Part 6 (1/2)

The orchid is variously painted rising fro with its roots to a rocky cliff In allusion to the lonely places where it grows it is called _I shi+ri no kusa_ or the plant which the wild boar knows The orchid is credited with medicinal properties, and the flower steeped in wine makes a potion which secures perpetual health The charm of friendshi+p is likened unto the orchid's perfume and the flowers are worn by the ladies of the court to ward off reen at all seasons The steht and point upwards The plant is beautiful under all conditions-struggling beneath the winter snow or fanned by the spring breeze, swaying with the stores adht conduct, it was claion

Nothing is more difficult to paint correctly than this plant _Plate LIII_ shows the bamboo with its essentially coht stalk is in five subdivisions (1 to 5), each differing in length but all suggesting the Chinese character for one (ICHI) painted upright These are separated fro the Chinese characters for positively (22), for heart (23), for second (24), for one (25), and for eight (26) The ste and co the leaves of the bamboo is called _take no ha no kumitata_ and is reat work, _Gwa Fu_ The essentials are: The five-leaf arrangement (GO YO) (11 to 15) with the ornaement (17 to 19) called KO JI, from its reseement (20 and 21) called JIN JI, from its resemblance to the character JIN (33), aiements of the leaves are used: The fish tail (GYO BI) (27), the goldfish triple tail (KINGYO BI) (28), the s tail (EN BI) (29), the Chinese character for baement (shi+CHI YO) (31) It will be observed how the odd or positive nu method is used by the Okyo painters

The Kano artists have another systerowth, but it does not differ radically froiven The leaf of the bamboo reproduces the shape of a carp's body (34) It also resembles the tail feathers of the phoenix An oil is ood for people with quick tempers Many artists adopt the name of bamboo for their nom de plume; witness, Chiku Jo, Chiku Do, Chiku Sho, Chiku Den and the like

It is said that the full ht approaches The learned Okubu shi+butsu first observed this and the discovery led to his becohtly he used to trace with _sumi_ such bamboo shadows on his paperSho Hin, a lady artist of Tokyo, enjoys a well-earned reputation for painting bamboo She was a pupil of Tai Zan, a Kyoto representative of the Chinese school The Kano painters rove Barass (SassA) is much painted by all the schools It is very decorative There is a male and a female bamboo; from the latter _(medake)_ arrows are ly nuon

The plum is the first tree of the year to bloorows old it renews its youth and beauty every spring with vigorous fresh branches croith buds and blossoon

With no other flower or tree are associated more beautiful and pathetic folk-lore and historical facts For these and other reasons Rennasei assigned to the pluo

The tree branches with their interlacings reproduce the spirit of the Chinese character for woman, called JO JI (_Plate L_, No 1) The blossom (2) is painted on the principle of IN YO, the upper portion of the petal line being the positive or YO and the lower being the negative or IN side

This is repeated five times for the five petals of the blossom (3) The stamens (4) and pistils are reproductions of the Chinese character SHO,small For the calyx (5) the Chinese character for clove (CHO) is invoked

The great scholar and nobleewara Michizane, particularly loved the plurounds he addressed that silent sentinel of his garden in the following verse, which has earned immortality:

Do thou, dear plum tree, send out thy perfuer here, Forget not to blossotih not eaten rahen salted has wonderful strength sustaining properties, and in wartime supplies as _ume boshi+_ a valuable concentrated food

The chrysanthemum has been cultivated in China for four thousand years and its fa by the poet and scholar, To En Mei, who prized it above all else under heaven and assigned it the rank of paragon

When all Nature is preparing for the long sleep of winter and the red, brown and golden forest leaves are dropping, spiritless, to the ground, the chrysanthemum comes forth froladdens the heart in the sad season of autu, typify the family, the state, and the Empire For the last six hundred years the sixteen-petaled chrysanthenty in japan With artists it has always been a favorite flower subject There are innu it

_Plate LI_ shows the chrysanthemum flower and leaves painted in the Okyo manner There is an established order in which the leaves must be executed Viewed from the front (Nos 1 and 2) the order of the brush stroke is as indicated on the plate; viewed from the side the brush is applied in the order indicated in Nos 4 and 5 The flower (6 and 7) is built up froht The flower half opened is shown in No 6, and wholly opened in No 7 The calyx somewhat reproduces the Chinese written character CHO

The Kano painters have a different way of painting the chrysantheeneral principles obtaining in all the schools Korin painted the KIKU in a manner quite different from that of any other artist The word KIKU is Chinese, the japanese word for the flower being _kawara yooya artists have always been particularly skilful in painting the chrysantheuerite-like blosso all artists

The impression produced on one who for the first time hears enumerated these various lawsartistic effects are arbitrary, mechanical and unnatural But in practice, the artist who invokes their aid finds they produce invariably pleasing and satisfactory results It must not be supposed that such laws are exclusive of all otherin the japanese style On the contrary the artist is at liberty to use any other method he may select provided the result is artistically correct Many painters have inventedenues, which, it must always be borne in mind, are only to assist the artist who may be in doubt or difficulty as to how he shall best express the effect he aims at It is such second nature for him to e will invoke the rules of gra asked if it were necessary for a diplomat to know Latin and Greek, replied that it was quite sufficient for hie of them is a necessary part of the education of every japanese artist, for they lie at the very foundation of the art of oriental painting Chinese writing abounds with similar principles; it is a law applicable to one kind of such writing, called REI SHO, that in each character there shall be one stroke which begins with the head of a silkworoose's tail This also ives a special and wonderful _cachet_ to the character so written

Some acquaintance with these principles and methods invoked by artists adds much to our keen enjoyment of their work, just as an analysis of the chords in a musical composition increases our pleasure in the harmonies they produce Ruskin has discovered in the very earliest art the frequent use of si profile of the leaf bud which, he declares, is of enores, when not vital but falling force is suggested ”This abstract conclusion the great thirteenth century artists were the first to arrive at” (Ruskin's Mod Painters, Vol III), and even in the architecture of the best cathedrals that author detects the observance of the law deterement of its parts about a center

In japanese art si other fors for the pine tree branches, the turtle's back for the pine bark lines, the fish tail for bae, the elephant's eye in the orchid plant, the shape of Fujiyama for the forehead of a beautiful woinally pictorial, adumbrated in trees, flowers and other subjects The universality of such underlying type fornized and applied by oriental artists is confirmatory of the principle that in both nature and art all is united by a co the har executed with the aid of such resources teeestion, and to the eye of a connoisseur _(kuroto)_ becoive some idea of the order in which the co to japanese rules, which are always stringently insisted upon, flowers like the chrysantheun at their central point and built up fro added to increase the size as the flower opens In a flower subject the blossoms are painted first; the buds cos, and lastly the dots called _chobo chobo_

The established order for the huure is as follows: Nose and eyebrows, eyes, mouth, ears, sides of the face, chin, forehead, head, neck, hands, feet, and finally the appareled body In japanese art the nude figure is never painted

In a tree the order is trunk, central and side limbs _(Plate XXI)_, branches and their subdivisions, leaves and their veinings, and dots

In birds: The beak in three strokes (TEN, CHI, JIN), the eye, the head, the throat and breast, the back, the wings, the body, the tail, the legs, claws, nails and eyeball _(Plate XXII)_