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 1 II  |          poetry is the one original art which Japan has certainly
 2 II  |             and sincerity. The real art of them, in short, is their
 3 III |             Unlike the professional art display which I had seen
 4 III |           experiences, - the divine art of creating the beautiful
 5 III |             no real difference: the art sense is superbly independent~{
 6 III |       creation is so frail that its art is so marvelous. The most
 7 IV  |          æons. "Remember, Man, thou art but dust!" - a saying profound
 8 V   |             ABOUT FACES IN JAPANESE ART~I~   A VERY interesting
 9 V   |             essay upon the Japanese art collections in the National
10 V   |            appreciation of Japanese art by an exposition of its
11 V   |      decorative element in Japanese art, and of the Ukiyo-yé school
12 V   |          likely to be gained in the art of book illustration from
13 V   | enthusiastic admiration of Japanese art could pass without challenge
14 V   |           not imagine "why Japanese art should be utterly wanting
15 V   |          foreign praise of Japanese art. Unfortunately, those dominated
16 V   |         cultivation of the national art sense. Nay, those very means
17 V   |     commercial results of that very art sense to which his excellency
18 V   |             were unjust to Japanese art, they were natural, and
19 V   |        worse than ignorance of that art and miscomprehension of
20 V   |           its purpose. It is not an art of which the meaning can
21 V(1)|                       That Japanese art is capable of great things
22 V   |           told that~p. 103}~trained art critics who have lived in
23 V   |   intimately enough, or studied her art impartially enough, to qualify
24 V   |          the deeper meaning of that art. Even the full significance
25 V   |           of an otherwise marvelous art faculty. It never occurred
26 V   |           little, it is the Western art of illustration that appears
27 V   |             the meaning of any true art should need no interpretation,
28 V   |      criticism must imagine Western art to be~{p. 105}~everywhere
29 V   |            is; and some of Japanese art also is. But I can assure
30 V   |            reader that the ordinary art of Western book illustration
31 V   |  conventional. He compared Japanese art on this ground with the
32 V   |             on this ground with the art of the old Egyptians, and
33 V   |             to recognize that Greek art itself was not free from
34 V   |         from conventions. It was an art which we can scarcely hope
35 V   |           than any existing form of art. And since it proved that
36 V   |             making against Japanese art. Somebody may respond that
37 V   |      possible only because Japanese art has not yet found its Winckelmann
38 V   |          its Lessing, whereas Greek art, by the labor of generations
39 V   |         real value of its symbol in art is properly understood.
40 V   |       understood. The face of Greek art represents an impossible
41 V   |             this general law of the art applies to Japanese representations
42 V   |            the reserves of Japanese art in the matter of facial
43 V   |             the enigmas of Japanese art is Buddhism.~V~   I have
44 V   |           Japanese say that Western art is too realistic; and the
45 V   |             is not condemned by any art; and the highest art is
46 V   |            any art; and the highest art is that in which detail
47 V   |         exquisitely elaborated. The art which saw the divine, which
48 V   |          And in the higher Japanese art, as in the Greek, the use
49 V   |   physiognomical detail in Japanese art is that this suppression
50 V   |           was and is. Otherwise his art was in no sense aspirational;
51 V   |            aspirational; it was the art of the larger comprehension
52 V   |              this Japanese~{p. 116}~art is by its method scientific
53 V   |          the true sense. The higher art, the aspirational art (whether
54 V   |        higher art, the aspirational art (whether Japanese or old
55 V   |            aspirational extremes of art touch, one may expect to
56 V   |          lesson of the very highest art that ever existed suggests
57 V   |            reply from works of mere art critics. Science alone can
58 V   |             Both Greek and Japanese art recognized the physiognomical
59 V   |            the making." The highest art, Greek art, rising above
60 V   |              The highest art, Greek art, rising above the real to
61 V   |         recognized equally by Greek art and by Japanese~{p. 118}~
62 V   |            and by Japanese~{p. 118}~art, namely, the non-moral significance
63 V   |           And our admiration of the art reflecting personality is,
64 V   |          human faculties. In modern art we look for the feminine
65 V   |       modern life which our serious art gives. But it will be noticed
66 V   |         truth, declare our works of art in all departments to be
67 V   |          Western life, our~{p. 121}~art would be found ethically
68 V   |      ethically not only below Greek art, but even below Japanese.
69 V   |          even below Japanese. Greek art expressed the aspiration
70 V   |             divinely wise. Japanese art reflects the simple joy
71 V   |    self-suppression. Modern Western art reflects the thirst of pleasure,
72 VII |           but Old Japan survives in art, in faith, in customs and
73 VII |          Japanese city are works of art; and perhaps no city possesses
74 VII |      acquaintance with the Japanese art of flower arrangement had
75 VII |         study of Japanese pictorial art. But I am quite sure that
76 VII |           to be some object of real art, whether in bronze, lacquer,
77 IX  |          grouped by some stupendous art into one vast~{p. 261}~mosaic
78 XI  |         bewitched by the follies of art and of poetry and of music, -