Part 4 (2/2)
Again, in snow scenery the Kano artists first paint the bottom of the snow-line and then by shading _(k.u.madori)_ above the same with very light ink _(usui sumi)_ produce the effect of acc.u.mulated snow. The Okyo school secures the same result in a much more brilliant manner, using but a single dexterous stroke of the well-watered brush, the point only of which is tipped with _sumi._
Some artisls, notably Kubota Beisen and his followers, employ both methods, the former for near and the latter for distant snow landscapes.
Low mountains in a landscape suggest great distance. Fujiyama, the favorite subject of all artists, should not be painted too high, else it loses in dignity by appearing too near. In an art work written by Ois.h.i.+ Shuga, Fuji is reproduced as it appears at every season of the year, whether clad in snow, partly concealed by clouds, or plainly visible in un.o.bstructed outline. The book is a safe guide for artists to consult.
We may next consider some laws applicable to mountains, rocks and ledges.
It has long since been observed by the great writers on art in China that mountains, rocks, ledges and peaks have certain characteristics which distinguish them. These differ not only with their geological formations but also vary with the seasons on account of the different gra.s.ses and growths which may more or less alter or conceal them. To attempt to reproduce them as seen were a hopeless task, there being too much confusing detail; hence, salient features only are noted, studied and painted according to what is called SHUN PO, or the law of ledges or stratifications. There are eight different ways in which rocks, ledges and the like may be represented:
The peeled hemp-bark method, called HI MA SHUN _(Plate XXIII a)_.
The large and small axe strokes on a tree, called DAI SHO FU HEKI SHUN _(Plate XXIII b)_.
The lines of the lotus leaf, called KA YO SHUN _(Plate XXIV a)._
Alum crystals, called HAN TO SHUN _(Plate XXIV b)_.
The loose rice leaves, called KAI SAKU SHUN _(Plate XXV a)_.
Withered kindling twigs, called RAN s.h.i.+ SHUN _(Plate XXV b)_.
Scattered hemp leaves, termed RAMMA SHUN _(Plate XXVI a)_.
The wrinkles on a cow's neck, called GYU MO SHUN _(Plate XXVI b)_.
These eight laws are not only available guides to desired effects; they also abbreviate labor and save the artist's attempting the impossible task of exactly reproducing physical conditions of the earth in a landscape painting. They are symbols or subst.i.tutes for the truth felt. Nothing is more interesting than such art resources whereby the sentiment of a landscape is reproduced by thus suggesting or symbolizing many of its essential features.
It was a theory of the great Chinese teacher, Chinanpin, and particularly enforced by him, that trees, plants and gra.s.ses take the form of a circle, called in art RIN KAN (see _Plate XXVII_), No. 1; or a semi-circle (HAN KAN) _(Plate XXVII)_, No. 2; or an aggregation of half-circles, called fish scales (GYO RIN) _(Plate XXVII)_, No. 3; or a modification of these latter, called moving fish scales (GYO RIN KATSU HO) _(Plate XXVII)_, No 4. Developing this principle on _Plate XXVIII_, No. 1, we have theoretically the first shape of tree growth and on _Plate XXVIII_, No. 2, the same practically interpreted. In Nos. 3 and 4, same plate, we have the growth of gra.s.s ill.u.s.trated theoretically and practically. In _Plate XXIX_, according to this method, is constructed the entire skeleton of a forest tree. In Nos. 1 and 2 on this plate numerous small circles are indicated. These show where each stroke of the brush begins, the points of commencement being of prime importance to correct effect. In No. 3, same plate, we have the foundation work of a tree in a j.a.panese painting.
It is needless to point out the marvelous vigor apparent in work constructed according to the above principles.
In the painting of rocks, ledges, and the like, Chinanpin taught that the curved lines of the fish scales are to be changed into straight lines, three in number, of different lengths, two being near together and the third line slightly separated, and all either perpendicular or horizontal, as in _Plate x.x.x_, Nos. 1 and 2. In the same plate, Nos. 3 and 4, we have the principle of rock construction ill.u.s.trated. In _Plate x.x.xI_, Nos. 1, 2 and 3, is seen the practical application of this theory to _kakemono_ work. In executing these lines for rocks much stress is laid upon the principle of IN YO; on the elevated portions the brush must be used lightly (IN) and on the lower portions it must be applied with strength (YO). At the bottom, where gra.s.s, mould, and moss acc.u.mulate, a rather dry brush (KWAPPITSU) is applied with a firm stroke.
Next, there are laws for near and distant tree, shrubbery and gra.s.s effects, corresponding to the season of the year. These are known as the laws of dots (TEN PO); the saying TEN TAI SAN NEN indicates that it takes three years to make them correctly.
They are as follows:
The drooping wistaria dot (SUI TO TEN) _(Plate x.x.xII a)_ for spring effects.
The chrysanthemum dot (KIKU KWA TEN) _(Plate x.x.xII b)_ used in summer foliage.
The wheel spoke dot (SHA RIN s.h.i.+N) _(Plate x.x.xIII a)_, being the pine-needle stroke and used for pine trees.
The Chinese character for the verb ”to save” (KAI JI TEN) _(Plate x.x.xIII b)_, used for both trees and shrubbery.
The pepper dot (KOSHOTEN) _(Plate x.x.xIV a)_. This dot requires great dexterity and free wrist movement. It will be observed that the dots are made to vary in size but are all given the same direction.
The mouse footprints (SO SOKU TEN) _(Plate x.x.xIV b)_, used for cryptomeria and other like trees.
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