Part

 1 Intro |         the author of this work on Japanese Art Ideals - and the future
 2 Intro |          which was sent out by the Japanese Government in the year 1886,
 3 Intro |         strong re-nationalising of Japanese art in opposition to that
 4 Intro |      Nippon Bijitsuin is a sort of Japanese Merton Abbey. Here various
 5 Intro |            are carried on, besides Japanese painting and sculpture.
 6 Intro |        dealing with the subject of Japanese art in the ninth century,
 7 Intro |           expresses itself through Japanese art as a whole? Mr. Okakura
 8 Intro |       these are the true burden of Japanese art. The means and method
 9 Intro |            be that we shall see in Japanese art a recrudescence of ideals
10 Range |       modern power.~The history of Japanese art becomes thus the history
11 Range |          of a race.~Any history of Japanese art-ideals is, then, almost
12 Range |         the primitive stock of the Japanese. It is also the name of
13 Primit|       which so tempers the soul of Japanese art, differentiating it
14 Primit|     another and higher plane.~What Japanese art would have been if our
15 Primit|           islands. Then, while the Japanese waited, guarding their coasts,
16 Confuc|           the art-education of the Japanese was almost complete by the
17 Taoism|            strength of Chinese and Japanese art, though the Sung and
18 Taoism|   excellence of a great Chinese or Japanese painting lies only in its
19 Taoism|             throughout Chinese and Japanese art, whenever infinity is
20 Buddhi|       twelve Chinese, and thirteen Japanese schools, with their innumerable
21 Asuka |       signifies the influence upon Japanese development of that original
22 Asuka |         hereditary admirals in the Japanese navy, cruising along their
23 Asuka |            of grave chagrin to the Japanese of the present day - but
24 Asuka |          seventeen articles of the Japanese constitution. This document
25 Asuka |             But it seemed that the Japanese mind, with its innate love
26 Asuka |       NOTES~The dates which divide Japanese history having been somewhat
27 Nara  |            creation of the present Japanese alphabet.~The memory of
28 Nara  |          radiating sticks, and our Japanese guest the small but necessary
29 Nara  |         and the nobility.~Dosho, a Japanese monk, had become a personal
30 Nara  |           pride which finds in the Japanese rendering of the same themes,
31 Nara  |          more than twenty thousand Japanese pounds of the precious metal
32 Nara  |          merit, and shows what the Japanese genius had been able to
33 Heian |          to grow still stronger in Japanese thought, till the complete
34 Heian |          so it comes that when the Japanese monk of the Shingon sect
35 Heian |        later era.~In that epoch in Japanese history which is known -
36 Heian |            the greatest figures in Japanese Buddhism, is supposed to
37 Fujiwa|        begins a new development in Japanese art and culture, which may
38 Fujiwa|      solitary purpose. In this the Japanese, by their greater Indian
39 Fujiwa|        important books, written in Japanese by women. For till now,
40 Fujiwa|       completely and distinctively Japanese. It has never died, and
41 Fujiwa|            adherents of this idea.~Japanese painting, with its delicate
42 Fujiwa|         cases we have followed the Japanese pronunciation of Chinese
43 Kamaku|        A.D., begins a new phase of Japanese life, whose main features
44 Kamaku|         great influence in robbing Japanese chivalry of its romantic
45 Kamaku|          instinctive note of early Japanese life. Were we not of the
46 Kamaku|           on that account that the Japanese woman was not adored. For
47 Ashika|        bronze. The first period of Japanese art, from its birth to the
48 Ashika|      pantheon. The kinship between Japanese work of this period and
49 Ashika|            Neo-Confucians, and the Japanese since the days of Ashikaga,
50 Ashika|           of Gen (A.D. 1280-1368).~Japanese art ever since the days
51 Ashika|            pre-Fujiwara periods of Japanese art always means repose.
52 Ashika|      teachings, wrought changes in Japanese habits which have now become
53 Ashika|            the Indian trend of the Japanese mind released from Confucian
54 Ashika|          the strongest elements in Japanese music and drama.~The stage
55 Toyoto|          the humiliating recall of Japanese troops from the peninsula
56 Toyoto|          the world of art. In this Japanese~society anticipates by two
57 Tokuga|     ideality which is the basis of Japanese art. Those charmingly coloured
58 Tokuga|        main line of development of Japanese art, whose evolution has
59 Tokuga|         the temple treasures, that Japanese art is not yet seriously
60 Tokuga|           the rise of contemporary Japanese art, in the second decade
61 Meiji |           forces which enthral the Japanese mind, entwining dragon-like
62 Meiji |             had tended to obscure.~Japanese national life is centred
63 Meiji |            under Kanhi and Kenliu.~Japanese scholarship, following this
64 Meiji |      revolution.~A study of purely Japanese ancient literature came
65 Meiji |          Morality, the keystone of Japanese ethics as taught in the
66 Meiji | pre-Raphaelite nobleness. Thus the Japanese attempt at Western imitation
67 Meiji |           possibilities of ancient Japanese art, and aiming at a love
68 Meiji |           sustains the army. These Japanese art may safely accept from
69 Vista |            its personal drama. The Japanese peasant-traveller,~again,