Ministers of Art.
On the establishment of the imperial capital, at Kiōto, toward the end of the eighth century, we find still further development and enlargement of those latent artistic impulses with which the Heavenly Father endowed his Japanese child. That capacity for beauty, both in appreciation and expression, which in our day makes the land of dainty decoration the resort of all those who would study oriental art in unique fulness and decorative art in its only living school—a school founded on the harmonious marriage of the people and the nature of the country—is discernible from quite early ages. The people seem to have responded gladly to the calls for gifts and labor. The direction from which it is supposed all evils are likely to come is the northeast; this special point of the compass being in pan-Asian spiritual geography the focus of all malign influences. Accordingly, the Mikado Kwammu, in A.D. 788, built on the highest mountain called Hiyéi a superb temple and monastery, giving it in charge of the Ten-dai sect, that there should ever be a bulwark against the evil that might otherwise swoop upon the city. Here, as on castellated walls, should stand the watchman, who, by the recitation of the sacred liturgies, would keep watch and ward. In course of time this great mountain became a city of three thousand edifices and ten thousand monks, from which the droning of litanies and the chanting of prayers ascended daily, and where the chief industries were, the counting of beads on rosaries and the burning of incense before the altars. This was in the long bright day of a prosperity which has been nourished by vast sums obtained from the government and nobles. One notes the contrast at the end of our century, when "disestablished" as a religion and its bonzes reduced to beggary, Hiyéi-san is used as the site of a Summer School of Christian Theology.
Along with the blossoming of the lotus in every part of the empire, bloomed the grander flowers of sculpture, of painting and of temple architecture. It was because of the carpenter's craft in building temples that he won his name of Dai-ku, or the great workman. The artificers of the sunny islands cultivated an ambition, not only to equal but to excel, their continental brethren of the saw and hammer. Yet the carpenter was only the leader of great hosts of artisans that were encouraged, of craftsmen that were educated and of industries that were called into being by the spread of Buddhism.[15] It was not enough that village temples and town monasteries should be built, under an impulse that meant volumes for the development of the country. The ambitious leaders chose sightly spots on mountains whence were lovely vistas of scenery, on which to erect temples and monasteries, while it seemed to be their further ambition to allow no mountain peak to be inaccessible. With armies of workmen, supported by the contributions of the faithful who had been aroused to enthusiasm by the preaching of the bonzes, great swaths were cut in the forest; abundant timber was felled; rocky plateaus were levelled; and elegant monastic edifices were reared, soon to be filled with eager students, and young men in training for the priesthood.
Whether the pilgrimage[16] be of Shintō or of Buddhist origin, or simply a contrivance of human nature to break the monotony of life, we need not discuss. It is certain that if the custom be indigenous, the imported faith adopted, absorbed and enlarged it. The peregrinations made to the great temples and to the mountain tops, being meritorious performances, soon filled the roads with more or less devout travellers. In thus finding vent for their piety, the pilgrims mingled sanctification with recreation, enjoying healthful holidays, and creating trade with varied business, commercial and commissarial activities, while enlarging also their ideas and learning something of geography. Thus, in the course of time, it has come to pass that Japan is a country of which almost every square mile is known, while it is well threaded with paths, banded with roads, and supplied to a remarkable extent with handy volumes of description and of local history.[17] Her people being well educated in their own lore and local traditions, possessed also a voluminous literature of guidebooks and cyclopedias of information. The devotees were, withal, well instructed and versed in a code of politeness and courtesy, as pilgrimage and travel became settled habits of a life. As a further result, the national tongue became remarkably homogeneous. Broadly speaking, it may be said that the Japanese language, unlike the Chinese in this as it is in almost every other point, has very little dialectic variation.[18] Except in some few remote eddies lying outside the general currents, there is a uniform national speech. This is largely owing to that annual movement of pilgrims in the summer months especially, habitual during many centuries.
Buddhism coming to Japan by means of the Great Vehicle, or with the features of the Northern development, was the fertile mother of art. In the exterior equipment of the temple, instead of the Shintō thatch, the tera or Buddhist edifice called for tiles on its sweeping roof, with ornamental terra-cotta at the end of its imposing roof-ridge, or for sheets of copper soon to be made verdant, then sombre and then sable by age and atmosphere. Outwardly the edifice required the application of paint and lacquer in rich tints, its recurved roof-edges gladly welcoming the crest and monogram of the feudal prince, and its railings and stairways accepting willingly the bronze caps and ornaments. In front of its main edifice was the imposing gateway with proportions almost as massive as the temple itself, with prodigal wealth of curiously fitted and richly carved, painted and gilded supports and morticings, with all the fancies and adornments of the carpenter's art, and having as its frontlet and blazon the splendidly gilt name, style or title. Often these were impressive to eye and mind, to an extent which the terse Chinese or curt monosyllables could scarcely suggest to an alien.[19] The number, forms and positions of the various parts of the temple easily lent themselves to the expression of the elaborate symbolism of the India faith.