Studio: international art — 34.1905

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Japanese Art at the St. Louis Exhibition

JAPANESE ART AT THE ST. that underlying thread of art, concerning which no
LOUIS EXHIBITION. BY MAUDE other nation has a truer idea. The national pavi-
I G OLIVER ^on' ^or instance, instead of being, as in other
cases, a single building, presented a bower of fairy
In the study of the progress of any people one enchantment, encircled round about by numerous
encounters certain tendencies which serve as indi- dainty structures. The little dwarf trees, charm-
cations revealing the characteristic temperament of ing bridges, series of stepping stones, garden
the race. In a nation which is essentially aesthetic the statuary, and, to complete the scene, the pictur-
art sense manifests itself in innumerable directions, esque people of the country, combined in producing
and subtly declares its elevating principles in every a harmonious effect of Oriental loveliness seldom
department, whether the subject be along the line surpassed.

of the simply ornamental or that more vital one of The display given in the Palace of Fine Arts was

utility. While the eyes of Christendom are turned thoroughly comprehensive in its scope and repre-

with wonder and admiration to that little country, sentative in its importance. It occupied four large

Japan, whose prowess in time of conflict has never and two small galleries, and was put in place by

been excelled, we practical Occidentals observe with Mr. H. Shugio, who enjoys a world-wide reputation

surprise that even in her industrial life an ever- as a manager of national exhibits. The display

present feature is a consistent application of good comprised paintings which included about two

taste, which always understands exactly how to dozen oils and a few water-colour drawings in

blend the beautiful with the common-place, and European style, sculpture, architecture, and original

lift the latter out of the domain of the ordinary. objects of art workmanship of various classes.

During a time of strenuous privation at home, the Of paintings on silk and paper there was a

marvellous evidences of Japanese progress, as out- large and attractive collection. The imperial court

lined by her exhibits at St. Louis, were a constant artist, Gaho Hashimoto, in his soft luminous mists,

astonishment to visitors from other countries. The seems to have effectively united the essentials of

general impression was that Japan excelled in every the Eastern school with those of the West. All

sort of exhibit, and through them all appeared that was symbolic, all that was decorative in the

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