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.]
In approaching a brief exposition of the laws of Japanese painting it is not my purpose to claim for that art superiority over every other kind of painting; nor will I admit that it is inferior to other schools of painting. Rather would I say that it is a waste of time to institute comparisons. Let it be remembered only that no Japanese painting can be properly understood, much less appreciated, unless we possess some acquaintance with the laws which control its production. Without such knowledge, criticism—praising or condemning a Japanese work of art—is without weight or value.