Evening star. [volume] (Washington, D.C.) 1854-1972, 1906-02-10

to compose a short one. 1t is always vastly
easier to be verbose than explicit.
The method which the japanese pursue
in making transcriptions from nature is III
itself diverse from that in vogue in the
west. Instead of copying the object which
they wish 10 portray they merely study II
until they know it by heart and then, turn
ing from it, set it down. In this way nom
essentials are forgotten and only structural
facts preserved. Gazing at his paper. the
japanese artist will fix upon it the image
OF his theme, establish central point and
in few swift strokes complete his picture.
They are very deft in doing this, and one
OF the oft-tried feats is to draw a horse IN
eight strokes or 10 compass a whole herd
scampering in small area with a limited
number of lines.
Care Given to Initial Steps.
The care given to the initial steps of
painting is nicely demonstrated by the
sketch books in the Moves collection. One
of these is by Hokusai and is entitled
Handy Method of Drawing" 1t exhibits
the way in which natural shapes are de-
rived from conventional figures and sug-
gests possible relation between the arr
of Japan and Greece. Art In TINS book
seems indeed to be reduced to mathematical
precision, but in another volume by the
same author, entitled instruction for
Painting" it is found free from convention.
The flower paintings in these books are
peculiarly charming and instructive. The
ence for blossoms, and none renders them
more sympathetically. There is one whole
book of flowers done In color with great
delicacy of touch and sincerity of feeling;
and several folders showing impressionist
studies strikingly realistic. Even In the
toughest sketch the lines are clear cut, the
masses well spaced and the character Wig
orously portrayed. There is never any UNI
certainty in the touch, and apparently no
failures. Some are in black and white,
some In color, but all are artistlcaily
charming. A notable decorative motive en-
tiers into all these floral studies, and one
remarkable series proclaims itself a book of
INSTRUCTION in designing bamboo The
treatment of the foliage in this instance is
exemplary and should be found suggestive
to all workers in applied art. The crafts In
Japan closely allied to the arts that
it is hard to separate them. Oddly enough,
while japanese pictures are chiefly decora-
tive. Japanese decorations are principally
pictorial. The same simplicity, the same
restraint and good taste run through all,
however, and in each varied form is freshly
manifested.
Value of the Sketches.
The sketches considered are but the a, b.,
cs of the art of painting, but they set forth
the elements of greatness. They suggest
also some interesting avenues of thought
and would lead perhaps to some not I'M
profitable experiments. They show in their
manifold subjects Flowers, fish, animals,
men and women, landscapes street and
household scenes, etc.) the feasibility of
simple expression, and they lay stress upon
the Importance of proportion and spacing.
For blackboard work and to Undergraduates
they give many helpful hints, and to the
poster maker and decorator they present
untried possibilities.
Art is not only the universal language of
mankind, but it is the child language of
the world, and when it ceases to be coher-
ent it will cease to exist. That the Japanese
emDlONpd 1T through their naintarS n
municate not only facts but fancies should
not. however. be forgotten, any more than
the student work of Europe should be con-
founded with attainments of the masters.
Both have their places, and both in their
places are strong and admirable
LEILA MECHLIN.