The water-fowl design, called midsu tori.CHAPTER SEVEN. SIGNATURES AND SEALSThere are many books upon the subject of signing and authenticating a painting. Two well-known works are“Gwa Jo Yo Ryaku”and“Dai Ga Shi San.”In China literary men often add descriptive matter to their paintings, writing prominently thereon:“In a dream last night I witnessed the scene I here attempt to reproduce,”or“On a boating excursion we saw this pine tree shading the banks of the river.”Such additions to the picture enable the artist to exhibit his skill as an expert writer and are considered to heighten the general effect. Often original poetry takes the place of prose. The year, month and day will be added, followed by the signature of the writer, with some self-depreciatory term, such as“fisherman of the North Sea,”“mountain wood-chopper”or“hermit dwelling amid the clouds and rocks.”Such signature, with one or more seals scattered over the face of the work, is in art calledrakkwan,signifying“completed.”[pg 101]In Japan a somewhat different way of signing prevails. The artist's signature with his seal under it is appended to the painting, not in a conspicuous but in the least prominent part of it.Painters of the Tosa, Fujiwara, Sumiyoshi and Kasuga schools in signing their work first wrote above their signatures their office and rank,e. g.,Unemi no Kami or Shikibu Gondai no Kami in the square or round Chinese characters.The Kano artists signed their names in round characters(gyo sho)and did not add their secular rank or office but wrote before their signatures their Buddhist titles; thus,HoganMotonobu,Ho KyoNaganobu,HoinTsunenobu. In the Maruyama period all titles and rank were omitted and simply the name(namae)or thenom de plume(go)was written,—thus, Okyo, Goshun, Tessan, Bun Cho—strict attention being paid, however, to executing the Chinese characters for such signatures in both an artistic and strikingly attractive way, whether written in one or another of the three usual forms technically calledshin, so, gyo.The date,nen go,preceding the signature upon a painting is often indicated by the use of one of the twelve horary characters(ju ni shi)along with one of the ten calendar signs(ju ran).These, in orderly arrangement, comprehend a cycle of sixty years; in other words, they are never united the same way or coincide but once during that period. No artist under sixty should, in signing his work, allude to his age, much less state his years. For him to be able to write seventy-seven before his name is[pg 102]most auspicious—one way of writingkotobuki,the luckiest word in Japanese, being to employ two sevens which, thus compounded, is said to be theso shocharacter for that word. Very young persons are permitted in signing their paintings or writings to add their exact ages up to thirteen.Where Chinese literary artists add poems to their paintings as many as eight seals may be observed thereon. In Japanese paintings never more than two seals are used and these follow and authenticate the signature.The correct distance at which akakemonois to be viewed is the width of a mat(tatami)from the alcove where the picture is hung. It is bad form to look at it standing. Before critically examining the work a Japanese will scrutinize the artist's signature and seal. It is a cardinal rule in Japan that the signature be affixed so as not to interfere with the scheme of the picture or attract the eye. If the picture looks to the right the signature and seal should be placed on the left, andvice versa;if the principal interest is in the upper part of a picture these should be placed lower down, andvice versa.As every painting has its division intoinandyotherakkwanis placed inin.Some artists partially cover their signatures with their seal impression. Lady artists add to their signatures the characterjo, meaning woman. Veteran painters will sometimes write before their signatures the character for old man(okina).The artist's seal is often a work of art and his family name(myoji)or his artist name(go)is usually[pg 103]engraved thereon with the Chinese seal characters calledten sho.Where two seals are affixed below the signature one may contain a classic aphorism, liketai bi fu gen(the truly beautiful is indescribable) orchu yo(keep the middle path). Before seals were used writings were authenticated by scrolls calledkakihan.Even now such scrolls are used. The principles on which they are shaped are derived from astrological lore(eki).Seal engravers deservedly enjoy renown for learning and skill. To carve a seal is the recognized accomplishment of a gentleman, and the most famous living seal engraver in Japan is an amateur. Seals are of jade, rock crystal, precious woods, Formosa bamboo root, gold, silver or ivory. The best hard stone for seals comes from China and is known as the cock's comb(kei ketsu seki).An artist during his career will collect numbers of valuable seals for his own use. These at his death may be given to favorite pupils or kept as house treasures. Bairei left instructions to have many of his seals destroyed.The seal paste(niku)is made of Diana weed(mogusa)dried for three years, or of a plant calledyomogi,or with soft, finely chopped rabbit hair boiled in castor oil for one hundred hours with white wax and then colored red, brown, blue or tea color. The seal should be carefully wiped after it is used, otherwise this paste hardens upon it.Japanese paintings are seldom framed, as frames take too much room. Frames are used chiefly for Chinese writings, hung high in public places or[pg 106]about the dwelling, and are calledgaku,meaning“forehead,”in allusion to raising the head to read what the frame contains. It is etiquette that such framed writings be signed with the real name rather than thenom de plume.Two kinds of seals are affixed to the frame: One, on the right, at the beginning of the writing, and calledyu in,containing some precept or maxim; and one or two, on the left, after the signature, bearing the artist's name and any other appropriate designation. All writings in Chinese or Japanese read from right to left, and frequently are the sole ornament of a pair of screens.For the guidance of experts who pass on the genuineness of Japanese paintings there is a well-known publication,“Gwa Ka Rakkwan In Shin,”by Kano Jushin, which contains reproductions in fac simile of the signatures and seals of all the celebrated artists of the remote and recent past.In concluding this work, which I am conscious is but an imperfect survey of a vast and intricate subject, I would call attention to the fact that in both Europe and America there is a wonderful awakening to the dignity, simplicity and beauty of Japanese art. This is largely to be attributed to the careful and scholarly writings and publications of Messrs. Anderson, Binyon, Morrison and Strange in England, Fenollosa in the United states, DeGoncourt, Gonse and Bing in France, Seidlitz in Germany, and Brinkley and Okakura in Japan; and all students of art must render to them the homage of their sincere admiration.[pg 105]The object of all art, as Cicero has truly said, is to soften the manners, by training the heart and mind to right thoughts and worthy sentiments. To such end nothing will more surely contribute than a faithful study of the painting art of Japan, and the further we investigate and appreciate its principles the more we will multiply those hours which the sun-dial registers,—the serene and cheerful moments of existence.EXPLANATION OF HEAD-BANDSDESIGN OF TITLE PAGE. Butterflies and birds, known ascho tori.CHAPTER ONE. The flower and leaves of the peony (botan), as conventionalized on ancient armor (yoroi).CHAPTER TWO. Fan-shaped leaves of theichoorgin nan(Salisburiana), placed in books in China and Japan to prevent the ravages of the bookworm.CHAPTER THREE. The design called“Dew on the Grass and Butterflies”(tsuyu, kusa ni cho).CHAPTER FOUR. The pattern (moyo) known as bamboo and the swelling sparrow (take nifukura susume). The parts of the bird are amusingly conventionalized—in the Korin manner. The wordfukurawritten in Chinese contains the lucky characterfuku(happiness).CHAPTER FIVE. Maple leaves are associated with Ten Jin (Sugiwara Michizane), patron of learning. Children in invoking his aid in a little prayer count the points of the maple leaf, saying,“yoku te agaru”—assist us to be clever. In Japanese the maple leaf is calledkaide, meaning frog's hand.CHAPTER SIX. The chrysanthemum pattern.CHAPTER SEVEN. The water-fowl design, calledmidsu tori.[pg 109]PLATES EXPLANATORY OF THE FOREGOING TEXT ON THE LAWS OF JAPANESE PAINTINGThe Eight Ways of Painting in Color, Called the Laws of Coloring3Most Careful Method of Laying on Color. Plate VIIII.Most Careful Method of Laying on Color. Plate VIIII.The Next Best Method. Plate X.The Next Best Method. Plate X.The Light Water-Color Method. Plate XI.The Light Water-Color Method. Plate XI.Color With Outlines Suppressed. Plate XII.Color With Outlines Suppressed. Plate XII.Color Over Lines. Plate XIII.Color Over Lines. Plate XIII.Light Reddish-Brown Method. Plate XIV.Light Reddish-Brown Method. Plate XIV.The White Pattern. Plate XV.The White Pattern. Plate XV.The Black or Sumi Method. Plate XVI.The Black or Sumi Method. Plate XVI.Landscapes, Birds, Trees and StreamsThe Rule of Proportion in Landscapes. Plate XVII.The Rule of Proportion in Landscapes. Plate XVII.Heaven, Earth, Man. Plate XVIII.Heaven, Earth, Man. Plate XVIII.Pine Tree Branches. Plate XIX.Pine Tree Branches. Plate XIX.Winding Streams. Plate XX.Winding Streams. Plate XX.A Tree and Its Parts. Plate XXI.A Tree and Its Parts. Plate XXI.Bird and Its Subdivisions. Plate XXII.Bird and Its Subdivisions. Plate XXII.Laws of LedgesPeeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII.Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII.Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.Laws of Trees and RocksThe Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII.The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII.Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII.Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII.Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX.Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX.Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2). Rock Construction as Practiced in Art (3 and 4). Plate XXX.Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2). Rock Construction as Practiced in Art (3 and 4). Plate XXX.Different Ways of Painting Rocks and Ledges. Plate XXXI.Different Ways of Painting Rocks and Ledges. Plate XXXI.Laws of DotsWistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.Wheel-Spoke Dot (a). Kai Ji Dot (b). Plate XXXIII.Wheel-Spoke Dot (a).Kai JiDot (b). Plate XXXIII.Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.Serrated Dot (a). Ichi Ji dot (b). Plate XXXV.Serrated Dot (a).Ichi Jidot (b). Plate XXXV.Heart Dot (a). Hitsu Ji Dot (b). Plate XXXVI.Heart Dot (a).Hitsu JiDot (b). Plate XXXVI.Rice Dot (a). Haku Yo Dot (b). Plate XXXVII.Rice Dot (a).Haku YoDot (b). Plate XXXVII.Laws of Waves and Moving WatersWaves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.Sea Waves (a). Brook Waves (b). Plate XXXIX.Sea Waves (a). Brook Waves (b). Plate XXXIX.Storm Waves. Plate XL.Storm Waves. Plate XL.Laws of Lines of the GarmentSilk-Thread Line (upper). Koto string Line (lower). Plate XLI.Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.Rusty-Nail and Old-Post Line (upper). Date-Seed Line (lower). Plate XLV.Rusty-Nail and Old-Post Line (upper). Date-Seed Line (lower). Plate XLV.Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.Laws of the Four ParagonsThe Plum Tree and Blossom. Plate L.The Plum Tree and Blossom. Plate L.The Chrysanthemum Flower and Leaves. Plate LI.The Chrysanthemum Flower and Leaves. Plate LI.The Orchid Plant and Flower. Plate LII.The Orchid Plant and Flower. Plate LII.The Bamboo Plant and Leaves. Plate LIII.The Bamboo Plant and Leaves. Plate LIII.Painting SubjectsSunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV.Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV.Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV.Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV.Sun and Waves (1). Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI.Sun and Waves (1). Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI.Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII.Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII.Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX.Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX.Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX.Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX.Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII.Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII.Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII.Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII.Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV.Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV.Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.
The water-fowl design, called midsu tori.CHAPTER SEVEN. SIGNATURES AND SEALSThere are many books upon the subject of signing and authenticating a painting. Two well-known works are“Gwa Jo Yo Ryaku”and“Dai Ga Shi San.”In China literary men often add descriptive matter to their paintings, writing prominently thereon:“In a dream last night I witnessed the scene I here attempt to reproduce,”or“On a boating excursion we saw this pine tree shading the banks of the river.”Such additions to the picture enable the artist to exhibit his skill as an expert writer and are considered to heighten the general effect. Often original poetry takes the place of prose. The year, month and day will be added, followed by the signature of the writer, with some self-depreciatory term, such as“fisherman of the North Sea,”“mountain wood-chopper”or“hermit dwelling amid the clouds and rocks.”Such signature, with one or more seals scattered over the face of the work, is in art calledrakkwan,signifying“completed.”[pg 101]In Japan a somewhat different way of signing prevails. The artist's signature with his seal under it is appended to the painting, not in a conspicuous but in the least prominent part of it.Painters of the Tosa, Fujiwara, Sumiyoshi and Kasuga schools in signing their work first wrote above their signatures their office and rank,e. g.,Unemi no Kami or Shikibu Gondai no Kami in the square or round Chinese characters.The Kano artists signed their names in round characters(gyo sho)and did not add their secular rank or office but wrote before their signatures their Buddhist titles; thus,HoganMotonobu,Ho KyoNaganobu,HoinTsunenobu. In the Maruyama period all titles and rank were omitted and simply the name(namae)or thenom de plume(go)was written,—thus, Okyo, Goshun, Tessan, Bun Cho—strict attention being paid, however, to executing the Chinese characters for such signatures in both an artistic and strikingly attractive way, whether written in one or another of the three usual forms technically calledshin, so, gyo.The date,nen go,preceding the signature upon a painting is often indicated by the use of one of the twelve horary characters(ju ni shi)along with one of the ten calendar signs(ju ran).These, in orderly arrangement, comprehend a cycle of sixty years; in other words, they are never united the same way or coincide but once during that period. No artist under sixty should, in signing his work, allude to his age, much less state his years. For him to be able to write seventy-seven before his name is[pg 102]most auspicious—one way of writingkotobuki,the luckiest word in Japanese, being to employ two sevens which, thus compounded, is said to be theso shocharacter for that word. Very young persons are permitted in signing their paintings or writings to add their exact ages up to thirteen.Where Chinese literary artists add poems to their paintings as many as eight seals may be observed thereon. In Japanese paintings never more than two seals are used and these follow and authenticate the signature.The correct distance at which akakemonois to be viewed is the width of a mat(tatami)from the alcove where the picture is hung. It is bad form to look at it standing. Before critically examining the work a Japanese will scrutinize the artist's signature and seal. It is a cardinal rule in Japan that the signature be affixed so as not to interfere with the scheme of the picture or attract the eye. If the picture looks to the right the signature and seal should be placed on the left, andvice versa;if the principal interest is in the upper part of a picture these should be placed lower down, andvice versa.As every painting has its division intoinandyotherakkwanis placed inin.Some artists partially cover their signatures with their seal impression. Lady artists add to their signatures the characterjo, meaning woman. Veteran painters will sometimes write before their signatures the character for old man(okina).The artist's seal is often a work of art and his family name(myoji)or his artist name(go)is usually[pg 103]engraved thereon with the Chinese seal characters calledten sho.Where two seals are affixed below the signature one may contain a classic aphorism, liketai bi fu gen(the truly beautiful is indescribable) orchu yo(keep the middle path). Before seals were used writings were authenticated by scrolls calledkakihan.Even now such scrolls are used. The principles on which they are shaped are derived from astrological lore(eki).Seal engravers deservedly enjoy renown for learning and skill. To carve a seal is the recognized accomplishment of a gentleman, and the most famous living seal engraver in Japan is an amateur. Seals are of jade, rock crystal, precious woods, Formosa bamboo root, gold, silver or ivory. The best hard stone for seals comes from China and is known as the cock's comb(kei ketsu seki).An artist during his career will collect numbers of valuable seals for his own use. These at his death may be given to favorite pupils or kept as house treasures. Bairei left instructions to have many of his seals destroyed.The seal paste(niku)is made of Diana weed(mogusa)dried for three years, or of a plant calledyomogi,or with soft, finely chopped rabbit hair boiled in castor oil for one hundred hours with white wax and then colored red, brown, blue or tea color. The seal should be carefully wiped after it is used, otherwise this paste hardens upon it.Japanese paintings are seldom framed, as frames take too much room. Frames are used chiefly for Chinese writings, hung high in public places or[pg 106]about the dwelling, and are calledgaku,meaning“forehead,”in allusion to raising the head to read what the frame contains. It is etiquette that such framed writings be signed with the real name rather than thenom de plume.Two kinds of seals are affixed to the frame: One, on the right, at the beginning of the writing, and calledyu in,containing some precept or maxim; and one or two, on the left, after the signature, bearing the artist's name and any other appropriate designation. All writings in Chinese or Japanese read from right to left, and frequently are the sole ornament of a pair of screens.For the guidance of experts who pass on the genuineness of Japanese paintings there is a well-known publication,“Gwa Ka Rakkwan In Shin,”by Kano Jushin, which contains reproductions in fac simile of the signatures and seals of all the celebrated artists of the remote and recent past.In concluding this work, which I am conscious is but an imperfect survey of a vast and intricate subject, I would call attention to the fact that in both Europe and America there is a wonderful awakening to the dignity, simplicity and beauty of Japanese art. This is largely to be attributed to the careful and scholarly writings and publications of Messrs. Anderson, Binyon, Morrison and Strange in England, Fenollosa in the United states, DeGoncourt, Gonse and Bing in France, Seidlitz in Germany, and Brinkley and Okakura in Japan; and all students of art must render to them the homage of their sincere admiration.[pg 105]The object of all art, as Cicero has truly said, is to soften the manners, by training the heart and mind to right thoughts and worthy sentiments. To such end nothing will more surely contribute than a faithful study of the painting art of Japan, and the further we investigate and appreciate its principles the more we will multiply those hours which the sun-dial registers,—the serene and cheerful moments of existence.EXPLANATION OF HEAD-BANDSDESIGN OF TITLE PAGE. Butterflies and birds, known ascho tori.CHAPTER ONE. The flower and leaves of the peony (botan), as conventionalized on ancient armor (yoroi).CHAPTER TWO. Fan-shaped leaves of theichoorgin nan(Salisburiana), placed in books in China and Japan to prevent the ravages of the bookworm.CHAPTER THREE. The design called“Dew on the Grass and Butterflies”(tsuyu, kusa ni cho).CHAPTER FOUR. The pattern (moyo) known as bamboo and the swelling sparrow (take nifukura susume). The parts of the bird are amusingly conventionalized—in the Korin manner. The wordfukurawritten in Chinese contains the lucky characterfuku(happiness).CHAPTER FIVE. Maple leaves are associated with Ten Jin (Sugiwara Michizane), patron of learning. Children in invoking his aid in a little prayer count the points of the maple leaf, saying,“yoku te agaru”—assist us to be clever. In Japanese the maple leaf is calledkaide, meaning frog's hand.CHAPTER SIX. The chrysanthemum pattern.CHAPTER SEVEN. The water-fowl design, calledmidsu tori.[pg 109]PLATES EXPLANATORY OF THE FOREGOING TEXT ON THE LAWS OF JAPANESE PAINTINGThe Eight Ways of Painting in Color, Called the Laws of Coloring3Most Careful Method of Laying on Color. Plate VIIII.Most Careful Method of Laying on Color. Plate VIIII.The Next Best Method. Plate X.The Next Best Method. Plate X.The Light Water-Color Method. Plate XI.The Light Water-Color Method. Plate XI.Color With Outlines Suppressed. Plate XII.Color With Outlines Suppressed. Plate XII.Color Over Lines. Plate XIII.Color Over Lines. Plate XIII.Light Reddish-Brown Method. Plate XIV.Light Reddish-Brown Method. Plate XIV.The White Pattern. Plate XV.The White Pattern. Plate XV.The Black or Sumi Method. Plate XVI.The Black or Sumi Method. Plate XVI.Landscapes, Birds, Trees and StreamsThe Rule of Proportion in Landscapes. Plate XVII.The Rule of Proportion in Landscapes. Plate XVII.Heaven, Earth, Man. Plate XVIII.Heaven, Earth, Man. Plate XVIII.Pine Tree Branches. Plate XIX.Pine Tree Branches. Plate XIX.Winding Streams. Plate XX.Winding Streams. Plate XX.A Tree and Its Parts. Plate XXI.A Tree and Its Parts. Plate XXI.Bird and Its Subdivisions. Plate XXII.Bird and Its Subdivisions. Plate XXII.Laws of LedgesPeeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII.Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII.Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.Laws of Trees and RocksThe Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII.The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII.Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII.Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII.Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX.Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX.Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2). Rock Construction as Practiced in Art (3 and 4). Plate XXX.Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2). Rock Construction as Practiced in Art (3 and 4). Plate XXX.Different Ways of Painting Rocks and Ledges. Plate XXXI.Different Ways of Painting Rocks and Ledges. Plate XXXI.Laws of DotsWistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.Wheel-Spoke Dot (a). Kai Ji Dot (b). Plate XXXIII.Wheel-Spoke Dot (a).Kai JiDot (b). Plate XXXIII.Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.Serrated Dot (a). Ichi Ji dot (b). Plate XXXV.Serrated Dot (a).Ichi Jidot (b). Plate XXXV.Heart Dot (a). Hitsu Ji Dot (b). Plate XXXVI.Heart Dot (a).Hitsu JiDot (b). Plate XXXVI.Rice Dot (a). Haku Yo Dot (b). Plate XXXVII.Rice Dot (a).Haku YoDot (b). Plate XXXVII.Laws of Waves and Moving WatersWaves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.Sea Waves (a). Brook Waves (b). Plate XXXIX.Sea Waves (a). Brook Waves (b). Plate XXXIX.Storm Waves. Plate XL.Storm Waves. Plate XL.Laws of Lines of the GarmentSilk-Thread Line (upper). Koto string Line (lower). Plate XLI.Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.Rusty-Nail and Old-Post Line (upper). Date-Seed Line (lower). Plate XLV.Rusty-Nail and Old-Post Line (upper). Date-Seed Line (lower). Plate XLV.Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.Laws of the Four ParagonsThe Plum Tree and Blossom. Plate L.The Plum Tree and Blossom. Plate L.The Chrysanthemum Flower and Leaves. Plate LI.The Chrysanthemum Flower and Leaves. Plate LI.The Orchid Plant and Flower. Plate LII.The Orchid Plant and Flower. Plate LII.The Bamboo Plant and Leaves. Plate LIII.The Bamboo Plant and Leaves. Plate LIII.Painting SubjectsSunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV.Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV.Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV.Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV.Sun and Waves (1). Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI.Sun and Waves (1). Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI.Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII.Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII.Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX.Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX.Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX.Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX.Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII.Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII.Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII.Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII.Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV.Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV.Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.
The water-fowl design, called midsu tori.CHAPTER SEVEN. SIGNATURES AND SEALSThere are many books upon the subject of signing and authenticating a painting. Two well-known works are“Gwa Jo Yo Ryaku”and“Dai Ga Shi San.”In China literary men often add descriptive matter to their paintings, writing prominently thereon:“In a dream last night I witnessed the scene I here attempt to reproduce,”or“On a boating excursion we saw this pine tree shading the banks of the river.”Such additions to the picture enable the artist to exhibit his skill as an expert writer and are considered to heighten the general effect. Often original poetry takes the place of prose. The year, month and day will be added, followed by the signature of the writer, with some self-depreciatory term, such as“fisherman of the North Sea,”“mountain wood-chopper”or“hermit dwelling amid the clouds and rocks.”Such signature, with one or more seals scattered over the face of the work, is in art calledrakkwan,signifying“completed.”[pg 101]In Japan a somewhat different way of signing prevails. The artist's signature with his seal under it is appended to the painting, not in a conspicuous but in the least prominent part of it.Painters of the Tosa, Fujiwara, Sumiyoshi and Kasuga schools in signing their work first wrote above their signatures their office and rank,e. g.,Unemi no Kami or Shikibu Gondai no Kami in the square or round Chinese characters.The Kano artists signed their names in round characters(gyo sho)and did not add their secular rank or office but wrote before their signatures their Buddhist titles; thus,HoganMotonobu,Ho KyoNaganobu,HoinTsunenobu. In the Maruyama period all titles and rank were omitted and simply the name(namae)or thenom de plume(go)was written,—thus, Okyo, Goshun, Tessan, Bun Cho—strict attention being paid, however, to executing the Chinese characters for such signatures in both an artistic and strikingly attractive way, whether written in one or another of the three usual forms technically calledshin, so, gyo.The date,nen go,preceding the signature upon a painting is often indicated by the use of one of the twelve horary characters(ju ni shi)along with one of the ten calendar signs(ju ran).These, in orderly arrangement, comprehend a cycle of sixty years; in other words, they are never united the same way or coincide but once during that period. No artist under sixty should, in signing his work, allude to his age, much less state his years. For him to be able to write seventy-seven before his name is[pg 102]most auspicious—one way of writingkotobuki,the luckiest word in Japanese, being to employ two sevens which, thus compounded, is said to be theso shocharacter for that word. Very young persons are permitted in signing their paintings or writings to add their exact ages up to thirteen.Where Chinese literary artists add poems to their paintings as many as eight seals may be observed thereon. In Japanese paintings never more than two seals are used and these follow and authenticate the signature.The correct distance at which akakemonois to be viewed is the width of a mat(tatami)from the alcove where the picture is hung. It is bad form to look at it standing. Before critically examining the work a Japanese will scrutinize the artist's signature and seal. It is a cardinal rule in Japan that the signature be affixed so as not to interfere with the scheme of the picture or attract the eye. If the picture looks to the right the signature and seal should be placed on the left, andvice versa;if the principal interest is in the upper part of a picture these should be placed lower down, andvice versa.As every painting has its division intoinandyotherakkwanis placed inin.Some artists partially cover their signatures with their seal impression. Lady artists add to their signatures the characterjo, meaning woman. Veteran painters will sometimes write before their signatures the character for old man(okina).The artist's seal is often a work of art and his family name(myoji)or his artist name(go)is usually[pg 103]engraved thereon with the Chinese seal characters calledten sho.Where two seals are affixed below the signature one may contain a classic aphorism, liketai bi fu gen(the truly beautiful is indescribable) orchu yo(keep the middle path). Before seals were used writings were authenticated by scrolls calledkakihan.Even now such scrolls are used. The principles on which they are shaped are derived from astrological lore(eki).Seal engravers deservedly enjoy renown for learning and skill. To carve a seal is the recognized accomplishment of a gentleman, and the most famous living seal engraver in Japan is an amateur. Seals are of jade, rock crystal, precious woods, Formosa bamboo root, gold, silver or ivory. The best hard stone for seals comes from China and is known as the cock's comb(kei ketsu seki).An artist during his career will collect numbers of valuable seals for his own use. These at his death may be given to favorite pupils or kept as house treasures. Bairei left instructions to have many of his seals destroyed.The seal paste(niku)is made of Diana weed(mogusa)dried for three years, or of a plant calledyomogi,or with soft, finely chopped rabbit hair boiled in castor oil for one hundred hours with white wax and then colored red, brown, blue or tea color. The seal should be carefully wiped after it is used, otherwise this paste hardens upon it.Japanese paintings are seldom framed, as frames take too much room. Frames are used chiefly for Chinese writings, hung high in public places or[pg 106]about the dwelling, and are calledgaku,meaning“forehead,”in allusion to raising the head to read what the frame contains. It is etiquette that such framed writings be signed with the real name rather than thenom de plume.Two kinds of seals are affixed to the frame: One, on the right, at the beginning of the writing, and calledyu in,containing some precept or maxim; and one or two, on the left, after the signature, bearing the artist's name and any other appropriate designation. All writings in Chinese or Japanese read from right to left, and frequently are the sole ornament of a pair of screens.For the guidance of experts who pass on the genuineness of Japanese paintings there is a well-known publication,“Gwa Ka Rakkwan In Shin,”by Kano Jushin, which contains reproductions in fac simile of the signatures and seals of all the celebrated artists of the remote and recent past.In concluding this work, which I am conscious is but an imperfect survey of a vast and intricate subject, I would call attention to the fact that in both Europe and America there is a wonderful awakening to the dignity, simplicity and beauty of Japanese art. This is largely to be attributed to the careful and scholarly writings and publications of Messrs. Anderson, Binyon, Morrison and Strange in England, Fenollosa in the United states, DeGoncourt, Gonse and Bing in France, Seidlitz in Germany, and Brinkley and Okakura in Japan; and all students of art must render to them the homage of their sincere admiration.[pg 105]The object of all art, as Cicero has truly said, is to soften the manners, by training the heart and mind to right thoughts and worthy sentiments. To such end nothing will more surely contribute than a faithful study of the painting art of Japan, and the further we investigate and appreciate its principles the more we will multiply those hours which the sun-dial registers,—the serene and cheerful moments of existence.
The water-fowl design, called midsu tori.
There are many books upon the subject of signing and authenticating a painting. Two well-known works are“Gwa Jo Yo Ryaku”and“Dai Ga Shi San.”In China literary men often add descriptive matter to their paintings, writing prominently thereon:“In a dream last night I witnessed the scene I here attempt to reproduce,”or“On a boating excursion we saw this pine tree shading the banks of the river.”Such additions to the picture enable the artist to exhibit his skill as an expert writer and are considered to heighten the general effect. Often original poetry takes the place of prose. The year, month and day will be added, followed by the signature of the writer, with some self-depreciatory term, such as“fisherman of the North Sea,”“mountain wood-chopper”or“hermit dwelling amid the clouds and rocks.”Such signature, with one or more seals scattered over the face of the work, is in art calledrakkwan,signifying“completed.”
In Japan a somewhat different way of signing prevails. The artist's signature with his seal under it is appended to the painting, not in a conspicuous but in the least prominent part of it.
Painters of the Tosa, Fujiwara, Sumiyoshi and Kasuga schools in signing their work first wrote above their signatures their office and rank,e. g.,Unemi no Kami or Shikibu Gondai no Kami in the square or round Chinese characters.
The Kano artists signed their names in round characters(gyo sho)and did not add their secular rank or office but wrote before their signatures their Buddhist titles; thus,HoganMotonobu,Ho KyoNaganobu,HoinTsunenobu. In the Maruyama period all titles and rank were omitted and simply the name(namae)or thenom de plume(go)was written,—thus, Okyo, Goshun, Tessan, Bun Cho—strict attention being paid, however, to executing the Chinese characters for such signatures in both an artistic and strikingly attractive way, whether written in one or another of the three usual forms technically calledshin, so, gyo.
The date,nen go,preceding the signature upon a painting is often indicated by the use of one of the twelve horary characters(ju ni shi)along with one of the ten calendar signs(ju ran).These, in orderly arrangement, comprehend a cycle of sixty years; in other words, they are never united the same way or coincide but once during that period. No artist under sixty should, in signing his work, allude to his age, much less state his years. For him to be able to write seventy-seven before his name is[pg 102]most auspicious—one way of writingkotobuki,the luckiest word in Japanese, being to employ two sevens which, thus compounded, is said to be theso shocharacter for that word. Very young persons are permitted in signing their paintings or writings to add their exact ages up to thirteen.
Where Chinese literary artists add poems to their paintings as many as eight seals may be observed thereon. In Japanese paintings never more than two seals are used and these follow and authenticate the signature.
The correct distance at which akakemonois to be viewed is the width of a mat(tatami)from the alcove where the picture is hung. It is bad form to look at it standing. Before critically examining the work a Japanese will scrutinize the artist's signature and seal. It is a cardinal rule in Japan that the signature be affixed so as not to interfere with the scheme of the picture or attract the eye. If the picture looks to the right the signature and seal should be placed on the left, andvice versa;if the principal interest is in the upper part of a picture these should be placed lower down, andvice versa.As every painting has its division intoinandyotherakkwanis placed inin.Some artists partially cover their signatures with their seal impression. Lady artists add to their signatures the characterjo, meaning woman. Veteran painters will sometimes write before their signatures the character for old man(okina).
The artist's seal is often a work of art and his family name(myoji)or his artist name(go)is usually[pg 103]engraved thereon with the Chinese seal characters calledten sho.Where two seals are affixed below the signature one may contain a classic aphorism, liketai bi fu gen(the truly beautiful is indescribable) orchu yo(keep the middle path). Before seals were used writings were authenticated by scrolls calledkakihan.Even now such scrolls are used. The principles on which they are shaped are derived from astrological lore(eki).Seal engravers deservedly enjoy renown for learning and skill. To carve a seal is the recognized accomplishment of a gentleman, and the most famous living seal engraver in Japan is an amateur. Seals are of jade, rock crystal, precious woods, Formosa bamboo root, gold, silver or ivory. The best hard stone for seals comes from China and is known as the cock's comb(kei ketsu seki).
An artist during his career will collect numbers of valuable seals for his own use. These at his death may be given to favorite pupils or kept as house treasures. Bairei left instructions to have many of his seals destroyed.
The seal paste(niku)is made of Diana weed(mogusa)dried for three years, or of a plant calledyomogi,or with soft, finely chopped rabbit hair boiled in castor oil for one hundred hours with white wax and then colored red, brown, blue or tea color. The seal should be carefully wiped after it is used, otherwise this paste hardens upon it.
Japanese paintings are seldom framed, as frames take too much room. Frames are used chiefly for Chinese writings, hung high in public places or[pg 106]about the dwelling, and are calledgaku,meaning“forehead,”in allusion to raising the head to read what the frame contains. It is etiquette that such framed writings be signed with the real name rather than thenom de plume.
Two kinds of seals are affixed to the frame: One, on the right, at the beginning of the writing, and calledyu in,containing some precept or maxim; and one or two, on the left, after the signature, bearing the artist's name and any other appropriate designation. All writings in Chinese or Japanese read from right to left, and frequently are the sole ornament of a pair of screens.
For the guidance of experts who pass on the genuineness of Japanese paintings there is a well-known publication,“Gwa Ka Rakkwan In Shin,”by Kano Jushin, which contains reproductions in fac simile of the signatures and seals of all the celebrated artists of the remote and recent past.
In concluding this work, which I am conscious is but an imperfect survey of a vast and intricate subject, I would call attention to the fact that in both Europe and America there is a wonderful awakening to the dignity, simplicity and beauty of Japanese art. This is largely to be attributed to the careful and scholarly writings and publications of Messrs. Anderson, Binyon, Morrison and Strange in England, Fenollosa in the United states, DeGoncourt, Gonse and Bing in France, Seidlitz in Germany, and Brinkley and Okakura in Japan; and all students of art must render to them the homage of their sincere admiration.
The object of all art, as Cicero has truly said, is to soften the manners, by training the heart and mind to right thoughts and worthy sentiments. To such end nothing will more surely contribute than a faithful study of the painting art of Japan, and the further we investigate and appreciate its principles the more we will multiply those hours which the sun-dial registers,—the serene and cheerful moments of existence.
EXPLANATION OF HEAD-BANDSDESIGN OF TITLE PAGE. Butterflies and birds, known ascho tori.CHAPTER ONE. The flower and leaves of the peony (botan), as conventionalized on ancient armor (yoroi).CHAPTER TWO. Fan-shaped leaves of theichoorgin nan(Salisburiana), placed in books in China and Japan to prevent the ravages of the bookworm.CHAPTER THREE. The design called“Dew on the Grass and Butterflies”(tsuyu, kusa ni cho).CHAPTER FOUR. The pattern (moyo) known as bamboo and the swelling sparrow (take nifukura susume). The parts of the bird are amusingly conventionalized—in the Korin manner. The wordfukurawritten in Chinese contains the lucky characterfuku(happiness).CHAPTER FIVE. Maple leaves are associated with Ten Jin (Sugiwara Michizane), patron of learning. Children in invoking his aid in a little prayer count the points of the maple leaf, saying,“yoku te agaru”—assist us to be clever. In Japanese the maple leaf is calledkaide, meaning frog's hand.CHAPTER SIX. The chrysanthemum pattern.CHAPTER SEVEN. The water-fowl design, calledmidsu tori.[pg 109]
DESIGN OF TITLE PAGE. Butterflies and birds, known ascho tori.
CHAPTER ONE. The flower and leaves of the peony (botan), as conventionalized on ancient armor (yoroi).
CHAPTER TWO. Fan-shaped leaves of theichoorgin nan(Salisburiana), placed in books in China and Japan to prevent the ravages of the bookworm.
CHAPTER THREE. The design called“Dew on the Grass and Butterflies”(tsuyu, kusa ni cho).
CHAPTER FOUR. The pattern (moyo) known as bamboo and the swelling sparrow (take nifukura susume). The parts of the bird are amusingly conventionalized—in the Korin manner. The wordfukurawritten in Chinese contains the lucky characterfuku(happiness).
CHAPTER FIVE. Maple leaves are associated with Ten Jin (Sugiwara Michizane), patron of learning. Children in invoking his aid in a little prayer count the points of the maple leaf, saying,“yoku te agaru”—assist us to be clever. In Japanese the maple leaf is calledkaide, meaning frog's hand.
CHAPTER SIX. The chrysanthemum pattern.
CHAPTER SEVEN. The water-fowl design, calledmidsu tori.
PLATES EXPLANATORY OF THE FOREGOING TEXT ON THE LAWS OF JAPANESE PAINTINGThe Eight Ways of Painting in Color, Called the Laws of Coloring3Most Careful Method of Laying on Color. Plate VIIII.Most Careful Method of Laying on Color. Plate VIIII.The Next Best Method. Plate X.The Next Best Method. Plate X.The Light Water-Color Method. Plate XI.The Light Water-Color Method. Plate XI.Color With Outlines Suppressed. Plate XII.Color With Outlines Suppressed. Plate XII.Color Over Lines. Plate XIII.Color Over Lines. Plate XIII.Light Reddish-Brown Method. Plate XIV.Light Reddish-Brown Method. Plate XIV.The White Pattern. Plate XV.The White Pattern. Plate XV.The Black or Sumi Method. Plate XVI.The Black or Sumi Method. Plate XVI.Landscapes, Birds, Trees and StreamsThe Rule of Proportion in Landscapes. Plate XVII.The Rule of Proportion in Landscapes. Plate XVII.Heaven, Earth, Man. Plate XVIII.Heaven, Earth, Man. Plate XVIII.Pine Tree Branches. Plate XIX.Pine Tree Branches. Plate XIX.Winding Streams. Plate XX.Winding Streams. Plate XX.A Tree and Its Parts. Plate XXI.A Tree and Its Parts. Plate XXI.Bird and Its Subdivisions. Plate XXII.Bird and Its Subdivisions. Plate XXII.Laws of LedgesPeeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII.Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII.Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.Laws of Trees and RocksThe Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII.The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII.Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII.Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII.Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX.Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX.Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2). Rock Construction as Practiced in Art (3 and 4). Plate XXX.Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2). Rock Construction as Practiced in Art (3 and 4). Plate XXX.Different Ways of Painting Rocks and Ledges. Plate XXXI.Different Ways of Painting Rocks and Ledges. Plate XXXI.Laws of DotsWistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.Wheel-Spoke Dot (a). Kai Ji Dot (b). Plate XXXIII.Wheel-Spoke Dot (a).Kai JiDot (b). Plate XXXIII.Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.Serrated Dot (a). Ichi Ji dot (b). Plate XXXV.Serrated Dot (a).Ichi Jidot (b). Plate XXXV.Heart Dot (a). Hitsu Ji Dot (b). Plate XXXVI.Heart Dot (a).Hitsu JiDot (b). Plate XXXVI.Rice Dot (a). Haku Yo Dot (b). Plate XXXVII.Rice Dot (a).Haku YoDot (b). Plate XXXVII.Laws of Waves and Moving WatersWaves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.Sea Waves (a). Brook Waves (b). Plate XXXIX.Sea Waves (a). Brook Waves (b). Plate XXXIX.Storm Waves. Plate XL.Storm Waves. Plate XL.Laws of Lines of the GarmentSilk-Thread Line (upper). Koto string Line (lower). Plate XLI.Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.Rusty-Nail and Old-Post Line (upper). Date-Seed Line (lower). Plate XLV.Rusty-Nail and Old-Post Line (upper). Date-Seed Line (lower). Plate XLV.Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.Laws of the Four ParagonsThe Plum Tree and Blossom. Plate L.The Plum Tree and Blossom. Plate L.The Chrysanthemum Flower and Leaves. Plate LI.The Chrysanthemum Flower and Leaves. Plate LI.The Orchid Plant and Flower. Plate LII.The Orchid Plant and Flower. Plate LII.The Bamboo Plant and Leaves. Plate LIII.The Bamboo Plant and Leaves. Plate LIII.Painting SubjectsSunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV.Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV.Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV.Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV.Sun and Waves (1). Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI.Sun and Waves (1). Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI.Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII.Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII.Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX.Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX.Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX.Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX.Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII.Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII.Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII.Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII.Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV.Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV.Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.
The Eight Ways of Painting in Color, Called the Laws of Coloring3Most Careful Method of Laying on Color. Plate VIIII.Most Careful Method of Laying on Color. Plate VIIII.The Next Best Method. Plate X.The Next Best Method. Plate X.The Light Water-Color Method. Plate XI.The Light Water-Color Method. Plate XI.Color With Outlines Suppressed. Plate XII.Color With Outlines Suppressed. Plate XII.Color Over Lines. Plate XIII.Color Over Lines. Plate XIII.Light Reddish-Brown Method. Plate XIV.Light Reddish-Brown Method. Plate XIV.The White Pattern. Plate XV.The White Pattern. Plate XV.The Black or Sumi Method. Plate XVI.The Black or Sumi Method. Plate XVI.
Most Careful Method of Laying on Color. Plate VIIII.Most Careful Method of Laying on Color. Plate VIIII.
Most Careful Method of Laying on Color. Plate VIIII.
The Next Best Method. Plate X.The Next Best Method. Plate X.
The Next Best Method. Plate X.
The Light Water-Color Method. Plate XI.The Light Water-Color Method. Plate XI.
The Light Water-Color Method. Plate XI.
Color With Outlines Suppressed. Plate XII.Color With Outlines Suppressed. Plate XII.
Color With Outlines Suppressed. Plate XII.
Color Over Lines. Plate XIII.Color Over Lines. Plate XIII.
Color Over Lines. Plate XIII.
Light Reddish-Brown Method. Plate XIV.Light Reddish-Brown Method. Plate XIV.
Light Reddish-Brown Method. Plate XIV.
The White Pattern. Plate XV.The White Pattern. Plate XV.
The White Pattern. Plate XV.
The Black or Sumi Method. Plate XVI.The Black or Sumi Method. Plate XVI.
The Black or Sumi Method. Plate XVI.
Landscapes, Birds, Trees and StreamsThe Rule of Proportion in Landscapes. Plate XVII.The Rule of Proportion in Landscapes. Plate XVII.Heaven, Earth, Man. Plate XVIII.Heaven, Earth, Man. Plate XVIII.Pine Tree Branches. Plate XIX.Pine Tree Branches. Plate XIX.Winding Streams. Plate XX.Winding Streams. Plate XX.A Tree and Its Parts. Plate XXI.A Tree and Its Parts. Plate XXI.Bird and Its Subdivisions. Plate XXII.Bird and Its Subdivisions. Plate XXII.
The Rule of Proportion in Landscapes. Plate XVII.The Rule of Proportion in Landscapes. Plate XVII.
The Rule of Proportion in Landscapes. Plate XVII.
Heaven, Earth, Man. Plate XVIII.Heaven, Earth, Man. Plate XVIII.
Heaven, Earth, Man. Plate XVIII.
Pine Tree Branches. Plate XIX.Pine Tree Branches. Plate XIX.
Pine Tree Branches. Plate XIX.
Winding Streams. Plate XX.Winding Streams. Plate XX.
Winding Streams. Plate XX.
A Tree and Its Parts. Plate XXI.A Tree and Its Parts. Plate XXI.
A Tree and Its Parts. Plate XXI.
Bird and Its Subdivisions. Plate XXII.Bird and Its Subdivisions. Plate XXII.
Bird and Its Subdivisions. Plate XXII.
Laws of LedgesPeeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII.Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII.Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.
Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII.Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII.
Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII.
Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.
Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.
Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.
Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.
Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.
Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.
Laws of Trees and RocksThe Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII.The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII.Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII.Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII.Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX.Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX.Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2). Rock Construction as Practiced in Art (3 and 4). Plate XXX.Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2). Rock Construction as Practiced in Art (3 and 4). Plate XXX.Different Ways of Painting Rocks and Ledges. Plate XXXI.Different Ways of Painting Rocks and Ledges. Plate XXXI.
The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII.The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII.
The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII.
Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII.Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII.
Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII.
Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX.Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX.
Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX.
Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2). Rock Construction as Practiced in Art (3 and 4). Plate XXX.Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2). Rock Construction as Practiced in Art (3 and 4). Plate XXX.
Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2). Rock Construction as Practiced in Art (3 and 4). Plate XXX.
Different Ways of Painting Rocks and Ledges. Plate XXXI.Different Ways of Painting Rocks and Ledges. Plate XXXI.
Different Ways of Painting Rocks and Ledges. Plate XXXI.
Laws of DotsWistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.Wheel-Spoke Dot (a). Kai Ji Dot (b). Plate XXXIII.Wheel-Spoke Dot (a).Kai JiDot (b). Plate XXXIII.Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.Serrated Dot (a). Ichi Ji dot (b). Plate XXXV.Serrated Dot (a).Ichi Jidot (b). Plate XXXV.Heart Dot (a). Hitsu Ji Dot (b). Plate XXXVI.Heart Dot (a).Hitsu JiDot (b). Plate XXXVI.Rice Dot (a). Haku Yo Dot (b). Plate XXXVII.Rice Dot (a).Haku YoDot (b). Plate XXXVII.
Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.
Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.
Wheel-Spoke Dot (a). Kai Ji Dot (b). Plate XXXIII.Wheel-Spoke Dot (a).Kai JiDot (b). Plate XXXIII.
Wheel-Spoke Dot (a).Kai JiDot (b). Plate XXXIII.
Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.
Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.
Serrated Dot (a). Ichi Ji dot (b). Plate XXXV.Serrated Dot (a).Ichi Jidot (b). Plate XXXV.
Serrated Dot (a).Ichi Jidot (b). Plate XXXV.
Heart Dot (a). Hitsu Ji Dot (b). Plate XXXVI.Heart Dot (a).Hitsu JiDot (b). Plate XXXVI.
Heart Dot (a).Hitsu JiDot (b). Plate XXXVI.
Rice Dot (a). Haku Yo Dot (b). Plate XXXVII.Rice Dot (a).Haku YoDot (b). Plate XXXVII.
Rice Dot (a).Haku YoDot (b). Plate XXXVII.
Laws of Waves and Moving WatersWaves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.Sea Waves (a). Brook Waves (b). Plate XXXIX.Sea Waves (a). Brook Waves (b). Plate XXXIX.Storm Waves. Plate XL.Storm Waves. Plate XL.
Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.
Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.
Sea Waves (a). Brook Waves (b). Plate XXXIX.Sea Waves (a). Brook Waves (b). Plate XXXIX.
Sea Waves (a). Brook Waves (b). Plate XXXIX.
Storm Waves. Plate XL.Storm Waves. Plate XL.
Storm Waves. Plate XL.
Laws of Lines of the GarmentSilk-Thread Line (upper). Koto string Line (lower). Plate XLI.Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.Rusty-Nail and Old-Post Line (upper). Date-Seed Line (lower). Plate XLV.Rusty-Nail and Old-Post Line (upper). Date-Seed Line (lower). Plate XLV.Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.
Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.
Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.
Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.
Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.
Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.
Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.
Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.
Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.
Rusty-Nail and Old-Post Line (upper). Date-Seed Line (lower). Plate XLV.Rusty-Nail and Old-Post Line (upper). Date-Seed Line (lower). Plate XLV.
Rusty-Nail and Old-Post Line (upper). Date-Seed Line (lower). Plate XLV.
Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.
Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.
Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.
Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.
Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.
Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.
Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.
Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.
Laws of the Four ParagonsThe Plum Tree and Blossom. Plate L.The Plum Tree and Blossom. Plate L.The Chrysanthemum Flower and Leaves. Plate LI.The Chrysanthemum Flower and Leaves. Plate LI.The Orchid Plant and Flower. Plate LII.The Orchid Plant and Flower. Plate LII.The Bamboo Plant and Leaves. Plate LIII.The Bamboo Plant and Leaves. Plate LIII.
The Plum Tree and Blossom. Plate L.The Plum Tree and Blossom. Plate L.
The Plum Tree and Blossom. Plate L.
The Chrysanthemum Flower and Leaves. Plate LI.The Chrysanthemum Flower and Leaves. Plate LI.
The Chrysanthemum Flower and Leaves. Plate LI.
The Orchid Plant and Flower. Plate LII.The Orchid Plant and Flower. Plate LII.
The Orchid Plant and Flower. Plate LII.
The Bamboo Plant and Leaves. Plate LIII.The Bamboo Plant and Leaves. Plate LIII.
The Bamboo Plant and Leaves. Plate LIII.
Painting SubjectsSunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV.Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV.Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV.Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV.Sun and Waves (1). Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI.Sun and Waves (1). Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI.Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII.Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII.Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX.Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX.Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX.Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX.Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII.Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII.Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII.Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII.Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV.Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV.Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.
Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV.Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV.
Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV.
Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV.Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV.
Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV.
Sun and Waves (1). Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI.Sun and Waves (1). Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI.
Sun and Waves (1). Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI.
Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.
Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3). Peach Blossoms (4). Paper Dolls (5). Nana Kusa (6). Plate LVII.
Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII.Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII.
Cherry Trees (1). Ebb Tide (2). Saohime (3). Wistaria (4). Iris (5). Moon and Cuckoo (6). Plate LVIII.
Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX.Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX.
Carp (1). Waterfall (2). Crow and Snow (3). Kakehi (4). Tanabata (5). Autumn Grasses (6). Plate LIX.
Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX.Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX.
Stacked Rice and Sparrows (1). Rabbit in the Moon (2). Megetsu (3). Mist Showers (4). Water Grasses (5). Joga (6). Plate LX.
Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.
Chrysanthemum (1). Tatsutahime (2). Deer and Maples (3). Geese and the Moon (4). Fruits of Autumn (5). Monkey and Persimmons (6). Plate LXI.
Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII.Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII.
Squirrel and Grapes (1). Kayenu Matsu (2). Evesco or Ebisu (3). Zan Kiku (4). First Snow (5). Oharame (6). Plate LXII.
Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII.Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII.
Mandarin Ducks (1). Chi Dori (2). Duck Flying (3). Snow Shelter (4). Snow Scene (5). Snow Daruma (6). Plate LXIII.
Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV.Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV.
Crow and Plum (1). Bird and Persimmon (2). Nukume Dori (3). Kinuta uchi (4). Plate LXIV.
Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.
Spring (1). Summer (2). Autumn (3). Winter (4). Plate LXV.
Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.
Cha no Yu (1). Sen Cha (2). Birth of Buddha (3). Inari (4). Plate LXVI.