Among the many able foreign writers on Japanese prints Fenollosa stands prominent. He resided for a long time in Japan, understood and spoke the language, and lived the life of the people. He was in great sympathy with them and with their art and enjoyed exceptional opportunities for seeing and studying the best treasures of that country. Had he possessed the training necessary to paint in the Japanese style I do not think he would have devoted so much time to Japanese woodcuts. Visiting me at Kyoto, where I was busily engaged in painting, “Ah!” he cried, “that is what I have always longed to do. Sooner or later I shall follow your example.” But he never did. Instead, he issued a large work on Japanese prints. His death was a real loss to the art literature of Japan. During eight years he was in the service of the Japanese government ransacking, cataloguing and photographing the multitudinous art treasures, paintings, _kakemono_, _makimono,_ and BYOBU (pictures, scrolls and screens), to be found in the various Buddhist and other temples and monasteries scattered throughout the empire. The last time we met, he remarked, “How can one willingly leave this land of light? Japan, to my mind, stands for whatever is beautiful in nature and true in art; here I hope to pass the remaining years of my life.” Such was his genuine enthusiasm, engendered by a long acquaintance with art and everything else beautiful in that country. Japan impresses in this way all who see it under proper conditions, but unfortunately the ordinary traveler, pushed for time, and whose acquaintance is limited to professional guides, never gets much beyond the sights, the shops and the curio dealers.
[Snow Scene in Kaga, by Kubota Beisen. Plate IV.]
Snow Scene in Kaga, by Kubota Beisen. Plate IV.
The question is often asked, “Is there any good book on Japanese painting?” I know of none in any language except Japanese. The following are among the best works on the subject:
A History of Japanese Painting (HON CHO GASHI), by Kano Eno. A Treasure Volume (BAMPO ZEN SHO), by Ki Moto Ka Ho. The Painter’s Convenient Reference (GOKO BEN RAN), by Arai Haku Seki. A Collection of Celebrated Japanese Paintings (KO CHO MEIGA SHU E), by Hiyama Gi Shin. Ideas on Design in Painting (TO GA KO), by Saito Heko Maro. A Discourse on Japanese Painting (HONCHO GWA SAN), by Tani Buncho. Important Reflections on All Kinds of Painting (GWA JO YO RYAKU), by Arai Kayo. A Treatise on Famous Japanese Paintings (FU SO MEI GWA DEN), by Hori Nao Kaku. Observations on Ancient Pictures (KO GWA BI KO), by Asa Oka Kotei. A Treatise on Famous Painters (FU SO GWA JIN), by Ko Shitsu Ryo Chu. A Treatise on Japanese Painting (YAMATO NISHIKI KEM BUN SHO), by Kuro Kama Shun Son. A Treatise on the Laws of Painting (GWAFU), by Ran Sai, a pupil of Chinanpin. The work is voluminous and is both of great use and authority. CHO CHU GWA FU, by Chiku To. SHA ZAN GAKUGWA HEN, by Buncho.