry-blossoms would not be the Japanese at all. When, therefore, the coolie informed us that all these people were on their way to see the famous cherry-blossom dance, we lost no time in mingling with the throng and following it down the lane-like street.
Everything here was a maze of Japanese forms clad in their daintiest robes, and Japanese faces flushed with eagerness and anticipation. Though æsthetic before everything else, the people have a keen eye for business, and the street was lined with booths full of knicknacks and toys of every kind. And here also were whole families picturesquely seated on their heels, sipping the everlasting tea. Pushing our way through the crowd, we drew up before a platform-like entrance, and were immediately met by one of the attendants, who presented us each with a pair of enormous white duck shoes. If you travel long in Japan, you will become accustomed to this sort of thing, and cease from experiencing any embarrassment or indignation at being requested to remove your foot-gear before stepping on a Japanese floor. The irreverent foreigner, however, unaccustomed to walking around in stocking feet, does not always see things from the Japanese point of view, and it has therefore been necessary at the temples and places of public amusement to have a stock of these ungainly foot-coverings for his benefit. The measure, of course, is a conciliatory one, and is intended to smooth the ruffled feelings of the Westerner without at the same time scandalising the sensibilities of the Japanese. We had had many similar experiences, and so lost no time in incasing our feet in a manner that would insure us entrance into the theatre, even though it might detract a little from our dignity.
Japanese Forms clad in their Daintiest Robes.
In the small lobby in which we found ourselves were a number of Japanese enjoying the national attitude of repose, and quietly waiting for something to turn up. The other end of the room was occupied by a counter on which was displayed a large collection of fans made of artificial cherry-blossoms, similar to those that were afterwards used in the dance. These are exhibited in a large measure for the benefit of the foreigner, who is expected to make generous purchases. All the while we could hear notes of that unmistakable Japanese music coming from beyond a small wooden door, mingled with weird voices and unclassifiable sounds. We began to fear that the dance had begun before our arrival, and that we might miss the best part of the show. We signified our wish to enter by pounding on the small door; but it was securely locked, and those on the other side treated our emphatic demands with oriental disdain. As we had paid our admission fee, we began to get indignant at this kind of treatment; but it is better not to get indignant at such things in Japan. Besides, the explanation was quite satisfactory, as one of the attendants told us that it was a fixed rule never to interrupt the performance by the entrance of new spectators, and, therefore, any one who came late must wait until all was finished. We were pacified when we learned that the dance was now nearly over and would shortly be repeated, and that we would lose nothing by waiting. But we were not the only ones who were impatient. There was one little Jap accompanied by his mother, who, after a careful search finally succeeded in discovering a small crack near the floor, to which he applied his eye in much the same fashion that his penniless occidental cousin watches the progress of a game of baseball; and evidently with the same emotions, if the glances of delight which he occasionally threw towards his mother might serve as indications.
Suddenly the music ceased, and the crowd began to push in. Japanese crowds are particularly noted for their good nature, and our progress into the theatre was the occasion of many sprightly jokes from the local wits, which were evidently very good, for they were received with bursts of laughter. We soon found ourselves in a front seat of a small gallery, with a three-sided stage before us. This gallery was reserved for those from over the seas and for those of the higher classes of Japan. Below in the pit sat those of humbler station, making themselves as comfortable as possible with their cushions spread out on the floor. Spectators who had already seen the performance were leaving the theatre from the two entrances under either end of the gallery, but the eager crowd from without was rapidly filling their places. The faces seemed the same that we had parted with a few minutes before, and they had the same appearance of expectant happiness. Here and there was a father and mother, followed by five or six wee ones, hurriedly rushing around to find the most convenient place. Apparently satisfied, they would finally sit down, begin to chatter and laugh, until suddenly one would notice what he thought a more advantageous place, when up they would all scramble again and hurry on in fear that some one might forestall them. It sometimes took more than two trials before they were satisfied, and so, while we were waiting for the curtain to rise, the gay mass below us was constantly changing about in the eagerness of the spectators to gain as comprehensive a view of the stage as possible. Each little group was provided with that indispensable adjunct to happiness,—the tobacco-box. The occasion meant far more to them than what took place on the stage; it was a general holiday, and they were there to get as much out of it as possible. There was a continual buzz as the conversation went on, and occasionally from some animated group there would rise a loud shout of laughter, whence we could infer that an oriental funny man had made another appreciated hit. Indeed, the sight below us was so interesting and brought us so in touch with the people themselves, that we almost forgot that there was a more pretentious display to follow, and gazed at the curtain before us in total disregard of the glories that lay beyond.
Suddenly our attention was aroused by the loud clapping together of two pieces of wood; and as suddenly every chattering tongue quietly ceased, and every laughing face assumed an expression of the utmost interest. It was the Japanese substitute for the prompter’s bell. The curtain obediently rose, and we settled ourselves for the enjoyment of an oriental performance. Even at the beginning we could see that the Japanese prefer to manage these things in a way of their own, for the orchestra with them is not a mere incident of the performance with which to appease the impatience of the audience between the acts or to drown the weak portions of a faltering tenor’s solo. In Japan the orchestra is kept behind the curtain as the chief performer, and comes in as generously for its share of applause. The first thing that caught our gaze, therefore, were two rows of geishas, picturesquely ranged on either side of the stage, with koto and drums ready for the opening overture. They were all painted and plastered after the usual geisha style, their little red and white faces surmounted by towering head-dresses of the ever-present cherry-blossom and wistaria. Dainty is a word that one constantly finds one’s self using while speaking of the geisha, and none other seems to serve the purpose so well. Those on the left, in their bright kimonos, with their little drums shaped like hour-glasses, were in the full daintiness of geisha life, while those picking the koto opposite, though still very young, could not but bring the pathetic thought that that strange life is a brief one. The whole audience observed the strictest silence all through the opening selection, which was not without its charms, even to unaccustomed ears. Occasionally a small shrill voice would be heard above the steady thrumming of the instruments, and though this could not perhaps be called singing, it had charms for those receptive souls in the pit.
But in the mean while our attention had been attracted to the stage. It had been prettily arranged as a garden scene, in a way far more realistic and beautiful than the painted trees and urns which pass for such in our own theatres. Here we had a profusion of cherry-blossoms to serve as a background to the equally pretty and delicate girls, who now began to enter from the two doors that had been previously used by the spectators. They were in two files, one in which pale blue and pink predominated, while the kimonos of the others were of bright red. The faces and headgear had been arranged in the same way as those of the musicians, and each held in her hand a cherry-blossom fan. Their entering motion was very slow, consisting of a step forward and a step backward, the time of the music being scrupulously observed. In this way they proceeded up the middle of the stage, where they parted and formed in line on the sides, meeting again in the centre. They were now ready for the dance to begin.
The word “dancing,” in its western interpretation, can hardly be applied to the graceful body-motions which satisfy the more subdued taste of the Japanese. The nearest thing that our stage can offer for comparison is the march, more spectacular than artistic, in which glistening helmets and emblazoned shields and swords play so large a part. In place of the knightly helmet these Japanese use their cherry-blossom head-dresses to good effect, while their less aspiring minds are satisfied with a fan instead of a sword. They have large flowing sleeves which they are constantly waving with a motion not too slow to be picturesque, and they can bend their little bodies in a way that their Western rivals have yet to learn. They toss their heads backwards and forwards in a very graceful and captivating way, and make any number of gesticulations with their sleeves, holding them in all conceivable positions in front of the face, back of the head, or stretching them out at arm’s length as a bat does its wings. At times the marching and counter-marching becomes delightfully confusing, the stage being a mass of slowly-waving colour, from the midst of which a large number of cherry-blossomed crests can be seen and an occasional smiling white-plastered face. The dancers do not show the slightest traces of fatigue, and when the curtain is rung, or to be more precise, clapped down at the conclusion of this first act, they seem as fresh as when it began, and a little disappointed that they are obliged to pause for a short time.
Another clap, and up went the curtain again. The scene-shifters had been working hard during the interval, and produced a charming change for the second act. We thought at first that we were to have an oriental version of a well-known scene of Italian love-making, for here was a Japanese house with bow-windows and balconies that would have delighted the eye of the most fastidious Romeo. But there were only Juliets in this play, and they made, after all, a satisfactory use of the windows and piazza, though they relied simply upon their own charms for their success. Now one tiny form would appear in a window, now one would step upon a balcony, and another somewhere amid the trees would smilingly gaze upon her sister above. There were no carefully memorised speeches of blank verse, but the scene was full of that clever geisha sentiment that can be so charming. Each little actor became her own poet, yet there was no need of words to make us feel the happy spirit of romance inspiring her unrestrained heart. The atmosphere of gayety was not confined to the stage but found its way into the delighted souls in the pit, and scarcely had the curtain descended when they seemed to feel it their duty to give a performance of their own. The children began to run about, pull each other by the sleeves, roll around on the floor,—all to the accompaniment of ceaseless tittering and all with the utmost good nature. A wrestling match formed the diversion of one group gathered around two diminutive athletes of local reputation, who were tugging savagely at each other with the utmost disregard of usual athletic rules. The pit was not without gymnasts of its own, who turned somersaults and handsprings in a way that must have shocked the more refined taste of the gliding geishas. While all this was going on, the more dignified members of the family were sitting on their heels, smoking their pipes in a stately manner, and occasionally bringing forth materials for a light lunch. This would have a greater attraction than the trials of athletic skill, and even one or two of the most successful turners of the somersault made a pause in their gyrations to watch the progress of the meal.
My attention was so occupied by the busy throng below, that it was not until I felt a gentle tug at my elbow that I was aware that I had a visitor at hand. I turned and saw a smiling white-plastered face, surmounted by tall sprays of cherry-blossoms, gazing up into mine. It was one of the geishas, who had left the stage and who had quickly selected a foreigner on whom to bestow her favours. And yet, I like to think her attentions were not merely of a perfunctory kind, and that she was drawn towards me for other reasons than because it was the way in which she had been trained. Her actions surely had not an artificial air, and the continued smiles which she showered upon me seemed to be sincere. She did not feel the least embarrassment, and kept talking on in her sweet little voice as though I understood everything that she said. And a great deal of it was perfectly plain. When, for example, she glanced up into my eyes in such a meaning way and let drop a few dulcet words, could my woman’s nature refuse to understand the little flatterer? She was amused by the ornaments on my hat, and smoothed my hair in a most caressing manner. When she tired of this, she called my attention to a small tray at my side, which I had not noticed before. From this she took a cup of tea in her delicate little hands and offered it to me. I drank it with the utmost readiness, and did not stop to think that it was the bitterest thing that had ever passed my lips. This was the real object of her visit, and with another smile she gathered up her tray and passed on. I gave a sigh as I saw her go through the same thing with another lady not far away, and apparently with the same sincerity and feeling. With an equal tenderness would she clasp her hands, and—crushing stroke to feminine vanity—gaze into her eyes with the same admiration as she had into mine.
And now, for the first time, I noticed that there were several geishas in the back part of the gallery engaged in making the bitter potion I had tasted under such romantic circumstances. This is no every-day occurrence, and it has a long history that gives it a far from vulgar interest. Perhaps you think that our “teas” are of native origin, and that they are an invention of modern times; but you are mistaken. In the sixteenth century there lived a mighty man in Japan, named Hideyoshi, and he it is who must bear the burden of those social functions about which the men say so many unkind things. For in his effort to lighten the cares of state and lessen the tedium of his life, Hideyoshi, after much careful thought, decided on the following plan. He gathered to himself several of the choicest spirits of the realm, to whom conversation was a developed art and wit a perennially flowing spring, and said: “I hereby establish an entirely new form of social diversion to be known as ‘tea.’ In so doing, I have a careful eye on those who shall follow, and particularly those of other lands, who shall shower their blessings upon me to the end of time. So come, my friends, gather around, and in the words of an unborn poet: giggle, gobble, gabble, and git.” Probably this last allusion was a mere pleasantry on his part, and had reference to the degenerate forms in which we should receive the ceremony. Hideyoshi had no feminine hands to assist him,—Japan at that period of its history not kindly favouring budding débutantes. He went about it himself in this way. He took a piece of purple silk and carefully cleaned each article to be used, folding and refolding the fabric in a most deliberate manner. He then heated a bowl with hot water and placed in it a spoonful of the green powder that the Japanese call tea. Nothing remained but to put in the boiling water and to serve the bitter result. With a most profound bow he passed this around to his guests, giving each at the same time a small cake with a taste rather suggestive of dry ginger. The affair was a great success, and was taken up with readily by the most exclusive sets of Japan, and passed into modern times. It is called the “cha-no-yu,” and the Japanese regard it with a reverence that makes it almost sacred.
The day was now drawing to a close, and the theatre was gradually becoming dark. The informality of the performance was continued at the next rise of the curtain, when the scene-shifters came out and prepared to arrange things for the last act. They were not visible to the spectator, however, because they had on black gowns and black masks,—and because the Japanese have a very lively imagination. But to us, not so happily endowed, these men’s sombre costumes did not prevent them from being seen, and we watched them with considerable amusement and interest as they solemnly went around, preparing the stage for the finale. Everything was darkened, and when the geishas again appeared, they each held a candle in one hand and a spray of cherry-blossoms in the other. Enormous clusters of this flower seemed to fall from the wings in one mass, barely leaving room beneath for the little girls to go through the concluding steps. The dance that followed was even slower than the former, and was accompanied by a still weirder music, the finest we had yet heard in Japan. Everything had an air of strangeness and unreality, and we felt indeed that we were in a different atmosphere than that in which we had spent our lives. Slowly the brightly-clad geishas moved around the stage, the white blossoms gracefully waving in the air, and still more weirdly rose the threatening tones of the koto.
We were aroused from our enchantment by the gradual descent of the curtain. The spectators for the next performance were already entering, the conversational jabber once more began, and to the accompaniment of the same laughing voices and probably the same jokes, we made our way to the street.
THE RISE AND FALL OF THE KAKEMONO.
It was our last night in Kioto. We had spent the day in the temples, and though we were somewhat tired, we still managed to keep up a desultory conversation upon the interesting things we had seen. Suddenly we were interrupted by a shy knock. Before any one had time to prevent it, a handsome Japanese face thrust itself through the gradually opening door; it was immediately followed by the handsome figure of a young man. Perhaps it was because of the good looks that the intrusion was not resented. The new-comer possessed large brown eyes, bushy black hair, and beautiful white teeth, and in addition to this spoke English.
“Can look see some of goods. Have very beautiful things.”
This is the way they teach it—or, at least, learn it—at the mission schools.
The speaker continued: Would Madame be so kind as to glance at the charming wares at present gracefully reposing in a pack on his shoulders? They were something out of the usual run, and he had brought them especially for her inspection. To tell the truth, Madame was very tired, and murmured an objection; but a beautiful face has always touched her artistic sensibilities, and here was one of the finest she had yet seen in Japan. The new-comer seemed to notice this, for he entered without more ado. He immediately dropped to the floor and began to unpack his bundles. We were all soon interested in other things than our visitor’s face, for he had hardly begun to display his wares, before we saw something novel ahead. Japanese peddlers usually have an innumerable collection of small boxes, but our friend’s were larger and heavier and of a much richer kind. With the usual number of bows and smiles he began to reveal his treasures to our gaze, when we were honoured by the entrance of a small counterpart of himself, who had evidently been waiting outside until the coast was clear. Apparently they were brothers, and together they began to arrange their merchandise in a way to catch the American eye most temptingly.
We had already seen many of those hanging pictures which figure so prominently in Japanese art, but nothing of so delicate a texture as those our visitor now laid before us. They were for the most part representations of religious emblems, but there was one of a more secular kind of which the young man was particularly proud. It was rather large, with a dark background on which was exquisitely embroidered a tall, white cock with head erect, crowing to his heart’s content, and strutting about in all the majesty of a flaming red comb.
But this was only a beginning. Evidently our friend had brought these merely to see whether we were people of taste and could properly appreciate the untold treasures he had at his command. In his Mikado’s English he informed us that our artistic eye had touched him profoundly and had caused him to call to mind a kakemono of unparalleled beauty, that would delight us still more. Whereupon, he ruthlessly folded up the cock with the flaming comb, placed it with the rest on the floor, and set the boy down upon the pile to guard matters until his return. It did not seem to occur to him that this latter act was a slur at our honesty—things are different in Japan, you know.
“Have got house very beautiful kakemono. Priest won’t sell.” So he said, and so we understood him; giving him credit for grammatical correctness, when really he meant “want to sell.” Here, we thought, is a touching example of Japanese politeness! Our visitor is so impressed by our appreciation of his embroideries that he is about to show us one of the treasures of the temple, for the sole purpose of gratifying our taste for art. Soon this obliging Oriental returned, bearing a large bundle over his shoulder, which he immediately spread before our astonished gaze, all the while murmuring, as we thought, a repetition of the fact that the priest would not sell. We were further mystified by an occasional reference to a tea-house that seemed to disturb the young man’s peace of mind.
However much we may have been puzzled by this, there was no doubt that we had before us one of the most delicate creations of art. Could it be possible that all this was the result of man’s labour, using what many of us find so clumsy an instrument as a needle? I have thought long how to give an idea of the skill, the patience, the taste displayed in this piece of tapestry; but who can tell a blind man what a rainbow is like? Besides, I do not yet myself thoroughly appreciate what it all means, for, though I have owned the tapestry for some time, I never look at it without finding something I have not seen before. It seems such an inadequate thing to say, that it was about eight feet long and three wide, and that the figures were worked upon a grey background surrounded by a border of black. If you could only have seen it as it first flashed upon me that evening, a glorious mingling of the bright Japanese colours of red, black, and white, as yet totally undimmed by the nearly two centuries that it had lain, a holy thing, in the Daitokuji Temple at Kioto! There seemed to be some historical scene portrayed, evidently a naval battle, for there were castles and boats and water, and in the distance the sacred mountain of Fujiyama, worked in a rich gold. Over all, with outspread wings, were flying storks, and in the sea were strange fish and monsters. And there were royal crests, sailors, warriors, birds of many kinds, the colours as finely blended in this piece of needlework as in an artist’s painting. Later I have had the opportunity to examine it more in detail, and to discover that the castles on the shore are undergoing a siege, the date of the events being that of the ascendency of Hideyoshi. We are sure of this because Hideyoshi himself is there in red armour, and though his face is not more than a quarter of an inch in diameter, the features are easily distinguishable. I have the names of the other officers and castles, with a full description of the event written in choice Japanese by the priest of whom the purchase was made.
For he would sell, after all. As we stood admiring this monument of skill and patience, little thinking that it might be ours, the young man kept up his story about the refusal of the priest to sell, and also his pathetic allusions to the mysterious tea-house. Suddenly, however, he cleared up everything by turning to us despairingly with the words,—
“Please buy!”
Then we at last learned that the priest “wanted” to sell, and that he was driven to this strait by the necessity of raising money for a tea-house adjoining the temple. And we gladly bought. It was with reluctance that the priest gave us this Japanese treasure in return for our American dollars, for behind the act there is a pathetic story that touches the very heartstrings of the faithful followers of Buddha. It might not be inaptly styled “The rise and fall of the Kakemono.”
In those good old times when the Mikado was only a picturesque ornament of the community, subject himself to the dictates of some powerful shogun or warrior like our friend Hideyoshi; before the barbarous West with its parliaments and trousers and sense of art-perspective had begun to intrude, a great being ruled in the hearts of the Japanese and filled them with longing and hope and love. He was not a native, it is true; but the fact that he came from India did not seem to make him any less national, and he was as much at home in this sunny island as in his own snowy Himalayas. To tell the truth, the poor Japanese peasant was not the happiest of mortals in those days; for we have many stories of the little regard in which he was held by those above him, and the insignificant part he played in the social system. It is not altogether strange, therefore, that this wanderer from the south should have met with a hearty welcome; for his lessons were those of kindness and hope. More than this, he taught the down-trodden serf that life was not a mere matter of unrewarded toil and undeserved suffering, but that it had a gleam of greatness even for him, and that besides there was something beyond. This bearer of glad tidings dwelt in the temples on the hills, and his name was Buddha. It is true that the ungodly Japanese had little stone images of him of which they thought a great deal, and so his religion was an idolatrous one; but for all that they might have done a great deal worse.
For many centuries, therefore, they loved great Buddha, and loved him with all their souls. Every one, from the haughty shogun to the little white-faced geisha, found in his spirit a something which he could find nowhere else, and which resulted in a stronger and purer life. There was one, however, who remained proudly aloof from all this, and regarded Buddha with a somewhat doubting eye. This was no less a personage than the Mikado himself, who, after all, could not be greatly blamed for the way he looked upon the new-comer. For Buddha was not only a foreigner but a revolutionary character, and expelled a former visionary something very dear to the Mikado’s vanity. This was the creed of Shintoism. Now I hope you will not embarrass me by asking what Shintoism is, for I assure you, that though I have given the matter some attention I have not yet a clearly defined idea as to what it all means. It does, however, teach us something indefinite about listening to the dictates of our hearts, and something definite about following the decrees of the Mikado. It treats this dignitary even more kindly than this, for it goes on to say that he is not a man at all, but a great god moving here among us,—a sacred thing to be worshipped. It supports this claim by a very long and highly respectable pedigree, proving him to be descended in the direct line, without twist or turn, from one Amaterasu, who was a sun-goddess before Buddha came. For Buddha did not trouble himself about the Mikado’s genealogical tree, and so the good man had little use for him. During many centuries he treasured up his ill-feeling; but things worked slowly in Japan in those days, and it was a long time before disobliging history gave the Mikado a chance to get even with this iconoclast of the south.
To tell the truth, through all these years the Mikado was not the important personage his ancestry would lead you to suppose. His main occupation was posing gracefully as the head of the state, and for ages this descendant of the sun-goddess was kept in golden chains, a practical prisoner in his own castle. But he still kept his hold on the people, who, by some peculiar inconsistency very noticeable in their religious faiths, firmly believed that story about Amaterasu. This, however, did not in the least affect their warm love for Buddha, of which they gave evidence in many ways. They built many temples, which were approached by a series of handsome torii, or stone gateways, and which were regularly attended by priests. But by far the best thing they did was to make these embroidered pictures, one of which I have described at length. Those were emphatically the days of the kakemonos, and they are the most telling expressions of the deep-rooted affection with which the Japanese regarded their divine teacher. The works are deeply religious in the most profound sense of the word, and fill the same place in Japanese art that the works of Raphael and Michael Angelo do in Christian painting.
Handsome torii, or Stone Gateways.
And these old masters had their counterparts in Japan, though but few are known to fame. I fancy, for example, that not many have heard of a certain genius named Tosa Mytzeoki; but he it was who flourished at the middle of the last century and spent three years of his life in making the beautiful tapestry that I now possess. The makers of these kakemonos formed a separate class of society, and spent their whole lives in the practice of the delicate art. They had no instrument but the needle, and no material but Japanese silk with which to produce these wonderful results. They worked year after year at the beck of grosser spirits than themselves, and of course were poor and unhappy. They did not have the hope of fame that inspires so many artistic souls; for when a kakemono was completed it was immediately laid away in the temple, far from vulgar eyes. Poor Tosa Mytzeoki never dreamed that the result of his delicate toil would some day grace an American drawing-room! It is true that on days of religious festivals the kakemonos would sometimes be brought out and used in decorations for the walls, but these occasional exhibitions were a sorry foundation for future fame.
When some nobleman—for the higher classes alone could afford such a sacrifice—wished to gain the favour of Buddha, he would go to one of these humble artists and give him an order for a kakemono. There were two kinds from which he might select, those that were embroidered and those made of paper. The latter were especially abundant, and of all kinds and sizes. Many of them contained merely an autograph done with the brush,—the national pen; for the Japanese have always had a liking for fine handwriting, esteeming excellence in that line a separate art. The figures with which a large number of these paper kakemonos are covered are splendid examples of Japanese painting, the scenes being mostly of a historical and religious kind. Buddha and Confucius are the special favourites. The backgrounds are often filled with a host of figures; I remember one at Kioto, that contains nearly as many faces as Tintoretto’s painting in the Doge’s Palace at Venice. This kakemono is remarkable for other reasons than this, for the work is lifelike and vigorous, and though five hundred years old is well preserved. It is called the “Death of Buddha,” and represents the expiring prophet surrounded by worshippers with grief-stricken faces, so vividly depicted that the very air seems filled with lamentation.
For many centuries these kakemonos were being collected in the Buddhist temples all over Japan. Then came the memorable year 1868,—a year that marked the close of the Japanese middle ages. The feudal system was abolished, and the whole scheme of government renovated. Now the Mikado emerged from his obscure position as a public official, and began to play more than a sentimental part in Japanese life. The days of the shoguns were over, and the Mikado was the Mikado indeed. From this time the misfortunes of the kakemonos began. The long-awaited opportunity of the Mikado had arrived. He solemnly sent forth an edict that Buddha had outlived his usefulness, and that the day of his great-great-grandmother, the sun-goddess, had come; the sole religion of the Japanese henceforth was to follow the teachings of his heart, but above all those of the Mikado. So Buddha’s occupation was gone. The Japanese were already on that downward path, which was to end in their wearing European trousers under Japanese kimonos, and they began to find the Indian prophet a little out of date. And besides, the missionaries had impressed upon their minds that those little stone images were things no self-respecting man would have about him. Many, therefore, decided to do away with these abominations, and follow the teachings of their hearts.
But, though the government was persistent, Buddha was even more so, and was very loath to give up the sway he had secured over the affections of the Japanese. The humbler classes were also blind to the superior virtues of the Shinto Temple, and therefore an interesting struggle began, to see which was the fitter to survive. The struggle is not ended yet, nor is there any great indication that it soon will be. The Mikado himself has confessed the weakness of his own cause, for he has found that the mere listening to the teachings of one’s heart and obeying the decrees of the sovereign does not constitute a religion. He has therefore been obliged to borrow a great deal from his antagonist, and it so happens that the state religion of Japan is a tangled problem. But the masses of the people are still faithful to Buddha, whose temples are increasing every day.
The Mendicant Priests.
In the midst of all these reforms there was one class on whom the burden rested with a peculiar weight. What was to become of the priests? The Mikado cared no more for these than he did for Buddha himself, and so, while a large part of Japan was listening to the teachings of its heart, these priests wandered in a melancholy way about the temples, at a loss as to what it all meant. Not only this, but they were hungry men, as the governmental supplies had suddenly ceased. The temples were beginning to show the evils of the sentimental tendency of the people, and it was evident that something must be done, or Buddha would have to limp back to India with a lessened appreciation of Japanese hospitality. Thus it was that some one more daring than the rest bethought him of the kakemonos. Here were treasures indeed, and moreover here were wealthy foreigners beginning to swarm anxiously to lay sacrilegious hands on everything. You see it was a simple case of sentiment versus necessity, and as usual necessity came out on top. The priests must be fed, tea-houses must be built, the temples preserved; the government frowned upon them all. Every time, therefore, that the needs became too pressing to be resisted, a kakemono was aroused from its rest of ages, and converted into cash. Buddha was thus given a lease of life once more, while his sacred kakemonos were transported to do service in the drawing-rooms of Europe and America.
Many of them were bought up by the Japanese themselves. They are a source of entertainment at dinner parties, where they are brought out for the inspection of the guests in much the same fashion that we display our bric-à-brac or collection of paintings. A careful history of each is kept, which always accompanies it. The more kakemonos the Japanese has, and the greater the antiquity of them, the prouder man he is. But the demand for them has occasioned many imitations which are reserved for the benefit of the unsuspecting foreigner. The connoisseur, however, can detect the difference as easily as he can distinguish between a copy and an original.
But the problem is not solved yet. The government has issued another decree, obliging the priests to make an inventory of the treasures of the temple, and to see that no more kakemonos are sold. He that has secured one of these works of art, therefore, has great cause for congratulation. But one still wonders what is to become of the hungry priests, and the shamefully-treated prophet of India. The question is made more interesting because Buddha shows about as much indication of returning to his native land as the priests do to begin listening to the teachings of their hearts.
