V
I have said that when I now look at a foreign illustrated newspaper or magazine I can find little pleasure in the engravings. Most often they repel me. The drawing seems to me coarse and hard, and the realism of the conception petty. Such work leaves nothing to the imagination, and usually betrays the effort which it cost. A common Japanese drawing leaves much to the imagination,—nay, irresistibly stimulates it,—and never betrays effort. Everything in a common European engraving is detailed and individualized. Everything in a Japanese drawing is impersonal and suggestive. The former reveals no law: it is a study of particularities. The latter invariably teaches something of law, and suppresses particularities except in their relation to law.
One may often hear Japanese say that Western art is too realistic; and the judgment contains truth. But the realism in it which offends Japanese taste, especially in the matter of facial expression, is not found fault with merely because of minuteness of detail. Detail in itself is not condemned by any art; and the highest art is that in which detail is most exquisitely elaborated. The art which saw the divine, which rose above nature's best, which discovered supramundane ideals for animal and even floral shapes, was characterized by the sharpest possible perfection of detail. And in the higher Japanese art, as in the Greek, the use of detail aids rather than opposes the aspirational aim. What most displeases in the realism of our modern illustration is not multiplicity of detail, but, as we shall presently see, signification of detail.
The queerest fact about the suppression of physiognomical detail in Japanese art is that this suppression is most evident just where we should least expect to find it, namely, in those creations called "This-miserable-world pictures" (Ukiyo-yé), or, to use a corresponding Western term, "Pictures of this Vale of Tears." For although the artists of this school have really given us pictures of a very beautiful and happy world, they professed to reflect truth. One form of truth they certainly presented, but after a manner at variance with our common notions of realism. The Ukiyo-yé artist drew actualities, but not repellent or meaningless actualities; proving his rank even more by his refusal than by his choice of subjects. He looked for dominant laws of contrast and color, for the general character of nature's combinations, for the order of the beautiful as it was and is. Otherwise his art was in no sense aspirational; it was the art of the larger comprehension of things as they are. Thus he was rightly a realist, notwithstanding that his realism appears only in the study of constants, generalities, types. And as expressing the synthesis of common fact, the systematization of natural law, this Japanese art is by its method scientific in the true sense. The higher art, the aspirational art (whether Japanese or old Greek), is, on the contrary, essentially religious by its method.
Where the scientific and the aspirational extremes of art touch, one may expect to find some universal aesthetic truth recognized by both. They agree in their impersonality: they refuse to individualize. And the lesson of the very highest art that ever existed suggests the true reason for this common refusal.
What does the charm of an antique head express, whether in marble, gem, or mural painting,—for instance, that marvelous head of Leucothea which prefaces the work of Winckelmann? Needless to seek the reply from works of mere art critics. Science alone can furnish it. You will find it in Herbert Spencer's essay on Personal Beauty. The beauty of such a head signifies a superhumanly perfect development and balance of the intellectual faculties. All those variations of feature constituting what we call "expression," represent departures from a perfect type just in proportion as they represent what is termed "character;"—and they are, or ought to be, more or less disagreeable or painful because "the aspects which please us are the outward correlatives of inward perfections, and the aspects which displease us are the outward correlatives of inward imperfections." Mr. Spencer goes on to say that although there are often grand natures behind plain faces, and although fine countenances frequently hide small souls, "these anomalies do not destroy the general truth of the law any more than the perturbations of planets destroy the general ellipticity of their orbits."
Both Greek and Japanese art recognized the physiognomical truth which Mr. Spencer put into the simple formula, "Expression is feature in the making" The highest art, Greek art, rising above the real to reach the divine, gives us the dream of feature perfected. Japanese realism, so much larger than our own as to be still misunderstood, gives us only "feature in the making," or rather, the general law of feature in the making.