In architecture, a new mode of construction called the "gongen-tzukuri" found its rise.
This mode had more tendency to monastery style than the Yalsumune-tzukuri, the former being an advance upon the latter. However, though it surpassed the older tirles in sec tional detail, it lost in general sublimity. The temples at Nikko and Uyeno best reflect the type of that age. Side by side with the growth of luxurious taste among the people and of scientific and technical progress, all other lines of art and industry attained to hi her excel lence.
The Second Period of the Tokugawa Sho gunate (1745-1867 .A.D.).— When Iyeshige, the Ninth Shogun of the Tokugawa House, en tered upon his office, the general fancy in Yedo had tended toward greater pomp and vulgar splendor; but in Kioto quiet and chaste liter ature and art rose into ascendency, and the two capitals presented a strange contrast. The Kano school, adhering to its old rules with ovcrstrictness, was, as it were, fossilized, and produced no fresh masters; but ukiyoye gained greater popularity, and its masters, Shunsho, Harunobu, Utamaro, Toyokuni, Keisai and many others, competed with one another in painting bright and attractive pictures. Indeed the demand for their works was such that it called forth the invention of color-printing from woodblocks. Hokusai enlarged the range of painting, and covered with his skill all ob jects of natural and social existence. Hire shige was renowned for his landscape painting, and the pictures he depicted for woodcut re production had a peculiar charm. Shiba Kokan imitated European painting and also made some attempts at copper-plate pictures.
The influx of Ming and Ching institutions affected the Kioto artists. Ginankai, Chitaiga and Shahuson were renowned adherents of the Southern school, and it was by their stimula tion that the celebrated Maruyama Oky founded his realistic school, thus making quite a new phase in the art of Japan. Goshun, originally a pupil of the Southern school, opened the Shijo school. Besides them, Shi seki, Shoko, Jakuchu, Sosen, Ganku, Zaichu, Chikuden more or less copied the style of Ming and Ching painting. By and by their art influ enced the artists of eastern Japan as may be observed in Buncho and Kwazan. Toward the end of the Shogunate, Totsugcn and Ikkei and some others revived the old Tosa school, and from it Yosai's brush supervened. In industry,
the simple articles fashioned after the taste of literary men came into popularity, whereupon many artisans took their models in Ming and Ching manufactures.
The Age of the Grand National Meta morphosis (1868-A.D.).— The advent of the Meiji Restoration completely destroyed the feudal system and swept away the old atmos phere. The country was thrown into the midst of the world's great tide, and the general com motion arising therefrom was so violent that both art and literature fell into a temporary lapse. Soon, however, as the Imperial 'rule manifested its beauty, they once more com menced activity and progress, and are now ready to make a hold flight. It was only half a century ago that this old island empire had the grand national metamorphosis. But in that short space of time the nation has digested every department of Western civilization with such admirable skill as to surprise the whole world. Yet, whatever the material progress of Japan may have been, her art and literature are still in a state of transition, and it is impossible to foretell their future. We have no doubt, however, that the nation will blend all the best points of the East and the West with the sig nal success which has marked its past efforts, and bring out a new product of indescribable value, though we are aware the completion of such a task must necessarily require the labor of many a long year.
The first artist to come into the new at mosphere was Kano Hogai, and Hashimoto Gaho followed in his wake. The latter studied old masters and developed a new style. From the Shijo school Kono Bairei and Kawabata Gyokusho rose, of whom the latter is trying to devise some novelties. Shibata Zeshin was an artist of rich originality, while Kishi Chi kudo's forte was painting from nature. Nogu chi Yukoku and Taki Kwatei were eminent artists of Southern school; Takemura Koun and Takuchi Kyuichi are noted for their original style in wood-carving, and Ishikawa Komei for his ivory work. European painting and plaster casting have made some progress. The archi tects have successfully introduced the European mode of house-building with bricks and stone, while they continue the proper Japanese style of building with wood.