There are many books upon the subject of signing and authenticating a
painting. Two well-known works are “GWA JO YO RYAKU” and “DAI GA SHI
SAN.” In China literary men often add descriptive matter to their
paintings, writing prominently thereon: “In a dream last night I witnessed
the scene I here attempt to reproduce,” or “On a boating excursion we saw
this pine tree shading the banks of the river.” Such additions to the
picture enable the artist to exhibit his skill as an expert writer and are
considered to heighten the general effect. Often original poetry takes
the place of prose. The year, month and day will be added, followed by
the signature of the writer, with some self-depreciatory term, such as
“fisherman of the North Sea,” “mountain wood-chopper” or “hermit dwelling
amid the clouds and rocks.” Such signature, with one or more seals
scattered over the face of the work, is in art called RAKKWAN, signifying
“completed.”
In Japan a somewhat different way of signing prevails. The artist’s
signature with his seal under it is appended to the painting, not in a
conspicuous but in the least prominent part of it.
Painters of the Tosa, Fujiwara, Sumiyoshi and Kasuga schools in signing
their work first wrote above their signatures their office and rank, _e.
g.,_ Unemi no Kami or Shikibu Gondai no Kami in the square or round
Chinese characters.
The Kano artists signed their names in round characters (GYO SHO) and did
not add their secular rank or office but wrote before their signatures
their Buddhist titles; thus, HOGAN Motonobu, HO KYO Naganobu, HOIN
Tsunenobu. In the Maruyama period all titles and rank were omitted and
simply the name _(namae)_ or the _nom de plume_ (GO) was written,—thus,
Okyo, Goshun, Tessan, Bun Cho—strict attention being paid, however, to
executing the Chinese characters for such signatures in both an artistic
and strikingly attractive way, whether written in one or another of the
three usual forms technically called SHIN, SO, GYO.
The date, NEN GO, preceding the signature upon a painting is often
indicated by the use of one of the twelve horary characters (JU NI SHI)
along with one of the ten calendar signs (JU RAN). These, in orderly
arrangement, comprehend a cycle of sixty years; in other words, they are
never united the same way or coincide but once during that period. No
artist under sixty should, in signing his work, allude to his age, much
less state his years. For him to be able to write seventy-seven before
his name is most auspicious—one way of writing _kotobuki,_ the luckiest
word in Japanese, being to employ two sevens which, thus compounded, is
said to be the SO SHO character for that word. Very young persons are
permitted in signing their paintings or writings to add their exact ages
up to thirteen.
Where Chinese literary artists add poems to their paintings as many as
eight seals may be observed thereon. In Japanese paintings never more
than two seals are used and these follow and authenticate the signature.
The correct distance at which a _kakemono_ is to be viewed is the width of
a mat _(tatami)_ from the alcove where the picture is hung. It is bad
form to look at it standing. Before critically examining the work a
Japanese will scrutinize the artist’s signature and seal. It is a
cardinal rule in Japan that the signature be affixed so as not to
interfere with the scheme of the picture or attract the eye. If the
picture looks to the right the signature and seal should be placed on the
left, and _vice versa;_ if the principal interest is in the upper part of
a picture these should be placed lower down, and _vice versa._ As every
painting has its division into IN and YO the RAKKWAN is placed in IN.
Some artists partially cover their signatures with their seal impression.
Lady artists add to their signatures the character JO, meaning woman.
Veteran painters will sometimes write before their signatures the
character for old man _(okina)._
The artist’s seal is often a work of art and his family name (MYOJI) or
his artist name (GO) is usually engraved thereon with the Chinese seal
characters called TEN SHO. Where two seals are affixed below the signature
one may contain a classic aphorism, like TAI BI FU GEN (the truly
beautiful is indescribable) or CHU YO (keep the middle path). Before
seals were used writings were authenticated by scrolls called _kaki_ HAN.
Even now such scrolls are used. The principles on which they are shaped
are derived from astrological lore (EKI). Seal engravers deservedly enjoy
renown for learning and skill. To carve a seal is the recognized
accomplishment of a gentleman, and the most famous living seal engraver in
Japan is an amateur. Seals are of jade, rock crystal, precious woods,
Formosa bamboo root, gold, silver or ivory. The best hard stone for seals
comes from China and is known as the cock’s comb (KEI KETSU SEKI).
An artist during his career will collect numbers of valuable seals for his
own use. These at his death may be given to favorite pupils or kept as
house treasures. Bairei left instructions to have many of his seals
destroyed.
The seal paste (NIKU) is made of Diana weed _(mogusa)_ dried for three
years, or of a plant called _yomogi,_ or with soft, finely chopped rabbit
hair boiled in castor oil for one hundred hours with white wax and then
colored red, brown, blue or tea color. The seal should be carefully wiped
after it is used, otherwise this paste hardens upon it.
Japanese paintings are seldom framed, as frames take too much room.
Frames are used chiefly for Chinese writings, hung high in public places
or about the dwelling, and are called GAKU, meaning “forehead,” in
allusion to raising the head to read what the frame contains. It is
etiquette that such framed writings be signed with the real name rather
than the _nom de plume._
Two kinds of seals are affixed to the frame: One, on the right, at the
beginning of the writing, and called YU IN, containing some precept or
maxim; and one or two, on the left, after the signature, bearing the
artist’s name and any other appropriate designation. All writings in
Chinese or Japanese read from right to left, and frequently are the sole
ornament of a pair of screens.
For the guidance of experts who pass on the genuineness of Japanese
paintings there is a well-known publication, “GWA KA RAKKWAN IN SHIN,” by
Kano Jushin, which contains reproductions in fac simile of the signatures
and seals of all the celebrated artists of the remote and recent past.
In concluding this work, which I am conscious is but an imperfect survey
of a vast and intricate subject, I would call attention to the fact that
in both Europe and America there is a wonderful awakening to the dignity,
simplicity and beauty of Japanese art. This is largely to be attributed
to the careful and scholarly writings and publications of Messrs.
Anderson, Binyon, Morrison and Strange in England, Fenollosa in the United
states, DeGoncourt, Gonse and Bing in France, Seidlitz in Germany, and
Brinkley and Okakura in Japan; and all students of art must render to them
the homage of their sincere admiration.
The object of all art, as Cicero has truly said, is to soften the manners,
by training the heart and mind to right thoughts and worthy sentiments.
To such end nothing will more surely contribute than a faithful study of
the painting art of Japan, and the further we investigate and appreciate
its principles the more we will multiply those hours which the sun-dial
registers,—the serene and cheerful moments of existence.