On the Laws of Japanese Painting: An Introduction to the Study of the Art of Japan

by Henry P. Bowie

Withered kindling twigs, called ran shi shun [(Plate XXV b)].

Scattered hemp leaves, termed ramma shun [(Plate XXVI a)].

The wrinkles on a cow's neck, called gyu mo shun [(Plate XXVI b)].

These eight laws are not only available guides to desired effects; they also abbreviate labor and save the artist's attempting the impossible task of exactly reproducing physical conditions of the earth in a landscape painting. They are symbols or substitutes for the truth felt. Nothing is more interesting than such art resources whereby the sentiment of a landscape is reproduced by thus suggesting or symbolizing many of its essential features.

It was a theory of the great Chinese teacher, Chinanpin, and particularly enforced by him, that trees, plants and grasses take the form of a circle, called in art rin kan (see [Plate XXVII]), No. 1; or a semi-circle (han kan) [(Plate XXVII)], No. 2; or an aggregation of half-circles, called fish scales (gyo rin) [(Plate XXVII)], No. 3; or a modification of these latter, called moving fish scales (gyo rin katsu ho) [(Plate XXVII)], No 4. Developing this principle on [Plate XXVIII], No. 1, we have theoretically the first shape of tree growth and on [Plate XXVIII], No. 2, the same practically interpreted. In Nos. 3 and 4, same plate, we have the growth of grass illustrated theoretically and practically. In [Plate XXIX], according to this method, is constructed the entire skeleton of a forest tree. In Nos. 1 and 2 on this plate numerous small circles are indicated. These show where each stroke of the brush begins, the points of commencement being of prime importance to correct effect. In No. 3, same plate, we have the foundation work of a tree in a Japanese painting. It is needless to point out the marvelous vigor [pg 56] apparent in work constructed according to the above principles.

In the painting of rocks, ledges, and the like, Chinanpin taught that the curved lines of the fish scales are to be changed into straight lines, three in number, of different lengths, two being near together and the third line slightly separated, and all either perpendicular or horizontal, as in [Plate XXX], Nos. 1 and 2. In the same plate, Nos. 3 and 4, we have the principle of rock construction illustrated. In [Plate XXXI], Nos. 1, 2 and 3, is seen the practical application of this theory to kakemono work. In executing these lines for rocks much stress is laid upon the principle of in yo; on the elevated portions the brush must be used lightly (in) and on the lower portions it must be applied with strength (yo). At the bottom, where grass, mould, and moss accumulate, a rather dry brush (kwappitsu) is applied with a firm stroke.

Next, there are laws for near and distant tree, shrubbery and grass effects, corresponding to the season of the year. These are known as the laws of dots (ten po); the saying ten tai san nen indicates that it takes three years to make them correctly.

They are as follows:

The drooping wistaria dot (sui to ten) [(Plate XXXII a)] for spring effects.

The chrysanthemum dot (kiku kwa ten) [(Plate XXXII b)] used in summer foliage.