Part

 1 Intro | thirty-nine of the strongest young artists in Japan had grouped themselves
 2 Confuc|         and Korean~immigrants were artists and artisans, who worked
 3 Taoism|       though the Sung and Ashikaga artists have added the beauty of
 4 Asuka |        design by one of the Korean artists - still remains in Chiuguji,
 5 Nara  |          in India; for many Indian artists are recorded as having crossed
 6 Fujiwa|            backgrounds of mediæval artists in Europe, is explained
 7 Kamaku|            high or too low for the artists of the day to illustrate,
 8 Ashika|           and growth of individual artists and their schools.~The East
 9 Ashika|         ideas. But it required the artists of Ashikaga, representing
10 Ashika|             The two most prominent artists of this period are, undoubtedly,
11 Toyoto|           a mere imitation of what artists call now the Momoyama style.
12 Toyoto|            simultaneously on weary artists, sometimes demanding a palace,
13 Toyoto|          life of the day, were all artists of rank in the highest line -
14 Toyoto|     themselves, such as high-class artists of the later Tokugawa had,
15 Tokuga|        forget that, when all other artists were painting in ink, he
16 Tokuga|      restoration. It was here that artists who disdained the Kano yoke
17 Tokuga|         during the Mongol dynasty. Artists from Kyoto crowded to Nagasaki,
18 Tokuga|        continues] Sesshu and other artists used to do. The occasions
19 Tokuga|     restoration in 1881, the Kyoto artists were the leading creative
20 Tokuga|          their name to a family of artists who were appointed painters-in-ordinary
21 Meiji |     modelling equal to the Italian artists. It represents the great