The sun. [volume] (New York [N.Y.]) 1833-1916, 1893-04-16
or stain they regard a. q defect and By peri
odicsl wsshinRs they keep their treasures
pure and bright

II We pass to the other art manufacturer OF
Japan. We ind them In q condition ofhiRh de-
velopment. Mr.. Norman declares that China
In her palmfest days never produced etotsonns
enamels comparable with those now MADDEN
Japan. Moreover. this industry is virtually new.
II IL pointed out that Mr.. Audsley. in his work
on THE ornam entail Arts OF Japan" has been
betrayed into q singular error regarding the
history OF Japanese ctoisonne. Before the over
throw OF the Shotgun the art had no recognized
status in Japan. and It's products were deserv-
eddy neglected. A few years. however. after
the opening OF japan to foreign trade the
prices commanded by old Chinese enamels In
Western markets led the enterprisinr Japan
csc to turn their attention in this direction.
The result was that in the seven years follow
Ing 1885 . large number OF imposing vases.
plaques. and censers found their way to
Europe. Manufacturers did not hesitate
to employ whatever decorative designs
seemed likely to increase the dignity OF q
piece. The sixteen petalled chrysanthemum
and the fve-foiled pawlownia figured pro-
fusely on vessels innocent Of the remofst re-
lation to the imperial family. To some OF
these specimens Mr.. Audsley devotes pages.
and referred them to an ancient and appar-
entity extinct school Of Japanese enamelling.
As q matter Of fact. the school dated from 1865.
Mr.. Norman thinks that modern Japanese
enamels have reached their acme OF develop
ment. He cannot conceive OF moro consum-
mate products OF technical skill and elaborate
accuracy than tho enamels Of kioto. In To-
kio . new departure was made q few years
ago. the artists having conceived the idea OF
producing pictures in enamel Here the
cioisons are hidden as far rs possible. and you
have q wide field Of delicate color orming the
ground for landscapes. floral decorations. and
snow scenes. the effects OF aerial perspective
a-l nhtn~@,.o A.tn- ohkatnAA 9TH was
vellous skill. In the Same category
with these beautiful enamels the au-
thor would place from the viewpoint OF de-
sign some OF the modern embroidery OF
kioto. In that city you find experts who
paint with their needles Their best works
are scarcely distinRuishable from pictures on
canvas or silk. In glyptio art and metal
work also the Japanese artist-artisan Is Civ
ing promise OF success 1t is true that since
his sword and his armor ceased TO be the chief
objects OF a Japanese gentleman's concern.
the field for workers in metal has been i'm
mensely narrowed. Nevertheless. the modern
bronzes and the iron inlaid with gold and sill
YER are remarkable achievements. AS to
carving In wood and ivory. there is no doubt
that numerous specimens OF this art which
present no commendable features are exposed
for sale In Japanese shops and arc exported.
There are. nevertheless. artists In wood and
ivory who refuse to prostitute their talent to
the Wholesale orders OF upholsterers and ex-
porters. These individual artiflcers are
known only to q very small circle: you
have to tell ono OF them exactly what
you want. and then you have to wait months
and months before you get It. So you
do for fine work in metal. Mr.. Norman
saw q silver teapot beautifully chiselled aud
beaten out OF very heavy silver after an old
Chinese design. He expressed o wish to give
an order for Q somewhat similar article. but
was told that it would be between eighteen
months and two years before It could be fn-
ished. A lacquer box just completed. on which
cherry trees and blossoms. with . river and
houses. were designed in gold. had been eight
months in hand and cost $500. Had It been
made as they used to make the old lacquer. 1t
would have cost 5000. 1t should DO remem-
bered that the supply Of lacquer is now far
greater than it WAS some centuries ago. Tho
OF lacquer trees was made compul-
sorry. and they now grow everywhere.
Nothing strikes q European observer OF
Japan moro forcibly than the almost universal
aptitude OF the people fer artistic workman.
ship. In the prison at Ishikawa our author
saw sixty mon. common thieves and brawlers.
who. before they were sentenced. knew abso-
lutely nothing about cloisonnL. producing ad-
mirable work. II q prisoner cannot make
cloisoHm6 he can carve wood or make pottery.
II not that. he can do some other kind OF high
class mechanical work. Out OF two thousand
men only twenty-nine could do nothing better
than break stones. The manual skill o. the
Japanese artifcer does not strike his fellow
countrymen as being much out Of the COM
mon. This extraordinary people. who pull q
saw or a plane toward them instead OF push
ing II away: who make the threads OF their
screws run the opposite way from ours: who
sit down In the presence OF a superior
as a mark Of respect: who blow their
noses upon paper and wrap their par
cells in pocket handkerchiefs are born
with a manual deIterity that is amazing to
Europeans. The coolle who helps to carry
your jinriksha. or portable chair. will tie
knots. repair his vehicle. or lend a land in
anything you are doing with the Nsaak OF q
sailor and the delicacy OF q den tS0 D cook.
when at leisure in tho kitchen. will LnvcE OF
charming little sketches for children By the
hour. Should you happen to sunes from .
boil. a japanese servant will take a hair. pass
1t By some magic known only to himself around
the inside Of the sore. and remove the whole OF
the diseased flesh. Widely distributed. how
ever. as are mechanical and artistic gifts
among Japanese artisans. Mr.. Norman con-
fesse s 1t to be . problem which only the future
can solve whether tho workmen OF Japan will
be able to resist tho deteriorating influences
OF an approach to the factory system
III.
The author OF this book agrees with Sir Ed
win Arnold In regarding the Japanese woman
as the GROWING charm OF japan. Alike in the
noble lady and In her frailest sister. there 10 an
indehnable something which Is fascinating at
first sight and grows only more pleasing on
acquaintance. Good looks do not account for
this. although prettiness Is the rule among
japanese women. The secret OF their fascina-
ton seems to lie rather in an Unborn gentle
ness and tenderness and sympathy. combined
with whatthe Romans used especially to value.
q certain decorousness OF thought and de-
meanor. The key to the character OF the JAP
anese woman lies In the word obedience. For
ages her three great religious duties have
been proclaimed to be obedience to her father.
to her husband, and, II she be o widow. to her
eldest son. Hence it Is that uncomp!ainingly.
ct the will OF her parents. the japanese