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natural and conventional, are shown on plates 1, 4, 6, 12, 39, and 41. Of the other birds generally used for decorative purposes, the principal are the hawk and falcon (for illustrations of which see plate 5), the peacock, the pheasant (plate 11,) the kingfisher (plate 3), the jay (plate 2), the swallow (plate 8), the wild goose (plate 9), the mandarin duck, and domestic fowls (plate 10). Various birds highly conventionalized for badges are given on plate 45. It is somewhat remarkable, considering how constantly birds of various kinds figure upon Japanese art productions, and the care and skill shown in depicting them, that no complete series of detailed studies, such as that of the bamboo shown on plate C, appears to exist; in some native drawing-books a great variety of rough sketches of birds on the wing and perching in various attitudes are to be found, but they are mere outlines. In the sketch-books of some native artists studies of great merit are to be met with; those shown on the lower part of plate F are from one of these. The upper part of this plate gives some studies copied from a Chinese manual or drawing-book, some two hundred years old, which undoubtedly formed the basis of the modern school of Japanese drawing; they are hard and mechanical, as Chinese work invariably is. A glance at any good specimen of modern Japanese will show how great is the advance which they have made in true artistic power and manipulation.
It is unquestionable that amongst the objects of the animate world fish rank next to birds in popularity with the Japanese artist, and in nothing does he display more marvellous power and skill than in producing a vivid representation of these denizens of the deep. A shoal of fish swimming, a carp plunging down stream, or leaping up through a waterfall, are favourite subjects; lobsters and crabs are also drawn with great skill. It is worthy of note that whereas only living birds are depicted, dead fish are frequently to be met with. A pair of dead carp strung upon a branch of bamboo are shown on plate 16. It may be added that the employment of fish in decorative work is as general as is that of the other natural objects already described. Some very characteristic examples of fish, both natural and conventionalized, will be found on plates 13 to 18. In the drawing of water the Japanese show all their wonted originality and power, and portray with marvellous freedom, almost always in a thoroughly conventional spirit, the gently rippling stream or the restless ocean in its ever-varying moods. The series of studies shown on plate G is copied from one of the native drawing-books; other examples of water will be found on plates 13 and 18.
Plates 19 and 20 give a good idea of the skill with which the Japanese depict the various forms of insect life. The grasshoppers, crickets, beetles, bees, and wasps shown on plate 19 are most frequently met with, and are used in the ornamentation of all classes of ware and fabrics; besides these, moths and butterflies are largely used. Plate 20 is a fac-simile of an old kakemono, and represents a procession of grasshoppers, wasps, and other insects; in the cage is borne a beetle, and various grasses and flowers are carried as insignia; the mantis beetle is ridden like a horse. The whole is a caricature of a Daimio’s procession.
Although far less frequently than the flowers and plants, birds, fish, and insects already mentioned, various animals are met with in Japanese decorative work, but they are invariably treated with less care, and fidelity to nature. Foremost amongst them is the horse, which is drawn with much character, and is most commonly found on the pottery ware of Soma. Other animals sometimes used in decoration are the fox, the monkey (for the drawing of which some artists have been highly celebrated), and the badger. Oxen, deer, dogs, and cats are occasionally met with on embroidery. Rats, mice, hares, and rabbits are carved to form netsukes, and are cast in bronze; the elephant and tiger are sometimes depicted, but so incorrect in
