414
Jarves, James Jackson (1818-1888)
A glimpse at the art of Japan. 1876.
A GLIMPSE AT THE ART OF JAPAN, BY JAMES JACKSON JARVES, AUTHOR OF
ART STUDIES,
ART IDEA,
ART THOUGHTS,
ETC.; HONORARY MEMBER OF THE ACADEMY OF FINE ARTS, FLORENCE, ITALY, ETC., ETC.
NEW YORK, PUBLISHED BY HURD AND HOUGHTON, Cambridge: The Riverside Press, 1876.
[3], 216 p., xxx leaves of plates. 20 cm.
[N/7350/Ja](00006466)
目 次
CONTENTS.
SECTION I. PSYCHOLOGICAL AND MATERIAL BASIS AND HISTORICAL ORIGIN OF THE ART OF JAPAN.
Art Inquiry.
13
Office of Art.
13
A New World.
14
Japan or Nipon.
14
New Ideals and New Rules.
14
A New Lesson.
14
Preparation needed for Oriental Art.
15
The True Artistic Instinct.
16
Local Stamp of European Schools.
16
What is Fatal to Artistic Thought.
16
What not to look for in Japanese Art.
17
Japanese Ideal.
18
Ideal Ugliness.
19
How their Gods and Heroes impress.
19
How Grecian Forms impress the Japanese.
20
A Japanese Belle.
20
Architecture Unknown.
21
Temple held second to the Tomb.
21
The Fine Arts in Japan.
22
New Sensations.
23
Favorable Conditions of Japan.
23
Bear Worship.
24
Japanese Isolation and Independence.
24
Object of Japanese Polity.
25
Genealogies of the Mikados and Deities.
26
Religious Toleration.
27
No Ritual Monopolism.
27
The Barriers of Exclusion thrown down, and why.
28
The Elements of Japanese Art.
29
Land of Great Peace.
30
Japanese Morals and Habits.
30
Criminal Statistics.
31
Kamism, or Shint
ism.
32
Moral Significance of Kamism.
34
Fostered Sympathy with Nature.
35
How Art affects the Religious Temperament.
36
Introduction of Buddhism and Effect on Kamism.
37
Kirin and Koma-Inow.
38
Destruction of Idols.
38
Introduction of Doctrines of Confucius from China.
39
Isolation of Japan favored its Special Artistic and Intellectual Development.
40
Intuition and Realism as Bases of Art.
41
Recognition of the Ideal.
42
Material and Ideal Art.
43
Nothing Unclean except by Man's own Will.
44
European Art Scientific, Japanese Idealistic in Basis.
44
Aryan and Turanian Branches of the Human Family.
45
Supremacy Relative, not Positive.
47
The One Thing Certain.
47
SECTION II. THE RELIGIOUS ART OF JAPAN.—ITS DIVINITIES, MYTHS, AND HEROES.
The Religious Motive the Chief Inspiration of Art.
48
Idealism a Complex Phenomenon.
49
National Ideals.
49
No Race without its Divine Intuitions.
50
Art an Apotheosis of Ugliness as well as Beauty.
51
The General Desire of Art.
52
Mind takes Two Forms of Consciousness.
52
Two Ways of producing Art.
53
The Relation of Beauty to Art.
53
Truth of Idea, and Fact.
54
The Ideals of Ugliness.
54
K
li, the Goddess of Destruction.
55
The Christian God.
55
The Divinities of all Races are the Measures of their Moral and
sthetic Limitations.
56
The Christian Devil.
56
Jewish Jehovah.
57
The Fetichism of Science.
58
Occult Problems of Life.
58
The Highest Use Oriental Art makes of the Human Figure.
59
The Various Buddhas.
60
Christ as an Art-motive.
61
The School of the Nude in Japan.
62
Shint
ism Unfavorable, Buddhism Favorable to Art.
62
Costume of both Sexes and various Ranks of People.
63
Japanese Ideas of Modesty.
64
The Dignity of Clothing, etc.
65
Character and Skill as shown in Sculpture.
65
Key-note to Japanese Compositions.
66
Household Deities.
66
Ben-zai-ten-njo, the Japanese Madonna, and Quamon, Queen of Heaven.
66
The People's Deities as elected or revealed of Themselves.
68
Spirits, Good and Bad, in Art.
69
Yoshiaki, the Famous Sword-maker.
70
Business of the Domestic Deities.
70
Y
bis, the Provider of Daily Food, etc.
71
Hote
, the Deity of Contentment in Poverty.
71
Da
kokou, God of Riches.
72
Shiou-R
, the God of Longevity.
72
Tossi-Tok
, Patron of Talents.
73
Bis-ja-mon, the God of Glory.
74
Ben-zai-ten-njo, as Benten, the People's Type of Highest Womanhood.
74
Benten's Sons.
76
Benten, as the Fecund Mother and Provider, Queen of Heaven.
77
Household Deities in their Lowliest Aspects.
78
Chinese Family Divinities.
79
The Root Axiom of Japanese Art.
80
Demonology of Japan.
81
Tats maki, Dragon of the Typhoon.
82
Ghosts.
82
Differences between the Indigenous and Borrowed Art of Japan.
83
The
Trial of the Soul
in Hades.
83
A Remarkable Painting.
84
Siva and Satan.
87
The
Guardians of Heaven.
89
Ra
den, Imp of Thunder.
89
F
ten, the Weird-god.
91
The Japanese Mars.
91
Grotesque Inventions.
91
The Bird-people.
92
The Ink-spectre.
94
SECTION III. THE LITERATURE AND POETRY OF JAPAN.
Effect of Cheap Books on Art.
100
The Alphabets of Japan.
101
The Pictorial Literature and Hoffksai School of Designers.
101
Sketch-books and Albums.
102
The Overturn of Old Art; its Chief Cause and Probable Result.
103
Best Period of the Sh
goon Art.
103
Love of Nature of the People.
104
Habits of all Classes as regards Amusements and Love of Nature.
105
Perspective known to Japanese Artists.
106
Motives of Figure Art.
106
Two Chief Schools and their Characteristics.
107
Character of Hoffksai's Style.
109
One Cause of the Japanese Facility of Design.
110
Simplicity and Directness of Japanese Designers.
112
Repose as well understood as Action.
113
Ecstatic Art.
113
Treatment of Animal and Vegetable Life.
113
Fondness for Out-door Life and Objects.
114
Construction and Furnishing of Houses.
114
Divisions and Screens; how arranged.
115
The
sthetic Conscience of the Japanese.
115
Charms of their Cities.
116
Poetry of Japan. Its Sentiment.
117
Earliest Myths.
118
Sacred Traditions and Literature.
119
The Twofold Nature of all Genuine Art.
120
The Plaintive, Skeptical, and Despairing Side of Japanese Poetry.
121
Epicurean Satisfaction in Wretcheduess and Disbelief.
121
Graphic Realism of Poetry; a Counterpart of their Design in Feeling and Aim.
122
The Seasons in Poetry.
123
Stubborn Materialism.
124
Plaintive
Uta.
124
Men and Screens,
a Japanese Novel.
125
SECTION IV. THE CONDITIONS OF LIFE OF THE JAPANESE ARTISAN AND HIS WORK.
Soil and Climate of Japan.
127
Its Physical Features.
127
Feudal System and Peasantry.
128
Necessaries and Superfluities of Life.
129
Values of Gold and Silver.
130
Wages and Gains.
130
Castes, Arts, Trades, etc., descend by Inheritance in Families.
130
Deportment of Various Classes.
131
Etiquette at the Executions of the Nobles.
132
Hara-kiri.
133
Fine Manners, Causes and Effects.
133
Low Art tends to Low Manners and Habits.
135
Japanese Princes encourage Art and practice it.
135
Best Epochs of Japanese Art.
136
The Workman a Thorough Master of his Art.
136
How he worked, and his Gains.
137
Perfection and Variety of his Work.
138
Beauty the Chief Aim.
139
Utility a Subordinate Feature to the
sthetic, but not neglected or slighted.
139
A Unique Vessel.
140
The Constructive Soundness of Common Articles.
141
Confounding of Industrial with Fine Arts.
141
Radical Defects of European Ornamentation.
142
Epitome of Character of Best Japanese Art-work.
143
The Distinction between Artistic and
sthetic in Man or Object.
144
Japanese Art, what it combines, its threatened Extinction.
145
Chinese Modern Art, its Degeneracy.
146
Ki
oto and Yedo, the Seats of the Old and New Schools.
146
The Tyranny of Custom or Fashions in Art Objects and Furniture in Europe and America.
147
Supreme Art Principle.
147
Color and Form, their Relations and Effects.
148
Japanese Albums of Water-color Drawings.
150
Albums in Printed Colors.
151
System of Coloring.
152
Mastery over Action and Use of Human Figure.
153
Scenes in Fashionable Life.
154
How the Japanese Understand the Relative Offices and Functions of Nature and Art.
155
Jokes with Nature as with his Religion.
157
Japanese Art Expressive and Suggestive; does much with Slight Means and Little Effort.
157
Its Technical Methods and Aims.
158
An Ancient Album of Sketches by their Old Masters.
159
Poetical Nomenclature.
162
Japanese Landscape Art.
162
They reverse the Modern European Practice.
163
Drawings of Bamboos, etc.
164
Consummate Art of its Kind.
165
Nature and Art as understood by the Japanese Artisan.
165
SECTION V. JAPANESE DECORATIVE AND ORNAMENTAL ART.—ITS PRINCIPLES AND RULES, EXAMPLES, ETC.
Chief Points of Chinese Decorative Art.
167
Its Finish.
167
Its Thoroughness.
168
Its Variety.
168
Its Principle of Adaptation.
170
Pure Form.
170
Sevres Ware and its Principles of Decoration contrasted with the Japanese.
171
Cheap Art.
173
Iron-work.
174
Pottery, the Art of the People.
174
China, Corea, and Japan.
175
Bastard Japanese Porcelains.
175
Expensive Monstrosities.
176
Collectors' Follies.
176
Eccentricities of Amateurs.
177
The Vitality of Japanese Design. Why.
178
S
tsuma Majolica.
179
Perfume Vases.
180
Examples of Fine Craquel
Wares.
181
The Spout Vase.
182
Origin of Craquel
Ware.
182
Tea-pots and Services for this National Beverage.
183
Easel Pictures.
184
European Imitations of Japanese Work.
185
Porcelain and Majolica Dishes, etc.
185
Demon Tea-kettle and other Utensils.
186
Perversion Religious Rites.
187
Debasement of Motives.
187
The whole World akin by its Art.
188
Sectarian Judgments One-sided.
188
Methods of Decorating Fine Porcelains.
189
Use of Gold.
190
Porcelain Reliefs on Terra-cotta or Majolica.
192
Red or Ki
oto Wares.
192
The Cat Dish.
193
Yedo School of Designers on Porcelain.
194
Yedo Bowl.
194
Ceramic Ware in general. Its Qualities.
196
Fine Work dying out in Japan.
197
Best Art Periods in China.
198
Metal-work.
198
Bronzes.
199
Two Remarkable Ancient Statues in Bronze of Demi-gods or Heroes.
200
The Family of Gorozas, the Cellinis of Japan.
202
Cloisonn
Enamels.
202
Enameled Porcelain.
205
Inlaid Silver.
205
The
Koto
Musical Instrument.
206
Japanese Lacquer.
208
Sculpture.
209
Ivory Carvings.
209
Fasi, the Artist Sculptor.
211
注 記
遊び紙第 2 葉に
Mary Hurpur Hallaghes Bernardsville New Jersey' との書き込み。
標題紙に＜
Ai nostri occhi l'artista o
un sacerdote sublime, o non
che un ciarlatano pi
o meno esperto.
—Mazzini＞ との引用。
標題紙裏に＜Copyright, 1875, by James Jackson Jarves.＞。
複本：(00012744)
記載書誌
TOYO BUNKO, p. 154. BLUM I, 1234.