New-York tribune., 1919-01-12
Japanese Artists
For Native
Art
A FFECTED for the time by the
. Western conceptions OF art,
Japan is fast reverting to the

the natIve schools. In an article on the
new tendency in japanese painting ap-
pearing in 'The Japan Magazine" Nr.
Kamewaga gives number Of interest
ing reasons why the canvas and oils is
losing popularity as vehicle Of express
sion:
ut is quite obvious that the craze for
Western style of painting is now on the de-
cline In Japan. The greatest masters of
the brush are no longer aping Occidental
modes The native style of pictorial art is
again coming into popular vogue and ap-
pealing more than hitherto to public taste.
Extremes in one direction are only too ant
TO suffer reaction to the other extreme,
and it may be that such will be the history
OF tho new tendency In Japanese art.
when 1t is said that there is going on
reversal to native style we do not mean
to the style Of the ancient pairsers Of
Japan. We mean more particularly a re-
newal Of taste for purely Japanese themes
as we'll as methods Of art--modern but dis
tinctly Japanese. The native artist Ia .t
last coming to realize that Occidental MIR
ments are incapable Of reproducing the soft
atmosphere and delicate colors Of the Jac-
anese landscape in the same degree a. the
native inks
Our painters are beginning "a ras,;zs
that OIL paintings are not adapted 70 Jan
fcfi -
ana this conviction is growing In spite Of
'he wonderful progress made by the jap
anese artist in the use Of oil pigments. Tho
artist mas at last come to realize that the
use OF oil paints In the depletion Of Jap-
anese themes is limited, however, and Shat
Tor the perfect revelation Of the native
mind in pictorial art the native mode "a
coloring is essential.
good example Of this is seen in por.
traiture. A Japanese kimono In oil. never
looks natural. In fact 1t has a crudenes.
OF color and general tone that the ORIGINAL
never suggests. One viewing a Japanese
picture in oils. who had never been Ia
Japan, would never dream of the wide diff
ference between the atmosphere suggested
oy the crude picture and the actual sirht
OF ximono. The same applies to the JAM
anese complexion, which is far more OMEN
10 oepictlon in inks and water colors than
in oil paints"
There is also tendency against West
ern realism, an aversion which is SO
deeply rooted in japanese life that it is
seen in the very manners and customs
OF the country. Enlarging on the artists
declaration Of independence the writer
continues:
Perhaps it is not too much to say that
IN modern times the Western artist will be
found initiating the Japanese painter
much more than the latter initiates the
former. Indeed, Japanese influence on
Western painting is now quite pronounced
feature of the Occidental galleries, The
Occidental artist IL slowly learning that
realism can never be the. foundation
of any living art. The realistic, solemn.
impressive style is now becoming infantIe
to many enlightened minds. In art reality
should shine through the picture as the
soul does through the body. This is the
difference between the living and the dead.
in art as in all life. The Japanese believe
that their style in pictorial art more sue
cessfully reaches this result than the West
ern style Of painting"
Not that the japanese artist has not
still much to learn. The writer Is frank
in his criticism of the national faults.
Among others he believes that
"It is also desirable that the Japanese
pictorial artist should reveal q greater de.
gree Of spirit and life. Hitherto there haa
been too great fondness for still life and
scenes of ease and peace. There is insufi-
cient suggestion Of the great consumma-
tion of human thought and action. Thia
defect gives an impression Of dulness that
is not true 60 reality. The tranquility Of
some Japanese paintings, and especially Of
sculptures, Is SO extreme as to suggest
deadness. True art should suggest the con-
summation rather than the expiry Of life
and thought.
"In portraiture, too, especially that ef
historical persons, the artist should devots
more care to revealing the personality thsn
the historical splendor or greatness Of the
subject. The best paintings are manisefta<
tions OF the artists personality, Just ss
great poems and pieces of nssfc are. This
revelation OF personality is particularly
marked in the Southern school of Japansse
painters, whose trend is usually subjective:
The genre artists aim too much at popu-
larity to reveal themselves we'll, and some
OF them did not possess characters worth
revealing. But the artists of the Southern
school have been too much given to fanci-
full landscapes, in regard to which the
genre painters have shown greater excel
ience. In respect to freedom of selection
and choice Of subject the Japanese artist
has yet much to learn from the Occidental
artist, as well as in attention to delicacy
OF expression and accuracy of minute de-
tail. 1t is not sufficient that the Japanese
painter shall be superior to the Western
artist in rising above Occidental reaIisn,