drawing as to be almost grotesque. It is worthy of note that in Japan the twelve signs of the Zodiac are represented by animals. Other members of the animate world which are occasionally introduced into decorative work are serpents, lizards, toads, frogs, and the tortoise. On plate 21 will be found illustrations of the lizard and frog. There are also several mythological objects constantly used, notably, the dragon, of which a good example is given on plate 21, the hairy-tailed tortoise, the phœnix, the kylin, and the lion of Corea, which are met with on all kinds of work.
The unquestionably high and distinctive position which must be assigned to the Japanese as decorative artists, is doubtless due to their skill in treating conventionally the objects of the animal and vegetable world which surround them, and the constantly varying degree of this conventionality, which gives to their productions a variety and charm which would be absent were they the slaves of any rule or method. A slight acquaintance with Japanese decorative work is sufficient to show how widely different is the treatment of the same familiar objects, the representation sometimes approaching closely to a study from nature, at others being so freely conventionalized as to verge upon the grotesque, yet retaining withal its distinctive characteristics; but between these two extremes are to be found delicate shades or degrees of conventionalism which will fully repay a careful examination. The utilitarian would naturally expect to find that the more conventionalized renderings of natural forms were designed to suit the material in which they were to be worked, but this is not the case. The Japanese are not an utilitarian race; the whole of their productions in the past speak of a leisurely and loving devotion to the work in hand, considerations of the time and labour to be expended upon it holding no power over the artistic mind. Thus we find some marvellous reproductions of bird or insect life chiselled in the most unyielding material, iron, ivory, or hard-grained wood, with a fidelity truly surprising. Perhaps the most extreme examples of conventionalism are to be met with in the decoration of flat surfaces, and on the badges of the nobles, which form the native heraldry. That inherent love of Nature’s works which is so constantly insisted upon by nearly all writers, as characteristic of the Japanese people, is strikingly illustrated by the predilection which they show for some form of bird, insect, flower, leaf or spray in their choice of these distinguishing insignia.
An examination of a few of the plates in this volume will enable the reader to form some estimate of the power of conventionalization possessed by the Japanese, and of its variation in degree. Plate 1 shows a number of cranes drawn naturally (figs. 1 and 2), and a group conventionalized (fig. 3). Plate 12 gives a fine group conventionalized (from embroidery). Plate 6 gives some good flying cranes, and plate 4 shows a charming arrangement of cranes and water, more highly conventionalized; the treatment of the water is very characteristic, the manner of depicting the waves in the distance with cranes flying over them, and the gradual change as they approach and break upon the shore, is exceedingly skilful. This plate is copied from a carving in bamboo. The kingfishers on plate 3, figs. 1, 2, 3, are natural; figs. 4, 5, and 6 are conventional. The birds shown on plates 2, 5, 7, to 11 are drawn naturally; some highly conventional birds will be found on the badges given on plate 45. The fish shown on plates 14, 15, and 17 are good examples of natural drawing, and are all taken from paintings on silk; those on plates 13 and 18, the first from lacquer and the latter from embroidery, are conventional. Plates 19 and 20 give various insects which may be taken as natural. Plate 54 gives some highly conventionalized butterflies used as badges. Plate 27 shows natural chrysanthemums, and plates 24, 49, 50, and 56, various forms and degrees of conventionalizing the same flower. Plate 28 shows the peony and the wild plum drawn naturally; plate 55 a good conventional rendering of the peony from embroidery. Plates 25 and 26 are
