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  1 Intro |          of this work on Japanese Art Ideals - and the future
  2 Intro |           Oriental Archæology and Art.~Although then young, he
  3 Intro |          a member of the Imperial Art Commission which was sent
  4 Intro |           year 1886, to study the art history and movements of
  5 Intro |           appreciation of Asiatic art deepened and intensified
  6 Intro |      re-nationalising of Japanese art in opposition to that pseudo-Europeanising
  7 Intro |         him Director of their New Art School at Ueno, Tokyo. But
  8 Intro |          best in the contemporary art movements of the West, at
  9 Intro |     Government in classifying the art treasures of Japan, and
 10 Intro |         His acquaintance with the art of the same period in Southern
 11 Intro |       churches only too recently.~Art can only be developed by
 12 Intro |         of a common early Asiatic art, which has left its uttermost
 13 Intro |           the subject of Japanese art in the ninth century, makes
 14 Intro |       activity lies always in her art. Here we find, at each period,
 15 Intro |        really essential. It is an art, unlike that of ancient
 16 Intro |           itself through Japanese art as a whole? Mr. Okakura
 17 Intro |          living expression in her art. And this Asiatic culture
 18 Intro |         features of his country's art which really form its characteristic
 19 Intro |           true burden of Japanese art. The means and method of
 20 Intro |         author holds that Asiatic art could never have been, standing
 21 Intro |         and the Roshana Buddha in art. We watch it again as it
 22 Intro |          we shall see in Japanese art a recrudescence of ideals
 23 Range |         with Mongolian polity and art.~For if Asia be one, it
 24 Range |         Persian, civilisation and art, in face of the Frankish
 25 Range |     sublime attainments of Indian art, almost effaced as they
 26 Range |       culture, and of that Indian art, then in its splendour,
 27 Range |         again, abound in works of art and manuscripts belonging
 28 Range |           The history of Japanese art becomes thus the history
 29 Range |          of those art-ideals. For art, like the diamond net of
 30 Range |  throughout its past and present. Art with us, as elsewhere, is
 31 Range |         phenomena into which that art is set, as it were a jewel.
 32 Primit|                     THE PRIMITIVE ART OF JAPAN~THE origin of the
 33 Primit|      tempers the soul of Japanese art, differentiating it at once
 34 Primit|   overburdened richness of Indian art. That innate love of cleanness
 35 Primit|         industrial and decorative art, is probably nowhere to
 36 Primit|       higher plane.~What Japanese art would have been if our civilisation
 37 Primit|          the bareness of Teutonic art, if divorced from Christianity,
 38 Primit|           spirit of our primitive art has never been allowed~to
 39 Primit|          sword-soul on the solemn art of Ashikaga. And as the
 40 Primit|         in life, and thought, and art.~It was this consciousness
 41 Confuc|    influence which swept over the art of primitive Japan, before
 42 Confuc|          Dynasties of China.~Hâng art was itself the natural outcome
 43 Confuc|  individual to the community, and art was prized for its service
 44 Confuc|        the foreign embassies.~The art of the Hângs - who spread
 45 Confuc|     dolmens. For we received Hâng art from China, and were even
 46 Confuc|     restrictive of the freedom of art. Enchained to the service
 47 Confuc|         to the service of ethics, art naturally became industrial.
 48 Confuc|      failure of sympathy, Asiatic art, by her vast life of the
 49 Taoism|           Itself." Or again, "The art of living, whose secret
 50 Taoism|           six canons of pictorial art, in which the idea of the
 51 Taoism|        the Rhythm of Things." For art is to him the great Mood
 52 Taoism|           of Chinese and Japanese art, though the Sung and Ashikaga
 53 Taoism|   throughout Chinese and Japanese art, whenever infinity is to
 54 Buddhi|               BUDDHISM AND INDIAN ART~BUDDHISM is a growth. The
 55 Buddhi|       school worked.~In India the art of this early Buddhism was
 56 Buddhi|          of pre-Buddhistic Indian art, ascribing its sudden birth
 57 Buddhi|          be with that old Asiatic art whose traces are to be found
 58 Buddhi|            the culmination of the art of this school of the third
 59 Buddhi|        Mongolian traits on Indian art, could but bring it within
 60 Buddhi|           centre of learning.~The art of this second Buddhist
 61 Buddhi|       specimens of a great Indian art, which doubtless, thanks
 62 Buddhi|           inspiration to the Tâng art of China.~The third phase
 63 Buddhi|           doctrine, to create the art of the Heian period.~It
 64 Buddhi|           stratum of Indo-Chinese art, very different in style
 65 Asuka |        garb of the Hâng period of art, and this was done much
 66 Asuka |           architectural and other art specimens of this period.
 67 Asuka |         as it appears in Buddhist art. The proportions are not
 68 Asuka |         the naturalesque gives to art an awful charm.~But it seemed
 69 Asuka |           development of Buddhist art and philosophy, under the
 70 Asuka |           the realistic school in art.~The Meiji Period. - From
 71 Nara  |       with puranic lore.~Buddhist art now assumes the aspect of
 72 Nara  |       their national religion and art on Chinese soil, more than
 73 Nara  |   influence in Chinese decorative art - in the same temper which
 74 Nara  |           that of modern science, art becomes largely a reaching
 75 Nara  |   understand, therefore, that the art of the Nara period is reflected
 76 Nara  |       completeness that makes the art of Nara the highest formal
 77 Nara  |         existing specimen of this art. In connection with these
 78 Nara  |          the progress of Buddhist art. On one occasion, when the
 79 Nara  |        this period.~The pictorial art of Nara - as seen in the
 80 Heian |        period is overwhelming, in art as in religion.~The origin
 81 Heian |        the True Word, or Shingon.~Art and Nature were now regarded
 82 Heian |    brushwork of the period.~Heian art is thus a synonym for work
 83 Fujiwa|           development in Japanese art and culture, which may be
 84 Fujiwa|       their serious occupation in art and poetry. The lesser duties
 85 Kamaku|  incongruous with religion in the art of war, and the noble who
 86 Kamaku|        strength of will. Thus the art of this period lacks both
 87 Ashika|           the true note of modern art, Romanticism in its literary
 88 Ashika|           the past development of art, though lacking perhaps
 89 Ashika|           not only the history of art as a whole, but also the
 90 Ashika|        dominates the spiritual in art. The Egyptian and Assyrian
 91 Ashika|          first period of Japanese art, from its birth to the beginning
 92 Ashika|        limitation on the Ashikaga art, which devotes itself too
 93 Ashika|         A.D. 1280-1368).~Japanese art ever since the days of the
 94 Ashika|          as the highest effort in art. This spirituality, with
 95 Ashika|          reflect itself. Thus the art of Ashikaga bears an entirely
 96 Ashika|  pre-Fujiwara periods of Japanese art always means repose. It
 97 Ashika|          a bridal feast. Life and art, as influenced by these
 98 Ashika|        dynasty was a great age of art and art-criticism. Their
 99 Ashika|        the new idea was to divest art of foreign elements, and
100 Ashika|     Shoguns were great patrons of art, and the life of the age
101 Ashika|           the insignia of a great art. They never allow us to
102 Toyoto|          any true refinement.~The art of this period is more remarkable,
103 Toyoto|          and solidarity. Alike in art and manners he strove to
104 Toyoto|         made free of the world of art. In this Japanese~society
105 Toyoto|        new aristocracy, permeated art with a spirit of democracy
106 Toyoto|            though not a spiritual art. The only school which stands
107 Tokuga|          out the vital spark from art and life. It was only their
108 Tokuga|        the whole of society - and art was not exempt - was cast
109 Tokuga|          of the Samurai, so their art expresses itself in the
110 Tokuga|          is the basis of Japanese art. Those charmingly coloured
111 Tokuga|           development of Japanese art, whose evolution has been
112 Tokuga|        fervour, in which all true art exists. Great art is that
113 Tokuga|        all true art exists. Great art is that before which we
114 Tokuga|           we long to die. But the art of the late Tokugawa period
115 Tokuga|          treasures, that Japanese art is not yet seriously considered
116 Tokuga|           the West.~The bourgeois art of Yedo (Tokyo), under the
117 Tokuga|         higher form of democratic art was evolved. Kyoto, where
118 Tokuga|   initiated of European realistic art. Matteo-Ricci had been a
119 Tokuga|         truly national element in art, as their brethren in Yedo
120 Tokuga|   governed the old masters.~Kyoto art, since the death of these
121 Tokuga|          of contemporary Japanese art, in the second decade of
122 Tokuga|     creative spirits in pictorial art.~NOTES~Kano Academies. -
123 Meiji |        who speaks of contemporary art is always in danger of treading
124 Meiji |          manifest in the field of art, which is struggling, like
125 Meiji |    revival of ancient letters led art back to the pre-Tokugawa
126 Meiji |            through that apathy to art which considered it as a
127 Meiji |           unknown side of ancient art, just as Greco-Roman masterpieces
128 Meiji |        led by the Bijitsu Kyo-Kai Art Association. This society,
129 Meiji |        study of Western realistic art which had slowly gained
130 Meiji |     chromos as specimens of great art ideals.~The art which reached
131 Meiji |          of great art ideals.~The art which reached us was European
132 Meiji |          the Government School of Art - where Italian teachers
133 Meiji |        Europeanisation imposed on art. When the first decade of
134 Meiji | possibilities of ancient Japanese art, and aiming at a love and
135 Meiji |          reconstruct the national art on a new basis, whose keynote
136 Meiji |     establishment of a Government Art School at Ueno, Tokyo, and,
137 Meiji |       element in the contemporary art activity of the country.~
138 Meiji |     evolutional self-development. Art is neither the ideal nor
139 Meiji |       this school, again, the old art of Asia is more valid than
140 Meiji |        which the universal hides.~Art thus becomes the moment'
141 Meiji |          the army. These Japanese art may safely accept from the
142 Meiji |          of the subject-matter of art. These two masters, themselves
143 Meiji |         great epoch of revival in art, from the time of Æschylus
144 Meiji |          their wide domains. Thus art, in spite of its new conditions
145 Vista |         industrial and decorative art which is the heirloom of
146 Vista |      science, the poetry, and the art of Asia. Torn from their
147 Vista |           that self-dedication of art to nature which the Ashikaga
148 Vista |   parching the throat of life and art.~We await the flashing sword