A Tengu’s Feathered Fan (OTO-EHON Japanese Folk Tales - English ver. Book 2)

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The battle which followed resulted in the overthrow of the usurper's power and the restoration of the Mikado, A. From r 1 1 1 a Kashira. He did not assume the Shogunate himself, but he set up a rival Mikado, and in a conflict commenced between the northern and southern dynasties which lasted for fifty-six years.

He himself died in , but his family ruled as Shoguns till The precincts of the courts at Kyoto and Kamakura were naturally the quarters where artists mainly practised, but the very causes which were at work to keep these as centres resulted in a spread of Art knowledge. A Daimyo, who, in order that he might be under observation, was compelled to spend six months of the year at Court, naturally imitated in his distant home the fashion of the capital, and would probably take back in his train painters, workers in metal, lacquer, etc.

Such artists, working with the sole idea of doing their best to please their lord, in want JAPAN'S PAST 37 for nothing, having ample time at disposal, and full of natural ability, were bound to produce results having originality and individuality ; and this would be even more noticeable in the products of succeeding generations, when the skill had become hereditary, and each worker was the possessor of the secrets and methods of his ancestors.

Although during the long period to which I have referred war was the rule and peace the excep- tion, the arts made continuous and steady progress. Naturally, at a time when education was neglected and every one carried his life in his hand, it could only be here and there that this occurred.

But warfare itself stimulated certain professions — such as the manufacture and adornment of arms and armour. When the owner's life depended upon the trustworthiness of his blade, every effort was made to render it as perfect as possible ; so we find the sword-makers attaining to a proficiency which has never been excelled by any other nation.

The religious houses, save and except during the persecutions of Nobunaga, afforded a retreat where the arts could be followed in peace and quietness, though their inmates were ready to arm themselves and fight whenever occasion required. Both were artists themselves, and the latter encouraged painting and lacquer work. His reign was, from an Art standpoint, perhaps the most brilliant in history.

It was near the close of the Ashikaga rule, probably in , that Japan was discovered by Europeans, Fernando Mendez Pinto, the Portuguese, driven thither by storms, in a Chinese junk, landing in Kiushiu. Japan was not then antagonistic to the foreign element, which with its religion was welcomed, the earliest missionaries being Portuguese. The Dutch were the first to recognise this opening for commerce, and for nearly two centuries they practically monopolised it, although the English established a factory in Japan in the first quarter of the seventeenth century. What may be termed the modern period came in with Oda Nobunaga, a Taira, whose military dictatorship bridged over the interval between the expiring power of the Ashikaga and the strong government of the Tokugawa.

Nobunaga came to the front about , taking the side of Ashikaga Yoshiaki until he quarrelled with him in , deposed him, and brought to an end the rule of his family, which had lasted over a span of two hundred and fifty years. Hid6yoshi, who followed Nobunaga, was a man of almost unique personality. He especially fostered architecture building the beautiful palace of Momoyama at Fushimi and the Keramic industry. In every branch of Art artists whose work has never been excelled were to the front.

We now arrive at one who stood foremost among men, who was a legislator as well as a warrior, who could win a victory and garner the fruits of it, and who, it is said, could amuse himself well, stud ' well, fight and govern well. He usually carries a twisted, knotted stick, from which depends a manuscript roll ; above him floats a crane, at his side is a deer, at his feet a tortoise, in his hand a sacred gem. The crane and the tortoise see Chap. A figure very similar to Fuku is to be found in Chinese Art.

Juro, or Jurojin, the god of longevity, is hardly to be distinguished from Fukurokujiu, and is probably only a No. He, too, as in No. His head attains to a height not less sur- prising than his companion's, but is usually covered with a transparent cap. He is generally of graver mien than Fuku. The bamboo, plum, and pine, emblems of longevity, will be found as a background to his figure. Ebisu, or Yebisu, was the son of Izanagi and Izanami see Chap. All of these are being perpetually forged for the European market. The national flag is a red ball the rising sun on a white ground.

From Ihc Kodaiji Tc'niple, Kyoto. These adorned not only the dress but everything" which was decorated. They originated on the field of battle where it was necessary to distinguish friend from foe, and a few represent some in- cident in the history of the family using them. By Koai ii Masashige. His philosophy, which is more a code of poHtical ethics than of religious doctrine, is summed up by Rein thus: It is still taught in all schools, and has impregnated the Japanese mind, but is now giving way to more systematic European teaching in metaphysics.

Japan has been termed the " Land of Great Peace. But as regards religious history it certainly holds good. The advent of a new form of religion into almost every land of whose history we are cognisant has invariably been marked by warfare, persecution, and enmities of the most bitter character ; but in Japan if we except the expulsion of Christianity when it attempted to gain a footing in the sixteenth century, and the persecution of the Buddhists also under Nobunaga for twelve hundred years two rival religions have continued side by side without any apparent hatred, jealousy, or rivalry.

Buddhism found its way to Japan in the seventh century, and made rapid progress. By the ninth century it had accommodated itself to the few tenets of Shintoism, and had by the aid of gorgeous ritual and splendid finery laid hold of and encouraged the religious sense which until then had lain dormant. To this religion is due, in a great measure, the nation's high state of civilisation and culture, and especially its great fondness and appreciation of nature. It bears a strong resemblance to Roman Catholicism, with its army of saints, its love of decora- tion, incense, vestments, processions, celibacy, fasting, and legends.

Assassinations, however, were frequent, and li even did not escape, as he met his death in i Every sort of charge was brought against the few foreigners who resided in the country as representatives of the treaty powers. They were accused of desecrating the Japanese religion by ascending the sacred mount Fuji and many were attacked. The assassination of an Englishman brought matters to a climax: The Emperor thereupon took the field with an army to avenge this insult, and almost the whole nation joined him. The fighting, however, was only between the two forms of government, and it went on with alternating success until the Shogun's death.

This was followed in the year by that of the Emperor Komei. He was succeeded by the late Emperor Mutsuhito, who reigned for forty-six years over a united and contented country. The views of Yokohama Nos. In the foreground to the right is the village of Homara, with beyond it the canal that had been lately cut for the protection of the foreign settlement. On the further side are merchants' and govern- ment officials' private houses and the British Consulate.

In its population was 1,, in when this view was taken it was about 18, At the last census it was , THERE is no nation ex- istent or non - existent whose Art has not been materially influenced and as- sisted by its religion, and Japan is no exception in spite of its people not being highly endued with what has been termed " the religious faculty. Herr Rein considers that no side of Japanese national life is so diffi- cult for foreigners to appreciate, for although the religious instinct manifests itself in temples, idols, sacrifices, cere- monies, processions, prayer, and preaching, a scarcely in- telligible indolence and ignorance prevent the attainment of much information on the subject.

Only those who have the time and critical skill to search deeply, and receding from present ideas bury themselves in the old written traditions, can unearth the mysteries which lie beneath the accumulations of centuries. Shortly, the religions are as follows: From a NetsiikL [Behrens Collection. Upon most of these I touched in my first chapter, and they need be dwelt upon no further here than to say that in one form or another their worship still survives. Following this came the deification of the illustrious dead and of ancestors ; this is still continued, and in almost every house memorial tablets of dead members of the family may be seen, who immediately on their decease become " KamV,'' or beings to whom prayer may be offered.

For long ages it has been the custom of the Mikado in his spiritual capacity and by virtue of his descent from the great sun-goddess, to exalt into Kami, patriots, heroes, or benefactors of the race. These are now said to number a million. This sums up the ancient religion. Until the introduc- tion of Buddhism in the sixth century it had no name, but it was shortly afterwards termed Shinto, or Kami- no-michi, i.

Shintoism can hardly be said to have a definite creed or moral code. The whole faith has been summed up in the text from our Bible, " Whatsoever thy hand findeth to do, do it with all thy might. Torii, or double T-shaped gateways, are the principal external signs marking the entrances to its temples. Pictures of these erections are to be found in almost every illustrated book upon Japan. One will be seen upon the left of the lowest compartment but one of the medicine box.

Shinto Torii are usually of plain wood, and straight lined ; Buddhist, when of wood, are painted or sheathed in copper, and the cross bar is carved ; those at the temples of Inari Sama, the rice god, are red ; they are sometimes of stone or bronze ; recently a huge one has been made of cast iron! It is often depicted seated upon the drum used for summoning the faithful to service. No lacquer or metal ornament is supposed to be allowed. At home, a small dais, Kamidana, raised above and apart from the rest of the room, represents the family altar ; upon this stands a wooden shrine like a temple, as well as a vase, in which each morning a sprig of ever- green and a little rice and cake are placed as offerings.

Each evening a lighted lamp is also so disposed. It will thus be seen that this religion offers little encouragement to Art. The obelisk-like structures seen on either side of the view of the Kasuga Shrine, Nara No. They are constantly seen in Japanese pictures, not being exclusively confined to Shinto temples. His philosophy, which is more a code of political ethics than of religious doctrine, is summed up by Rein thus: Japan has been termed the "Land of Great Peace.

By the ninth century it had accommodated itself to the few tenets of Shintoism, and had by the aid of gorgeous ritual and splendid finer ' laid hold of and encouraged the religious sense which until then had Iain dormant. Shinto was at the Restoration, for purposes of State policy, made the national religion, but later it was felt that any crusade against Buddhism was impolitic, and the two beliefs have now been restored to their former position. Shint5, owing to its association with the Court, retains a certain prestige, but Buddhism, although deprived of many of its endowments, continues to be the religion of the majority of the nation.

The natural bent of the Japanese mind is toward the ludicrous, and " fear tempered with fun " describes the attitude of the popular mind towards religion. When, therefore, at the end of the eighteenth century a school of artists recruited from the ranks arose, which did not hesitate to present the gods in extravagant and comical postures and costumes, the result was fatal to that rever- ence upon which the continuance of the whole structure depended.

As in Greece, so in Japan. Until the Revolution of the mass of the people un- doubtedly had confidence in their gods, but upon this event happening, the Buddhist religion was, as we have said, dethroned from the position of state which it had occupied under the Shogunate, its possessions were confiscated, and many of its finest treasures, such as images of the gods, vestments of the priests, candlesticks, incense-burners, and other articles which adorned the temples, came into the market.

Any one now journeying through the country will see Buddhas lying prostrate and uncared for, although probably many of these had fallen into neglect prior to the Revolution, owing to the decay of the religion itself Hokusai's picture No. Christianity was promulgated with great success upon 1 "The Creed of Half Japan: Historical Sketches of Japanese Buddhism.

Of the few I have seen one is a Netsuke No. A movement has been set on foot amongst a section of the educated Japanese to adopt Christianity as the State religion, not perhaps so much from belief in its tenets, as because of the secondary benefits its acceptance would ensure, and because it is the creed of the most highly civilised nations. The attitude of the serious portion of the nation towards Christianity is, at present, one of respectful hesitation, many of its tenets, such as the atone- ment through blood, being altogether contrary to the doctrines which have been inherited by those in the Buddhist faith.

The missionaries allege that a drawback to its progress is, that amongst a considerable section of the foreign community a Japanese sees no attempt at any observance of the profession to which he is sought to be converted. But it has undoubtedly roused the Buddhists to increased activity. Unlike its Indian prototype, the Japanese idol usually shows considerable beauty. I have in my mind's eye one shop in particular, in which rows of neglected Buddhas used to be stowed on out-of-the-way shelves.

The smoke-begrimed countenances of some witnessed to the years, now long since past, when they placidly surveyed through rising incense the crowds which daily came to pay them homage, and they seemed to cry out that below the dirt they retained all their pristine beauty. Buddha means " awake," " enlightened," and to be a " Buddha " is to have attained to the highest degree of saintship. The smaller and finer shrines are certainly to be numbered amongst the Japanese objects to be collected, for they combine the arts of carving, painting, metal and lacquer work.

It is not every day that such beautiful ones come into the market as that reproduced in No. There are few persons outside the Buddhist priesthood who can pronounce with certainty as to the identity of these idols, for they are only to be recognised by the peculiar position of the hands, fingers, and legs. Shaka, which is the Japanese conception of Sakyamuni, the Sakya sage, the Indian Buddha, is usually seated upon a lotus thalamus, resting his left hand upon his knee with the back downwards, and holding up his right hand with the palm forwards.

He wears a jewel on his forehead, which often shines out with quite supernal effulgence. The same god, when in Nirvana, lies on a raised bench. As a child he is borne upon an elephant, which presents a lotus flower to him with its trunk. Amida, according to Anderson the most popular Buddha in Japan, is supposed to reign over the Paradise of the West. He is a much later creation than Shaka, and is usually represented as one of a trinity composed of himself and his two sons. When alone, a halo surrounds both head and body, his hands usually rest on his knees, palms upwards, fingers bent, so that the last two joints of each are in contact with the corresponding parts of the opposite hand.

His hair is curled, and its being so is the result of an episode in his life. The Buddha is often depicted surrounded by a quantity of Bodhisatvas, a numerous body of saints who have to pass through human existence once again before attaining to Buddhaship. In shrines and paintings eight varieties of the seven Kvvannons are often depicted, namely, Senshu, or the thousand-handed usually with forty , two of which on the lap always clasp the begging bowl. Bato, or the horse- headed, has four pairs of arms, and a figure of a horse's head on her brow.

Jiuichi, or the eleven-faced ; right hand open and extended downwards, left carries lotus or vase. From a Wood Carving. Niorin, or the omnipotent ; four arms, one of the right supports the cheek, one of the left holds a lotus. Juntei, with many arms, one carrying a sword. Fukuken, eight- armed ; first pair in attitude of prayer, second carry staff and lotus, third open, fourth carry willow and rope. In Murray's Guide we meet with descriptions of temples dedicated to Kwannon oftener than any other god or goddess.

Sometimes she appears in male form. Jizo, the patron of travellers, the helper of all in trouble No. His stone image with its be- nignant countenance is found more frequently than that of any other object of worship. Besides these there are to be found in Japanese Art frequent representations of a series of ugly and un- interesting seers who become wearisome by their simi- larity, each, with shaven polls surrounded by a nimbus.

See right-hand figure, No. These personages are termed No. Rakan or Arhats, and are sixteen in number. If any one can possibly require further information respecting them, he will find their portraits and names in Anderson's "British Museum Catalogue," p. They are persons who, when they reach old age, retire from the haunts of men for contemplation, and to practise austerity, and by so doing obtain supernatural power and practical immortality. Now the word has come to mean a Fairy.

Straw Hats for the Jizos (OTO-EHON Japanese Folk Tales - English ver. Book 5)

The commonest are Chokwaro, who conjures miniature horses out of a gourd ; Tekkai, a beggar, who emits his No. They are emblems of strength, and small painted Ni O are often pasted to doorsteps to protect houses from burglars. Actualities who resemble some of the foregoing are the mendicant priests, who are frequently introduced into popular prints. They may be recognised by their carrying pole covered with little bells, and a lacquered vessel for rice.

Sometimes they have on their backs a shrine in which is an idol. Illustrations of these shrine cases supported on legs are often found on lacquer. There still remain to be noted the Gods of Good Fortune, and a number of supernatural beings, deified and mythical heroes, animals, and demons. Information concerning them will be found in the two following chapters. From a Pouch Oriiament. O fune ya gichiro ko, Gichiri, gichiri, kogeba O Ebisu ka? Kocha fuku no kami! It is probable that the majority were found in the Pantheon of the country when Buddhism invaded it, and were taken up by the priests of that sect as an easy means of avoiding hostility, and at the same time of putting into tangible form hitherto intangible doctrines.

Those most often met with are: Representatives of the first named are to be seen every- where throughout Japan ; one or other of them in every house, almost upon every article in daily use ; in my collec- tion of metal-work certainly one hundred out of the one 1 Child's New Year song — A thousand ships! Hear the treasure ship coming — Gichiri, gichiri, gichiri, as they row! Is it the God Ebisu? Is it the God Daikoku? Hither come the Gods of Good Fortune.

Four of the seven come under the wing of Buddhism, namely, Bishamon, Benten, Daikoku, and Hotel, and to these a certain amount of reverence is paid ; the other three, Fukurokujiu, Juro, and Ebisu, have, like the gods in later Greek times, ceased to be held in respect, and are treated only with an affectionate cordiality. As the late Dr Anderson remarks, they owe vitality rather to the artist than the priest, and have received nearly the whole of their extended popularity and influence from their lay supporters.

It has been suggested with some probability that these gods came into existence to supply a want. The people desired many temporal blessings ; they there- fore said, " Let us make gods who shall dispense them, and let these gods impose no slavish worship, no self-denial, no punishment for want of reverence ; they shall not be of forbidding, but of pleasant aspect ; we will worship them at home, without formal ritual, so we shall have no troublesome visits to pay to the temple, no priests to bribe, no threats affect- There shall be no impropriety in' asking for luck at cards, or good fortune in our amours.

Around the deities have been grafted certain accessories, by which they are readily recognisable. Fukurokujiu, which translated means " wealth, pros- perity, and longevity," is a little old man, clad in the dress of a sage. He is at once known by the sugar-loaf shape of his head, his vast brain having necessitated a capacious No. From a NetsukL ing our future state. He is a cripple, but that does not have any effect upon his jocularity, for he is termed " the smiling one. He is generally represented with rod and basket struggling with a tai or bream.

See the sword-guard No. Hotei has been to a certain extent adopted by the Buddhists. If the least dignified of the party, he is the greatest favourite. His bag may also contain the " Precious Things," but it is used indiscriminately for sleeping in, trapping chil- dren, and other purposes.

By means of the " shippo " the artist symbolises in brief many a long story. The tribute paid by any subjugated personage in fairy stories is always shippo. Daikoku is perhaps the most important of the Gods of Good Fortune, for he is the one who brings prosperity in No.

In the two representations which we give of him most of his attributes will be seen. In one he holds a miner's mallet used for the acquisition of mineral wealth, and a bag containing the Takarainono. Beneath his feet are rice bales, indicative of wealth arising from the products of the soil. His broad cap, too, painted black, has its meaning; his long-lobed ears, distinctive of divine person- ages, are a mark of beauty. Bishamon Ten can trace his derivation to a Hindoo 1 In this he is akin to the Hindoo Ganesha, the elephant-headed, wise, and humorous god, who is invoked at the beginning of all enterprises, and whose mystic sign stands on the first page of all Hindoo ledgers.

In Japan he is the god of prosperity and renown, and his true followers will obtain fortune, wisdom, long life, and pleasures. Some consider him to be the god of war, but this perhaps arises from his fierce looks and martial guise. Bishamon was incorporated into the Buddhist Pantheon shortly after its introduction into Japan, but latterly the artists have been taking away his reputation even to the extent of exhibiting him making No.

He is usually habited in a Chinese costume, and holds a halbert in one hand and a pagoda in the other. Benten or BenzaitenJ is supposed to be a Japanese version of a Brahmanic goddess, but opinions differ as to which. On her crown she bears a white snake, which is a woman condemned to pass one thousand years in that guise for her sins. When depicted in company with her com- panion gods, it usually is as the musician of the party. In the pouch ornament No. In the early colour print by Kiyomasu No. The Japanese religions differ from many others in having but a small portion of their Pantheon set apart for this latter category, and we seldom find in the older and higher walks of Art an inclination to dwell upon the horrors of the Inferno.

In the British Museum collection there is a set of kakemono representing the various grades of hell. They belong to the Buddhist school, and are said to be copies of originals dating from the ninth century. But Europeans fortunately are usually spared this phase of Japanese Art. A collection of over two thousand objects exhibited at the Fine Art Society in only contained three representations of Yemma, or Emma O, the Regent of Hades, and none of any portion of his domains.

Before him sit two myrmidons, one of whom has a pen to write down the sins of human beings, whilst the other reads out the list of offences from a roll. He is probably derived from the Brahmin god Yama. The souls of the dead are judged by him and sent back to this world either in a higher or lower sphere according to their deserts.

Such is by no means the case, especially as regards a vast but vague number of intangible beings who to him are by no means confined to spirit land, but permeate every corner of his little territory, and are to be met with at every turn. By these every act of his life is affected in one form or another, and it may be wrecked by their intrusion without any fault of his. He may be haunted by visions not only at night, but at his daily meals, he may even see reflec- tions in his cup.

These ghostly forms do not appertain solely to the dead. Ghosts of the ordinary type are termed Yilrei. But those just refer- red to are divisible into Ikiryo or " living spirits," and Shiryo, " dead ghosts. An Ikiryo may proceed from dis- appointed love or hate without the knowledge of the person from whom it emanates.

So the peasant worried with the flies calls out, " Kyo no hai wa, gaki no yo da ne. Space does not permit of dealing with the thirty-six classes of gaki, especially as No. Amongst spirits with which we are familiar in Art the first place may be assigned to Oni who do not appear to Nu. Oni are usually mischievous imps which haunt the precincts of houses, and require to be warned off or exorcised, as they are, on certain festivals. He was engaged by an emperor of the Ming dynasty, in the eighth century, to quell the demons which infested the im- perial palace, and many are the variations, for the most part comical, in which he is repre- sented in every branch of Art.

The " demon -queller" usually seems to be having a very trying time to his temper.

Somewhat akin to the Om are the Tengu, or wood sprites, which are of two kinds ; ordinary with human face and form, but with wings and a very long nose ; and avial, with a bird-like head and claws. They are apparently harmless. Yoshitsune learn- ing to fence from the Tengu king, and young Kintoki catching Tengu, are frequent subjects.

Specimens of both kinds of Tengu are to be seen in the reproduction of Hokusai's print No. These harmless beings are held up to Japanese children as examples of the fatal effects of drink. It is said to have its origin in Susano see p. Instances of human beings turned into demons are not uncommon. Could her back be seen, it would be found that she has assumed a dragon's tail. The story goes that the monk, in order to avoid her importunities, had at last to hide himself under the bell of the monastery of Dodoji ; but even there he could not escape, for with her tail and the bell-hammer Kiyohime beat it until, becoming red-hot, unfortunate Anchin was reduced to a cinder No.

Of mythical animals, there are several which become quite wearisome by their repeated use in Japanese ornament. It is not perhaps utilised by the Japanese quite as frequently as by the Chinese, but each, like Western nations, has appreciated the wonderful adaptability of its lissom body to all manner of ornament.

The Japanese monster is said to have originated in the Indian serpent. Probably the European dragon has the same parentage. The Japanese dragon is a composite monster with scowling head, long straight horns, a scaly serpentine body, a bristling row of dorsal spines, four limbs armed with claws, and curious flame-like appendages on its shoulders and hips. The claws are usually three o,n each foot, but are sometimes four and even five.

Amongst these may be mentioned the child of the thunder, who, when he grew up, turned into a white dragon and disappeared in the clouds ; the myriads of dragons round Mount Fuji ; the carp which for its perse- verance in ascending a waterfall became a dragon ; and the dragon king of the world under the sea.

The Buddhists have not hesitated to appropriate dragons, and it is frequently found in attendance upon Kwannon No. Votaries may be seen in their temples prostrating them- selves before large gaudily- painted paper dragons. It holds the post of Protector of the Faith and also represents the majesty of the Emperor. Mayers gives four kinds of Chinese dragons. The celestial dragon which guards the mansion of the gods ; the spiritual dragon which causes the winds to blow, and has the rainfall in its keeping No.

It will be noted that the dragon is usually accompanied by a ball of varied form, but usually spherical. This is the gem of om- nipotence. The Buddhist ornament Hoshi no tania is very similar. The yellow dragon is the most honoured of its kind. As the holder for a fan, the gem forming the knob of the rivet, as a pouch ornament, upon sword-guards, as a handle to a bell No.

It is very often depicted in a storm cowering beneath bamboos, sym- bolising the insignificant power of the mightiest of beasts as compared to that of the ele- ments. When merely seen in connection with bamboos, it is so because its power is such that it can traverse a thousand miles at a stride, even through a bamboo forest. The Ho, or Hdlw No. From a Pouch Ornainent. Further reason for its frequency in Art, besides its capability of artistic treatment, is, that its presence is significant of good in the near future ; con- sequently it has usually appeared at the birth of those who afterwards attained to fame.

The marvellously realistic representations of this reptile which have been produced in bronze by Seimin do not represent the supernatural tortoise. This is almost always invested with a hairy tail of considerable proportions, in evidence of its being of a great age, for that appendage does not grow until it is at least five hundred years old. It thus poses as the emblem of longevity, and when in addition it bears on its back the mountain of the immortals, it is figurative of strength. The origin of the tail is curious.

Tortoises, in Japan are subject to a growth of a parasite, a plant, confet-va, which attaches itself to its shell. This, when the animal swims about, surrounds the under part of its back with long green locks called viino game from a resemblance to the grass coat worn by peasants in wet weather. The marine turtle Yasawd grows to a great size. One caught off Kazusa measured seven feet in diameter. Tortoise-shell, notwithstanding this, is usually imported. The Kirin, a miserable combination of a deer as to its body , a dragon as to its head , and a lion as to its mane and tail , is fortunately seldom met with in Art.

It is, however, said to be the " noblest form of the animal creation, and an emblem of perfect good ; it treads so lightly as to leave no footprints, and so cautiously as to crush no living creature " Anderson, B. The Nauiazn is not a very common object in Japanese Art, but more than one artist has devoted a whole volume to depicting its vagaries. No one would recognise it from its portraits, for it is indued with a curly mane and tail, and tufts to its legs, which make its body of quite secondary importance.

It is of Corean origin, and usually figures in connection with the peony. Together they symbolise regal power. Other animals, such as foxes, that have supernatural attributes, will be treated of in the chapter upon animals. From a Netsjtki', No. The novelty of the majority of the legends, the similarity of some to those of other races, add a zest which is in- creased by the inability to gather anything from the to most of us undecipherable explanation which lies ready to hand on the face of every printed illustration of them.

Japan forms no exception to the rule as to the world- wide popularity of story-telling. Children imbibe with their mother's milk the legends woven into their nation's history, and old and young gather round the hibachi fire-brazier to hear the oft-told stories of heroism and filial piety which form a necessary part of everybody's education. As with everything else, a large portion of Japanese folk-lore is of Chinese origin: Fairy tales, on the other hand, are usually the product of the country. Lao-Tsze , who was the originator of the Taoist philosophy, is often seen riding on an ox, bald- headed, large-eared, and long-bearded.

From a Pouch Ornament. He is usually in ecstasies at the sight of Mount Fuji. Kio-yu and his friend, Sofu Ch. Ch'ao Fu , were philosophic hermits ; the former is depicted kneeling at a stream and washing from his ear the taint of worldly ambition which had been conveyed to him in an offer by his emperor of a high post at Court.

He is distinguishable from the Rishi Rihaku Ch. Li-Peh , who gazes in fervour at a waterfall, by his being usually associated with Sofu, who leads his ox away from the stream, that it may not drink of the contaminated water. Another sage, Sosha Toba, is often painted, being recognis- able by his hat of enormous width, and his riding on a mule through a snow-clad landscape. One of great renown, Kioshiga or Taikobo Kiang-Tsze-yo , is to be seen fishing in order to rid himself of the wrangling of a discontented wife, and to be able to muse undisturbed upon astronomy, geography, and the art of warfare.

He used a straight pin and no bait, but the fish thought so highly of him that they insisted on holding on to it and being caught ; he looked so wise over this pursuit that the emperor accosted him one day and requested him to become his prime minister. In the illustration, No. The netsuke makers are very fond of treating him in all sorts of attitudes, usually without legs, scowling from a bag ; the representations here given show him rending his garments and recovering the use of his legs.

Other personages of Chinese origin are Kanshin, showing an example of moral courage in crawling between the legs of a low fellow who had insulted him, rather than have a disturbance ; Yojo Ch. Yu Jang , who stabs his sword into the garment of the man who had murdered his king, and whom he had sworn to kill.

This he had failed more than once to do, owing to his foe's generosity, so he implored the latter to throw him his mantle, and he satisfied his conscience by stabbing it first, and then committing suicide. The frequently depicted scene of a man handing another a shoe illustrates an adventure in the life of Chorio Ch. Chang Liang , a counsellor of the founder of the Han dynasty. He is also seen in a river, seated upon a dragon, that he had tamed, handing the shoe to Kosekiko, who is on horseback on a bridge.

He also by his flute- playing charmed a whole army into deserting. We have already written of one, Take-no-uchi no sukune see p. He wears Chinese garments and a black beard which reaches to his waist, and which he is usually engaged in stroking. He carries a formidable spear and is accompanied by a repulsive-looking attendant. Amongst early legends is that of the pearl-diver Ama and the jewel which she recovered from the sea dragon at the cost of her life which she gave to secure legitimacy to her bastard son. She is usually depicted in the sea between a ship and a dragon with a dagger in the bosom of her dress.

Another early legend is that of Yamato Dake No. The personality of Yamato Dake is interesting as he is the earliest known wearer of the hiuchibukuro or flint bag, the progenitor of the inro. One containing flint and steel was given him by his aunt when he started in A.

We have already alluded p. It was at the former that Yoshitsune rode into the water to secure a broken bow which a party of the enemy were endeavouring to grapple with boat-hooks. It was at the latter that he ordered the bridge Ujihashi No. Both these warriors were eager to have the credit of being over first. So, too, is Takatsuna crossing the river at the battle of Ujigawa in the midst of a shower of arrows, which he wards off with his sword No.

He is recognisable by his badge of four hollow squares ar- ranged in the form of a lozenge. Without replying she ran off to the garden, plucked a camellia, handed it to Ota, and ran away. A wondrous beauty, one of Japan's six greatest poets, the idol of the Court, a miserable old hag, her corpse the prey of dogs — in these the painter and the sculptor frequently portray her. VVe see her showing the magic of her poetry by drawing down rain in a period of drought by her recitations, and in No. An- other Court beauty who sank to indigence was Seishonagon.

Quickness in grasping a quotation was highly esteemed in olden days, and this fair lady is usually shown in the act of raising a blind to show the winter landscape, thus displaying her aptness at recognising an allusion. The story of the " oil thief," as he is sometimes called, is an amusing one. Tadamori was once accompanying the Emperor Shira Kawa Hono on a nocturnal escapade when in one of the streets of Kyoto they met what in the rain they mistook for a demon, with flames of fire encircling his head.

The emperor sent forward the valiant Tadamori who went for the demon and threw him. A noble playing the flute in No. The would-be assassin is Hakamadare Koresuke, a notorious Ni. Flute- playing was much indulged in by the nobility, and fine- toned flutes became celebrated and of great value. Another story connected with music is frequently illustrated. In the tenth century there was a great musician, a nobleman named Hakuga-no-Sammi. Hakuga for three years listened in vain at his gate, but one autumn evening he heard the tune, and when it was ended he further heard the musician say, " Alas, that there should be none to whom to transmit this precious possession!

Onotofu was a terribly bad writer and would have given its practice up in despair had he not learnt the lesson of perseverance by watching the creature after countless attempts to jump to a willow bough, at last succeed. Endo Morito, the unfortunate penitent, who for one- and-twenty days stood under the icy torrent of Nachi, is often portrayed by metal-workers who wish to show their skill.

Fudo, the god of the lower world, or his messenger, bearing the wand of pardon, is a usual connpanion of Endo. Fudo, " the immovable one," who is identical with Dainichi Nyorai, the god of wisdom, has usually as accompaniments a sword, representing intelligence, flames, typical of wisdom, and a rope to bind evil-doers. He is the patron of water- falls, although represented as surrounded by flames.

He often appears on sword furniture. Principal amongst these must be No. These are too long to tell here, but they may be studied in a remarkably graphic series of drawings in the British Museum. The latter legend also finds a place upon sword ' The queen of the genii, Seiobo, is usually depicted as a Chinese princess, with two female attendants carrying a fan and the peaches of longevity.

According to Anderson, the assemblage of the Rishi at her mountain home in Central Asia is one of the common Art motives of the old Chinese and Japanese artists. She must not be mistaken for the dragon queen, who is usually represented clothed in robes of shells and coral. So too does the encounter of Watanabe with the beauteous maiden: He may be seen wrestling, warding off rocks thrown down upon him, struggling with sharks, etc. So, too, Goshisho Ch. A striking picture in the British Museum collection is Hokusai's Tame- tomo holding his bow against the united efforts of four demons, during their visit to their island home, Oni- gashima.

Then there is Kintaro, or Kintoki, the child of the forest, the boys' idol, who is usually depicted on kites wielding an enormous axe, or wrestling with the tengu or a wild boar.

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Manifold are the facts narrated concerning this arm. As lately as an archer of the Sakai clan fired over 10, arrows in twenty hours, of which more than half hit a target yards away. Among many instances of skill in the use of the bow may be cited the oft-illustrated tale of the death of the Nuye which had the head of a monkey, the body of a badger, the legs of a tiger, and the tail of a snake shot by Minamoto- no-Yorimasa and his follower, li-no-Hayata.

Nitta no Shiro, the Samurai who saved the Shogun Yoritomo's life by jumping straight from his horse's back on to that of a wild boar and killing him, is the subject of frequent illustration. In fol- lowing his calling as a fisherman, he caught a tortoise, which, as we have seen p. He had compassion on the ani- mal and spared its life, whereupon it was trans- formed into a beautiful princess, in whose boat and company he rowed away to the " Air Castle " No. After a space of three years, as he supposed, he pre- vailed upon the prin- cess to allow him to return home. Reluct- antly consenting, she gave him a casket, which he was not to open if he wished to see her again.

On his arrival at his birthplace he found that the last of his family had been dead many hundreds of years. He was then tempted to open the casket, whereupon he suddenly changed into a wrinkled old man, and his spirit passed into a crane. In this form he rejoined the tortoise, and lived happily for ten thousand years. A ballad on No. From an Ivory Okinioiio. A badger emerging from a tea-kettle No. The kettle belonged to a priest, and one day on its being put on the fire sprouted out with a badger's head, legs, and tail.

The priest did not like this, and sold the kettle to a tinker, who made such a fortune out of exhibiting it, that at last he retired, and pre- sented it to the temple whence it came, where it received saintly hon- ours. The tongue-cut sparrow story No. Her husband, with whom it was a favourite, goes to the forest to find it, is there hospitably entertained by the sparrow family, and on leaving is offered his choice of two baskets, one much larger than the other.

Being old and infirm, he selects the lesser one. Upon his return home he opens it and finds it full of gems. He is upbraided by his better half for his selection, and she goes off and obtains the larger one. Upon opening this, goblins emerge ; even the cords which bind it are transformed into vipers, and these together soon make an end of her.

Momotaro, or Little Peachling No. Nctsiike display the peach opening and the baby issuing from the kernel. His journey to the ogres' island, accompanied by the ape, the pheasant, and the dog, and his capture of the castle and treasures, is found upon pouch ornaments, etc. The old woodcutter who adopted Momotar5 must not be con- founded with the amiable old Chinaman, T'ung Fang- so, or Tobosaku, who ate three peaches, and lived in consequence to the age of nine thousand years. He is usually well dressed, and carries one or more of the peaches in his hand.

A man dreaming that he sees an imperial procession coming to Court, offers a test of skill which the Japanese are not slow to avail themselves of I once had a remark- able rendering, not an inch square, in metal-work. The dreamer is Rosei, who has for a thousand years been typical of the vanity of human greatness.

He passed in a dream from poverty to wealth, from insignificance to great- ness, through a lifetime replete with events, in the space No. The subject is frequently caricatured. Our illustration by Toyonobu No. There are some hundred stories of filial piety of Chinese origin, and a quantity which are distinctly of native growth. Twenty-four, however, is the number of the paragons which the Japanese affect. A diagram of these will be found in Anderson's " British Museum Catalogue.

The Japanese see filial piety even in the lower orders of creation: Karasu ni bavipo no ko are, " The filial duty of feeding one's parents is known even to the crow. They too hail from China, and the Japan- ese have added to them all that is interesting and amusing. As yet the Japanese artist has mainly confined himself to the delineation of his countrymen as they existed prior to the introduction of western fashions.

The long line of artists whose works, extending over several centuries, Are preserved to us, were always conservative and restrained by tradition. Being of good social position they naturally went for their subjects to the glorious past, and limned the lineaments of those who had become illustrious in their nation's history. It was not until early in the eighteenth century, after many years of profound peace, and when the people had apparently tired of the constant repetition of the doings of deities, warriors and the Court, that any variation occurred.

The fashion then arose for popular actors to have their portraits executed in their most gorgeous dresses, and acting their favourite plays. Chromo- xylography came to the front, and the artist was enabled to do some justice to the magnificent clothing of the fair sex. Somewhat later the delineation of the Japanese in his rags was thought of, and artists taken from amongst the masses presented to us those photographic portraits of humble life which give all the information we can desire concerning it.

Had it not been for them we might have imagined that in those times everybody in Japan was 96 Plate II. Little of what they C jntain can be ' It may be worth while to mention that Japanese books commence at what to us is the end: Let us then consider what these are, or, 1 should say, were, for 1 shall only deal with them as they existed prior to the Revolution of 1 The effigy of the ICmperor seldom finds a place in Art.

It was until the last era as- sumed that he and his sur- roundings were too far above ordinary mortals to be spoken or written about ; his face was hidden from the view of his subjects, and his personality can only be recognised by his legs and feet being seen below a bamboo Vene- tian blind. The Shogun, on the con- trary, frequently appears in Art. The dual government which existed between the Emperor and Shogun has already been explained p. We will therefore commence our survey of society with the next grade, namely, the Daimyo, each of whom was a feudal lord, practically king in all but name of his own territory, and with a revenue which in many instances amounted to a quarter of a million sterling.

These main- tained both at their town and country palaces a small army of retainers, and the pomp, display, colour, and movement afforded by their frequent progresses through the country must have been a feast for the artistic eye. A representa- tion of a visit of ceremony is portrayed at p.

A Doll at the Katsusekkti Girls' Festival. I' -otn an Iiiro. Next in order came the military, who filled most of the offices of state. At the time of the Revolution these numbered some two of a thirty-six million population. The position occupied by them can only be explained at some length, but it cannot be passed over, for its doings are always being illustrated in Art. This division produced the Samurai, who at his best was all that was ideal in a man. The poet writes of him, " Should any ask of the heart of the Samurai, show him the wild cherry fragrant in the morning sunshine," i.

Tosupport him and his, the country was taxed to the extent of nearly four mil- lions a year, an im- position which was only commuted in But the Samurai's code of honour would not allow him to work or engage in busi- ness, hence it is not surprising that the majority of them were idle fellows, who only obeyed their lord, whom they protected on the battlefield or against plotters, and for whom they were willing at any time to die, even by their own hand, if honour required it. It is difficult to believe that such a cumbrous uniform was worn later than what we should term the Middle Ages, but the isolation of Japan prevented her utilising the dis- coveries of modern warfare, and her soldiery were arrayed somewhat like this until within the memory of some now living see the illustration, No.

This review was the first occa- sion on which Japanese and British troops were brigaded together. Sir Rutherford Alcock had arrived in Japan a short time previously escorted by a detachment of the 20th Regiment, and it is probably this body that is seen in the distance, together with some Beloochees. The British went through their manreuvres first, after which the Japanese in armour, to the blowing of conch shells and howls which, be- ginning in a low tone, gradually swelled into a yell of defi- ance , went through various exercises amidst the cheers of the British.

The soldiers are evidently being drilled by a Samurai. The old uniform need not be described, for there are few curiosity shops which are with- out a suit, in which some of the old helmets are often of fine workmanship. As avengers of their lord's murder. Samurai appear over and over again in Japanese Art. They are dis- tinguishable in their ordinary dress by their wearing on their kimono, on each sleeve, between the shoulders, and on each side of the breast, the family badge ; also short hose reaching below the calves.

But carrying two swords No. This terrible mode of suicide is also a frequent subject in pictorial art. The ceremony is given in detail in Mitford's " Tales of Old Japan. For instance, of cadets recently in the Military College at Tokyo, 12 were sons of nobles, of Saiiiiirai, and of the lower middle class. As the warrior was to all outward appearance a very different sort of being to his descendant of to-day, so the lady whom the artist has delighted to delineate as the belle of his mediaeval story differs from those of her sex who now people the cities.

The lady in the picture book is not handsome, but that was not the fault of the model, but of a system which compelled the artist to draw her features after certain rules which he dare not transgress. Examine any from the volumes of celebrated beauties, Masanobu's "Girl Walking" No. Two slits, very far apart, for eyes, a long, slightly aquiline nose, a tiny mouth, and a long, oval, swollen-cheeked countenance. She wears a trailing robe of silks of the most varied patterns No. The various highly ornamented articles which we en- counter witness how this lady passed her time.

The embroidered fukusa and kimono show her skill with the needle ; the kobako incense box tells of her favourite pastime the perfume-game of which we shall speak further on ; and her playing cards, the pleasure she experienced in writing stanzas of poetry. Whilst the male sex devoted itself to the study of Chinese, the female cultivated the native tongue, with the result that a large proportion of the best writings in Japanese literature are the work of women. The reason is this: It is the nobility, claiming descent from the gods, with long visage, pale complexion, high forehead, aquiline nose, small mouth, and eyes placed obliquely, found in the environs of Kyoto and the province of Yamato which is the cradle of the race, that the painters, save the popular ones, have, with but little variation, taken as their model.

The other family, inhabiting the western side of the empire, facing China, have a short face, dark complexion, low forehead, projecting cheek bones, flattish nose, eyes horizontally placed and widely opened. They who complain have little knowledge of the surround- ings under which work is produced. Let us shortly com- pare the opportunities which a Japanese and a European artist have of modelling the human figure. The latter starts with a conviction that the human figure is the most glorious creation in the world. He has constantly before him not only proof of this in flesh and blood, but ideal portraits evolved by the Art of former ages.

In his schools he has the anatomy of each component part explained to him, and he has to pass through a long course of study of the skeleton and the subcutaneous portions of the body before he arrives at a stage when he may draw it clothed in flesh. The Japanese, on the other hand, has always been taught by his religion that the human body is a vile carcass of no worth, a frail and corrupt mass, which is only 4-t 1 - No.

From the earliest days, too, it was deemed in society a breach of etiquette to show more than the face and hands and to be in the fashion meant covering oneself with many folded garments of the No. In the schools the student was only allowed to study from the works of the old masters, who had a certain formula by which to draw the human frame. Whilst the savants of his country were versed in the anatomy and properties of every flower of the field, they were ignorant of the corn- No.

As a proof of this, I would point to the fact that the sculptors, restrained by no traditions, often limned it as well as have the draughtsmen of the popular schools who learnt upon lines of their own framing. The usual and often the only garment, both male and female, is the kimono, which, opening down the front the neck being exposed , resembles our dressing- gown. It is kept in place by a girdle obi , which is the principal adornment, especially of the ladies ; this is wound round the body more than once, and is tied behind in a very large and carefully formed butterfly bow with long streamers.

Kannon, the Bodhisattva of Compassion , 13th century Japan. Helmet in dragonfly shape , 17th century Japan. Candlestick, from a five-piece Buddhist altar set , 18th century Japan. Flower vase, from a five-piece Buddhist altar set , 18th century Japan. Incense burner, from a five-piece Buddhist altar set , 18th century Japan. Serving dish with bridge and water , 17th century Japan.

Screenshots

Makora, one of the Twelve Divine Generals , early 14th century Japan. Scenes from the Tale of Genji [right of a pair] , 17th century Japan. Scenes from the Tale of Genji [left of a pair] , 17th century Japan. Living Ornamental Hairpin, No. Bodhidharma , 14th century Japan. Ash container with three birds , late 16th century Japan. Sake Bottle , 17th century Japan.

Wide-mouthed Oil Jar kayatsubo , c. Wedding robe uchikake with design of standing curtains, maple trees, and large drum , late 19th century Japan. White-robed Avalokiteshvara Viewing a Waterfall , 15th century Japan. Dances with Waves , Fukami Sueharu. Midair V—1 , Fukami Sueharu. Clarity , Fukami Sueharu. Between the Waves , Fukami Sueharu. Emptiness , Suda Kokuta. Red and White Tale of Genji, vol. Autumn Excursion , Okumura Masanobu. Box with scenes from The Tale of Genji , 18th century Japan.

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Wedding robe , 20th century Japan. Wedding robe with design of musical instruments and flowers , 20th century Japan. Fallen Moon 1 , Kofushiwaki Tsukasa. Clear Daybreak , Fukami Sueharu. Moment II , Fukami Sueharu. Bishamonten, the Guardian of the North , late 12th century Japan.

Album with scenes from The Tale of Genji , 17th century Japan. Hanshan and Shide , mid 16th century attributed to Kano Yukinobu. Autumn Flowers [left of a pair] , mid 19th century Oki Ichiga. Okuni Kabuki , first quarter 17th century Japan. Amida, the Buddha of Infinite Light , early 12th century Japan. Bonten, the Creator , late 10th century Japan.

Substantial Fruit , Sasai Fumie. Wristwatch Stopped at Protest 2, Tokyo , printed Shomei Tomatsu. Jar with flared mouth , 5th century Japan. Jar , 3rd-7th century Japan. Tea caddy , after Nonomura Ninsei. Plate with grapevines, trellis, and geometric design , late 16th century Japan. Tea caddy , late 16th century Japan. Storage jar , 15th century Japan. Picnic set with plants from the four seasons , 18th century Japan. Large hand-drum core with grapevines and squirrels , late 16th century Japan.

Writing box with pines, plum, chrysanthemums, and paulownia , 16th century Japan. Container for rubbing incense , 14th century Japan. Ritual bell with handle in the shape of the vajra , 18th century Japan. Scenes from The Tale of Genji , mid 17th century Taketsugu. Glittering , Sano Akira. Landscape , 18th century Japan. Cherry Blossoms in Full Bloom at Goten-yama , c.

Phoenixes and Paulownia [right of a pair] , early 18th century Kano Tanshin. Taima Mandala , early 14th century Japan. Deer Mandala of the Kasuga Shrine , first half 15th century Japan. Parinirvana of Sakyamuni, the Historical Buddha , 14th century Japan. War Stirrup, one of a pair , 17th century Japan. Murasaki Gazing at the Moon at Ishiyama Temple , c. Untitled [Demonstrators and Helmeted Authorities] , c.

Tea leaf storage jar , late 16th century Japan. Vase in meiping shape , 13th century Japan. Narihira Riding Below Fuji , c. Untitled Dirt Track , printed Furunishi Noriko. Tea leaf storage jar , 17th century Japan. Four-string biwa , 19th century Japan. Vase hanaire , 18th century Style of Nonomura Ninsei.

Red tea bowl with fisherman , 18th century Japan. One, Nihonbashi , c. Blade with engraved snake for a long-sword koto-katana and mounting with dragon decoration , 16th century Japan. Daoist Immortals , Kano Sansetsu. Tea caddy , late 16th - early 17th century Japan. Incense burner , 13th century Japan. Five-pronged vajra , late 14th century Japan. Six Scenes from the Tale of Genji , 18th century Japan.

Writing box with bridge and waves , 18th century Japan. Tiger Emerging from Bamboo , early 18th century Kano Tsunenobu. Tea bowl , 17th century Japan. Divine General , late 12th century-early 13th century Joga. Kamaitachi 37 , Hosoe Eikoh. Kamaitachi 36 , Hosoe Eikoh. Kamaitachi 35 , Hosoe Eikoh. Kamaitachi 34 , Hosoe Eikoh. Kamaitachi 32 , Hosoe Eikoh. Kamaitachi 31 , Hosoe Eikoh. Kamaitachi 29 , Hosoe Eikoh. Kamaitachi 27 , Hosoe Eikoh. Kamaitachi 23 , Hosoe Eikoh. Kamaitachi 17 , Hosoe Eikoh. Kamaitachi 14 , Hosoe Eikoh. Kamaitachi 11 , Hosoe Eikoh. Kamaitachi 6 , Hosoe Eikoh.

Kamaitachi 5 , Hosoe Eikoh. Wild Little Horse , Toru Kono. Longbow , 19th century Japan. Iconographic drawings of the forms of Kannon, the Bodhisattva of Compassion, 5th month of , , 5th lunar month Shinken. Flood in Forest , Koichiro Kurita. Dark Cloud , Koichiro Kurita. Joe , Sugimoto Hiroshi. Geshas Dancing, from a photography album with images of Japan , 19thth century Japan. Photography album, images of Japan , 19thth century Japan. Untitled, from a photography album with images of Japan , 19thth century Japan.

Nantai Mountain and Chiusenji Lake, from a photography album with images of Japan , 19thth century Japan. Dancing, from a photography album with images of Japan , 19thth century Japan. Shell Picking, from a photography album with images of Japan , 19thth century Japan. Japanese Lady, from a photography album with images of Japan , 19thth century Japan. Jugglers, from a photography album with images of Japan , 19thth century Japan. Overturn Rikisha, from a photography album with images of Japan , 19thth century Japan.

Kago Travelling Chair , from a photography album with images of Japan , 19thth century Japan. Group of Ainos, from a photography album with images of Japan , 19thth century Japan. Singing Girls, from a photography album with images of Japan , 19thth century Japan. Dancing Girl Playing Tsudzumi, from a photography album with images of Japan , 19thth century Japan. Curio Store, from a photography album with images of Japan , 19thth century Japan. Man Conveying Daimeo Letter, from a photography album with images of Japan , 19thth century Japan. Dressing, from a photography album with images of Japan , 19thth century Japan.

Ujikawa, Yamashiro, from a photography album with images of Japan , 19thth century Japan. View of Minatogawa River Kobe, from a photography album with images of Japan , 19thth century Japan. Showing Back Style, from a photography album with images of Japan , 19thth century Japan. Girls Dressing Hair, from a photography album with images of Japan , 19thth century Japan. Dancing Girls Taking Jinrikisha, from a photography album with images of Japan , 19thth century Japan.

Road-side Tea House, from a photography album with images of Japan , 19thth century Japan. Japanese Ladies, from a photography album with images of Japan , 19thth century Japan. Coolie with Rain Coat, from a photography album with images of Japan , 19thth century Japan. Dancing Party, from a photography album with images of Japan , 19thth century Japan. Girl with Looking-glass, from a photography album with images of Japan , 19thth century Japan. Geishas Dancing, from a photography album with images of Japan , 19thth century Japan.

Singing Girl, from a photography album with images of Japan , 19thth century Japan. Abstract C-Bp , s Ishimoto Yasuhiro. Untitled [fresco--head of woman] , Date Unknown Okamura Takashi. Ordeal by Roses 3 , Hosoe Eikoh. Protest 1, Tokyo , printed Shomei Tomatsu. Japanese Landscape , c.

Untitled Colorful Wall Painting Detail , c. Japanese Temple red building , 20th century Nathan Lerner. Orange Wall , Nathan Lerner. Untitled city advertisement in Japanese , 20th century Nathan Lerner. Aborigine, Kyoto, Japan , printed Nathan Lerner. Untitled Colorful Wall Painting , c.

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