Japan: A Record in Colour

by Dorothy Menpes

THE LEMON BRIDGE

Then, again, let us say a Japanese artist is painting a typical Japanese river-scene, such a one as inspired many of Mr. Whistler’s graceful Thames etchings—a quaintly formed bridge under whose dim archway a glimpse of shipping and masses of detail can be seen in the distance. To a Japanese artist the chief charm and interest of such a scene would lie in that little view beneath the bridge, and he would begin by drawing in, line for line, every little mast and funnel just as he sees it, or rather as he remembers it. The picture slowly expands as it reaches the margin, ending in the bridge, which forms, as it were, a frame through which to view the dainty richness of detail of the busy scene beyond. If you were to arrest this picture at any moment during its career you would find that it formed a perfect whole, every line balancing the other; whereas, according to our methods, if we were to draw the bridge first, timidly suggesting the distance and leaving the detail and all the fine lines to be put in afterwards, as so many artists do, the picture until it was completed would appear spotty and uneven. And even when finished there would be no balance, for we neither understand nor realise the importance of that quality without which no work of art can be perfect.

The Japanese methods of drawing and painting are entirely opposed to our Western methods, and in order to give a slight insight into the works of the Japanese painters I must describe these methods as minutely and as clearly as is possible. To begin with, the size of an ordinary picture is two feet by four and a half long, and as a rule three times as much space is left at the top as at the bottom of the picture. The brushes consist of a series of round ones; they are flat-ended and vary greatly in breadth, being named after the character of work they are fitted for. Straw brushes are sometimes used for coarse work. The silk that they paint upon is prepared in the following manner. First the edges of the wooden frame are pasted and the silk is rolled loosely over, great care being taken to keep the grain of the silk level. The surface of the silk is prepared with alum and size, the proportion of which is about an egg-spoonful of alum to a small tea-cupful of size. The size is boiled and strained and diluted with water, and the alum is added over the fire; it is again strained, and is then ready for use. Finally, it is put on to the surface while hot with a large brush. It is usual to put on two coats, and a contrivance in the shape of a cross piece of wood at the back of the frame is used for straining the silk more tightly after the first coat of size. The colours that the Japanese use are mixed and prepared in the following manner. Whitening, which is the basis of most colours, is pounded with a pestle and mortar into a very fine powder; then a little size which has been boiled and strained is poured in, and the whole is beaten up and worked into a ball. This ball is thrown over and over again into the mortar until it is well beaten. A little water is poured over the lump, which is then heated over a fire until it breaks and spreads. In this state, after cooling a little, it is well worked up, with perhaps the addition of water, until a white pulpy putty is produced; the artist is very careful all the time to avoid grit. Other colours are principally prepared from powders, which are beaten up in little porcelain cups with small pestles, and are mixed with a little size and water into saucers, stirred all the while with the finger and heated over the fire until dry, or nearly so. When required for use they must be worked up again with the finger and water, and it is a good plan when first mixing the colours to paste paper over the saucers, leaving a small hole for the insertion of the brush. Gamboge and a vegetable red resembling crimson lake are both used without size. The latter is prepared from a woollen material which is torn up into shreds and put into a saucer; then it is mixed with boiling water and afterwards strained through paper. It is drawn off in small quantities into several saucers and carefully dried over the fire. There is a colour which is much used called Taisha, which is like burnt sienna; then there is Tan, a sort of orange, and Shi, a vermilion red. The red is prepared in two different ways, first by being mixed cold in a cup with a pestle, a little size, and water. In this preparation the colour separates into a deep red and orange, the latter floating on the top. The orange is afterwards saved and used instead of Tan—Tan, not being permanent, turns black and disappears; it is used sometimes to shade ladies’ faces, but fades very much. In using this preparation of orange and red, the brush must be first dipped in yellow and then the tip of it in the red, so as to take up both portions of the mixture.

Another way of preparing Shi is to heat a saucer until the finger can hardly bear the touch, and then pour in some size and put the powdered pigment in it while still on the fire. When it has dried it is taken off and mixed with the finger very hot, a little water being added gradually, until it is of a thickish consistency. Shi thus mixed is of a deep red without any orange precipitate, and is used for upper washes, for, having a great deal of orange in it, it would be too black if used for undertones. In mixing indigo blue from a cake, the saucer is put over the fire to dry, and a little size is added. It is then rubbed with the finger, and water is gradually added. Taisha, when in a cake, is also prepared in this way. Taisha is used for the face and hair. The hair is shaded off with Indian ink, and the muscles of the face are washed in with Taisha having no white but a little black mixed with it; the feet and hands are handled in the same way. Then the face is washed over again with the same colour, only a little lighter. Broad masses of shading are introduced, and the nose, mouth, and edge of the cheek are generally left to be shaded in. It is considered better to use a number of light tones than one dark tone, and the washes on the face are repeated two or three times. The hair also is washed over with a large brush and rather dark ink; the eyebrows are put in in a single wash; also the corners of the eyes and mouth, which are flicked in and then washed off again. The lips are put in with vermilion and shaded off with another brush. A mixture of red, white, and Indian ink forming a dull purple is used for the pupils of the eyes, and the same mixture with a greater proportion of red, and consequently a little lighter, is used for going over the outline, and the ends of some of the lines are washed off with another brush. The same purple colour, but lighter still, is used as a backing to the outline in order to soften the edges, and a few touches of purple are painted in under the eyes and ears. The lips are touched with carmine, and the teeth and eyeballs with a little white. The under-lip and corners of the eyes are touched with lines or dots of light Indian ink, and the top eyelids and tops of lower eyelids are outlined with thin lines. The outline of the pupil is very fine; but the dot of the eye is made very black; the nostrils are painted in in light ink, shaded off afterwards and outlined in black. The hair round the mouth is put in in very light ink with a finely pointed brush.

BEARING A BURDEN

There are many ways of painting the hair. Sometimes a fine brush is used with single parallel lines, and sometimes it is washed in with a broad brush with light ink below and darker above. In old silk pictures great depth used to be obtained by painting the hair on the back of the silk as well as on the front. For painting leaves a mixture of indigo and gamboge is generally used with a full brush, the tip of the brush being dipped in indigo. By this method, the dark colour on the tip of the brush being after a time exhausted, the lighter green appears, and thus a natural variety of gradation is given to the colour of the leaves. Trees and rocks, etc., are often scrubbed in with a rather dry brush worked sideways and forming broken lines.

Another method of drawing a figure is to outline in charcoal, after which the face with its markings is outlined with a kind of Indian ink. Then with the same Indian ink, but with broader lines and a large brush, the drapery is boldly swept in with lines that should break in parts and form a drag. This drag must come naturally by pressing the brush firmly on the silk or paper; any attempt to force it would end in failure. The hair should then be worked in with a large spread brush, care being taken to give the hairs a radial tendency and not let them cross confusedly. Sometimes this hair is painted with a fine brush and with single lines. For the background two large brushes are used, one fitted with light ink and the other with plain water to shade off the black. The face and the breast are treated in the same way. The outlines of the drapery are sometimes washed in with a lighter tone to project over the edge and soften them. The face is washed with a mixture of red and ink, leaving only the eyes. The work is finished by using a small brush and very black ink for the markings of the mouth, centre of the eyes, under the eyelids, nostrils, and ear-rings.

Japanese artists study a great deal from life, and in order to draw a figure full of spirit and action they will often work in this way. Beginning with a very full brush, they sketch in the general swing of the figure with a few well-chosen broad black lines—as, for instance, when drawing the legs of a horse or a lobster they will put them in with one broad wash. Then they strain thin Japanese paper over this spirited sketch, and begin to elaborate on it with finer work, until in the end they produce a picture that has high finish, but possessing all the action and spirit of a first impression.