HOW JAPANESE ARTISTS STUDY NATURE.

New Zealand Graphic, Volume XVII, Issue XXII, 28 November 1896, Page 122

HOW JAPANESE ARTISTS STUDY NATURE.

In ancient Japan most of the artistic work ordered by the lords of the land was done on their premises, either by artiste who lived there continually and formed part of their retinue, or by specialists who were called for the purpose and remained in the house of the patron until the order was completed. In either case the artist was supplied with everything he needed—house, raiment, servants, pocket money were furnished while he was engaged at his work, and a douceur commensurate with the artistic excellence of the result of bis labour when he had completed it. All the materials necessary were provided for him, and he could arrange his hours to suit himself. It was mutually understood that his labour was to be a labour of love, and was never to degenerate into an irksome task. In this great empire where everything else had to be done by set forms and rules the artist alone was free to follow bis mind, untrammelled and unquestioned. Numerous anecdotes illustrate this and show the high-minded devotion of the hr, she Infr.isst ideals of his art.

The rich and powerful Duke of Hasaokana once invited a celebrated bronze worker to his court and asked him to make a sword guard of the finest shakudo (goldbronze). It was to be ornamented with an autumn landscape and an ox in the foreground. It was after the usnal New Year’s festival of nine days, when no one does labour of any kind, that the artist arrived. He went to work with a will, mixed his metals, made bis designs, passed on to the engraving and inlaying, and in three or four months had his swordguard nearly completed. In fact, with the exception of the figure of the ox to be inlaid, it was done to the full satisfaction of the Duke, who, whenever he inspected it, was more than pleased. But here all at once the artist was seized with a fit of laziness. Instead of completing his task he took his book, his pipe and tobacco, and day after day went out into a green lane leading into the country, and, sitting down in the grass by the roadside, amused himself smoking, reading and looking at the countrymen coming into town with their horses and cattle. Month after month passed by, the artist drawing his allowance with the most praiseworthy regularity, spending his days in idleness and bis evenings in drinking wine with his colleagues, as was the custom. The summer bad thus passed by and September was at band when at last the Duke’s patience was slightly ruffled. . Ordering the artist into his presence, he asked him why for nearly five months he had not even made a pretence of completing the order entrusted to him. • I could not, your highness,’ was the reply. • And why could you not ?’ was the query. • Your highness asked me to make an autumn landscape with an ox in the foreground. I had never made such a combination before. When it came to making the animal I knew not whether the expres sion of its face in autumn might not be different from what ib is at other seasons of the year. I have been out where the herds of cattle come in. watching them tbrongh the spring, through summer, and now that autumn has begun I am nearly ready and in a short time will complete your highness’ order.’ The answer was deemed fully satisfactory. The artist was not again questioned or disturbed, and his work, when completed, received praise.

Another story of like character also illustrates the artistic feeling that dominated these artists. Shinataro Shosho, Dake of Bizen, sent Hanabusa Itcho, the celebrated artist of Yeddo, a request for a picture, the subject to be a flight of Hototogisu winging their way across the face of the full moon. The request was accompanied by a puree of 500 gold rio (dollars). Such a commission at that time was fully equivalent to a Yanderbilt or an Astor nowadays sending a request for a picture to a Meissonier or a Munkacsy, accompanied by a preliminary check for $25,000. The Duke waited a full year for his pic ture, and when no picture and no reply came, as a gentle hint that be was still waiting he sent the artist another purse of 500 gold rio. This time the answer was not delayed. It came at once, and with it were returned the Duke’s 1,000 gold rio. The artist replied that ever since receiving His Highness’ command be had watched at the period of every full moon for a good opportunity to make the requisite study from nature, but had not yet succeeded in doing so. It was impossible to say when be would be able to do it; it might take him five, ten or fifteen years; it might be that he would never see a flight of such birds in such a way as to be able to reproduce them correctly, and he therefore returned the present. He would 'make It his business to diligently watch for such an opportunity, and if it came would make the drawing at once and send it to the Duke, who could then remunerate him as he chose.