While the fusuma are almost invariably covered with thick and opaque paper, it occurs sometimes that light is required in a back-room; in that case, while the upper and lower third of the fusuma retains its usual character, the central third has a shōji inserted,—that is, a slight frame-work covered with white paper, through which light enters as in the outside screens. This frame [pg 128] is removable, so that it can be re-covered with paper when required. This frame-work is often made in ornamental patterns, geometrical or natural designs being common. In summer another kind of frame may be substituted in the fusuma, termed a yoshi-do, in which a kind of rush called yoshi takes the place of paper; the yoshi is arranged in a close grating through which the air has free access and a little light may enter. The fusuma may be entirely composed of yoshi and the appropriate frame-work to hold it. One of this kind is represented in [fig. 104]. The lower portion consists of a panel of dark cedar, in which are cut or perforated the figures of bats; above this panel are transverse bars of light cedar, and filling up the border of the frame is a close grating of brown reeds or rushes placed vertically; at the top is a wide interspace crossed by a single root of bamboo. The yoshi resembles miniature bamboo, the rods being the size of an ordinary wheat-straw, and having a warm brown tint. This is employed in many ways in the decoration of interiors, and the use of so fragile and delicate a material in house-finish is one of the many indications of the quiet and gentle manners of the Japanese.
Fig. 104.—Reed-screen.
Oftentimes a narrow permanent partition occurs in which is an opening,—the width of one fusuma,— which takes the place of our swinging and slamming door. In this case the [pg 129] fusuma is a more solid and durable structure. The one shown in [fig. 105] is of the nature of a door, since it guards the opening which leads from the hall to the other apartments of the house. A rich and varied effect is produced by the use and arrangement of light and dark bamboo and heavily-grained wood, the central panels being of dark cedar. In the vestibule one often sees sliding screens consisting of a single panel of richly-grained cedar.
Fig. 105.—Sliding panel.
Conveniences for pushing back the fusuma are secured in a variety of ways; the usual form consists of an oval or circular plate of thin metal, having a depressed area, inserted in the fusuma in about the same position a doorknob would be with us. These are called hikite, and often present beautiful examples of metal-work, being elaborately carved and sometimes enamelled. The same caprices and delights in ornamentation seen elsewhere in their work find full play in the designs of the hikite. [Fig. 106] shows one from the house of a noble; its design represents an inkstone and two brushes,—the brushes being silvered and tipped with lacquer, while in the recessed portion is engraved a dragon. Fig. 107 represents one made of copper, in which the leaves and berries are enamelled; the leaves green, and the berries red and white. Figs. 108 and 109 show more pretentious as well as cheaper forms, the designs being stamped and not cut by hand. Sometimes hikite are made of porcelain. In the cheaper forms of fusuma, the hikite consists [pg 130] of a depressed area in the paper formed by a modification of the frame itself. In illustrations of fine interiors one often notices a form of hikite from which hang two short cords of silk tied in certain formal ways, on the ends of which are tassels. From the almost universal presence of these in old illustrated books, one is led to believe that formerly the cord was the usual handle by which the fusuma was pulled back and forth, and that these gradually fell into disuse, the recessed plate of metal alone remaining. This form of hikite is rarely seen to-day, though a few of the old Daimios' houses still possess it. [Fig. 110] represents two forms copied from a book entitled “Tategu Hinagata.”