It is this certainty of touch and their power to execute these bold, sweeping, decided lines that form the chief attraction of Japanese works of art. Their wrists are supple; the picture in their minds is sure; they have learnt it line for line; it is merely the matter of a few minutes for an artist to sketch in his picture. There are no choppy hesitating lines such as one detects in even the finest of our Western pictures, lines in which you can plainly see how the artist has swerved first to the right and then to the left, correcting and erasing, uncertain in his touch. The lines will probably be correct in the end; but when the picture is finished his work has not that bright crisp look so characteristic of the Japanese pictures. Then, again, when a Japanese artist draws a bird, he begins with the point of interest--which, let us say, is the eye. The brilliant black eye of a crow fixed upon a piece of meat attracts his attention; he remembers it, and the first few strokes that he portrays upon his stretched silk is the eye of the bird. The neck, the legs, the body--everything radiates and springs from that bright eye just as it does in the animal itself.
Then, again, let us say a Japanese artist is painting a typical Japanese river-scene, such a one as inspired many of Mr. Whistler's graceful Thames etchings--a quaintly formed bridge under whose dim archway a glimpse of shipping and masses of detail can be seen in the distance. To a Japanese artist the chief charm and interest of such a scene would lie in that little view beneath the bridge, and he would begin by drawing in, line for line, every little mast and funnel just as he sees it, or rather as he remembers it. The picture slowly expands as it reaches the margin, ending in the bridge, which forms, as it were, a frame through which to view the dainty richness of detail of the busy scene beyond. If you were to arrest this picture at any moment during its career you would find that it formed a perfect whole, every line balancing the other; whereas, according to our methods, if we were to draw the bridge first, timidly suggesting the distance and leaving the detail and all the fine lines to be put in afterwards, as so many artists do, the picture until it was completed would appear spotty and uneven. And even when finished there would be no balance, for we neither understand nor realise the importance of that quality without which no work of art can be perfect.