DOI Heft:
Nr. 154 (December 1909)
DOI Artikel:Taki, Seiichi: The application of nature subjects to designing in Japanese art
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19868#0277
Nature Subjects in Japanese Design
only a corner of a garden, and this very conven- But how about the creations of the present age ?
tionally. After all, Chinese paintings of natural The contemporary art of Japan, as is known to all,
objects fall below those of Japan in point of sug- under the aggressive inroad of Western culture,
gestiveness. Then Chinese industrial designs, is in a rather bewildered, if not chaotic, state. The
though they often draw upon landscapes, are alto- artist is at a loss how to conduct himself in such a
gether too involved, and, in consequence of limited confused state of affairs. At present there prevail
applicability to such purposes, for the reason that two different opinions as to what the coming Japanese
pictorial designs are used without any modifica- art ought to be ; one conservative, which insists
tion on industrial works. We have yet to come on having the traditional characteristics retained at
across Chinese industrial designs which are so all costs; the other progressive, which advocates
simple in form and so expressive of landscape the adoption of a style abreast of the times against
effect as those of Japanese invention. However, all odds. These two opinions are ever conflicting,
there have been many Japanese designs which are with the result that contemporary productions are
professedly made after the Chinese manner. For either excessively hackneyed, or equally excessively
example, here is presented a porcelain tea caddy novel. While art should adapt itself to the
designed and made by Ninsei (p. 133). Here the changed conditions of the age, at the same time it
view of Mount Yoshino, of cherry fame, is executed should not do away with its historic characteristics
as if it were painted on silk. This is unquestion- developed in the course of centuries. To change
ably the Chinese style of designing. It must, how- such characteristics is inadvisable, and perhaps
ever, be noted that Ninsei, though in this case he impossible. Even in the productions of the present
avowedly adopted the Chinese style, brought to age, it is found that those of superior order are
relief,, notably in colouring, the graceful qualities of designed in conformity with old-established usage,
the native style, for he, as already stated, was the For instance, look at the accompanying lacquer
first to introduce Japanese designs into pottery, paintings executed by Zeshin Shibata (d. 1892)
A comparative study of this last example, with on a pair of doors (p. 134). Here we see scattered
those previously com-
mented on, will throw
light on the distinction
between Japanese and
Chinese art in the appli-
cation of nature motives.
More might be said on
this point, but what has
been mentioned above is
sufficient for the present
purpose. In spite of the
constant Chinese influence
received, both in pure
and applied arts, the
Japanese fine arts have
fortunately kept their in-
digenous characteristics
intact. At least, the pro-
ductions of former genera-
tions freely reveal the
peculiar national superi-
ority in the application of
natural things to art
designing. The illustra-
tive masterpieces repro-
duced in the foregoing
pages are with one excep-
tion, not more than three
hundred years old. table-cloth from the loom of mr. jimbei kawashima
135
only a corner of a garden, and this very conven- But how about the creations of the present age ?
tionally. After all, Chinese paintings of natural The contemporary art of Japan, as is known to all,
objects fall below those of Japan in point of sug- under the aggressive inroad of Western culture,
gestiveness. Then Chinese industrial designs, is in a rather bewildered, if not chaotic, state. The
though they often draw upon landscapes, are alto- artist is at a loss how to conduct himself in such a
gether too involved, and, in consequence of limited confused state of affairs. At present there prevail
applicability to such purposes, for the reason that two different opinions as to what the coming Japanese
pictorial designs are used without any modifica- art ought to be ; one conservative, which insists
tion on industrial works. We have yet to come on having the traditional characteristics retained at
across Chinese industrial designs which are so all costs; the other progressive, which advocates
simple in form and so expressive of landscape the adoption of a style abreast of the times against
effect as those of Japanese invention. However, all odds. These two opinions are ever conflicting,
there have been many Japanese designs which are with the result that contemporary productions are
professedly made after the Chinese manner. For either excessively hackneyed, or equally excessively
example, here is presented a porcelain tea caddy novel. While art should adapt itself to the
designed and made by Ninsei (p. 133). Here the changed conditions of the age, at the same time it
view of Mount Yoshino, of cherry fame, is executed should not do away with its historic characteristics
as if it were painted on silk. This is unquestion- developed in the course of centuries. To change
ably the Chinese style of designing. It must, how- such characteristics is inadvisable, and perhaps
ever, be noted that Ninsei, though in this case he impossible. Even in the productions of the present
avowedly adopted the Chinese style, brought to age, it is found that those of superior order are
relief,, notably in colouring, the graceful qualities of designed in conformity with old-established usage,
the native style, for he, as already stated, was the For instance, look at the accompanying lacquer
first to introduce Japanese designs into pottery, paintings executed by Zeshin Shibata (d. 1892)
A comparative study of this last example, with on a pair of doors (p. 134). Here we see scattered
those previously com-
mented on, will throw
light on the distinction
between Japanese and
Chinese art in the appli-
cation of nature motives.
More might be said on
this point, but what has
been mentioned above is
sufficient for the present
purpose. In spite of the
constant Chinese influence
received, both in pure
and applied arts, the
Japanese fine arts have
fortunately kept their in-
digenous characteristics
intact. At least, the pro-
ductions of former genera-
tions freely reveal the
peculiar national superi-
ority in the application of
natural things to art
designing. The illustra-
tive masterpieces repro-
duced in the foregoing
pages are with one excep-
tion, not more than three
hundred years old. table-cloth from the loom of mr. jimbei kawashima
135