(GWA DAI)
A Japanese artist will never of his own accord paint a flower out of
season or a spring landscape in autumn; the fitness of things insensibly
influences him. From ancient times certain principles have determined his
choice of subjects, according either to the period of the year or to the
festivals, ceremonies, entertainments or other events he may be required
to commemorate. All such subjects are called GWA DAI. As one without
some knowledge of these cannot appreciate much that is interesting about
art customs in Japan, a brief reference to them will be made, beginning
with those subjects suitable to the different months of the year:
January—For New Year’s day (SHO GWATSU GWAN JITSU) favorite subjects are
“the sun rising above the ocean,” called _hi no de ni nami_ (_Plate LIV_
No. 1); “Mount Horai” (2), “the sun with storks and tortoises” (3, 4,
5); or “Fukurokuju,” a god of good luck. Many meanings are associated
with these subjects. The sun never changes and the ocean is ever
changing, hence IN YO is symbolized. The sun, the ocean and the
circumambient air symbolize TEN CHI JIN or the universe. Horai (SAN) is a
symbol for Japan. It is the lofty mountain on a fabled island in the
distant sea, referred to in early Chinese writings, inhabited by sages
(SEN NIN), and containing the pine, bamboo and plum (known in art as SHO,
CHIKU, BAI), the pine standing for longevity, the bamboo for rectitude and
the plum blossom for fragrance and grace. The stork and the tortoise,
whose back is covered with seaweed, both typify long life, the ancient
saying being that the stork lives for one thousand and the tortoise for
ten thousand years _(tsuru wa_ SEN NEN, _kame wa_ MAN NEN). Fukurokuju is
one of the seven gods of good luck, whose name means happiness, wealth and
long life. On New Year’s day are suspended on either side of his picture
bamboo and plum subjects (_Plate LV_, 1, 2, 3). This jovial god’s name is
sometimes happily interpreted by a triple _kakemono_ (SAN BUKU TSUI): The
middle one is the sun and waves, for long life (JU); on the right, rice
grains, for wealth (ROKU), and on the left the flower of the cotton plant,
for happiness (FUKU), because its corolla is golden and its fruit silvery,
the gold and silver suggesting felicity (_Plate LVI_, 1, 2, 3). This
makes a charming combination. An excursion into the fields of Chinese
philology in connection with the name of this god of good luck would
unfold some wonderful word picturing. Traced to their hieroglyphical
beginnings, FUKU signifies blessings from heaven; ROKU, rank, commemorated
in carving, and (JU), agricultural pursuits, associated with white hair.
An especially appropriate picture for this season of great festivity is
called “the pine at the gate” _(kado matsu)._ It commemorates the custom
on the first day of the year of planting pine trees at the entrance to
Japanese public buildings and private residences. From the rope
_(shimenawa)_ (_Plate LV_, 4) are suspended strips of white paper
_(gohei)_ typifying purity of the soul; these hang in groups of three,
five and seven, the odd or lucky number series associated with the
positive or male principle (YO) of IN YO. Another appropriate subject for
this early season of the year is rice cakes _(mochi)_ in the shapes of the
sun and full moon (_Plate LV_, 5). In the picture the fruit called _dai
dai_ is placed on the top of the rice cakes, the word DAI meaning ages,
hence associated with longevity. At the base of the stand is a prawn
_(ebi)._ This equally suggests old age because the prawn is bent in two.
The leaf of the _yuzuri_ is introduced because it is an auspicious word
and means succession. The picture of a battledoor and shuttlecock
_(hagoita)_ is also appropriate for New Year as it commemorates the
ancient practice of the Japanese indulging in that pastime on that day
(_Plate LVI_, 4).
During January a very popular picture for the alcove _(tokonoma)_ is the
treasureship, called _taka-rabune_ (_Plate LVI_, 5). The vessel as it
sails into port is heavily laden with all of the various tools and
utensils typifying great wealth to be found in the capacious bag of Dai
Koku, a Japanese god of good luck. These are a ball, a hammer, weights,
cloves, silver bronze, and the god’s raincoat and hat. On the evening of
the second of January if the painting of a treasureship be put under the
pillow and one dreams of either Fujisan, a falcon or an eggplant, the year
long he will be fortunate. It will be observed that on the sail of the
treasure boat is inscribed the Chinese character for TAKARA, meaning
treasure. On the seventh day of January occurs the first of the five
holidays, called _go sekku,_ and vegetable subjects are painted. These
are called the seven grasses _(hotoke za_ or _nana kusa)_ and consist of
parsley, shepherd’s purse, chickweed, saint’s seat, wild turnip and
radish. They are susceptible of most artistic treatment and ingenious,
original designs are often evolved (_Plate LVII_, 6).
February—The cock and the hen, with the budding plum branch, are now
appropriate. The subject is known as the “plum and chickens” _(ume ni
tori)_ (_Plate LVII_, 1). The chicken figures in the earliest history of
Japan. When the cock crows the Japanese hear the words KOKKA KOO, which,
phonetically rendered into Chinese characters, read “happiness to our
entire land.” The Chinese hear differently. To them the cock crows TOTEN
KO, meaning “the eastern heavens are reddening,” so to them the cock
heralds the early morn. Famous paintings of chickens have come from the
brushes of Okyo, Tessan (_Plate III_), and others of the Maruyama school.
During February, the month of the plum, the appropriate paintings are of
that flower and the Japanese warbler _(ume ni uguisu)_ (_Plate LVII_, 2).
This singing bird announces the spring with its melodious notes (HOHO
KEKYO), which, rendered by the Buddhist into Chinese characters, give the
name of the principal book of the eighteen volumes of Shaka, entitled,
“the marvelous law of the lotus.” Another picture suitable to February is
known as “the last of the snow” _(zan setsu)_ (_Plate LVII_, 3).
March—This month is associated with the peach blossom, and _kakemono_ of
gardens containing peach trees, called _momo no_ EN (_Plate LVII_, 4), are
in favor. Toba Saku is related to have lived eight thousand years
subsisting upon the fruit of the peach; hence, the peach blossom is a
symbol for longevity, and _sake_ made from the fruit is drunk throughout
Japan in March. One of the most famous prose writings in Chinese
literature is RAN-TEI KIOKA SUI. It commemorates a pastime of the
learned, called “the _sake_ cup.” A favorite way of interpreting this
subject is to paint a garden of blossoming peach trees and spreading
banana palms bordering a flowing stream, with a nobleman attaching to a
peach branch a narrow paper (TANJAKU) upon which he has written a poem.
Another famous Chinese prose composition, “the peach and apricot garden
festival,” written by Ri Tai Haku at the age of fourteen years, is
interpreted by depicting Toba Saku in a garden seated before a table, with
three Chinese beauties attendant upon him, with celebrated scholars and
sages circulating midst the flowers and blossoms. Five principal
festivals of the year, known as _go sekku,_ occur respectively on the
seventh day of January, the third day of March, the fifth day of May, the
seventh day of July and the ninth day of September—all being on the odd
days of the odd months (the YO of IN YO). On the third day of the third
month is the _hina matsuri_ festival for young girls, and the appropriate
painting for the occasion is called _kami bina,_ meaning paper dolls
(_Plate LVII_, 5). The greatest Japanese artists of the past have vied to
make their treatment of this subject superb. When a female child is born
a _kami bina_ painting is presented to the family to contribute to the
festivities. The month of March is the month of the cherry blossom
_(sakura bana),_ and the picture on _Plate LVIII_, 1, illustrates one
method of painting cherry trees ornamenting the mountainside of a canyon,
through which flows a river. During March picnic parties go upon the
beach at low tide to gather shell-fish. The subject illustrated on _Plate
LVIII_, 2, called ebb-tide _(shio hi),_ is appropriate. The picture of
the maiden Saohime (_Plate LVIII_, 3) is also painted in March.
April—The wistaria flower _(Juji)_ is associated with the fourth month and
all April landscapes represent the trees covered with much foliage. A
small bird called _sudachi dori,_ hatched in this month, is often painted
on the wistaria branch (_Plate LVIII_, 4). The picture typifies parental
affection, on account of the known solicitude of the mother bird for its
young.
May—There are many subjects appropriate for May. The iris _(shobu)_
(_Plate LVIII_, 5) now makes its appearance. Its long-bladed leaves are
sword shaped, therefore the plant symbolizes the warrior spirit _(bushi)._
The iris is often planted upon the roof of a house to indicate that there
are male children in the family. The cuckoo and the moon subject _(tsuki
ni hototogisu)_ (_Plate LVIII_, 6) is special to this month. The fifth of
May is the boys’ festival, and the carp _(koi)_ (_Plate LIX_, 1) is the
favorite subject for painting. May is the rainy month in Japan. It is
related that a carp during this month ascended to the top of the waterfall
RYU MON in China and became a dragon. The carp thus typifies the triumph
of perseverance—the conquering of obstacles—and symbolizes the military
spirit. When this fish is caught and about to be cut up alive for
_sasshimi,_ a Japanese delicacy, once the carver has passed the flat side
of the knife blade over the body of the fish the _koi_ becomes motionless,
and with heroic fortitude submits to being sliced to the backbone. Served
in a dish, a few drops of _soy_ being placed in its eye it leaps upward in
a last struggle, to fall apart in many pieces. When a male child is born
a proper present to the family is a carp _kakemono._ The fifth day of the
fifth month is the anniversary of the great victory of the Japanese over
Kublai Khan, who, with an enormous fleet of Chinese vessels, attempted to
invade Japan in the thirteenth century.
June—In this warm month the GWA DAI or picture subject is waterfalls
(_Plate LIX_, 2), although it is quite allowable on account of the heat of
summer to suggest cool feelings by painting snow scenes with crows (SETCHU
_ni karasu)_ for a color contrast (_Plate LIX_, 3). All pictures painted
during the month of June should suggest shady, refreshing sensations. A
charming and favorite subject is water flowing through an open bamboo pipe
and falling amid luxuriant vegetation into a pool below, where a little
bird is bathing. This picture is technically known as _kakehi_ (_Plate
LIX_, 4).
July—During this month appropriate among flower subjects is that of the
seven grasses of autumn _(aki no nana kusa)_ (_Plate LIX_, 6), consisting
of the bush clover, the wild pink, the morning glory, et cetera. This is
most difficult to paint on account of the extreme delicacy requisite in
the handling of the brush, but a skilful artist can produce most
interesting effects. All sorts of wonderfully shaped insects as well as
birds of brilliant plumage are permitted in the picture. The seventh day
of July is known as the festival of the stars, and _Kengyu,_ the swain,
and _Orihime,_ the maiden, are painted. July is a month devoted to
Buddhist ceremonies. Saints, sages, the five hundred rakkan disciples of
Shaka and the sixteen rakkans are painted. There are two other subjects
appropriate, known as _Tanabata_ (_Plate LIX_, 5) and _Nazunauchi_ (_Plate
LXIV_, 4).
August—The first grain of the year is now offered to the gods. A charming
way of commemorating this is by the painting called stacked rice and
sparrows _(inamura ni suzume)_ (_Plate LX_, 1). The rabbit and the moon,
called _tsuki ni usagi_ (_Plate LX_, 2), because the rabbit is seen in the
moon making rice cakes, and the picture known as _meggetsu_ (_Plate LX_,
3) also commemorate the offering of the products of the soil to the moon
divinity. As mist abounds during August, landscapes half concealed in
mist are painted. The Kano artist, Tanyu, leaned much to such scenes,
which suggest the tranquility of eventide. Such subjects are known as
mist showers _(ugiri)_ (_Plate LX_, 4). The Japanese have their woman in
the moon, named Joga. This lovely creature having procured and drunk of
the ambrosia of hermits _(sennin)_ is said to have entered that planet.
The picture is an engaging one (_Plate LX_, 6), the upper portion of
Joga’s body being in the moon’s disc and the lower portion in fleecy
clouds.
September—The ninth day of the ninth month is the festival of the
chrysanthemum (KIKU NO SEKKU), when _sake_ made from the chrysanthemum is
drunk. Kiku Jido, a court youth, having inadvertently touched with his
foot the pillow of the emperor, was banished to a distant isle where, it
is said, he was nourished by the dew of the chrysanthemum which abounded
there. Becoming a hermit, he lived one thousand years. Seasonal pictures
for this month commemorate this event, or reproduce the yellow and white
chrysanthemum. (_Plate LXI_, 1). Appropriate for September are water
grasses and the dragon-fly _(mizukusa ni tombo)_ (_Plate LXI_, 5).
Tatsuta hime (_Plate LXI_, 2) is also painted. She is the autumn
divinity, associated with the brilliant, warm and resplendent colors of
the autumn season, and is always represented in gorgeous hues. Pictures
of the deer and the early maples _(hatsu momiji ni shika)_ (_Plate LXI_,
3) are now appropriate. A favorite autumn picture is called _Kinuta
uchi,_ or the beating, on a block, of homespun cotton to give it lustre.
A poor peasant woman and her child are both occupied at the task under the
rays of the full moon (_Plate LXIV_, 4). The sound of the blows on the
block is said to suggest sad feelings. It is a law for painting such
moonlight scenes that no red color be introduced, as red does not show in
the moonlight (GEKKA _no_ KO SHOKU _nashi)._
[Fujiyama from Tago no Ura, by Yamamoto Baietsu. Plate VIII.]
Fujiyama from Tago no Ura, by Yamamoto Baietsu. Plate VIII.
October—In this month geese coming from the cold regions and crossing at
night the face of the moon are a favorite subject, known as _tsuki ni_ GAN
(_Plate LXI_, 4). Other subjects are “autumn fruits” _(aki no mi)_
(_Plate LXI_, 5), chestnuts, persimmons, grapes and mushrooms; monkeys and
persimmons _(saru ni kaki)_ (_Plate LXI_, 6); squirrel and grapes (RISU
_ni_ BUDO) (_Plate LXII_, 1); and the evergreen pine _(kayenu matsu),_
suggesting constancy (_Plate LXII_, 2)
November—A month sacred to Evesco, one of the jovial gods of good luck
(_Plate LXII_, 3). He was the first trader, his stock being the TAI fish.
He is the favorite god of the merchants who, during this month, celebrate
his festival. Evesama is usually represented returning from fishing with
a TAI under his arm. The Kano artists particularly favored this subject.
Another charming picture, known as “the last of the chrysanthemums” (ZAN
KIKU) (_Plate LXII_, 4), suggests the approaching close of the year. The
classic way to represent this subject is with small, yellow chrysanthemums
clinging to a straggling bamboo fence, with a few of their leaves which
have begun to turn crimson. Another November picture is “the first snow”
_(hatsu yuki)_ (_Plate LXII_, 5). Two puppies are frollicking in the
snow, which is falling for the first time. It is said that no animal
rejoices like the dog when it sees the first snowfall of winter. Snow,
says a proverb, is the dog’s grandmother _(yuki wa inu no obasan)._ Okyo
and Hokusai frequently painted this subject. _Hatsu yuki_ is sometimes
represented by a little snow upon the pine tree or the bamboo in a
landscape. This produces a very lonely _(samushii)_ scene. The Kyoto
artists are extremely fond of painting in the month of November the
subject of a peasant girl descending from the mountain village of Ohara
carrying upon her head a bundle of firewood twigs, into which she has
coquettishly inserted a branch of red maple leaves. This picture is
called _Oharame_ (_Plate LXII_, 6). Landscapes representing fitful rain
showers are appropriate for November and are called _shigure._ This is
the month for the _oshi dori_ (_Plate LXIII_, 1). These mandarin ducks,
male and female, on account of the contrast in their shape and plumage,
make a very striking and favorite picture. Their devotion to each other
is so great that they die if separated. Hence, such paintings not only
symbolize conjugal fidelity but are also appropriate as wedding presents.
There are two other kinds of birds painted in November: The beach birds,
known as _chi dori_ (_Plate LXIII_, 2), and the wild duck flying over the
marsh grasses _(kamo ni ashi)_ (_Plate LXIII_, 3). Okyo and the artists of
his school excel in their vivid treatment of these last three subjects.
December—The cold weather chrysanthemum (KAN KIKU), the narcissus or
hermit of the stream (SUI SEN), and the snow shelter of rice straw _(yuki
kakoi)_ (_Plate LXIII_, 4) are three favorites for December. In this
latter lovely subject the white chrysanthemums are huddling below the
protecting snow shelter of rice straw, one or two of the flowers peeping
out, their leaves being reddish on the rim and light green within. The
narcissus is much painted during December. There are many ways and laws
for painting this flower. Another winter subject is called _joji_ BAI,
consisting of the plum tree with snow on the branches and small birds
perched thereon. Kyoto artists much favor it. December landscapes are
all snow scenes _(yuki no_ SAN SUI) (_Plate LXIII_, 5) and countless are
the ways in which they are treated. Another subject is _nukume dori—_a
falcon perched upon a tree covered with snow, holding in its claws a
little bird (_Plate LXIV_, 3). The falcon does not tear its victim to
pieces but simply uses it to warm its own feet; this accomplished, it lets
its prisoner escape and during twenty-four hours refrains from flying in
the direction the little bird has fled. _Noblesse oblige._
The snow man or snow _daruma (yuki daruma)_ (_Plate LXIII_, 6) is painted
this month by artists of all the schools.
The four seasons (SHI KI) form a series susceptible of the most varied and
engaging treatment and presentation. The seasons are sometimes symbolized
by flowers, occasionally by birds, again by the products of the earth, and
often by landscapes.
Sometimes human figures are used for the purpose. In spring _(haru)_ a
young daughter _(musume)_ may be represented looking at the cherry
blossoms (_Plate LXV_, 1); in summer _(natsu)_ she will be crossing a
bridge or enjoying the cool of the riverside (_Plate LXV_, 2); in autumn
_(aki)_ she is seen in the fields, probably gathering mushrooms (_Plate
LXV_, 3), and in winter _(fuyu)_ she will be seated indoors playing a
musical instrument (_Plate LXV_, 4). While the other _kakemono_ is always
to be changed in the _tokonoma_ or alcove according to the seasons,
ceremonies or festivals, there are certain pictures appropriate to any
season, _e. g.,_ rocks and waves _(iwa ni nami);_ pine and bamboo _(matsu
take);_ or the Okyo double subject called _shikuzu ni fuku tsui_ (pendant
paintings): The end of spring, a crow and the plum tree (_Plate LXIV_, 1);
the end of autumn, the bird _hyo dori_ and the persimmon tree (_Plate
LXIV_, 2). The reason is that all such subjects are in harmony with
conditions the year round.
Historical subjects (REKISHI GWA DAI) suitable for Japanese painting are
extremely numerous subjects and are divided into categories corresponding
to the following periods: The Nara, the Heian or Kyoto, the Kamakura
Yoritomo shogunate, the Higashiyama shogunate, the Yoshimasa shogunate,
the Momoyama or Taiko Hideyoshi, and the Tokugawa Iyeyasu shogunate
brought down to the present Meiji period. These with their numerous
subdivisions supply an infinite number of subjects for pictorial
treatment. Special favorites are “Benkei and Yoshitsune at the Go Jo
bridge,” or “passing through the Hakone barrier,” and “Kusanoki Masashige
at Minatogawa.”
When Shaka was born he stood erect, with one Buddhist hand pointing upward
and the other downward and exclaimed: “Behold, between heaven and earth I
am the most precious creation.” His birthday is the subject of the
picture (_Plate LXVI_, 3) called KAN BUTSU YE. It represents the Buddha
as a bronze statue erect in a tub of sweet liquid. This the faithful
worshippers pour over his head and subsequently drink for good luck.
Shaka’s death is commemorated in the picture called NEHAN, nirvana. The
lord, Buddha, is stretched upon a bier tranquilly dying, an angelic smile
lighting his countenance, while around are gathered his disciples, Rakkan
and Bosatsu, and the different animals of creation, all weeping. A rat
having gone to call Mayabunin, mother of Buddha, has been pounced upon by
a cat and torn to pieces. For this reason in paintings of this moving
scene of Shaka’s death no cat is to be found among the mourning animals.
The artist Cho Densu, however, in his great painting of NEHAN (still
preserved in the Temple To Fuku Ji at Kyoto) introduces the portrait of a
cat. It is related that, while Cho Densu was painting, the cat came daily
to his side and continually mewing and expressing its grief, would not
leave him. Finally Cho Densu, out of pity, painted the cat into the
picture and thereupon the animal out of joy fell over dead.
The lotus _(hasu)_ symbolizes the heart of a saint _(hotoke)._ It rises
untarnished out of the mud of the pond, nor can it be stained by any
impurity, the leaves always shedding whatever may fall upon them. It is
painted usually as a religious subject.
The principal _matsuri_ or Shinto festivals occur at different seasons of
the year in different parts of the empire. The summer months, however,
claim most of them. The _Kamo no aoi matsuri_ takes place at Kyoto and
consists of a procession, a NO dance and a horse race. The picture
appropriate for this festival is “the _Kamo_ race course” _(Kamo no kei
ba)._ The _matsuri_ at Nikko is a great procession, with three _mikoshi_
or shrines carried on the shoulders of multitudes of men. There are three
Nikko _matsuri_ connected with the Tokugawa shogunate.
_Inari,_ being the god of agriculture _(ine,_ rice), the picture of a fox
(_Plate LXVI_, 4), that god’s messenger, is appropriate. Another
festival, the GYON _matsuri,_ of Kyoto, is celebrated with a great
procession in which enter all sorts of amusing floats and every kind of
amusing practice. These are variously reproduced in commemorative
paintings.
I will only refer in passing to the many subjects supplied by the
beautiful poetry (HOKKU and _uta)_ and celebrated romances _(monogatari)_
of Japan. Enough has been said to show that the Japanese artist has an
unlimited range of classic subjects from which to select.
Other subjects unassociated with any special time of the year represent,
_e.g.,_ various utensils of the tea ceremony _(cha no yu)_ (_Plate LXVI_,
1) when _macha,_ a thickened tea, is used. The tea ceremony (_Plate II_)
is performed in a small room fitted with four and a half mats. Were the
mats only four (SHI) in number they would suggest death _(shi)._
Furthermore, an even number being considered negative (IN) is not favored.
Mats are three by six feet in size and must always be so laid as not to
form crosses, which are unlucky. In the alcove of this room no _kakemono_
is permitted but one in the pure Japanese style. The subject of the
painting will depend upon the season, while all red colors are proscribed
and _sumi_ pictures of the Kano school are most appropriate. The
treatment must be simple (TAN PAKU); for instance, a single flower spray,
a branch of the plum, a hermit, or a solitary mountain peak. In the
ceremony of SEN CHA (_Plate LXVI_, 2), which is the Chinese way of making
tea, these strict rules of _cha no yu_ are relaxed.
[The water-fowl design, called midsu tori.]