CHAPTER V
ART IN PRACTICAL LIFE
Throughout this book I have talked of Japan purely from the artistic standpoint. I have talked principally of the living art of the country and of its exquisite productions, and I firmly believe that it is because the Japs are a people of imagination that they will at no distant date forge ahead of other nations (who are depending solely upon their muscle) and become a dominating power.
At the same time, it must be clearly understood that the artistic is not the only quality in which the Japs excel. Take them from any side, and it will be found that they have achieved remarkable success. Yet the average Westerner, on returning from a visit to Japan, has always the same superficial observation to make on the Japanese people. He has spent a few weeks in the Land of the Rising Sun; he has seen the dainty tea-houses, the miniature bridges, the paper walls and umbrellas, their works of art modelled in lead—everything suggesting the dainty and the exquisite (and therefore, in his opinion, the flimsy); and he tells you that the people over there are all dear little Noah’s Ark folk living in tissue-paper houses, very charming as dolls, but useless as men. “These people,” he says, “have no physique; they would be incapable of building battleships, for example.” For this critic one can entertain only the faintest possible feeling of tender pity. Is he not aware that these Noah’s Ark folk are actually building battleships, that they have already a fine army superbly equipped with the finest of swords and guns, and that they have the power to handle these weapons far better than we can handle ours? Every soldier in the Japanese army understands the mechanism of his rifle, and can at any moment pull it to pieces and put it together again, even substituting a missing portion if necessary. Could the same be said of our beloved Tommy? The Japanese officers are no less capable than the privates, and I would guarantee that if by some mischance the sword of a Japanese officer, being badly tempered, should become bent, that officer would be capable of retempering his blade—one of the most difficult and delicate tasks imaginable.
THE TEA-HOUSE OF THE SLENDER TREE
But how a certain class of equally ignorant and inconsistent Westerners cried out when it was known to the world that Japan had actually begun to use our rifles and to build battleships! They will lose individuality and degenerate, they are adopting Western methods, and it will kill their art, they complained. How foolish this is! The Japanese have merely changed their tools—exchanged the bow and arrow for the sword; they are just as artistic and just as intelligent as in the bow-and-arrow days; and they have proved themselves to be equal to, if not better than, any other soldiers in the world.
Japan is not being Westernised in the smallest degree: she is merely picking our brains. And how quickly the Japs will adopt a Western idea, and improve upon it! The making of matches, and the underselling us in all our common printed cotton and woollen Manchester goods, have not spoilt their faculty for executing that exquisite Eugene dyeing for which the Japanese are famous all the world over; the making of bolts and bars and battleships has not prevented the metal-workers from producing exquisite work in bronze, so delicate as to resemble the finest lace. The manufacture of our vulgar modern monstrosities has been taken up by these people, and they can offer them to us at a cheaper rate and of a better quality than we can produce ourselves, freight included. Japan can produce European work better than the Europeans themselves; but that work has not influenced their art one whit—they hate it; whereas Japanese art has permeated and influenced the whole of the West.
All these qualities seem to point one way—Japan must eventually become a ruling power. For one thing, the struggle for life does not exist there as in other countries. The food is simple, and men live easily. Then, again, the Japanese are not over-anxious. They do not waste their energies. Women do not fret because they are looking old; on the contrary, it is their ambition to become old, for then they are more respected.
BLOSSOM OF THE GLEN
My first experience in Japan, I being a practical person and of a practical turn of mind, was rather a surprise. I had just arrived at the hotel in Tokio, and, observing from my window that there was a promise of a sunset, I caught up my paint-box, anxious to secure the fleeting effect, and rushed downstairs full-tilt, in my haste almost capsizing an old lady with a monkey on her shoulder standing at the foot of the stairs. Not moving from her position, she said, “Young man, I should like to talk to you.” “Delighted, I am sure,” I answered hurriedly: my haste to be off, I am afraid, was too apparent just then. Not at all daunted, the lady called after me some directions for finding her in her room that night after dinner, where she would tell me some things that would interest me, and walked slowly up the stairs without once looking round, her monkey on her shoulder. Curiously interested, despite myself, in this strange old lady and her monkey, I did visit her that evening, and was somewhat startled by her greeting of me. “I knew I was going to meet you in Japan to-night. I know all about you. You are going to paint a series of pictures. You are going to exhibit them, and you will make a great success. Some day you will paint children—you are fond of children. All this I knew in America before ever I came here. I saw it all as in a dream.” Paralysed, I could only utter the formal words, “Oh, really!” “Ah, you’re sceptical! But you are sympathetic too, and after I have talked to you for two or three hours you will see that I am right,” quoth my strange new friend, while at the prospect of two or three hours’ conversation I experienced a distinctly sinking feeling. But with the next few words she uttered, the sinking feeling vanished, to be superseded by one of deep interest. For some years, she told me, she had been constantly communing in the spirit with her husband and Lord Byron—rival spirits. Her husband was jealous of the poet and of her correspondence with him, and she showed me a series of letters dictated by that great man in the dark—all sorts of beautiful letters on all subjects, ranging from tennis to theology. I sat there I know not how long listening to this wonderful woman; and also—it may seem foolish—I felt strangely comforted and encouraged to hear her say so convincingly that I was to make a success, for at that period I had never painted a picture, and the whole thing was, as it were, an experiment. It was many weeks before I could forget that old lady and her monkey. All through my travels the memory of that monkey’s eyes—beady, blinking, never changing—followed me, and stimulated me.
With Tokio and Yokohama I was disappointed. I had the privilege of attending the Mikado’s garden party; but the pleasure of the really beautiful grounds and the cherry-blossom was spoilt by the Western dress of the guests and of high personages—a hideous substitute for the Japs’ own graceful garments. Yokohama I found especially unsympathetic. The bulk of the Europeans I met there seemed to be spending half their time in abusing Japan and everything Japanese. Strange that a colony of such unrefined, uneducated people should presume to criticise these artists! Tokio, with its formal dinners and conventionalities, was much the same; and with epithets such as “Crank” and “Madman” hurled after me, I fled to Kioto, there to lose myself in endless and undreamt-of joys.
In Japan there are flowers blooming all the year round: the country is a veritable paradise of flowers. When a certain flower is at its height, whether it be the wistaria, the chrysanthemum, or the azalea, that is a signal for a national holiday, and, dropping business and all such minor considerations, the whole of Japan turns out and streams through the parks and through the country to picnic in the sunshine, under the flowers. I arrived in Japan in the spring, and the country was pink with blossom. Infected with the delightful fever for blossom-dreaming, I drifted aimlessly along with the crowds, drifting only too rapidly into their own restful atmosphere, and accustoming myself to the delicious theory that life is long with plenty of time for everything. And as I sat in the sun among these light-hearted people, watching mountains of pink blossom under a clear blue sky, it did seem ridiculous to think of work and worry.
Those first few weeks in Japan come back to me as something to be remembered. To my untravelled mind everything seemed so novel, so quaint, so unexpected. Things were large when I expected them to be small, and vice versâ; the houses were made of paper; the women were anxious to make themselves look old. I was fascinated by the pyramids of children gazing in at sweet-stuff shops with their brown, golden, serious faces contrasting so oddly with their gaily-coloured dresses painted to look like butterflies. Every child I saw I felt that I must either pat or give it something. I was surprised to see fowls with tails so long that they had to be wound up into brown-paper parcels; the dogs that mewed like cats; miniature trees hundreds of years old. I was surprised when I dined out to find the room decorated with beautiful ladies in lieu of flowers, a delightful substitute. To be taken to the basement and handed a net with which I was to catch my own carp was also rather a surprise; but when I was expected to eat it as it lay quivering on my plate, I was more than surprised—I was roused. Material for pictures surrounded me at every step. I wanted to make pictures of every pole and signboard that I came across; and the result of this glut of subjects was that I never painted a stroke. Night in Japan fascinated me almost more than anything—the festoons of lanterns crossing from one street to another, yellow-toned with black and vermilion lettering; the gaily-dressed little people passing by on their wooden clogs or in rickshas with swinging paper lanterns drawn by bronze-faced coolies.
I shall never forget my first rainy day in Japan. I went out in the wet and stood there, hatless but perfectly happy, watching the innocent shops light up one by one, and the forest of yellow oil-paper umbrellas with the light shining through looking like circles of gold, ever moving and changing in the purple tones of the street.
One of the first things I did on arriving in Japan was to hire a servant, and this little man soon became my adviser in artistic as well as in mundane matters. He took a keen interest in my work, and spent the greater part of his spare time in hunting up subjects for me—monograms, suggestions for picture-frames, and what not—he, like every Jap, was an artist. He never said that he liked anything that I ever painted (he was far too truthful for that); but it was quite obvious that he did not, for he could draw infinitely better himself. But he helped me a great deal.
A FAMILY GROUP
So did the policemen—and the policeman in Japan is a perfect treasure. They are all gentlemen of family and are very small men, much below the average in height; but they have nearly all learned the art of scientific wrestling, and exercise an absolute and tyrannical power over the people. Luckily for me, I never made the hopeless blunder of attempting to tip them. Altogether I found the policeman the most delightful person in the world. When I was painting a shop, if a passer-by chanced to look in at a window, he would see at a glance exactly what I wanted; and I would find that that figure would remain there, looking in at the shop, as still as a statue, until I had finished my painting; the policeman meanwhile strutting up and down the street, delighted to be of help to an artist, looking everywhere but at my work, and directing the entire traffic down another street.
Suddenly there is a fire—there is invariably a fire when one arrives in a foreign country, I notice. Immediately the policemen begin to plant little bamboo sticks round the burning building with twine fixed from one stick to another. This is to act as a barrier to keep the people off. After a time a crowd gathers, and in the swaying of the people their chests sometimes touch the string and bow it; but the thought of breaking through that twine never occurs to them. The bold little firemen inside the enclosure trying to scare away the god of fire by bright clothing, and literally sitting on the flames in their light-coloured coats, form a scene never to be forgotten. They seem to bear charmed lives as they dash among the flames, putting the fire out with their hands, and in a very short time too. It reminds one of the performance of the fire-eating gentlemen at the Aquarium.
The power of the policemen over the people in Japan is extraordinary. Even the Westerners obey them. At the treaty ports they often have to deal with English sailors, and, although they try their utmost to smooth things over, they often have to run men in. It is entertaining to see a great blundering sailor, just like a bull, plunging to right and left, while the little policeman, always courteous and polite, constantly gives way, stepping on one side until the time comes when the sailor, puffed and worn out, gives a terrific lunge; the policeman gives him a slight impetus, and the sailor sprawls in an ungainly attitude on the ground. He is then led off triumphantly by a small piece of string attached to his belt behind.
THE VENICE OF JAPAN
It was not until I arrived in Osaka, the Venice of Japan, that I gave up dreaming and seriously began to work. Here was scope indeed! Osaka is the city of furnaces, factories, and commerce,—the centre of the modern spirit of feverish activity in manufacturing and commercial enterprise. Western ugliness has invaded certain quarters; yet the artistic feeling predominates. The Ajikawa is still the Ajikawa of the olden time, and on the eastern side of the city is the Kizugawa, into which—thanks to the shallowness of the bar—no steamer ever intrudes, while the city itself is intersected by a vast network of canals and waterways, all teeming with junks and barges, and crossed by graceful wooden bridges which lend themselves admirably to line. The Kizugawa fascinates the painter. Away from the bustle of the factories and the shrieking of the whistles, the great junks from northern Hakodate or the sunny Loochos lie sleepily silent. They are the Leviathans of their kind. Intermingling with them are innumerable barges and fishing-boats, stretching far up the river, their masts and cordage seeming one vast spider’s web. Not a single vessel is painted—from the huge sea-going junk to the narrow-prowed barge. Near the water-line the wood has taken a silvery tone; but above, it looks in the sunlight like light gold. And the cargoes of rice in straw bales, piled high over the bulwarks, are also golden. A steam-launch has in tow half a dozen barges, which, with their unpainted woodwork, rice bales, and straw-coloured connecting cable, appear against the dark water as a knotted golden thread. In the endless perspective of junks the golden tone predominates; but it is relieved by the colouring of the buildings on the river banks. There is no monotony, for no two houses are similar either in tint or in design; and there is no stiffness of line. The builders are all artists, to whose instincts repetition would do violence. The quaint roofs, although formed in straight lines, seem to rise and fall in gentle undulations. There is nothing abrupt or rugged; nothing jars. And the colours are as varied as the roofs. In the upper reaches of the rivers the scenes never cease to charm. Clusters of half a dozen boats forming a mass of decorative woodwork, tea-houses with tiny gardens running down to the water’s edge and gaily-dressed geishas leaning over the trellised verandahs, light bridges thrown in graceful outline against the purple horizon,—all combine to complete a picture as broad as a study by Rembrandt, as infinite in detail as a masterpiece by Hobbema.
THE GARDENS