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the general limits of a circle of any form。 Now it is a chariot wheel with
petals for spokes； now a ball of fire with lambent tongues of flame； while
another kind seems the button of some natural legion of honor； and still
another a pin…wheel in Nature's own day…fireworks。
Admired as a thing of beauty for its own sake； it is also used merely as
a material for artistic effects； for among the quaintest of such conceits are
the Japanese Jarley chrysanthemum works。 Every November in the
florists' gardens that share the temple grounds at Asakusa may be seen
groups of historical and mythological figures composed entirely of
chrysanthemum flowers。 These effigies are quite worthy of comparison
with their London cousins； being sufficiently life…like to terrify children
and startle anybody。 To come suddenly； on turning a corner； upon a
colossal warrior； deterrently uncouth and frightfully battle…clad； in the act
of dispatching a fallen foe； is a sensation not instantly dispelled by the fact
that he is made of flowers。 The practice； at least； bears witness to an
artistic ingenuity of no mean merit； and to a horticulture ably carried on； if
somewhat eccentrically applied。
From the passing of the chrysanthemum dates the dead season。 But it
is suitably short…lived。 Sometimes as early as November； the plum…tree is
already blossoming again。
Even from so imperfectly gathered a garland it will be seen that the
Japanese do not lack for opportunities to admire； nor do they turn coldly
away from what they are given。 Indeed； they may be said to live in a
chronic state of flower…fever； but in spite of the vast amount of admiration
which they bestow on plants； it is not so much the quantity of that
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admiration as the quality of it which is remarkable。 The intense
appreciation shown the subject by the Far Oriental is something whose
very character seems strange to us； and when in addition we consider that
it permeates the entire people from the commonest coolie to the most
aesthetic courtier； it becomes to our comprehension a state of things little
short of inexplicable。 To call it artistic sensibility is to use too limited a
term； for it pervades the entire people； rather is it a sixth sense of a natural；
because national description； for the trait differs from our corresponding
feeling in degree； and especially in universality enough to merit the
distinction。 Their care for tree flowers is not confined to a cultivation； it
is a cult。 It approaches to a sort of natural nature…worship； an adoration
in which nothing is personified。 For the emotion aroused in the Far
Oriental is just as truly an emotion as it was to the Greek； but whereas the
Greek personified its object； the Japanese admires that object for what it is。
To think of the cherry…tree； for instance； as a woman； would be to his mind
a conception transcending even the limits of the ludicrous。
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The Soul of the Far East
CHAPTER 6。 Art。
That nature； not man； is their beau ideal； the source of inspiration to
them； is evident again on looking at their art。 The same spirit that makes
of them such wonderful landscape gardeners and such wonder…full
landscape gazers shows itself unmistakably in their paintings。
The current impression that Japanese pictorial ambition； and
consequent skill； is confined to the representation of birds and flowers；
though entirely erroneous as it stands； has a grain of truth behind it。 This
idea is due to the attitude of the foreign observers； and was in fact a tribute
to Japanese technique rather than an appreciation of Far Eastern artistic
feeling。 The truth is； the foreigners brought to the subject their own
Western criteria of merit； and judged everything by these standards。
Such works naturally commended themselves most as had least occasion
to deviate from their canons。 The simplest pictures； therefore； were
pronounced the best。 Paintings of birds and flowers were thus admitted
to be fine； because their realism spoke for itself。 Of the exquisite poetic
feeling of their landscape paintings the foreign critics were not at first
conscious； because it was not expressed in terms with which they were
familiar。
But first impressions； here as elsewhere； are valuable。 One is very
apt to turn to them again from the reasoning of his second thoughts。 Flora
and fauna are a conspicuous feature of Far Asiatic art； because they enter
as details of the subject…matter of the artist's thoughts and day…dreams。
These birds and flowers are his sujets de genre。 Where we should select
a phase of human life for effective isolation； they choose instead a bit of
nature。 A spray of grass or a twig of cherry…blossoms is motif enough for
them。 To their thought its beauty is amply suggestive。 For to the Far
Oriental all nature is sympathetically sentient。 His admiration； instead of
being centred on man； embraces the universe。 His art reflects it。
Leaving out of consideration； for the moment； minor though still
important distinctions in tone； treatment； and technique； the great
fundamental difference between Western and Far Eastern art lies in its
attitude toward humanity。
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With us； from the time of the Greeks to the present day； man has been
the cynosure of artistic eyes； with them he has never been vouchsafed
more than a casual； not to say a cursory glance； even woman failing to
rivet his attention。 One of our own writers has said that； without passing
the bounds of due respect； a man is permitted two looks at any woman he
may meet； one to recognize； one to admire。 A Japanese ordinarily never
dreams of taking but one； if indeed he goes so far as that；the first。 It
is the omitting to take that second look that has left him what he is。 Not
that Fortune has been unpropitious； only blind。 Fate has offered him
opportunity enough； too much； perhaps。 For in Japan the exposure of
the female form is without a parallel in latitude。 Never nude； it is
frequently naked。 The result artistically is much the same； though the
cause be different。 For it is a fatal mistake to suppose the Japanese an
immodest people。 According to their own standards； they are
exceedingly modest。 No respectable Japanese woman would； for
instance； ever for a moment turn out her toes in walking。 It is considered
immodest to do so。 Their code is； however； not so whimsical as this bit of
etiquette might suggest。 The intent is with them the touchstone of
propriety。 In their eyes a state of nature is not a state of indecency。
Whatever exposure is required for convenience is right； whatever
unnecessary； wrong。 Such an Eden…like condition of society would seem
to be the very spot for a something like the modern French school of art to
have developed in。 And yet it is just that study of the nude which has
from immemorial antiquity been entirely neglected in the Far East。 An
ancient Greek； to say nothing of a modern Parisian； would have shocked a
Japanese。 Yet we are shocked by them。 We are astounded at the sights
we see in their country villages； while they in their turn marvel at the
exhibitions they witness in our city theatres。 At their wa