Plate C shows a graduated series of studies of the bamboo, in which are depicted with marvellous fidelity the varying stages of its growth, from the early budding stem to the perfect branch with full and flowing leaves, drooping in the silent air, or gently swayed by the breeze. The bamboo may almost be ranked as the national tree of Japan, and plays an important part in the social economy of the country; its earliest shoots and mature seeds are eaten as foods, the largest and medium sized stems are used for flagstaffs and scaffolding, split they form the laths of the house-builder, and the articles of domestic utility in the manufacture of which this tree is used are well-nigh innumerable. In decorative art—on lacquer, porcelain, metal-work, carving, drawings, and the woodcut illustrations to books—it is constantly depicted alone and in combination with the pine and plum. The bamboo is held by the Japanese to symbolize fulness of life, and in the combination named it is an emblem of longevity, and is used in decorating the entrances to houses on New Year’s Day. Some applications of the bamboo in decoration will be found on plates 37, 39, 42, and 49.
Some idea of the care bestowed upon the study of flowers for decorative purposes may be gathered from the examples given on plate E, which show the leaves and blossoms in various stages of development of the plum (1), the rose (2 and 3), the peony (4 and 6), the holly-hock (5), the poppy (7), the water-lily (8), the chrysanthemum (9). This series is taken from a drawing-book prepared for the use of students. Applications of the cherry in design will be found on plates 25, 31, 39, 41, of the plum on plates 28, 30, 32, 42, 48, 49, and 53, of the rose on plate 42, the peony on plates 28, 40, 41, 49, and 55, the water-lily on plate 29, and the chrysanthemum on plates 24, 40, 50, and 56. The well-known fondness of the Japanese for flowers cannot be better illustrated than by a brief mention of the “Flower Festivals” held at different seasons of the year, and which occupy a prominent place among the recreations of all classes of the population. These festivals are, the plum festival held in February, the cherry festival held at the end of April, the wisteria festival held in June, followed shortly by the iris festival, which is succeeded by the chrysanthemum festival held at the end of October, when this chief favourite of all their cherished flowers attains its full bloom. The chrysanthemum, or “kiku” as it is called in Japan, has been adopted in the Imperial escutcheon as emblematical of the Mikado’s house; the badge may be observed upon weapons, porcelain, lacquer, and even the parti-coloured cakes which it is usual to present to the guests at the Imperial court, bear it. Many other of the flowers of Japan have been adopted as badges by the nobles; several of them are illustrated on plates 51, 52, and 54.
Great as is the power and skill displayed by the Japanese in depicting the varying forms and growths of the vegetable world around them, their greatest success is reached in the portrayal of the birds, fish, and insects, which are equally common objects in their decorative work. It is perhaps in the drawing of birds in every variety of position that their wonderful power of presenting with a few touches of the brush the most vigorous and life-like transcript is most fully shown. A very superficial examination of Japanese art productions is sufficient to make us acquainted with the graceful form of the crane, which is depicted grouped in every possible attitude, flying with graceful sweep mid conventional cloud, or poised above the favourite pine or bamboo. The crane is held in much veneration by the Japanese, and until recently a prohibition existed against its destruction by any except the Daimios, the penalty being death. There are three varieties of cranes in Japan: The Grus leucauchen, or white-naped crane, which is the sacred bird of Japan; the Grus leucogeranus, or white crane; and the Grus communis, or common crane, found also in other countries, the first of these being most commonly depicted by the Japanese artists. The crane is frequently confounded with the stork, a bird to which it has no affinity. A number of characteristic examples of cranes,
