The San Francisco call., 1905-04-16

tunate that she fails to see its ruin
in the advent of western ideas.
A comparative study of Oriental
and Occidental art shows the one to
be a subjective expression. while the
other is objective. The former deals
with the life and spirit of things and
the latter with the life forms. The
Oriental artist studies his subject in
a contemplative mood, striving at its
spiritual significance, at the noble
thought the subject inspires, while the
Occidental artist studies the object or
objects-which are his models-scien-
tifically, for the purpose of represent
ing them with absolute accuracy. The
difference between the two schools is
the difference between art and rep
resentation, and the Western world is
rapidly learning that representation is
not art. The methods of work of the
two schools are distinctly different.
The Occidental, working directly from
a model. is generally handicapped by
this limitation; the Orientalist studies
the objects of his subjects until he is
perfectly familiar with them and can,
as expressed by a Japanese, draw
them at Will
His result is not scientifically accu-
rate and his. drawing is generally criti-
cized. but he has learned the lesson of
wise selection, for in his estimation
only the essential features are worthy
Of representation. He is successful by
virtue of his practice of wise elimina-
ton of non-essentials.
The art forms which he employs to
express his ideas are equally simple.
On soft papers or transparent silks,
with water color and India ink, by
means of fat color and simple line,
he suggests as much as he expresses,
for the artificial system Of studying
light and shade has no more appealed
to him than the careful delineation of
detail that is to be found in the West
ern system. He only sees diffused
light and broad. fat masses.
His technique is his brush line,
line that must represent the flow and
grace of controlled spontaneity; or, to
quote a Chinese expression, follow
ing the will OF the brush" 1t may
be fine or coarse, Of uniform or gradu-
ated widths. but it must represent the
effect Of a directed force.
His art is both ideal and conven-
tional, and to comprehend it one must
know something of his ideals and be
familiar with his conventions.
He derives most OF his ideals from
nature, and while frequently seeing it
in terms of convention. he always dis
Germs its practical and moral sig
nlflcance, which he relates to his own
life and expresses in his own art.
When Mr.. Nogai was asked why
crows had been selected as desirable
subject for pictures, he replied that
they represented one of the greatest
examples of filial piety in the animal
world, and explained that the young
crows always devote the first three
months-after being able to fly from
the nest-in caring for and feeding
the mother crow. thereby repaying
her for her trouble in rearing them.
His little crow story is significantly
told to Japanese children, as a beau
tiful lesson. and all pictures of crows
are suggestive of the thought of being
faithful to their parents
The crow is considered a very wise
and intelligent bird and there are a
number of superstitions associated
with him. For example. a destroyed
crows nest is always indicative of a
fire In that locality-within three
days-and IL crow lights on a house
and caws sorrowfully a calamity is
sure to befall it. or If his joyful car
row" is heard it is a sure sign of good
luck.
1t Is commonly saia that the crows
are the reincarnation of the departed
japanese, hence their intelligence: but
they are likewise full of mischief and
at times very mean For example, a
common practice among them is to
tease kittens; but they never think of