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Japanese art /
http://www.archive.org/details/cu31924023314770
JAPANESE ART
Art Lovers' Series
Illustrated
BOSTON
L. C. PAGE & COMPANY
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Copyright, igog
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TO
THE MEMORY OF
PREFACE
CHAPTER
LIST OF ILLUSTRATIONS
48
. .
53
MoTONOBU (Kano School). —
Mountain Stream -
65
Massanobu. —
Portrait of the Actor, Ichikawa
Danjuro 70
Mokk£. — A Tiger
KoRiN. — Character Portrait
Moronobu Morning Toilet
....
. . .• .108
79
96
CHAPTER I.
new locality.
sensibility.
traces.
ity.
significance.
ever, -.destined
. to rot and waste away.
This, in connection with canons as rigid
and indisputable as those of the ancient
irresistible.
Chwang Chow.
The primitive style of Kanaoka conse-
quently languished. Temples, of course,
money.
With this golden leisure and freedom
from, care,- their power was increased ten-
THE RENAISSANCE
very day.
There is first a small roll made of fine
bamboo, which serves as porte-crayon, in
which are brushes of various sizes; then
the Chinese ink-dish ; three or four small
bowls in which the colours are mixed, one
for each colour; two or three small parcels
containing fresh supplies of paint; two
THE RENAISSANCE 73
miliar.
Mokk£ —A Tiger.
THE RENAISSANCE 79
and so on.
membered —
and he has to learn and
master them until every trick and device
has become second nature to his hand —
the student may paint a bird cleaving the
air as well as any master.
There is no doubt that such minute
training lops off ruthlessly all buds of
genius but the very strongest, and that
the artists who survive are few and far
between. But those who do survive are
veritable wizards of the brush. No Euro-
pean master, to be sure, can vie with
them in putting so much information, life,
Yedo, 1804.
In the fifteenth century the artists had
created a new style, while thinking they
were imitating classic models, but it was
not before the latter part of the sixteenth
when the real renaissance set in and the
classical ideal was followed by a realistic
tendency.
The sixteen years of the Genroku pe-
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THE RENAISSANCE 97
innovation.
Iwasa Matahei, who became famous
about 1640, only changed his range of
the city.
The prints of Koriusa, Shighemassa
and Shunsho mark a transition period.
They strove for more colour, but still
Kaifo school.
loitsu (17 16-1828) a daimyo by birth,
%5.x^^
THE REALISTIC MOVEMENT 1 37
history of art.
CHAPTER V.
j^
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V, j-s"-£;
practised by Monet,
Nearly two-thirds of all painters who
have become prominent during the last
thought ;
" everybody can do that." For
I was aware that an artist friend of mine
had selected the colour for the staining of
tial residences.
Sixteenth century. The castle of Osaka,
ple at Kyoto.
Seventeenth century. The great Shinto
temple at Nikko and the Tchoin temple
at Kyoto, both built by Hidari Zingaro,
and the five-story pagodas of Nikko,
Osaka, and Kyoto.
194 JAPANESE ART
Kwannon.
" Revealed thus out of the consecrated
darkness, this ideal of divine femininity —
creation of a forgotten art and time — is
existence itself.
main attraction.
the nobility.
And there was never any lack of pa-
trons. Every feudal lord was a connois-
seur and collector, and frequently also the
patron of some temple which he endowed
with works of art, specially ordered for
the purpose.
In Japan the collector's craze is in the
very air and soil. Even to-day every
Japanese gentleman has his collection of
some kind, and the scale ranges from the
most superb accumulations of netsukes,
inros, kakemonos, crystal balls, lacquer
ware, armour, swords, porcelain, faience,
bronzes, brocades, embroideries, costumes,
pipes, temple accessories, coins, and auto-
graphs, down to shells, ferns, flowers,
plants, rabbits, goldfish, Tosa chickens,
and the latter-day postage-stamps.
THE ORNAMENTAL ARTS 223
of bronze casting.
connoisseur.
252 JAPANESE ART
I
HE political changes which had
taken place in Japan — the open-
ing of the islands to foreign com-
merce in 1859, the inevitable struggle
between the decrepit Shogunate and its
recalcitrant vassals, the complete down-
fall of the former in 1867, and the estab-
lishment of a new political organization,
untouched.
For a decade or so, when the nation
was seized with a sudden passion for
predecessors.
Kikuchi Yosai, and later his pupil,
ship.
272 JAPANESE ART
Western art.
used."
Thus theoretically as well as practically,
THE END.
BIBLIOGRAPHY
1886.
Brinckman : Kunst and Kunsthandwerk in Japan,
Berlin, 1889.
279
28o BIBLIOGRAPHY
1867.
Adams : History of Japan from the Earliest Time to
the Present Day, London, 1875.
Bower : Japanese Pottery, Liverpool, 1892.
Black: Young Japan, London, 1880-81.
Appert: Ancien Japon, Tokyo, 18S8.
Metchnikew: L'Empire Japonais, Geneva, 188 1.
S. BiNG : Artistic Japan.
BousQUET Le Japon de nos Jours, Paris, 1877.
: