The Traditional Arts of Japan, a Complete Illustrated Guide

359 Pages·1964·69.667 MB·English

by  H. Batterson Boger

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iraditional Arts
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of Japan I I I !
A Complete Illustrated Guide
BY H. BATTERSON BOGER
Here for the first time is a book that compasses all
thearts, crafts, and ceremonies ofJapan, giving fun-
damentalinformationandaclear, descriptivepicture
ofeverycategoryfortheinterestedlayman,theexpert,
and the connoisseur.
In 170,000words ofreadable narrative, and with
369 black-and-white photographs, 26 color repro-
ductions, and 40 line drawnigs. The Traditional Arts
ojJapan showsthesteps by which theJapanese artists
and artisans created their works, bothutilitarianand
decorative.
Supplemented by an introduction to the cultural
lientageofJapan,achronologicaloutlineofJapanese
history,atab! ' •''-alperiods,mapsofprovinces
and prefectures, ail. nipleic i. ' "-he text is an
indispensable guide to tu. ' -Mfication aiiu a^j^..
ciation ofJapanese worksofartaiiu^. '" md to the
thinking, symbolism, and technical processes beliuiu
them.
Chapterbychapter,thebookpresentsthefollow-
ing subjects, among others:
• Meaning and mathematics behind the great
Japanesegardens
• How swords and sword mounts were formed
and decorated
• Making ofarms and armor
• Structuring and symbolism of architecture,
domestic and public
• Firing and designing ofpotteryand porcelain
• Steps in theincense and tea ceremonies
• Weaving and designing oftextiles
• Making ofdollsand theirrolein Japaneselife
• Design and use offans
• Firing ofenamels
{cominuvdon hackflap)
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The traditional arts of
Japan, a complete
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The
Traditional Arts of Japan
The
Traditional
of
Arts Japan
A
Complete Illustrated Guide
H. Batterson Boger
DOUBLEDAY & COMPANY, INC. GARDEN CITY, N.Y. 1964
• •
Marin County Free Library
Civic Center AdiT.imstration Building
Sr.n Rafael, California
O
11 ^ ,"•• >•••'- '- •v-
^ i^ ;3 :>
LIBRARY OF CONGRESS CATALOG CARD NOJMBER: 64-11726.
ALL RIGHTS RESERVED.
THIS BOOK IS FULLY PROTECTED BY COPYRIGHT
UNDER THE TEPJvlS OF THE INTERNATIONAL COPYRIGHT UNION.
PERMISSION TO USE PORTIONS OF THIS BOOK
MUST BE OBTAINED IN WRITING FROM THE PUBLISHER.
DESIGNED BY LIBRA STUDIOS, INC.
PRODUCED BY CHANTICLEER PRESS. INC., NEW YORK.
PRINTED BY BRUDER ROSENBAUM, VIENNA, AUSTRIA.
DOUBLEDAY & COMPANY, INC.
GARDEN CITY, NEW YORK.
1964
Acknowledgments
MUCH OF THE SUCCESSImayhaveattainedincom- oftheartoffloralarrangementIowemydeepestappreciation
pilingthematerialforthisworkisduetothegenerousassist- to Mr. M.NishikidaoftheIkenoboFloralArtInstituteatthe
anceaccordedmeatvariousstagesofmyinterestinJapanese RokkakudotempleatKyoto,wheretheIkenobomethodhas
artbyfriendsandassociatesinthe United Statesandabroad. been handed down from one abbot to another for the past
In the course oftime a great number ofphotographs was thirteenhundredyears.
gathered, and a carefulselection was made to give this col- IwishtothankMr. K. ImaiofKyoto, andYamanakaand
lectionatrueaestheticvalue. Company of Osaka and NewYork, for their kindness in
Iwishtorecordmygratitudeforthecourtesyextendedto allowingmetousecertamillustrationsfromtheircollections.
me by various staffmembers ofthe photographic service at As for the color plates, I am deeply grateful to Mr. John
theMetropolitan Museum ofArt, NewYork. A. Pope, director ofthe Freer Gallery ofArt Mr. Sherman
;
I takepleasurein expressing mymostsincereappreciation E.Lee,directoroftheClevelandMuseumofArt;Mr.Richard
forthegenerousassistanceandcooperationgivenmebystaff E. FuUer, directorofthe SeattleArtMuseum; MissDorothy
members ofthe Museum Extension Services at the Victoria L. Smith, Life magazine; Mr. and Mrs. Shizuo Nomura,
and Albert Museum, in England. I am most gratefulto Mr. New York and Kyoto; Mr. Kazuo Iwata, director of the
SoameJenyns,DeputyKeeperoftheDepartmentofOriental JapanNationalTouristAssociation;andMr.CharlesA.Green-
Antiquities at the British Museum, for his helpful criticism field,NewYork.
andsuggestedemendations. Mywholeheartedappreciationis duethestaffmembersof
IhavelongbeenindebtedtomymanyJapanesefriendsand theTokyo NationalMuseum,whohavegivensuchvaluable
acquaintances who have so graciously opened to me their material assistance and supplied me with so many choice
storesofspecialknowledge.Imustmentionthekindassistance illustrations that selection ofthose to be used has been most
givenbyMr. TakeoTakamatsu,editor-in-chiefoftheJapan difficult.AndtoMr.NagatakeAsano,directoroftheTokyo
TravelBureau,whohassuppliedsuchbeautifulpictures.Sev- National Museum, who was so kind as to read the original
eral ofthe fine photographs ofdomestic architecture were manuscript ofthis work and who so generously offered his
given to me through the kindness ofMr.Jiro Harada ofthe assistance and guidance, I extend my deepest expression of
TokyoNationalMuseum.AndIamindebtedtoMr.H.Vere gratitude. His suggestions and criticism were ofthe utmost
RedmanoftheBritishEmbassyinTokyo,who,asadirector importance, aswashissupervision ofthephotographicillus-
ofthe Asiatic Society ofJapan, has graciously permitted me trations, which are ofimmeasurable value to the text.
tomakeuseofuncommonlyfinelinedrawingsthatappeared Finally,IamgratefultoMr.HenryLaFargeforhisdiscern-
intheirjournal Transactionsmanyyearsago. Forillustrations inghelpinthepreparationofthemanuscriptforpubUcation.
Prefiace
THE PURPOSE of this book is to promote a fuller tothehistoryofthe Shosoin,auniquerepositoryofOriental
understanding and appreciation ofthe arts ofJapan. It was culture.
developed, and most ofthe pertinent material was accumu- Therehasbeennoattempttoextendthisworkbeyondthe
lated,duringanestabhshedresidenceinJapan.Thewriterwas periodsofindigenoustraditionsintomoderntimes,sincecon-
especiallyfortunateinhavingseveralJapanesecollectorfriends temporary art in the main has followed the dictates ofcon-
whose refined taste enabled him to cultivate their cultural formists to international fashions originating in theWestern
approach andtheaestheticappreciationnecessarytoanunder- world. While it is true that contemporary work portraying
standing ofthe subtlebeauty oftheirart. Japanesesubjectssuggestsitsnativeorigin,muchofit,show-
The book is designed for the student as well as for the inglittleevidenceofOrientalderivation,followstheprecepts
general reader and enquirer seeking togain amoreintimate ofinternational movements. To go further than the arts of
insight into the unique culture that has developed in Japan design that are known and appreciated as traditionally Japa-
throughoutthecenturies.Itprovidesacompleteintroduction nese, seems beyond the scope ofthis book, for a definitive
totheartsofJapan,surveyingtheirevolutionfromtheearhest historycannot be written until sufficient time has elapsed to
times through the period oftheir greatest development. By allow the subject to fall into its proper perspective.
art is meant not only the arts ofpainting and sculpture, but InalltheirartstheJapanesehavebeensatisfiedwithnothing
every form of artistic expression, including such aesthetic less than technical perfection, whether the work was on a
pastimesastheteaceremonyandflowerarrangement,which minute scale or ofheroic proportions. In that respect each
theJapanesehaveraised to the dignity ofan art. Emphasisis branch ofJapanese art merits universal interest. The sym-
given to the popular arts, for the charm ofJapan is found bolismwliichpermeatesthelifeandbehavioroftheJapanese
in the daily life, customs, and famihar beliefs ofits people, has been recordedin an enduring maimer in their arts. It is
and the many arts which play such an important role in not afixedand formal symbolism butrather afmenetwork
them. of subtle associations giving it a unique appeal. Although
Becausethebookisplannedasacomprehensiveguideand Japan received theinitial inspiration and guidance in her art
thesubjectisbroadinscope,thetreatmentisnecessarilycom- fromChina,thisislandnationthroughthecenturieshasadded
pact. Each chapter presents a particular Japanese art form arichvocabularyofher owncreatedto expressnativetradi-
andtracesthechiefinfluenceswhichhaveaffecteditsdevelop- tionsandthe aestheticidealsofherpeople. BecausetheJapa-
ment. Suchhistoricalandaestheticaspectsasarenecessaryfor nesepossessedtheimiateartisticsensetoassimilateandadapt,
anappreciationoftheartsarealsoprovided.Emphasisislike- to absorb andnationalize that whichthey borrowed, the art
wise placed on the evolution ofreligious traditions, because ofJapan displays a sufficient degree oforiginahty to be re-
art in Japan is so closely connected with religion that it is gardedasanationalartandassuchto takeitsplace withthe
impossible to obtain an understanding ofit without some artofothernationsinthehistory ofthe world.
knowledge ofthebehefswhichitreflects. A briefoutline of Itishopedthattl>isbookmaynotonlyincreaseknowledge
certainpertinentaspectsoftheculturalhistoryisthesubjectof ofthe arts ofJapan, but do much to promote an informed
thefirstchapter,whichalsoincludessomeofthemorefamiliar understandingofthepeoplewho createdit andthusgaveto
motifsoccurringinJapaneseart. Thefmal chapterisdevoted theworlda greatartheritage.
NewYork H. BATTERSON BOGER