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The evening herald. [volume] (Albuquerque, New Mexico) 1914-1922, 1915-01-09

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The evening herald. [volume] (Albuquerque, New Mexico) 1914-1922, 1915-01-09

A booklet OF rules and regulations
OF the University OF New Mexico has
lust been published.
This week some science apparatus
was received IRON Europe. u has
been delayed slnce last summer on
account Of the war. but at last reach
ed It's destination. This apparatus II
for the blolosy department.
-
one evening this week Prof. Kirk
and Prof. Clarke OF the faculty enter
tained DIR. Arthur G. Spencer OF the
UNITED States geological survey at
dinner. DIR. Spencer was here n few
days on his way to Washington from
Santa Rita where he has been making
n study OF The copper deposits.
Kenneth Raicomb has 0eea recent
~ elected president OF the Y. A. c. a.
on the ssth' there is to be a match
Eame between the university basket
ball team ana the team from the Bus
mess college.
Friday night there was a basket
taIi came In the hish school gym
nasium.
or. Mitchell will give n course This
semester on the Private Life OF the
Romans" illustrated by lantern slides,
Lectures on Pompeii, The Roman
House. Roman Dress. Ceremonies. P"-
sition Of Women. Education n Child
rem. etc., will be given. These lee
lures will be Given on Thursday morn.
ings az ? O'Clock IN DIR. Mitcheifs
! class room and the town people are
most cordially invited To attend. u
any desire 70 nave credits on this
work they may do no, but any one
who Wishes to hear these lectures
may have the privilege without beina
: held responsible.
The evening herald. [volume] (Albuquerque, New Mexico) 1914-1922, 1915-01-09

Among the students registered since
the holidays are Miss Shirley wach-
enhusen. Of -. Augustine, tTa.; A. G.
Rich, from MlsslseippL and Aulai
Feather, from Park COLLEGE. $40.
The evening herald. [volume] (Albuquerque, New Mexico) 1914-1922, 1915-01-09

the university Ia entirely oIear of deb
for the arst time since H. eonstrvc'
iion.
The evening herald. [volume] (Albuquerque, New Mexico) 1914-1922, 1915-01-09

A booklet OF rules and regulations
Of the University OF New Mexico has
lust been published.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-08-01
The goddess Kwannon, by Hogai Kano, founder of the Toxic
Art Academy, died 1886. aged 81.

same limitations of the pictorial are
met and the same special eXccllences
are revealed.
The n are particularly hne.
Outside the many Buddhas and kwan-
mons n eighth century ornate tenn
pie gong framed in the coils Of four
dragons which rise from cntwininG a
pillar resting for pedestal ON the back
Of the Hound of Fo might indeed
stand for the limit of fine lines and
superb decoration. For centuries il
sounded to priestly prayer in the Tenn
Pile of kofuku,
The wood carving of Japan has for
many centuries been among its most
outstanding art Glorics and to-day
numbers vOtaries of the highest cX-
c%ellence. II il perhaps in the carvings
which adorn the gates and outer walls
Of the temples ut Nikko that IL is seen
in its most massed effects, There are
found the weird, well known three
monkeys and ,the equally famous
sleeping cat Of Hidori Junguro. the
greatest carver of all, amid carvings
Of birds and scroll work beyond emu
meration. The fact that loud Colors
and gliding cry out at you above the
charm of d~elicately chiselled wood
does not destroy the thrill in 1t, but
gives il a new turn,
Japanese paintings assert them
selves I'm the native mind under three
divisions:
/. sansui--Mountain and water or
landscapes.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-08-01

Later on at kamakura. standing
adream before the colossal bronze
Amlda Buddha, forty-nlne feet high.
lifting It's head into the blue of the
sky, | vas face to face with the great
est example of art in Japan-if not in
all the world. Larger Buddhas there
are in Nippon, but large or small not
one conveys so overpowering a sense
of the untold dimensions of divine
thought or the calm in which 1t op-
crates.
Here is a devotional eXemplar for
q race and nation-immense in bronze.
bIt <reater still in suggestion Of mind
~ste3aily contemplating-froe OF won
der, free of fear, and a mighty frag-
ment of the superdivinity that 1t con-
templates perpetually. Thus it has
stood for seven and IA half centuries,
1t was there above 200 years before
Columbus sailed for the New World
from Spain. No carven Zeus of an
cient Greece compares with It, Re-
membering II, the Japanese can lift
his head when ancient art or old reli-
gion is discussed the world over.
1t is, however, at the Imperial Art
Museum Of Toxic that the best in
sight car be had into the great variety
of the ancient art of Japan-for pieces
of distinction particularly as to paint
inss, sculptures In wood or metal, In
bronze and lacquer work, Here again
the range Of the arts down the cen
turtles impresses n with the old civil
l~ization of Japan, but In character the
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-08-01
Girl before a mirror, by Bakusen Tsuchida; prize picture at
Kioto, 1911.

twofold effect in Japanese art, II is
increasing the tendency to literalness
on one side, and by reflex action is
throwing idcalists back on the noble
suG~Gcstivencss Of the earlier masters.
The Imperial Toxic Fine Art School
dates only from 1873. 1t now oCcu-
pies two large and extensive buildings,
on" devoted to painting and sculpture
and the other to the minor arts. In
this institution there are eight courses
of five years each.
The divisions in the fine arts are
first made between Japanese painting
and EuI".-Hn INJECTING, The latter
division Was not aGicd 10 the curric-
nlum until 1896; in the same year a
modclling class was added to the
course of sculpture. The eight courses
of art are japanese painting, Euro
pean painting, sculpture, designing,
engraving ON metal. metal casting.
lacquering and the normal course of
drawing. In both systems are
tauGht anatomy, perspective, design
ing, aesthetics, history OF art and
archaeology.
1t may he said that both from per-
sonal taste and patriotic motives the
professors throw the greater stress
on the Japanese school. While the
work Of the European side of the in
stitution Is referred to respectfully,
one can easily see whore their hearts
are. All their inner taste cries out
for the old art Of Nippon.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-08-01

3. Gongen-Incarnation style OF the
~lyesasu period-l600 A. D., extremely
ornate, painted. the type OF the Nikko
temples.
The Meiji shrine, concentrating
the late Emperor Mutsuhito. is to be
mainly Of the second style.
To the Buddhist priests for the first
art centuries of Japan fell the eXempli-
fcation of the fine arts-religious
paintings on scrolls and carving Of
the statues of Buddha in wood. 1t
was not until the ninth century that
the name Of Kose-no-Kanaoka, a court
noble, emerged showing a notable cx-
ample Of art secularization The sub
merged millions Of the agricultural
people had no share In 1t: the soldier
elias. always powerful in the Island
Empire. scorned il: priests and mobiles
alone practised 1t. In this way it
progressed.
The first recognizable Japanese
school. Yamato Ryu. arose in the year
1000. The Tosa Ryu, a classical school.
| arose two centuries later; by classical
meaning an attempted return to clear
| Chinese painting with its extraordi-
nary landsca pes-an influence that
| has never since beer lost. The Toba-e
called after Toba SOLO, described as
"a merry priest" arose in the twelfth
century.
For centuries there was no great new
impulse until the Ukiyoye-beginning
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-08-01
Japans grandest work of art, the great Amida Buddha of Kan
kura, 4e feet 7 inches high. cast in bronze. 1852 A. D.

In the eighteenth century and reach
ing down TO the middle IF the nine
teenth century, movement bringing
art within popular lines dealing mas
terfully with real life and real seem
cry and powerfully depicting charac-
ter. 1t was the period of the colored
print tcolored wonderfully by hand)
and the great names of Hlkusai and
HiroshiGe read all the rest. Oddly
enough this art movement. which pro-
duced real masters highly thought OF
in America and Europe. has little
honor in Japanese art circles.
To-day "A mixed but not unhopcful
condition exists. There is great aC-
tivity. but there Is no sign that an
entirely new Interpretation VIII imme-
dlatcly be found. although good work
is in the doing along many lines. some
progressive and some decidedly eac
tionary.
1t is not improbable that the first
plunge into Oriental art on japanese
soil by any other foreigner should
ne taken. as 1t was by me, in View
ing the collection Of Mr.. Okura at
his museum in Toxic. This is a
great house filed in all its rooms and
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-08-01

II shows a young woman before a
mirror. There VAS certainty in the
~hrushwork and an individuality about
the person portrayed despite the fact
that the artist had evaded painting
the face by the e%Xpedient Of putting
the tieXed arm in front of it. from the
onlooker's point of view. The treat
ment Of the drapery, notably in round
ing off the ends, is pure japanese,
hut the modelling. color and warmth
of the conception and execution give
It the key Of cosmopolitan art.
/ succeeded in getting "A photograph.
hut not Ii very good one. TIC sam.
applies to a picture Of the Goddess
kwannon Generatriy, by HogaI kauo.
founder of the Toxic Art Academy, who
died in 1856, II is held in high rcput"
and is, | imagine. the best japanese
figure picture in n generation, al
though lacking originality. There Is
a carved kwannon in the Imperial
Art Museum very like il.
In sculpture the results so far are
not great, The photographic tendency
in statuary is NEUTRALITY-SUSPICIOUS.
mated reality, In ivory carving, how
ever. skill Is very high. secured n
photograph Of n remarkable piece
of combined high relief carving and
inlaying at the Toxic school--a rus
tic Chinese philosopher. ChuanG-t2c.
reading a hook while sitting at ease
on a bundle Of sticks, with his axe and
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-08-01
Figure of the poet Hitomara, about 100 years old. decorated
about forty years ago in colors and gold.

.. kwacho-Flowers and birds or
animal and plant life.
3. Jimbutsu-Humanity, or figure
pieces.
ButsuCwa-Buddhist paintings, in
other words, religious paintings. make
another division which may combine
any or all of the three others.
have said that painting in Japan
Of to-day has not set its face in any
positive direction. although the num-
her of serious students is steadily in
Crcasing.
In a governmental pamphlet pre-
pared by the Department Of Educa-
ton giving a brief history If art ed
ucation in Japan II is declared that
during the Tokugawa period of 300
years. while literary and artistic taste
spread among the masses and many
besides. nohlemen collected and kept
in their possession works of fine art.
With the restoration Of the Mikado's
power In 1865. however, the politi-
cal reformation brought about a So
cial one. and works NJ fine art fell
for n time into such low estate AS al
most To he thrown away as rubbish
Photography. which is the vice OF
everybody in Japan. is producing a
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-08-01
Broad Developments and Individuality
of To-day Freed From Chinese
Influence in Ancient Works

II perfection is to he approached
they would have 1t done by that
path. Consequently they have the
majority Of the students working on
that side. A walk through the large
classrooms proves its popularity.
In their devotion the sansui stands
first. pictures of mountains, with all
manner Of application Of mists and
clouds. with rivers close at hand or
in the distance. with trees in the fore
ground and flowers in masses. n
has seen so much Of this IN the old
masters that the actual enthusiasm
for 1t seems unaccountable In fresh
young minds. The effects are OF ma
ture and yet not Quite natural.
II you travel up and down the val
legs Of Japan you will at zines come
upon just such peaks and cliffs az
YOU have mentally labelled "impossi-
BILE" in looking at the pictures. But
while they exist In nature they are
rare. In the sansui art they are
everywhere.
The students we're mostly thought
full faced and in a great many cases
dreamy eyed young men intent on their
work. but, with the buoyancy of youth,
dropping into humorous wordy inter
play when the eye Of the visitor ana
his professor guide were out OF sisht'
The life class was more properly a
costume class, for the inattention 10
the personality of the model resulted
in drawing stereotyped faces. particu-
larry OF women Even in the case OF
male models this was unfortunately
apparent.
With the women's faces as drawn
one saw the same eXaggeration OF the
small eye. ne large nose. the litt!e
rosebud mouth-that W was on sea
or land. with the drapery it was far
otherwise-sweeping folds and fire.
auent crossings gave one the very
| touch Of the stuff and the garment
| Some showed Western influence IN TINS
work. but in nearly ali cases the hu-
man figure suffered for the attention
paid to the clothes.
In this division of European paint
ing the students showed much viCor IN
the charcoal drawing. They drew
from the round, from husts and the
like. The power of outline, due. as |
have already noted. to the early and
continued use of the brush in writ
ing. told strongly. A. the students
advance they take VI painting in oss.
and work in pencil and water colors is
added.
A visit to the Fine Art School at
Kioto showed n development some
what inferior in of studies 10
the Toxic school. but I came upon
one example in color which, better
than anything else | had seen, seemed
To me To typify the direction of the
advance along Western lines, while
taking TO itself distinct japanese at
tributes. This was a first prize pic
,nre in 1911 by a graduate Of the
academy. Bakusen Talchida.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-08-01
ART BEING DEVELOPED IN MODERN JAPAN
Many Surprises for Western Eyes in
a Country Where Love of the
Beautiful PermeatesA All Classes

stance. or the mystic suggestion Of a
temple interior-that you lay n mental
foundation for discovering how far
they can go beyond you In numberless
directions and how they fall utterly
short in others.
Their sense. for example. of the lines
end contours Of drapery is excessively
keen. but their neglect of reality in the
human form beneath the garment Is
just as obvious. In the older pictures
n observes a law Of perspective pc
culiarly japanese. Instead Of the lines
of distance drawing together to a van
ishing point they are prolonged In par.
allel II they do not indeed come closer
together at the front. II was long
defended by Japanese artists on the
ground that 1t made all parts Of the
picture clearer. Photography has.
however. knocked II out"
II is desirable therefore to learn as
much as possible of their art ideals
when one seeks to appreciate their art.
Let me confess that I have not gone
far enough on this road to be at all
a competent guide. but merely sug-
costing directions for serious and use.
full thought. Much pleasure may he
had Of 1t. however. without going into
II very deeply.
Art in Japan is indeed so wide a
topic that I might as well say that I
have no intention here of reviewing
II at length or with any great par
ticularity since what concerns US is
what artistic impulses and achieve
ments I find in the art of to-day.
Broadley speaking ancient japanese
art derives from China through it's
immediate neighbor Corea. The first
transmission came with the introduce
ton Of Buddhism in the fifth GEN.
utry OF our era. THAI oriental re-
ligion had long chosen art as its hand
maid and carried its painting and
sculpture with IL wherever ambitious
piety set up its temples to Amida
Buddha.
Japan in time gave a native turn
to this imported art. with its many
sculptured figures ard emblems. AS
seen In its pre-Buddhist Shlnto tenn
pies a great severity OF line and color
and a poverty of decoration had
marked the most p%retentious fanes
Of the Way Of the Gods. What Shinto
temples lacked OF the ornate then
has remained their pride to this day
their inner shrine contains no paint
ing or statue. only a mirror to show
the truth its face.
The japanese conveniently classify
their temple structures from the art
architectural viewpoint as follows:
1. Sh~emmei-Style Of the gods. old
est. pure Shinto. like the Ise tenn
pies. white wood and extreme sim
plicity.
2. Observation-Disclosures style or
kasuga style, like the Nara temples.
the medieval type after the period
Of Emperor Kwammu. 500 A. d.. freer
lines and more rnate.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-08-01

49, 'fA'' Wv ~ z
Of the details make IT a wonderful
panel. 1t is by Shoscku Iriya. A grad
uate In sculpture in 1911.
In damascene work. Inlay wing steel
surfaces with gold. the modern sue
cess is remarkable. II Ia not perhaps
possible in this branch of art TO 60
beyond the work Of the armor periods
in Asia. II is a work VI enormous
patience, hut can now be pursued with
tools and appliances that were unheard
of IN the great days of ornamented
breastplatcs, helmets, swords and
spears.
In ceramics modern Japan is hold
ing its place. \ loud and probably
sincere cry has gone up against the
commercinlizing of the art--,he deg
radiation of forms. gaze. coloring and
painting of pieces Of pottery made by
the thousand for the European and
Asiatic markcts-hut 1t should not be
given the force attached to it by those
who utter it.
At Nagoya in the great Morimura
porcelain factory employing $500
hands. half of them women, where
the entire process from the pudding
Of the crude kaulin To- the finished
product may lac seen, ! visited one
large room in the painting department
with n hundred men. young women
and boys putting the Colots hy hand
on several pieces of excellent quality
from designs made 10y special artists.
But the manufacture Of high grade
pottery is in 10 WISE on the decline.
There are firms in al branches in the
city of kioto where nothing hut first
class work as to material, form. glaze
and color design Is allowed to cave
the factory. such a firm too | found
on a hiliy outskirt OF Yokohama, the
father and sons who have produced
the we'll known Nlkuzs ware "a
porceiain) for W generations
Anythii @ more levo.edly artistic
than their attitude oward their work
II would be hard 10 discover. The
smallest defect in the baking leads TO
instant rejection If even the costliest
pieces, The best Japanese firms are
doing as fine work as ever was done
In Japan. | an sure hat the Makuza
blues, for instance. vii, hold their
ground with the best that come out
of china.
II is in Cloisoune that japanese
genius is making the greatest tride
to-day, TIL" I'D time plates with their
uniform sky blue background are no
longer To- be found ~ The modern
studio. Tall vases in delicate buff. in a
marvellous sea water green fairly raw
.sh the eve. In some the wires have
been thinned almost to vanishing: IN
the latest they have with the utmost
skill, been removed altogrther-pre-
sentirE a surface that II is difficult
20 distinguish from the finest poroe-
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1915-12-31
ROOMS FOR RENT

ARCH 2O23-Desirable room. single double:
running water, private bath. 81 up.
ARCH, 2O3s-Neaty furnished rooms. Sl.75 up;
telephone connections.
CHESTNUT, l9O5-Two desirable vacancies
southern exposure; running water.
CHESTNUT. 10Oi-Desirabe rooms. single or
en- suite; steam heat. Phone Locust I3l.
LOCUST I2ll-Desrable rms, adjoining bath;
hOt-water heat: central location, phone.
LOGAN SO. C235 y. 18TH Housekeeping apts.;
furn,, unfurn. rooms; elec, light; run. water.
MARKET 5ui5-CommuniCating rooms. we'll
heated; southern exposure. running water; pin.
MT VERNON, l3OS-Furn. rms for lodging;
all cows bath, heat, gas, Sl.25. Pop. 5Gdl W.
PINE, l323-Attractive furn. rms, single or en-
suite: running water; private family; phone.
SPRUCE. l3l2-AttTaCtiye room. private bath.
also single room; quiet home.
SPRUCE, l33T-Rooms single or suite; pri
baths: prof. offices; steam heat; electricity.
WALNUT. 5OO}--Beautifuly furnished second
floor room: l.. Phone Belmont 1921.
sTH. ~, 30O2-Attractivey furnished 2d-tloor
rooms; private home: suit gentlemen.
18TH. s. 3l4-COMFORTABLY FUR. FRONT
ROOM, ADJOINING BATH: PHONE.
18TH, s.. 8aO-FURNISHED FRONT AND
BACK ROOMS. NEAR BATH PHONE.
18TH, ~. oo9-Nicey furnished rooms, well
52ND y. G-7EuRNIsHED, OR UNFIRNIsH-
ED. STNSHINf, ID FLOOR FRONT, HOT
WATER HEAT. PHONE BELMONT 1892 W.
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1915-12-31
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