In the year 1893 I went on a short visit to Japan, and becoming interested
in much I saw there, the following year I made a second journey to that
country. Taking up my residence in Kyoto, I determined to study and
master, if possible, the Japanese language, in order to thoroughly
understand the people, their institutions, and civilization. My studies
began at daybreak and lasted till midday. The afternoons being
unoccupied, it occurred to me that I might, with profit, look into the
subject of Japanese painting. The city of Kyoto has always been the
hotbed of Japanese art. At that time the great artist, Ko No Bairei, was
still living there, and one of his distinguished pupils, Torei Nishigawa,
was highly recommended to me as an art instructor. Bairei had declared
Torei’s ability was so great that at the age of eighteen he had learned
all he could teach him. Torei was now over thirty years of age and a
perfect type of his kind, overflowing with skill, learning, and humor. He
gave me my first lesson and I was simply entranced.
It was as though the skies had opened to disclose a new kingdom of art.
Taking his brush in hand, with a few strokes he had executed a
masterpiece, a loquot _(biwa)_ branch, with leaves clustering round the
ripe fruit. Instinct with life and beauty, it seemed to have actually
grown before my eyes. From that moment dated my enthusiasm for Japanese
painting. I remained under Nishigawa for two years or more, working
assiduously on my knees daily from noon till nightfall, painting on silk
or paper spread out flat before me, according to the Japanese method.
Japanese painters are generally classed according to what they confine
themselves to producing. Some are known as painters of figures (JIM BUTSU)
or animals (DO BUTSU), others as painters of landscapes (SAN SUI), others
still as painters of flowers and birds (KA CHO), others as painters of
religious subjects (BUTSU GWA), and so on. Torei was a painter of
flowers and birds, and these executed by him are really as beautiful as
their prototypes in nature. On _plate VII_ is given a specimen of his
work. He is now a leading artist of Osaka, where he has done much to
revive painting in that commercial city.
As I desired to get some knowledge of Japanese landscape painting, I was
fortunate in next obtaining instruction from the distinguished Kubota
Beisen, one of the most popular and gifted artists in the empire.
In company with several of his friends and former pupils I called upon
him. After the usual words of ceremony he was asked if he would kindly
paint something for our delight. Without hesitation he spread a large
sheet of Chinese paper (TOSHI) him and in a few moments we beheld a crow
clinging to the branches of a persimmon tree and trying to peck at the
fruit, which was just a trifle out of reach. The work seemed that of a
magician. I begged him then and there to give me instruction. He
consented, and thus began an acquaintance and friendship which lasted
until his death a few years ago. I worked faithfully under his guidance
during five years, every day of the week, including Sundays. I never
tired; in fact, I never wanted to stop. Every stroke of his brush seemed
to have magic in it. _(Plate IV.)_ In many ways he was one of the
cleverest artists Japan has ever produced. He was an author as well as a
painter, and wrote much on art. At the summit of his renown he was
stricken hopelessly blind and died of chagrin,—he could paint no more.
While living in Tokio for a number of years I painted constantly under two
other artists—Shimada Sekko, now distinguished for fishes; and Shimada
Bokusen, a pupil of Gaho, and noted for landscape in the Kano style; so
that, after nine years in all of devotion and labor given to Japanese
painting, I was able to get a fairly good understanding of its theory and
practice.
It may seem strange that one not an Oriental should become thus interested
in Japanese painting and devote so much time and hard work to it; but the
fact is, if one seriously investigates that art he readily comes under the
sway of its fascination. As the people of Japan love art in all its
manifestations, the foreigner who paints in their manner finds a double
welcome among them; thus, ideal conditions are supplied under which the
study there of art can be pursued.
My memory records nothing but kindness in that particular. During my long
residence in Kyoto there were constantly sent to me for my enjoyment and
instruction precious paintings by the old masters, to be replaced after a
short time by other works of the various schools. For such attention I
was largely indebted to the late Mr. Kumagai, one of Kyoto’s most highly
esteemed citizens and art patrons. Without multiplying instances of the
generous nature of the Japanese and their interest in the endeavors of a
foreigner to study their art, I will mention the gift from the Abbot of
Ikegami of two original dragon paintings, executed for that temple by Kano
Tanyu. In Tokio my dwelling was the frequent rendezvous of many of the
leading artists of that city and GASSAKU painting was invariably our
principal pastime. The great poet, Fukuha Bisei, now gone, would
frequently join us, and to every painting executed he would add the
embellishment of his charming inspirations in verse, written thereon in
his inimitable _kana_ script. This nobleman had taught the art of poetry
to H. I. M. Mutsu Hito, to the preceding Emperor, and to the present Crown
Prince.
[Chapter 2 Head-Band: Fan-shaped leaves of the icho or gin nan
(Salisburiana), placed in books in China and Japan to prevent the ravages
of the bookworm.]