581　Anderson, William　(1842-1900)
The pictorial arts of Japan.　1886.

THE PICTORIAL ARTS OF JAPAN. WITH A BRIEF HISTORICAL SKETCH OF THE ASSOCIATED ARTS, AND SOME REMARKS UPON THE PICTORIAL ART OF THE CHINESE AND KOREANS. BY WILLIAM ANDERSON, F. R. C. S. LATE MEDICAL OFFICER TO H. M.'S LEGATION, JAPAN.
London: SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON, CROWN BUILDINGS, 188, FLEET STREET. MDCCCLXXXVI [1886]. [All rights reserved.]
xix, [2], 114, [1], [1] p., p. [115]-163, [2] p., p. [165]-181, [2] p., p. [183]-276, 80 leaves of plates. 40 cm.

[YP/14/An](00011638)


目　　次
OUTLINE OF CONTENTS.
SECTION I.—GENERAL HISTORY.
CHAPTER I.　1
Prehistoric art in Japan—Obscurity investing the origin of the present Japanese, and the period at which they entered the country—Fictitious nature of Japanese chronology down to the end of the fourth century of the Christian era—Researches of Morse, Siebold, Milne, Chamberlain, Satow, and Aston—Period of earliest intercourse with China and Korea—Introduction of keramic methods from Korea in the fifth century A. D.
CHAPTER II.　7
Commencement of history of pictorial art in the fifth century—The Chinese painter Nanriu and his descendants—Korean influence—The mural picture in Horiuji, Nara—the Korean artist Kawanari—The establishment of a pictorial bureau under the Imperial Government.
The early history of keramic art—Traditions—Character of prehistoric pottery—The reputed introduction of the potter's wheel by the Korean priest Giogi, near the end of the seventh century—Satow's discoveries in the sepulchral mounds of Kodzuke.
Early monuments of sculpture in stone—Sculpture in wood—The first Buddhist idols made in Japan attributed to a Korean—Naturalistic character of certain of the wood carvings of the seventh century—The Temple Guardians of Kobukuji, Nara; the image of the infant Shotoku Taishi—The sculptors Tori Busshi and Oguchi, both of Chinese descent—The Korean priest Giogi, the accredited author of many sculptures.
Lacquering—The cultivation of the Rhus vernicifera in the eighth century—Decorated lacquer in the same period.
Metal work—Traditional origin—Bells, mirrors, Buddhist images—First bronze idol made in Japan attributed to Tori Busshi (seventh century)—The Yakushi of Yakushiji, Nara (eighth century)—The Vairotchana of Todaiji, Nara (eighth century)—The bronze lantern of Todaiji—Reliquaries.
Artistic decoration of arms and armour in the seventh and eighth centuries.
Embroidery—Calligraphy—Buddhist Architecture.
Japanese culture in the seventh and eighth centuries.
CHAPTER III.　21
Japanese art from the ninth century—Kose no Kanaoka, a follower of the Chinese master Wu Tao-tsz'—His descendants—The last work of Hirotaka—Painting in the tenth century, as indicated in the contemporary romance called Genji Monogatari.
Buddhist school of painting—Korean, Chinese, Indian, and Greek influences—Introduction of Buddhism into Japan by the Emperor Kimmei (sixth century)—Principal Buddhist pictures from the ninth to the fourteenth centuries, executed by Kanaoka and his descendants, and members of the Yamato or Early Native school—Characteristics of Buddhist pictures—Motives chiefly traditional, and derived from Chinese and Korean sources.
The Yamato school—Origin under Motomitsu—(eleventh century)—The three family lines of Kasuga, Takuma, and Kose, representing chief strength of the school down to the fourteenth century—Change of name of Kasuga branch to Tosa in thirteenth century—Characteristics of the Yamato picture—Motives.
Caricature. The priest Kakuyu, or Toba Sojo, the first historical caricaturist (twelfth century)—Characteristics of Toba pictures (Toba-ye).
Chinese school—Diminution of influence during the predominance of the Yamato school—Priestly artists of the fourteenth century.
CHAPTER IV.　37
Keramic art—Absence of material advance from the eighth to the thirteenth century—Kato Shirozayemon, or Toshiro, the Father of Pottery —His voyage to China (1223 A. D.)—His importation of new methods and designs—The Seto fabrique—Absence of pictorial decoration in pottery.
Temple images—Eshin—Jocho and the Nara school—The Colossal Deva Kings of Todaiji, Nara, by Kwaikei (1095 A. D.)—The Daibutsu of Kamakura (1252).
Arms and Armour—The Miochins—The armour of Yoshitsune, preserved at Nara.
The Lacquer Industry—Absence of any reference to Chinese or Korean influence.
CHAPTER V.　41
Pictorial art from the close of the fourteenth century—Meicho or Cho Densu, the great master of Buddhist painting in the fourteenth and fifteenth centuries.
Chinese school—Revival under the Chinese (?) priest Josetsu, at the end of the fourteenth century—The school of Sokokuji, Kioto—The Chinese Soga Shiubun—Subdivision of the Chinese school into three branches: the Chinese, under Shiubun (not Soga Shiubun, above mentioned), Soga Jasoku, and Oguri Sotan; the Sesshiu, under Ota Sesshiu; and the Kano, under Kano Masanobu—The imitation of the calligraphic Chinese style of the Sung and Yuen dynasties.
History of the revived Chinese school down to the middle of the eighteenth century—Keishoki, Noami, Chiuan, Riurikio, &c. The Chinese immigrants (seventeenth and eighteenth centuries), Mokuan, Ifukiu, Chinnanpin, &c.
Sesshiu school—Sesshiu's visit to China—Shiugetsu, Togan, Doan, &c.
Kano school—Masanobu, Motonobu, Yeitoku, Tanyu, Yasunobu, Tsunenobu, &c.
Progress of the Yamato or Tosa school—The Takumas, Shibas, and Kose Arishige—Tosa Mitsunobu, Mitsushige, Mitsuoki—The seceders, Iwasa Matahei and Sotatsu—Decadence.
CHAPTER VI.　60
Foundation of the Popular or Ukiyo-ye style, at the end of the sixteenth century, by Iwasa Matahei—Revival of style of Matahei by Hishigawa Moronobu, near the end of the seventeenth century—Hanabusa Itcho—Principal representatives of the Popular school in the first half of the eighteenth century—Miyagawa Choshun, Torii Kiyonobu, Tachibana Morikuni, Nishigawa Sukenobu, &c.
Korin school, founded by Ogata Korin, near the end of the seventeenth century—Kenzan.
General review of the development of pictorial art from the latter part of the fourteenth to the middle of the eighteenth century.
CHAPTER VII.　69
Keramic art from the beginning of the sixteenth century—Introduction of manufacture of porcelain from China by Gorodaiyu Shondzui, in 1513—Commencement of pictorial decoration of pottery about the same period—Fabriques of Arita, Kutane, Sanda, Nakano, Satsuma, Kioto, &c.— Raku yaki —Famous decorative artists—Cloisonne first made about 1610.
Arms and armour—Damascening—Ornamental work in sword guards, hilt ornaments, &c.
Wood carving—Architectural decoration under Hidari Jingoro and his followers—Buddhist images.
Netsukes, pipe cases, &c.
The decoration of lacquer.
CHAPTER VIII.　81
Cha-no-yu—Origin and history—Influence.
CHAPTER IX.　86
Shijo Naturalistic school—Origin in the latter part of the eighteenth century—Maruyama Okio—Pupils—Characteristics of style.
CHAPTER X.　93
Popular school from the latter part of the eighteenth century—Book illustrations—Hokusai: his contemporaries and followers—Ganku school: Kishi Doko—European school—Progress of Kano, Tosa, Chinese, and Korin schools: Buncho, Hoitsu, Kano Kadzunobu.
CHAPTER XI.　106
Keramic art from the latter part of the eighteenth century—Multiplication of porcelain factories—Seto, Mino, Kioto, Kutane, Tozan, &c.
Netsukes—Encrusted work—Lacquer decoration—Pictorial embroidery—Embossed paper—Metal workers.
Concluding remarks.
SECTION II—APPLICATIONS OF PICTORIAL ART.
CHAPTER I.　115
Kakemonos: origin, varieties of mounting—Makimonos—Albums—Loose sketches—Framed pictures (gaku)—Pictures on sliding panels—Mural paintings—Screen pictures; varieties of screens—Fan pictures; varieties of fan.
CHAPTER II.　131
Pictorial decoration of pottery and porcelain—Commencement in the sixteenth century—Various methods.
Pictorial decoration of lacquer; varieties—Korin, Ritsuwo.
Pictorial embroidery; history.
CHAPTER III.　140
Engraving upon wood—Origin of block-printing—Pictorial engraving—Illustrated books—Chromoxylography—Engraving upon copper—Lithography—Stencilling.
The application of pictorial art to sculpture—Pictorial designs reproduced in metal, stone, wood, and plaster—Oshi-ye—Tattooing.
SECTION III—TECHNIQUE.
CHAPTER I.　165
Receptive surfaces: paper, silk, wood, &c.—Ink.
CHAPTER II.　171
Pigments—Accessories to pigments—Gold, silver, mica, &c.—Pencils.
CHAPTER III.　178
Manipulation.
SECTION IV—CHARACTERISTICS.
Introductory remarks.　183
CHAPTER I.　185
Drawing: calligraphic ideal—Varieties of touch in figure drawing.
CHAPTER II.　201
Chiaroscuro—False shadows—Absence of high lights, reflected lights, and projected shadows.
Colouring—Ideal tints, glazing, scumbling, impasto—Classification of pictures according to mode of colouring.
Composition.
CHAPTER III.　207
Perspective—Absence of linear perspective in true Chinese and Japanese art— Parallel perspective—Unroofing of buildings—Elevation of horizontal line—Imperfect study of linear perspective by artists of the Popular school.
CHAPTER IV.　211
Landscape— Composed landscapes of Chinese and Kano schools—Landscape drawings of Shijo and Popular schools.
CHAPTER V.　214
Imperfect observation of cloud forms—Conventional or decorative clouds—Rendering of mist and rain—Snow scenes—Night scenes—Arbitrary illumination of the Japanese picture—Representation of the various forms of water.
CHAPTER VI.　220
Representation of trees and flowers—The bamboo, plum, peach, pine, &c.
CHAPTER VII.　224
Representation of animal life: insects, fishes, frogs, snakes, tortoises, birds, horses, rats, monkeys, &c.
Drawing of the human figure—Neglect of anatomical form—Traditional portraitures of Buddhistic divinities, Taoist rishis, Chinese sages, &c.—Figure drawing in the Yamato-Tosa, Shijo, and Popular schools—Drawing of face.
CHAPTER VIII.　239
Artistic invention—Classical schools—Yamato-Tosa school—Popular artists.
CHAPTER IX.　241
Criticism of pictures in Japan—Motoori's remarks.
CHAPTER X.　250
Summary.
APPENDIX—CHINESE AND KOREAN PICTORIAL ART.
CHINESE PICTORIAL ART.　253
Outline of history—Tsao Fuh-ying, Chang Sang-yiu, Wu Tao-tsz', &c.—Great masters of the Sung and Yuen dynasties—Characteristics of early Chinese painting—Commencement of decadence in the Ming dynasty—Naturalistic portraiture under Si-kin Ku-sze and Ch'eng Chung-fuh—Applications of pictorial art.
KOREAN ART.　266
Pictorial art in Korea a derivative of that of China—High quality of earlier glyptic and pictorial art—Decadence.
ADDENDA, Kanaoka.　267
INDEX.

注　　記
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記載書誌
WENCKSTERN I, p. 165. CORDIER, col. 624. TOYO BUNKO, p. 152. NIPPONALIA I, 263. NIPPONALIA II, 381.