split bamboo, and the parent chamber was separated from the ambulatory by similar bamboo blinds with silk cords for raising or lowering them, or by curtains. The thick rectangular mats of uniform size which, fitting together so as to present a level unbroken surface, cover the floor of all modern Japanese houses, were not yet in use: floors were boarded, having only a limited space matted. This form of mansion underwent little modification until the 12th century, when the introduction of the Zen sect of Buddhism with its contemplative practice called for greater privacy. Interiors were then divided into smaller rooms by means of sliding doors covered with thin rice-paper, which permitted the passage of light while obstructing vision; the hanging lattices were replaced by wooden doors which could be slid along a groove so as to be removable in the daytime, and an alcove was added in the principal chamber for a sacred picture or Buddhist image to serve as an object of contemplation for a devotee while practising the rite of abstraction. Thus the main features of the Japanese dwelling-house were evolved, and little change took place subsequently, except that the brush of the painter was freely used for decorating partitions, and in aristocratic mansions unlimited care was exercised in the choice of rare woods.
The Buddhist temple underwent little change at Japanese hands except in the matter of decoration. Such as it was in outline when first erected in accordance with Chinese models, such it virtually remained, though in later times all the resources of the sculptor and the Buddhist Temple Architecture.painter were employed to beautify it externally and internally.
“The building, sometimes of huge dimensions, is invariably surrounded by a raised gallery, reached by a flight of steps in the centre of the approach front, the balustrade of which is a continuation of the gallery railing. This gallery is sometimes supported upon a deep system of bracketing, corbelled out from the feet of the main pillars. Within this raised gallery, which is sheltered by the over-sailing eaves, there is, in the larger temples, a columned loggia passing round the two sides and the front of the building, or, in some cases, placed on the façade only. The ceilings of the loggias are generally sloping, with richly carved roof-timbers showing below at intervals; and quaintly carved braces connect the outer pillars with the main posts of the building. Some temples are to be seen in which the ceiling of the loggia is boarded flat and decorated with large paintings of dragons in black and gold. The intercolumniation is regulated by a standard of about six or seven feet, and the general result of the treatment of columns, wall-posts, &c., is that the whole mural space, not filled in with doors or windows, is divided into regular oblong panels, which sometimes receive plaster, sometimes boarding and sometimes rich framework and carving or painted panels. Diagonal bracing or strutting is nowhere to be found, and in many cases mortises and other joints are such as very materially to weaken the timbers at their points of connexion. It would seem that only the immense weight of the roofs and their heavy projections prevent a collapse of some of these structures in high winds. The principal façade of the temple is filled in one, two or three compartments with hinged doors, variously ornamented and folding outwards, sometimes in double folds. From these doorways, generally left open, the interior light is principally obtained, windows, as the term is generally understood, being rare. An elaborate cornice of wooden bracketing crowns the walls, forming one of the principal ornaments of the building. The whole disposition of pillars, posts, brackets and rafters is harmonically arranged according to some measure of the standard of length. A very important feature of the façade is the portico or porch-way, which covers the principal steps and is generally formed by producing the central portion of the main roof over the steps and supporting such projection upon isolated wooden pillars braced together near the top with horizontal ties, carved, moulded and otherwise fantastically decorated. Above these ties are the cornice brackets and beams, corresponding in general design to the cornice of the walls, and the intermediate space is filled with open carvings of dragons or other characteristic designs. The forms of roof are various, but mostly they commence in a steep slope at the top, gradually flattening towards the eaves so as to produce a slightly concave appearance, this concavity being rendered more emphatic by the tilt which is given to the eaves at the four corners. The appearance of the ends of the roof is half hip, half gable. Heavy ribs of tile-cresting with large terminals are carried along the ridge and the slope of the gable. The result of the whole is very picturesque, and has the advantage of looking equally satisfactory from any point of view. The interior arrangement of wall columns, horizontal beams and cornice bracketing corresponds with that on the outside. The ceiling is invariably boarded and subdivided by ribs into small rectangular coffers. Sometimes painting is introduced into these panels and lacquer and metal clasps are added to the ribs. When the temple is of very large dimensions an interior peristyle of pillars is introduced to assist in supporting the roof, and in such cases each pillar carries profuse bracketing corresponding to that of the cornice. The construction of the framework of the Japanese roof is such that the weights all act vertically; there is no thrust on the outer walls, and every available point of the interior is used as a means of support.
“The floor is partly boarded and partly matted. The shrines, altars and oblatory tables are placed at the back in the centre, and there are often other secondary shrines at the sides. In temples of the best class the floor of the gallery and of the central portion of the main building from entrance to altar are richly lacquered; in those of inferior class they are merely polished by continued rubbing.”—(J. Conder, in the Proceedings of the Royal Institute of British Architects.)
None of the magnificence of the Buddhist temple belongs to the Shintō shrine. In the case of the latter conservatism has been absolute from time immemorial. The shrines of Ise, which may be called the Mecca of Shintō devotees, are believed to present to-day precisely the Shintō Architecture.appearance they presented in 478, when they were moved thither in obedience to a revelation from the Sun-goddess. It has been the custom to rebuild them every twentieth year, alternately on each of two sites set apart for the purpose, the features of the old edifice being reproduced in the new with scrupulous accuracy.
They are enlarged replicas of the primeval wooden hut described above, having rafters with their upper ends crossed; thatched or shingled roof; boarded floors, and logs laid on the roof-ridge at right angles for the purpose of binding the ridge and the rafters firmly together. A thatched roof is imperative in the orthodox shrine, but in modern days tiles or sheets of copper are sometimes substituted. At Ise, however, no such novelties are tolerated. The avenue of approach generally passes under a structure called torii. Originally designed as a perch for fowls which sang to the deities at daybreak, this torii subsequently came to be erroneously regarded as a gateway characteristic of the Shintō shrine. It consists of two thick trunks placed upright, their upper ends mortised into a horizontal log which projects beyond them at either side. The structure derives some grace from its extreme simplicity.
Textile Fabrics and Embroidery.—In no branch of applied art does the decorative genius of Japan show more attractive results than in that of textile fabrics, and in none has there been more conspicuous progress during recent years. Her woven and embroidered stuffs have always been beautiful; but in former times few pieces of size and splendour were produced, if we except the curtains used for draping festival cars and the hangings of temples. Tapestry, as it is employed in Europe, was not thought of, nor indeed could the small hand-looms of the period be easily adapted to such work. All that has been changed, however. Arras of large dimensions, showing remarkable workmanship and grand combinations of colours, is now manufactured in Kiōto, the product of years of patient toil on the part of weaver and designer alike. Kawashima of Kiōto has acquired high reputation for work of this kind. He inaugurated the new departure a few years ago by copying a Gobelin, but it may safely be asserted that no Gobelin will bear comparison with the pieces now produced in Japan.
The most approved fashion of weaving is called tsuzure-ori (linked-weaving); that is to say, the cross threads are laid in with the fingers and pushed into their places with a comb by hand, very little machinery being used. The threads extend only to the outlines of each figure, and it follows that every part of the pattern has a rim of minute holes like pierced lines separating postage stamps in a sheet, the effect being that the design seems to hang suspended in the ground—linked into it, as the Japanese term implies.[1] A specimen of this nature recently manufactured by Kawashima’s weavers measured 20 ft. by 13, and represented the annual festival at the Nikkō mausolea. The chief shrine was shown, as were also the gate and the long flight of stone steps leading up to it, several other buildings, the groves of cryptomeria that surround the mausolea, and the festival procession. All the architectural and decorative details, all the carvings and colours, all the accessories—everything was wrought in silk, and each of the 1500 figures forming the procession wore exactly appropriate costume. Even this wealth of detail, remarkable as it was, seemed less surprising than the fact that the weaver had succeeded in producing the effect of atmosphere and aerial perspective. Through the graceful cryptomerias distant mountains and the still more distant sky could be seen, and between the buildings in the foreground and those in the middle distance atmosphere appeared to be perceptible. Two years of incessant labour with relays of artisans working steadily throughout the twenty-four hours were required to finish this piece. Naturally
- ↑ This method is some 300 years old. It is by no means a modern invention, as some writers have asserted.
