Part 7 (1/2)
[Chapter 6 Head-Band: The chrysanthemum pattern.]
CHAPTER SIX. SUBJECTS FOR j.a.pANESE PAINTING
(GWA DAI)
A j.a.panese 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 j.a.pan, 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 ”f.u.kurokuju,” a G.o.d of good luck. Many meanings are a.s.sociated with these subjects. The sun never changes and the ocean is ever changing, hence IN YO is symbolized. The sun, the ocean and the circ.u.mambient air symbolize TEN CHI JIN or the universe. Horai (SAN) is a symbol for j.a.pan. 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 rect.i.tude 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). f.u.kurokuju is one of the seven G.o.ds 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 G.o.d'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 (f.u.kU), 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 G.o.d of good luck would unfold some wonderful word picturing. Traced to their hieroglyphical beginnings, f.u.kU signifies blessings from heaven; ROKU, rank, commemorated in carving, and (JU), agricultural pursuits, a.s.sociated 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 j.a.panese public buildings and private residences. From the rope _(s.h.i.+menawa)_ (_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 a.s.sociated 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 a.s.sociated 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 shuttlec.o.c.k _(hagoita)_ is also appropriate for New Year as it commemorates the ancient practice of the j.a.panese indulging in that pastime on that day (_Plate LVI_, 4).
During January a very popular picture for the alcove _(tokonoma)_ is the treasures.h.i.+p, 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 j.a.panese G.o.d of good luck. These are a ball, a hammer, weights, cloves, silver bronze, and the G.o.d's raincoat and hat. On the evening of the second of January if the painting of a treasures.h.i.+p 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 gra.s.ses _(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 c.o.c.k 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 j.a.pan. When the c.o.c.k crows the j.a.panese hear the words KOKKA KOO, which, phonetically rendered into Chinese characters, read ”happiness to our entire land.” The Chinese hear differently. To them the c.o.c.k crows TOTEN KO, meaning ”the eastern heavens are reddening,” so to them the c.o.c.k 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 j.a.panese 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 princ.i.p.al book of the eighteen volumes of Shaka, ent.i.tled, ”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 a.s.sociated 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 j.a.pan 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 n.o.bleman 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 princ.i.p.al 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 j.a.panese 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, ill.u.s.trates 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 sh.e.l.l-fish. The subject ill.u.s.trated on _Plate LVIII_, 2, called ebb-tide _(s.h.i.+o hi),_ is appropriate. The picture of the maiden Saohime (_Plate LVIII_, 3) is also painted in March.
April-The wistaria flower _(Juji)_ is a.s.sociated 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 _(bus.h.i.+)._ 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 j.a.pan. 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 _sa.s.s.h.i.+mi,_ a j.a.panese delicacy, once the carver has pa.s.sed the flat side of the knife blade over the body of the fish the _koi_ becomes motionless, and with heroic fort.i.tude 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 j.a.panese over Kublai Khan, who, with an enormous fleet of Chinese vessels, attempted to invade j.a.pan 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, refres.h.i.+ng 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 gra.s.ses 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 G.o.ds. 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 j.a.panese 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 gra.s.ses and the dragon-fly _(mizukusa ni tombo)_ (_Plate LXI_, 5).
Tatsuta hime (_Plate LXI_, 2) is also painted. She is the autumn divinity, a.s.sociated 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 s.h.i.+ka)_ (_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 l.u.s.tre.
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 _nas.h.i.+)._
[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 G.o.ds of good luck (_Plate LXII_, 3). He was the first trader, his stock being the TAI fish.
He is the favorite G.o.d of the merchants who, during this month, celebrate his festival. Evesama is usually represented returning from fis.h.i.+ng with a TAI under his arm. The Kano artists particularly favored this subject.