DOI Heft:
No. 200 (November, 200)
DOI Artikel:Taki, Seiichi: The application of nature subjects to designing in japanese art
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20968#0147
Nature Subjects in Japanese Design
"summer" by hoitsu sakai (korin school)
THE APPLICATION OF NATURE artistic purposes. The two nations are at one so
SUBJECTS TO DESIGNING IN far as the adoration of nature is concerned, but in
TAPANESE ART. BY SEI-ICHI their concePtions of k they widely diverge. The
^ ' Chinese are rather inclined to hold either a sub-
TAKT
nlv ' lime or a gloomy conception of nature. And this
Foreigners who are at all familiar with Japanese with reason ; for in the first place their country is
arts and crafts will notice with what aptitude and rich in scenes of continental magnitude, which im-
in what a distinctive manner natural objects are press their minds more by their majesty than by
brought in for the purpose of ornamental designing, the graceful picturesqueness which characterises
This extreme partiality of the Japanese to objects the scenery of the neighbouring empire Then, as
•of nature for art decoration is in general ascribable illustrated by their history, the Chinese have learned
to their deep sympathy with nature itself, a sym- to love nature as the result of their traditional
pathy which in course of centuries has been fostered custom of resorting to a recluse life to avoid the
by the salubrious climate of the land, its picturesque routine of worldly duties, a custom which originated
natural scenery, and its beautiful fauna and flora, in the practices of ancient political malcontents.
The Chinese likewise have a keen sensibility for From ancient times China has been harassed by
the beauties of nature, and like their insular neigh- frequent changes in imperial dynasties; and each
bours they frequently apply natural things to such contingency has thrown it into the horrors of
125
"summer" by hoitsu sakai (korin school)
THE APPLICATION OF NATURE artistic purposes. The two nations are at one so
SUBJECTS TO DESIGNING IN far as the adoration of nature is concerned, but in
TAPANESE ART. BY SEI-ICHI their concePtions of k they widely diverge. The
^ ' Chinese are rather inclined to hold either a sub-
TAKT
nlv ' lime or a gloomy conception of nature. And this
Foreigners who are at all familiar with Japanese with reason ; for in the first place their country is
arts and crafts will notice with what aptitude and rich in scenes of continental magnitude, which im-
in what a distinctive manner natural objects are press their minds more by their majesty than by
brought in for the purpose of ornamental designing, the graceful picturesqueness which characterises
This extreme partiality of the Japanese to objects the scenery of the neighbouring empire Then, as
•of nature for art decoration is in general ascribable illustrated by their history, the Chinese have learned
to their deep sympathy with nature itself, a sym- to love nature as the result of their traditional
pathy which in course of centuries has been fostered custom of resorting to a recluse life to avoid the
by the salubrious climate of the land, its picturesque routine of worldly duties, a custom which originated
natural scenery, and its beautiful fauna and flora, in the practices of ancient political malcontents.
The Chinese likewise have a keen sensibility for From ancient times China has been harassed by
the beauties of nature, and like their insular neigh- frequent changes in imperial dynasties; and each
bours they frequently apply natural things to such contingency has thrown it into the horrors of
125