The Spell of Japan

by Isabel Anderson

Although we may know the colour prints of the Japanese better than their paintings, it is nevertheless true that their leading painters rank among the great artists of the world. Pictures were painted for the aristocracy; the colour prints, which cost but a trifle, were made for the common people. Painting was introduced into Japan by Buddhist priests, and some of the finest masterpieces are shut up from the world in the temples of Buddha. Many of them, however, have been reproduced in the beautiful series of wood cuts published by the Japanese Government. America has two collections of the original paintings which are finer than any in Europe—that in the Boston Museum of Fine Arts, and the Freer collection in Detroit.

Painting, as a fine art, has existed in Japan for twelve centuries. The oldest picture recorded is said to have been done on the wall of a temple at Nara in the early part of the seventh century. The ninth century was the first great literary and artistic era of Japan, when Kanaoka lived, who is called the greatest master in the whole history of Japanese painting. His works included not only Buddhistic figures but also animals, landscapes and portraits.

Tradition has it that the peasants in the neighbourhood of a certain Buddhist temple were greatly troubled on account of the havoc wrought in their gardens by the nightly visits of some large animal. Setting a watch, they discovered the intruder to be a magnificent black horse, which took refuge from his pursuers in the temple. They entered, but no horse was there, except one superbly painted by Kanaoka. As they stood beneath the picture, drops of sweat fell upon them—the horse was hot and steaming! Then one of the peasants caught up a brush, and painted into the picture a halter which fastened the horse to a post. This was effective; he never again foraged in the peasants' gardens.

The earliest purely Japanese school was the Tosa, which originated in the tenth century. A glorious artistic period covered the three centuries from the eleventh to the fourteenth. It was in 1351 that the great Cho Densu was born, who has been styled "the Fra Angelico of Japan." By some critics he is ranked with Kanaoka himself. Although he was a Buddhist priest he did not confine himself to religious subjects, but was equally great in other lines.

The Kano School was founded in the fifteenth century. This was the period of the masters of landscape painting, among whom Sesshiu is the most famous. His landscapes are full of grandeur and dignity, but it is said his figure paintings must be seen before his power can be appreciated. He went to China for study, but to his disappointment could find no artist who could teach him anything he did not already know. Then he said, "Nature shall be my teacher; I will go to the woods, the mountains and the streams, and learn of them." As he travelled through the country in carrying out his purpose, he found Chinese artists came to study with him. The Emperor of China engaged him to paint a series of panels on the walls of the palace in Peking, and on one of them, as testimony that the work was done by a Japanese painter, he depicted the peerless Fuji.

In the seventeenth century arose the Ukioye, or Popular School, of which Moronobu and Hokusai were the great artists. They are perhaps even better known for their prints. The Naturalistic School, more like European work than that of the earlier artists, was founded by Okio in the eighteenth century. To this group belonged Ippo, a fine landscapist, and Sosen, one of the famous animal painters of the world, particularly known for his pictures of monkeys.

Yosai, who died in 1878, was the last great Japanese painter. He studied in all the schools, and combined some of the best characteristics of each. Since his death there have been clever painters but no great artists.

Like many other things in Japan to-day, her art of painting is in the transition stage. There are two schools, the conservatives, who cling to the art of ancient days, and the progressives, who believe that they must borrow fresh conceptions from the Western masters, and feel that want of reality has been a defect in the old Japanese work. However, in copying Western methods, they are introducing vulgar subjects, from which Japanese painting has generally been free. At the art exhibitions of 1913 there were ninety-three who entered oil paintings; this alone shows the great change in their work. While the Japanese painters of to-day cannot escape the influence of European art, it is to be hoped that they will not lose the delicacy of treatment, the subtle suggestiveness, and the grace and sweep of line that belonged to the old masters.

To my mind the most interesting things for Europeans to collect in Japan are the prints, which first came in vogue about 1690. The Japanese have, in these, added a charm quite their own to every thought which they have received from other nations. The conditions under which the artists worked in olden times were most favourable, for they lived under the protection of the great daimyos, were supplied with the necessities of life, and were free from care.

Mr. Keane, of Yokohama, is an authority on old prints, of which he has made several collections. "We lunched one day with him at his home in the upper part of his office building on the Bund, in Yokohama. (When foreign merchants first went to Japan they always lived over their places of business.) The view over the sparkling harbour and away off to the horizon, where little fleets of slanting-sailed sampans were working their way up the Bay of Yedo with the sunlight striking their sails, was really superb. Mr. Keane stores his prints in a safe, but for the enjoyment of his guests he took them out on the day of the luncheon. They were so much finer and more interesting than the common, every-day prints of the dealers that they quite took our breath away.