The Kano artists differ from the Shijo painters in their manner of combining (kasaneru) the leaves and branches of the bamboo. Speaking generally, the Shijo artists point the leaves downward, while the former point them upward, which is more effective.
Again, in snow scenery the Kano artists first paint the bottom of the snow-line and then by shading (kumadori) above the same with very light ink (usui sumi) produce the effect of accumulated snow. The Okyo school secures the same result in a much more brilliant manner, using but a single dexterous stroke of the well-watered brush, the point only of which is tipped with sumi.
Some artisls, notably Kubota Beisen and his followers, employ both methods, the former for near and the latter for distant snow landscapes.
Low mountains in a landscape suggest great distance. Fujiyama, the favorite subject of all artists, should not be painted too high, else it loses in dignity by appearing too near. In an art work written by Oishi Shuga, Fuji is reproduced as it appears at every season of the year, whether clad in snow, partly concealed by clouds, or plainly [pg 54] visible in unobstructed outline. The book is a safe guide for artists to consult.
We may next consider some laws applicable to mountains, rocks and ledges. It has long since been observed by the great writers on art in China that mountains, rocks, ledges and peaks have certain characteristics which distinguish them. These differ not only with their geological formations but also vary with the seasons on account of the different grasses and growths which may more or less alter or conceal them. To attempt to reproduce them as seen were a hopeless task, there being too much confusing detail; hence, salient features only are noted, studied and painted according to what is called shun po, or the law of ledges or stratifications. There are eight different ways in which rocks, ledges and the like may be represented:
The peeled hemp-bark method, called hi ma shun [(Plate XXIII a)].
The large and small axe strokes on a tree, called dai sho fu heki shun [(Plate XXIII b)].
The lines of the lotus leaf, called ka yo shun [(Plate XXIV a).]
Alum crystals, called han to shun [(Plate XXIV b)].
The loose rice leaves, called kai saku shun [(Plate XXV a)].