Japan: A Record in Colour

by Dorothy Menpes

You would never know from the rooms of a Jap that he was a great picture-collector. The wealthy collector keeps all his treasures stowed away in what is called a “go-down”—his storehouse—and his pictures are brought up one at a time if any visitor is present or expected. Generally a single picture will be brought in and hung up. You enjoy that beautiful picture by itself. It is very much like bringing a bottle of wine from the cellar—no one would want the whole bin at a time.

The Japs have an artistic temperament altogether and the simplest craftsman is an artist in his own way. I was especially struck with this once when I was in want of some frames, and I employed a Jap to make them for me. He could talk English perfectly well, and it was remarkable to watch the development of the frames and the enthusiastic temperament discovered by the carpenter as he proceeded. I myself designed a certain frame, and I would by slight drawings encourage him and his fellows to go on with the work. They all took the greatest possible interest in the refinement of the object—they would place it down and then go off and look at it, and talk to those friends who were looking on about the beauties they saw in it and in its proportions; and the intelligence and pleasure they showed were not only extraordinary but also delightful. This frame-making was quite novel to them, as they do not frame any of their objects; but they were interested in the design of the frame and the placing of the picture within it. Although the matter was not in itself of any remarkable importance, I hold that it fairly proves the artistic temperament of a chance selection of people. Think of a common carpenter making a simple thing and taking a just pride in doing it! The result was that I got one of the most beautiful frames you can conceive, and that I was encouraged in my own work by the sympathy of these workmen.

THE SCARLET UMBRELLA

Of course, in Japan there are painters who paint for the market—people who have been destroyed by the British merchant and the American trader. They spend their time in painting pictures of flowers and birds in vivid colourings that appeal to our tastes, solely for exportation to England and America. Apropos of this I must mention a conversation I had with a painter about screens, which struck me as being very curious. I wanted to buy a gold screen, and he took me to a shop where I saw a vast number of screens, nearly all with black grounds and golden birds and fish on them. I told him I did not like them; and he answered, “Neither do we. Here in Japan we would not have them in our houses; but they are what the English and American markets demand. We ourselves never buy them; we nearly always choose screens with light grounds, beautifully painted”—in fact, splendid pieces of decoration. A screen painted by a first-class artist is valued very highly, while the fact of one from the hand of an old Japanese master being for disposal is known all over the country at once, and everybody is prepared to bid for it as one would bid for a Sir Joshua here. A really good screen fetches an enormous price, for it takes the place there of pictures and frescoes with us, and every man of taste requires one or two fine specimens in his house beautiful. One I saw at the house of the Minister for Foreign Affairs was painted with a blue wave—an arrangement, in fact, in blue and gold. I never saw such a gorgeous screen, nor, I verily believe, anything more beautiful as an arrangement of colour—the huge wave, one sweep of blue, and the piece of gold at the top. It was, I was told, by an old master of Japan, and worth an enormous sum. The Japanese perfectly appreciate the value of things like that, and they very rarely let them leave the country, so that it has become very difficult to get hold of anything really fine.

An experience which gave me a close insight into Japanese feeling was a meeting of some of the painters of Japan. It was arranged by a Japanese gentleman who, though not an artist himself, is deeply interested in art, and keenly alive to everything touching it. Knowing me personally, he was anxious that I should come in contact with these men whose practice he so much revered, and so he invited several of these artists of different kinds—designers of metal work and designers for manufactures—to his house to meet me. I talked to them with his interpreting help, just a little about art and its principles and so forth, in the hope that the others would be brought to speak freely, and I expressed my readiness to give them what information I could of European art and its practice. They asked me remarkable questions. Most of them, it appeared, were discouraged because “the European required such ugly things.” If they made what the Europeans really enjoyed, their productions were looked upon as unsaleable. It appeared to me that it must be extremely difficult for the Japs to hold fast to their artistic instincts, and in the end I expressed my conviction that it would pay them better to adhere to their principles rather than to pander to the foolish demands of the dull American or British merchant who had neither idea nor concern as to the beauty of the work he buys.

LEADING TO THE TEMPLE

Unfortunately, to a great extent these traders are lowering the standard of painting in Japan. Not a few of these sixty men who came to meet me would do work they did not care about, not being men of such individuality and independence of character as Kiyosai. With them, as with us, the prize of money-reward is a bait too tempting to be resisted. Two days afterwards some of these friends were good enough to write a long discourse in one of the Japanese papers on my address, saying how much pleased they were to find an artist from England with my ideas of Japanese art—one who condemned the notion so common among them that it was necessary to pander to the tastes of a foreign market. They were especially glad that I had condemned that, and many of the painters, more or less on the strength of my conversation, decided to do thenceforth what they felt to be true to their principles—to go to nature and themselves, to choose their lovely harmony of colour, instead of designing stereotyped screens with gold birds on black backgrounds. Many were determined to give up that kind of art altogether, and one in particular (whose studio I called at the day after) pointed out that he had already quite altered his style. He was an artist by nature, and he told me he felt that having to do this horrible work was going against him, and he had made up his mind that in future he would insist upon doing what he felt to be beautiful, and would be ruled by the merchant no more. I visited the studios of a great many of the artists to whom I had delivered my lecture, and saw their sketch-books and their method of work. In nearly every case their method coincided with the principles laid down by Kiyosai—each having, of course, his own method, but each working in the same broad way of “impression picture.”

Japan might be said to be as artistic as England is inartistic. In Japan art is not a cause, but a result—the result of the naturalness of the people—and is closely allied with all aspects of their daily life. In the houses, the streets, the gardens, the places of public resort—everywhere is to be found the all-pervading element of art and beauty. A rainy day in Japan is not, as it is in London, a day of gloom and horror, but a day of absolute fascination. What a joy is the spectacle of all those lovely yellow paper umbrellas unfurling themselves beneath a shower like flowers before the sun, so different from the dark shiny respectability of our ghastly gamps at home! John Bunyan has written and talked of the house beautiful; but the Japanese have given to the nation not only the house beautiful, but also (what is even more important to the community at large) the street beautiful, and that is where Japan differs so widely from Europe. As I walk through the London streets at night, how prosaic is the flicker of each gas-jet, within its sombre panes of glass, in some “long unlovely street,” and how different from the softened rays that shine from out the dainty ricksha lanterns illuminating the streets in Japan! There a poem meets your eye with each step you take; and how pretty is every street corner, with its little shop, its mellow light and dainty arrangements, with the smiling face of some little child peeping out from the dim shadow beyond! It is a terrible thing to live in a country where art is the luxury of the few, and where the people know as little of what constitutes the beauty of life as a Hindoo knows of skating. What would a Japanese gentleman say, I wonder, if he passed into a room in the depths of winter and saw a quantity of those pretty fans, which in his country help to modify the heat of the golden summer days, viciously nailed, without rhyme or reason, upon a bright red wall, or those fairy-like umbrellas, upon which he has seen the rain-drops glisten so brightly, stuck within the gloomy recess of some lead-black hideous grate, or (with still less sense of the fitness of things or regard for the uses for which it was made) glued to a white-washed ceiling?