14. HISTORY OF JAPANESE FINE ART. In giving an outline of the history of Japanese fine art it is to be noted first that there are two factors: one which has proceeded from the character and ability of the nation, and the other from the influence of foreign civilization. These two factors, harmoniously blended, have resulted in the distinguishing traits of Japanese art, and brought forth its peculiar charm, so that its characteristics can never be fully com prehended unless we keep these in mind.
The occurrences which took place before the Yamato race, the ancestors of the present Jap anese, settled on this island in the Far East are concealed in obscurity, although according to the descriptions given in the record there is no question that a certain stage of civilization had already been reached at the beginning of the foundation of the country. Seen from the material point of view, the Japanese ancestors had emerged from trogrodyte habit and dwelt in thatched houses ; for dress they wore trousers and bat or crown; used strung jewels for ornament; and farming and sericulture were their occupation. They knew the art of making pottery and manufactured earthenwares, such as vases, shallow dishes, etc. Metallurgy was also known, for they made spears or hal berts, swords, bells, mirrors, etc. From the spiritual point of view, they were early char acterized by profound reverence for the deity, and the custom of regarding their ancestors with veneration prevailed among them. We learn that they expressed their passion in poetic compositions, and enjoyed dancing and singing accompanied with music. These and various other traditions help us to form an idea of the character and manners of the early Jap anese. They respected superiors and elders, being united in clans and families; and if order among themselves was rigorously maintained, there was a beautiful custom of gentle manner. Although they were distinguished by martial spirit, yet they were compassionate and never indulged in savage cruelties; cleanliness was universal ; unreasonable obstinacy was looked upon with aversion, and they were frank and sincere. From their lively nature they took pleasure in singing and dancing. Although no particular dexterity in art was to be seen, we have sufficient evidence to show that there alieady appeared the bud of art. Such was the state of the primitive Japanese tribes. And when we examine the power which contributed to the development of their character and habit, we find that the most potent influence was that of the physical features of the country.
The island of Japan lies in the Pacific Ocean on the east of the Asiatic continent, and ex tending from north to south it includes many degrees of latitude. As one extremity touches the frigid zone and the other the torrid zone, the natural scenery continuously undergoes kaleidoscopic changes in the four seasons, hence there is no monotony of surroundings. In addition to this, the cold and the warm ocean current rapidly flows around, and the trade and the seasonal winds blow over the land, thus regulating its climate or causing it to change. Above all, the two mountain systems of China and Karafuto (Saghalien) and their branches penetrating the length of the island, and their lofty ridges, covered with thick forest, are everywhere seen piled one upon another. The air, full of moisture that comes from the ocean, strikes these walls and turns to cloud, mist, rain or snow, thus constantly playing wonderful tricks of transforming nature, and the more ((lends enchantment to the view)) of mountains and waters. There is a lavish variety of fauna and flora. Fine trees and rare grasses, some with lovely flowers and leaves, others producing delicious fruits and berries; birds and insects singing and chirping and displaying beautiful plumes — these entrance men's hearts and en rich their imagination. That the Japanese race, being environed with such splendid natural views and influenced by them, and storing up the poetic as well as the artistic thought, should have produced many celebrated masterpieces of art is to be expected as a matter of course. Yet the land is bounded within narrow limits, with no huge mountains, no gigantic streams, no extensive plains and marshes; the climate is not extremely intense; no animals of mon strous forms with peculiarly deep hues or with ferocious and horrible natures are met with; and no plants and flowers of deep color or pungent smell are found; so that the influence which they exercise upon the inhabitants is not very sharp and acute in its character. As a consequence Japanese art is destitute of that profound and imposing trait which defies man's calculation, but consists in pieces of fine plans executed with dexterity and tinged with grace and refinement. Moreover, the mild tempera ture, and the fertile soil that yields abundant products, have given the people means for easy subsistence without a violent struggle for life,— thus causing them to acquire a calm and gentle nature.