Japan: A Record in Colour

by Dorothy Menpes

THE LIVING ART

A Japanese authority has boasted that the only living art of to-day is the art of Japan; and the remark is not so much exaggerated as it may appear at first sight to the European. Art in Japan is living as art in Greece was living. It forms part and parcel of the very life of the people; every Jap is an artist at heart in the sense that he loves and can understand the beautiful. If one of us could be as fortunate as the man in the story, who came in his voyages upon an island where an Hellenic race preserved all the traditions and all the genius of their Attic ancestors, he would understand what living art really signifies. What would be true of that imaginary Greek island is absolutely true of Japan to-day. Art is in Europe cultivated in the houses of the few, and those few scarcely know either the beauties or the value of the plant they are cultivating. That is the privilege of a class rather than the rightful inheritance of the many. The world is too much divided into the artist on the one hand and the Philistine on the other. But it is not so in Japan, as it was not so in ancient Greece. In Japan the feeling for art is an essential condition of life. This is why I expect so much from the interest in Japan which is now awakening in England.

The report of the Japanese Commission sent to Europe to investigate the conditions of Western art, some years ago, startled Western minds considerably. The Commissioners gave it as their opinion that Japanese art was the only real living art. This surprised, perplexed, and irritated many people, as home truths generally do. Without adopting in integrity every word of the Commission’s report, I must confess that I found in it a great deal of truth.

The great characteristic of Japanese art is its intense and extraordinary vitality, in the sense that it is no mere exotic cultivation of the skilful, no mere graceful luxury of the rich, but a part of the daily lives of the people themselves. It is all very well to draw gloomy deductions about the decay of Japanese art from the manufacture and the importation of curios destined for the European market. That there is such an importation there can be no doubt, any more than that this condition of things will continue while people fancy that they are giving proof of their artistic taste by sticking up all over their walls anything and everything, good, bad, and indifferent, which professes to come from Japan or to be made on Japanese models.

SUN AND LANTERNS

What an educated Jap would think of some of our so-called “Japanese rooms” I shudder to imagine. But let me ask—and this is much more to the purpose—what would an uneducated Jap think? And let me give my own answer. He would be as much surprised by any bad taste or bad art as his educated superior would be. This is the burden of my argument—that art in Japan is universal and instructive, and therefore living; not an artificial production of a special class, and therefore not living. Art was certainly a living thing in the best days of Athens; art has been, in some measure, a living thing elsewhere and in later days. For we must remember that art does not merely consist in the production of a certain number of works of art, or even of masterpieces. A country may produce a great many works of art, and yet as a country be entirely lacking in living artistic feeling. France is a land of works of art; but the works do not appeal to the voyou—still less do they appeal to the ouvrier, to the bourgeois, to the butcher, the baker, the candlestick-maker. Now, what I claim for Japan is that in its most real and most important sense it is a living artistic country. The artistic sense is shared by the peasant and the prince, as well as by the carpenter, the fan-maker, the lacquer-worker, and the stateliest daimio whose line dates back to the creation of things.

But do not run away with my contention. I do not mean to say that every Jap is a born artist. There are Philistines in Japan, as elsewhere. What I do maintain is that the artistic instinct is more widely diffused, is more common to all classes of the community in Japan, than in any of our European countries. This is no small thing to say of a country. It is full of deep significance to all students of art. Although we are doing our best, with our love for gimcrackeries, to cheapen and degrade the artistic capacity of Japan, our evil influence has been but partially felt, and so but partially successful. Having done all the harm we can do unwittingly, let us pause, if possible, and reflect before we wittingly do further mischief.

The problem to the lovers of art is simply this: shall we learn all we can learn—and that is a great deal—from the living art instincts of Japan, or shall we continue to blunt and deaden the productive power of Japan by encouraging the barbarous demand for worthless baubles to make ludicrous the home of the so-called aesthete? If those who are most proud of the Japanese toys and trinkets they have amassed, which, with semi-savage stupidity, they have nailed upon their walls and stuck upon their shelves and tables, could but see what an artistic house in Japan is like, they would learn some startling truths as to the real facts and principles of Japanese decoration and the Japanese ideal of art. If they could only know the contempt with which the truly artistic Jap looks upon the demand for “curios,” and upon the kind of “curios” which are turned out wholesale to meet that demand, they would not feel so proud of themselves, and of the rooms which they display to delighted friends as “quite Japanese, you know.” The artistic Jap shows nothing in a room—absolutely nothing, except a lovely flower and a screen, and perhaps a beautiful verse or some clever sentence indited in freehand writing, placed beautifully in the room in just relation to its surroundings.

There is a curious fact to be noticed in connection with such inscriptions. In conversation a friend might happen to give forth some brilliant and very epigrammatic utterance. The hearers are so delighted that they get him to write down this mot in large characters, and it is mounted and placed in the room. Such a caligraphic maxim, written by the hand of the speaker, they consider a fitting portion of the permanent decoration of a room.