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the position of fine arts。 The lowest artisan is essentially an artist。
Modern French nomenclature on the subject； in spite of the satire to which
the more prosaic Anglo…Saxon has subjected it； is peculiarly applicable
there。 To call a Japanese cook； for instance； an artist would be but the
barest acknowledgment of fact； for Japanese food is far more beautiful to
look at than agreeable to eat； while Tokio tailors are certainly masters of
drapery； if they are sublimely oblivious to the natural modelings of the
male or female form。
On the other hand； art is sown； like the use of tobacco； broadcast
among the people。 It is the birthright of the Far East； the talent it never
hides。 Throughout the length and breadth of the land； and from the
highest prince to the humblest peasant； art reigns supreme。
Now such a prevalence of artistic feeling implies of itself
impersonality in the people。 At first sight it might seem as if science did
the same； and that in this respect the one hemisphere offset the other； and
that consequently both should be equally impersonal。 But in the first
place； our masses are not imbued with the scientific spirit； as theirs are
with artistic sensibility。 Who would expect of a mason an impersonal
interest in the principles of the arch； or of a plumber a non…financial
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devotion to hydraulics？ Certainly one would be wrong in crediting the
masses in general or European waiters in particular with much abstract
love of mathematics； for example。 In the second place； there is an
essential difference in the attitude of the two subjects upon personality。
Emotionally； science appeals to nobody； art to everybody。 Now the
emotions constitute the larger part of that complex bundle of ideas which
we know as self。 A thought which is not tinged to some extent with
feeling is not only not personal； properly speaking； it is not even
distinctively human； but cosmical。 In its lofty superiority to man； science
is unpersonal rather than impersonal。 Art； on the other hand； is a familiar
spirit。 Through the windows of the senses she finds her way into the
very soul of man； and makes for herself a home there。 But it is to his
humanity； not to his individuality； that she whispers； for she speaks in that
universal tongue which all can understand。
Examples are not wanting to substantiate theory。 It is no mere
coincidence that the two most impersonal nations of Europe and Asia
respectively； the French and the Japanese； are at the same time the most
artistic。 Even politeness； which； as we have seen； distinguishes both； is
itself but a form of art；the social art of living agreeably with one's
fellows。
This impersonality comes out with all the more prominence when we
pass from the consideration of art in itself to the spirit which actuates that
art； and especially when we compare their spirit with our own。 The
mainsprings of Far Eastern art may be said to be three： Nature； Religion；
and Humor。 Incongruous collection that they are； all three witness to the
same trait。 For the first typifies concrete impersonality； the second
abstract impersonality； while the province of the last is to ridicule
personality generally。 Of the trio the first is altogether the most
important。 Indeed； to a Far Oriental； so fundamental a part of himself is
his love of Nature that before we view its mirrored image it will be well to
look the emotion itself in the face。 The Far Oriental lives in a long day…
dream of beauty。 He muses rather than reasons； and all musing； so the
word itself confesses； springs from the inspiration of a Muse。 But this
Muse appears not to him； as to the Greeks； after the fashion of a woman；
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nor even more prosaically after the likeness of a man。 Unnatural though it
seem to us； his inspiration seeks no human symbol。 His Muse is not kin
to mankind。 She is too impersonal for any personification； for she is
Nature。
That poet whose name carries with it a certain presumption of
infallibility has told us that 〃the proper study of mankind is man；〃 and if
material advancement in consequence be any criterion of the fitness of a
particular mental pursuit； events have assuredly justified the saying。
Indeed； the Levant has helped antithetically to preach the same lesson； in
showing us by its own fatal example that the improper study of mankind is
woman； and that they who but follow the fair will inevitably degenerate。
The Far Oriental knows nothing of either study； and cares less。 The
delight of self…exploration； or the possibly even greater delight of losing
one's self in trying to fathom femininity； is a sensation equally foreign to
his temperament。 Neither the remarkable persistence of one's own
characteristics； not infrequently matter of deep regret to their possessor；
nor the charmingly unaccountable variability of the fairer sex； at times
quite as annoying； is a phenomenon sufficient to stir his curiosity。
Accepting； as he does； the existing state of things more as a material fact
than as a phase in a gradual process of development； he regards humanity
as but a small part of the great natural world； instead of considering it the
crowning glory of the whole。 He recognizes man merely as a fraction of
the universe；one might almost say as a vulgar fraction of it； considering
the low regard in which he is held；and accords him his proportionate
share of attention； and no more。
In his thought； nature is not accessory to man。 Worthy M。 Perichon；
of prosaic； not to say philistinic fame； had； as we remember； his travels
immortalized in a painting where a colossal Perichon in front almost
completely eclipsed a tiny Mont Blanc behind。 A Far Oriental thinks
poetry； which may possibly account for the fact that in his mind…pictures
the relative importance of man and mountain stands reversed。 〃The
matchless Fuji；〃 first of motifs in his art； admits no pilgrim as its peer。
Nor is it to woman that turn his thoughts。 Mother Earth is fairer； in
his eyes； than are any of her daughters。 To her is given the heart that
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should be theirs。 The Far Eastern love of Nature amounts almost to a
passion。 To the study of her ever varying moods her Japanese admirer
brings an impersonal adoration that combines oddly the aestheticism of a
poet with the asceticism of a recluse。 Not that he worships in secret；
however。 His passion is too genuine either to find disguise or seek
display。 With us； unfortunately； the love of Nature is apt to be considered
a mental extravagance peculiar to poets； excusable in exact ratio to the
ability to give it expression。 For an ordinary mortal to feel a fondness for
Mother Earth is a kind of folly； to be carefully concealed from his fellows。
A sort of shamefacedness prevents him from avowing it； as a boy at
boarding…school hides his homesickness； or a lad his love。 He shrinks
from appearing less pachydermatous than the rest。 Or else he flies to the
other extreme； and affects the odd； pretends； poses； parades； and at last
succeeds half in duping himself； half in deceiving other people。