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It would be a difficult task to attempt to set forth any general principles which may underlie Japanese decorative art, but there are numerous characteristics pervading all classes of their work, of which a few may be thus briefly described. An avoidance of the appearance of symmetry while producing symmetrical effects, a suggestion rather than expression of proportion, an unobtrusive order, and in repetition of form an irregularity and changefulness, giving to it an unusual charm and freshness. A Japanese artist proceeding to decorate a given space would not mark out the centre and place his ornament there, nor would he divide it into equal parts, but he would most probably throw his design a little out of the centre, and cleverly balance the composition by a butterfly, a leaf, or even a spot of colour. This is but a simple example, but it sets forth an essential element in Japanese decoration.
Undoubtedly the most characteristic feature of Japanese ornament is the presentation of certain natural subjects in almost endless variety and with ever-varying degrees of conventionality, now approaching so closely to nature as to be almost pictorial representations, now so thoroughly conventionalized as to be well-nigh geometrical; and here it may be noticed that whereas in the higher developments of European decorative art the human figure and that of the horse have invariably held the foremost place, in Japanese art these forms are rarely found, and although when met with they show a marvellous amount of graphic power, they are treated with far less delicacy and truthfulness of observation than is bestowed upon the birds, fish, insects, flowers, and trees, which the Japanese artist loves so well to portray, and upon which he expends the utmost power of his brush and the long-treasured stores of his artistic training.
The examples of diapers, circles, and medallions shown on plate A are taken from well-known native drawing-books, and are given rather as showing the artists’ method of setting out their designs than as specially striking in character. The design marked P, at the top of the plate, is common in Persian work, and did space permit it would be easy to multiply examples bearing a more or less close resemblance to Egyptian, Pompeiian, Hindoo, Greek, and other styles. Several of the circles on this plate show the geometrical bases of badges illustrated on plates 51 and 52. Frets are largely used by the Japanese for borders and diapers, and the so-called “Greek key pattern,” which has been common to many countries from the earliest times, is drawn by them in various ways, detached and in combination. They are prolific in designs for diapers, and in covering surfaces frequently use six or eight on one object, distributing them irregularly. Nests of drawers, or boxes, will sometimes be ornamented with diapers over the entire surface, without regard to the divisional lines, or with a different design for each drawer, which if executed in gold will often have a change of colour for each. Diapers overlaid with circular and other forms of varying character are also commonly met with; some examples of this description will be found on plate 46, fan overlying fret; 47, medallions on fret; and 56, blossoms scattered over fret. Plate 47 exemplifies the not uncommon practice of leaving a few plain spaces here and there, as if the design had been blotted out, which breaks the evenness and gives character to the design.
On plate B are shown some studies of curve lines made with single brush strokes, and some of their combinations, producing various designs for carving or ornamenting ends and parts of timber framing to buildings, which are full of graceful outline and distinctive character: the same series of curves is used in forming the conventional clouds so frequently found, an example of which is given on plate 6 (flying cranes) and again on plate 58 (conventional dragons in clouds). Some examples of free-flowing scroll-work are illustrated on plates 49, 57, and 58.
