Category: Art
Fujiyama, by Murata Tanryu. Plate I. The Tea Ceremony, by Miss Uyemura Shoen. Plate II. Chickens in Spring, by Mori Tessan. Plate III. Snow Scene in Kaga, by Kubota Beisen. Plate IV. Tree Squirrel, by Mochizuki Kimpo. Plate V. Tiger, by Kishi Chikudo. Plate VI. Bamboo, Sparrow...
When a Japanese artist is preparing to paint a picture he considers first the space the picture is to occupy and its shape, whether square, oblong, round or otherwise; next, the...
3. CHAPTER TWO. ART IN JAPANIn approaching a brief exposition of the laws of Japanese painting it is not my purpose to claim for that art superiority over every other kind of painting; nor will I admit tha...
4. CHAPTER THREE. LAWS FOR THE USE OF BRUSH AND MATERIALSUpon a subject as technical as that of Japanese painting, to endeavor to impart correct information in a way that shall be both instructive and entertaining is an undertaking of...
7. CHAPTER SIX. SUBJECTS FOR JAPANESE PAINTINGA Japanese artist will never of his own accord paint a flower out of season or a spring landscape in autumn; the fitness of things insensibly influences him. From ancient times...
8. 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...
1. CHAPTER SEVEN. SIGNATURES AND SEALSFujiyama, by Murata Tanryu. Plate I. The Tea Ceremony, by Miss Uyemura Shoen. Plate II. Chickens in Spring, by Mori Tessan. Plate III. Snow Scene in Kaga, by Kubota Beisen. Plat...
6. CHAPTER FIVE. CANONS OF THE AESTHETICS OF JAPANESE PAINTINGOne of the most important principles in the art of Japanese painting—indeed, a fundamental and entirely distinctive characteristic—is that called living movement, SEI DO, or _ko...
2. CHAPTER ONE. PERSONAL EXPERIENCESIn the year 1893 I went on a short visit to Japan, and becoming interested in much I saw there, the following year I made a second journey to that country. Taking up my residenc...