The Japanese knew no division into Representative and Decorative; they thought of painting as the art of two dimensions, the art of rhythm and harmony, in which modelling and nature-imitation are subordinate. As in pre-Renaissance times in Europe, the education of the Japanese artist was founded upon composition. Thorough grounding in fundamental principles of spacing, rhythm and notan, gave him the utmost freedom in design. He loved nature and went to her for his subjects, not to imitate. The winding brook with wild iris (above) the wave and spray, the landscape, No. 51, were to him themes for art to be translated into terms of line or dark-and-light or color. They are so much material out of which may be fashioned a harmonious line-system or a sparkling web of black and white.
The Japanese books of most value to the student of composition are those with collections of designs for lacquer, wood, metal and pottery, the Ukiyo-ye books of figures, birds, flowers and landscape, and the books by Kano artists, with brush-sketches of compositions by masters. It was a common practice with the Japanese to divide a page into sections of equal size and place a different design in each section, p. 55. This is of great [pg 77] [pg 78] [pg 79] [pg 80] importance to the student for it illustrates at once the principles of space-filling and notan, and gives an idea of the infinite possibilities of artistic invention. I have reproduced examples from the three classes of books mentioned above, selected in this case for their brilliancy of notan. Let the student copy them enlarged, then make original designs of similar motives. Good reproductions of many Japanese design books can now be obtained at low prices. They are very stimulating, for they point to the best way of studying nature and of translating her beauty into the language of art; pp. 57, 62, 64, 76—79.
APPLICATIONS of NOTAN of TWO VALUES
The Structural method of art study places principle before application. Much appreciation of notan could be gained from any one of the subjects just considered,—for example, textiles,—but the tendency would be to think of tone as belonging specially to textiles. The same can be said of Line as it appears in casts, the human form, or historic ornament. Attention is centred upon the particular case, and the larger view is lost. It is better to gain a knowledge of line, mass and color as the material out of which to create; and to become acquainted with principles of harmony-building, before undertaking definite applications. This gives fuller control, and enhances the worker's powers of invention. Applications of two values are numberless; I will mention a few of them to give the student some clues for original research and experiment.
PRINTING. Florets, seals, initial letters, page ornaments, illustrations, posters, end papers,—drawn in black, gray or one color.
TEXTILES. Blue and white towels, quilts, etc., woven or printed, lace, embroidery, rugs,—pages 9, 65, 66.
KERAMICS. One color on a ground of different value, as blue and white, No. 54; or black on gray.