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The archaism that followed the first closing and the classicism that followed the second both developed in the same atmosphere of quietude and work. The political life concentrated in a single capital, Nara for the Fujiwara, Yedo for the Tokugawa. The people, which had been warlike until that time, confided the care of its defense to the military classes, so as to exploit the wealth of the torrents and the coasts and to clear the soil in security. And the sudden peace produced its usual harvests.
The archaism that followed the first closing and the classicism that followed the second both developed in the same atmosphere of quietude and work. The political life concentrated in a single capital, Nara for the Fujiwara, Yedo for the Tokugawa. The people, which had been warlike until that time, confided the care of its defense to the military classes, so as to exploit the wealth of the torrents and the coasts and to clear the soil in security. And the sudden peace produced its usual harvests.
Half-effaced
symphonies remain to us from these first ages of intellectual concentration, in
which Buddhism, shared but very little by the people, shut itself up in the
monasteries in order that their silence should enable it to illumine the old
silk kakemonos. And through these works Japan saw within herself the rise of
her veritable realities. At the moment which is summed up by the work of Kose
Kanaoka, for example, we find a hieratic art full of the spiritual radiance of
Buddhist painting; and this is paralleled by the appearance, in the somber
harmony, of its reds and blacks, of the gold of the backgrounds and the
aureoles, to give a warmer patina. But the new problems—those of the idea and
those of technic—offer no more than temporary obstacles to the nascent spirit
of the Japanese in its manifesting of a vision that was already more direct,
more incisive, and clear-cut than that of the artists of the continent. Those
three obscure and very slow centuries, when the artists are held in the archaic
mold, do not yet, to be sure, permit the Japanese spirit to free itself, since
the monastic life in which the intelligence is at work is closed to the life of
movement, to what brings enjoyment, to what brings suffering, to what brings
understanding. But sometimes, when the monk quits the cloister, when he comes
into contact with the pine forests, the torrents, and the dark seas, prodigious
flashes of light bring before his eyes—with a clearness that perhaps is not to
be found elsewhere in history—the extreme scope of his genius when freed from
limitations. Toba-Sojo, the painter, and Unkei, the sculptor, are already true
Japanese. The one has quite left the temples; he roams the woods, collects the
insects, and spies on the mice and the frogs; he accords to all the beasts a
clear-eyed and joyous friendship, and thereby sees them repeating in their own
way the gestures of men—which he finds very diverting. The other, to whom the
last sculptures of the Buddhist grottoes of China offered a pretext for
releasing the unknown forces that slept in his race, suddenly carries his
disciplined violence into the brutal effigies of his warrior divinities. [M.
Edouard Chavannes has already indicated the analogy that exists between the
statues of Unkei and the guardians of the gates of the grottoes of Long-Men.
See figures on pages 67 and 113. The evidence is clear. How did the Japanese
sculptors come to know these colossuses? Doubtless it was because China
exported bronzes and wood carvings that were directly inspired from them.] The
vision of Kobo Daishi is quite realized with these furious, simple
statues—almost pure, but with an inward impulse toward murder and combat.
Between
these two contemporaneous works—that of the painter and that of the sculptor,
who are so different in aspect—there is, therefore, only an apparent conflict.
They meet at the point where the individuality of the Japanese frees itself
from the statue maker's art to affirm itself in painting. The abstract art of
the metaphysical systems which are present at the origin of every great
civilization was drawing to its close. Unkei is the last of the great
sculptors. Sculpture, the religious and hieratic art, which always corresponds
with a well-defined society, could not survive the feudal anarchy that preceded
the Mongol invasion. In proportion as the remembrance of the teachings from
abroad was obliterated, the great traditions declined in the monasteries. Civil
wars rent the country. Religion lost its original freshness to become an
instrument of political domination. While, to the eyes of the people, the
Mikado still represented the old Shintoism of their ancestors, the Shogunate,
supported by the pretorians, was opposing Buddhism to the traditional cult.
Sculpture obeyed the laws of dissociation dictated by the state of society. It
overloaded itself with incrustations, complicated itself with draperies, and,
when it lost the calm of its lines, it lost the whole of its spirituality. It
is only in the seventeenth century, when the painted wooden effigies of monks
were erected, that among the severe profiles united by fleeting passages which
envelop them with strength and security, the sculptors found again a little of
the radiance of the seated Buddhas whose peaceful countenances had for eight
hundred years bent over the faithful, and whose fingers, raised in their pure
gesture, had taught them wisdom.
Painting,
on the contrary, would not have existed without the invasion. The Japanese
soul, which had lost its basis of religion and to which Toba-Sojo had
prematurely given a basis of popular life, was getting away from its course and
becoming anaemic in the service of the nobles. With the Tosa school, founded in
the thirteenth century by Tsunetaka, who claimed to represent the art of the
ancient archaic master, Motomitsu, its tenacity very quickly degenerated into
minuteness, its science into skill, and its fineness into preciosity. When it
reached its end in the academic miniatures, in which the court people satisfied
their puerile taste for antiquated things, the national spirit had long since
been delivered of its atrophying influence. Japan was weary from turning about
in the same closed circle, and, having been assailed by the Barbarians ever
since her art had emerged from the monastery, being touched by the immeasurable
life of the new ideas that invasion brought with it, she let herself go with
the wind.
Toward
the end of the fifteenth century, when old Kano Masanobu, impressed by the work
of the Chinese Josetsu, founded the great school of Kano, he appealed to
continental traditions in order to combat the narrow academism of Tosa. In so
doing he was following the tendencies that his master, Shiubun, and Sesshiu and
Soami and Sesson and Shiugetsu, had already manifested. It was the good fortune
of Japan that the Chinese painters of the period were seeking to regenerate
their vision by the patient and direct study of animals and flowers. They could
inform Japan as to her true nature, tear her away from the religious symbolism
for which she was not made, and make it possible for her to follow her
individualization along the roads that Toba-Sojo had explored with so much
audacity. But the strong discipline of China did not immediately permit the
Japanese artists, happily for the development of their mind, to go as far as
their astounding precursor. First, they learned the architecture of landscape,
they gazed on their country with a religious emotion, they got the appearance
of the rocks, the angular trees, the jagged mountains. A rolling murmur
followed the reawakening to life, a rude hymn after the silence. Powerful poets
of the brush, like Sesshiu, Sesson, and Soami, covered their white paper with
those summary black dabs of India ink which give us for the first time the
effect of things seen in a mirror dimmed by having lain in water. We see cranes
in a sky, ducks in a pond, or the strong lines of a landscape, misty, chaotic,
and wooded. Sesson discovered in it fantastic apparitions, dramas of the air
and of the lakes —wandering barks, birds at dawn half frozen on the branches,
and trees lost in the fog; by his powerful abbreviations he announced Korin.
Sesshiu seemed to live with the beasts and to share with indifference their
implacable destiny. The violent life of the earth entered him like the breath
of his nostrils; he was far from men and seemed to remember the gods no longer.
In his somber splashes of ink he gathered up the central forces that issued
from the soil of the shaggy, pine-grown hillsides, the sap that poured through
branches, the blood that swelled in throats and bellies, the hunger that
hardened beaks, the brutal flight that ruffled plumage, the terrible simplicity
of natural forms in the presence of instinct, of space, and the wind.
Kano
Motonobu, the son of the founder of the Chinese school, could now borrow from
the continental painters practically all their subjects, their motifs, and
their composition. At bottom there existed such an antagonism between the
spirit of the islands and the spirit of the continent—the one resolutely
objective and quite devoid of sentimental partiality, the other so often
employing the aspects of the world for demonstrating and moralizing—that what
Motonobu naturally transmitted to his pupils before all else was the profoundly
constructive action of Shiubun and Sesshiu. He brought to his task the power
for synthesis that only a predestined genius possesses, and, in him, archaic
culture could not fail to establish, on an indestructible base, the powerful
sentiment for nature that the Japanese people had been seeking for five or six
centuries in the depths of its soil, in the seed that expanded it, in the
torrents whose every pool it had explored—whose every stone it had lifted, in
the trees of its forests which it cut down and trimmed for the building of its
houses. Kano Motonobu saw how the birds polished their feathers in the morning
dew and how the cranes stretched out slender legs as they sank earthward in
their slow flight. Except for some sleepy creature of the air, its neck under
its wing, its plumage ruffled by the cold of the dawn, nothing would be seen
but the boats lost in fog and in space. . .
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