The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-10-23

mentally oppo~sd tn modern E'irop"ln
art
The aftemW has been made Ia account
Tor the idinsyncTasy "f eastern AHiaiic
art on technical grounds Inherent IN the
nature 10 the count ~. such as the rln-y
"un-t 7Ict ION of the hDuser. which ar"
small and ofer M solid wall space Tor
truly monumental painting 10 develop on.
or IA" exclusive ure ~ such elementary
mediums water color and india ink, or
she position IN which the artist works
according 10 the custom of the country
squatting on the ground and having his
painting surface spread cat horIzOnt ally
before him the consequence beInE that
he only getS. a. u were. a blrdseye view
! Of has picture. and that ia the case 81 the
usual long rolls he can never overlook
u a. q whole any morp than he -peca or
can who lnspectz the picture in the same
mtuud" Vow n - quite rue that oil
painting. which might easily have brought
abWIt a revolution, a. II did In thIrope.
remained unknown q the eastern Asiati los.
Again. had not the volcanic soil. which
a succession uf earthquakes keeps con
-iantly trembling prevented the erection
1T solid masonry. Japanese painting
would probably have witnessed more
varied development. National peCuhari-
les II soil amt Gust ON may give rise In
local variat ions hut cannot determine
AN art IA It, es-snCe. for It roots lie in the
national character. which creates ~ means
of represent alton and technique accord
ing To It's innate ideals but convers rely
Will not allow The man tendencies of il
art 10 be determined by external fact ors.
The general character. tendency and aim
uf Japanese art would have remained
tho same: he sirnila rity IL earlier develop
ment- in Elrop- and he adjacen, count rice
prove it.
The imitation OF nature is for the Japa-
nsse only means Ia an end. not an end
IA itse!f Mer. virtuosltv ia this line
does not move them 10 admiration were
1t otherwise We need only consider their
rendering of birds. fishes. insects and
ruwers 10 be sure that with their splendid
powers IT observation they might have
achieved far more than they actually
have done IN this direction. TN the con
trary nature IN their eyes merely fur
nishes forth the material from which
the artist draws whatever he NAV require
for the embodiment of his personal ideals
and individual tastes On these elements
he works quite arbitrarily and with abso-
luta freedom for painting. after the Chi
ne-e precedent IL not regarded a. a tech
meal accomplishment or craft. hut
ranks ON precisely 'he same level a. cal
ligraphy which IL a liberal art and a pas
tim. for T-ople Of rank and culture. far
more DEPENDENT upon purity 81 feeling
sublmity Of conception. exqui-itene--
Of taste IN short on individual Creailv"
power than ON sny merely '"chuical
deyi.rity or skill. This estimate -
painting "a the peer ~ callisraphy
~ plains not only the decorative character
~ Japanese art. the strict formulism
- IT, style the great Importance which
II attaches 70 the balance of light and
dark masses. the Subordination "f color
20 purely decorative ends. hut also the
wonderful freedom which JAPANESE art
has always managed 20 retain IN spite
of IT, tendency to Journalism. For the
s-s.nr. - calligraphy consists. accord
ing 20 chinese ideas. by no means in mere
n.atness and regularity 81 execution.
which might easily lead 20 stiffness and
frigidity. hut primarily IA the mu-t per
feet solution Il the artistic problem con
-i-tent with the greatest economy 81
means.
The fundamental idea In fact here as
in all the rhythmic arts. poetry, music
architecture. - that % play The Japa-
n.-.. deliberately r-frains from saying all
thar he has 20 say, from giving full plas-
ITCHY TO his figures or depth and breath
To- his spaces. from breaking up and bal.
ancinR his masses by -ymmet real divi-
sion or repetition: all this would merely
draw him away from his goal and fetter
the free activity oR his Imagination All
me- efforts are directed toward resi- riot
ing himself 10 what - essential to his
purpn-e employing natural forms IN the
fun freedom and variety ~ their organic
growth making hi- cont our lines sim.
plo and expressly" a. possible Maiden
thinks he recognizes the japanese symbol
q Iaau'v in he Slime and striking an
individual not. m his choice 81 colnr- AZ
the objects - 10 represented are simpl"
aud ID" deficiency IN neans 81 realistic
representation ~ -kilfully made good nv
specially calculated effects ~ color and
'schulqI. th. convent Ipnahsm ~ thi-
ar. which works by mere suggest on.
- very much less Noticeable than m IA"
product ions e other penpleS that are
still ~ low level ~ development
This l. not the plaC" 20 go into the exact
uaiur. - Japane~e taste for this only
shows i'-alf IN it, -harpest definition dur
ing ,hr CLASSIC I-"riod 81 Japanese painting.
which preceded TIA" eighteenth c~ntur'
the era IT wood engraving II - IN" art
~ III" nineteenth century alone which
hA- influenced 'ha most recent develop .
nant ~ European art and modified Euro /
pean taste. although for n" Japan"-s II .
represents no more than = last phase a
second and Ices vigorous towering. how
ever new and subtle i's manifestations
In the decorative" character Of ~ design .
and i's impre~aionIztIc point ~ view lay
prrdI-posed the elements which Europe /
during centuries ~ development along
realistic lines had almost entirely lost
sight ~ only a return "a the fresh and
ever VIVID hue- ~ natur" could r"scu. ~
from the drnh monotnny % facri'ious
monochrome only a resumption 81 con
Sciou-lv DECORATIVE" aims IN design could
r"-su" ~ from a method OF figure drawing
who's" results had a. little distinction or
a. photographer po-S