DOI issue:
No. 200 (November, 200)
DOI article:Taki, Seiichi: The application of nature subjects to designing in japanese art
DOI Page / Citation link:https://doi.org/10.11588/diglit.20968#0153
Nature Subjects in Japanese Design
04
■■HBM^ of pictures and calligraphy,
in most cases transcribing
some familiar verses. Since
the poems chosen for such
purposes are usually those
dedicated to natural scenery,
it is generally demanded of
the Ashide-ye that it shall
represent, over and above
its immediate purpose as a
design, the scenery related
to the poem selected. In
Ashide-ye designs, pictures of
natural objects are accom-
side view of box with " yatsu-hashi " design by korin ogata panied by native kana letters
and Chinese characters
about the early seventeenth century, and who written fancifully in the form of some object, say,
introduced purely Japanese designs into pottery a stone, a wave, or mist. Moreover, these lines
in lieu of Chinese and Korean models of which of calligraphy serve the additional purpose of
the keramic wares produced up to then were connecting the pictorial parts. I give here a
imitations. The ornamental nail coverings in specimen of the Ashide-ye (p. 128), in which both
question most fitly disclose the characteristics of stones and birds are represented by kana script,
his craft. These porcelain pieces, though uniformly This specific designing was a peculiar product of
alike in colouring, display each a different design, the Japanese mind, absolutely no exotic influence
some geometrical figures, some natural objects, being noticeable.
Especially where a mountain, mist, or waves are The Ashide-ye came into vogue about the close
represented, the idea of indicating scenery is clearly of the tenth century, but it was especially promi-
seen, a point which adds much to the charm of nent in the succeeding two centuries. It was then
such designs. Indeed, this kind of designing has used for the decoration of lacquer ware as well as
been for long popularly used in Japanese arts and for dress patterns. Subsequently it went out of
crafts. fashion, but about the sixteenth century it was
The examples so far cited, excellent as they are revived and became even more popular than in
in their way, cannot be said to represent the former times. We should not wonder at this,
ideal designing which produces the impression of because at that time Koetsu loomed upon the
scenery. There is another kind which more entirely horizon, and he cleverly made use of and greatly
fulfils the purpose under discussion, since instead improved upon the already existing Ashide-ye. His
of simply indicating some special scene by means example was followed by the immortal Korin, and
of some natural object, as in
the cases already considered,
we find a design itself form-
ing a connected scenery.
This is the most noteworthy
point in this style of design-
ing, which, in a word, stands
midway between painting
and decorative art. In de-
signs of this description one
can realise the characteristic
superiority of purely Japanese
conceptions. As examples,
I may first of all call atten-
tion to the so-called Ashide-
ye, a generic name for those
designs which are composed side view of box with "yatsu-hashi" design by korin ogata
131
04
■■HBM^ of pictures and calligraphy,
in most cases transcribing
some familiar verses. Since
the poems chosen for such
purposes are usually those
dedicated to natural scenery,
it is generally demanded of
the Ashide-ye that it shall
represent, over and above
its immediate purpose as a
design, the scenery related
to the poem selected. In
Ashide-ye designs, pictures of
natural objects are accom-
side view of box with " yatsu-hashi " design by korin ogata panied by native kana letters
and Chinese characters
about the early seventeenth century, and who written fancifully in the form of some object, say,
introduced purely Japanese designs into pottery a stone, a wave, or mist. Moreover, these lines
in lieu of Chinese and Korean models of which of calligraphy serve the additional purpose of
the keramic wares produced up to then were connecting the pictorial parts. I give here a
imitations. The ornamental nail coverings in specimen of the Ashide-ye (p. 128), in which both
question most fitly disclose the characteristics of stones and birds are represented by kana script,
his craft. These porcelain pieces, though uniformly This specific designing was a peculiar product of
alike in colouring, display each a different design, the Japanese mind, absolutely no exotic influence
some geometrical figures, some natural objects, being noticeable.
Especially where a mountain, mist, or waves are The Ashide-ye came into vogue about the close
represented, the idea of indicating scenery is clearly of the tenth century, but it was especially promi-
seen, a point which adds much to the charm of nent in the succeeding two centuries. It was then
such designs. Indeed, this kind of designing has used for the decoration of lacquer ware as well as
been for long popularly used in Japanese arts and for dress patterns. Subsequently it went out of
crafts. fashion, but about the sixteenth century it was
The examples so far cited, excellent as they are revived and became even more popular than in
in their way, cannot be said to represent the former times. We should not wonder at this,
ideal designing which produces the impression of because at that time Koetsu loomed upon the
scenery. There is another kind which more entirely horizon, and he cleverly made use of and greatly
fulfils the purpose under discussion, since instead improved upon the already existing Ashide-ye. His
of simply indicating some special scene by means example was followed by the immortal Korin, and
of some natural object, as in
the cases already considered,
we find a design itself form-
ing a connected scenery.
This is the most noteworthy
point in this style of design-
ing, which, in a word, stands
midway between painting
and decorative art. In de-
signs of this description one
can realise the characteristic
superiority of purely Japanese
conceptions. As examples,
I may first of all call atten-
tion to the so-called Ashide-
ye, a generic name for those
designs which are composed side view of box with "yatsu-hashi" design by korin ogata
131