Analysis.
In attempting an analysis of Japanese Ornament, we find in the elementary or geometrical forms some resemblance to those used by other primitive peoples, but whether this resemblance is the result of accident, or that these forms were copied from the productions of other nations, cannot be decided until we arrive at some further knowledge of the early history of the country. It would perhaps be safe to assume that the Japanese, like other tribes of which we have more positive knowledge, following a common artistic instinct in their early attempts at decorating their various implements and utensils, first used straight lines in various combinations, proceeding then to curves, and thus developing the many and charming geometric designs with which most of us are now familiar. Leaving these geometric forms, of which there is to be found an almost infinite variety, we cease to trace any but the slightest resemblance between the decorative work of Japan and other countries, China alone excepted. That much is common to these two countries is evident; indeed, as has been said in the “Introduction,” the Chinese were their teachers, but in their adaptations of natural forms to decoration, the Japanese have evidenced far greater originality of thought and boldness of conception than their early masters, and have produced an art which for its masterful presentment, in a truly decorative spirit, of the charming natural objects with which they are surrounded stands unrivalled in the world’s history.
