CHAPTER SIX. SUBJECTS FOR JAPANESE PAINTING

(GWA DAI)

A 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 certain principles have determined his choice of subjects, according either to the period of the year or to the festivals, ceremonies, entertainments or other events he may be required to commemorate. All such subjects are called GWA DAI. As one without some knowledge of these cannot appreciate much that is interesting about art customs in Japan, a brief reference to them will be made, beginning with those subjects suitable to the different months of the year:

January—For New Year’s day (SHO GWATSU GWAN JITSU) favorite subjects are “the sun rising above the ocean,” called _hi no de ni nami_ (_Plate LIV_ No. 1); “Mount Horai” (2), “the sun with storks and tortoises” (3, 4, 5); or “Fukurokuju,” a god of good luck. Many meanings are associated with these subjects. The sun never changes and the ocean is ever changing, hence IN YO is symbolized. The sun, the ocean and the circumambient air symbolize TEN CHI JIN or the universe. Horai (SAN) is a symbol for Japan. It is the lofty mountain on a fabled island in the distant sea, referred to in early Chinese writings, inhabited by sages (SEN NIN), and containing the pine, bamboo and plum (known in art as SHO, CHIKU, BAI), the pine standing for longevity, the bamboo for rectitude and the plum blossom for fragrance and grace. The stork and the tortoise, whose back is covered with seaweed, both typify long life, the ancient saying being that the stork lives for one thousand and the tortoise for ten thousand years _(tsuru wa_ SEN NEN, _kame wa_ MAN NEN). Fukurokuju is one of the seven gods of good luck, whose name means happiness, wealth and long life. On New Year’s day are suspended on either side of his picture bamboo and plum subjects (_Plate LV_, 1, 2, 3). This jovial god’s name is sometimes happily interpreted by a triple _kakemono_ (SAN BUKU TSUI): The middle one is the sun and waves, for long life (JU); on the right, rice grains, for wealth (ROKU), and on the left the flower of the cotton plant, for happiness (FUKU), because its corolla is golden and its fruit silvery, the gold and silver suggesting felicity (_Plate LVI_, 1, 2, 3). This makes a charming combination. An excursion into the fields of Chinese philology in connection with the name of this god of good luck would unfold some wonderful word picturing. Traced to their hieroglyphical beginnings, FUKU signifies blessings from heaven; ROKU, rank, commemorated in carving, and (JU), agricultural pursuits, associated with white hair.

An especially appropriate picture for this season of great festivity is called “the pine at the gate” _(kado matsu)._ It commemorates the custom on the first day of the year of planting pine trees at the entrance to Japanese public buildings and private residences. From the rope _(shimenawa)_ (_Plate LV_, 4) are suspended strips of white paper _(gohei)_ typifying purity of the soul; these hang in groups of three, five and seven, the odd or lucky number series associated with the positive or male principle (YO) of IN YO. Another appropriate subject for this early season of the year is rice cakes _(mochi)_ in the shapes of the sun and full moon (_Plate LV_, 5). In the picture the fruit called _dai dai_ is placed on the top of the rice cakes, the word DAI meaning ages, hence associated with longevity. At the base of the stand is a prawn _(ebi)._ This equally suggests old age because the prawn is bent in two. The leaf of the _yuzuri_ is introduced because it is an auspicious word and means succession. The picture of a battledoor and shuttlecock _(hagoita)_ is also appropriate for New Year as it commemorates the ancient practice of the Japanese indulging in that pastime on that day (_Plate LVI_, 4).

During January a very popular picture for the alcove _(tokonoma)_ is the treasureship, called _taka-rabune_ (_Plate LVI_, 5). The vessel as it sails into port is heavily laden with all of the various tools and utensils typifying great wealth to be found in the capacious bag of Dai Koku, a Japanese god of good luck. These are a ball, a hammer, weights, cloves, silver bronze, and the god’s raincoat and hat. On the evening of the second of January if the painting of a treasureship be put under the pillow and one dreams of either Fujisan, a falcon or an eggplant, the year long he will be fortunate. It will be observed that on the sail of the treasure boat is inscribed the Chinese character for TAKARA, meaning treasure. On the seventh day of January occurs the first of the five holidays, called _go sekku,_ and vegetable subjects are painted. These are called the seven grasses _(hotoke za_ or _nana kusa)_ and consist of parsley, shepherd’s purse, chickweed, saint’s seat, wild turnip and radish. They are susceptible of most artistic treatment and ingenious, original designs are often evolved (_Plate LVII_, 6).

February—The cock and the hen, with the budding plum branch, are now appropriate. The subject is known as the “plum and chickens” _(ume ni tori)_ (_Plate LVII_, 1). The chicken figures in the earliest history of Japan. When the cock crows the Japanese hear the words KOKKA KOO, which, phonetically rendered into Chinese characters, read “happiness to our entire land.” The Chinese hear differently. To them the cock crows TOTEN KO, meaning “the eastern heavens are reddening,” so to them the cock heralds the early morn. Famous paintings of chickens have come from the brushes of Okyo, Tessan (_Plate III_), and others of the Maruyama school. During February, the month of the plum, the appropriate paintings are of that flower and the Japanese warbler _(ume ni uguisu)_ (_Plate LVII_, 2). This singing bird announces the spring with its melodious notes (HOHO KEKYO), which, rendered by the Buddhist into Chinese characters, give the name of the principal book of the eighteen volumes of Shaka, entitled, “the marvelous law of the lotus.” Another picture suitable to February is known as “the last of the snow” _(zan setsu)_ (_Plate LVII_, 3).

March—This month is associated with the peach blossom, and _kakemono_ of gardens containing peach trees, called _momo no_ EN (_Plate LVII_, 4), are in favor. Toba Saku is related to have lived eight thousand years subsisting upon the fruit of the peach; hence, the peach blossom is a symbol for longevity, and _sake_ made from the fruit is drunk throughout Japan in March. One of the most famous prose writings in Chinese literature is RAN-TEI KIOKA SUI. It commemorates a pastime of the learned, called “the _sake_ cup.” A favorite way of interpreting this subject is to paint a garden of blossoming peach trees and spreading banana palms bordering a flowing stream, with a nobleman attaching to a peach branch a narrow paper (TANJAKU) upon which he has written a poem. Another famous Chinese prose composition, “the peach and apricot garden festival,” written by Ri Tai Haku at the age of fourteen years, is interpreted by depicting Toba Saku in a garden seated before a table, with three Chinese beauties attendant upon him, with celebrated scholars and sages circulating midst the flowers and blossoms. Five principal festivals of the year, known as _go sekku,_ occur respectively on the seventh day of January, the third day of March, the fifth day of May, the seventh day of July and the ninth day of September—all being on the odd days of the odd months (the YO of IN YO). On the third day of the third month is the _hina matsuri_ festival for young girls, and the appropriate painting for the occasion is called _kami bina,_ meaning paper dolls (_Plate LVII_, 5). The greatest Japanese artists of the past have vied to make their treatment of this subject superb. When a female child is born a _kami bina_ painting is presented to the family to contribute to the festivities. The month of March is the month of the cherry blossom _(sakura bana),_ and the picture on _Plate LVIII_, 1, illustrates one method of painting cherry trees ornamenting the mountainside of a canyon, through which flows a river. During March picnic parties go upon the beach at low tide to gather shell-fish. The subject illustrated on _Plate LVIII_, 2, called ebb-tide _(shio hi),_ is appropriate. The picture of the maiden Saohime (_Plate LVIII_, 3) is also painted in March.

April—The wistaria flower _(Juji)_ is associated with the fourth month and all April landscapes represent the trees covered with much foliage. A small bird called _sudachi dori,_ hatched in this month, is often painted on the wistaria branch (_Plate LVIII_, 4). The picture typifies parental affection, on account of the known solicitude of the mother bird for its young.

May—There are many subjects appropriate for May. The iris _(shobu)_ (_Plate LVIII_, 5) now makes its appearance. Its long-bladed leaves are sword shaped, therefore the plant symbolizes the warrior spirit _(bushi)._ The iris is often planted upon the roof of a house to indicate that there are male children in the family. The cuckoo and the moon subject _(tsuki ni hototogisu)_ (_Plate LVIII_, 6) is special to this month. The fifth of May is the boys’ festival, and the carp _(koi)_ (_Plate LIX_, 1) is the favorite subject for painting. May is the rainy month in Japan. It is related that a carp during this month ascended to the top of the waterfall RYU MON in China and became a dragon. The carp thus typifies the triumph of perseverance—the conquering of obstacles—and symbolizes the military spirit. When this fish is caught and about to be cut up alive for _sasshimi,_ a Japanese delicacy, once the carver has passed the flat side of the knife blade over the body of the fish the _koi_ becomes motionless, and with heroic fortitude submits to being sliced to the backbone. Served in a dish, a few drops of _soy_ being placed in its eye it leaps upward in a last struggle, to fall apart in many pieces. When a male child is born a proper present to the family is a carp _kakemono._ The fifth day of the fifth month is the anniversary of the great victory of the Japanese over Kublai Khan, who, with an enormous fleet of Chinese vessels, attempted to invade Japan in the thirteenth century.

June—In this warm month the GWA DAI or picture subject is waterfalls (_Plate LIX_, 2), although it is quite allowable on account of the heat of summer to suggest cool feelings by painting snow scenes with crows (SETCHU _ni karasu)_ for a color contrast (_Plate LIX_, 3). All pictures painted during the month of June should suggest shady, refreshing sensations. A charming and favorite subject is water flowing through an open bamboo pipe and falling amid luxuriant vegetation into a pool below, where a little bird is bathing. This picture is technically known as _kakehi_ (_Plate LIX_, 4).

July—During this month appropriate among flower subjects is that of the seven grasses of autumn _(aki no nana kusa)_ (_Plate LIX_, 6), consisting of the bush clover, the wild pink, the morning glory, et cetera. This is most difficult to paint on account of the extreme delicacy requisite in the handling of the brush, but a skilful artist can produce most interesting effects. All sorts of wonderfully shaped insects as well as birds of brilliant plumage are permitted in the picture. The seventh day of July is known as the festival of the stars, and _Kengyu,_ the swain, and _Orihime,_ the maiden, are painted. July is a month devoted to Buddhist ceremonies. Saints, sages, the five hundred rakkan disciples of Shaka and the sixteen rakkans are painted. There are two other subjects appropriate, known as _Tanabata_ (_Plate LIX_, 5) and _Nazunauchi_ (_Plate LXIV_, 4).

August—The first grain of the year is now offered to the gods. A charming way of commemorating this is by the painting called stacked rice and sparrows _(inamura ni suzume)_ (_Plate LX_, 1). The rabbit and the moon, called _tsuki ni usagi_ (_Plate LX_, 2), because the rabbit is seen in the moon making rice cakes, and the picture known as _meggetsu_ (_Plate LX_, 3) also commemorate the offering of the products of the soil to the moon divinity. As mist abounds during August, landscapes half concealed in mist are painted. The Kano artist, Tanyu, leaned much to such scenes, which suggest the tranquility of eventide. Such subjects are known as mist showers _(ugiri)_ (_Plate LX_, 4). The Japanese have their woman in the moon, named Joga. This lovely creature having procured and drunk of the ambrosia of hermits _(sennin)_ is said to have entered that planet. The picture is an engaging one (_Plate LX_, 6), the upper portion of Joga’s body being in the moon’s disc and the lower portion in fleecy clouds.

September—The ninth day of the ninth month is the festival of the chrysanthemum (KIKU NO SEKKU), when _sake_ made from the chrysanthemum is drunk. Kiku Jido, a court youth, having inadvertently touched with his foot the pillow of the emperor, was banished to a distant isle where, it is said, he was nourished by the dew of the chrysanthemum which abounded there. Becoming a hermit, he lived one thousand years. Seasonal pictures for this month commemorate this event, or reproduce the yellow and white chrysanthemum. (_Plate LXI_, 1). Appropriate for September are water grasses and the dragon-fly _(mizukusa ni tombo)_ (_Plate LXI_, 5). Tatsuta hime (_Plate LXI_, 2) is also painted. She is the autumn divinity, associated with the brilliant, warm and resplendent colors of the autumn season, and is always represented in gorgeous hues. Pictures of the deer and the early maples _(hatsu momiji ni shika)_ (_Plate LXI_, 3) are now appropriate. A favorite autumn picture is called _Kinuta uchi,_ or the beating, on a block, of homespun cotton to give it lustre. A poor peasant woman and her child are both occupied at the task under the rays of the full moon (_Plate LXIV_, 4). The sound of the blows on the block is said to suggest sad feelings. It is a law for painting such moonlight scenes that no red color be introduced, as red does not show in the moonlight (GEKKA _no_ KO SHOKU _nashi)._

[Fujiyama from Tago no Ura, by Yamamoto Baietsu. Plate VIII.]

Fujiyama from Tago no Ura, by Yamamoto Baietsu. Plate VIII.

October—In this month geese coming from the cold regions and crossing at night the face of the moon are a favorite subject, known as _tsuki ni_ GAN (_Plate LXI_, 4). Other subjects are “autumn fruits” _(aki no mi)_ (_Plate LXI_, 5), chestnuts, persimmons, grapes and mushrooms; monkeys and persimmons _(saru ni kaki)_ (_Plate LXI_, 6); squirrel and grapes (RISU _ni_ BUDO) (_Plate LXII_, 1); and the evergreen pine _(kayenu matsu),_ suggesting constancy (_Plate LXII_, 2)

November—A month sacred to Evesco, one of the jovial gods of good luck (_Plate LXII_, 3). He was the first trader, his stock being the TAI fish. He is the favorite god of the merchants who, during this month, celebrate his festival. Evesama is usually represented returning from fishing with a TAI under his arm. The Kano artists particularly favored this subject. Another charming picture, known as “the last of the chrysanthemums” (ZAN KIKU) (_Plate LXII_, 4), suggests the approaching close of the year. The classic way to represent this subject is with small, yellow chrysanthemums clinging to a straggling bamboo fence, with a few of their leaves which have begun to turn crimson. Another November picture is “the first snow” _(hatsu yuki)_ (_Plate LXII_, 5). Two puppies are frollicking in the snow, which is falling for the first time. It is said that no animal rejoices like the dog when it sees the first snowfall of winter. Snow, says a proverb, is the dog’s grandmother _(yuki wa inu no obasan)._ Okyo and Hokusai frequently painted this subject. _Hatsu yuki_ is sometimes represented by a little snow upon the pine tree or the bamboo in a landscape. This produces a very lonely _(samushii)_ scene. The Kyoto artists are extremely fond of painting in the month of November the subject of a peasant girl descending from the mountain village of Ohara carrying upon her head a bundle of firewood twigs, into which she has coquettishly inserted a branch of red maple leaves. This picture is called _Oharame_ (_Plate LXII_, 6). Landscapes representing fitful rain showers are appropriate for November and are called _shigure._ This is the month for the _oshi dori_ (_Plate LXIII_, 1). These mandarin ducks, male and female, on account of the contrast in their shape and plumage, make a very striking and favorite picture. Their devotion to each other is so great that they die if separated. Hence, such paintings not only symbolize conjugal fidelity but are also appropriate as wedding presents. There are two other kinds of birds painted in November: The beach birds, known as _chi dori_ (_Plate LXIII_, 2), and the wild duck flying over the marsh grasses _(kamo ni ashi)_ (_Plate LXIII_, 3). Okyo and the artists of his school excel in their vivid treatment of these last three subjects.

December—The cold weather chrysanthemum (KAN KIKU), the narcissus or hermit of the stream (SUI SEN), and the snow shelter of rice straw _(yuki kakoi)_ (_Plate LXIII_, 4) are three favorites for December. In this latter lovely subject the white chrysanthemums are huddling below the protecting snow shelter of rice straw, one or two of the flowers peeping out, their leaves being reddish on the rim and light green within. The narcissus is much painted during December. There are many ways and laws for painting this flower. Another winter subject is called _joji_ BAI, consisting of the plum tree with snow on the branches and small birds perched thereon. Kyoto artists much favor it. December landscapes are all snow scenes _(yuki no_ SAN SUI) (_Plate LXIII_, 5) and countless are the ways in which they are treated. Another subject is _nukume dori—_a falcon perched upon a tree covered with snow, holding in its claws a little bird (_Plate LXIV_, 3). The falcon does not tear its victim to pieces but simply uses it to warm its own feet; this accomplished, it lets its prisoner escape and during twenty-four hours refrains from flying in the direction the little bird has fled. _Noblesse oblige._

The snow man or snow _daruma (yuki daruma)_ (_Plate LXIII_, 6) is painted this month by artists of all the schools.

The four seasons (SHI KI) form a series susceptible of the most varied and engaging treatment and presentation. The seasons are sometimes symbolized by flowers, occasionally by birds, again by the products of the earth, and often by landscapes.

Sometimes human figures are used for the purpose. In spring _(haru)_ a young daughter _(musume)_ may be represented looking at the cherry blossoms (_Plate LXV_, 1); in summer _(natsu)_ she will be crossing a bridge or enjoying the cool of the riverside (_Plate LXV_, 2); in autumn _(aki)_ she is seen in the fields, probably gathering mushrooms (_Plate LXV_, 3), and in winter _(fuyu)_ she will be seated indoors playing a musical instrument (_Plate LXV_, 4). While the other _kakemono_ is always to be changed in the _tokonoma_ or alcove according to the seasons, ceremonies or festivals, there are certain pictures appropriate to any season, _e. g.,_ rocks and waves _(iwa ni nami);_ pine and bamboo _(matsu take);_ or the Okyo double subject called _shikuzu ni fuku tsui_ (pendant paintings): The end of spring, a crow and the plum tree (_Plate LXIV_, 1); the end of autumn, the bird _hyo dori_ and the persimmon tree (_Plate LXIV_, 2). The reason is that all such subjects are in harmony with conditions the year round.

Historical subjects (REKISHI GWA DAI) suitable for Japanese painting are extremely numerous subjects and are divided into categories corresponding to the following periods: The Nara, the Heian or Kyoto, the Kamakura Yoritomo shogunate, the Higashiyama shogunate, the Yoshimasa shogunate, the Momoyama or Taiko Hideyoshi, and the Tokugawa Iyeyasu shogunate brought down to the present Meiji period. These with their numerous subdivisions supply an infinite number of subjects for pictorial treatment. Special favorites are “Benkei and Yoshitsune at the Go Jo bridge,” or “passing through the Hakone barrier,” and “Kusanoki Masashige at Minatogawa.”

When Shaka was born he stood erect, with one Buddhist hand pointing upward and the other downward and exclaimed: “Behold, between heaven and earth I am the most precious creation.” His birthday is the subject of the picture (_Plate LXVI_, 3) called KAN BUTSU YE. It represents the Buddha as a bronze statue erect in a tub of sweet liquid. This the faithful worshippers pour over his head and subsequently drink for good luck. Shaka’s death is commemorated in the picture called NEHAN, nirvana. The lord, Buddha, is stretched upon a bier tranquilly dying, an angelic smile lighting his countenance, while around are gathered his disciples, Rakkan and Bosatsu, and the different animals of creation, all weeping. A rat having gone to call Mayabunin, mother of Buddha, has been pounced upon by a cat and torn to pieces. For this reason in paintings of this moving scene of Shaka’s death no cat is to be found among the mourning animals. The artist Cho Densu, however, in his great painting of NEHAN (still preserved in the Temple To Fuku Ji at Kyoto) introduces the portrait of a cat. It is related that, while Cho Densu was painting, the cat came daily to his side and continually mewing and expressing its grief, would not leave him. Finally Cho Densu, out of pity, painted the cat into the picture and thereupon the animal out of joy fell over dead.

The lotus _(hasu)_ symbolizes the heart of a saint _(hotoke)._ It rises untarnished out of the mud of the pond, nor can it be stained by any impurity, the leaves always shedding whatever may fall upon them. It is painted usually as a religious subject.

The principal _matsuri_ or Shinto festivals occur at different seasons of the year in different parts of the empire. The summer months, however, claim most of them. The _Kamo no aoi matsuri_ takes place at Kyoto and consists of a procession, a NO dance and a horse race. The picture appropriate for this festival is “the _Kamo_ race course” _(Kamo no kei ba)._ The _matsuri_ at Nikko is a great procession, with three _mikoshi_ or shrines carried on the shoulders of multitudes of men. There are three Nikko _matsuri_ connected with the Tokugawa shogunate.

_Inari,_ being the god of agriculture _(ine,_ rice), the picture of a fox (_Plate LXVI_, 4), that god’s messenger, is appropriate. Another festival, the GYON _matsuri,_ of Kyoto, is celebrated with a great procession in which enter all sorts of amusing floats and every kind of amusing practice. These are variously reproduced in commemorative paintings.

I will only refer in passing to the many subjects supplied by the beautiful poetry (HOKKU and _uta)_ and celebrated romances _(monogatari)_ of Japan. Enough has been said to show that the Japanese artist has an unlimited range of classic subjects from which to select.

Other subjects unassociated with any special time of the year represent, _e.g.,_ various utensils of the tea ceremony _(cha no yu)_ (_Plate LXVI_, 1) when _macha,_ a thickened tea, is used. The tea ceremony (_Plate II_) is performed in a small room fitted with four and a half mats. Were the mats only four (SHI) in number they would suggest death _(shi)._ Furthermore, an even number being considered negative (IN) is not favored. Mats are three by six feet in size and must always be so laid as not to form crosses, which are unlucky. In the alcove of this room no _kakemono_ is permitted but one in the pure Japanese style. The subject of the painting will depend upon the season, while all red colors are proscribed and _sumi_ pictures of the Kano school are most appropriate. The treatment must be simple (TAN PAKU); for instance, a single flower spray, a branch of the plum, a hermit, or a solitary mountain peak. In the ceremony of SEN CHA (_Plate LXVI_, 2), which is the Chinese way of making tea, these strict rules of _cha no yu_ are relaxed.

[The water-fowl design, called midsu tori.]