DOI Heft:
No. 269 (August 1915)
DOI Artikel:Harada, Jirō: The Panama-Pacific International Exposition and its meaning
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21213#0207
The Panama-Pacific Piter national Exposition
“black jaguar” etching by orovida
(New English Art Club)
some mysterious power, the outlines of Tamapais,
until the towers and domes of the “Jewel City’’
began to shape themselves out of vague nothing,
even as by the creative genius that built them after
reclaiming a swamp. When the sun is up, the
myriads of jewels on the imposing tower sparkle,
as do the dew-drops when the sun shines upon
the green grass-carpet that borders the sombre
cedar groves of Presidio. Even when everything
is wrapped in mist, the golden dome of the Massa-
chusetts Building gleams out of the veil, suggesting
that here lies something precious to human hearts.
Many a night have I stood upon the hills and
watched this great Exposition bathed in a wondrous
flood of light. It is indeed inspiring. Gaze, if
you will, upon that magnificent jewel-decked tower
of glowing amber ever pointing to the sky, for an
inspiration. Look at the reflection of the exquisite
columns of masculine beauty on the lagoon by the
Fine Art Palace, and think of its meaning.
Watch the moving shadowy lights—music expressed
in rainbow colours—through the colossal dome
of the Palace of Horticulture, and try, if you will,
to interpret it in the music of your heart. Lift
your eyes to yonder figure on the top of the
Column of Progress—to that Adventurous Bowman
standing in the living light, clear and strong against
the dark sky, with his eyes ever fixed toward the
north, eager to find the result of his highest and
best efforts. Look how the radiating shafts of
light reach up to the ninth heaven of the universe.
How inspiring is the sight of spiritual streamers
connecting the “Jewel City” with the heights of
heaven, showing the sacred kinship between the
finite and infinite, between man and God !
As I gaze upon these buildings so artistically
grouped, with their colour and sculptural adornment,
a thought dawns upon me and grows in my mind.
It is extremely suggestive, and I have come to
believe that the same thought must have been
guiding, consciously or unconsciously, the hands of
those who built and adorned the Exposition. The
thought may even be strange to the artists and
architects themselves, but it must have been in
them in some form or other. Or, perchance by
some great invisible forces, in their mysterious yet
customary way, the idea must have found an
expression through man’s work. Whatever may be
the right interpretation, I cannot cast my eyes upon
these buildings now without being struck by their
remarkable resemblance to a huge wedding cake,
profusely decorated. Can there be a more perfect
model for a wedding cake than the magnificent
Palace of Horticulture—a part of this group ?
And why should there not be a resemblance ? It
is but just that there should be such a likeness.
The different Powers of the world are here to join
in a feast celebrating the marriage of the Pacific
and the Atlantic, the union of East and West.
The Orient and the Occident have taken the
most important and serious step of their lives.
The outcome of the new life, the life of the wedded
couple, is to be watched with the greatest of interest.
Their future is already suggested by the wonderful
colour-scheme of this Exposition. The edifices,
representing different architectural styles, each
with its own individuality, its own national and
racial characteristics, are brought to a harmonious
unity by being placed closely together, combining
and blending their different ingredients and colours.
Differences in the shade or colour of the human
eye and complexion are but a necessary part of the
expression of the spiritual harmony of humanity.
Therein lies the true significance of the colour-
scheme of which this Exposition is justly proud.
Failing to see this fact, the mere pleasing effect to
the eye is but a shadow of shadows. If you lose
sight of the fact that the true significance of all the
splendours of the “ Jewel City ” is in the union of the
East and the West, as symbolised by the completion
of the Panama Canal, the solemnity and the sacred-
ness of the purpose of this epoch-making enterprise
are lost, for ever lost. Japan has brought her
tribute to this happy and unique international
function so well symbolised by the “Jewel City.”
187
“black jaguar” etching by orovida
(New English Art Club)
some mysterious power, the outlines of Tamapais,
until the towers and domes of the “Jewel City’’
began to shape themselves out of vague nothing,
even as by the creative genius that built them after
reclaiming a swamp. When the sun is up, the
myriads of jewels on the imposing tower sparkle,
as do the dew-drops when the sun shines upon
the green grass-carpet that borders the sombre
cedar groves of Presidio. Even when everything
is wrapped in mist, the golden dome of the Massa-
chusetts Building gleams out of the veil, suggesting
that here lies something precious to human hearts.
Many a night have I stood upon the hills and
watched this great Exposition bathed in a wondrous
flood of light. It is indeed inspiring. Gaze, if
you will, upon that magnificent jewel-decked tower
of glowing amber ever pointing to the sky, for an
inspiration. Look at the reflection of the exquisite
columns of masculine beauty on the lagoon by the
Fine Art Palace, and think of its meaning.
Watch the moving shadowy lights—music expressed
in rainbow colours—through the colossal dome
of the Palace of Horticulture, and try, if you will,
to interpret it in the music of your heart. Lift
your eyes to yonder figure on the top of the
Column of Progress—to that Adventurous Bowman
standing in the living light, clear and strong against
the dark sky, with his eyes ever fixed toward the
north, eager to find the result of his highest and
best efforts. Look how the radiating shafts of
light reach up to the ninth heaven of the universe.
How inspiring is the sight of spiritual streamers
connecting the “Jewel City” with the heights of
heaven, showing the sacred kinship between the
finite and infinite, between man and God !
As I gaze upon these buildings so artistically
grouped, with their colour and sculptural adornment,
a thought dawns upon me and grows in my mind.
It is extremely suggestive, and I have come to
believe that the same thought must have been
guiding, consciously or unconsciously, the hands of
those who built and adorned the Exposition. The
thought may even be strange to the artists and
architects themselves, but it must have been in
them in some form or other. Or, perchance by
some great invisible forces, in their mysterious yet
customary way, the idea must have found an
expression through man’s work. Whatever may be
the right interpretation, I cannot cast my eyes upon
these buildings now without being struck by their
remarkable resemblance to a huge wedding cake,
profusely decorated. Can there be a more perfect
model for a wedding cake than the magnificent
Palace of Horticulture—a part of this group ?
And why should there not be a resemblance ? It
is but just that there should be such a likeness.
The different Powers of the world are here to join
in a feast celebrating the marriage of the Pacific
and the Atlantic, the union of East and West.
The Orient and the Occident have taken the
most important and serious step of their lives.
The outcome of the new life, the life of the wedded
couple, is to be watched with the greatest of interest.
Their future is already suggested by the wonderful
colour-scheme of this Exposition. The edifices,
representing different architectural styles, each
with its own individuality, its own national and
racial characteristics, are brought to a harmonious
unity by being placed closely together, combining
and blending their different ingredients and colours.
Differences in the shade or colour of the human
eye and complexion are but a necessary part of the
expression of the spiritual harmony of humanity.
Therein lies the true significance of the colour-
scheme of which this Exposition is justly proud.
Failing to see this fact, the mere pleasing effect to
the eye is but a shadow of shadows. If you lose
sight of the fact that the true significance of all the
splendours of the “ Jewel City ” is in the union of the
East and the West, as symbolised by the completion
of the Panama Canal, the solemnity and the sacred-
ness of the purpose of this epoch-making enterprise
are lost, for ever lost. Japan has brought her
tribute to this happy and unique international
function so well symbolised by the “Jewel City.”
187