On the Laws of Japanese Painting Part 4

CHAPTER FOUR. LAWS GOVERNING THE CONCEPTION AND EXECUTION OF A PAINTING

When a j.a.panese artist is preparing to paint a picture he considers first the s.p.a.ce the picture is to occupy and its shape, whether square, oblong, round or otherwise; next, the distribution of light and shade, and then the placing of the objects in the composition so as to secure harmony and effective contrasts. In settling these questions he relies largely on the laws of proportion and design.

The principles of proportion (ICHI) and design (ISHO) are closely allied.

They aim to supply and express with sobriety what is essential to the composition, proportion determining the just arrangement and distribution of the component parts, and design the manner in which the same shall be handled. In a landscape, proportion may require the balancing effect of buildings and trees, while design will determine how the same may be picturesquely presented; for instance, by making the trees partially hide the buildings, thus provoking a desire to see more than is shown. Such suggestion or stimulation of the imagination is called YUKASHI. The j.a.panese painter is early taught the value of suppression in design-_l'art d'ennuyer est de tout dire_.

A well-known rule of proportion, quaintly expressed in the original Chinese and which is more or less adhered to in practice, requires in a landscape painting that if the mountain be, for example, ten feet high the trees should be one foot, a horse one inch and a man the size of a bean.

JO SAN SEKI JU, SUN BA TO JIN _(Plate XVII)_.

Design, called in art ISHO ZUAN or _tak.u.mi,_ is largely the personal equation of the artist. It is his power of presenting and expressing what he treats in an original manner. The subject may not be new, but its treatment must be fresh and attractive. Much will depend upon the learning and the technical ability of the artist. In the matter of design the artists of Tokyo have always differed from those of Kyoto, the former aiming at lively and even startling effects, while the latter seek to produce a quieter or more subdued _(otonashi)_ result.

Where landscapes or trees are to be painted upon a single panel, panels on each side of it may be conveniently placed and the painting designed upon the central panel in connection with the two additional ones used for elaboration. In this way, when the side panels are withdrawn the effect is as though such landscape or trees were seen through an open window, and all cramped or forced appearance is avoided. The _Ukiyo e_ artists practiced a similar method in their _hashirakake_ or long, narrow, panel-like prints of men and women used for decorating upright beams in a room.

The literature of art abounds in instances ill.u.s.trative of correct proportion and design.

The artist Buncho being requested to paint a crow flying across a _fusuma_ or four sliding door-like panels, after much reflection painted the bird in the act of disappearing from the last of these subdivisions, the s.p.a.ce of the other three suggesting the rapid flight which the crow had already accomplished, and the law of proportion (ICHI) or orderly arrangement thus observed was universally applauded.

In the wooded graveyard of the temple at Ike-gami, where the tombs of so many of the Kano artists (including Tanyu) are to be found, is a stone marking the grave of a Kano painter who, having executed an order for a picture and his patron observing that it was lacking in design and that he must add a certain gold effect in the color scheme, rather than violate his own convictions of what he considered proper design, first refused to comply and then committed _hara kiri._

A canon of j.a.panese art which is at the base of one of the peculiar charms of j.a.panese pictures, not merely in the whole composition but also in minute details that might escape the attention at first glance, requires that there should be in every painting the sentiment of active and pa.s.sive, light and shade. This is called IN YO and is based upon the principle of contrast for heightening effects. The term IN YO originated in the earliest doctrines of Chinese philosophy and has always existed in the art language of the Orient. It signifies darkness (IN) and light (YO), negative and positive, female and male, pa.s.sive and active, lower and upper, even and odd. This term is of constant application in painting. A picture with its lights and shades properly distributed conforms to the law of IN YO. Two flying crows, one with its beak closed, the other with its beak open; two tigers in their lair, one with the mouth shut, the other with the teeth showing; or two dragons, one ascending to the sky and the other descending to the ocean, ill.u.s.trate phases of IN YO.

Mountains, waves, the petals of a flower, the eyeball of a bird, rocks, trees-all have their negative and positive aspects, their IN and their YO.

The observance of this canon secures not only the effective contrast of light and shade in a picture but also an equally striking contrast between the component parts of each object composing it.

The law of form, in art called KEISHO or KAKKO, is widely applied for determining not only the correct shape of things but also their suitable or proper presentation according to circ.u.mstances. It has to do with all kinds of att.i.tudes and dress. It determines what is suitable for the prince and for the beggar, for the courtier and for the peasant. It regulates the shape that objects should take according to conditions surrounding them, whether seen near or far off, in mist or in rain or snow, in motion or in repose. The exact shape of objects in motion (as an animal running, a bird flying or a fish swimming) no one can see, but the painter who has observed, studied and knows by heart the form or shape of these objects in repose can, by virtue of his skill, reproduce them in motion, foreshortened or otherwise; that is KEISHO; and he is taught and well understands that if in executing such work his memory of essential details fails him hesitancy is apt to cause the picture to perish as a work of art.

KEISHO literally means shape, but in oriental art it signifies also the proprieties; it is a law which enforces among other things canons of good taste and suppresses all exaggerations, inartistic peculiarities and _grimaces._

The law touching historical subjects and the manner of painting them is called KO JUTSU. Special principles apply to this department of j.a.panese art. The historical painter must know all the historical details of the period to which his painting relates, including a knowledge of the arms, accoutrements, costumes, ornaments, customs and the like. This subject covers too vast a field and is too important to be summarily treated here.

Suffice it to say that there have been many celebrated historical painters in j.a.pan. I recall, on the other hand, a picture once exhibited by a distinguished Tokyo artist which was superbly executed but wholly ignored by the jury because it violated some canon applicable to historical painting.

The term YU SHOKU refers to the laws governing the practices of the Imperial household, Buddhist and Shinto rites. Before attempting any work of art in which these may figure the painter must be thoroughly versed in the appointments of palace interiors, the rules of etiquette, the occupations and pastimes of the Emperor, court n.o.bles _(Kuge),_ _daimyo_ and their military attendants _(samurai),_ the costumes of the females _(tsubone)_ of the Imperial household and their duties and accomplishments. The Tosa school made a thorough familiarity with such details its specialty. All Buddhist paintings come under the law of YU SHOKU.

Let us next consider briefly some of the principles applicable to j.a.panese landscape painting. Landscapes are known in art by the term SAN SUI, which means mountain and water. This Chinese term would indicate that the artists of China considered both mountains and water to be essential to landscape subjects, and the tendency in a j.a.panese artist to introduce both into his painting is ever noticeable. If he cannot find the water elsewhere he takes it from the heavens in the shape of rain. Indeed, rain and wind subjects are much in favor and wonderful effects are produced in their pictures suggesting the coming slorm, where the wind makes the bamboos and trees take on new, weird and fantastic shapes.

The landscape _(Plate XVIII)_ contains a lofty mountain, rocks, river, road, trees, bridge, man, animal, et cetera. The first requisite in such, a composition is that the picture respond to the law of TEN CHI JIN, or heaven, earth and man. This wonderful law of Buddhism is said to pervade the universe and is of widest application to all the art of man. TEN CHI JIN means that whatever is worthy of contemplation must contain a princ.i.p.al subject, its complimentary adjunct, and auxiliary details. Thus is the work rounded out to its perfection.

[Tiger, by Kishi Chikudo. Plate VI.]

Tiger, by Kishi Chikudo. Plate VI.

This law of TEN CHI JIN applies not only to painting but to poetry (its elder sister), to architecture, to garden plans, as well as to flower arrangement; in fact, it is a universal, fundamental law of correct construction. In _Plate XVIII_ the mountain is the dominant or princ.i.p.al feature. It commands our first attention. Everything is subservient to it. It, therefore, is called TEN, or heaven. Next in importance, complimentary to the mountain, are the rocks. These, therefore, are CHI, or earth; while all that contributes to the movement or life of the picture, to wit, the trees, man, animal, bridge and river, are styled JIN, or man, so that the picture satisfies the first law of composition, namely, the unity in variety required by TEN CHI JIN.

There is another law which determines the general character to be given a landscape according to the season, and is thus expressed: Mountains in spring should suggest joyousness; in summer, green and moisture; in autumn, abundance; in winter, drowsiness. The formula runs as follows: SHUN-ZAN, _warau gotoshi;_ KAZAN, _arau gotoshi;_ SHUZAN, _yoso gotoshi;_ TOZAN, _nemurugotoku._

Similarly, according to the season, there are four princ.i.p.al ways of painting bamboo (CHIKU). In fair-weather bamboo (SEI CHIKU) the leaves are spread out joyously; in rainy-weather bamboo (UCHIKU) the leaves hang down despondently; in windy-weather bamboo (FUCHIKU) the leaves cross each other confusedly, and in the dew of early morning (ROCHIKU) the bamboo leaves all point upwards vigorously _(Plate LIII a 1 to a 4)_.

The Kano artists differ from the Shijo painters in their manner of combining _(kasaneru)_ the leaves and branches of the bamboo. Speaking generally, the Shijo artists point the leaves downward, while the former point them upward, which is more effective.

Again, in snow scenery the Kano artists first paint the bottom of the snow-line and then by shading _(k.u.madori)_ above the same with very light ink _(usui sumi)_ produce the effect of acc.u.mulated snow. The Okyo school secures the same result in a much more brilliant manner, using but a single dexterous stroke of the well-watered brush, the point only of which is tipped with _sumi._

Some artisls, notably Kubota Beisen and his followers, employ both methods, the former for near and the latter for distant snow landscapes.

Low mountains in a landscape suggest great distance. Fujiyama, the favorite subject of all artists, should not be painted too high, else it loses in dignity by appearing too near. In an art work written by Oishi Shuga, Fuji is reproduced as it appears at every season of the year, whether clad in snow, partly concealed by clouds, or plainly visible in un.o.bstructed outline. The book is a safe guide for artists to consult.

We may next consider some laws applicable to mountains, rocks and ledges.

It has long since been observed by the great writers on art in China that mountains, rocks, ledges and peaks have certain characteristics which distinguish them. These differ not only with their geological formations but also vary with the seasons on account of the different gra.s.ses and growths which may more or less alter or conceal them. To attempt to reproduce them as seen were a hopeless task, there being too much confusing detail; hence, salient features only are noted, studied and painted according to what is called SHUN PO, or the law of ledges or stratifications. There are eight different ways in which rocks, ledges and the like may be represented:

The peeled hemp-bark method, called HI MA SHUN _(Plate XXIII a)_.

The large and small axe strokes on a tree, called DAI SHO FU HEKI SHUN _(Plate XXIII b)_.

The lines of the lotus leaf, called KA YO SHUN _(Plate XXIV a)._

Alum crystals, called HAN TO SHUN _(Plate XXIV b)_.

The loose rice leaves, called KAI SAKU SHUN _(Plate XXV a)_.

Withered kindling twigs, called RAN SHI SHUN _(Plate XXV b)_.

Scattered hemp leaves, termed RAMMA SHUN _(Plate XXVI a)_.

The wrinkles on a cow's neck, called GYU MO SHUN _(Plate XXVI b)_.

These eight laws are not only available guides to desired effects; they also abbreviate labor and save the artist's attempting the impossible task of exactly reproducing physical conditions of the earth in a landscape painting. They are symbols or subst.i.tutes for the truth felt. Nothing is more interesting than such art resources whereby the sentiment of a landscape is reproduced by thus suggesting or symbolizing many of its essential features.

It was a theory of the great Chinese teacher, Chinanpin, and particularly enforced by him, that trees, plants and gra.s.ses take the form of a circle, called in art RIN KAN (see _Plate XXVII_), No. 1; or a semi-circle (HAN KAN) _(Plate XXVII)_, No. 2; or an aggregation of half-circles, called fish scales (GYO RIN) _(Plate XXVII)_, No. 3; or a modification of these latter, called moving fish scales (GYO RIN KATSU HO) _(Plate XXVII)_, No 4. Developing this principle on _Plate XXVIII_, No. 1, we have theoretically the first shape of tree growth and on _Plate XXVIII_, No. 2, the same practically interpreted. In Nos. 3 and 4, same plate, we have the growth of gra.s.s ill.u.s.trated theoretically and practically. In _Plate XXIX_, according to this method, is constructed the entire skeleton of a forest tree. In Nos. 1 and 2 on this plate numerous small circles are indicated. These show where each stroke of the brush begins, the points of commencement being of prime importance to correct effect. In No. 3, same plate, we have the foundation work of a tree in a j.a.panese painting.

It is needless to point out the marvelous vigor apparent in work constructed according to the above principles.

In the painting of rocks, ledges, and the like, Chinanpin taught that the curved lines of the fish scales are to be changed into straight lines, three in number, of different lengths, two being near together and the third line slightly separated, and all either perpendicular or horizontal, as in _Plate x.x.x_, Nos. 1 and 2. In the same plate, Nos. 3 and 4, we have the principle of rock construction ill.u.s.trated. In _Plate x.x.xI_, Nos. 1, 2 and 3, is seen the practical application of this theory to _kakemono_ work. In executing these lines for rocks much stress is laid upon the principle of IN YO; on the elevated portions the brush must be used lightly (IN) and on the lower portions it must be applied with strength (YO). At the bottom, where gra.s.s, mould, and moss acc.u.mulate, a rather dry brush (KWAPPITSU) is applied with a firm stroke.

Next, there are laws for near and distant tree, shrubbery and gra.s.s effects, corresponding to the season of the year. These are known as the laws of dots (TEN PO); the saying TEN TAI SAN NEN indicates that it takes three years to make them correctly.

They are as follows:

The drooping wistaria dot (SUI TO TEN) _(Plate x.x.xII a)_ for spring effects.

The chrysanthemum dot (KIKU KWA TEN) _(Plate x.x.xII b)_ used in summer foliage.

The wheel spoke dot (SHA RIN SHIN) _(Plate x.x.xIII a)_, being the pine-needle stroke and used for pine trees.

The Chinese character for the verb "to save" (KAI JI TEN) _(Plate x.x.xIII b)_, used for both trees and shrubbery.

The pepper dot (KOSHOTEN) _(Plate x.x.xIV a)_. This dot requires great dexterity and free wrist movement. It will be observed that the dots are made to vary in size but are all given the same direction.

The mouse footprints (SO SOKU TEN) _(Plate x.x.xIV b)_, used for cryptomeria and other like trees.