The sun. [volume] (New York [N.Y.]) 1833-1916, 1904-10-16

celleut. Nevertheless, tho finest lacqucrs
belong to the Tokugawa epoch. There Is
no doubt that the evolution OF Japanese
porcelains took place in the came period.
The beginning Of the present or Neil
era, which has now lasted thirty seven
years, was marked by q disposition to
discard everything old. AT one time. fine
antique temples were pulled down, precious
pictures, perhaps q thousand years old,
were ground into dust, and admirable
lacquer works were burned, In order that
the gold contained In them might be ex-
tracted. Baron Suyernatsu knew several
Of the best artists OF the day who, having
no occupation. proceeded to take lessons
In European drawing, and engaged them
selves as draughtsmen In engineering
Offices OF public departments. This violent
iconoclasm did not last long. The Jap
anese have now betahen themselves once
more to the art OF Old Japan, thanks, I'm
doubtedly, In some measure to Western
advisers and patrons. They have succeeded
to a considerable extent In revtvfng their old
art. not only in pictures and sculptures,
but also In many kinds of seui-industrial,
serni-artistic objects. OF course the native
art industries have undergone some change
Of aim; for instance, mstal sculptors, who
are no longer called upon to produce he'll
NETS or sword ornaments, mako vases.
II Japanese art has undergone some
deterioration, Baron Suyennatsu attributes
1t In some degree to foreign customers.
Lacquer work artists. he says, can do
Just as good work to-day rs did their pre-
decessors Of two hundred years ago. pro-
vided adequate time and remuneration
and q proper allowance for materials are
given them This European purchasers
win not do. Hence artists cannot venture
to produce works Of real art, except by
special order, whereas in former days
they usually had generous patrons in the
persons Of the feudal lords who no longer
exist Baron 6uyenatsu admits that, ow-
ing partly to the impossibility Of correct
ing any trifing mistake committed by a
Japanese painter, his pictures are apt to
exhibit defects IN anatomy and perspective.
The sculptures and pictures, however, OF
the Nara and curly Heian epochs evinced
an admirable advancement In the direc-
ton Of anatomy, and ii Is pronounced a
matter Of profound regret that later Japa-
nese art should have grown more and
more deficient in that respect. Even Nara
pictures. however, were glaringly faulty
Ii EupPCCt vi 6SoA1iStiADoa PhSfSA EN' -
rather, perspective.
We have left ourselves nospace to deal
with Japanese attainments In literature,
but It is undisputsd that they are inferior
to their achievements IN art. Baron Suye-
matsu acknowledges that TN the literature
Of the Nara period there Is nothing worth
notice except its poetry. The romances
and novels OF the Heian period were writ
ten mostly by feminine hands In the native
classical style. Under the Tokugawa re-
gine, q revival of literary culture took
place; q number Of histories and ethical
expositons were produced. Many works
Of fiction, including dramas, intended for
the lower classes, also sew the light which,
according to Baron Suyematsu, while not
remarkable from a literary viewpoint,
have had 4 great share in making the Japan
Of to-day. The gaIlantry Of the sailors
who have striven to bottle UP the Russian
fleet In Port Arthur, and Of the soldiers
who have gained the victories Of the Yalu,
Of Nanshan and Of Liaoyung, is due IN no
small measure to the influence exercised
upon the Mikado's subjects by the dramatic
and romantic literature Of the Tokugawa
period. NJ VIII.