Evening star. [volume] (Washington, D.C.) 1854-1972, 1906-02-10
JAPAN ESE PAIN INC
Interesting Series of Sketch
Books Now on Exhibition
AT LIBRARY OF CONGRESS
Artists Of the Country Belonged to
the Aristocraey.
WORKS ARE HIGHLY PRIZED
Beginning of Painting in Japan
Four Definite Schools of Artistic
Expression.

shetcH DoohS Included IN the cOilectlon now
on view at the Library of Congress. 1t is
one of tive most interesting branches OF
japanese art, and the one of which prob
ably least is known.
The painters of Japan belonged to the
aristocracy and were not prolific producers.
Then, too, their works are highly priced in
their own country, and therefore less OBJ
tainable than the attractive, but common,
color prints. 1t is true that some of the
print makers were also painters, and that
several of the most distinguished painters
in turn lent their art upon occasion to the
illustration of books, but in most instances
the line between them was strongly defined.
No more strongly, however, than between
their works. Though the one was the out
growth of the other in character they have
little in common.
Japan borrowed her art of painting to-
gether with her religion, from China, 1t
being brought over, through Korea, by
Buddhist priests. The oldest picture in
Japan is one in the temple of Horiuji at
Nara, and was probably painted by one of
these holy mem in the early part of the
seventh century. Certainly the first school
of painting of which there is any record
in Japan was that introduced and fostered
by the Buddhist priests. For this reason,
perhaps, the Japanese paintings have been
from the first symbolstic rather than real
isticfhave rendered spiritual thoughts
rather than mundane forms.
A Paradoxica1 People.
But there again we find the Japanese a
most paradoxical people. With all their
subtety of thought and symbolism of ex-
preston they frequently bound themselves
down to very material superstition Fancies
were set forth by their artists, and later,
clothed in reality, were wrought into Leg
ends. A curious story is told of a
painting of horse which hung in a certain
famous temple. Night after night, it is
said the peasants in that neghborhood
were annoyed by the ravages of some wild
animal Their fences Were broken, their
gardens destroyed, until finally it became
unbearable and a watch was set To the
amazement of all it proved to be a horse
that disappeared, when pursued, into the
temple; and upon close examination the
painted counterpart was found dripping
with sweat. For few moments consterna-
ton reigned, and then one man more clever
than%the rest, seized a brush painted in a
halter, and attached ii to a post, whereby
the FESTIVE spirit was for all time held in
check
Another amusing tale is told in connec-
ton with the beginning of the great painter
Sesshius career. He was intended for a
priest, but was by necessity artist and
as punishment for neglect of duty one
day he was tied to a pillar in a temple.
Even then he found a mode of expression.
With tears for ink, and his toes for brushes,
he drew rats on the floor, that no sooner
were formed than they sprang into life and
gnawed away his bonds. Whether the
priests were frightened, or convinced, ira
dition does not state, but after that they
permitted the young artist to follow his
bept unhindered
These little legends are perhaps trifing to
the mature western mind, but they illus
trate in a measure the contradictory
phases of eastern thought. The japanese,
with their rich culture and high attain
ments. retain childlike naivete which
runs like a thread through all their art 1t
is this in a measure which gives it both al
lurement and charm.
Four Distinct Schools.
There have been four definite schools of
painting in Japan. The first was founded
in the tenth century by Kasuga no Motto
mltsu and was then known as the Yamato
school. but later took on the name of the,
Tcsa school and became the recognized ex-
ponent of classism. The next was the Kano
school, established by Kano Masanobu In
the latter part of the fifteenth century,
which was the outcome of the wave of re-
newed Chinese influence and stood for a
freer, broader style. Korin, the "arch-in1-
pressionst.' was one of Its great lights and
Tanyu, WHO has been dubbed "a Japanese
whistler one Of its leading adherents.
classism inaugurated by Iwasa Matabei
and an attempt to mirror accurately eyery-
day life by turning from the stars to stern
realities. This in time evoked the print maxi
erS. The fourth was the naturalistic school
founded by Maruyama Okio and sometimes
called by his name. 1t was an effort to
break away from old traditions, to repro-
duce rather than interpret nature with sIcb
accuracy that she might literally speak for
herself. "a
The first. it will be seen. was conserva-
tive, the second impressionistic, the third
subjective and the fourth natnra,jstic
These were their characteristics but each
adherent varied the Interpretation. While
one came forth from another none was
superseded, and many painters claimed al
lesfanee to all four. 1t was part of the
training, Mr.. Stewart Dick says in his adj
m.rable little handbook on the arts and
crafts of old Japan. of students in the land
tEat they might later suit their style to
their subject. This makes classification
difficult, but could not have been a bad idea
Beginning of Painting.
The beginning of painting In Japan was
doubtless the art of writing and the rules
of calligraphy have been governing prin-
ciples throughout. The brush which is used
instead of the pen soon becomes docile In
strument, answering obedientfy to the die
tates of the trained writer. The stroke" is
a factor of large Importance. and to master
its possibilities years of labor are expended
According to the mode of Japanese painting
there is no backward way by which blum
derers can retrace their steps--a thing once
done is irretrievable and can only be REM
edied by a fresh beginning. This naturally
has enforced accuracy and emphasized COM
mand of medium The Japanese paintings
have been done for the most part on silk or
light paper which would tolerate only
straightforward expression. In a measure
this accounts for their simplicity and for
their direct manner of handling. The Jap
anese have mastered the art OF elimination
and know better than any other people
how to render the essence of thought. In
the beginning II may seem childish, but in
the end 1t must be declared mastery. Ed
ward F. Strange, in calling attention TO
this fact. noted the case of a learned gen