YALE UNIVERSITY
LIBRARY

Given in Memory of
CHARLES J. MORSE, Yale 1874S
and
JARED K. MORSE, Yale 19088

Fniitispiece.—P]_fiiTE 1.

p 1* '

THE MOHNlNi; ,MlST,-5 ON THE RIVEB VODO, r.Y crNHIN. (No. 2726.)
DESCRIPTIVE AND HISTORICAL CATALOGUE

A COLLECTION

JAPANESE AND CHINESE PAINTINGS

BRITISH MUSEUM.

BY
WILLIAM ANDERSON, F.R.G.S.

PBINTED BY OBDEB OF THE TBUSTEES.

LONDON:
LONGMANS & CO., Pateksostek Row; B. QUARITCH, 1.5, Piccadilly;
TRDBNER & CO., 57 & 59, Ludgate Hill.
1886.

LibrahV- of
Chas. J. Morse,
No._A?//  .

LONDON :
PKIKTED BY WILLIAM CLOWES AND SONS, LJMITEU,
STAIIIOBD STREET AND CHAKING OKOS.S.

PREFATORY NOTE.

The extensive collection of Japanese and Chinese paint
ings formed by Mr. William Anderson was purchased
for the British Museum in 1882. The following Cata
logue, compiled by Mr. Anderson with the help of the
best native and other authorities, and now published by
the Trustees, both furnisbes the necessary guidance for
the study of the collection, and contains the most com
plete account which at present exists of the general
history of the subject. SiD.VEY CoLvm.

P R E F A C E.

The paintings and drawings described in the following pages were
brought together in the course of a residence of over six years in
Japan, for the purpose of illustrating an ancient and remarkable
phase of art in its historical, intellectual, and technical develop
ments, and the principal motives by which it has been inspired.
The great majority of the works are Japanese, but a number of
ancient and modern Chinese pictures have been added to diemon-
strate the relationship between the arts of the sister empires.
In the construction of the catalogue it has been judged advisable,
in view of the novelty of the subject to Western readers, to give a
larger amount of general explanation than would be necessary in a
similar work on European art : the pictures have been classified
according to schools, and to each group is prefixed an account of
the main facts in the history of the school, with a list of the
principal artists whose names have found a place in native
biographical records ; and, lastly, the legendary and other motives
have been dealt with more or less in detail. It was originally pro
posed to introduce a preliminary sketch of the history, technique,
forms, and characteristics of Sinico-Japanese painting, together with
a review of the various applications of pictorial design ; but as such
an essay would have led to an inconvenient increase in the bulk and
expense of the volume, and was judged to be more suitable to a
private undertaking, I have therefore made it a separate work,
incorporating with it such extracts from the catalogue as might
be necessary to give completeness to the historical section, and
illustrating it with reproductions of the more typical examples of
the art. It is now in course of publication by Messrs. Sampson
Low & Co., under the title of " The Pictorial Arts of Japan."
The present collection, although comprising representative speci
mens of all the various schools, must be regarded only as a nucleusj

PREFACE.

to which it is hoped large additions will hereafter be made ; and
what is hete written is but introductory to the more extended con-
siderati't)n that the subject must receive in the future. .As_ time
goes W and more publicT collections are formed, Sinico-Japanese
art may be expected to become a recognised branch of study in
the West, where now it has received little attention except from a
few ardent collectors and investiga^rs, amongst whom may be
named Messrs. Burty, Duret, Cernuschi, Gonse, Montefiore, and
Bing in France ; Drs. Gierke and Naumann in Germany ; Professor
Morse and Mr. Jarves in America; Captain Brinkley, Professor
FenoUosa, and Mr. Gowland in Japan ; and Messrs. A. W. Franks,
E. Gilbertson, A. B. Mitford, Ernest Hart, T. W. Cutler, G. A.
Audsley, J. L. Bowes, F. and E. Dillon, W. C. Alexander, H. S.
Trower, and Sir Eutherford Alcock in this country.
It may be necessary to state that a small portion of the informa
tion in the following pages has already aippeared in the Transactions
of the Asiatic Society of Japan for 1878. This contribution was,
I believe, the earliest effort made to collect and record the main
facts in the history of Japanese Pictorial Art.
It only remains for me to mention the obligations under which
I have been placed in the course of my researches. I have to
express my grateful thanks to Mr. Ernest Satow, C.M.G., formerly
Japanese Secretary to the British Legation, now H.M.'s Minister to
Bangkok, who has furnished me with a large amount of valuable
information, and has placed at my disposal his wealth of learning in
the Japanese language, arts, and literature with a liberality that
can never be sufficiently acknowledged ; to Mr. A. W. Franks, F.E.S.,
whose advice and experience have lent all that is of value in the plan
of this work ; to Professor Douglas, for the removal of the numerous
difficulties that have arisen in the transliteration of the Chinese
names ; to the Eev. Bunyiu Nanjio for the elucidation of many
obscure points in the section of Buddhist art ; to Mr. K. Miyakawa of
the Japanese Legation in Paris, and Mr. T. Watase of the Japanese
Commission to the Inventions Exhibition, for important aid in
connection with the supplementary index of artists' names; and
finally to the present and former Keepers of the Department of
Prints and Drawings^ for the unlimited facilities extended to me
throughout my labours in the British Museum. I am also indebted
for additions to the collection to Mr. Franks, who has contributed

PBEFAGE.

numerous and important specimens to the Chinese section, the Hon.
James St. Vincent de Saumarez, Mr. Satow, Mr. Charles H. Eead,
and Mr. E. Gilbertson. BIBLIOGEAPHY.
The following is a list of the principal books referred to in the
compilation of the Catalogue. Most of these volumes may be seen
in the collection of Japanese and Chinese literature in the Museum.
1. Books containing lists of artists : —
SoricM gwa-sM. 6 vols. 1693. A list of Japanese artists by Kano
I Yeino. I'he last volume contains many reproductions of seals and
signatures.
Man-po zen-sho. 14 vols. 1694. A portion of the work is devoted to
short notices of Japanese and Chinese painters, and includes many
copies of seals and signatures.
Ko-cho mei-gwa sMu. 6 vols. 1818. Notices of Japanese painters.
Gwaj'o yoriahu. 2 vols. 1850. Notices of Japanese painters. The
second and more useful volume refers chiefly to the artists who
worked after the middle of the last century.
JTkiyo-ye riu-ho. MS. Revised edition, 1844. A valuable account of
the artists of the popular school.
Sho-gwa sMu-ran. 18.36. An imperfect and ill-arranged list of Chinese
and Japanese painters and calligraphists.
Sho-gwa hai sui. 3 vols. 1883. Engravings from sketches by modern
Japanese artists, with short biographical notices.
Sho-gwa zen sho. 10 vols. c. 1862. Copies of seals of Japanese
painters, &c.
Kun in ho-sho. 1810. Copies of seals of Japanese and Chinese painters
and calligraphists, with supplement.
Gwa-Tco sen-ran. 6 vols. 1740. Eeproductions of celebrated pictures,
including also a genealogical table of the artists of the Kano school
and many reproductions of seals and signatures.
Owa-jin riaJcu nernpio. 1882. A list of Japanese artists, chronologically
arranged.
Gen-Min-Sei sho-gwa roJm. 1841. A list of Chinese artists of the Yuen,
Ming, and Tsing dynasties.
2. Books containing illustrations of familiar legendary, historical,
and other motives : —
Kokon Bushido edzukushi. 1685. Scenes in the lives of famous warriors.
Illustrated by Hishigawa Moronobu.
E-hon Ho-kan. 10 vols. 1688. Miscellaneous legends. Illustrated by
Hasegawa Toiin.

PREFACE.

Nendaiki gwa shd. 7 vols. 1692. Scenes of history.
E-hon koji dan. 8 vols. 1714. Miscellaneous legends. Illustrated by
Tachibana Morikuni.
Bunrui e-hon riozai. 10 vols. 1715. Stories of Chinese worthies.
^-hon shaho hukuro. 9 vols. 1720. Legends, &c. Illustrated by
Tachibana Morikuni.
E-hon Tm-h'6-shi. Legends, &c. 9 vols. 1725. Illustrated by Tachi
bana Yuyetsu (Morikuni).
Gwa-ten tsu-ko. 10 vols. 1727. Legends, &c. Illustrated by Tachi
bana Morikuni.
Yohioku gwa-shi. 10 vols. 1732. Dramatic stories. Illustrated by
Tachibana Morikuni.
E-hon Oshukubai dzu-kai. 7 vols. 1740. Legends, &c. Illustrated by
Tachibana Morikuni.
E-hon Yamato hi-Ji. 10 vols. 1742. Legends. Illustrated by Nishi- •
gawa Sukenobu.
E-hon Jikishi-ho. 9 vols. 1745. Legends. Illustrated by Tachibana
Morikuni.
Bokuwo shin-gwa. 1750. Legends. Illustrated by Hogen Shunboku.
E-hon Izana gusa. 5 vols. 1762. Stories of Japanese heroes. Illus
trated by Tsukioka Tange.
E-hon Musha Tadzuna. 3 vols. 1754. Stories of heroes. Illustrated
by Tsukioka Tange.
Onna Musha Jcurabe. 3 vols. 1766. Stories of noted women. Illus
trated by Tsukioka Tange.
Minamoto Baiko Mukashi-monogatari. 1786. The Story of Eaiko. Illus
trated by Shimokawabe Jiusui.
Ni-jiu-sUKo. 1792. The Twenty-four Paragons of Filial Piety. Illus
trated by Giokuzan.
Yusho Bessen zen den. 10 vols. 1651. A reprint of a Chinese work
descriptive of the Taoist liishis. With quaint illustrations.
Bessen den. 5 vols. 1810. A more recent work of the same kind.
Bessen dzu san. 3 vols. 1776. Portraitures of Taoist Eishis by
Gessen.
E-lion Suiko den. 1829. Chinese heroes and heroines. Illustrated by
Hokusai.
E-hon Chiu-kio. 1834. Examples of fidelity of retainers. Illustrated
by Hokusai.
Ei-iju dzu-ye. 1834. Military heroes of Japan. Illustrated by Hokusai.
E-hon Saki-gake. 1836. Japanese heroes. Illustrated by Hokusai.
Musashi-Ahumi. 1836. Uniform with the last.
Wa-Kan homare. 1836, Japanese and Chinese heroes. Uniform with
the above.
Nagashira Musha-hurui. 1 841 . Classified illustrations of famous warriors.
Drawn by Hokusai.
E-hon kohun kokio. 1849. Legends. Illustrated by Hokusai.
Hokusai Mangwa. 14 vols. 1812 and later.

PREFACE.

Buyu Saki-gake dzu-ye. 2 vols. c. 1830. Exploits of Japanese heroes.
Illustrated by Keisa Yeisen.
Wa-Kan ei-yu. c. 1845. Stories of heroes. Illustrated by Utagawa
Kuniyoshi.
Zenken kojitsu. 20 vols. c. 1850. Notices of ancient and mediaeval
Japanese celebrities. Illustrated by Kikuchi Yosai.
Zokku hiak'ki. 3 vols. 1779. Popular demonology; Illustrated by
Toriyama Sekiyen.
Hiaku Monogatari. 5 vols. c. 1860. Weird tales.
Buzen Shiehifukujin ko. 1701. An account of the Seven Gods of
Prosperity.
Butsu zo dzu-i. Early edition in 3 vols., 1752 ; later edition, in 5 vols.,
1797. A collection of Buddhist divinities.
Wa-Kan San-zai dzu-ye. 80 vols. 1714. The great cyclopasdia of Chinese
and Japanese lore.
Kimmo dzu4. 8 vols. 1798. A small cyclopaedia, with many illus
trations.
Todo Mmmo dzu-i. 6 vols. 1818. A cyclopaedia of Chinese matters.
Besides these works, many illustrated romances published after
the commencement of the seventeenth century, such as the classical,
Ise, Genji, and Sumiyoshi Monogataris, and many of the modern
stories and translations of Bakin and his contemporaries, have been
referred to in association with art motives.
3. Books containing copies of noted Chinese and Japanese
pictures : —
Kakemono edzukushi. 1701.
Gwashi kwai-yo. 6 vols. 1707.
' Wa-Kan mei-hitsu e-hon tS-kagami. 6 vols. 1720.
Chjoa-ko sen-ran. (See back.)
K Wa-Kan mei-gwa yen. 6 vols. 1749.
<' Wa-Kan mei-hitsu gwa-yei. 6 vols. 1750.
Honcho gwa^ruL. 3 vols. 1753.
Wa-Kan shiu gwa yen. 5 vols. 1759.
Wa-Kan mei hitsu gwa-ho. 6 vols. 1767.
> Wa-Kan msi-hitsu kingioku gwa-fu. 6 vols. 1771.
Kiyo-gwa yen. 3 vols. 1776.
Gwa-soku. 6 vols. 1777.
Shiuchin gwa cho. 3 vols. 1803.
Keiho gwa-fu. 4 vols. 1804.
Hengaku hi-han. 6 vols. 1819-21.
Itsukushima ye-ma kagami. 5 vols. 1833.
/ Man-po zen-sho. (See back.)
< Shiuko jisshiu. A large work upon Chinese and Japanese antiquities,
including some valuable reproductions of rare and ancient
paintings.

PREFACE.

4. The principal European writings containing historical and
legendary references in connection with the motives of pictorial
art : —
Chamberlain, B. H. Translation of the Kojiki. Trans. Asiatic Society
of Japan. 1883.
Dickius, P. V.
Japanese Odes : A metrical translation of the Hidku-nin shiu.
' The Loyal League.' A translation of the Chiushingura.
' The Hundred Views of Fuji.' A translation of the Fugaku hiak'kei,
with illustrations by Hokusai.
The Story of the Shiuten Doji. Transac. Asiatic Society, 1885.
Eitel, E. J. Handbook of Chinese Buddhism.
Griffis, W. E.
The Mikado's Empire.
Japanese Fairy World.
Junker, P. A. Thee Geschiohten.
Mayers, W. F. The Chinese Eeaders' Manual.
Mitford, A. B. Tales of Old Japan.
Pfizmaier, A. Aufzeichnungen aus dem Reiche Ise.
Pfoundes, C. Fuso Mimi hukuro. A Budget of Japanese notes.
Puini, C. I sette Genii della Felicita. A translation, with many
valuable annotations, of a portion of the Hengaku ki-han relating to
the Seven gods of Prosperity. (See back.)
Rein, J. J. Japan.
Satow, E. M.
Article on Japanese Literature. Appleton's Cyclopsedia.
The Revival of Pure Shinto. Trans. As. Soc. of Japan. Vol. 8.
The Shrines of Ise. Ibid. Vol. 2.
Satow and Hawes. Handbook for Japan.
Suyematz, K. Translation of the first portion of the Genji Monogatari.
Translation of the Taketori Monogatari. Mittheilungen der Deutschen
Gesellschaft fiir Natur und Volkerkunde Ostasiens.
The transliteration of the Japanese, Chinese, and Sanscrit words
has been attended with much difficulty, owing to the absence in
each case of any universally recognised standard. The reading of
the Japanese names has been based upon the phonetic system
adopted in Satow and Ishibashi's dictionary ; Mayers' Chinese
Eeaders' Manual has been followed as the chief guide in dealing
with Chinese names ; and the rendering of the various Sanscrit
names in the Buddhist section has been harmonized as far as
possible with Eitel's Handbook of Chinese Buddhism.
In the pronunciation of the transliterated Japanese names the

PREFACE. XI

principal rule to be remembered is that the consonants are sounded
nearly as in English, the vowels as in French, except in the case
of u, which may be read as in German, or may become almost mute,
as after s and z. It is hardly necessary to state that the true sounds
can only be acquired by ear, but readers who are interested in the
subject will find more detailed information in the dictionary above
referred to.
It should have been mentioned at the head of the catalogue that
the measurements of the various pictures are recorded in inches, and
do not include the mounting. William Andeeson.

LIST OF PLATES.

1 Frontispiece. Landscape (No. 2726). By Shiwogawa Bunrin.
2 Page 30. The Seven Gods of Good Fortune.
o „ oo. ,, „ ,,
4 „ 43. The Fifteen Sons of Benten.
5-6 „ 46. The Sixteen Arhats.
7 „ 48. The Chinese Dragon.
8 „ 55. Eishis (Sennin).
9 „ 56. „
10 „ 58. Eishis and Sages.
II „ 60. S'Ikyamuni.
12 „ 64. KiCHiJO Ten, Bishamon, Kwannon.
13 „ 68. The Twelve Dbva Kings.
14 „ 105. The Mug£ Hojiu Gem.
15 „ 116. YOSHITSUN^ AND BenKEI.
16 „ 119. Benkei AND TOSABO.
17 „ 167. Mythical Zoology.
18 „ 170.
19 „ 172. The Twenty-four Paragons op Filial Piety.
20 „ 198. Kanzan AND JiTOKU.
21 „ 208. Shoki. Shojos.
22 „ 243. Ghosts.
23 „ 389. Yorimasa and the Nuvi:.
24 End of vol. The Twelve Signs of the Zodiac-
25-28 „ Specimens op Seals.
29-31 „ Specimens of Seals and Signatures.

ERRATA AND ADDITIONS.

Page 4, line 22, after "Deva Kings," insert " (Ni 0 or Temple
Guardians)."
„ 9, ,, 12; and page 11, line 21 et seq. The names Soken
and AiMi, given by different authorities as those of
sons of Kanaoka, belong to the same person Kin-
TADA, as stated on page 114, is now regarded as the
son of AiMi, and grandson of Kanaoka. The name
" Kinuji,'' quoted from the Ko-cho mei-gwa shiu, is
undoubtedly a misreading for " Kinmochi." The suc
cession should have been as follows : — Aimi, or Soken,
son of Kanaoka : Kintada, son of Aimi ; Kinmochi,
son of Kintada. (I am indebted for these corrections
to Mr. T. Hayashi.)
„ 44, „ 10 from bottom, for " first," read " last."
„ 67, last line. For the first five words read " his left side,
resplendent in."
„ 101, line 9, for " Mitsu-shige," read " Mitsu-nori."
„ 139, last line but one, /or " ambassadors,'' read " embassy."
„ 163, line 15, for " A little after," read " Before."
„ 180, „ 7 from bottom, /or " ToKU-SAi," read "ToKU-SEi."
„ 184, „ 18, for " I-BOKU," read " Ji-boku."
„ „ „ 20, for " Sho-shiu," read " Cho-shiu."
„ „ „ 4 from bottom, for " So-so," read " Sa-so."
„ 185, „ 11, /or "GwAN-SHi-CHi," reaci "Gu-an-shi-chi."
„ „ „ 13, for " Ki-ON," read " Ki-o."
„ „ „ 17, /or "S^Ki-KOKU," read "SiiiKi-KEi."
„ „ „ 9 from bottom, for " San-riu," read " San-ein."
„ 187, „ 1, /or "near the end," read "early part."
„ 188, „ 6, /or " Sen-shin-to," read " Sen-hitsu-t6."
„ „ „ 7, for " Chitsu-zan," read " Itsu-zan."
„ 189, „ 4 from bottom, /or " Chiu-kan," read " Chiu-kio."
„ 218, „ 11, /or "MuKU-GA," read "Moku-ga."
„ 267, „ 8, for " Sai-haku," read " Soku-haku."
„ „ „ 9, fo^- " Ki-YEi," read " Shin-yei."

ERRATA AND ADDITIONS.

Page 283, line 5, transfer " (d. 1756) " to end of line 7, and add,
" The latter was followed by Tan-kin Mori-yoshi,
and he by Tan-boku Mohi-kuni."
„ „ strike out lines 13 and 14.
„ „ line 18, add " Died 1731, at the age of 65 " (Hayashi).
„ 21, add " Died 1790, at the age of 60 " (Hayashi).
„ 299, „ 4, for " Fus-wara," read " Fuji-wara."
„ 316, „ 17, a/<er " Kano," «w«eri " Michi-nobu or."
„ 332, „ 4, for -shige," read " -nori."
„ 415, „ 12 from bottom, /or " The painter of picture 8 in," read
" One of the painters engaged in the decoration of."
„ 416, „ 3 from bottom, add "Died 1844, at the age of 64"
(Hayashi).
„ 431, „ 11, for " ToGAKU Sei Shiki," read " Togakusei Shi-kio."
,, 444, ,, 3 from bottom, for " Some," read " None."
„ 448, „ 4 from bottom, for " Chikuzen-no-Suke," read Echizen-
NO-SuKE ; " for " Gan 0, Tenkai 0 the honourable,"
read " Gan-wo Tenkai-wo the venerable."
„ 455, „ 1, after " built," insert " in a.d. 798."
„ „ „ 2, strike out " legendary."
„ 476, add " Ko-ji. Retired scholar. (See No. 37 Chinese.)"
„ „ „ " TFo. Appended in the later years of life to the personal
name, or a portion of the personal name, with the
signification of " venerable." Thus Kano Shunboku
became known as Boku-w6, Ganku as Gan-w6, Haritsu
as Ritsu-wo. The same character appears in Ka-wo,
Hokuso-wo. &c."
„ 489, „ 11, a/fer " SiANG Lang-lai," read "(Jo- YO-BEi)."

JAPANESE PICTORIAL ART.

EAELY HISTOEY.
The written documents of the eighth and ninth centuries, which
comprise the oldest known records of the Japanese, make no
allusion to the existence of any phase of pictorial art before the
fifth century a.d., although very ancient dates are assigned to some
other branches of art. The first painter immortalized in these
curious archives was a Chinese immigrant of royal descent, who is
included in the ' Catalogue of Families ' {8hd-ji-roku, 814 a.d.),
under the names of Nan-kiu and Shin-ki. This artist is said to
have come to Japan during the reign of the Emperor Yiiriaku
(457-479 A.D.), and, like his apocryphal Korean predecessor Wftni,*
was hospitably received by the ruling powers. He ended his days
in his adopted country, leaving descendants who for many genera
tions held honourable positions in the Imperial service. The fifth
in succession from Nan-kiu is especially noticed as having received
from the Mikado the title of Yamato Yeshi (painter of Japan), and
from the Empress Shotoku, in 770 a.d., the name of 0-oka no
Imiki. The existence of this family may doubtless be admitted
as a fact, but unfortunately we are quite unenlightened as to the
nature of their artistic achievements.
It is probable, however, that Japanese art education made little
progress until the introduction of Buddhism in the middle of the
sixth century, when the early native workers, guided by Korean
* It is said that a Korean of this name came to Japan in 285 a.d., bringing
a number of Chinese books, and was appointed tutor to the Prince Imperial. The
commencement of intercourse with Korea is placed as far back as 147 b.c, but
neitljer this nor the previous statement can be received with confidence, The
obscure question of prehistoric art in Japan is discussed in the opening chapter
of the author's work on the ' Pictorial Arts of Japan.'
'' B

JAPANESE PICTORIAL ART.

instructors, first tried theif prentice hands upon Buddhistic pictures
and images, beginning, at the same time, to acquire a knowledge of
the more graphic Korean and Chinese styles of painting, as well as
of many other branches of art.
One of the least doubtful of the ancient pictorial relics still in
existence is a Buddhist mural decoration in the hall of Horiiiji
(Nara), which is said to date from the foundation of the temple in
A.D. 607, and is attributed to the joint labours of a Korean monk
and a famous sculptor named Tori Busshi (see p. 4). The general
character of this important work is shown by the tracing, pre
sented to the collection by Mr. Satow (No. 148), but the indications
of the master hand, still visible in the original, are beyond the range
of an ordinary copyist. It will suffer little by comparison with the
later productions of the Japanese Buddhistic school, and presents
much resemblance, both in colouring and composition, to some of the
altar-pieces of the early Italian painters.
It has already been pointed out by the author (' Trans. Asiat. Soc.
of Japan,' 1878) that there are certain points of contact between the
arts of India and those of Japan ; and M. Gonse (' L'Art Japonais,'
vol. i. p. 198, vol. ii. pp. 139 and 226) has indicated the possibility of
a Persian influence in Japanese decorative art. The connection
between India and Japan in Buddhist art is beyond doubt (see p. 13),
but there is equal certainty that it was established entirely through
the intermediation of China and Korea ; for although Indian priests
have from time to time settled in Japan, one as early as a.d. 737,
there is no evidence of the arrival of any artist from that country,
nor are there any specimens of Indian art preserved in Japan that
are likely to have made an impression upon the possessors of such
gems as the Horiuji mural painting and the sculptures of the
Two Deva Kings at Kobukuji (see p. 4).
The relation of the arts of Persia to those of Japan is of a different
kind. The assurance of such an authority as M. Gonse is sufficient
to establish the correspondence of certain details of ornament repro
duced in Japanese paintings, textiles, and metal-work, with elements
found in Persian decorative design ; but the examples adduced in
' L'Art Japonais ' may all be traced to the Middle Kingdom, to which
it is known that Persia as well as Japan has been largely indebted
in the matter of ornamental art. This question is ably discussed
in a valuable article in the ' Eevue Critique ' (No. I, 1885), and

EARLY HISTORY.

attention is there drawn to the discovery of M. de Goeje (' Annales
de I'extreme Orient,' vols. Ixvi.-lxxx. 1882-3), that the Arab and
Persian mariners of the first centuries of the Hegira were
acquainted with Japan under the name of Wa Kwak — an obvious
imitation of " Wa-koku," one of the many appellations of the Land
of the Eising Sun. The Japanese, however, while gratefully acknow
ledging their debt to China, recognize no claims on the part of
Persia ; and it may be safely asserted that if any direct artistic
relations have ever existed between the two countries, it is Japan
that has been the instructor.
Painting remained for a long period in the hands of Koreans and,
according to untrustworthy Church traditions, was largely contri
buted to by the native leaders of the Buddhist religion. To these
may be added in the early part of the ninth century the artists of
the Ki line,* a court noble named Ono no Taka-muka (d. 852), and
Y6-FUKU, afterwards called Kawa-naei of KuDAEA,t a Korean in
the retinue of the Emperor Saga (810-823 a.d.), whose fame, how
ever, is almost wholly traditional, and rests chiefly upon a general
statement of his skill, and a story of a portrait that he sketched
of a truant servant, which led to the delinquent's recognition and
capture. Ki no Kana-waka is said to have painted pictorial decora
tions upon the walls of an apartment of the palace, by the order of
the Emperor Nimmei, in 837 a.d.
This initiative and somewhat nebulous era in the history of the
art was brought to a close near the end of the ninth century.
The whole of the period had been occupied in the absorption of
the spirit and practice of the Buddhist, Chinese, and Korean schools
of painting, and it had not yet, so far as we know, produced a
great artist of native extraction ; but as the new era approached,
the culture of the educated classes in the country was reaching a
very high grade. The powerful compositions of Wu Tao-tsz', and
probably of many others of the earlier Chinese and Korean artists,
were well known, and numerous able Korean painters living in the
country were spreading an acquaintance with the rules and pro
cesses of their art ; and coincidently with the rise of painting the
fine arts in general were making considerable progress.
* The members of the Ki family were named Kana-waka, Kan^-taka, and
KAufrMOCHi. Little is known of the two latter.
t Kudara is the Japanese name of an ancient principality of the Korean peninsula.
B 2

JAPANESE PICTORIAL ART.

In keramics a great improvement had been effected:* the fabri
cation of glazed wheel-made ware of good quality was carried on
in many provinces, and the industry was elaborately organized by
laws promulgated direct from the throne; but no attempt was yet
made, nor indeed for many centuries afterwards, to apply pictorial
design to the decoration of the produce.
The art of lacquering, which appears to have existed from the
latter part of the sixth century, had so far developed in the eighth
century by the admixture of gold-powder with the ordinary
materials, by inlaying with silver and mother-of-pearl, and by the
application of decorative pictorial designs, that it had risen from a
mere varnishing process into an art of no small sesthetic value,
which the Japanese have since made peculiarly their own.
The early wood-sculptors were probably all idol makers, and
ranked as skilled artists, unlike the later decorative carvers, who
were artisans attached to the carpenters' guild. The commence
ment of the seventh century was marked by the appearance of
the celebrated Tori Busshi, a sculptor of Chinese descent, some of
whose works still exist ; f and a century later the Japanese Keibun-
KAi and Kasuga Busshi did much to advance the craft. To this
period also belong the extraordinary Korean images of the Deva
Kings, preserved in the temple of Kobukuji, in Nara — two life-
size figures, athletic in build, perfect in proportions, of marvellous
force of action, and presenting the remarkable feature of an accuracy
of observation in the superficial forms of anatomy that would do no
discredit to a Glycon or a Lysippus.
Working in bronze and other metal was carried on during this
period in close association with wood-carvings. It was, to a great
extent, employed for the same purpose, and, in the case of Buddhist
images, was in the same hands. Some of the finest specimens of
* Giogi, a celebrated Korean priest of the seventh and eighth centuries (670-749),
is said to have introduced the potters' wheel, but Mr. Satow has described amongst
the relics found in a tumulus in Omuro, in the province of KodzukiS, a wheel-made
pottery which must have been manufactured nearly six hundred years before the
Giogi period, if tbe date assigned to the mound by the Japanese be correct. See
' Trans. Asiatic Society of Japan,' vol. viii.
t At the temple of Horiuji near Kara are images of the four Deva kings
attributed to this artist. They are however somewhat disappointing, when the
fabulous reputation of their author is taken into account. He is also credited with
the execution, in conjunction with a Korean priest, of the important mural decora
tion referred to on p. 2.

EARLY HISTORY.

bronze idols in Japan were made before the end of the ninth century,
and one of these may be especially referred to, as an image
frequently described by European writers, the Nara Bai-butsu, a
gigantic figure of Vair6tchana, at the temple of Todaiji. This is
said to have been cast 749 a.d. by a Korean named Kimimaro, after
the Japanese founders had failed to accomplish the task.* There
is little to recommend the work, however, from the artistic aspect,
but the head of the figure is of comparatively modern workmanship.
The artistic working of arms and armour was of early growth.
Mr. Ninagawa says that the first application of gold and silver
ornamentation upon helmets, breastplates, &c., extends perhaps as far
back as the fourth century. The work was certainly in vogue in
the reign of the Empress Suiko (593-628), and later under Shomu
(724-756). In the older examples the decorations took the form
only of arabesque designs, but at a later period flowers, animals,
and other natural objects were also represented.
Embroidery was another of the accomplishments for which Japan
is indebted to the Koreans, or Chinese. The celebrated embroidered
' Mandara ' of the nun Chiujo Hime, which is fabled to have been
worked by the goddess Kwanyin, belongs to the middle of the
eighth century, and still earlier works of the same kind are attri
buted to Shotoku Taishi and others.
Calligraphy was held in the highest honour, and curious legends,
celebrate the skill of Shotoku Taishi (seventh century) and Kobo
Daishi (eighth and ninth century) in the delineation of Chinese cha
racters. It has always been regarded in Japan as a fine art ranking
on a level with painting, and there entitled its adepts to a repu
tation undreamed of by the most ambitious of European professors
of penmanship.
Buddhist architecture, based upon models furnished by the Chinese,
had already attained its highest point of excellence. Some of the
noblest temples in the country, such as that of Horiiiji, were
erected before the ninth century.
It was not in art alone that marked progress had been made.
From the seventh century Japan had possessed fully organised
colleges, teaching Music, Astronomy, Mathematics, Medicine, Phi
losophy, and other branches of learning which China and Korea
* Sec Satow and Hawes' ' Handbook for Japan,' p. 390.

JAPANESE PICTORIAL ART.

had placed within their reach. Printing was first used for the
production of copies of a Buddhist scripture (Vim^ala Nirhasa Sutra),
by order of the Empress Shotoku, in 764 a.d., but the process was not
applied to books till about 400 years later.* Literature had taken
its first flight, and many works upon History, Law, and other subjects
had been written. Hitomaro and Nakamaro, two of the poets of
whom Japan is most proud, had already passed away, but Narihira
and Ono no Komachif were still living; and poetical composition
upon the Chinese model had become an accomplishment in which the
wisest were ambitious to excel. Eeligion, which had been the first
motive power in overcoming the inertia of ignorance, had kept pace
with the march of cultivation, and the barbaric Shinto hero-worship
had been in great measure superseded by, or incorporated with, the
higher faith of Gautama, which the leading spirits of the country
had supported by an enthusiastic advocacy. In the ninth century,
too, the Imperial Court was enjoying its halcyon days. The Mikados,
leaving the cares of government in the hands of the Fujiwara nobles,
devoted their energies to the study of Buddhism and the advancement
of art and letters. Lastly, the people, already separated from the
military class (from the end of the eighth century), may be supposed,
in the absence of historical record, to have been prosperous and
contented ; at any rate, they do not appear to have found occasion
to assert their existence in any manner disagreeable to their rulers.
Such, then, was the state of Japan when, in the latter half of the
ninth century, the tardy development of pictorial art entered a
new phase, owing to the impulse given by the works and example
of one of the greatest painters to which the country has given birth.
Kos^ NO Kanaoka rose into fame in the time of the Emperor
Seiwa (850-859). Born in the midst of an accomplished court, he
lacked neither opportunity for self-culture, nor encouragement in his
labours. He had access to the works of the best periods of Chinese
and Korean art, executed before the dilettanteism of the Southern
School had created a false ideal, and is said to have selected, as the
* Printing is said to have originated in China in the sixth century, under the
founder of the Sui dynasty. See Mr. Satow's article in vol. ix. of the ' Transactions
of the Asiatic Society of Japan.'
t Hitomaro died in 724, Nakamaro in 716, Narihira in 880, and Ono no Komachi
at an uncertain period in the ninth century (see note to No. 205). These are four of
the Ro¥ ha-sen, the six poets of the first order.

EARLY HISTORY.

model upon which his style was founded, the pictures of Wu Tao-tsz',
the greatest painter of the T'ang dynasty. The extraordinary repu
tation which Kanaoka acquired during his lifetime, and handed
down to posterity, unlike the artistic renown of Shotoku Taishi, is
of a kind that leaves no doubt as to the reality of his talents,
although, like that of Cimabue, it may have been exaggerated
by circumstances. Like that of Kobo Daishi, it is coloured by
a large admixture of fable; but the references to his works are
precise, and date from the period of their production ; and, as he
appears to have taken no part in the politics, court intrigues, and
religious cabals of the time, his position was not sufficiently pro
minent to bring an unearned fame. As might be surmised, how
ever, few of his works have survived the lapse of ten centuries of
wars, revolutions, and minor disasters; hence the range of his
powers must be accepted, to' a great extent, upon tradition, which
is only too liberal in his praise. He is said to have excelled in
landscapes and figures, and, as a painter of horses, his skill is com
memorated by supernatural legends ;* but unfortunately no pictures
illustrative of his proficiency in these directions are in existence.
All that remain to represent his genius are a few Buddhistic paint
ings, but some of these evidence powers of design and colouring
sufficient to dispel any suspicion that might be aroused by the
hyperboles of his contemporaries. The pictures most frequently
referred to in the records of his time were portraits of Chinese sages,
painted by command of the Emperors under whom he served, and
of these works several were preserved for many Qenturies until they
fell a sacrifice to fire, the great enemy of all the precious relics of
antiquity in Japan.
We are indebted to an important contribution to the pages of
the Japan Mail (1884), by Mr. F. E. FenoUosa of Tokio, for some
* Every child in Japan has beard of the horse that Kanaoka painted upon a
screen in the temple of Ninnaji, near Kioto, a figure into which the artist had
infused so marvellous a vitality, that in the hours of darkness it would quit its frame
and gallop wildly through the cultivated land around, until the indignant farmers
identified the mysterious depredator as the Kanaoka steed, by the damning
evidence of the mud that clung to the shapely hoofs after its return to pictorial
existence. They ruthlessly blotted out the eyes of the picture, and from that
time the nocturnal excursions ceased. Another horse drawn by the same hand, and
kept in the Imperial Treasury, developed a similar inconvenient activity, and could
only be checked in its bad habit of devouring the lespedezas in the garden, by the
addition of a rope to the picture to tether the portrait within its frame, ^

8 JAPANESE PICTORIAL ART.
interesting remarks upon this point, whicli are best quoted in his
own words : — " As to making a list of the genuine Kanawokas
existing in Japan, there has never been a single serious or trust
worthy effort. The parts of Japan have been practically so isolated,
and owners have been so secretive with their treasures, that little
valuable cataloguing of "the works of any artist has ever been
done. And even of the alleged Kanawokas well known in recent
centuries, there has been no unanimity among critics as to genuine
ness. For us, the Shotoku Taishi in Ninnaji, Kioto, the Wind and
Thunder Gods in Eaikoji, Bizen, and the Shi Ten 0, formerly in
Todaiji, Nara, are not only the greatest unquestionable originals of
Kanawoka, but absolutely the most stupendous paintings in exist
ence from a native brush, so far as our personal knowledge extends.
We ought perhaps to mention the famous standing Jizo belonging
to the Sumiyoshi family, as also the celebrated Eakan owned by
Yechimata, These are indeed very splendid pictures ; but as to their
authorship critics disagree. As for us, we have little hesitation in
saying that we consider them productions of a later and more
effeminate pen than that of Kanawoka. We think it quite probable
that the future will produce other original Kanawokas from their
present hiding-places, and, with those already known, make up a
total of ten or fifteen authentic works of the master."
He died about the end of the ninth century. He had no rivals,
but early records have handed down the names of a few contemporary
artists, of whom the chief were the Emperors Uda and Eeizen, and
SuGAWAEA NO MioHizANE (popularly known by his posthumous title of
Tenjin Sama). The two former probably owe the preservation of their
artistic reputation to their rank, while the latter, who was celebrated
rather as a caUigraphist, was one of those whom the Buddhist priest
hood honoured with an enthusiasm that was wont to carry them,
on occasion, into the rarefied atmosphere of fiction.
The descendants of Kanaoka may be traced to the end of the
fifteenth century, and were reputed chiefly as painters of Buddhist
pictures (see Buddhist School). We sometimes hear of a " Kanaoka
style," based upon the works of the master and maintained by the
later generations of the family, but Japanese connoisseurs do not
assign any distinctive features to the secular pictures of the Kose
line, very few of which are now in existence. Hence, although
Kanaoka was one of the first and greatest masters of Japanese

EARLY HISTORY. 9

painting, and by his labours and example exercised an all-powerful
influence upon the art for centuries after his death, we are not able,
either from our present knowledge, or from the writings of former
times, to speak of a school bearing his name. It is most probable
that, as a student of the works of the great Chinese painters of the
T'ang dynasty, he adopted their teachings without important modi
fication, and must be regarded as the apostle of an ancient and
foreign art, rather than as the originator of a native school.
The most prominent names in the two or three generations after
the death of Kanaoka were those of So-ken (referred to in the Genji
Monogatari as the illustrator of the Taketori Monogatari), Ai-mi
and KiN-TADA, the sons of the master ; and Kin-moohi, the son of
Km-TADA. Two court nobles, named Tada-hika (Fujiwara no Sada-
hito) and Tsune-noki, were also in great repute as painters in the
first half of the tenth century, and to both of these are attached
artistic fables of the usual threadbare type.*
The rank of painting, amongst the elegant accomplishments in
vogue during the tenth century, may be implied from the chapter
entitled JE Awase, in the Oenji Monogatari, which gives the details
of a competition of pictures, conducted with great formality before
the Emperor (who is described as an amateur of paintings, and
himself an artist of great ability). The relation undoubtedly
describes an actual event that occurred within the experience of
the author, and goes far towards proving the high esteem in which
* According to the ffempei Seisui ki, a cuckoo painted upon a fan by Tadahiba
uttered a note like that of the living bird whenever the fan was opened, and
TsuNliNOEi is said to have drawn a lion so like life that dogs brought within
sight of the portrait would attack it with all the fury that the original might bave
been expected to arouse.
There is no lack of wonderful artistic creations of this kind. In painting, the
stories of Kanaoka's horse (p. 7), the rats of Sesshiu (p. 263), and the flaming
Atchal^ of Cho Dbnsu (p. 21), are almost historical. Sculpture contributes a share
in the narration of the memorable quarrel between the wood carvings of the Lion
and Koma-inu (a kind of canine unicorn) at the temple of Zawo in Yoshino, ending
in the fall of the combatants from the lintel to the ground ; and again in the record
of the libertine image representing a Buddhist demon, whose nightly divagations
were ended by chaining the truant to his pedestal, but not until they had derived a
scandalous significance from the mysterious addition of several fatherless infants with
lurid complexions and budding horns to many respectable households of t'ue neigh
bourhood. Even calligraphy furnishes an item in the legend of the magic ideograph
"Eio" or Dragon that was inscribed upon the waves by a divine visitor to Kobo
Daishi, and with the completing stroke burst suddenly into form and life as the
actual Spirit of the Storm.

10 JAPANESE PICTORIAL ART.
the art was then held. The following abstracts have been quoted
from the translation of Mr. Suyematz as especially indicative of the
art inspirations in favour at that early period.
The paintings exhibited were rolls, some " of ancient date," others
more modern, and some by living artists. The subjects illustrated
were old Japanese and Chinese romances, the months of the year,
native scenery, and court festivals. Some of the rolls depicting
court ceremonies bore explanatory annotations by the Emperor
Daigo, and one, executed by Imperial command, was the work of
KosB no Kin-moohi. Another roll, painted by Tsuhe-noki, and
written by Michi-kaze (Ono no Tofu), was devoted to the adven
tures of Toshikage, a native hero : the ground of the picture was of
thick white tinted paper, the outer cover was green, and the rolling
stick of jade. Victory was adjudged to the pictures of Genji,
which represented scenes drawn from nature during his retirement
by the shores of Suwa ; and the umpire, in his complimentary
speech, remarked : " Your painting has been hitherto thou^t to
be mere amusement, but we have now seen that your sketches are
executed with a skill not unequal to that of the famous draughts
men in black ink."
The following passage from an earlier chapter of the work points
in the same direction : —
" Look for another instance at the eminence which has been
attained by several of the artists of the Imperial College of Painting.
Take the case of draughtsmen in black ink. Pictures indeed, such
as those of Mount Horai (P'eng-lai), which has never been beheld
by mortal eye, or of some raging monstrous fish in a rough sea, or
of a wild animal of some far-off country, or of the imaginary face of
a demon, are often drawn with such striking vividness that people
are startled at the sight of them. These pictures, however, are
neither real nor true. On the other hand, ordinary scenery of
familiar mountains or calm streams of water, and of dwellings just
before our eyes, may be sketched with an irregularity so charming,
and with such excellent skill as almost to rival nature. In pic
tures such as these the prospect of gentle mountain slopes, and
sequestered nooks surrounded by leafy trees, are drawn with such
admirable fidelity to nature that they carry the spectator in imagi
nation to something beyond them. These are the pictures in which
is mostly evinced the spirit and effectiveness of the superior hand of

EARLY HISTORY. II

a master, and in these an inferior artist would only show dulness
and inefficiency."
The writer, after a reference to calligraphy, illustrates her remarks
by the reflection — " Such, then, is the nature of the case in painting,
in penmanship, and in the arts generally. And how much more,
then, are those women deserving your admiration who, though they
are rich in outward and in fashionable display, attempting to dazzle
our eyes, are yet lacking in the solid foundations of reality, fidelity,
and truth."
This intellectual expression of a really high ideal makes it difficult
to believe that a period graced by the compositions of the author
should have led up to nothing more than the most conventional
school of painting in Japan, the Tosa school, that was at first proudly
claimed as the Yamato or Wa-gwa riu; the native manner, par
excellence. (See p. 95.)
The generations of the Kose line are subjoined. The greater
number of these masters were famous for Buddhist pictures, but it
is probable that their secular paintings contained the chief elements
of the Yamato style.
lOth century : — ¦
So-KEN, son of Kana-oka, said to have illustrated the Taketori
Monogatari.
Ai-Mi, son of Kana-oka.
KiN-TADA, grandson of Kana-oka.
Km-uji, son of Kin-tada.
KiN-MOOHi, son of Kin-tada (?), and teacher of Fuji-wara no
Moto-mitsu. According to the Honcho Gwashi, he was the
younger brother, instead of the son of Kin-tada. The inter
relationships of all the early members of the family are
somewhat doubtful.
FuKA-XE, son of KiN-MOCHI. <¦
Hmo-TAKA, son of Fuka-ye.. (See p. 18.)
Ilth century: —
KOKE-SHIGB.
NOBU-SHIGB. MUNE-YOSHI.

12 JAPANESE PICTORIAL ART.
I2th century : —
Masu-mune.Aki-mune.
munb-hisa. SON-CHI.
MuNE-FUKA, brother of Aei-mune.
Gen-kei, brother of Ari-mune. This artist worked during the
latter part of the twelfth and beginning of the thirteenth
century, and was associated with Takuma Eioga (see Yamato
School) in the production of a famous Buddhist picture for
the temple of Tayema, but died before its completion, in
1208.
1 3th century : —
Gen-son, son of Gen-kei.
Aki-yuki.
Aki-tada.Naga-aei.
MiTSu-YAsu, brother of Naga-aki.
I4th century : —
Aei-iyb, son of Mitsu-yasu.
Aki-yasu, brother of Aei-iye (?).
Aki-hisa, son of Aki-yuki.
KOEE-HISA.Yoshi-hisa, son of Koeb-hisa.
YuKi-TADA, son of Aei-hisa.
BufNGO HOKKIO.
I5th century : —
Aei-shige, son of Aei-yasu. A contemporary of Cho Densu
(see Buddhist School).
Chikugo Horn.
Eohigo Hogen.

( 13 )

BUDDHIST SCHOOL.

Amongst the oldest examples of Sinico-Japanese art now extant
are the mural decoration at Horiuji referred to in p. 2, and
the Buddhistic pictures of the Chinese master, Wu Tao-tsz', painted
in the eighth century of our era. There is, however, strong reason
to believe that the school represented by the great artist of the
T'ang dynasty claims an antiquity of many centuries before this
period ; tracing its origin to India, where it perhaps derived much
of its early strength from the teachings of the noble art of Greece.
Art appears to have been first employed as an important agent in
the advancement and spread of Buddhism by King As'oka, who
reigned in India from 272 to 236 B.C. (or from 260 to 224), three or
four generations after the invasion of the Punjab by Alexander the
Great (337 B.C.). To this monarch India is said to owe the intro
duction of the use of stone for architectural purposes, and it was
from his time that the most remarkable Buddhistic sculptures may
be considered to date.
It has been long since pointed out by Leitner, Fergusson, and
others that certain of the Buddhist stone carvings found in the
neighbourhood of Peshawur bear an unmistakable resemblance to
the sculpture of Greece, a resemblance which may be accounted for
by the importation of European ideas and productions in con
nection with the Indian expedition of Alexander, and perhaps more
remotely by the influence of the Sassanian art introduced by the
Persians under Darius two centuries earlier. These views are
supported by certain features of the earlier Buddhist sculptures in
wood and bronze made in China, Korea, and even in Japan, as illus
trated by the magnificent collection of M. Cernuschi in Paris, and
by many specimens dispersed amongst the old temples of the Middle
Kingdom and the Far East, It may be noted, moreover, that the
Greek impress becomes fainter and fainter as the influence which
stamped it becomes more and more remote: there are nevertheless

14 JAPANESE PICTORIAL ART.
preserved, even in such comparatively recent works as the well-
known Kamakura 'Daibutsu' in Japan, which is not much above
six hundred years in age, many points of design, especially in
physiognomy and draping, that offer far more resemblance to the
characters of the Grseco-Buddhistic sculptures of India, than to
those of true Japanese art.
The impermanency of the materials of the painter's art has
unfortunately deprived us of the precious and suggestive relics
which have taught so much concerning the archaeology of Oriental
sculpture and architecture, but there is no doubt that religious
pictures were made in India before the adoption of the faith of
Gautama in China. This being the case, the process of naturaliza
tion of Buddhist pictorial art upon Chinese soil may be readily con
jectured. It is on record that the momentous Indian Buddhistic
Embassy of the Emperor Ming Ti, in the first century of the
Christian era (65 a.d.), resulted in the importation not only of siitra,
but of drawings and images ; and these were, in all probability, con
stantly augmented by the Indian missionaries drawn into China in
the cause of the great religion during the subsequent five or six
hundred years, as well as by the collection of Fa Hien, whose travels
in India (399-414 a.d.) led the way in local research for the
expedition of Hiouen Thsang two centuries later (a.d. 629 to 645).
The works so acquired were the types upon which the Chinese artists
founded the pictorial and other images demanded for the supply of
the innumerable temples that rapidly multiplied over the face of
their country.
There are many indications of the Indian origin of Chinese Bud
dhist art, amongst the chief of which are the almost invariable
absence of Mongolian traits in the physiognomical characters given
by the Chinese to the various divinities of the Buddhist pantheon,
and the practical identity in point of dress, attitude, and attributes,
between Indian representations of certain of the divine personages,
and the corresponding images produced in China and Japan.* Again,
in the colouring of Chinese Buddhistic paintings, the selection and
arrangement of pigment, while very unlike the practice of the
* The figure of GS,utama in the AmravStt sculptures, some of which are in the
British Museum, may be compared with the Shogahu no Shaka in vol. i. of the
Butsu- zo dzu-i. Many other points of resemblance might be indicated were it
necessary. '

BUDDHIST SCHOOL. 15

older secular school of China, often produce chromatic effects that
strongly recall those of Indian work. On the other hand, there is
no doubt that many of the Western types underwent considerable
modification in the course of their adoption into the Middle Kingdom,
not only by the infusion of elements of artistic style, but more par
ticularly by the incorporation of a symbolism appertaining to pre
existing beliefs in the latter country. It may be observed, amongst
other points, that the cobra, which plays a prominent part in Indian
Buddhistic art, is always replaced by the dragon in Chinese works ;
and again, the sensual cast impressed upon the pictorial and
sculptural Buddhist relics of certain parts of India, by the frequent
introduction of houris with exuberant charms, entirely disappears in
the religious art of China, which suppresses distinctions of sex in a
somewhat remarkable degree. It is also certain that a few of the
most familiar figures in Chinese Buddhism are of native origin, as
for example the goddess Kwanyin, claimed by the Chinese as a
pre-Buddhistic divinity, but accepted by the tolerant propagators
of the new faith as a transformation of Avalokites'vara, an Indian
Bodhisattva (a male).
The religion and its art once firmly rooted in China, the seeds
soon reached the Korean peninsula, and thence, in the sixth century,
were conveyed to Japan. Here much of the story of the progress
of the early Buddhist Church in China is repeated. The Mikado
Kimmei (540-571 a.d.) was the Ming Ti of Japan, and gave to
the new creed all the advantages of royal sanction and support.
Kas'yapa Matanga and the other Indians who had conveyed the
tenets to China were represented by Korean priests ; and Fa Hien
and Hiouen Thsang found their counterparts in Kobo Daishi and
Chisho Daishi, who sought in China the material for which their
pilgrim predecessors had penetrated to the lands consecrated by the
personal teachings of the disciples of S'akyamuni. With the advent
of the elements of belief came the now inseparable images and
pictures, mostly of Korean workmanship but including a few
genuine remains of Indian art (some of which are still preserved),
and upon this basis was established the early Buddhistic school of
Japan. At this period Japan had little of its own that deserved the
appellation of a native art. The Chinese Nan-eiu* had made known
* See page 1.

16 JAPANESE PICTORIAL ART.
the principles of the pictorial art of his country in the previous
century, and his descendants still held honourable positions at the
Imperial Court, but no native painter had yet inscribed his name
upon the tablets of the future, and hence the necessary augmentation
of works of religious art for the primitive Buddhist Church of Japan
was wholly dependent upon foreign skill, aided by such amateur
ability as might be developed amongst the early native converts.
The first period of the art, extending over a term of about four
hundred years, was one of education, the results of which were not
to become fully manifest until the establishment of a new era.
We have indeed few genuine relics of this time, but the scanty
list of Buddhist painters, extracted from the Nihon-gi and other
ancient writings, is made up almost entirely of Koreans and native
magnates of the Church, and as the latter were but amateurs, whose
artistic reputation is, at least in some degree, a pious fabrication,
the school was practically in the hands of strangers.
The principal names in this period are as follows : —
Shieaeu. a Korean artist referred to in the Nihon-gi as having
lived in Japan in the reign of the Emperor Yomei (586-587
A.D.).
Komashi-Mako. a Korean artist in the service of the Empress
Saimei (655-661 a.d.).
Sho-toku Taishi. The eldest son of the prince who afterwards
became the Emperor Yomei. He has a great but somewhat
apocryphal reputation as a painter and sculptor. Born 573 ;
died 621 a.d. (See note to No. 254.)
DoN-OHO. A Korean priest, who came to Japan in the eigh
teenth year of the reign of the Empress Suiko (610 a.d.).
Noted as a painter and Chinese scholar.
Oto-kashi. Eeferred to in the Nihon-gi as a painter in the service
of the Emperor Temmu (673-686 a.d.). He received the
title of Yamato Yeshi.
Taohi-be Ko-mako.
FuNA-TO NO Nao-shi. It is stated in the Nihon-gi that in 654
A.D. the Emperor Kotoku ordered these two artists to paint
representations of Buddhas and Bodhisattvas for the use of
the Temple Kawara-dera.
Ko-BO Daishi, or Ku-kai (774-834 a.d.), was one of the greatest

BUDDHIST SCHOOL. 17

promulgators of Buddhism in the history of Japan, and is
also noted as a caUigraphist, painter, sculptor, and even as
an engraver upon wood.* He visited China 804 a.d., and
on his return brought many relics, images, and pictures into
his native country. The title Ko-bo Daishi (Great Teacher
who spreads abroad the Law) is posthumous.
Ji-KAKu Daishi (784-854 a.d.). The founder of the Temple of
Fudo, at Meguro, near Tokio. His artistic reputation is
principally that of a carver of wooden images, but he left
many Buddhist paintings. He was a contemporary of Ko-b6
Daishi, and one of the first amongst the priesthood to make
the journey to China.
Chi-sho Daishi, or En-chin (815-892 a.d.). A nephew of Ko-bo
Daishi. He resided in China for many years, and returned
to Japan in 858.
Ku-k6. a contemporary and associate of Chi-sho Daishi, who
is chiefly remembered for a picture of Fudo (Atchala) painted
to commemorate a vision, in which the god had appeared
to Cni-SHo.t
Shin-sai. a noted priest of the 9th century, who, like Ko-bo
and Chi-sho Daishi, passed some years in China. It is related
that when he had nearly completed a portrait of Ko-bo Daishi,
painted at the request of Prince Shinnio, the spirit of the
defunct original appeared and placed the " dots " in the eyes,
thus terminating and sanctifying the labour of the artist.
Kaku-sho. a painter, probably a monk, of the 9th century,
chiefly remembered for his portrait of Gwanzan Daishi, a
famous abbot of the Tendai sect.
Of these painters we have no authentic remains. It is true that
numerous pictures, sculptures, &c., still extant, including some of a
very high degree of merit, are attributed to the native founders of
the Buddhist Church ; but a short examination of the various works
assigned to any one of the reputed artists will reveal such irrecon
cilable differences of style and ability, that their origination by a
* The collection includes an impression from a wood block attributed to Kobo
Daishi (see No. 3532). Shotoku Taishi, Kwanshojo, Giogi, and a dozen other
early celebrities of the Church have also been credited with similar works.
t Such portraiture of living and human personages, nominally founded upon
dreams and visions, plays a great part in Japanese art fiction. C

18 JAPANESE PICTORIAL ART.
single hand is in the last degree unlikely. It is, in fact, more than
possible that not only are the whole of these works fraudulent as
regards their asserted date and origin, but that nothing of the
kind worthy of preservation was ever created by their nominal
authors.* The traditions, however, as to foreign artists, who held no posi
tion of influence in Church or State, are not open to such doubts as
those naturally suggested with respect to the marvellous accomplish
ments of Shotoku Taishi and Kobo Daishi, and there yet remain
works in certain branches of religious art by Koreans in the service
of the Japanese that show an extraordinary naturalistic power,
altogether in advance of any known original productions of either
Chinese or Japanese artists in later times. The Nara sculptures of
the Temple Guardians, already described (p. 4), may be referred to
as examples of the capacity of a people who now appear to be so far
distanced by their quondam pupils.
The second period of Buddhist art may be considered to begin
with the advent of Kose no Kanaoka, towards the close of the ninth
century. Kanaoka, although unconnected with the Church, and
enjoying an extraordinary reputation in what may be termed the
secular branches of painting, must be regarded as the founder of the
native Butsu-yi. At the present day, the only existing paintings that
can be accepted as the work of his brush are Buddhistic; his
descendants, too, who can be traced in a fairly unbroken line for
more than five centuries, appear to have directed their principal
efforts to the production of sacred pictures, although none except
HiKOTAKA share in the popular recognition of the ancestor. Hmo-
TAKA, the fourth in descent from Kanaoka, enjoyed great reputation
at the court of the Mikado as an artist and a religious devotee.
His paintings were principally Buddhistic, and to one of these,
his last work, which may still be seen at the temple of Chorakuji
in Kioto, is attached a history that is worthy of reproduction as
a parallel to the closing episode in the life of our own Hogarth.
It is told that the painter, while yet in the prime of life, undertook
the execution of a picture of the tortures of the damned in Hades.
* A painting is still shown at Tenno-ji in Ozaka, as a portrait by Shotoku
Taishi of himself. Its authenticity is very doubtful, but admitting it to be
genuine, its design and execution are not beyond the power of an amateur.

BUDDHIST SCHOOL. 19

As the design progressed, he became inspired by a mysterious fore
boding of his approaching death. The melancholy thought, however,
only urged him on in his labour, and he worked unceasingly, with
the same strange perseverance that sustained Mozart in the composi
tion of his Eequiem, until at length a few touches alone were needed
for the completion of the ghastly subject, but with the final strokes
his overstrained energies collapsed, and the artist, brush in hand,
fell dead in front of his ill-omened masterpiece.
The second period in the history of the school, extending to the
end of the fourteenth century, bore strong marks of the influence
of Kanaoka. The following list, compiled chiefly from, the Honcho
Gwashi, will indicate some of the painters of Buddhist pictures in
the interval between the time of Kanaoka and that of Cho Densu,
the originator of the third and last era of Buddhist art; but the
noblest examples of religious art in this age were the handiwork of
members of the Kasuga, Kose, and Takuma lines, who constituted
also the foundation and strength of the Yamato Academy (q. v.).
9th century : —
Kwan-sho-j6 or Suga-waea no Michi-zanb, popularly known by
his posthumous title of Tenjin Sama, was a court noble of the
ninth century, a contemporary and intimate friend of Kanaoka.
He is chiefly celebrated for his calligraphic skill, but he is
said to have also painted many Buddhistic pictures. Falling
a sacrifice to court intrigue, he died in exile a.d. 903, but
afterwards became an object of popular worship as the god
of calligraphy.
The Emperor Uda. Eeigned from 888 to 897 a.d.
lOth century : —
The Emperor Eei-zei. Eeigned 968 to 969 a.d.
The Emperor Kwa-zan. Eeigned 985 to 986 a.d.
En-shin Ajaei.* Flourished at the end of the tenth century.
E-SHiN SoDzu Gen-shin, (942-1017 a.d.) See No. 6.
I2th century : —
J6-TAI. A monk of the Jodo sect. He was the first painter
of the oft-repeated subject, the Dream of Honen (see No. 26).
His representation of Shan Tao, drawn in accordance with
* Ajari is a priestly title, corresponding to the Sanskrit Acharya, teacher of
morals.
0 2

20 JAPANESE PICTORIAL ART.

the description of Honen, was afterwards found to agree
exactly in all its features with a genuine portrait from life
preserved in China.
Kaku-shun Shonin.* a pupil of Takuma Tame-to. Noted
for pictures of Atchala, and as a writer of Sanskrit
characters.
Jo-mio HoiN.t An artist commissioned to paint a Buddhist
picture to serve as companion to one executed by the great
Eegent Kiyomori.
I-Yo NO NitJDO. A contemporary of the last.
Dai-go Sojo.* Commonly known as A ma Sojo, or the rain-
priest, because it is said that, in a season of terrible drought,
his prayers brought rain upon the parched fields, and averted
a famine.
H6-NEN Shonin or En-k6 Dai-shi. Founder of the monastery
of Chion-in in Kioto (II33-I212).
I3th century : —
Chin-kai Sodzu.* a noted painter of Buddhist divinities.
Lived in the early part of the I3th century.
Jo-ZEN. The painter of a well-known portrait of Shinran
Shonin, the founder of the Shin sect (II73-I262).
J5-GA. An artist-priest noted for a series of illustrations of the
life of Shinran,
NiCHi-EEN Shonin. The celebrated founder of the Hokke sect.
He was born in 1222, and at the age of sixty-two closed
an eventful and miraculous life, at Ikegami near Tokio.
The artistic productions attributed to him belong to the
same doubtful category as those bearing the names of Sho
toku and Ko-BO Daishi; but a roughly carved wood block
in the Temple of Taishaku at Shibamata near Tokio displays
marks of authenticity.
Naga-taka, known also as Hoeiu-in Yeshi,| was a contem
porary of NiOHi-EEN. He was the painter of the portrait of
* Sojo, Sodzu, and Shonin are clerical titles.
t Hoin, Hogen, and Hokkio were originally clerical titles, but under tho Toku-
gawa dynasty were conferred as an honorific rank, chiefiy upon artists of the
Kano school and the higher grade of physicians, who were nominally affiliated to
the priesthood.
X Y&hi signifies painter.

BUDDHIST SCHOOL. 21

Honen Shonin (II33-I212), kept at Kurodani temple in
Kioto,
0-KUBA-KiYO, a subordinate of Niohi-een.
I4th century : —
Go-SHiN, A descendant of Nobtt-zane (see Yamato School), and
chief priest of the Temple of Hiyeizan in Kioto, in the early
part of the fourteenth century. He painted the portrait of
the retired Emperor Hanazono no In (1297-1348).
YosHi-HiDE. A famous painter of Buddhist pictures. He is
said to have been so devoted to his art, that when his house
caught fire, instead of making an attempt to check the
flames he stood motionless analysing their form and colour,
with a view to their more truthful reproduction in his future
pictures of the fiery god Atchala. It is not known whether
his self-sacrificing enthusiasm met with its reward.
Eio-ZEN Horn. Lived in the middle of the fourteenth century.
He is the painter of thirty-two pictures of Arhats kept at
the temple of Honkokuji.
The third and last era of Buddhist art was inaugurated by
Cho Densu in the latter part of the fourteenth century, Mei-cho,
better known as Cho Densu,* a priest of the temple of Tofukuji,
in Kioto, was a contemporary of the Italian painter-monk Fra
Angelico, and offers a curious parallel to his European brother in
talent and character, as well as in calling and period. His skill is
the subject of fabulous legends, and many anecdotes record the
unsought fame won by the simple mind, devout belief, and indiffer
ence to temporal rewards, that maintained him throughout the long
years of his life in the seclusion of the monastic retreat which
derives its chief renown from the fruits of his labours.f He died in
1427, at the age of seventy-six, (^-U /f ^^ c-^I- g-o .n ^i .}(^^
* The affix Densu is a priestly title.
¦f In commemoration of his youthful talent, the Honcho Gwashi relates that on one
occasion during his novitiate at Tofukuji, when he had just completed in stolen
moments a portrait of Atchala, he heard the footstep of his stern superior Daido,
who had hitherto repressed his pictorial tendencies, and fearing reprimand he tried
to conceal the picture between his knees, but the fiery halo around the god rose
up in lambent flames and betrayed the presence of the holy work. The astonished
Daido, now convinced of the divine inspiration of the boy, placed no further obstacles

22 JAPANESE PICTORIAL ART.
His works can scarcely be appreciated at their full value unless
studied amidst their natural surroundings in the subdued light of
the spacious halls and corridors of the Buddhist temples. Like
the painters of the Kasuga, Takuma, and Kose lines, he was gifted
with a perfect mastery of colour ; but he was also endowed with an
originality of conception that elevates him above rivalry in his
school, and places him in the highest rank amongst the great artists
to which his richly gifted country has given birth. It is true that
he never aimed at realistic accuracy of drawing, but his force of
design and harmony of colouring will go far to compensate for
deficiencies of which the Oriental mind appears to be but little
conscious. The examples in the collection will serve to show his
manner, and even the engravings of some of his works in the
Wa-Kan mei-gwa, yen may indicate his power of delineating the
many shades of apostolic character, from the intense energy of the
promulgator, to the immobility and abstract contemplation of the
.philosopher who seeks Nirvana in oblivion of earthly interests and
passions ; but his genius can only be measured aright by a study
of the great series of kakemonos representing the five hundred
disciples of S'akyamuni, at the temple of Tofukuji in Kioto.
Here the artist's strength has had full play, and he has achieved
a veritable triumph in the striking individuality which he has
impressed upon each of the multitude of figures, whUe preserving
the common link of intellectual dignity that binds them together as
the Arhat or " the men who merit worship,"
Cho Densu had many followers, but the school soon fell into
the ancient groove, and although it numbered in later times a
goodly list of clever draughtsmen and accomplished colourists, not
one appears to have won a right to range himself by the side of
the Master, His style indeed was closely imitated by Kan Densu

in the path of his artistic career. The same authority tells us that after many
years of honoured labour, when his patron the Shogun Yoshimochi expressed a desire
to confer upon him some signal mark of favour, ho replied, " For money, treasures
and rank I have no need; one change of raiment and a bowl of rice suffice for my
daily wants, but I humbly ask that the cherry-trees which have been planted in
the temple grounds may be cut down by my lord's order, lest in future times the
sacred garden may become degraded to a park of pleasure." The Shogun at once
acceded to the request, the unselfishness of which, at least, was beyond impeach
ment, and to this day tho wish of Cho Densu has been respected by the monks at
Tofukuji.

BUDDHIST SCHOOL. 23

and others of his pupils, but his spirit and originality died with
him. In the present century, Kazu-nobu, a pupil of the Kano school,
has placed himself in the front rank of the Buddhistic painters
by his portraits of the sixteen Arhat, which are still exhibited in
one of the temples of Shiba in Tokio. A further notice of this
artist is inserted in the account of the Kano line.
The following is a list of the painters of the fifteenth century
whose names have been preserved in biographical works as followers
of Cho Densu. Not one tithe however of the actual number
of artist-monks have left any record of their names, for the Bud
dhist picture is usually regarded as so far sanctified by its motive
that the painter in his humility seldom presumes to append to
it any mark personal to himself. This rule was departed from by
Cho Densu, perhaps by special command, and by a few priests of
high rank in the church ; but other exceptions are not often to
be met with in the true Butsu-ye : —
Kan Densu of Tofukuji. The best known of the pupils of
Cho Densu and a close imitator of his style.
Kazu-yuki or Isshi. A pupil of Cho Densu,
Cho-son, a priest of the temple of Kanshinji, in Kawachi
province. A contemporary and imitator of Cho Densu.
YosHi-MOOHi. The fourth shogun of the Ashikaga line. A
patron and pupil of Cho Densu. (b. 1386, d. 1428.)
Gu-KiOKU or Kei-sai. A monk of Tofukuji, Painted in Cho
Densu's style, and also followed the manner of the Chinese
school, (d. 1452.)
Sai-o or Kbi-ju, a monk of Tofukuji, and a follower of
Cho Densu.
Taku-do or So-JUN. A priest noted for pictures representing
Atchala.
Chi-kai. a priest who is said to have painted a hundred
thousand pictures of Atchala. Some of his works are kept at
Jido In, in the province of Omi. He lived at the end of
the fifteenth century.
The end of the school is probably close at hand. The Bud
dhistic establishments — many disorganised, others needy or beggared
— are unlikely to revive the contest of wealth and power that

24 JAPANESE PICTORIAL ART.
made them so conspicuous in the mediaeval period of Japanese
history. The artist-monk, unstimulated by the old emulation, and
no longer supported by the wealthy patronage necessary for the
production of the more ambitious works of his school, is losing
his skill, and there are no pupils to fill his place in the coming
time. Unfortunately, too, many of the works that would one day
have become priceless treasures are dispersed or destroyed. A
sufficient number, however, still remain to illustrate the school ;
and not only the Japanese nation, but all lovers of art, will owe
a debt of gratitude to the present government for the wise steps
they have taken to secure for a future national museum the
treasures which otherwise might have been for ever lost to the world.
Characteristics. — The Butsu-ye, or picture of the true Buddhist
school, has certain distinctive peculiarities that separate it from
the works of all the secular academies.
While the chief ideal of the older Chinese painters, and of their
Japanese imitators, was calligraphic dexterity, the Buddhist artist
aimed principally at decorative and sensational effect. The Sketch
was replaced by the Illumination. The first with its sober
monochrome or subdued local tints, and its bold sweeping stroke
of pencil, had its chief meaning for the educated few, who alone
could appreciate the evidences that it presented of perfect
accuracy of eye and command of hand ; the other was intended to
appeal to all — to attract the untrained senses of the people,
without offending the higher tastes of the aristocracy of learning —
and this result was sought by a gorgeous but studied play of gold
and colour, and a lavish richness of mounting and accessories,
that appear strangely at variance with the begging bowl and
patched garments of primitive Buddhism.
Gold was the one thing essential to the Buddhist altar-piece,
and sometimes when applied upon a black ground was the only
material used. In all cases it was employed with an unsparing
hand. It appeared in uniform masses, as in the body of the
Buddha or in the golden lakes of the Western paradise ; in minute
diapers upon brocades and clothing ; in circlets or undulating rays,
to form the glory surrounding the head of Amitabha; in raised
bosses and rings upon the armlets or necklets of the Bodhisattvas
and Devas, and in a hundred other manners. The pigments chosen

BUDDHIST SCHOOL. 25

io harmonize with this display were necessarily body colours of
the most pronounced hues, and were untoned -by any trace of chiar
oscuro. Such materials as these would sorely try the average artist,
but the Oriental painter knew how to dispose them without risk
of crudity or gaudiness, and the precious metal, however lavishly
applied, was distributed over the picture with a judgment that
would make it difficult to alter or remove any part without detri
ment to the beauty of the work.
The drawing held a place to some extent secondary to that of
the colouring. It varied considerably in style, was sometimes stiff
and formal, at others free and graceful, and in the pictures of
Cho Densu and the older Yamato artists often assumed the
vigorously graphic type characteristic of the great T'ang masters.
The admirable anatomical studies left in the Korean Nid at
Kobukuji (see p. 4), and in the scarcely inferior figures at
Todaiji, however^ conveyed no lesson to the painters of Buddhist
pictures, and hence in the neglect of anatomical forms as in the
absence of chiaroscuro and true perspective, the defects of the other
schools of Sinico-Japanese art were preserved unchanged.
Of invention little can be said. The artist was as heavily
fettered by traditions that were considered almost holy in their
antiquity and origin, as the Egyptian sculptor by his arbitrary
rules of proportion, and many remarkable painters exhausted their
faculties in mere repetition of types handed down to them cen
turies before by Koreans and Chinese, feeling most proud when
their labour was thought a worthy copy of a foreign original.
Cho Densu was an exception, but even he did not venture to
strain the bonds too far. The tendency may be well exemplified
by a comparison of the three renderings of the Nirvana of
S'akyamuni in the collection (Nos. 7 and 8, and Chinese, No. 1). It
will be seen that the work of the Chinese artist of the Sung dynasty,
of the Japanese monk of the fifteenth century, and the Fujiwara
scion of our own time, differ only in minor details. Nothing
important has been added or suppressed. The same fidelity of
reproduction appears in the hundreds of Nirvanas still kept in the
temples of Japan; and their forerunner, though probably not the
prototype, exists in the great work of Wu Tao-tsz',* which may be
* See engraving in ' The Pictorial Arts of Japan.'

26 JAPANESE PICTORIAL ART.
seen at Manjuji in Kioto. In most of the other motives of the school
even less scope is afforded for the inventive powers of the designers,
for the Trinities and group of Devas and Bodhisattvas are little
more than a reduction of the carved idols to a pictorial form. It
was only when the painter freed himself from priestly fetters, and
worked in the comparatively unconstrained manner of the lay schools,
that he could attempt; to vary the monotony of Buddhist art.
The mounting of the Buddhist picture is constructed in accord
ance with special laws. Its materials are usually the most
decorative that can be procured, and are disposed after an especially
complex pattern; and the ordinary wooden or ivory appendages
(jiku) at the ends of the rolling-sticks are replaced in the typical
Buddhist kakemono by caps of gilded bronze or more precious metal,
engraved with the symbol of the lotus. The mounting of Buddhist
makimonos, or rolls, is of a similar character.
Certain non-Buddhistic pictures are sometimes erroneously in
cluded with Butsu-ye, such as those illustrating purely Shinto
subjects (which, however, are few, and nearly all of very recent date) ;
and the rendering of Buddhistic subjects by artists of the various
other schools in the style of their own Academies ; * but occasionally
the secular approaches so closely to the sacred, that it is not easy
to decide upon the section to which the work must be relegated.
Motives. — It is unnecessary to offer any account of the ordinary
Buddhistic motives illustrated by Chinese and Japanese artists ; but
for the comprehension of a considerable section of Japanese pictorial
works it is essential to append some details with respect to certain
categories of supernatural beings more or less closely associated
with the religion, which can only be studied in their relation to art
from sources not comprised in sacred literature. These are the
Shichi-fuku-jin, the Sixteen Arhats, the Dragon and Tiger, the
Eishis and the Demons. It has also been considered advisable to
append a few remarks with reference to S'akyamuni, Amitabha, and
Kwanyin, * The pictures of this class, to which the followers of Sesshiu, Shiubun, and
MoTONOBD have made large contributions, outnumber the true Butsu-y^.

BUDDHIST SCHOOL. 27

SHICHI-FUKU-JIN.
The little group of divinities known as the Shichi-fuku-jin, or
Seven Gods of Good Fortune, form a sort of popular appendage to
Japanese Buddhism, and are of especial interest to the student of
Japanese art.
No collector of Japanese curiosities can have failed to notice the
incessant repetition of a certain number of quaint figures stamped
with definite and easily recognisable characteristics. One of these
represents a comical little old man, with a good-humoured face and
a preternaturally tall head; another shows a broad, short-legged,
well-to-do looking fellow, who stands upon a pair of rice bales
holding a large mallet in one hand, and with the other carrying a
bag slung over his shoulder ; a third jovial countenance belongs to a
sort of fisherman, who has just hooked a large red tai, the turbot
of the Japanese banquet ; the fourth figure is that of a sturdy friar,
whose full cheeks, double chin, and luxuriant abdominal development
speak well for the effects of priestly fare when digested by the
stomach of contentment; he is provided with a huge canvas bag,
which usually serves as a prop for his unwieldy frame. The remain
ing three of the group are of a more imposing type : one is a warrior
of formidable aspect, armed cap-a-pie, and grasping a long spear in
one hand and a miniature pagoda in the other ; near to this Oriental
Mars is the Venus of the company, a comely woman, holding a
stringed instrument of music ; and lastly, completing the seven, is
a venerable man of dignified bearing, clad in the long robes of a
Chinese scholar of bygone times, and bearing a fan, or supporting
his footsteps by a crooked staff.
By most of the foreign writers upon Japan these seven divinities,
like the Nine Muses, are assumed to be charged with special func
tions in relation to the lower world. Thus, Fuku-roku-jiu, the tall-
headed sage, is called the god of longevity, or wisdom; Daikoku,
he of the mallet and rice bales, presides over worldly prosperity ;
Ebisu, the fisherman, is considered to provide for the daily subsist
ence of the working man; Hotel, the Friar Tuck, is the type of
contentment ; Bishamon, the warrior, is of course to be the god of
martial prowess ; Benten, the one lady of the party, governs matri-

28 JAPANESE PICTORIAL ART.
monial affection ; while the grave Ju-ro-jin lends aid to the aspirants
after scholastic renown. All this embodies the suggestions which
the pictorial representations of the Shichi-fuku-jin naturally awake
in the mind of the European, and appears so obviously correct, that
it might be thought unnecessary to inquire whether the Japanese
views upon the subject coincide with ours. Yet, strangely enough,
such a satisfactory and convenient arrangement, that partitions out
the task of supervision of the various worldly needs of man amongst
a series of presiding powers, does not seem to have entered the
thoughts of those who grouped the divine beings together. In
point of fact the average Japanese would be rather perplexed by
an inquiry as to the precise use he would make of any one of
his " household gods," for his mental impressions upon the subject
are almost wholly derived from vague traditions and pictorial repre
sentations; and even should an attempt be made to secure a
more scientific footing, the learned but rather arid discourses in
native literature assign such multifarious powers to some of the
number, and so carefully avoid attributing anything at all to
others, that the foreign investigator finds himself rewarded for
his pains by little more than the collapse of his former plausible
inferences. The Shichi-fuku-jin are nominally a Buddhist assemblage, and
as such are included in the Butsu zo Dzu-i, although they are seldom,
if ever, seen classed together in the pictures of the true Buddhist
school ; but it is evident that a body so oddly composed can form no
serious element of a serious religion. Four, at least, of the number
merely rank as familiar, demigods, in whose composition much
of the clay of humanity is admixed with the divine essence; as
incarnations, who, with fleshly form, have assumed some carnal
weaknesses, and, understanding mortals in a kindly way, cast no
ascetic glances upon the pardonable frailties of the race. They
would be well loved, and well fought for if need be, but little fear
and not very much respect commingle with the affection. The other
three still, however, retain, in their separate forms, the panoply of
the Church, and hence keep their hold upon the veneration of the
people. Although not one out of a thousand of the people can impart any
thing upon the subject that would be of use to a student of compara
tive religions, many a child in Japan has been rocked to his earliest

BUDDHIST SCHOOL. 29

infant sleep by the soothing sounds of the Japanese ' See-saw,
Margery Daw ' — " Sen-do, man-do, o fune wa gichirako.
Ebis' Sama, Daikoku Sama,
Fuku no kami yo !
Gichi, gichi, kogeba," &c.,
which announces the rowing into port of the Treasure-boat, with the
seven gods, on New Year's Eve ; and his parents and grandparents
yearly, at the same season, invoke Ebisu, Daikoku, and Fuku-roku-
jiu to the household as Gods of Good Fortune, while exorcising all
evil demons by showers of beans,* with shouts of " Fuku wa uchi, Oni
wa soto." (" Enter, good spirits ; devils, avaunt ! ") The household is
scarcely complete without a picture or image of one or more of the
favourite gods, and no popular album or sketch-book fails to contain
half-a-dozen or more amusing plays upon the same inexhaustible
theme. The separate elements of the little group are derived from no less
than four different sources — Brahmanism, Buddhism, Taoism, and
Shintoism. Thus, Bishamon is the Buddhist Vais'ramana and the
Brahmanic Kuvera ; Benten is Sarasvati, the wife of Brahma ;
Daikoku is an extremely popularised form of Mahakala, the black-
faced Temple Guardian ; Hotel has Taoist attributes, but i^ regarded
as an incarnation of Maitreya, the Buddhist Messiah ; Fuku-roku-
jiu is of purely Taoist origin, and is perhaps a personification of
Lao-Tsze himself ; Ju-ro-jin is almost certainly a duplicate of
Fuku-roku-jiu; and, lastly, Ebisu, as the son of Izanagi and
Izanami, is a contribution from the Shinto hero-worship.
There is no clue as to either the authorship or period of this hete
rogeneous association, but it certainly has no claim to great antiquity,
notwithstanding the more or less remote origin of its individual
members. The oldest picture in which the writer has seen the
seven represented together is No. 206 in the collection, the work of
TosA MiTsu-suKE, painted about 1700 a.d. (and here it may be
remarked that the treatment is far more formal than in later
sketches). A series of the Shichi-fuku-jin is figured in the first
edition of the Butsu zo Dzu-i (1752), but Kichi-j6-ten, originally
* A shower of beans is to the Buddhist demons as disagreeable a salutation as the
drops of holy water of Koman Catholicism are to the disciples of the arch-fiend of
Christianity.

30 JAPANESE PICTORIAL ART.
the Brahmanic Lakshmi, takes the place of Ju-ro-jin, while another
divine heptade brought together in the Buzen Shichi-fuku-jin ko
(published in 1701) replaces the names of the unorthodox Hotei,
Fuku-roku-jiu, Ju-ro-jin, and Ebisu, by those of Ari-tei, or
Ki-shi-mo-jin (Hariti), Kichi-j6 Ten, Mani-batsudara Hoken Daisho
(described as a brother of Bishamon and god of wealth), and Ken-
ro-chi Ten (a goddess of agriculture).* In addition to these, two
groups of purely Shinto divinities are recognised under the name of
Japanese Shichi-fuku-jin, as in Nos. 232 and 242 of the collection.
The literature of the subject is remarkably scanty, and includes
only one fairly complete notice of the whole company — that given in
the Hengaku ki han f — which has been translated, with the addition
of many valuable notes, by Signer Puini. Some further information
may be obtained from the Buzen Shichi-fuku-jin ko, Bessen-zen Den,
and other works, and from the text appended to the woodcut
illustrations in various artistic books. From none of these sources,
however, do we gain a truthful conception of the popular estimate
of the familiar divinities which, at the present day, owe their
vitality rather to the artist than to the priest, and have received,
together with some rather rude handling, nearly the whole of their
extended popularity and influence from their lay supporters.
The chief facts known concerning the personages of the principal
group are mentioned under the respective names: —
I. FuKu-EOKU-Jiu. The pseudonym of the old man with the tall
head signifies "Wealth, Prosperity, and Longevity." He has nothing
worthy of the name of a history, and his very identity is hopelessly
entangled with that of Ju-ro-jin. He is, however, undoubtedly of
Taoist origin, perhaps representing Lao-Tsze himself, and all that is
known of him is derived from Chinese writings.
In the Yu-sho Bessen-zen Den, an illustrated description of the
Sennin or Eishi, reproduced in facsimile in Japan from the Chinese
in 1651, will be seen a woodcut representing three persons in
conversation, one of these corresponding exactly to the Japanese
sketches of Fuku-roku-jiu. The purport of the text is that
Kwaboku, a sage, "to whom were open the secret thoughts of
others, and who was able to restore the dead to life," told his
* Some of these divinities are of Brahmanic origin, but were adopted bv the
Buddhists, and hence the group is considered purely Buddhistic.
t Republished under the name of Miako no Y4-ma Kagami.

DAIKOKU. (Page 33.) HOTEI. (Page 36.)

4BISU. (Page 36.) FUKU-EOKU-jiti. (Page 30.)
THE SHICHI-FUKU-JIN. After Kitawo Masayoshi.

jn-s5-jiii\ (Page 44.)

BUDDHIST SCHOOL. 31

disciple that he was about to receive a visit from a stranger. On
the next day appeared a personage dressed in red raiment; he
was five feet in height, three feet in breadth, and his head was
half as tall as his body. He and the sage conversed merrily in
a language that was unlike that of men. After having partaken
of food, the guest departed, and Kwaboku told his disciple that
his friend was named Jotei, and that he was an impersonification
of Taisan Eoshi (Lao-Tsze). This story has been repeated in the
Sha-ho Bukuro* and Hengaku ki han; and in another portion of
the former work is given a portrait of the tall-headed Eishi, who
is described in the text as " Jotei, generally called Fuku-roku-jiu."
A popular account of Fuku-roku-jiu is given in the E-hon
Koji dan.'\ He is there called the Ancient of the Star of the
South Pole (Nan-kioku-ro-jin-sei), the luminary which presides
over human life, and by its appearance announces peace to the
world. The following story is then related in support of this
identification. " In the period Yuan- Yew (1086-1094 a.d.) there
lived an old man in the capital of China (Kien-Kang). He was
only three feet high, and of this measurement his head formed the
moiety. Every day he went into the city and foretold the future to
the people. With the proceeds of his prophetic trade he bought
sak^, and when he had drunk freely he would strike his head and say,
' I am a sage, and can bestow the gift of long life.' A certain
man having seen him, painted his portrait, and presented it to
the Emperor, who summoned the strange being to the palace, and
after regaling him with sake, asked how many were the years he
numbered. He made no reply, but told many stories of past
ages, and suddenly vanished, no one knew whither. On the follow
ing morning it was announced that the light of the South Pole
star had on the past evening touched the Imperial palace.
The Emperor then comprehended that the old man was an incar
nation of the Star of Longevity, and preserved his portrait with
the deepest veneration.^ The pictures drawn at the present day
* A book for artists published in 1720.
t A book for artists, published in 1714, with illustrations by Tachibana no
Morikuni. X A similar story quoted from the F^Hzohu-hi, or Record of Customs, is translated
in Signer Puini's work, 'I sette Genii della Felicity.' In this, however, the
Emperor speaks of his visitor as Ro-jin-sei, a name given to Ju-ro-jin in the Kimmo
Dzu-i (a Japanese cyclopsedia published in 1798).

32 JAPANESE PICTORIAL ART.
are derived from this, but in late years representations of the
deer, crane, and tortoise, animals emblematic of long life, have
been placed by the side of the sage."
The portrait of Fuku-roku-jiu was one of the favourite exer
cises of the Kano painters, but it has now been appropriated by
artists of the popular school. The usual figure is, as described, that
of an old man in the garb of a scholar of the ancient dynasties,
of low stature but enormous frontal development, the summit of
the cranium apparently gaining in elevation from each successive
generation of artists. His attributes are a hairy-tailed tortoise, a
white crane, a white, deer, a crooked staff, a manuscript roll, and
a Sacred Gem, the latter being probably a Buddhistic addition.
The staff, the roll, the deer, and occasionally the crane, are also
associated with Ju-ro-jin, who, as already remarked, is apparently
identical with Fuku-roku-jiu.
In a modern Chinese treatise upon the Taoist Eishis, called the
Lieh hsien chuan, is a picture of Tung Wang Kung,* which closely
resembles the later representations of Fuku-roku-jiu. The patri
arch appears as an old man with an extremely lofty brow, clothed in
long robes, and holding a Ju-i.f By his side stands a crane, and he
is attended by two boys, one of whom holds a peach, the other two
rolls suspended from a long staff. A large character, signifying
longevity, is emblazoned upon the front of the dress.
The older drawings of Fuku-roku-jiu generally succeeded in
conferring a certain dignity upon the curious figure, but the
popular artist, although sometimes treating him with all due
respect, in view of the enormous number of Chinese characters
that so lofty a brain-case might be supposed to accommodate,
usually takes advantage of the weak points in his reputation, and
shows him revelling in wine bouts with his fellow gods (such an
indulgence, be it understood, in no wise derogating from his
abstract dignity in Sinico-Japanese eyes), dancing, wrestling, per-
* Tung Wang Kung, according to Taoist legend, was one of the first beings
evolved from Chaos by the spontaneous volition of the primordial principle. He is
described also as the husband of the Fairy Si Wang Mu (see No. 705). His attributes
are said to be of Indian origin, arranged in imitation of the legends relating to Indra
and his consort ( Mayers). He is rarely, if ever, referred to in Japanese literature.
f The Ju-i (Jap. Nio-i) is a short curved rod, generally carved in jade or some
other valuable material. It is probably of Buddhistic origin, and is regarded as a
symbol of the power of the Faith. In Buddhist pictures it is usually placed in the
hands of priests of high rank.

PLATE 3.

Dp

^

,5 f»
BUDDHIST SCHOOL. 33

forming on the slack rope, and forgetting his divinity in a hundred
other ways ; or even ventures to hint at the inconvenience of the
majestic cranial eminence by depicting the vain efforts of the
distracted sage to reach an aggressive mosquito that is engaged
on the far-off summit. But although the Fuku-roku-jiu of the
artist may sometimes impress and sometimes amuse us, the subject
has now almost lost its interest through its constant and unvarying
repetitions in the inferior works that at present deluge the foreign
markets. It is however to a modern painter that we owe the
noblest and most original conception of the subject, and in the
picture of Kikuchi Yosai (No. 2346) will be seen the impression
that the quaint traditions concerning the Taoist Eishi have
made upon the cultivated mind of the true artist who has
given us so many grand types in his monumental work the Zen-ken
ho-jitsu. 2. Daikoku, unlike Fuku-roku-jiu, appears to have no artistic
prototype in China, and in his well-known modern form is a
Japanese creation. As a Buddhist divinity he is identical with
Mahakala (of which name the word Daikoku is but a trans
lation), the black-faced god formerly placed before the gates of
Indian and Chinese temples, but there is no resemblance, except
in complexion, between the stem Sivan deity and the comical
short-legged Daikoku of Japan. The god is not, as might be
implied from his form and attributes, a commercial divinity.
The San-zai Dzu-ye (vol. Ixxiv, p. 30) says that " Daikoku Ten is
an Indian divinity. The military class hold him in honour on
account of his resemblance to Marishi Ten (Maritchi Deva), and pray
to him for success in war; the monks have faith in him and sup
plicate for alms, and the people revere him and beseech him for
prosperity." In all probability Daikoku is indebted for his con
nection with agricultural produce to an etymological blunder that
has caused him to be confused with a Shinto god (see note, p. 36).
Daikoku, as seen in modern works of art, is a sturdy figure
habited in the ancient dress of a well-to-do Chinese burgher —
a short coat girded at the waist, loose breeches, and a pair of
huge boots that completely engulph his nether members ; upon
his head is a low cap, the crown of which projects forward over
his brow. In his right, hand he holds a mallet, marked upon its
striking surfaces with the outline of the Sacred Gem, and the left

34 JAPANESE PICTORIAL ART.
hand grasps the neck of a sack which is slung across his shoulder.
He stands upon a well-filled pair of rice-bales. The face is some
times blackened in deference to Buddhistic tradition, but retains
nothing of the terrors of the original form, for it is always broad
and good-humoured, and beams with an expression of prosperity
that the devotees at his shrine find more reassuring than the
threatening aspect of the true Mahakala. He is generally accom
panied by a white rat, but the animal is not, as might be
supposed, introduced on account of the connection between rats and
rice-bales, but because the day set apart as sacred to the god is that
known in the Japanese calendar as the " day of the Eat." " Why,"
says the San-zai dzu-ye, " should Daikoku affect an animal that
steals rice and grain ? " In the earliest Japanese representations
of Daikoku the rice-bales are replaced by a lotus leaf; the hammer
and bag were added in the eighth century by Kobo Daishi, in
accordance with a vision in which the god appeared to him as
the " Lord of the Five Cereals." The engraving, No. 3532, from
a block attributed to Kobo Daishi himself, shows a form very
similar to that now adopted, but without the elements of comicality.
There are several different Buddhistic figures of Daikoku, but
they are rarely seen except in religious books. In the Butsu zo
dzu-i are given seven different representations, six of which are
grouped together as the Eoku Daikoku, These are as follows : —
I. Biku Daikoku. In the dress of a mendicant priest (Bhikchu),
with a sword in one hand, a hammer in the other.
2, Mahakara Daikoku Nio. Dressed as a female, and sup
porting a rice-bale upon his head.
3. Ojikara D. In old Chinese dress, holding a sword and
vadjra.
4. Shinda D. As a boy holding a Sacred Gem (tchintdmani).
5. Yasha D. In the same dress as 3, but holding a tchakra
in the right hand.
6. Makara D. With hammer and bag, as in the ordinary
form, but divested of the great boots, and standing upon
a lotus-leaf pedestal instead of rice-bales.
The seventh representation is called the San-men Daikoku or
Three-faced Daikoku. He has in this the ordinary form, and
stands upon rice-bales, but his figure is incorporated with those

BUDDHIST SCHOOL. 35

of Benten and Bishamon ; the profile of Bishamon on the left, and
that of Benten on the right of the features of Daikoku, completing
the triple visage which gives the name to the image. There is
a single body, but this is furnished with six arms, the two
belonging to the head of Bishamon holding the spear and sceptre,
those of Benten the sacred key and the precious ball, while the
central pair grasp the usual bag and mallet. The text tells us
that the deity appeared in this form to Dengio Daishi after he
had built the monastery of Enriakuji.
In the Sha-ho Bukuro, Daikoku is described as the God of
the Five Cereals. " His body is round, he carries upon his back a
round bag, and holds in his hand a hammer by which he in
corporates the In and Yd (Ying and Yang), and so leads to the
evolution of all things. He is always painted blue, the colour of
heaven. Koku, or black, is the colour that belongs to the point of
the compass entitled that of the Eat (North), and for this reason
he wears a black cap. Beneath his feet are placed rice-bales,
to show that he is the divinity of the Cereals. The mallet
is called the Konton no tsuchi, or hammer of Chaos." The bag
is usually supposed to contain the Takara-mono, or precious
objects. The Buzen Shichi-fuku-jin ko includes Daikoku as one of the seven
gods of good fortune. It states that in India this divinity was
placed near the doorposts of the Temple dining-hall, or in front
of the Treasury gate. The image was carved' in wood, and stood
two or three feet high ; it was represented in a sitting position, and
holding a money bag. The Indians were in the habit of rubbing
the body with oil to blacken it, and hence the name of Mahakara,
or Dai-koku-jin, which means the Great Black God. He belongs
to the Great Heaven, and guards the Three Treasures. He can confer
all things that men desire, and is the "God of War." The book
goes on to state that the image with rice-bales, and the three-faced
Daikoku, are not deserving of faith.
Daikoku has been identified with a Shinto divinity, 0 kuni nushi
no Kami, or 0-na muji no Kami, the seventh descendant of Susano
no Mikoto, of whose birth, marriages, offspring, &c., a long account
is given in the Kai-biaku Yu-rai-ki ; but as this consists principally
of names of great length, and offers no particulars of general
interest, it will not repay quotation. The identity is referred
D 2

36 JAPANESE PICTORIAL ART.
to in the E-hon Koji dem, and the god is there spoken of as the
inventor of the medicinal treatment of men and animals.*
The position of Daikoku, as a household divinity, is very high,
perhaps owing to the manifest signs of wealth that surround him ;
but while he is entitled to appear with Benten and Bishamon in all
the blazonry of the true Butsu ye, he is compelled to share with
Fukurokujiu the easy familiarity of his artistic and literary admirers;
for the stern Temple Guardian of India becomes in the hands of the
Japanese draughtsman a portly corn-dealer, dangling his creative
mallet at the end of a string, for the joint amusement of himself
and his attendant rat ; and in the popular story-book is treated with
less ceremony than the pettiest official of a government bureau.
(See the tale of Daikoku and the Oni as told by Mr. Griffis in
' The Japanese Fairy World.')
3. EIbisu, the fisherman, is a Japanese, but his sole claim to con
sideration is the fact that he was the third son of Izanagi and
Izanami, the creators of great Japan and the progenitors of the
god-like race of which the Mikado is the lineal descendant. He
does not reflect much credit upon his parentage, for he was a
cripple,t eclipsed by his brilliant sister, the Sun goddess Amaterasu,
and ignored by his brother ' the dragon conqueror ' Susano, the
Lord of the Ocean. Even amongst the seven household gods he
appears to hold a very humble position in comparison with that of
his richer Indian colleague, Daikoku.
His real name is Hiruko no Mikoto, " the leech-like lord," and he
is called also Kayu no Mikoto, The E-hon Koji dan states that the
• The San-zai dzu-ye (vol. Ixxiv. p. 30) refers to this question in the fol
lowing terms : — " In Keta no Saki, in the province of Inaba, there is a (figure of)
O na muji, with a wallet over his shoulder. One of the names of U na muji is
O kuni nushi (i.e. Daikoku shiu) no Kami. Some persons have hence surmised
that by a confusion of homonyms Daikoku came to be represented as O kuni nushi.
This conjecture seems probable. The Buddhist clergy are fond of identifying the
various gods with their Buddhas." This theory offers a fairly satisfactory expla
nation of the otherwise inexplicable alteration in the form and attributes of the
Indian MahS,kftla in his transition into the Jnpnnese Daikoku. Theword Daikoku,
taken apart from the characters with which it is written, may have the same
meaning as O kuni.
t A passage in the Nihon-gi, quoted in the San-zai dzu-ye, says : " The two gods
Izanagi and Izanami begat Kayu. This god even when three years old could not
stand on his legs ; they therefore embarked him in the Heavenly Boat of adamantine
camphor wood, and turned him adrift to the winds.
" ' How could his father and mother think him beautiful, who could not stand erect
though three years old ! ' "

BUDDHIST SCHOOL. 37
ordinary name Ebisu, or ^fibisu Saburo, has been wrongly applied,
owing to some confusion with another divinity, Okino iibisu, who
has a shrine at the temple of Nishi no miya, in the province of
Settsu. The San-zai dzu-ye, quoting from a certain chronicle,
gives a brief account of this divinity, who is there called " Kaiko,
the younger brother of Amaterasu Omikami."
The earliest drawings, which do not appear to be older than two
hundred years, represent him as he is depicted at the present
time — in Japanese dress, holding the red tai (Ohrysophris cardinalis)
in one hand, and a fishing-rod in the other. In this guise he
appears in the first edition of the Butsu zo dzu-i. In popular
sketches he is usually drawn with a laughing countenance, watching
the struggles of the tai at the end of his line ; or, his fishing
appliances laid aside, he rejoices with his companions over a
Japanese Olympian banquet, of which the captive tai may form the
piece de resistance of the most appreciated course.
He is sometimes associated with the two preceding divinities, to
complete a minor group of San-fuku-jin, the Three Gods of Good
Fortune, who are the special spiritual guests bidden to the new year's
celebration of the people.
4. HoTEi, half Taoist, half Buddhist, is perhaps the least dignified
of the Seven, and is excluded from the secondary group of the
San-fuku-jin, as well as from the Mahakala trinity whose position
is acknowledged by the most serious theologians ; but he is, un
doubtedly, the greatest favourite of the whole number with the
populace at large.
He is generally understood to have been a Chinese priest of the
tenth century, remembered for his fatness, his love of children, and
especially for always carrying a large cloth bag, from which his
name (ho-tei, cloth bag) is derived. The legends attached to him
are of a Taoist character. According to the E-hon Koji dan he was
accustomed to go into the streets to play with children, he could
sleep in the snow, never allowed water to touch his body, and
had the power of infallibly predicting future events. On these
accounts the people marvelled at him, and paid him great respect.
According to the same authority, his selection as one of the gods
of good fortune was due to his merry looks, his fondness for children,
and his resemblance to Daikoku.
The Sha-ho Bukuro describes him as a priest of Mount Shimei

38 JAPANESE PICTORIAL ART.
(Se Ming Shan, a mountain in China) who was very fat, had a pen
dulous belly and wrinkled forehead, and was wont to beg food along
the public roads, carrying a bag and a stick. Another Hotei,
alluded to in the E-hon Hokan, was also accustomed to walk in
the streets, carrying a bag which he would use as a mattress, and
was fond of playing with children. " If any person questioned him,
he said that he was awaiting the coming of a friend, and that his
bag contained all things (Hiaku hutsu — literally, a hundred things).
On a certain day there came to him a priest, who said, ' Wherefore
came you from the West (India) ? ' Then Hotei making no reply,
cast aside his bag, stood erect, and vanished."
Two others of the name, one living in the Sung, the other in the
Yiien dynasty, are mentioned in the same work, but without any
noteworthy comment.
These stories are very similar to those narrated of many Taoist
Genii, and the claim of Hotei to a position in the Buddhist pantheon
appears to be due to the view enunciated in the Butsu zo dzu-i, and
other works, that he is an incarnation of Miroku Bosatsu (Maitreya),
the Messiah of the coming age, in which capacity his image has
long been worshipped in Chinese temples.
Innumerable pictures of Hotei, by Japanese artists, are in exist
ence, some dating from the fifteenth century, and these were probably
preceded by Chinese originals ; but he rarely appears in the true
Butsu ye, although his image is sometimes seen in the miniature
household shrines (Butsu-dan) and in temples.
The popular estimate of Hotei is less that of a god than of a
merry old fellow, with some supernatural attributes, whose heart still
retains a boyish freshness that leads him to share with zest the merry
sports of children. The little urchins, who cluster around him,
claim him as their own, and do not hesitate to take liberties with
their big playmate. His bag, which always has a bolster-like round
ness, is put to many uses — it may be a bed upon which the owner
can spread his fat limbs, a receptacle for the Precious Things,* or a
* The " Takara-mono," a set of objects, including the Hat of Invisibility, the
Lucky Rain Coat, the Sacred Key, the Inexhaustible Purse, the Precious Jewel,
the Clove (choji), the Scrolls, the Hammer, the Weight (fundo), and the " Shippo "
(a flat oval object often introduced into arabesques, probably a coin). These emblems,
frequently depicted on porcelain, lacquer, &c., are regarded as collectively symbolical
of prosperity, but their individual significance is little understood. The Takara-bunfi
is a treasure ship that is supposed to sail into port on New Year's Eve with the
Takara-mono as cargo, aud the Shichi-fuku-jin as passengers.

BUDDHIST SCHOOL. 39

trap for little boys and girls, who are enticed inside to see the
wonderful things it is supposed to contain, and are then imprisoned
until they can beg their way out ; but whatever its original purpose,
it is always as inseparable from Hotei as are his fair round stomach
and double chin.
In pictures, and sometimes in carvings, he is associated with a
number of children, in Chinese dress, in full tide of fun around him.
He is, indeed, the special patron of children, and, unlike Ju-ro-jin
and Fuku-roku-jiu, neither assumes an irksome stateliness, nor carries
any disagreeably suggestive marks of learning to alloy the enjoy
ment of his little flock. A minor attribute is a fan of the ancient
Chinese form, and occasionally this is replaced by a Sacred Gem.
A Japanese " Hotei," without the bag, is described and figured in
the Bokuwo Shin-gwa.* He is represented as a portly old man,
holding a Chinese fan, and riding in a dilapidated waggon drawn by
street boys. " He was called Shichi-hiyaku-sai, the Sage of Seven
Centuries — or, from his vehicle, Kuruma So, the Waggon Priest;
but his real name and the place of his birth are unknown. He
claimed the age of seven hundred years, and he could relate with
eloquence many stories of ancient days. In later times he haunted
the mountains of Yamashina, but no one has learned the period of
his death."
5. Bishamon Ten, or Tamon Ten. This divinity is well known
to "students of Buddhism, as the Brahmanic Kuvera or Hindoo
Plutus, and as Vais'ramana, the Maharadja of the northern quarter
of Mount Sumeru,
In the Buzen Shichi-fuku-jin ko he holds the place of honour
amongst the seven, and a long account is given of his powers.
Notwithstanding his fierce looks and martial guise, he is not
especially associated with military glory, either in China or Japan,t
but is more particularly regarded as a God of Wealth. In the work
just named, we are told that to those who pray to him, " he can grant
good fortune more swiftly than the flight of an arrow from the bow,
and will confer gold, silver, the seven precious treasures, the Nio-i
* A collection of "New Pictures," in illustration of Japanese and Chinese
legends, by Hogen Shunboku, published in 1750.
t The generally recognised " God of War " of China is Kwan Yu, a hero of the
third century; and in Japan the same position is assign-d to Hachiman, the
deified son of the Empres;' Jingo.

40 JAPANESE PICTORIAL ART.
Ho-jiu (the Precious Jewel of Omnipotence), fields, houses, and rice
and other grain, together with rank, renown, and wisdom. Those
who believe in him will gain fortune, long life, wisdom, pleasure, &c.;
and he who honours him will have the privilege of dwelling for ever
in his country, and will be able to cure diseases, and to increase his
riches." It will be noticed that the promised recompense to the faith
ful, though sufficiently comprehensive, tends chiefly in the direction
of worldly wealth.
The first appearance of the god in Japan was on the occasion of
the war of Shotoku Taishi against Moriya, the enemy of early
Buddhism. It is said that the prince sacrificed to the four Maha-
radjas before the deciding battle, and carved small images of them
to place in his helmet. During the battle his life was saved by
Bishamon, who appeared in the form of an old man, " Thence
forth many great warriors prayed to the god to grant them
victory." This story, however, does not imply that Bishamon was
a Buddhist Mars, but merely that success in war was one of the
many rewards at his disposal. The close of his long panegyric
says that " in the present world he confers wisdom and fortune."
In true Buddhistic art Bishamon and his three brethren play a
Very important part. Their images were amongst the first subjects
that inspired the early native sculptors, and no expense was spared
to make these idols gorgeous monuments of the faith. In ButsuH/e,
Bishamon may appear alone, or in the groups of the Four Maha-
radjas (Shi Ten 0) or Twelve Deva Kings (Jiu-ni 0),* or incorpo
rated with Daikoku and Benten ; and in the works of other schools
as one of the Shichi-fuku-jin. The modern artist, however, finding
little demand for serious renderings of the figure, fearlessly strips
him of his dignity, to show him making love to Benten, drinking
enormous cups of sake, playing at go with his companions, or
good-naturedly bearing the general baggage upon his broad
shoulders, and looking as blithe and unburdened with pride as
Hotei himself.
6. Ben-zai Ten (popularly abbreviated to Benten), " the Devi of
Eloquence and Talents,"t like Bishamon and Daikoku, is the object
* An unusual form, seen in Nos. 46 and 47, is characterized by the presence of
four heads, and eight supplementary arms, each grasping a symbol.
f The name Ben-zai Ten when written with other characters may signify " the
Devi who governs Treasures." — Nanjio.

BUDDHIST SCHOOL. 41

of a serious cult. She is identified with Sarasvati, the Brahmanic
goddess of speech and learning, the wife or female energy of
Brahma, or, with Vach (speech), the wife and creation of Pradjapati.
Sarasvati was commonly invoked as a kind of muse, or patroness of
science, and as the inventor of the Sanskrit language and letters,
but in the earliest mythology she was probably a river deity. She is
referred to in the Big Veda as the best of mothers, of rivers, and
of goddesses; again as bestowing wealth, fertility, and offspring;
and is mentioned in one place as the wife of Indra. (See Monier
Williams' ' Sanskrit-English Dictionary,')
It is suggested in the Hengaku ki han that Benten was merely
a Gandharva, or musician, in the suite of Indra ; but this is
probably an error.
The representations are very numerous. In Buddhist pictures her
image is seen in three principal forms : as the Dai Ben-zai Ten,
grasping a vadjra-hilted sword and a sacred gem ; as the Happi Ben-
zai Ten, and as the Kongo Mio Benten, the two latter having each
eight arms, holding various symbols. The crown bears the figure of a
Shinto torii,* beneath which is a white serpent, with a head like that
of an old man. In secular paintings she is more often shown as the
Mio-on Ten, ' the goddess with the beautiful voice,' an image of a much
more simple form, in which the great crown is replaced by a small
tiara, and the richly decorated attire by a flowing robe, while the
Buddhist symbols disappear in favour of a stringed instrument of
music, the emblem of Harmony, In Indian art Sarasvati appears
as a fair and graceful woman, crowned with the crescent on her
brow, and either seated upon a swan or paddy bird, or standing upon
a lotus. In one hand, as Vach, the goddess of Speech, she holds a
written scroll, and in Jhe other, as the goddess of Music and Song,
the vina, or vial formed of two gourds. (See Birdwood's ' Indian
Arts,' vol, i. p, 55.)
Her attribute in religious pictures is a Serpent or Dragon, which
usually appears coiled around the rock upon which she is seated.
The origin of the connection is obscure, but it is generally supposed
to have arisen from the fact, that the day upon which the goddess
first appeared in Japan was that of ' the snake.' At any rate it is
Japanese, as no such association exists in the case of Sarasvati.
* The torii is a simple kind of gateway consisting of a horizontal beam placed
upon two posts : it is said to have been a bird-perch in its original form.

42 JAPANESE PICTORIAL ART.
In deference to this divine bond between the reptile and the
goddess, snakes are to this day held sacred in many parts of Japan,
and particularly in such places as Enoshima, Chikubushima, and
Itsukushima, where the worship of Benten is actively carried on ;
the respect is no doubt largely supported by the Buddhistic un
willingness to injure any living creature, and perhaps by some
physical fear of the animal. As is often the case, the attribute
becomes confounded with the divinity itself; hence Benten is
occasionally supposed to assume the form of a large serpent or
dragon, and in an ancient picture by Kanaoka (No. 78 in the col
lection) the form of the goddess terminates below the waist in scaly
coils. The following story of the first appearance of Benten in Japan
is quoted from the ' Handbook for Japan ' : —
" Before the existence of Enoshima that part of the sea now
occupied by the cave was inhabited by a dragon, who used to devour
the children of the neighbouring village of Koshigoye  In the
reign of Kimmei Tenno (540-571 a.d.) a violent earthquake took
place, and at the same time an Apsaras appeared in the clouds over
the spot inhabited by the monster. An island then suddenly rose
up out of the sea, upon which she descended, and marrying the
monster, put an end to his destructive ravages."
Other names of Benten, besides those mentioned, are : " Ku-doku
Ten-nio, the goddess of meritorious works ; Mio-on Ten-nio, the god
dess of the beautiful voice ; and Uga no Kami, or Uke mochi no Kami,
the lordly protector of food." The latter title belongs to a Shinto
divinity, said to be a transformation of Benten, but afterwards iden
tified with Inari. The Shinto goddess Itsukushima Hime also is
regarded as an avatdra of Benten.
There is nothing in the accounts of the goddess to justify the
European belief that she is the guardian of matrimonial bliss. The
Buzen Shiehifukujin ko, quoting from a siitra, called Saisho o Kid,*
says that she confers upon her worshippers " wisdom, eloquence,
victory in war, and money in abundance." In the present day the
most ardent prayers addressed to her shrine are for wealth ; and in
* This siitra is the last and most popular translation of one of the nine principal
texts of the Nepalese Buddhists entitled ' Suvarna prabh^sottama sutrarS,dja.' The
eighth and ninth chapters of this text ai'e devoted to Sarasvati aud S'rl-mahadev!
(Kichi-j6 Ten) respectively. — Nanjio.

PLATE 4.

s
pq

I I
a

bo 03

BUDDHIST SCHOOL. 43

accordance with this view of her functions, the name Ben-zai-ten
is sometimes written with characters that signify " the goddess who
governs or distributes riches " (Sansk. Dhandada).
The Benten of the Japanese popular draughtsmen, like the
' Virgin ' of European mediaeval painting, often sacrifices her
divinity to her womanhood, and is always drawn in the outlines
which express the native ideal of female beauty. When represented
in company with her fellow gods she commonly appears as musician
to the party ; but the artist, although not always inclined to respect
propriety when a good joke is to be coined out of sacred metal,
rarely lets his humour drift into indecent familiarity with the one
lady of his Penates.
Benten, in her severer Buddhistic image, is often shown sur
rounded by her fifteen sons (Jiu-go Doji), who appear to symbolize
the principal occupations of life. They are all youthful figures
with long hair and clad in Chinese dress, and each bears his special
attribute. Their number is sometimes increased to sixteen.
The following list is extracted from the Butsu zb Dzu-i and other
sources : —
I. Inyaku, or Jako. A transformation of Shaka (S'akyamuni).
Attribute : A sacred gem and key.
2. Kwantai, or Sekion. A transformation of Fugen Bosatsu
(Samantabhadra). Attribute: A girdle (said to be the
emblem of magistrature).
3. Hikken, or Kosei. A transformation of Kongoshu Bosatsu
(Vadjrapani). Attribute : Brush and ink-box for writing.
4. Konzai, or Shojo. A transformation of Yakushi Niorai
(Bhaichadjyaguru). Attribute : A balance for weighing
money.
5. Tochiu, or Daijin. A transformation of Monju Bosatsu
(Mandjus'ri). Attribute : Sheaves of rice.
6. Keisho, or Akujo. A transformation of Jizo Bosatsu (K'schiti-
garbha). Attribute : Grain measure.
7. Hanki, or Shitsugetsu. A transformation of Sendanko
Butsu (Tchandanagandha). Attribute : Eice dish.
8. Isho, or Joki. A transformation of Marishi Ten (Maritchi
Deva). Attribute : A bundle of clothing.
9. Sanyo, or Himan. A transformation of Seishi Bosatsu
(Mahasthamaprapta). Attribute : Silk-worms.

44 JAPANESE PICTORIAL ART.
10. Shusen, or Misshaku. A transformation of Murioju Mio-o
(Amitabha ?). Attribute : Wine vessel and sacred gem.
II. Aikio, or Segon. A transformation of Kwanzeon Bosatsu
(Avalokites'vara), Attribute : Bow and arrow.
12. Shomio, or Saikoku. A transformation of Miroku Bosatsu
(Maitreya). Attribute : Sword and sacred gem.
13. Jusha, or Semui. A transformation of Eiuju Bosatsu
(Nagardjuna). Attribute : Three sacred gems.
14. Giuba, or Zuirei. A transformation of Yakuwo Bosatsu
(Bhaichadjyaradja). Attribute : Horse and draught-ox.
15. Sensha, or Komio. A transformation of Yakujo Bosatsu
(Bhaichadjyaradjasamudgata). Attribute : Boat and waggon
containing bales of rice.
The sixteenth, who is not usually considered as an orthodox
member of the group, is named Zenzai, or Otsugo. He is distin
guished by a bag supposed to contain good gifts for the believers.
7. Ju-e6, or Ju-e6-jin, the Genius of Longevity, is the last of the
generally accepted group. He has already been referred to as having
only a very questionable right to any separate existence ; and there
is little doubt that the figure known under this name, and the tall-
headed Fuku-roku-jiu, are different conceptions of the same person
age. In the older pictures we meet with many forms intermediate
between the two types, where Fuku-roku-jiu, gaining in height and
dignity while his sinciput parts with some of its comically intellec
tual development, offers a very close resemblance to Ju-ro-jin. The
attributes of the two are the same ; the crane, white stag, and tortoise
appertaining to either ; and their names are often interchangeable,
as in the Chinese legend already quoted, in which the personage
answering to the description of Fuku-roku-jiu is called Ju-ro-jin.
Again, in the first edition of the Butsu zo Dzu-i an unquestion
able representation of Fuku-roku-jiu receives the same appella
tion, while in the second edition of the work the ordinary name
is appended, and that of Ju-ro is left out altogether. In neither
issues do both appear, the total of the divinities being made up by
the introduction of a Brahmanic goddess called Kichi-j6-ten.
The representations of Ju-ro-jin show a tall, venerable man,
in the dress of a scholar, bearing on his head a transparent cap.
He usually holds in one hand a fan, in the other a long stick from
which is suspended a roll, and by his side stands a white stag. The

BUDDHIST SCHOOL. 45

bamboo, plum, and pine, as emblems of longevity, are frequently
depicted in the background. In this form Ju-ro-jin appears in a
picture by Sesshiu, painted four hundred years ago. (See No. 1223.)
He nearly always retains his imposing figure, even in the most
rollicking compositions of the popular artist, and in the merry
groups of the Shichi-fuku-jin generally seems to be looking on at
his companions with a sage indulgence that pardons but does not
share their mirth.
A few words may be said in conclusion as to Kichi-jo Ten. This
divinity is represented in the Butsu zb Dzu-i as a female figure
standing erect, and casting around her numbers of sacred gems,
emblematic of divine gifts ; and in another place, seated, holding a
gem in the left hand. She is described in the text as the sister of
Bishamon. The characters with which " Kichi " and " Jo," the first two syllables
of the name, are written, have both the significance of " Good
Fortune." According to the Hengaku ki han, the word " Kichi " is
used to translate the Sanskrit " S'ri," which appears to be a name, or
title, of many divinities, amongst others of Sarasvati, or Benten.
The terminal " Ten " here signifies Devi.
Kichijo is in all probability identical with the Brahmanic
Lakshmi,* the goddess of Fortune and Beauty, who, according to
a legend in the Bdmdyana, sprang, with other precious things,
from the froth of the ocean, when it was churned by the gods and
demons for the recovery of the Amrita. She appeared with a lotus
in her hand, whence she is also called Padma. Another legend
depicts her at the creation floating over the water on the expanded
petals of a lotus flower, t
Many additional details concerning Kichijo will be found in
Signer Puini's ' I sette Genii della Felicita.' In the Siitra
there quoted her gifts are said to be raiment, food, gold, silver
agates, crops in abundance, and other mateyial blessings. She is
in fact " a Goddess of Wealth." For an account of the representa
tions of Lakshmi in Indian art, see Birdwood's 'Industrial Arts
of India,' vol, i, p. 58.
* Lakshmi by its derivation means good fortune, happiness, beauty, or splendour.
t See Monier Williams' ' Sanskrit- English Dictionary.'

46 JAPANESE PICTORIAL ART.

THE SIXTEEN ARHATS.
The following list of the sixteen Arhats (Jap. Eakan) was originally
extracted from one of the 1662 works known collectively as the
Chinese Buddhist Tripitaka (of which a copy is in the possession
of the India Office library). The Sanskrit and Indian names have
been furnished by Mr. Bunyiu Nanjio.
, In modern China the number of this primary group of Arhats has
been increased to eighteen (Mayers, Eitel), but in Japanese pictures
the original total of sixteen appears to be always preserved. Two
of the group, Bhadra and Panthaka (Nos. 6 and 10), are frequently
depicted apart from the rest, probably on account of the Tiger
and Dragon which form the respective attributes of the pair.
Larger groups of 500 and 1200 are also recognised, and paintings
and sculptures representing the 500 Eakan are by no means
uncommon in the older temples of Japan,
The attributes by which the figures may commonly be recog
nised are described from the engravings in the Butsu Zb Dzu-i,
and from various paintings and sculptures. ,
Of the three names given for each Arhat, the first expresses the
Japanese pronunciation according to Mr, Nanjio (and by the side of
this is placed in brackets the Butsu Zb Dzu-i transliteration), the
second gives the Pekinese pronunciation, and the third the Sanskrit
equivalent. With respect to the latter, however, the identification
is often attended with great difficulty.
I. Bin do ra batsu ra dazha (Hatsura Tasha Sonja) ; Ch. Pin tu
lo poh lo to sho;. Sansk. Pindola Bhadradvaja (?). An aged
man seated upon a rock by the sea-shore, holding tablets (?)
and a short fly-brush {Butsu Zb Dzu-i).
2. Ka na ka ba sha (Kiyataka Hasha Sonja) ; Ch. Chia noh chia fa
t'sho ; Sansk. Kanakavajra (?). Usually seated in a priestly
chair, holding a long fly-brush (B. Z. D.).
3. Batsu ri da zha (Daka^arita Sonja) ; Ch. Poh. Ii to sho ; Sansk.
Bharadvaja. Holds a manuscript roll. An acolyte standing
by his side strikes a bowl gong (dbbdchi).
4. So bin da (Sohinda Sonja) ; Ch. Su pin tho ; Sansk. Suvitta (.?)¦.
Seated upon a mat, hands folded upon knees (B. Z. D.).

'^t/A 2>RA

(<5>Rc/a/ <S')

*i:fi a'-pt«€

6

^i*a^>*'*l

^ms''^^'^'

-v^
m
'^^.

M4i ""^^ ^"f

ytM;pai.A ^QKufnf f%)

^ ¦+

¦4*:
THE SIXTEEN AKHATS. From the Bulsu zo dzM-j. (See page 46.)
PLATE 6.

^ _

BUDDHIST SCHOOL. 47

5. Na ku na (or ro) (Dakora Sonja) ; Ch. Noh Chii na (or lo) ;
Sansk. Nakula (?). Seated upon a priest's chair, holding a
rosary (B. Z. D.).
6. Batsu da ra (Hattara Sonja) ; Ch. Poh tho lo ; Sansk. Bhadra.
Seated upon a rock, a tiger crouching at his feet. Sometimes
holds a ringed staff (shakujo).
7. Ka riki ka (Kari Sonja) ; Ch. Chia Ii chia ; Sansk. Karika (?).
Seated upon a rock, reading a sacred roll (B. Z. D.).
8. Batzu zha ra butsu da ra (Hottara Sonja) ; Ch. Fa sho lo fo tho
lo ; Sansk, Vajrabuddhara (?). Seated upon a stool, holding
a knotted staff.
9. Zhu baku ka (Shiubaka Sonja) ; Ch. Shu poh chia ; Sansk. S'ub-
haka (?). Seated in a chair, a lotus pedestal by his side
(B. Z. D.). Occasionally accompanied by a lion.
10. Han taku ka (Handaka Sonja) ; Ch. Pan tho chia ; Sansk.
Panthaka. Seated upon a rock, holding up a sacred gem,
which may be either of the usual form (with conical summit
and transverse lines), or perfectly round and transparent.
His aspect is generally vigorous and threatening. By his
side crouches a dragon, who appears to be striving to reach
the precious stone.
II. Ea go ra (Eakora Sonja) ; Ch. La hu la ; Sansk. Eahula. Stands
with hands folded in prayer before a lotus pedestal bearing
a funagokb (the expanded somewhat boat-shaped gilded
plaque placed behind Buddhist divinities, probably repre
senting the Halo).
12. Na ga sai na (Nakasaina Sonja) ; Ch. Na chie si na ; Sansk.
Nagasena. Holding a begging-bowl from which ascends a
fountain of water.
13, In katsu da (Inkada Sonja); Ch. Yin chie tho; Sansk.
Ingita (?). Holding a Buddhist sceptre (nio-i), a short staff
capped with a fish.
14. Batsu na ba shi (Hatsunabashi Sonja) ; Ch. Fa na pho sz' ;
Sansk. Vanabhas (?). In prayer before a vase containing a
leafless branch of drooping peach (?).
15. A shi ta (Ashita Sonja) ; Ch. 0 sh' to ; Sansk. Ajita (?). Holds a
long knotted staff; by his side is a vase containing peonies.
16, Zhu ta han taku ka (Chiudahantaka Sonja) ; Ch. Chu thu
pan tho chia ; Sansk. Chullapanthaka. Looking up to heaven ;

48 JAPANESE PICTORIAL ART.
holds a fly-brush (B. Z. D.), or is seated upon a mat,
clasping his knee with both hands.
It is noticeable that in nearly all Japanese pictures the head of the
Arhat is encircled by a translucent nimbus. This is commonly
absent in Chinese paintings, and is said to be invariably omitted in
Indian representations.

THE DRAGON AND TIGER.

The Japanese Dragon (Ch. Lung ; Jap. Eio or Tatsu) is a faithful
transcript of the models received in early times from Chinese artists,
and although long since thoroughly incorporated with the native
traditions, its original characters do not appear to have undergone
any alteration, for the nineteenth-century Dragon of Hokusai might,
in point of physiognomy and attributes, claim twin-brotherhood
with the creature depicted by the Sung Master, Muh-ki.
In its usual form it is a composite monster, with scowling head,
long straight horns, a scaly serpentine body, a bristling row of dorsal
spines, four limbs armed with formidable claws, and with curious
flame-like appendages to its shoulders and hips. The claws are
usually three on each foot, but the number may be increased to five.
According to the Japanese Cyclopaedia, which quotes from a Chinese
authority, the Dragon has the head of a camel, the horns of a deer,
the eyes of a demon, the ears of an ox, the body of a serpent, the
scales of a carp, and the claws of an eagle. The artist, however,
does not adhere very strictly to these laws of composition.
Four kinds of Lung are enumerated by the Chinese. (I) The
Celestial Dragon, which guards the mansions of the gods, and sup
ports them so that they do not fall ; (2) The Spiritual Dragon,
which causes the winds to blow and produces rain for the benefit of
mankind ; (3) The Dragon of Earth, that marks out the courses of
rivers and streams ; and (4) the Dragon of the Hidden Treasures,
which watches over the wealth concealed from mortals (Mayers),
There are a few variations of form and many of colour. The horns
may be wanting, the body may become wholly serpentine, or may be
exchanged for that of a winged fish, and the head may become
shortened, and lose its impressive characters. The colour may be

PLATE 7.

BUDDHIST SCHOOL. 49

snow-white like that of the Dragon enslaved by the fairy sounds of
the one-stringed lute of Tai Chen Wang Fujen ; yellow, like the ho
noured "Dragon -horse " that displayed the scroll of mystic diagrams
to the gaze of the Great Heavenly One, Fuh-hi ; or blue, like the
Azure Dragon, that symbolizes the powers and functions of nature ;
and various other tints are occasionally chosen, according to the
fancy of the artist.
Zoologically it is regarded by the Chinese as the King of the scaly
tribe. In this position its figure appears in the most sober of the
works that represent the science of the Middle Kingdom, and the
Japanese author of an eighteenth-century book upon Natural History,
in which the animals are said to be " drawn from nature," does not
scruple to introduce his series by an orthodox three-clawed Dragon.
Its attributes are very varied ; like the Eishis, it can assume other
forms, and has the power of rendering itself visible or invisible at
will. According to Kwan Tsze (seventh century B.C.), as quoted by
Mayers, it " becomes at will reduced to the size of a silk- worm, or
swollen till it fills the space of heaven and earth." It is however
subject to Buddha and his disciples, and is not only susceptible to
fleshly ailments, like the sickly monster that submitted its enfeebled
frame to the curative needles of the physician Ma She Hwang, but
is even amenable to human affections, as in the case of the dragon
which assumed mortal form as the Princess Toyotama and became an
ancestress of the Mikados.
In Chinese Buddhism it plays an important part, either as a force
auxiliary to the law, or as a malevolent creature to be converted or
quelled. Its usual character however is that of a Guardian of the
faith under the direction of Buddhas, Bodhisattvas, or Arhats. As
a Dragon King it officiates at the baptism of S'akyamuni, or bewails
his entrance into Nirvana ; as an attribute of saintly or divine per
sonages it appears at the feet of the Arhat Panthaka, emerging from
the sea to salute the goddess Kwanyin, or as an attendant upon or
alternative form of Sarasvati, the Japanese Benten ; as an enemy to
mankind it meets its Perseus and Saint George in the Chinese mon
arch Kao Tsu, and the Shinto God, Susano no Mikoto ; as an emblem
of majesty its name is an euphemism for that of the Emperors of
China and Japan, the Imperial throne becoming the Dragon Seat, the
face of the Euler the Dragon Countenance ; and lastly, the days of
the Dragon and Tiger are chosen for the publication of the list of

50 JAPANESE PICTORIAL ART.
graduates at the examinations of the Middle Kingdom, because the
former is emblematic of the Sovereign, the latter of the Government.
As the presiding genius of the Eain-fall, it quits the waters to soar
through the heavens enshrouded in the murky wreaths of the storm-
cloud, through which are dimly shown its hideous head, menacing
claws, and snaky coils. In times of drought, moved by the prayers
or incantations of the people, it brings the refreshing showers upon
the parched earth. As appendages to Taoist legends, it appears
under the spell of the Eishi Ch'en Nan, or bearing the physician
Ma She Hwang to heaven. In Shintoism it appears as the true form
of Toyotama Hime, the wife of Hikohohodemi no Mikoto, whence the
Mikados of Japan derive their Dragon blood,* Lastly, as a symbol of
time and place, it gives its name to certain days and years, and to a
point of the compass.
There is little doubt that it was originally one of the many pro
ducts of the ingenuity of the Chinese, who were especially fond of
evolving supernatural forms by the combination of heterogeneous
parts drawn from many natural sources. Its origin in China is of very
ancient date ; it is referred to as early as the seventh century b.c by
Kwan Tsze, and it is probable that the tradition of the yeUow dragon
that appeared to Fuh hi belongs to a still older period. It is, in fact,
like its cobra representative in Indian Buddhism, a possible relic of
an extinct serpent worship.
Its figure is essentially that of a snake idealized by the addition of
contributions drawn from various parts of the animal kingdom, and
in Chinese and Japanese story, as in Aryan legend, the names Serpent
and Dragon are sometimes interchangeable. Its early Buddhistic
representative in India appears to have been a serpent, for no dragon
is to be seen in the relics of Indian Buddhistic art, but its place is
filled in the Amravati sculptures by the Cobra de capello, in which
the Dragon King becomes the Naga Eadja, and the fierce horned
head is replaced by a perfectly realistic portraiture of the vicious
face and expanded hood of the venomous reptile.
As to the origin of the relation of the Cobra to Indian Buddhism,
* Toyotama, according to the Kojiki, assumed the form of a Wani, or marine
animal (crocodile ?), eight fathoms long ; but elsewhere she is described as under
going transformation into a dragon, a view which is invariably adopted by pictorial
artists. See notes to Chamberlain's translation of the Kojiki. — Tl-ans. Asiatic
Society of Japan, 1883.

BUDDHIST SCHOOL. 51

there appears to be little doubt that the Cobra Kings represented a
once hostile Scythic race of serpent worshippers which first invaded
India in the seventh century b.c, and that a subsequent alliance
with portions of the foreign tribes gave rise to the stories of
converted Nagas, and Nagas who defended the faith. When the
religion made its way into China, where the hooded snake was un
known, the emblems shown in the Indian pictures and graven images
lost their force of suggestion, and hence became replaced by a
mythical but more familiar symbol of power. The multiplication
of the cobra head seen in the Amravati topes becomes lost in Chinese
Buddhism, but perhaps may be traced in the seven-headed dragons
and serpents of Japanese legend.
The identity of the Dragon and Serpent is often illustrated in
Japanese art. Creatures of transitional form, with dragon head but
destitute of legs, are figured and described in the Sbzan Ghomon Ki-
shin (a book of marvels published in 1848), The Dragon of Mount
, Fuji is sometimes replaced by a huge serpent (No. 957), and the
reality and myth are interchangeable as attributes of the Benten of
Enoshima, or as representatives of the goddess herself (see p. 42).
In the earlier Japanese art the Dragon appeared chiefly in the
decorations of Buddhist temples, as a religious symbol, with the gem
of omnipotence in its grasp, but more recently its ornamental
capabilities have been largely utilized for decorative purposes without
reference to its original significance. It is unquestionably suscep
tible of a far more impressive and graceful treatment than its
clumsy European brother, and might teach us a valuable lesson in
the science of the grotesque.
The Tiger (Ch. Hu ; Jap. Ko or Tora) is often classed with the
Phoenix, Tortoise, and Dragon in the group of the Four Supernatural
Animals.* It is described as the King of Beasts, the greatest of all
four-footed creatures, and the representative of the masculine or
active principle of nature. It attains the age of one thousand years,
and after passing the half of this term its hair becomes white.
The name Peh Hu, or White Tiger, is given to the Western quad-
* The Pour Supernatural Animals, according to the Li Ki, one of the Five Chinese
Classics, are the Peng (Phcenix), the Kwei (Tortoise), the Lung (Dragon), and
the Lin (" Unicom ").— N. See notes to Nos. 867, 625, and 702.
E 2

52 JAPANESE PICTORIAL ART.
rant of the Uranoscope and, metaphorically, to the West in general
(Mayers). The Tiger is one of the commonest Buddhist symbols, and probably
made its first appearance in Chinese art in that capacity. In
Japanese and Chinese Butsu-ye it is seen in association with the
dragon, apparently as an emblem of the power of the faith, and is
then usually represented crouching by the side of a clump of bam
boo grass in the midst of a storm (' U-chiu no Tora '). It is also the
attribute of the Arhat Bhadra, the companion of the Taoist Eishis
Kii Ling-jin, the steed of Ts'ai Lwan or Wen Siao, one of the four
sleepers (with Han Shan, Shih-te, and Feng Kan), and in later
legends the victim of the prowess of various Japanese heroes.
The animal is sometimes regarded as a type of Wisdom, and its
readiness of resource is illustrated in a story, probably of Chinese
origin, that will be recognized as having an analogue in European
folk-lore. " A tigress was desirous of conveying her three cubs
across a river. Now one of these cubs was of a vicious disposition
and could only be deterred from killing its brethren by the presence
of the mother. The tigress being unable to carry more than one at
a time, was obliged to devise a plan to prevent the evil-minded cub
from working mischief, and effected her purpose thus. She first
swam across with the wicked cub, and leaving it upon the further
bank returned for one of her two harmless offspring. On reaching her
destination with this second burden she put it down, and immediately
taking up the wicked one conveyed him back to the starting point
to change him for the third cub, who was in turn carried over.
Finally a last journey was made to bring the vicious cub, who had
thus been deprived of all opportunity of doing ill." (See E-hon
Koji Dan.)
Its representations in Sinico-Japanese art are, with rare excep
tions, very conventional, even in the hands of masters like Chao Tan-
lin and Ganku, who have won a reputation by their pictures of
the animal. They are however less remote from nature than the
portraits of the Lion,

BUDDHIST SCHOOL. 53

RISHIS.
The Eishi (Ch. Sien nung ; Jap. Sennin, Ukiaku, or Yamahito)
are evolutions of philosophy and superstition, who play no small part
in the mystic scenes of Buddhism and Taoism. According to Nagar
djuna, as quoted by Eitel, they are beings who " enjoy rest (i.e.
exemption from transmigration) in the solitude of mountains for a
hundred thousand years, after the lapse of which time they again
enter the circle of transmigration."
In the Wa-kan San-zai dzu-ye it is said that a person who reaches
a great age and does not die is called a Sennin, or man of the
mountains, because such favoured ones usually retired to mountain
solitudes to practise austerity and contemplation. " He who desires
to know the Truth must have a pure spirit, and must surrender
carnal affections, and when he has attained the art of the Sennin,
he must still maintain a watch over his thoughts and actions lest the
power should depart."
They are variously classified, but the grouping which accords best
with references in Sinico-Japanese literature is that given by Eitel
in his ' Handbook of Chinese Buddhism ' ; —
I. Deva Eishis, who are believed to reside in the Seven Circular
Eocks which surround Mount Meru.
2. Spirit Eishis, who roam about in the air.
3. Human Eishis, or recluses who have obtained the charm of
immortality. 4. Earth Eishis, who live in subterranean caves.
5. Preta Eishis, who either roam about unseen, or live on islands,
in deserts, or in caverns.
Of these five' classes the third is the most familiar to students of
Chinese and Japanese religious and legendary art, and appears to
include three of the five groups recognised by Taoist mythology (see
Mayers), namely :
Genii of human kind, men who have succeeded in freeing them
selves from perturbation of spirit and the infirmities of the flesh.
Genii upon earth, human beings who have attained to immortality
in the existing world.
Deified Genii, immortalized spirits who have bidden farewell to

54 JAPANESE PICTORIAL ART.
earth, and have departed to roam among the three Islands of the
Blest. The Sennin of the Japanese artist are nearly all Taoist or Tao-
Buddhistic myths, of Chinese invention ; but some may be traced to
Indian sources, and a few are of native origin. The originals of the
greater number may be found in a Chinese work with rough woodcut
illustrations, reprinted in Japan in I65I, under the title of Bessen
zen den (Lieh-sien chuen chuen). Many of the portraitures there
shown are of a kind to arouse strong curiosity. They lead us to expect
a feast of those strange stories in which we suppose the Oriental
imagination so fertile, legends that are to waft our fancy into mysteri
ous regions, and permit glimpses of marvels far beyond the dreams of
our prosaic philosophy ; but when we turn to the pages that should
gratify our anticipations, we are greeted by little but disjointed frag
ments of poorly -conceived extravagance, that would scarcely satisfy
the fable-yearnings of a child. They are for the most part bald
narrations concerning uninteresting personages, who by instruction
or elixirs attained the so-called immortality, together with various
miraculous powers that were often destined to be applied to ends
almost as trivial as those of the spirit manifestations in a modern
seance. In some of the stories there is indeed a trace of ingenuity
and purpose, as in that of T'ieh Kw'ai, whose spiritual essence could
be set free at will to wander unencumbered in the realms of space,
but lost its material frame during a too protracted separation of
" I'dme et la bete " ; that of Kume no Sennin, who, while enjoying the
Eishi's privilege of soaring through the air, imbibed gross particles
of fleshly desire into his etherealized frame by incautiously gazing
upon the charms of a fair damsel, mirrored in a stream below, and
so, becoming subject again to the laws of gravitation, fell heavily to
earth ; and that of Taiyoshi (Ta Yang Tsz'), whose habits of intem
perance shortened his days to the mere span of five brief centuries,
and brought the snows of age upon his head before his face had lost
its supernatural juvenility, A few other instances might be added,
but they form only a small proportion to the mass of mere nursery
legend. An elixir vitse, often referred to obscurely as a pill or medicine, is
supposed to have the power of transforming those who partake of it
into Sennins, and certain magic sentences or charms appear to possess
the same faculty. As a rule, the exact nature of the wonder-working

PLATE 8.

i 0
0 >,

1^.

^-^

BUDDHIST SCHOOL. 55

medium is left to the imagination, but in the Wa-kan san-zai dzu-ye,
vol. vii., a prescription used by the Eishi Wang Tsze Kiao (quoted
from a work named Gioku-kan-ho) is formulated with a precision
that leaves nothing to be desired, save efficacy. It runs thus : " Take
the young shoots of the chrysanthemum in the third month, the
leaves in the sixth month, the flowers in the ninth month, and the
stem and root in the twelfth month. Dry these several parts in the
shade during a hundred days, then take equal portions of each, and
let them be pulverized on the day of the Dog. One momme (58 • 33
grains Troy) of the mixture must be taken daily, mingled with wine,
or made into a pill with honey, A dose should be taken at three
several times in the day, and on each occasion in seven divided quan
tities. Then at the end of a hundred days the body will lose part of
its specific gravity ; after a year, hair that has become white with
age will deepen again to black ; in two years, teeth that have fallen
out will be replaced by a new growth ; and when five years have
expired, an old man of eighty years of age will be rejuvenated to a
second boyhood/'
Of the many scores of Eishi portraitures met with in Japanese
and Chinese books and drawings, the following may be alluded to
as the most familiar and recognisable : —
The Eight Eishi of the Taoists,
1. Shoriken (Ch, : Chung-li K'iian),* Eepresented either as ^,
a martial figure with a sword, or as a fat man, with bare
abdomen, holding a fan or fly-brush. In the latter form he is
not unlike Hotei. (See No. 1252.)
2. Ohokwaro or Tsugen (Chung Ko Laou). A sage conjuring a
horse or mule out of a gourd, or holding an instrument of
music, (See No, 1460,)
3, Eiotohin (Lu Tung-pin, or Lu Yen). A personage of martial
aspect, armed with a sword.
4, Sokokukiu (Ts'ao Kwoh-k'iu). A military official, holding a
pair of castanets.
5. Tekkai (T'ieh Kwai), (See No. 1348.) A lame and ragged
beggar exhaling his spiritual essence in the form of a shadowy
miniature of his corporeal form. The spirit is sometimes
* In this list the Japanese name precedes the Chinese.

56 JAPANESE PICTORIAL ART.
represented riding away upon the mule that has escaped from
Chokwaro's gourd.
6. Kanshoshi (Han Siang Tsz'). A sage playing upon a flute, or
floating upon a portion of the hollow trunk of a tree.
7. Eansaikwa (Lan Ts'ai-ho). A female or aged man partly clad
in leaves, carrying a flower-basket.
8. Kasenko (Ho Sien-ku). A young female clothed with a
mantle of mugwort leaves and holding a lotus-flower.
These personages are described in Mayers' ' Chinese Eeader's
Manual,' the Bessen Zen Den, and Franks' ' Catalogue of Oriental
Pottery and Porcelain,' The category, which is said to date not
earlier than the Yiien dynasty (I206-I368), is rarely seen in its
entirety in Japanese works of art, and its constitution often varies
considerably even in Chinese pictures,
Eoshi (Lao-Tsze). An old man with short body and lofty head,
bearing in many cases an extremely close resemblance to Fukuro
kujiu. He is usually represented riding upon an ox, (Bessen Zen
Den, vol. i. See No. 641.)
Seiobo, or Kitaikimbo (Si Wang Mu). A female, richly dressed,
Ajyith a royal tiara— usually represented standing upon a cloud
with two female attendants, one of whom holds a dish of peaches,
the other a processional or ceremonial fan, (E, Z, D., vol. i. See
No. 705.)
Seiobo no Shiji, or Taishin 0 Fujin (Tai Chen Wang Fujen).
The sister or attendant of Si Wang Mu. A female holding an instru
ment of music with a single chord, and accompanied by or riding
upon a white dragon. (E. Z. D., vol. i. See No. 2438.) She is some
times associated with a companion, Jogen Fujin (Shang Yuen Fujen),
who is riding upon a Kirin.
Gama Sennin, or Kosensei (How Sien-sSng). A meanly dressed
man with flat, ugly features, in companionship with a large white
three-legged toad or frog, which may be represented in the act of
exhaling a rainbow or mirage. (E. Z. D., vol. vii. See No. 703.)
Chinnan (Ch'en Nan). A wild-looking man in beggarly attire,
evoking a dragon from a vessel of water, or sailing across a river
supported by a large hat. He is often classified as one of the Eight
Sennin. (E .Z. D., vol. viii. See No. 745.)
Kinko (Kin Kao). A sage riding upon a carp which is just leap-

PLATE 9.

3 o

BUDDHIST SCHOOL. 57

ing from the water, or standing upon a pair of the fishes. (E. Z. D.,
vol. i. See No. 794.)
Shiyei (Tsz' Ying). A man riding upon a winged and horned
carp, (E. Z, D., vol, iii.)
Eiiijo (Liu Nii). A female riding upon a wild goose, (E. Z. D,,
vol. vii.)
Oshikio (Wang Tsz' Kiao). A sage riding upon a white crane.
Sometimes represented playing upon an instrument of music called
the Sho. (E. Z. D., vol. i. See Na 1458.)
Baifuku (Mei Fuh). A sage riding upon a phoenix, (E. Z, D.,
vol. iii. See No. 1562.)
Koan (Hwang Ngan). A nude or semi-nude man seated upon
the back of a large tortoise. (E. Z, D., vol. ii.) A similar figure is
represented in the Hokusai Mangwa and elsewhere under the name
of Eoko (Lii Ngao), the animal being sometimes provided with the
fringed tail of the Sacred Tortoise of P'eng Lai.
Kohaku (Hwang Peh). A sage riding upon a yellow stork.
Koreijin (Ku Ling-jin). A Sage in companionship with a white
tiger. (See No. 1557.)
Bukan Zenji (Feng Kan), A priest riding upon or sleeping
beside a tiger,
Kanzan (Han Shan). An ill-clad boyish figure holding a roll,
usually in laughing conversation with his companion Jitoku.
Jitoku (Shih-te). A boyish figure holding a besom. He and the
last are sometimes represented with Bukan and his tiger as the
" Four Sleepers." (See No. 606.)
Choshikwa (Chang Chih-ho). A sage travelling upon the water
supported by a mat, and watching the approach of a stork. He is
occasionally represented as one of the Eight Sennin. (E. Z. D.,-
vol. vi.)
Jido, or Kiku Jido (Keuh Tsz'tung). A boy seated beside a stream,
writing upon chrysanthemum leaves and throwing them into the
water. (See No. 1568.)
KSshohei (Hwang Ch'u p'ihg). A sage touching stones with a
wand to convert them into sheep for the edification of his brother.
(E. Z. D., vol. ii. See No, 66, Chinese.)
Mojo (Mao Nii). A wild-looking female, covered with hair,
carrying a basket and branches of pine or of the peach-tree of
immortality. (E, Z. D., vol. ii. See No, 1271.)

58 JAPANESE PICTORIAL ART.
Tobosaku (T'ung Fang-so). A merry old man holding a large
peach in his arms. Sometimes represented riding upon a stag.
(Hokusai Mangwa. E. Z. D., vol. ii. See No. 615.)
Bomo (Mao Meng). A sage standing upon the head of a dragon.
(E. Z. D., vol. ii.)
Bushishi (Wu Chi Tsz'). A sage ascending in the air upon an
open scroll. (E. Z. D., vol. viii. See No. 2381.)
Chochiuka (Chang Kiu-ko). A man cutting fraigments off his
garments, the pieces becoming converted into butterflies. (E. Z. D.,
vol. vii. See No. 1559,)
Hichobo, or Koko (Fei Chang-fang, or Hu Kung). An old
man whose body is concealed in a pot or gourd-shaped vessel.
(E. Z, D., vol. iv.) The first name is sometimes assigned to a dis
ciple, (See Mayers.)
Gomo (Wu Meng). A sage crossing a stream upon a feather-fan,
or riding through the air in a car drawn by stags. (E. Z. D.,
vol. iv.)
Shachiusho (Seay Chung-chu), A sage supported upon the
waves by a branch of bamboo (?). This personage must not be mis
taken for Daruma (Bodhidharma), the Buddhist priest, who is often
represented crossing the ocean to Japan upon a reed,
Katsugen (Kwoh Yiien). A man of martial aspect borne upon the
water by a sword. (E. Z. D., vol, iv,)
Eesshi (Lih Tsz'). A sage moving through the air in the midst of
a rain shower, (E. Z. D,, vol, i.)
Akusen (Wu Ts'uen), A wild-looking man with leaf dress,
eating fir-cones. (E. Z, D., vol, i,)
Kume no Sennin (a Japanese rishi). A sage falling from the
clouds while looking at the reflection of a girl who is standing in a
stream, Shinretsu and Bunsho (Ts'ai Lwan and Wen Siao), Man and
woman riding upon tigers (Mayers),
Jogen Fujin (Shang Yiien Fujen). A woman riding upon a
Kirin (Ki Lin). (E. Z. D,, vol, i.)
Hoso (P'Sng Tsung), A sage reclining upon the waves. (E, Z. D.,
vol, i.)
Bashiko (Ma She-hwang), [A physician performing acupuncture
upon a sick dragon, or flying to the clouds upon the dragon's back,
(E. Z, D., vol. i. See No, 263.)

>-1 m

CHINNAN.

OGEI.

GAMA.

MAKO.

FUKIUHAKU.

CHOSHIKWA

SAKFUSHI.

KOSHOHEI.

ohGsanshiu,

HAKUSfiKISHO

IKKI.

SHUSHI.

S0NT5.

BASEISHI.

TEKKAI.

HIOCHO.

ftOKO.

OSHvJ.
SENNIN AND SAGES. After Hokusai. fPage 59.)
BUDDHIST SCHOOL. 59

Katsuyu (Koh Yiu). A wild-looking man riding upon a goat.
(E.Z.D., vol. i.)
Hosho (Shih Cheng). A sage with flaming eyes. (E. Z. D.
vol. ii.)
Chodorio (Chang Tao-ling), A martial figure standing upon
a cloud, (E. Z. D., vol, iii,)
Mako (Ma Ku), A beautiful girl in converse with her brother
Oyen (Wang Yiien) and Saikio (Ts'ai King), the Minister of the
Sung Emperor Hwei Tsung. (E, Z. D., vol, iii. Mayers.)
Osho (Wang-chu). A sage seated upon the ground watching the
descent from the skies of an open umbrella to which a roll is attached.
In the Soshi gwa den he is seen riding to heaven upon the umbrella.
Sonto (Sun Teng). A sage seated upon the rocks playing upon a
one-stringed lute, (E, Z. D., vol. iv.)
Eihaku, or Eitaihaku (Li Peh), A sage, represented under three
different circumstances — gazing in poetic fervour at the cascade of
the Lii Mountains ; sinking in the collapse of inebriation ; or riding
heavenwards upon a dragon, (E, Z. D,, vol. vi. See No. 1556.)
Eashibo (Lo Tsz'fang), A woman in a boat borne through the
air upon clouds, (E. Z. D., vol, vi,)
Kakudaitsu (Hoh Ta-t'ung), An old man seated in the midst of
a group of children who have piled a pyramid of stones upon his
head. (E, Z. D.)
Shoshi (Hsiao She). A man riding upon a phoenix, playing upon
a reed instrument resembling the pandean pipes. (Bessen Dzu San.)
Saji (Tsao Tsze). A man hooking a fish. (Bessen Dzu San, and
Mayers, No. 745.) A similar figure appears in the Hokusai Man
gwa, under the name of Kenshi.
Eanha (Lwan-pa). A sage spirting water from his mouth.
(E,Z,D.) Eogioku. (Lao-yu.) A woman, richly attired, borne through the
air by a phoenix. (See No. 658.)

DEMONS.

The orthodox Sinico-Japanese demon (Oni) is, to the adult mind,
more amusing than terrible in the elaborate ugliness with which
popular conception has endowed him. A brawny-limbed creature.

60 JAPANESE PICTORIAL ART.
rejoicing in a complexion of a bright red, green, or bluish tint in place
of the proverbially dusky hue appropriate to his Western relative —
with fingers and toes armed with sharp claws, and reduced in number
to three, or, in the case of the lower limb, sometimes to two in each
member ; a short, square head, whose scowling brows are crowned
with a brutal receding forehead and a pair of horny protuberances;
and a gaping mouth, furnished with a set of wolfish fangs — he is a
mere Oriental Caliban, without a touch of the refinement and intel
lect of the Miltonic spirit of evil. His literary history, too, shows
him to be a thoroughly contemptible monster, amenable as he is to
the discipline of every hedge-priest, and to physical chastisement
from any determined mortal who has the courage to join issue.
Like the Fox and the Tanuki (see Nos. 1803 and 2276), his chief force
lies in his power of assuming various shapes at will, and knowing
the weakness of men, he affects, by preference, the sentimental
beauty and trustful grace of the distressed damsel of mediaeval
romance. It was in this form that a devil sought to beguile Wata-
nabe no Tsuna, but lost an arm in the enterprise ; and another, that
induced Hikoshichi to bear him upon his back, till the diabolical
lineaments were betrayed by their reflection in the truth-telling
mirror of the stream, also appealed to the chivalry of the noble
as a fair lady. craving knightly aid. The demon Shiuten Doji
chose the garb and aspect of a gigantic Chinese boy, but resumed
his fiendish guise in sleep ; and the Spider-Devil slain by Eaiko
appeared in various characters before his white blood was spilt by
the hero's blade. (See Nos. 285 and 383.)
The demon is usually regarded as appertaining to an order of
beings wholly distinct at all times from the human race, but it is
recognised that a human being may become metamorphosed into a
devil during life by force of evil passions. Such was the case
with the noble damsel in the reign of the Emperor Saga (810-
823 A.D.), who, urged by a fury of jealousy, underwent voluntary
conversion into a demon ; and Kiyo Hime, whose sacrilegious lust
changed her into a fiery dragon-fiend, in which form the heat of her
coils cremated the priestly object of her desires in his last refug"e
under the dome of the temple bell.
In domestic folk-lore the demon is an embodiment of evil that
finds its antitypes in the Gods of Good Fortune, and may be put to
flight by the New Year's Adjuration of the Oniyarai. They are

PLATE n.

%^m^riE.i ^

M.-'ni'^m^-

^F-'^i^

"^ fu I ¦

¦zr 7

Sf/Of-'A KU !fo

-¦ff K

-^"^B^^;

UM^

= = ,3& i^i 7; ^ 7^ t^ '>
t ^ # i = ^y'- j& ^

EHCGAHn NO SHAEA. ' TANJO NO SHAKA.
n£hAN ho SHAEA. SHUSSAH HO SHAEA.
sIktamuni. (Page 61.) Prom the BaUu zo dzu-i.
BUDDHIST SCHOOL. 61

subject to the pains of the flesh when pelted by the beans of the
household exorcist, and are even liable to parental instincts, if we
may judge by the representations which show them snatching up
their little ones in their hasty flight from the dreaded missiles.
In Chinese folk-lore the demons mostly appear under the domina
tion of the formidable Chung Kwei (the Japanese Shoki, see No. 687),
before whom they crouch, mean and puny, but cunning enough to
give their implacable foe many an ingenious slip.
In religious writings they hold a different place, and may be
dignified with official rank in the realms of King Yama, or even
become subservient to pious ends as retainers of holy men, like
Hiouen Thsang and En no Shokaku. They are rarely, however,
brought upon the scene as tempters of men.
Lastly, beings which have no especially diabolic functions are
sometimes clothed with demon form, as the Eain, Thunder, and
Wind gods.
A fairly complete repertory of the evil spirits depicted by Chinese
and Japanese artists will be found in Nos. 274 and 2038,

S'AKYAMUNL ¦I
S'akyamuni, the historical Buddha, is venerated throughout China
and Japan as the founder of the Buddhist faith, but shares the
honours of worship, at some disadvantage, with Amitabha, one of
the thousand flctitions Buddhas invented by the Mahayana school
at the beginning of the fourth century of our era.
The Japanese accounts of S'akyamuni (Shaka) correspond closely
with that given by Eitel in the ' Handbook of Chinese Buddhism,'
and adopt, together with the erroneous Chinese chronology, all the
feebly extravagant fables with which priestly invention has filled
the gaps in his biography. All that is known or asserted respecting
his life and work will be found in the writings of Oldenberg, Eitel,
Hardy, Beale, Edkins, Satow,* and others; hence it will only be
necessary to enumerate his principal representations in Japanese
images, pictorial and otherwise.
I. Tanjo no Shaka. The Birth of S'akyamuni. A figure of a
* See Satow and Hawes' ' Handbook for Japan,' 2nd edition.

62 JAPANESE PICTORIAL ART.
child standing erect upon a lotus thalamus and pointing to heaven.
The text placed against the figure in the Butsu zb dzu-i runs as
follows : " His father was King Jobon (S'uddhodhana) of Kabira-
koku (the country of Kapila), in Mid-India, and his mother was
named Maya Fujin (the Lady Maya). He was born at the hour of
the Tiger, on the eighth day of the fourth month; and after his
appearance he pointed above and earthwards, crying, ' I the only
most exalted one.' "
2. His baptism by the nine Dragon Kings. (See No. 834.)
3. Shussan no Shaka (Shaka returning from the mountain), A
man with beard and shaven head, attired in flowing garments
which are agitated by the winds, holding his hands in a position of
prayer. His ear-lobes are enlarged, his head is encircled by a
nimbus, and his brow bears the urna (a light-giving circle of hair,
the mark of a Buddha or Bodhisattva), (See No. 1206.)
" On the eighth day of the second month, of the nineteenth year
of his age " (the Oriental recorder is nothing if not precise in his
fictions of time and numbers), "he departed from the palace and
went to the Mount Dandoku (Dantalokagiri), During twelve years
he practised asceticism, and when he had reached his thirtieth year,
on the eighth day of the twelfth month, of the thirty-third year
of the Emperor Sho 0 (Chao Wang : 1020 b.c), he attained to the
most intimate secrets of Buddhism, in the country of Makatsuda "
(Magadhad). 4. Shogaku no Shaka (The All-wise S'akya). A Buddha seated
upon a lotus thalamus resting his left hand upon his knees, with the
back downwards, and holding up the right hand, with the palm
directed forwards. The hair is represented by a blue mass resembling
short, close curls of uniform size, and a jewel is placed about midway
between the crown and the forehead. The ij,rna and nimbus are always
present. In this form he is also shown in the Amravati remains.
The text of the Butsu-zb dzu-i states as the length of time during
which he preached the faith, 52 years, 22 days and a night, of which
period the Nirvana represented one day and one night. (See No. 25.)
5. Nehan no Shaka. The Nirvana of S'akyamuni. The Buddha
lying upon a raised bench, resting on his right side, with closed
eyes, his head pillowed upon a lotus. The nimbus is usually
omitted. (See Nos. 7 and 8.)
" On the fifteenth midnight of the second month of the eightieth

BUDDHIST SCHOOL. 63
year of his age he died in the grove of Sara (Sala) trees, near the
river Batteiga (Hiranyavati, by the city of Kus'inagara), at the
period corresponding to the 36th year of the reign of Boku 0 (Muh
Wang : 966 b.c), of the Shiu (Chow) dynasty of China." (Butsu zb
dzvri.) 6, Shaka Niorai. — Shaka the Healer, In the same form as the
Shogaku no Shaka. He is here introduced amongst the Sanjiu-nichi
hi-hutsu, or Guardians of the Thirty Days, as presiding over the
thirtieth day of the month ; and again in the same form as one of
the Thirteen Buddhas (Jiusan Butsu).
7. In the S'akyamuni Trinity. He is here seen as a Buddha, erect
or seated between his spiritual sons, the Bodhisattvas Mandjus'ri
and Samantabhadra. (See No. 88.)
8, Beholding the Four Visions, of the old man, the 'sick man, the
corpse, and the ascetic,
9. His temptation by the siren daughters of the evil spirit Mara,
and the assault by the demon army. These last are more rarely
subjects for illustration.
It is to be noted that in Japan the figure of the Buddha is never
represented by the feet or pedestal alone, as in the Amravati remains
and many other Indian art-relics.

AMITABHA.
Amitabha (Jap. Amida), the most popular Buddha, both in China
and Japan, is one of the inventions of the Mahayana school, and
dates from about 300 a.d. His worship is not referred to by Fahien
or Hiouen Thsang, nor is it known to Southern Buddhism ; and it
is only since the beginning of the fifth century that he has been
placed in the foreground in China by Kumarayapa, who came to
the Middle Kingdom by way of Tibet in 405 a.d. (Eitel), He is
supposed to preside with Kwanyin over the Paradise in the West,
where the good may enjoy long ages of rest, but without interruption
to the circle of transmigrations,
Amitabha is usually represented in association with his spiritual
sons, Avalokites'vara and Mahasthama-prapta, but, in addition, he
appears in the Nine phases of Amida (Kubon no Mida), in which
different positions of the hands and fingers are supposed to express

64 JAPANESE PICTORIAL ART.
mystic distinctions (see Butsu zo dzu-i) ; as the Guardian of the ninth
day of the month ; as the Saviour of the pious man who escapes
the Perils of Wickedness by crossing the silver Bridge of Faith
(see No, 54) ; as one of the Thirteen Buddhas (see No. 25) ; as a
Sun god (see No. 6) ; and as a principal figure in most of the
Mandaras (see Nos. 59, 60, 63, and 116). According to a Japanese
legend, Amida mingled his divine essence with the race of the
Mikados by assuming the form of a concubine of the heir to the
throne (afterwards Yomei Tenno), and while incarnate became the
mother of Shotoku Taishi (see No. 254).

KWANYIN.
Kwanyin (Jap. Kwan-non), a Bodhisattva, almost outrivals
Amitabha as a popular divinity in Japan. Identified as Avalokites'
vara (the down-looking Sovereign), the spiritual son of Amitabha,
the divinity nevertheless appears in Chinese and Japanese images
as a female, an incongruity which is probably explained by the
theories advanced by the Chinese — that Kwanyin is of native origin,
and was originally the daughter of a King of the Chow dynasty
(696 b,c.), a date preceding the introduction of Buddhism from
India. It is told that she was sentenced to death by her father for
refusing to marry, but the executioner's sword broke without
harming her. Her spirit went to Hell, but Hell changed to Paradise,
and the King of the Infernal Eegions, to preserve the proprieties of
his realm, sent her back to life, when she was miraculously trans
ported on a lotus flower to the Island of Pootoo. (See Eitel's ' Manual
of Chinese Buddhism,' where the question is fully discussed.)
The chief representations of Kwanyin in Japanese Buddhist art
are as follows : —
I, The Thousand-handed Kwanyin (Sen-jiu Kwan-non). (See
No. 56.)
2, The Eleven-faced Kwanyin (Jiu-ichi-men Kwan-non), (See
No. 55.)
3. As one of the two spiritual sons of Amitabha, the other being
Mahasthama-prapta, (See No. 4.) Kwanyin, as the Goddess of
Mercy, is believed to share with Amitabha the dominion of the
Paradise in the West.

PLATE 12.

^.i m ti

AlfUr^^Sj

"

kichijS TEH. (Page 45.)

BISHAUOH TEH. (Page 39.)

AHOKU kwahnoh. (Page 64.) sen-jid kwahnon. (Page 64.)
From the Butsu zo dzu-i.

BUDDHIST SCHOOL. 65

4, As one of the Seventy-five Bodhisattvas (Butsu zo dzu-i, vol, i.).
5, The horse-headed Kwanyin (Ba-to Kwan-non), one of the
' Seven Kwanyins ' of the Butsu zo dzu-i. The other important
members of the group are the Thousand-handed and the Eleven-
faced Kwanyins.
6. As one of the Thirteen Bodhisattva to be prayed to for delivery
of the spirit of the dead from Hades. Kwanyin is to be addressed
on the hundredth day after the decease.
7. The Thirty-three manifestations of Kwanyin (see Butsu zo
dzu-i, and No. 59). The forms most commonly selected for separate
representation are the Eiu-dzu or Dragon Kwan-non (Chinese,
No. 57), the Sei-dzu Kwan-non (No. 1287), the Anoku Kwan-non
(No. 1291), and the Gioran Kwan-non. The form and attire in all
of these are undoubtedly feminine.
8. Kwanyin the Maternal. The goddess holding a child in her
arms. This form is not alluded to in the Butsu zo dzu-i, and is very
rarely met with in Japanese Buddhist art works. Images are how
ever not uncommon in China, and have sometimes been mistaken by
foreigners for representations of the " Virgin and Child."

66 JAPANESE PICTORIAL ART.

BUDDHIST SCHOOL.

1 and 2. A pair of Kakemonos (or hanging pictures), on silk,
painted in colours. Size, 42| x I9|,
Rakan (Sansk. Abhat — Akhan),
1. A priestly figure holding a Buddhist Nio-i. The ear lobes are
enlarged, but the nimbus, an almost constant attribute of the Arhat
in Japanese pictures, is omitted. An Apsara kneels before him
with an ofiering of peaches and a flowering branch of the Peach-
Tree of Longevity.
2. A venerable man with enormously elongated eyebrows, the
head surrounded by a colourless transparent nimbus. He is seated
beneath a Sala tree and by his side crouches a tiger.
This picture represents the Arhat Bhadra, but the companion
figure has not been identified.
Attributed to Cho Densu (Mei-cho). No signature or
seal. Early part of fifteenth century.
The Nio-i (Chinese, Jurf) is a short curved wand commonly terminating
in a kind of trefoil at the extremity opposite to the handle. It is probably
symbolical of the power of the Faith. In Japan it ia used chiefly by the
Zen sect.
3. Kakemono, on silk, painted in colours. Size, ^1\ x 15 J,
,/ Rakan (Subhaka P).
I A figure having the attributes of an Arhat. A lion of very
i conventional type stands by his side.
Painted by Cho Densu. Seal. Certificate. Fifteenth
century.
4. Kakemono, on paper, painted in colours. Size, 52^ x 23.
The Amida Trinity.
This picture has the peculiarity that the outlines of the three
figures of Amitabha, Avalokites'vara, and Mahasthamaprapta are
formed by minutely written characters transcribing the Siitras
known in Japan as the Sambu Kid and Amida Kid. The first of
these compositions is repeated thrice, the second twenty-five times.

BUDDHIST SCHOOL. 67

The tints between the outlines are also covered with Chinese
characters. " Carefully written and drawn by En-jin-sai, at the age of
sixty-three, at Shirakane, on the banks of the Tamagawa,
in Eastern Musashi," Signed. Seal. Eighteenth century.
The Sambu Kio, a set of three Siitras, of which the Amida Kid is one,
form the basis of the doctrines of the Shin sect. (See Introductory Section
on Eeligions in Satow and Hawes' ' Handbook for Japan.')
5, Kakemono, on silk, painted in colours. Size, 36 x 16 1.
Amida (Sansk, Amitabha),
Painted by the chief priest of the temple of Zo-j6-ji.
Signed, Zo-j6-ji Dai-So-j6. Early part of nineteenth
century. Chinese Buddhists recognise nine forms of AmitS.bha, each characterised
by a peculiar position of the hands and fingers. The form here represented
is distinguished as Jo-bon Jo-sho (" the first form, first birth." See Butsu
zd dzu-i, vol. i.). The hands rest upon the knees, palms upwards, and the
fingers bent in such a manner that tbe backs of the two last joints of the
one hand are in contact with the corresponding parts of the opposite hand.
The special significance of these manual signs is explained in a Siitra
known in Japan as the Kwan-gid.
6, Kakemono, on silk, painted in colours. Size, 39| x 21|^.
Yama-goshi no Niorai. Amitabha rising above the
mountains.
The head of the Buddha, radiating golden beams, rises like a sun
above the heights of Mount Yokokawa. The landscape is con
ventionally treated and outlined with gold.
The original picture, which still remains at the Monastery of
Yeshin-in, in Yokokawa, is said to have been painted by the monk
Gen-shin, or I1-shin Sodzu (d. 1017 a.d.), to whom the vision had
been manifested. (See Butsu zo dzu-i, vol. i.)
Painted by Ho-itsu (see Korin School). Seal. Nineteenth
century.
7, Kakemono, on silk, painted in colours. Size, 92 x 92.
The Nirvana of S'§,kyamuni.
This picture, of which there are innumerable repetitions in
Japan, shows S'akyamuni immediately after his entrance into the
state of Nirvana, surrounded by his disciples and the principal
representatives of the Buddhist Pantheon. S'akyamuni, lying upon
his left side, has assumed tbe golden tint of Buddhaship, while the
F 2

68 JAPANESE PICTORIAL ART.
Divinities and Arhats join in demonstrations of grief at the loss
to the world of the active influence of the Great Teacher. Some
weep silently ; Ananda, the cousin of S'akya, has fainted ; the
Temple Guardians (M 0) Brahma and Indra have cast themselves
to the earth in uncontrollable transports ; one of the Army of the
Church vomits blood ; even the inarticulate creation takes part in
the general expression of woe, and the elephant is seen rolling its
unwieldy bulk upon the ground in utter despair. The cat does
not appear amongst the four-footed mourners, and is popularly sup
posed to have slain the rat that should have brought the medicine
for the cure of the disease that ended the worldly life of the Buddha.
A bag, believed to contain the healing drugs, is seen hanging from
the summit of a ringed staff that rests against one of the Sala trees,
under the shade of which the spirit has entered into Nirvana. In
the sky the mother of S'akyamuni, with attendant Devi, looks down
upon the body of her son.
Artist unknown. Fifteenth century (?).
The earliest knovm representation of this subject is that of Wu Tao-
tsz', painted in the eighth century a.d., and still in existence at the
Temple of Manjuji, in Kioto. The central portion of the composition
coincides almost exactly with the painting of Lt Lung-ten (Chinese, No. 1)
and with the picture just described, but compiises, io addition, a delinea
tion of various incidents closing the life of the Buddha. It is engraved in
the ' Pictorial Arts of Japan.'
8. Kakemono, on silk, painted in colours. Size, 36J x I5|.
The NirvS,na of S'akyamuni.
The details closely resemble those of the preceding picture.
Painted by T5-koku Fuji-waka no Shun-bio, Signed.
Seal. Nineteenth century.
9 to 20. A set of twelve Kakemonos, on silk, painted in colours.
Size, 381 X 143
The Tvsrelve Dgva Kings (Jap. Jiu-ni Ten, or Jiu-ni 0),
1. Yemma Ten (Sansk. Yama). The King of Hell.
An effeminate figure with red complexion, holding a long staff
surmounted by a Bodhisattva head. The head of the Deva King
is enveloped by a flaming nimbus, an attribute common to the whole
group. 2. Gwat' Ten (Sansk. Soma DSva, or Tohandba), The
Deva of the Moon.
An effeminate figure, holding a lotus, upon which rests an image
of the moon.

PLATE 13.

4? Hi -MB't^, 0'i!:^iS SgW:;^*

H^'^^.'R^.-K'J!!? »^^:-!»ii^*|gi,

B^-^£:''VJ^:^^X]^^i?ft^^

-\

K^'-^C^U ^^^^V«fV*""^B&4^

^-«*al^;^^''

'.'^.*%§f^iJ

¦¦ri«r^-^lgf;^?^

*«5s](jg^
i*t .5«§'''i»"»?H?'Hi*PA"f?C^*^.-+r«l^«
to
*^X^*l<^;fe,^#Kft:+€^ SV
^^^^J^g^ft,^
s?
5: ^^«JW=^*^tR^iK*t'-t--ir
if
-"•Mr.
^<r:^: jTftgjg^
BUDDHIST SCHOOL. '69

3. Nit' Ten (Sansk. Subya DSva). The Deva of the Sun.
An effeminate figure bearing an emblem of the sun, supported
upon a lotus. The sun is represented as a red disc, upon which
is drawn a crow.
In the Cosmic Philosophy of Hwai Nan-tsze it is asserted that a bird
with three legs exists in the sun ; but there appears to be no Buddhistic
legend associated with the belief, such as that which attaches to the
lunar hare.
4. KwA Ten (Sansk, Agni DSva). The Fire Deva,
A figure of an aged man with four arms, holding a crystal
rosary, a golden flaming triangle (the Brahmanic emblem of fire), a
bamboo stem, and a golden water-vessel. His loins are enveloped
with a tiger-skin. The whole form is surrounded by an aureole of
flame. 5, Fu Ten (Sansk, Vasu D^va), The DSva of the Winds,
An aged figure in armour, bearing a spear, from which flies a red
flag. Vasu Deva is the only name under which Vichnu seems to be known
to Chinese Buddhists. (Eitel.)
6, Easatsu Ten (Sansk, Naib'eita). The King of the
Eakchasi,
A warlike figure armed with a wd/Va-hilted sword.
The vadjra is not only represented in the form of a weapon, the sceptre
of Indra, as in No. 11, and as a priestly symbol of prayer, but appears
also in the hilt of the sacred sword and in the spokes of the tchakra.
In all cases it is probably emblematic of the conquering power of the
Faith. The various forms of the object are seen in the succeeding
pictures. 7. Bishamon Ten (Sansk. Vais'eamana).
A warrior in full armour, holding a spear in one hand and a
miniature pagoda in the other.
The image of Vais'ramana, the Brahmanic Kuvera, or God of Wealth,
with those of his brethren, is constantly found in the more important
Buddhistic temples of China and Japan. In the latter country he is
worshipped under the name of Bishamon, or Tamon Ten, as one of the
Seven Gods of Good Fortune (see page 39).
8, BoN Ten (Sansk. Bbahma),
An effeminate figure with four heads and four hands ; ea'ch head
possesses three eyes, and in the hands are grasped a spear, a lotus,
and a golden water-vessel.

70 JAPANESE PICTORIAL ART.
9. IsHANA Ten (Sansk, S'iva, or MahSs'yaea).
An effeminate figure of demoniacal aspect, with green complexion
and three eyes. Holds in one hand a form of the vadjra, in the
other a salver containing clots of blood.
In the Butsu zd Dzu-i, Ishana is identified with Izanagi no Mikoto.
10. Ji Ten (Sansk. Pbit'ivi), The Earth Deva.
An effeminate figure holding a golden basket of peonies, symbol
izing the produce of the earth.
II, Taishaku Ten (Sansk. Indba, or S'akea Deva).
An effeminate figure, grasping a kind of vadjra with a single
point at each extremity.
12. Sui Ten (Sansk. Vaeuna). The Deva of the Waters,
A demoniacal figure of green colour, with three eyes. The hair
is replaced by serpents. A serpent is grasped in the left hand, and
a MdyVa-hilted sword in the right. The flames of the nimbus are
blue and green, instead of red.
Artist unknown. Eighteenth century.
21 to 23. A set of three Kakemonos, on silk, painted in colours.
Size 34| X Hi.
The Three Sacred Relics.
1. The Sword (Jap, Hoken),
The hilt of the weapon is made up of symbolical objects ; the
Vadjra, the Sacred Crystal, the Lotus, the Precious Gem, and nine
serpent rings ; the blade is covered with figures of dragons,
2. The Crystal, or ball (Jap. Shinshi),
Eepresented by a large white sphere, in the centre of which is
seen a three-clawed dragon grasping a Sacred Gem, Below the
disc is a vadjra, with a demon-faced hUt.
3. The Mirror (Jap. Naishi Dokoro).
Drawn as a white disc supported upon a golden sadym-tipped rod,
the lower extremity of which rests upon an inverted lotus flower.
Artist unknown. Eighteenth century.
These three objects are Buddhistic adaptations of the regalia presented
by the Sun goddess to her grandson Ninigi no Mikoto, the first (mythical)
Euler of Japan.
The Sword was originally discovered in one of the tails of the seven-
headed serpent which Susanfi, Perseus-like, slew to deliver the fair

BUDDHIST SCHOOL. 71

Kushinada. It was afterwards used under the name of " Herb queller "
by the hero Yamato-Dak6, who bequeathed it to his Owari wife. It is
still preserved at the temple of Atsusa in that province.
The mirror kept at the Naiku in Ise is said to be that which was made
to entice the Sun goddess from the cavern into which she had retired in
dudgeon at the petulant rudeness of her brother Susano. The mirror often
displayed in front of Shinto temples is probably of Buddhist origin.
The third object in the Eegalia was originally a necklace, or string of
beads, but all trace of this is lost. Its place is taken by a stone of three
or four inches in diameter, kept in the charge of a special ofiioer, who
always accompanies the Mikado. (Satow.)
I'he Japanese make use of three names to denote gems of supernatural
power : Nio-i ho-jiu, Gioku or Tama, and, more rarely, Shinshi. The
first is the Mani, or Tchintd-mani, of the Buddhists, one of the Sapta
Ratna, or Seven Treasures, which is defined by Eitel's ' Handbook of
Chinese Buddhism,' as "a (fabulous) round pearl, said to keep always
clear and bright, and to shed a brilliant light upon all surrounding
objects.- It is therefore a symbol of Buddha and his doctrines." Accord
ing to Monier Williams (' Sansk.-Eng. Dictionary,' p. 325), it is " a
fabulous gem, supposed to yield its possessor all desires ; a philosopher's
stone." The Gioku or Tama corresponds to the Chinese Yvi, the jade-stone,
which is regarded in China as the type of excellence and rarity, and
appears to be interchangeable with the Hani, as a representative of
ideal Buddhistic purity. As in the case of the latter, the word when
used by the Japanese has no scientific interpretation, and in Japanese-
Buddhist pictures is drawn as a rounded or top-shaped object, variable in
colouring, marked by circular or spiral contour lines, and unlike any
known mineral. Both names and pictures, in fact, are merely signs
expressing abstract ideas.
The Taoists regard the jade-stone from a more material aspect, and
describe various elixirs of life of which it forms the essential ingredient.
According to Mayers, the name " Beverage of Jade " was given in the
language of alchemy (Taoist) to the supreme elixir which combines the
virtues of the draught of immortality and the philosopher's stone.
(' Chinese Reader's Manual,' p. 284.)
The word Shinshi, or Crystal, appears to be used with reference to the
Shinto conception of purity; suggested, perhaps, by the rock crystal
(Suisho), which the Japanese are in the habit of cutting into the form of
balls and other objects. A perfectly transparent crystal sphere sometimes
replaces the " Precious Gem " in Buddhist pictures (as in No. 665), and in
wood carvings of Buddhist divinities.
The Precious Gem is a special attribute of K'shitegarbha and of the
Arhat Panthaka, and is associated with a large number of the Buddhist
divinities, as a symbol of the noble qualities of the faith. In Japanese
legend it appears as the tide-commanding talisman of Iliko-hoho-d^mo no
Mikoto and of the Empress Jingo ; and in the story of Kamatari (see
p. 103) the Dragon-king steals a wonderful Mani sent by the daughter of
the hero as a gift from China. The " San-gioku no Kam^" an emblem
of longevity, is a sacred tortoise that bears upon its back three of these
precious stones. Lastly, the gem is included amongst the Takara-mono,
a group of objects collectively symbolical of prosperity.

72 JAPANESE PICTORIAL ART.
24. Kakemono, on silk, painted in colours. Size, 27J x I6J.
The Divinities of the Thirty Days (Jap. San-jiu-ban Jm).
A Japanese Saints' Calendar, framed early in the ninth century by
Jikaku Daishi, in commemoration of the guardianship of the thirty deities
who watched over him in turn day by day during his study of the Siitra
called Nio-ho gio. He registered the names of the divinities against the
da,ys of the month in which they appeared, and from that time they have
been regarded as the special protectors of the Tendai sect.
In a corresponding, but probably much earlier calendar, the names of the
Japanese gods of Jikaku are replaced by various Buddhas and B6dhi-
sattvas. A full list of both groups, with illustrations, may be found in the
Butsu-zo Dzu-i, vol. ii., and in Siebold's Nippon.
Artist unknown. Eighteenth century.
25. Kakemono, on silk, painted in colours. Size, 38f x I5f .
The Thirteen Buddhas (Jap. Jiu-san Butsu),
The figures depicted are arranged as follows : —
Akas'agar'bha,
Amitabha. Akchobhya. Vairotchana.
Mahasthamaprapta. Avalokites'vara. Bhaichadjya Guru.
Maitreya. K'shitegarbha, Samantabhadra.
Mandjus'ri. S'akyamuni. Atchala.
This picture offers an admirable example of the firm delicacy of
outline and harmony of colouring of the earlier Butsu-ye.
Artist unknown. Fifteenth century (?),
26, Kakemono, on silk, painted in colours. Size, 24^ x 13^.
Honen Shonin and the Spirit of Shan-tao.
Honen, in priestly robes, stands in an attitude of devotion before
the apparition of Shan-tao, which floats towards him upon a car
nation cloud, and sends forth from its lips a golden beam of Ught.
In the foreground are two peacocks.
Inscription : " EespectfuUy copied by Shamon (priest),
Ko-KioKU," Eighteenth century,
Honen, the founder of the Jodo sect of Japanese Buddhists, died at
Kioto 1212 a.d., in his eightieth year. The principal temple of the sect
is at Chion-in, in Kioto. Sfian-tao was a celebrated Chinese priest, who
died in 681 A.D., at the age of sixty-nine. He is said to have existed
without sleep for thirty years.
This subject was originally painted by a monk named Jo-tai, by the
order of Honen himself, to commemorate a dream in which the spirit
of the Chinese saint had appeared before him. The artist drew the
' lineaments of Shan-tao in accordance with the verbal description of the
dreamer, and many years afterwards the portrait was found to correspond
exactly with one that had teen taken from life over five centuries before.

BUDDHIST SCHOOL. 73

27. Kakemono, on silk, painted in colours. Size, 22| x lOf.
Portrait of Issan Gioja.
An aged priest seated upon a rock, holding a ringed staff (Jap.
Shakujo) and a rosary (Jap. Judzu). The careful drawing of the
features indicated that the picture is intended as an actual portrait.
It is probably executed by the same hand as No. 28.
Artist unknown. Sixteenth century (?).
Issan Gioja, or Nei Issan, was a celebrated Chinese priest who came to
Japan in 1299 and remained in the country until his death in 1317.
The Shakujo is a staff surmounted hy a kind of hoop, upon which are
looped a number of loose metallic rings. It is an attribute of certain
Arhats and B6dhisattvas, by whom it is carried to give warning by the
clanking of the rings to insects and other creeping things, lest they should
be crushed by the footsteps of the saint. The sound made by the rings
has given origin to the onomato-poetic Sanskrit name of the object skha-
hlia-rean. For a description of the Buddhist rosaries used in Japan, see a contribu
tion by Mr. J. M. James, in vol. ix. of the ' Transactions of the Asiatic
Society of Japan.'
According to the Butzu zo dzu-i, the rosary was introduced into China
during the reign of the Emperor Chang Ti (76-89 a.d.) by an Indian
priest. It comprised 108 heads ; 12 for the months, 24 for the solar
periods of the year (lit. breaths), and 72 for the lesser terms of five days,
into which the year was subdivided by the Chinese. Mr. James considers
that its use and the number of beads were first determined at the Council
of As'oka, 250 b.c, and that the number corresponded to the sum of the
lusts of the flesh by which human beings are supposed to be enslaved.
The Shozoku Judzu, the rosary common to all sects in Japan, consists of
112 beads, exclusive of two large ones introduced to divide the number
into two equal parts. The Mala or Brahmanic rosary appears as an
emblem in the hand of Brahm^ in Indian images. (Birdwood.)
28, Kakemono, on silk, painted in colours. Size, 22| x 12,
KwanshSjo (Tenjin Sama), and other Figures.
The principal figure stands upon a rock, supported by two
Devas of martial aspect, one grasping a spear and a rope, the other
a »ad;Va-hilted sword and a Precious Gem. Below, seated upon a
rocky ledge, is a priest (probably Issan) holdiug a Buddhist wand.
The symbols of the sun and moon are represented at the upper
part of the picture.
Artist unknown. Sixteenth century (?),
" Tenjin Sama " is the posthumous title of Kwanshojo, or Sugawara no
Michizan^, a court noble of the ninth century, who was noted for his
learning and piety, and for his skill as a caUigraphist. He died in exile
in 903 A.D., a sacrifice to the intrigues of his rival Tokihira. He is
popidarly regarded as the God of Calligraphy.

74 JAPANESE PICTORIAL ART.
29, Kakemono, on silk, painted in colours. Size, 39f x 16,
Raigon no Mida, Amitabha aud Bddhisattvas, (See
No, 41.)
The Buddha appears surrounded by his retinue of the " Twenty-
five Bodhisattvas," most of whom have feminine forms, and are
playing upon instruments of music. The space around the
heavenly choir is filled with floating lotus-petals, flowers, and
divine images.
The names of the Bodhisattvas will be found in vol. i. of the
Butzu zd dzu-i, the cuts in which have been repeated in Siebold's
Nippon, and will allow ready identification of each figure.
Artist unknown. Eighteenth century,
30, Kakemono, on silk, painted in colours. Size, 37 x 17^.
Honen and Shan-tao.
The picture represents the same subject as No. 26.
Artist unknown. Nineteenth century,
31, Kakemono, on paper, painted in colours. Size, 38 J x 16 1.
Benten and her Fifteen Sons. (See p. 43.)
The Eight-armed Benten seated upon a rocky pedestal, around
which is coiled her attribute, the Dragon. Grasped in the eight
hands are a spear, a wand or sceptre, a tchakra, a 4)ad;Va-hilted
sword, a Sacred Key, bow and arrows, and three Precious Gems.
The goddess is supported on either side by Bishamon and Daikoku,
and before her stand the fabulous Chinese Emperors Shun and Tao.
Her sons are grouped in the foreground, with the emblems of their
respective avocations. ;
Artist unknown. Eighteenth century.
32. Kakemono, on silk, painted in colours. Size, 44| x 19|.
Portrait of a Priest.
A Buddhist priest of high rank seated in an armed chair, over
which has been thrown a brocade figured with dragons and
peonies. He holds a fly-brush (Jap. Futsujin).
Artist unknown. Nineteenth century.
The Futsujin (Ch. Hos'su) is a fly-brush, composed of a plume of white
horse-hair fixed to a short handle, and carried by the priesthood as a
symbol of their clerical functions. "Buddha said, ' let every Bhikohu
have a brush to drive away tho mosquitoes.' " {Butsu zo dzu-i.)

BUDDHIST SCHOOL. 75

33 and 34. A pair of Kakemonos, on silk, painted in colours.
Size, 58i X 29|,
Nit' Ten (Sansk. Subya). The Sun Deva,
An effeminate figure of deep red complexion, the head sur
rounded by a flaming nimbus, the right hand holding a lotus
flower, the left a lotus stem upon which rests an emblem of the sun.
He is seated in a chariot drawn by four red horses, and guided by
a minor divinity, who carries a fan inscribed with the Svastika.
Below are two devas armed with bows and arrows.
The Svastika, or Fylfot (Jap. Manji), is a mystic diagram of wide diffu
sion and great antiquity. It is mentioned in the Rdmdyana, and found in
the rock temples of India, as well as amongst all the Buddhistic people of
Asia, and, as tbe emblem of Thor, even among Teutonic races. In China it
is regarded as the symbol of Buddha's heart, i.e. of the Esoteric doctrines
of Buddhism, and it is the special mark of all deities worshipped by the
Lotus School (Eitel). In Japan it has the same significance as in the
Middle Kingdom, and is sometimes used as a symbol for very long periods
of time — lit. ten thousand years.
Gwat' Ten (Sansk. Soma Deva). The Moon Deva.
The figure is of white complexion, the head is surrounded by
a nimbus of flame, and in the hand is a symbol of the moon sup
ported by a lotus stem. The dress bears a device of a white hare,
in allusion to the well-known Buddhistic legend; the chariot is
drawn by four geese, of which two are green and two are white.
Near the bottom of the picture are two lesser divinities, one
holding a lotus, the other a wreath of flowers.
Artist unknown. Seventeenth century (?),
35. Kakemono, on silk, painted in colours. Size, I9f x IIA.
KichimSjin the Maternal (Sansk. Haeiti, or Daitja
Matbi),
A female figure holding a peach, and nursing in her bosom an
infant, whose hands are folded in prayer. In front stand two nude
children, one of whom grasps a peach, the other a branch of
bamboo. Artist unknown. Nineteenth century,
Hariti, or Aritl, once a devourer of infants, was converted by S'akya
muni, and became a Buddhist nun. She is now worshipped as a
protector of children, and in China her image is often seen in convents.
In Japan she is more frequently represented in her unconverted state as
one of the Eakchasi, devouring the five hundred offspring to which she
had been condemned to give birth as a punishment for her evil deeds.
The peaches and the bamboo in the picture are probably symbols of
the long years of existence conferred by the divinity upon children who
have faith in her.

76 JAPANESE PICTORIAL ART.
36. Kakemono, on silk, painted in colours. Size, 18 x 9|.
Benten and her Sons,
The details are nearly as in 31. The diadem of the Goddess
here has its characteristic form, showing a serpent (which com
monly has a human head) coiled beneath a Torii, or Shinto
gateway. Artist unknown. Eighteenth century.
37, Kakemono, on silk, painted in colours. Size, 30f x Ilf,
Portrait of Tokuhon Gioja,
An old priest sitting in Japanese fashion in a cathedra of Chinese
form. The features appear to have been faithfully copied from
nature. The inscription above the figure is by Toku-hon himself, and the
drawing is probably by the same hand.
38. Kakemono, on silk, painted in colours. Size, 34| x I6|.
The Amitabha Trinity.
' Amitabha, Avalokites'vara, and Mahasthamaprapta.
Painted by Minamoto no So-y6. Signed. Seal,
Characters of inscription by Yukai, Eighteenth century.
Amitabha, with his spiritual sons, is the most frequent subject for the
Buddhistic painter and sculptor in China and Japan. It is noticeable
that Aval6kit§s'vara and Mahasthamapr§,pta have always a feminine
aspect. A similar Trinity is formed by S'akyamuni, Samantabhadra, and
Mandjus'ri, the supporters in this case also assuming the appearance of
women.
39, Kakemono, on silk, painted in monochrome and gold. Size;
331 X Hi,
The Benten of Enoshima and the Tv^o DSva Kings
(Ni Ten-jin).
Benten appears in warlike guise, armed with a sword. At her
feet are a serpent and a Sacred Tortoise, and the Deva Kings stand
one on either side.
Painted by Kuwa-gata Sho-shdi. Signed Sho-shin. Seal.
Eighteenth century.
40. Kakemono, on cotton fabric, painted in colours. Size, 78| x 35^.
Jigoku (Sansk. Naeaka). The Torments of Hell.
The details differ little from those usually depicted, but especial
prominence is given to the figures of Jizo (K'shitegarbha) and the
Old Woman of the Eiver of the Three Paths. The former looks
benevolently upon the little children who are trying to deliver

BUDDHIST SCHOOL. 77

themselves from purgatory by building up piles of stones ; while
the latter, a hideous hag, receives the clothing of the souls newly
arrived from the material world. A somewhat unusual element
in the picture is the figure of a saint who is just delivering a soul
from destruction ; he probably represents the P'usa (Bodhisattva)
of the Chinese popular writers.
Artist unknown.
This painting is of very recent date, and is coarse in execution, but is
of interest as a reflex of the modem popular ideas of the Buddhist Hell.
Jizo Bosatsu (Chinese, Ti-sang; Sansk. K'shitegarbha) is one of the
most popular of the Buddhist divinities amongst the Japanese, although
seldom referred to in Chinese Buddhism. In Japan his image in stone, as
the patron of travellers, is a familiar road-side object ; shrines and temples
are everywhere erected in his honour; and his gentle figure may be
recognised in thousands of kakemonos : while as the Saviour, watching
over the spiritual welfare of little children, and ever ready to suffer in hell
that the damned may be respited from their torments, he holds a place in
sermons and books not unlike that of our Lord in the New Testament.
He may usually be identifled by his mild and youthfid face, stamped
with the brow mark (urna) of the Bodhisattva, by his priestly figure, and
by his attributes, the ringed staff and Sacred Gem. The Butsu zd dzu-i,
however, gives several figures, which differ somewhat in their characters.
Of these, six are grouped together as the Dai Eoku Jizo : one bears the
sceptre of authority, the second brings the fertilising rains, the third
mitigates the agony of the fall into Hades, the fourth gives help to the
famished Fretas, the fifth checks the warfare of the damned in the Shiurado
Heli, and the sixth delivers from torments the souls reborn as beasts.
Tbe San-dzu-gawa no Baba (or Sodzugawa no Uba) is described in the
Butsu zd dzu-i as an old woman, sixteen feet in height, and with eyes as
large as wheels. She is stationed at the San-dzu-gawa, or Eiver of the
'I'hi-ee Paths, to receive the earthly clothing from ghostly arrivals, and to
dispatch them along their destined roads to Paradise or Hell, or back
a^ain in another form to the world whence they came. She is said to have
a male associate, named Keny^ 0, who hangs the garments upon a tree,
but he is seldom represented in pictures.
41, Kakemono, on silk, painted in colours. Size, 47f x 27.
Amitabha and the Twenty-five Bddhisattvas descend
ing upon the Temple of Dai Chiji, in Kishiu. (See No. 29.)
Artist unknown. Eighteenth century.
42. Kakemono, on silk, painted in colours. Size, 39J x 15f.
Sui Ten (Sansk. Vaeuna).
A terrific figure, with green complexion ; the head is surrounded
by a flaming nimbus, and bristles with snakes. He grasps in one
hand two intertwined serpents ; in the other a golden cup ; and
floats upon the waves, supported by a Tortoise.
Compare with No, 20.
Artist unknown. Nineteenth century.

78 JAPANESE PICTORIAL ART.
43. Kakemono. Coloured wood engraving. Size, 55| x 26^,
Paradise and Hell.
The middle of the picture is occupied by a view of the Pure
Land of the West, promised to the believers of the Mahayana sect ;
a true Eastern Paradise, with its lotus-bearing waters, gorgeous
pavilions, and streams of golden light. Amitabha fills the
central throne, supported on either hand by his spiritual sons,
Avalokites'vara and Mahasthamaprapta, and surrounded by Bud
dhas, Bodhisattvas, Arhats, and Devas, of varying dignity, while
the air teems with angels, sacred flowers, birds of brilliant plumage,
and cloud-borne shrines and Buddhas.
The margin shows a panoramic series of illustrations of Earth
and Hell ; the misfortunes incident to human life, as war, robbery,
flood, fire, excessive toil, poverty, and disease ; the cardinal vices
of drunkenness, anger, cruelty to animals, theft, murder, violence
to the priesthood, destruction of holj' writings, disobedience to
parents, carnal lust, &c. ; the contrasting virtues, private and
religious ; and finally, as a supplement and warning, the sufferings
of the damned in the torture chambers of Hades.
Artist unknown. Eighteenth century,
44, Kakemono, on silk, painted in colours. Size, 28f x 1 5f ,
Komio Shingon Mandara (Sanskrit, Peabha Mantka
Mandala).
An image of Dai Nichi Niorai (Maha Vairotchana), grasping the
left forefinger with the right hand. Surrounding tho figure is a
circle of Sanskrit characters forming a pious sentence, the constant
repetition of which constitutes an important part of the devotions
of the priests of the Shingon sect :
Om.- — Amd-gha Vairotchana Mahd-mudra-mani- padma Jvala-pravart' -
taya. — Hum.
Artist unknown. Nineteenth century.
The term Mandala originally signified a circle, but it is noAV applied in
Buddhistic art to any picture containing representations of a nimiber of
divinities, whether grouped in a circle or otherwise. The principal figure
in the Mandfvla is most commonly that of Vairotchana.
45. Kakemono, on silk, painted in colours. Size, 31^ x H^.
Marishi Ten (Sansk. Maeitohi DI^va).
A triple-headed figure of threatening aspect, with four anus,
holding a spear, bow, and war-fan. He stands upon the back of a
Avhite boar, his foot resting upon a ic/ja/cra-shaped saddle.
Artist unknown. Eighteenth century.

BUDDHIST SCHOOL. 79

Maritchi is usually represented by the Japanese in this form as
the Defender, but Chinese pictures more frequently show him as the
presiding Genius of Light, a female divinity with eight arms, in two of
which are emblems of the Sun and Moon. The Brahmanic original was a
personification of Light.
46 and 47, A pair of Kakemonos, on silk, painted in colours.
Size, 33| X 161
Two images of Benten.
1. The eight-armed Benten (Sarasvati Benten, or Benten the
Eloquent), seated upon a rock surrounded by waves. In the hands
are a bow, arrow, key, wheel, spear, «ad;Va-shaped staff, sword, and
Sacred Gem.
2. Similar to the last, but the staff, key, and ball are replaced
by an axe, a «)ad/j-a-headed spear, and a coil of rope. The diadem
bears a Sacred Gem and two peonies.
Artist unknown.
Painted in the period Ansei (1854-60), and formerly kept
at Iwamoto, in Enoshima,
The rope or cord (Sansk. pasa) as an attribute of the Brahmanic
Lakshmi, Varuna, and Siva, is regarded as an emblem of the marine
girdle of the earth (Birdwood), but it appears to have lost this signification
in Japanese Buddhism.
48. Kakemono, on silk,, painted in colours. Size, 40J x I4|.
Jizei Bosatsu (Sansk, Vasudhaea).
A deity seated upon a lotus, holding a peach in the right hand.
In front are two Dragon-Kings rising from the waves to make
offerings. Apsaras float in the sky, and Buddhistic symbols, as
svastikas, gems, and conchs, are scattered upon the ground.
Artist unknown. Eighteenth century,
49 to 51. — A set of three Kakemonos, on silk, painted in colours.
Size, 47| X 19.
I. Amitabha, in the position known as " Ge-hon, Ge-sho."
2. Avalokites'vara, holding a crystal bowl containing a
branch of bamboo.
3, Mahasthamaprapta, holding a lotus.
Artist unknown. Eighteenth century,
52. Kakemono, on silk, painted in colours. Size, 34|^ x 16.
The S'akyamuni Trinity, with the Sixteen Good
Spirits (Jap. Jiueoku Zenjin).
Artist unknown. Eighteenth century.

80 JAPANESE PICTORIAL ART.
53, Kakemono, on silk, painted in colours. Size, 59J x 32|.
The Amitabha Trinity (see 38).
Artist unknown. Nineteenth century.
54, Kakemono, on silk, painted in colours. Size, 38 x I6|-.
"The White Path of the Two Rivers" (Ni-gawa
Biaku-d6).
A well-known allegory, showing the perfect Buddhist on his way
to salvation. Leaving behind him the perils of the evil passions,
typified by wild animals and violent men, he passes in safety
between the flames of anger and the waves of covetousness, upon
the silvery path of Pure Faith that leads to the feet of the saving
Buddha, Amitabha, and sees unrolled before him the beauties of the
Western Paradise. On the right of the foreground stands the holy
teacher and a group of the uninstructed, who gaze in ecstasy at
the miracle before them.
Artist unknown. Eighteenth century,
55, Kakemono, on silk, painted in colours. Size, 50^ x 22^.
The Eleven-faced Kwanyin (Jap. Jiu-ichi-men Kwan-
non).
The figure is of female type, and is distinguished from the
ordinary representations of Kwanyin by the ten smaller faces which
surmount the principal head. The lotus throne is supported by
two dragons. Prom the body of the goddess radiate golden beams,
made up of characters forming a chapter of the Sutra, " Hoke Kio "
(Saddharma Pundarika), and extending as far as a wreath of lotus
leaves and flowers that surrounds the whole. The picture is an
imitation of the celebrated image at Nakayama, in the province of
Settsu (see engraving in Butsu zd dzu-i). Of the many faces of the
goddess, those which look forward are said to wear the aspect of
benevolence; those turned to the left express anger at the faults
of man ; and those on the right side smile graciously at the sight
of good acts, or laugh in scorn when confronted by evil deeds.
Artist unknown. Eighteenth century.
56. Kakemono, on black paper, painted in gold ink. Size, 42i x 164.
The Thousand-handed Kwanyin (Sen-jiu Kwannon).
Kwanyin is represented upon a throne, guarded by the four
Maharadjahs, and supported by a four-headed elephant, who in
turn stands upon a " Wheel of the Law " (Dliarma tchakra). The
numerous hands of the goddess grasp Buddhist emblems.
The border of the picture is made up of lotus-fibre interwoven

BUDDHIST SCHOOL. 81

with narrow strips of paper. The use of lotus-threads is not
uncommon in connection with Buddhist pictures. The celebrated
Mandara, of Chiujo Hime, made in the eighth century, was
embroidered upon a web of this description.
Artist unknown. Eighteenth century.
The term "thousand-handed" has no precise numerical signification,
but merely implies a great number. Thus the well-known image of the
Thousand-handed Kwanyin of Jodo-in at Nikko has only forty arms.
A figure of the Sen-jiu Kwannon, in the temple of Baiso-in at Akasaka,
is said to have been brought from India to China by the Singhalese
pilgrim Am6gha and thence to Japan in 743 a.d. by Kwanshin Daishi.
See ' Handbook for Japan ' (p. 20).
57. Kakemono, on silk, painted in colours. Size, 36f x I5|.
Fugen Bosatsu (Sansk. Samantabhadea).
A figure of feminine aspect, seated upon an elephant, and
holding a lotus. The elephant, which has three pairs of tusks,
stands upon the thalamus of a lotus.
Artist unknown. Eighteenth century.
58. Kakemono, on silk, painted in colours. Size, 41 x 23f.
Emmei Son (Sansk. K'shitegabbha ?),
A sitting figure, holding a vadjra in the right hand, and a vadjra-
hUted beU. in the left. Images of the "Five Holy Buddhas"
(Vairotchana, Akchobhya, Amitabha, Amogha, and Batna Sam-
bhava) form part of the crown.
Artist unknown. Nineteenth century.
59. Kakemono, on silk, painted in colours. Size, 50f x 44.
Mandara. Assemblage of Buddhist Divinities.
The figures are too numerous for complete description. The
principal image of the central group is that of Vairotchana (Dai
Nichi Niorai). Above, below, to the left, and to the right of this
are four Buddhas, viz., Akchdbhya (East), Amitabha (West),
Amogha (North), Eatna Sambhava (South), and alternating with
these are four Bodhisattvas. Beneath are three prominent figures,
that in the middle line probably representing Akas'agarbha, that
on the left the Eleven-faced Kwanyin, that on the right another
manifestation of Kwanyin. The remaining forms are mostly
famiUar groups of divinities, such as those of the Sixteen Bodhi
sattvas, the Twenty-five Bodhisattvas, the Seven Kwanyins, the
Thirty-three Kwanyins, &c.

Artist unknown. Seventeenth century.

82 JAPANESE PICTORIAL ART.
60. Kakemono. Coloured woodcut. Size, 20 x 16|.
Mandara.
The " Pure Land in the West," with figures of Amitabha, Ava
lokites'vara, and Mahasthamaprapta.
The picture is a copy of the famous " Hasu-ito no Mandara "
(Lotus-fibre Mandala) of Chiu-jo Hini, at Tayema-dera.
Artist unknown. Eighteenth century.
61. Kakemono, on silk, painted in colours. Size, 31 x 15^.
Samb5 Kojin, the Spiritual God of the Three
Treasures.
A four-armed divinity holding a precious gem, a tchakra, and
two vadjras.
The picture is blackened, apparently by smoke, and greatly
dilapidated through age and exposure. An inscription upon the back
states that it was remounted in the fourth year of Kwanyen (1751).
Artist unknown.
Sambo Kojin is popularly known in Japan as the Kitchen God, owing
to a custom of placing his image in kitchens. His chief ofiice, according
to the Butsu zo dzu-i, is the punishment of evil-doers.
62. Kakemono, on black paper, painted in colours. Size, 31^ x 10.
Three Shinto Divinities.
Saruda-hiko Daijin,
Ona-muji no Mikoto,
Sukuna-bikona no Mikoto.
Saruda, the central figure, is distinguished by his large and
somewhat florid nose; he holds a branch of Sakaki (Cleyera
imperialis), decorated with Gohei. Onamuji, on the right, grasps
a spear and a sacred gem ; Sukuna, on the left, has in one hand
a cup, in the other a kind of sceptre. Above are emblems of
the sun and moon, supported by clouds. Two seals are appended
to the picture, the upper reading as Koyo, the lower as Showo.
Artist unknown. Eighteenth century.
Shrines to these divinities exist in caverns on Mount Koshin, near
Nikko. The name of the mountain is derived from a title of Saruda-
hiko. Saruda-hiko is described as a god " with a nose seven cubits long, and
great eyes that shine like mirrors." When Ninigi, with five associates,
went from heaven, at the command of the Sun-Goddess, to rule over
Japan, this formidable being blocked the way, but was disarmed by a
display of the physical charms of the goddess Uzum^ no Mikoto (Okam^).
A small shrine at the ancient temple of ¦ Kasuga no Miya, Nara, is

BUDDHIST SCHOOL. 83

dedicated to Saruda-hiko, who is regarded as the ground landlord of the
locality. According to the ' Handbook for Japan ' (p. 388) this god made
an agreement with the god of Kashima to lease 3 feet of earth to him,
" but the latter cunningly enclosed 3 ri square of ground during the
night, pretending that the 3 feet in the contract referred only to the
depth of soil. It is the popular belief that in consequence of this trick
no tree on Kasuga yama sends its roots more than 3 feet below the
surface." Ona-muji, "The great possessor of names," was a descendant of
Susano-no-Mikoto (son of Izanagi and Izanami, the creators of Japan).
He became ruler of the country after overcoming his rebellious brethren,
and in conjunction with Sukuna-bikona, the eldest son of Izanagi and
Izanami, completed the work of civilization. To these two gods are
ascribed the discovery of medicine, and the invention of divination. (See
Satow, Eevival of Pure Shinto, ' Trans. Asiatic Soc. Jap.,' vol. iii.)
Gohei, literally "August presents,'' are offerings to the gods. When
plain they consist of a rod of wood from which hang two strips of paper.
They were originally supposed to attract the gods to the places, but
afterwards became regarded as the seats of the gods, or as the gods
themselves.
The names of seven other Shinto divinities, called the Go Shichi
Mio O, are written upon the picture.
1. Michi no Mioya no Kami.
2. Inochi no Kami.
3. Konjin.
4. Shiwo Gawa no Kami.
5. Saiwai no Kami.
6. En Musubi no Kami.
7. Funadama no Kami.
63. Kakemono, on silk, painted in colours. Size, I7f X 13J.
The Pure Land of the West (Sansk. SukhavatI).
The Buddhist Paradise, with its lotus lakes and jewelled pavi-
Uons, presided over by Amitabha and his spiritual sons. The
Buddha who occupies the central throne, here takes the form
known in Japan as "Mandara no Mida," distinguished by the
marks of the wheel of the law upon the right hand, and left foot,
and by the Svastika upon the breast.
Artist unknown. Nineteenth century.
64 to 66. A set of three Kakemonos, on silk, painted in colours.
Size, 23 X IIJ.
Dai Nichi Niorai, Aizen Mio O, and Gwanzan Daishi.
1. Dai Nichi Niorai (Sansk. Vairotchana).
The position of the hands, the right forefinger grasped m the
left palm, has a special significance which even the initiated find
difficult of explanation,
G 2

84 JAPANESE PICTORIAL ART.
2. Aizen Mio 0. A transformation of Atchala the Insatiable,
with flaming halo and six arms : one hand is clenched and threaten
ing, the others hold a vadjra, bow, arrow, beU, and lotus. Sacred
gems fall from the throne, and the ground is strewn with Buddhist
symbols. Aizen Mio 0, as described in the Butzu zd dzu-i (vol. i.), is sur
rounded by a fiery aureola, and bears on his head a lion crown. His
body has the colour of the sun, and his triple eyes glare with anger.
8. Gwanzan Daishi, appears in priestly garb seated upon a dais,
holding in one hand a crystal rosary, in the other a vadjra. At the
upper part of the picture are oblong spaces for poetical or other
compositions. Painted by E-dokoeo Mune-niwa, Dated the 5th year
of Shotoku (1715).
Gwanzan or Jiy6 was a fanaous Japanese priest of the Tendai sect
(914-987 A.D.). The Buddhist temple of Jigendo, at Uyeno is dedicated
to him and Jigen Daishi (seventeenth century), jointly, as the Eio Daishi
(Two Great Teachers).
The title Daishi is conferred as a posthumous honour by the Mikado
upon distinguished members of the priesthood.
67. Kakemono, on silk, painted in colours. Size, 33^ X 16|.
The Gods of the Twenty-one Mountains. (Jap. San no
Ni-Jiu-i Sha.)
The presiding deities of the Great Mountains of Japan form
a rather mixed assemblage, consisting of Japanese priests and
emperors. The nun Chiujo Hime ; two figures, one with the head of
a monkey, the other with that of an ox ; and a number of divinities
resembling D^vi. Each god occupies a special compartment, and
is seated upon a dais in front of a three-leaved screen. In the
middle of the picture is the Kurikara, a Dragon coiled around the
sacred sword, supposed to be an emblem of the union of the active
and passive coefficients of nature (yang and ying), or the essential
elements of creation. A Tengu (see No. 2126), in priestly robes,
and two monkeys, are represented upon a verandah, the entrance
to which is guarded by two lions, the emblems of S'akyamuni.
These divinities are recognised only by the Tendai sect.
Artist unknown. Eighteenth century.
68 to 77. A set of ten Kakemonos, on paper, painted in colours.
Size, 60 X 26J,
Various Buddhist subjects,
(1) The Court of King Yama,
The King of Hades, seated upon his throne and surrounded by
his ministers, is glaring fiercely upon an unhappy spirit just

BUDDHIST SCHOOL. 85

brought to judgment. The delinquent, in the grasp of a demon,
is confronted with the mirror, whose accusing surface reflects the
image of himself in the act of perpetrating the blackest of the
crimes enumerated in the Buddhist code, the murder of a holy priest.
Near him stand other souls in funeral wrappings, awaiting their
trial. On the left a fiendish scribe registers the sentences of punish
ment, while upon the opposite side sits a figure of beneficent
aspect, whose duty is to inscribe acquittals. Next to each of the
secretaries is a rod, surmounted by a head, demoniacal on the
left, angelic on the right. Amongst other examples of anthropo
morphism in the treatment of the subject, are some unfortunate
souls who are fettered in true Chinese fashion by the wooden collar
or cangue.
In Chinese Buddhism, ten Yamas are recognised as presiding
over the infernal courts. It is believed that the disembodied spirit
is summoned before each of the ten in succession, at certain
intervals, until the last interview terminates the period of Chiu-in,
or suspense, and brings the execution of the judgment. The ap
pointed times of trial are the 7th, 14th, 21st, 28th, 36th, 49th, and
100th days after death, and the first and second anniversary of the
demise. (2) The First HeU.
¦rhe picture shows the usual details of torture — burning, crushing,
boiUng, &c.
(3) The Third HeU.
The picture is for the most part fiUed with representations of
the more commonplace and material torments; but a curious
exercise of Oriental ingenuity is shown in the punishment devised
for those who have yielded to carnal siijis during life. Some of the
offenders are seen shrieking in the fiery -Embraces of demon courte
sans, while others, irresistibly impeUed by the passions they now
expiate, climb spiky trees in pursuit of phantom houris, who always
elude their grasp to reappear in a new spot and tempt the
lacerated wretches to repeat their never-ending struggle of agony
and disappointment.
(4) Gaki (Sansk. Preta).
The Pretas are represented by bistre-coloured starvelings, who
are ever tantalized by the presence of food and water that turn to
fire when brought to their lips. One of the wretches is seen to
stab himself that he may quench his thirst with a draught of his
own blood, another feasts greedily upon some emaciated children,
and others are prostrating themselves to beseech the intercession of
the priesthood. A preta with an enormously swollen abdomen is a
common figure in such scenes.
(5) A Japanese rendering of the Buddhistic view of cruelty to
animals, a sin which includes not only such sports as cock-fighting,
hawking, and hunting, but the exaction of excessive work from

JAPANESE PICTORIAL ART.

horses and oxen in agriculture and transport. The oppression of
animal by animal is liberally iUustrated, and in one place appears
in a kind of retributive series. A frog in the act of swallowing
a worm is seized by a snake, upon which in turn an attack is made
by a wild boar, whUe a hunter prepares to discharge an arrow at
the quadruped, ignorant of the presence of a demon, who is about
to transfix him with a spear. Near by, a monster serpent, sick and
helpless, has become the prey of the meanest insects.
(6) The conflict between Indra and the Asuras.
At the foot of the picture, the Dragon Kings are seen bovring
before a young prince. In a chamber to the left of that occupied
by the prince, are two Dragons, and a Garuda flies out of the
building, carrying in its beak a large snake. The meaning of this
portion of the subject is somewhat obscure.
The King of the Asuras, distinguished by his gigantic size and
triple head, is armed with bow and sword, and grasps in one of his
four arms a symbol of the moon. Indra, mounted upon a white
elephant, attended by the four Maharadjahs and a numerous army
of Devas, scatters destruction amongst the rank and file of the
Asura host. The Thunder God is seen at the left of the picture,
sounding the battle alarm.
Below are represented some temple buUdings, in which female
figures dressed like princesses are weeping, while on the left are
seated some divinities, who appear Uttle concerned in the fortunes
of the day.
(7) The Three Visions.
The subject appears to be a Japanese adaptation of the story
of the "three visions," by which the mind of S'akyamuni was
turned from worldly pride and luxury and engraved with the
indelible conviction of the impermanency of all things. The young
S'akyamuni is represented by a Japanese prince, probably Shotoku
Taishi, and the rest of the actors in the scene, as weU as the
buildings and accessories, are essentially Japanese ; a fiction which
the artist may have adopted in order to make the story more
impressive for his countrymen. The episodes of the old man, the
sick man, and the corpse, are shown in different parts of the picture,
and new elements, pointing to the same moral, are introduced in
the form of an aged woman, sorrowfully regarding her withered
features in a mirror, and a blind man, whose uncertain steps are
guided by a chUd. In another portion of the picture, the beauties
of the seragUo are listening to the recitative of an old pilgrim,
who is roUing the beads of a rosary between liis palms; and m
the foreground is seen the young prince, about to quit his house,
receiving from an attendant a bamboo decorated with gohei.
(S) The evils of earthly existence.
Eire, famine, war, sickness, and death.
Death is represented under three different aspects— in one place.

BUDDHIST SCHOOL. %T

a mother and father gaze upon the body df their only child ; in
another, a noble weeps over the loss of his young wife ; and in
a third, an infant vainly seeks the cold breast of the emaciated
corpse of his mother, while a carrion-crow perched above waits for
its prey. The conflagration scene might stand unaltered as a
picture of the same calamity in the present century.
(9) " The Nme States of Death."
The corpse of a young female is seen passing through all the
stages of decomposition, until at last, unclean beasts and crawling
things having had their fill, all that is left of the once active
Ufe is represented by scattered fragments of bones. The moral
of this, as of the two preceding pictures, is the Buddhist key
note, that all in this world is vanity, and naught is permanent.
The figure represented is said to have been that of the Empress
Danrin (ninth century), who was thus exposed in obedience to her
own wish. The poetess Ono no Komachi is the subject of a similar
revolting design.
(10) A scene of peace and prosperity.
It is somewhat curious to observe that a peasant is carrying a
supply of game and fish to the house where the rich man sits
feasting, notwithstanding the serious view taken with regard to
the destruction of- animal life in one of the preceding pictures.
In the foreground is shown a group of demons startled by the
sudden bursting of their hellish caldron, and the appearance in
the midst of its watery contents of gorgeous lotus-flowers which
cradle new-bom infants in their petals.
Artist unknown. The originals are said to date from
the ninth century.
78, Kakemono, on silk, painted in colours. Size, 48J X 21|.
Ja-shin no Benten, (The Benten with the Sebpent-
BODT,) See p. 42,
Benten is here represented in a very unusual form. The upper
portion of the figure, which is shown rising above the waves,
resembles that of a Devi, but terminates below the waist in
serpentine coils that are visible through the transparent water.
The goddess holds in one hand a sword, in the other a sacred gem.
Copied by Taiea So-in in the seventh year of Tempo (1836),
from a picture by Kose no Kana-oka (ninth century). Seal.
79 and 80. A pair of Kakemonos, on silk, painted in colours.
Size, 421 X I8f.
The Twelve D^va Kings, (See Nos, 9 to 20,)
Silk and pigment greatly discoloured, probably by contact with
incense fumes.

88 JAPANESE PICTORIAL ART.
Attributed to Kose no Koeb-hiba. No signature or seal.
Fourteenth century.
81. Kakemono, on silk, painted in colours. Size, 39J x I5f .
Zengo Riii O, (The Dragon King,)
A divinity with green complexion and dragon taU, clad in flowing
robes, and holding a golden salver upon which are three Sacred
Gems, He stands upon a cloud that rests upon the waves.
Painter unknown. Nineteenth century,
82, Kakemono, on silk, painted in colours. Size, 44J x I8J.
S'akyamuni.
The Buddha is seated, holding in his hand a begging bowl.
Painted by Ho-itsu after a picture by Nobu-zane (13th
century). Signed. Seal.
The original picture is a celebrated work, but possesses more
historical than artistic value if the copy be accurate.
83 and 84. A pair of Kakemonos, on silk, painted in colours.
Size, 38| X I6|.
The Sixteen Arhats. (See p. 46.)
Attributed to Kano Kazu-nobu, Probably a copy. Nine
teenth century.
85. Kakemono, on silk, painted in colours. Size, 40| x 13.
Dragon King (Naga-eadja).
A human figure in imperial dress standing upon the back of a
dragon which bears him upon the surface of the waters. He holds
a salver containing three Sacred Gems.
Painted by Tama-taka (or Gioku-eiu) I-shin. Signed
Hogen Tama-taka I-shin. Two seals. Date on back of
kakemono, 9th year of Tempo (1838).
86. Kakemono, on silk, painted in colours. Size, 36| x I4J,
The Eight-sworded Bishamon (Vais'eamana),
The god is mounted upon a lion, and rests his right foot upon
a tortoise, the left upon a lotus thalamus. He has four triple-
eyed heads, and twelve arms ; eight of the hands are armed with
swords, the remaining four hold a vadjra, a pagoda, a precious gem,
and a sacred key. The nimbus is represented by a modified
tchakra, upon which are emblems of the sun and moon, and two

BUDDHIST SCHOOL. 89

figures riding upon foxes. The helmet-crown is shaped Uke the
head of a lion, and is surmounted by a figure of Vairotchana.
This picture is a modified Butsu-ye, differing from the usual
form, chiefly in the absence of decorative colouring.
Painted by Hana-busa Ittei at the age of eighty-one.
Signed. Seal, The back of the picture bears an inscrip
tion with the date of the 3rd year of Tempo (1832),
87, Kakemono, on paper, painted in colours. Size, 1\ x 2|,
Temple attendant holding incense-burner. Inscription above
the figure. Artist unknown. Sixteenth century (?),
88, Kakemono, painted in colours upon a material woven from
lotus-fibres. Size, 36| x I4|.
The S'akyamuni Trinity.
Attributed to Tosa Taka-chika. No signature or seal.
Twelfth century.
89. Kakemono, on silk, painted in colours. Size, 35| x 14^.
Buddhist Divinity.
An effeminate figure holding a salver filled with peony flowers
and leaves.
Attributed to Wu Tao-tsz'.
On the outside of the kakemono is written " To Go Doshi hitsu."
From the pencU of Wu Tao-tsz' of the T'ang Dynasty. There is,
however, no further evidence of its authenticity or nationaUty.
90. Kakemono, on silk, painted in colours. Size, 34|^ x I5J.
Dai Koku Zo Bosatsu, (Sansk. AkIsagaebha.)
An effeminate figure seated upon a lotus, holding the right hand
down with the palm turned forwards, and grasping a Sacred Gem
in the left. Flaming nimbus and halo.
Artist unknown. The period, ninth year of Anyei (1780),
written on the back of the kakemono, probably refers to
the date of mounting, as the picture appears to be much
older,
91 to 110. A set of twenty unmounted pictures, on paper, painted
in colours. Sizes various,
Buddhist wall decorations.
Dragons, apsaras, many-tinted clouds, &c., boldly sketched and

90 JAPANESE PICTORIAL ART.
. strongly coloured. Intended for the decoration of the panels of
a Buddhist temple.
Artist unknown. Nineteenth century.
Ill, Unmounted drawing, on silk, painted in colours upon a gilded
background. Size, 8 x 4^,
Hachiman.
A martial figure in Japanese armour, mounted upon a white
horse. Background gilded.
Artist unknown. Eighteenth century.
Hachiman is the deified Mikado Ojin (270-310 a.d.), the son of the
Empress Jingo (p. 141). He is regarded by the Japanese as the God of
War.
112 and 112a. A pair of unmounted drawings, painted in colours,
upon a gilded background. Size, OJ x Z\.
Daikoku. (See p. 33.)
Painted by Kbi-i. Signed. Seal. Nineteenth century.
113. Unmounted drawing on silk, painted in colours, upon a
gilded background. Size, 8| x 6f .
Portrait of a priest.
Artist unknown. Nineteenth century.
114. Unmounted drawing, on black paper, painted in colours.
Size, 14 X 8f .
The Amitabha Trinity.
Artist unknown. Eighteenth century,
115. Unmounted drawing on black paper, painted in colours.
Size, 13f X lOf,
Ji-zo (Sansk. K'shitegabbha). See p. 77.
A priestly figure, in rich apparel, standing upon two cloud-borne
lotuses, grasping in his left hand a Sacred Gem, in the right a
ringed staff. The face is youthful and gentle in expression, and
the brow bears the urna mark of the Bddhisattva. Background
black. Artist unknown. Seventeenth century (?),
116, Unmounted drawing on silk, painted in colours, with gilded
background. Size, 27^ x 20^,
" The Paradise in the West,"
The scene is very similar to other representations of the same

BUDDHIST SCHOOL. 91

subject in the collection, but is somewhat more elaborate in its
architectural details.
A tendency towards linear perspective appears here, as in many
Buddhist pictures, in the convergence of Unes of pavement and
lateral walls towards a kind of vanishing point. The vanishing
points are, however, improperly multiplied and placed without
reference to the position of the horizontal line. The idea under
goes no further development.
Artist unknown. Nineteenth century.
117, Unmounted drawing upon blackened silk, painted in colours.
Size, 331 x 12|,
K'shitegarbha, (See No, 115.)
Artist unknown. Eighteenth century,
118 to 126, A set of nine unmounted drawings on paper, painted
in colours. Sizes various.
Buddhist Hades.
1. King Yama.
2, 3, 4, and 5. Officials of the Infernal Court.
6. The accusing mirror. Souls awaiting judgment. The mirror
reflects a scene of highway murder in which the victim is beiug
strangled by a process similar to that adopted by the Thugs.
7 and 8. The torments of the damned.
9, The saving Bodhisattva descending to heU to aid the suf
ferers. Artist unknown. Nineteenth century.
127 to 130. A set of four drawings on paper, painted in colours.
Size, 501 X 231
Buddhist Hades. (Sansk. Naeaka.)
The ' Ten Kings of Hell ' appear in this series : in other respects
there are no special peculiarities in the treatment of the subject.
The malefactor brought before the mirror of accusation, is a temple
incendiary, and is hence reserved for the most condign punishment.
Artist unknown. Nineteenth century.
131 to 140. A set of ten unmounted drawings on paper painted
in colours. Size, 39J x 19.
Buddhist Hades.
The Ten Kings of the Buddhist Naraka. Judgment and punish
ment of the sinners..

92 JAPANESE PICTORIAL ART.
Copied by Uye-muea Yu-jieo from ancient pictures.
Dated 7th year of Kwanyei (1795),
141, Unmounted woodcut, coloured by hand. Size, 50 x I8J.
Paradise and Hell.
A compressed pictorial review of the good and evil Karma,
with the reward of the former, and the grim punishments awaiting
the latter. Eighteenth century.
142. Unmounted drawing on silk, painted in colours. Size,
40| X 191
Portrait of a Priest,
A priest of high rank, seated upon a raised mat. The features,
those of a man below middle-age, have the aquiline type frequently
met with in Japanese of patrician birth. The red outer robe is
emblazoned with the crest of the Tokugawa clan, and a similar
device appears upon the curtain above.
Artist unknown. Nineteenth century.
143, Unmounted drawing on silk, painted in colours. Size,
33J X 17.
Portrait of a Priest.
The form of the ecclesiastical armed-chair upon which the
priest sits in Japanese fashion, is worthy of note.
Artist unknown. No signature. Two seals. Nineteenth
century.
144. Unmounted drawing on silk, painted in colours. Size,
47 X 231.
The Eleven-faced Kwanyin (Jiu-ichi-men Kwan-non).
The goddess stands upon a lotus, holding a ringed staff in the
right hand, and a vase containing lotus-flowers in the left. Her
head is encircled by a radiant nimbus.
Below are two guardian divinities of threatening aspect. The
figure on the right hand is red, and has three heads and six arms ;
his feUow on the opposite side is dark blue, four-headed, four-
armed, and serpents are entwined around his neck, loins, and
wrists. Artist unknown. Eighteenth CQutury.

BUDDHIST SCHOOL.

93

145. Unmounted drawing, on silk, painted in colours. Size,
45| X 23i.
The Many-handed Kwanyin (?).
A female figure seated upon a lotus, which rises above the
waves, and is supported by two Dragon Kings. She is attired
in a white robe, and holds various Buddhist symbols in her
eighteen hands.
Artist unknown. Eighteenth century.
146. Unmounted drawing, on silk, painted in colours. Size,
46i X 2Ii.
The Many-handed Kwanyin,
The arms of the divinity are twenty in number. Her lotus-
throne is upborne by the four Maharadjas, who stand upon the
heads of as many sacred elephants ; these in turn are supported
by a golden Wheel of the Law, which rests upon the backs of a
multitude of smaller white elephants.
Artist unknown. Seventeenth century (?),
147. Unmounted drawing on black paper, outlined in gold ink.
Size, 37| X I8J
The Amitsibha Trinity.
Below are two votive figures, male and female, kneeling at the
feet of the thrones.
Painted by Ho-in On-ko. Signed. Seal replaced by
Kaki-han (a written sign). Seventeenth century (?).
148. Tracing from a wall-painting in distemper, at the temple of
Horiuji (Nara).
Presented to the Collection by Ernest Satow, Esq., C.M.G.
Size, 1231 X 1021.
The Amitabha Trinity (?).
The central figure represents a Buddha seated upon a lotus-
throne which is supported by a number of crouching dwarfs.
The aspect of the Divinity, and the position of the hands (right
hand raised, both palms directed forwards) are in accordance
with the image of Amitabha described in the Butsu zd dzu-i as
" Nichi gwatsu To-mio-Butsu."
On each side of the Buddha stands a Bodhisattva, with hands
clasped in prayer (Avalokites'vara and Mahasthamaprapta?). In
the foreground are two martial figures of Deva Kings, and
between them two conventional lions. Four other personages

94 JAPANESE PICTORIAL ART.
appear behind the Trinity, two of whom have the aspect of Deva
Kings and two that of Arhats, but the details have become so
indistinct, from the effects of time and exposure, that identification
is very difficult.
The original work is said to date from the foundation of the
Temple by Shotoku Taishi, in 607 a.d., and is attributed to the
joint efforts of the famous Buddhist sculptor Tori Busshi and a
Korean artist. The half-obliterated remains stiU manifest the
touch of a practised hand, and in colouring and composition bear no
small resemblance to the works of the old ItaUan masters. The
painting is probably the oldest specimen of Buddhist or other
pictorial art extant in Japan, and has, moreover, an especial in
terest as being one of the very rare examples of the appUcation
of a coloured design directly to the surface of the plaster waU
(the ordinary mural decorations being usually executed upon paper
which is afterwards affixed to the wall by paste). It is not,
however, a true fresco.

( 95 )

THE YAMATO AND TOSA SCHOOLS.

The style of the Native School, called the Yamato, or Wa-gwa eiu,
is the oldest and most characteristic, but in the works of its later
periods the weakest and most conventional, of the Japanese modifica
tions of, Chinese art. Its foundation is attributed to a Court noble of
the Fujiwara line, named Kasuga Moto-mitsu, who flourished in the
beginning of the eleventh century, but it is probable that most of the
peculiarities of the school had been gradually evolved before this
time under Kanaoka and his followers, from one of whom, Kose no
Kinmochi, Motomitsu had learned the principles of his art.
It. has already been noted in the general introduction that the
later representatives of the Kose family devoted their brushes almost
entirely to Buddhist pictures, abandoning the field of Japanese
motives to the long line of painters of whom Motomitsu is regarded
as the ancestor, and who at the same time inherited whatever
features of originality might have been developed in the art ' of
Kintada, Kinmochi, Tsunenoei, and other of their predecessors.
The name of Yamato eiU was retained until the thirteenth century,
and the school in the interval numbered many celebrated painters,
(in addition to those of the Kose line enumerated on page 11),
amongst whom may be mentioned Mitsu-chika, the son of the
founder ; Taku-ma Tamb-uji, an early contemporary of Motomitsu,
and a collateral adherent rather than a pupil of the school;
Taka-chika and Taka-nobu, descendants of Motomitsu, Kei-on or
Sumiyoshi Hogen, the son of Takaohika, and the Takumas, Tame-hisa,
Tame-to, Ch6-ga, and Sh6-ga (see list, p. 97). In the thirteenth
century the most famous artists were N.obu-zane, the son of Taka-
nobu, and Fuji-wAEA no Tsunb-taka ; the latter, then at the
head of the school, assumed the family name of To-sa, which was
thenceforth retained by his descendants as the permanent title
of the Academy, which however underwent no immediate change
save in appellation.

JAPANESE PICTORIAL ART.

The Academy, now known as the Tosa eiU, continued to monopo
lize art-teaching and patronage until the period of the renaissance
of Chinese art in the fifteenth century. While the star of the
Yamato painters was in the ascendant, the influence of the old
Chinese masters had been gradually losing its hold upon the
painters of Japan, except in the section of Buddhist art where the
influence of Wu Tao-tsz' was still visible in the compositions of
Mbicho and his followers. But the same prolific age that brought
Sesshii;, Shiubun, and Masanobu to revive Chinese teaching, gave to
the TosA school two of its greatest masters in Mitsu-nobu and his
son Mitsu-shige; and the line has continued without interruption
through a long list of talented artists to the present day. Since
this time the Academy has held its position rather as a heritage
than by virtue of any signal achievements, Mitsu-oki, the chief
representative of the family in the seventeenth century, and his
great-grandson Mitsu-yoshi, in the eighteenth century, were dis
tinguished by the elaborate delicacy of their drawing and colouring,
and some of the old originality reappeared in Mitsusada, the son
of the latter ; but with these exceptions, none of the Tosas after
MiTsusHiGB can be specified as the possessors of any striking in
dividuality, either in execution or invention.
The characteristics of the Yamato style are quite distinctive when
taken collectively, but offer few features of novelty upon analysis.
The main principles of design were those of Chinese art, while the
colouring, at first tender and subdued in tone, became heavier and
more brilliant from the sixteenth century. The drawing was
executed with finer pencils than those used by artists of other schools,
and, though sufliciently firm and delicate, looked feeble beside the
works of the men who had revived Chinese art; but the beauty
of the productions of the Academy was most seriously marred by
the incorrect and ungraceful rendering of the human figure, ex
emplified in the doll-like imbecility of their portraitures of the lords
and ladies who represented the high culture of old Kioto. This
mannerism was perhaps rather the fault of a tradition than of any
lack of artistic discrimination ; for the same painters could, on occa
sion, abandon their formal and rather wearisome illustrations of Court
life to dash off fresh and unconventional sketches, which displayed
all the power of the Chinese School, and all the humour of the

THE YAMATO AND TOSA SCHOOLS. 97
modern artisan designers; moreover as painters of Butsu-ye they
were unsurpassed until the time of Cho Densu.
The colouring of the later Yamato-ye was as decorative as the
use of gold and brilliant pigments could make it, and the coloured
areas were so subdivided as to give almost the efi'ect of a brocaded
pattern ; but although the disposition of contrasts was in some
respects at variance with European canons, and the use of a bright
verdigris was perhaps too freely indulged in, the effect as a wiole
has much of the rich harmony of the illuminations of the four
teenth-century missals.
The only marked innovation in the practice of the Yamato artists
was the Asmodean expedient of spiriting away the roof from any
building of which they desired to expose the interior. This licence
appears to have no precedent in Chinese pictorial art.
The favourite motives of the school were drawn from biographies
of famous scholars, priests, or heroes ; poetical compositions ; native
or Chinese legends and romances; temple inventories (Yengi); and
ceremonials of the Mikado's Court. The artists, however, frequently
painted Buddhist pictures, and not only left many sketches of horses,
birds, flowers, and other objects in the simple style of the old Chinese
masters, but often gave loose rein to such quaint fancies as those ex
emplified in the ' Night Journey of the Hundred Demons towards
the Eising Sun ' (No. 262), or to outbreaks of sly fun that recall
the inventions of the modern netsuke carver. Nos. 494, 201, 204,
212, and 228, may be referred to as representative specimens of
the various manners.
The following is a list of the artists of the Yamato-Tosa
School : —
Taku-ma Tamb-uji. The founder of the " Takuma school,"
which is sometimes distinguished as a special branch of the
Yamato riu. Flourished about 955 a.d.
Kasuga Moto-mitsu. (See p. 95.)
Kasuga Mitsu-chika, son of Moto-MiTsu,
Kasuga Taka-yoshi, The first holder of the office gf Kasuga
Yedokoro.
Takuma Tame-naei. Noted for rapid sketches in the Chinese
style and Buddhist pictures. His paintings of the ' Nine
Eegions of the Western Paradise ' are still preserved at the
temple of Biodo-in (Uji). H

JAPANESE PICTORIAL ART.

Naei-mitsu, A Court painter, chiefly remembered by a picture
of a cock that was so life-like as to excite the animosity
of a fowl which had been brought into the room where the
painting was kept. Neither the period nor family of Naei-
mitsu are known precisely, but he is said to have been a pupil
of a priest of Miidera named Ko-gi.
Hada no Mune-masa. Lived at the end of the eleventh century.
1 2th century : —
Kasuga Taka-chika, son of Taka-yoshi. See No. 88.
Kasuga Mitsu-naga, son of Taka-chika. See No. 276.
Kei-on, son of Taka-chika. Known also as Sumi-yoshi Hogen,
Kasuga Yuki-naga, son of Taka-chika. He and his brothers
lived at the end of the twelfth century.
NoBU-SADA. Noted for paintings of horses. Flourished about
IlIO A.D.
Takuma Tame-to. A retainer of the Emperor Konye no In
(1I42-I155). Painted many Buddhist pictures.
Takuma Tame-hisa. Third son of Tame-to. He was in the
service of Yoritomo in the period Jiuyei (II82-II84).
Takuma Ch6-ga, or Choga Horn. End of twelfth century.
Famous for portraits and Buddhist pictures.
Takuma Sho-ga, or Shoga Hogen. End of twelfth century.
FujiwAEA (or To) NO Taka-nobu, Pupil of Taka-ohika, Died
1205, at the age of 63, Noted also as a poet.
FujiwAEA NO Kanb-fusa. Especially remembered by a portrait
of Hitomaru, painted on the occasion of a festival in honour
of the poet in III8.
FujiWAEA NO Hide-hiea. Died 1187,
Taiea no Kiyo-moei. The famous regent, under whom was
carried on the long conflict of the Gen and Hei between
the Minamoto and Taira factions. He is said to have been
a skilful painter, and his talent descended to his daughter.
Died 1181, at tho age of 63.
MoEi-SADA Shinno. Son of the Emperor Takakura no In (II69-
1180). Illustrated the Sagaromo Monogatari.
I3th century : —
TosA TsuNE-TAKA, entitled Kasuga Tosa Gon no Kami. Son of

THE YAMATO AND TOSA SCHOOLS. 99
MiTsu-NAGA. He was the first of his family to assume the
patronymic of To-sa. Flourished about 1240.
Tosa Kuni-taka, son of Tsune-taka. Eeceived the title of
Buzen no Kami.
Go-Kio-GOKU FuJiwAEA NO YosHi-TSUNE. A member of the
household of the Emperor Tsuchi-mikado no In (II99-
1210). Noted for paintings of horses. Died 1206, at the
age of 37,
Takuma Tamb-yuki, A retainer of the Shogun Yoritsune,
Painted many Buddhist pictures.
Takuma Ei6-ga, or Hogen Eioga.
Tosa Naga-taka, son of Tsune-taka. See No. 285.
Tosa Yoshi-mitsu, son of Tsune-taka.
FujTWAEA NO Nobu-zane, son of Taka-nobu, Died 1265, at the
age of 88. He left a brilliant reputation as a painter of
portraits and other studies from nature. See Nos. 82 and 226.
FujiwAEA NO Tame-tsugu, SOU of NoBU-zANE. Died 1265.
FujiwAEA no Koee-nobu, son of Tame-tsugu.
Kai Hokkio. The true name of this artist has not been traced ;
he left a son named Kei-ndj, who was also a noted painter.
So-heki-mon-In. a female artist, consort of the Emperor Go-
Horikawa no In (1222-1232), who is known by her illustra
tions of the Genji Monogatari.
14th century : —
Tosa Mitsu-hide, son of Kuni-taka.
Tosa Taka-kanb, son of Mitsu-hide,
Tosa Naga-akiea, son of Naga-taka.
Tosa Taka-suke, son of Naga-akiea.
TosA Taka-moei, son of Taka-kanb.
Tosa Mitsu-aki, son of Yoshi-Mitsu,
Tosa Yuki-mitsu, son of Mitsu-aki. Became Kasuga Yedokoro
in 1360.
Tosa Naga-haru, son of Mitsu-aki,
Tosa Jaku-sai, son of Mitsu-aki,
Tosa Taka-mitsu, son of Mitsu-aki. Known also as Mimbu
and AwADA-GUOHi Hogen. See No. 227.
Tosa Suke-yasu, son of Taka-suke.
Tosa Yuki-hibo, son of Yuki-mitsu.
Tosa Mitsu-shige, son of Yuki-mitsu. Became Kasuga Yedokoro
H 2

100 JAPANESE PICTORIAL ART.
in 1390. He must be distinguished from the Mitsushige
of the 16th century.
Takuma Yei-ga. Principally noted as a painter of Buddhist
pictures in the style of Li Lung- yen and Ngan Hwui.
En-iohi-bo Sei-nin. Known also as Miyo-ye Shonin.
Takuma Ei6-zon.
Takuma Jo-ko. End of fourteenth century.
FujiwAEA NO Tame-nobu, son of KoEE-NOBU. Died 1306.
FUJIWABA NO HiDB-NOBU, SOU of TaME-NOBU. .
I5th century : —
Tosa Mitsu-kuni, son of Naga-haeu.
Tosa Mitsu-hieo, son of Yuki-hibo.
Tosa Yuki-hidb, son of Yuei-hiro. See No. 227.
Tosa Mitsu-chika, son of Mitsu-shige,
Tosa Mitsu-suye, son of Mitsu-hiro,
Tosa Hieo-ohika, son of Yuki-hide. Known also as Mitsu-
MOOHi Kbi-so, and Tsune-masu. He became Edokoro in 1439.
See No. 212.
Tosa Yuki-moei, son of Yuki-hide.
Takuma Sho-kei.
Masa-tsugu. A pupil of the school who worked in the middle
of the century. Family name unknown.
Shiba Kan-shin. Flourished in the period Eikio (1429-41);
Sheba Son-kai. A celebrated artist who has left many pictures
in the Temples of Todaiji and Kofukuji at Nara. His name is
often mistaken for that of Shiba Hogen Einken, Flourished
in the period Kakitsu (I44I-4).
Shiba Kbi-shun, Flourished in the period Bummei (1469-87).
Tosa Mitsu-nobu, son of Hiko-chika. He became Edokoro
in 1496, and died in 1543, at the age of 98. He was one of
the greatest artists of the school, and has left many works
both in the simpler and more elaborate styles, that belong to
the masterpieces of Japanese art.
1 6th century : —
Tosa Mitsu-shige, son of Mitsu-nobu. He became Edokoro in
1532, and died about 1560. His daughter, Chiyo Mitsu-hisa,
also an artist, married Kano Motonobu, and followed the
manner of her husband's school. See Nos. 417-28.

THE YAMATO AND TOSA SCHOOLS. lOI
Tosa Mitsu-moto, son of Mitsu-shige, Died in 1569, at the
age of 29,
Tosa Mitsu-yoshi, son of Mitsu-shige. Died in 1613, at the
age of 74,
NoBu-HAEU, probably of the Takuma family. He became
Kasuga Yedokoro about the middle of the century.
Ein-ken Hogen, Shiba family. Flourished in the period Yeisho
(I504-I52I),
IwA-SA Mata-hei, a pupil of Tosa Mitsu-shige. He was the
founder of the Ukiyo-Ye riu, or Popular school (q.v.) See
No. 205,
I7th century : —
Tosa ,Mitsu-noei, son of Mitsu-yoshi. Died 1638, at the age
of 55,
SuMi-YOSHi HiEO-MiOHi, SOU of MiTsu-YOSHi. Adopted the name
of Sumi-yoshi by Imperial command. Died 1670, at the
age of 71. See Nos. 201 and 226. ^ f -^-
TosA Mitsu-oki, son of Mitsu-noei. Died I69l/See Nos. 205a
and 208,
Tosa Jaku-yo, son of Mitsu-noei, Became a priest at Hojuji,
in Settsu, and took the name of Kio-ten Osho.
SuMi-YOSHi Hmo-zuMi, son of Hieo-miohi. Died 1705, at the
age of 84.
Kaku-shiu Ko-ka, son of Hieo-michi. Became a priest. Died
1733, at the age of 91.
Tosa Mitsu-naei, son of Mitsu-oki. Died I7I0, at the age
of 60. See No. 208.
Mitsu-zumi ; named also Do-ton, or To-da Gen-bei. Lived at
the beginning of the century.
Mitsu-aki ; named also Hana-no, Pupil of Yoshi-mitsu.
MiTSU-KATSu; named also Naka-muba, A pupil of Yoshi-
METSU,
MiTsu-MASu, A pupil of YOSHI-MITSU.
Mitsu-tsugu. a pupil of Yoshi-mitsu,
Hieo-katsu ; named also Ka-to, A pupil of Hibo-michi.
Hibo-aki ; named also Shima-da, A pupil of Hibo-miohi,
So-TATSu ; named also Tawaeaya Kobe-toshi. A pupil of Hmo-
MiCHi, or, according to some authorities, of Kano Yasu-nobu.

102 JAPANESE PICTORIAL ART.
He was an artist of great originality, and is regarded as one
of the best colourists in Japan. Flourished about 1670.
Sho-i. Flourished in the period Keicho. (I596-16I5.)
Ku-chiO-sai Honnami Ko-ho, Pupil of So-tatsu.
The three last-named artists departed considerably from the
traditions of the school. Other seceders of note about the end
of the century are said to have been Oga-ta Ko-ein, the founder
of the Korin School (q.v.), and Nishi-gawa Sukb-nobu, one of
the leaders of the popular school, who is also claimed as a pupil
of Kano Yeino. An earlier celebrity, Honnami Ko-ybtsu, the
grandsire of Ko-ho, is likewise believed to have been an offshoot
of the Tosa Academy. See Korin school.
I8th century : —
Sumi-yoshi Hieo-yasu, son of Hieo-zumi. Died 1750, at the
age of 84.
Tosa Mitsu-suke, son of Mitsu-naei. Died I7I0, at the age
of 35. See No. 206.
SuMi-YOSHi HiRO-MOBi, SOU of HiEO-YAsu. Died 1777, at the
age of 72.
Tosa Mitsu-yoshi, son of Mitsu-suke. Died 1772, at the age
of 71. See Nos. 207 and 268.
Tosa Mitsu-atsu, son of Mitsu-yoshi. Died 1764, at the age
of 30. See Nos. 209, 442, et seq.
Tosa Mitsu-toki. Died 1803, at the age of 38.
Tosa Mitsu-sada, son of Mitsu-yoshi, Died 1806, at the age
of 68. See No. 238.
Matsu-baea Kei-taku.
Haohi-ya Kei-ga.
HiRO-TOKX ; named also Suzu-ki. Pupil of Hibo-mobi.
HiRO-EUEU ; named also Koko and En-do. Pupil of Hieo-moei.
HiEO-MASA ; named also Ita-ya Kei-shiu, Pupil of Hieo-mobi.
Died 1797, See No. 223 et seq.
Nao-yoshi; named also Awadaguohi Kei-u, Pupil of Hieo-
mobi. Died 1783, at the age of 68,
Moeo-ka, or Ishi-yama Gon Chiunagon. Noted also as a wood-
carver and poet. Died 1734, aged 65, See Nos, 210 and
243.

THE YAMATO AND TOSA SCHOOLS. 103
I9th century: —
SuMi-YOSHi Hmo-YUKi, son of HiRO-MOEi. Died I81I, aged 56.
Sumi-yoshi Hieo-nao, son of Hebo-yuki. Died I8I4.
SuMt-YosHi HiBO-TSUBA, SOU of HiRO-NAo. At first borc the
name of Hieo-sada. Died 1864, at the age of 70. See
No. 214, et seq.
Sumi-yoshi Hibo-kata, Still living,
Sumi-yoshi Hieo-naga ; named also Ita-ya Kei-i, See No, 218.
Tosa Mitsu-atsu. Son of Mitsu-sada. Died 1852.
Tosa Mitsu-kiyo. Son of Mitsu-atsu. Still living.
Tosa Mitsu-bumi. Grandson of Mitsu-toki. Still living.
Motives. — Amongst the motives more especially illustrated by the
Yamato School, and represented in the Collection, are a few demand
ing a longer notice than can well be appended to the enumeration of
the individual paintings. These are the Genji Monogatari, the Sumi
yoshi Monogatari, the Story of Urashima, the Story of the Muge-
Hojiu Gem, the Adventures of Eaiko and his companions, and
the history of the lives of Yoshitsune and Benkei. The Taketori
Monogatari and the Sagaromo Monogatari, although of great lite
rary interest, are less frequently the subject of art works than the
romances first named, and, not being represented in the collection,
will not be further alluded to. A review of Japanese literature
from the pen of Mr. Satow, contributed to the American ' Cyclo
paedia,' may be referred to for more extended details.
The Story of the Mug6 Ho-jiu Gem, is thus related in the
illustrated volume, No. 491 of the Collection: —
Taishokkwan Kamatari was a Kuge of high rank who lived in
the seventh century. His daughter had become the consort of
the Chinese Emperor Tai Tsung (627-650 a.d.), and being desirous
of founding a temple in her native land, collected a multitude
of rare objects, which she despatched to her father under the care of
a trusted retainer named Manko. Amongst the most precious of her
gifts was a famous sacred jewel, called the Muge Hojiu. The renown
of this offering spread far and wide, penetrating as far as Eiugu,
the submarine realm of the Dragons ; and the Dragon King, stung
by envy, summoned to his aid the King of the Asuras, that he
might secure the treasure for himself.

104 JAPANESE PICTORIAL ART.
The vessel bearing the priceless gem had reached a place called
Chikura ga Oki, between China and Japan, when it was furiously
attacked by a demon horde. But Manko undauntedly armed his
men and fought with the hellish foe till the whole army was put to
flight. The victorious ship then sailed on towards its destination, and
at length had nearly gained the shores of Shikoku, when its course
was intercepted anew. A log of strange appearance was seen
floating upon the waves, and the sailors, urged by curiosity, took it
on board and cut it open, revealing within its hollow a woman
richly attired and of surpassing beauty. Manko took charge of the
mysterious waif, and for a time treated her with due respect ; but
adverse winds arising, all onward progress was checked during ten
long days. In this fatal interval of enforced inactivity the leader's
idle' thoughts strayed towards his fair guest, and he began to seek
her favour. His addresses were met by artful resistance and false
scruples of religion, and his passion was aggravated by delay, until,
to gain his end, he lent ear to a request of his temptress to betray
his trust, and allowed her to behold the Precious Gem. Three days
after the desecration of the shrine both the woman and the jewel
had vanished ; for the siren was an emissary of the Dragon King,
and had succeeded by wiles where force had proved unavailing.
Manko sailed on to Japan, to lay his confession at the feet of his
master. Kamatari, overwhelmed by the news, could not shake off the
thoughts of his loss. At length he quitted the capital and went to
Fukazaki, near to the place where the jewel had disappeared, and
tarried there in retirement, telling no man who he was. After a
time he met with a female diver of great beauty, and, falling in
love with her, he made her his wife. For three years the pair
lived happily together till a child was born to them, and then
Kamatari thought fit to disclose the secret of his rank. The
revelation bowed down with shame the mother of his infant, for she
knew that a poor fisherwoman could never be a mate for so great
a lord, and since her marriage was void, she determined to end
her bitter existence by self-destruction. Kamatari, finding himself
powerless to alter her resolve, told her of the loss of the jewel,
and prayed her to attempt the recovery of the treasure rather than
to sacrifice her life uselessly. Without a word she sprang into the
sea and the waves closed over her. , . . Hour by hour he watched

PLATE 14.

THE YAMATO AND TOSA SCHOOLS. 105
for her return, and day succeeded day; at last, as the sun was
declining for the seventh time after her departure, she suddenly
appeared before him, exhausted and despairing. She had returned
empty-handed ; for the jewel, preserved in the realm of the Dragon
King, was guarded by fierce monsters, and could not be approached.
Kamatari, after long thought, devised a plan to decoy the Dragons
from their charge while his wife made a second effort, and, fitting
up a ship with flags, he placed a chosen choir upon the deck.
Sacred strains soon resounded over the waves and penetrated to the
habitation of the. Dragons, who piously gathered from all sides to
pray in unison with the notes that vibrated in their ears. The
time had now come for the faithful woman, who, arming herself with
a sharp blade, and setting a light-giving crystal in her hair, bound a
rope around her waist and plunged into the sea. ' Thousands of ri '
she swam beneath the waves, her path illumined by the radiant
stone, until she reached the now deserted shrine. She seized
the Precious Gem and hastened to return, striking out vigorously in
the direction of the ship. Her task was nearly accomplished, and
the expectant sailors hailed her approach, when a dragon, a hundred
feet in length, perceived her rapid flight through the waters, and
darted like an arrow in her wake. The heroine defended heirself
with the sword, but the poisoned fangs of the monster were fixed
in her flesh, and Kamatari's retainers drew up only the corpse of
their master's wife.
Kamatari gazed sadly and despairingly upon the mutilated frame
of the brave woman who had given up her life for him, no thought
of the object of her enterprise arising in his mind, when suddenly he
perceived in her bosom a gaping self-inflicted wound, and gleaming
in its depth lay the precious jewel, where the heroine had concealed
it, that her husband's wish should not be frustrated by her
destruction. The object so dearly bought was fixed in the brow of the image
of S'akyamuni in the temple of Kofukuji, and remained the peerless
Treasure of the Three Countries (India, China, and Japan),
The Story of Urashima, as told in the Makimono, No. 281, is
to the following effect. Once upon a time a man, named Urashima,
captured a Tortoise, by the shore of Ejima, in the province of
Tango, but, unwilling to cut short the hundred centuries of exist-

106 JAPANESE PICTORIAL ART.
ence allotted to the sacred animal, restored it to the sea, Eeturning
to the same spot on the following day, he saw a boat tossed about by
the agitated waves, and in it, alone, a beautiful woman. The dis
tressed stranger called to him, and besought his aid, saying that all
her friends had perished in a storm, and she alone survived, cast away
far from her native land, Urashima pitied her misfortune, and
promised to convey her to her home. During an entire day he
rowed seaward under her direction, and at length reached the
Dragon Kingdom of Eiugu, where he found a palace to receive his
rescued princess, and a reward in the person of the grateful lady
herself. For three years he forgot all else in the charms of his
wife and the marvels of her mystic realm, but at length thoughts
of his home arose, and he yearned to see again the parents he had
left to mourn his loss. He begged that he might return for a time
to his beloved Tango, but his wife wept, and telling him that she
was the sacred Tortoise whose life he had spared, sought to dissuade
him from quitting her. After long opposition she yielded to his
entreaties, and allowed him to depart, giving him, as a memento
of their bond, a casket, with an injunction that he must never
venture to open it if he desired to see her again.
He returned to the shore of Ejima by boat, as he had left it,
and soon reached the place of his birth ;* but all seemed strange to
his eyes, and of family and friends no trace could he find, even in the
recollections of the strangers who had replaced them. At last
an aged man, in reply to his questions, told him that a- family
bearing the name of Urashima had lived there seven hundred years
before, and pointed out to him a tomb erected to the memory of the
last of the line — the inquirer himself. Urashima, dazed by these
revelations, thought no longer of the injunctions of his wife, but
tore open the casket, in the hope of finding some clue to the
mystery, when from its interior escaped a purplish vapour which
slowly rose into the air, and, as the last wreath was dissipated,
Urashima's face of thirty-five summers changed its aspect. His
wife had enclosed in the box the seven centuries of life which had
passed away as three short years of dalliance in the palace of Eiugu,t
* The date of the return of Urashima is fixed hy chronological works in 825 a.d.
t In some versions the Dragon Kingdom, as the place of the hero's long abode,
is substituted hy Mount Horai, the haunt of the Genii ; and the seven centuries of
absence arc abbreviated to three.

THE YAMATO AND TOSA SCHOOLS. 107
and his mortal existence evaporated with the impalpable cloud,
leaving his human frame translated into the form of a Crane. The
ancient bird rose on its pinions and soared through the skies
towards Mount Horai, the home of the Genii, and there was joined
by the Tortoise, to pass in companionship ten thousand years of
joyous life.
" Urashima taro was canonized in his native province as Ura
shima Mio-jin, and the Tortoise appeared at the same place as a
goddess. It was indeed a happy story."
The transformation of Urashima into a crane is a variation from
the original narrative, which ends by representing the youthful
frame of the wanderer withering into extreme old age as the
mysterious essence evaporated from the open casket, and sinking
helpless to the earth to die while the last eddying wreath melted
away. The simple version, as translated by Mr. W. G. Aston from
the Man-yb-shiu,* is more effective than the later elaborations
of the story. (See Aston's ' Grammar of the Japanese Written
Language,' Appendix, p, xvii.)
The legend presents strong points of resemblance to that of Eip
Van Winkle, but some narrations to be found in Chinese literature
of perhaps more ancient date, offer a much closer resemblance to the
tale given to the European world by Washington Irving. The true
original of Eip was Wang Chih (see Mayers' ' Chinese Eeader's
Manual,' p. I, No. 794) who is followed by the two sages Yii'an Chao
and Liu Ch'en (see Mayers, p. I, No. 959) ; and a comparatively
modern writer, many of whose works have been translated by Mr.
H, A. Giles, under the title of ' Strange Stories from a Chinese
Studio,' has utilised the same idea.
Wang Chih (Jap. Oshitsu) was a patriarch of the Taoist sect who
was supposed to have lived under the Tsin dynasty (third cent. b.c).
The story is thus told by Mayers : " It is recorded of him that . . .
having wandered in the mountains of K'ii Chow to gather firewood,
he entered a grotto in which some aged men were seated intent
upon a game of chess. He laid down his axe and looked on at their
game, in the course of which one of the old men handed to him a
thing in shape and size like a date stone, telling him to put it in his
mouth. No sooner had he tasted it than he ' became oblivious of
» The Manyoshiu is a collection of poems extending over the period from the
fifth to the ninth century.

108 JAPANESE PICTORIAL ART.
hunger and thirst.' After some time had elapsed one of the players
said : ' It is long since you came here ; you should go home now ! '
Whereupon Wang Chih, proceeding to pick up his axe, found that
its handle had mouldered into dust. On repairing to his home he
found that centuries had passed since the time when he left it for
the mountains, and that no vestige of his kinsfolk remained. Ee-
tiring to a retreat among the hills he devoted himself to the rites of
Taoism and finally attained to immortality."
The second tale is of similar character, but approaches the Tann-
haiiser group in its details.* It is narrated that Yuan Chow
(Jap. Genkei) and his friend Liu Ch'en (Eiushin), two scholars of
the first century a.d., once lost their way in the T'ien t'ai mountains,
and " after wandering about for many days were at length guided
by accident to a fairy retreat among the hills, where two beauteous
sisters feasted them on the seeds of the hemp plant, and admitted
them to share their couches. Eeturning at length to their homes
after what had seemed a brief period of dalliance, they found with
dismay that seven generations had elapsed since they left their
homes." A similar narration, also drawn from Chinese sources, appears in
the E-hon riozai. A man named Eokio, who had from his childhood
studied the medicinal properties of plants, once met three ancient
men while wandering in search of herbs. They addressed him, and
claiming an acquaintance on the score of a community of names,
invited him to pay them a visit to examine the life-giving drugs
which they had the secret of preparing. He accepted the offer,
tasted the potions which his hosts laid before him, and after
passing two days in their company took leave of them to return to
his dwelling. When he reached the place where he expected to find
his home he saw only a cultivated field. He inquired in vain after
his family, until at length a man of fourscore years, liviag in a
distant place, identified him as an ancestor. It was two centuries
since he had set out for his memorable botanizing excursion.
The sequel to the story is that Eokio taught his descendant the
secrets of longevity, and enabled him also to enter the ranks of the
Genii. * A Swedish story, recorded in ' Curious Myths of the Middle Ages,' bears a very
close analogy to the legend here related.

THE YAMATO AND TOSA SCHOOLS. 109
Yorimitsu and the Demon- Spider, — The main features of
the well-known story of Yorimitsu and the Spider, as related in
the Eoll, are as follows. Once upon a time Minamoto no Yori
mitsu* left Kioto with Tsuna, the wisest of his squires. While
crossing the plain of Eendai they saw a skull arise in the air and
fly before them as though carried by the wind, and, curious to
know the meaning of the phenomenon, they followed it until it
disappeared at a place called Kagura ga Oka, Here they found
a mansion in ruins, and Yorimitsu passing into the dilapidated
entrance beheld an old woman of weird aspect and bearing,
" She was dressed in white, and had white hair ; she opened her
eyes with a small stick, and the upper eyelids fell back over her
head like a hat ; she then used the rod to open her mouth,
and let her breasts fall forward upon her knees." The strange
tenant was garrulous, and told Yorimitsu that she was 290 years
of age and had served nine masters, and that the place was
governed by demons; ending with plaintive utterances upon the
flight of time. The hero, not caring to hear more, passed on
into the kitchen, and looking out at the sky, saw that night
approached and a great storm was gathering in the heavens.
Presently were heard sounds as of advancing footsteps, mingled
with beating of drums, and there suddenly trooped into the
building a countless multitude of goblins (bakemono) of curious
shapes. Yorimitsu waited in suspense, and in a short time a
being dressed like a nun appeared before him. She had a little
body, naked to the waist; her face was two feet in length, and
her arms were white as snow and thin as threads. The hero
looked fiercely at the creature, who laughed at him and vanished
like a mist. Soon after the cock was heard to crow, and Yori
mitsu thought that the ghostly visitors would trouble him no
more ; but he was wrong, for the sound of footsteps again struck
his ear, and there entered to him a woman " beautiful as Yokihi
or Ei-fujin (Yang Kwei-fei and Li Fu-jen), with a shape more
graceful than the willow branches as they wave in the breezes
* Minamoto no Yorimitsu, or Eaiko, a court noble of the tenth and eleventh
centuries, was the hero of more adventures than fell to the lot of any of the
Seven Champions of Christendom. His most memorable feat was the destruction
of the Shiuten-doji (see No. 383 et seq.) in 947 a.d. He died at an advanced age
in 1021.

no JAPANESE PICTORIAL ART.
of spring." As he gazed upon her his eyes became dazzled, and
ere he was able to recover his sight he found himself enveloped
by countless threads of cobweb. Starting up, and dragging her
after him, he struck at her with his sword, when she suddenly
disappeared, and he found that his weapon had cut through the
floor planks and had broken the foundation stone beneath. At
this moment he was joined by Tsuna, and they perceived that
the sword was covered with white blood, and that its point was
gone. They followed the gory track, and at length came upon
a den in which they saw a monster with many legs, and a head
of twenty-five feet in length, covered with downy hair like cotton
fibre. Its eyes shone like the sun and moon, and it was groaning
aloud, " I am sick and in pain." As they drew near they saw
by the figure a shining object, which Yorimitsu recognised as the
broken point of his sword. The heroes then breathed a prayer to
the gods, and seizing the creature, dragged it out of its retreat,
and cut off its head. On examining the body they found in the
abdomen a deep gash that had been made by Yorimitsu's sword,
and out of the gaping wound there gushed nineteen hundred and
ninety human skulls, and many living spiders as large as children
of seven or eight years of age. Then comprehending that the
monster was a Mountain Spider, they laid open the huge carcase,
and there, within the entrails, were revealed to their horror-stricken
gaze the ghastly remains of a score of human corpses.
The story concludes with a relation of the burial of the relics of
the victims, and a specification of the rewards conferred upon Yori
mitsu and Tsuna by the Emperor.
" These pictures were painted by Tosa Nagataka, and were kept
in the possession of Prince Katagiri. The story was written by
Kenko Hoshi, and a copy of it was preserved in the family of Kano
Kansen. " Copied by Imamura Zuigaku, in the 5th month of the 3rd year
of Ansei (1856)."
In the more current story the demon spider afflicts Yorimitsu
with a severe and mysterious illness. One night the monster
manifests itself in the form of a priest, and casts a web around the
sick man, who, however, springs up and wounds his tormentor.
The spider is traced to its lair by the blood, and is there despatched
by the retainers of Yorimitsu.

THE YAMATO AND TOSA SCHOOLS. Ill
The story of Yorimitsu and the Shiuten-doji is omitted, as the
main details are comprised in the description of the drawings, Nos.
383 to 416, and it has moreover been the subject of a recent paper of
great interest read before the Asiatic Society by Mr. F. V. Dickins
(Trans. As. Soc. 1884), The early history of the mediaeval robber
monster as told in the scrolls, Nos. 269-271, may be quoted as a
supplement to the more familiar legends.
In ancient times there lived in the province of Omi a man
named Ibuki Yasaburo, the son of the lord of Ibukiyama, and
he was married to the daughter of one Onoki, a noted person
in the same part of the country. Yasaburo was of handsome
presence but deformed in mind, and abandoning himself entirely
to gluttony and drunkenness, scrupled not to rob the people of
their possessions for the gratification of his wicked appetites.
At length by dint of evil-doing he became hated beyond measure
by all mankind, and Onoki, fearing still greater wrongs to gods
and men, determined to put an end to the existence of his unworthy
son-in-law ; a purpose which he effected while the besotted wretch
lay helpless in the stupor of intoxication.
Shortly afterwards the wife of Yasaburo gave birth to a son,
and the features of the infant bore strong resemblance to those
of his father. Onoki, foreseeing that he would inherit the vicious
disposition of his sire, counselled that he also should be despatched,
but the mother rejected the advice with indignation, and nurtured
the little one tenderly. The boy however began in his earliest
days to manifest not only insatiable voracity and cruelty to man
and beast, but craved after sake with an ardour that procured
for him the name of the Shiuten-doji, or the great drunkard boy.
By the time he had reached his seventh year he had made his
presence so execrable to all around him, that his mother learned
to regret her past affection, and taking him to a valley in the north
of Mount Hiyoshi, there abandoned him to his fate.
Left to his own resources, the boy, instead of falling a prey to
starvation or the attacks of wolves and foxes, preserved his life
by eating fruits and afterwards the flesh of such animals as he
was able to destroy, and while he waxed daily in strength and
stature his countenance began to assume a strange and terrible
aspect. After a while he changed his place to Mount Obime-no-
mine, but, expelled thence by the god Ni-no-miya Gongen, he

112 JAPANESE PICTORIAL ART.
betook himself to Kinseki in Hide-no-yama, where he established
his lair in a cave, and there appeared about him in a mysterious
way a number of fearful beings who paid blind obedience to his
commands. Detested by Buddha and all the gods, again was he
driven forth from his den, and with his hellish crew fled to Ohiye
yama. This mountain was so high that the birds were unable to
wing their way to its summit, and the valley was so deep that no
man could penetrate its gloomy recesses ; and here he made another
cave, and guarded it from attack with gates of stone hewn out of
the solid rock. From the stronghold so provided he would issue
forth daily in all directions to rob men of their treasures, and to
ravish from their homes beautiful damsels whom he compelled
to serve as hand-maidens to his lawless desires. Thus did the
haunt grow in ill repute, until it was known fai* and wide by the
name of Onigashima, or the Island of the Devils.
But the mount of Ohiye was under the especial protection of
Yakushi Niorai, who had appeared in Japan under the appellation
of Ni-no-miya Gongen, and the god assuming the guise of an
aged man showed himself upon the infested heights to warn the
desecrating band. Then Shiuten doji, fearing his vengeance, hastily
evacuated the place of vantage with his demon horde.
Their next centre of operations was a place of great natural
strength, called Nishigaka, where, after constructing a cavern of
great size, they resumed their depredations, and sacrificed the lives
of all kinds of animals to satiate their unhallowed lust of fiesh.
Now there was a holy priest named Saisho Hoshi, afterwards
known as Dengio Daishi, who had acquired great learning, and
had perfected his knowledge of the innermost mysteries of
Buddhism during a sojourn in China. Upon his return to Japan,
in the reign of the Emperor Kashiwabara no Mikado (Kwammu
Tenno, 782-806 a.d.), he persuaded the monarch to authorize
the erection of a temple on the north-east side of the new capital
of Kioto, to protect the land and ensure its fertility. Ascending
Mount Higashiyama in search of a fitting locality, his ears were
struck by the accents of a voice reading from a sacred book, and
in tracing the sound he discovered that it proceeded from the
bowels of the earth. He accepted this miracle as an omen, and
fixed upon the spot as the divinely-appointed site for the holy
edifice.

THE YAMATO AND TOSA SCHOOLS. 113
The Shiuten doji, dreading the proximity of the temple, deter
mined to oppose the work of construction, and by an exertion of
magic power caused a dense grove of giant trees to spring up
in a single night over the ground marked out by the Daishi, so
that when the workmen came to begin the erection they were
unable to clear the space. The Daishi seeing what had occurred,
prayed to Buddha, and the fictitious vegetation melted away into
thin vapour and disappeared. He then achieved the building of a
gorgeous temple and three pagodas upon the chosen site.
The work completed, he retired to Hiyei-no-take, and composed
a poem, and there was vouchsafed to him a miracle, the sun, moon,
and stars appearing together in the heavens, and before his eyes
becoming transformed into an image of the Holy Buddha Amida,
The Emperor, who was of one common mind with the Daishi, gave
to the mountain the name of Hiyeizan, and the temple became
known as Enriakuji from the name of the period (Enriaku,
782-806 A.D.) in which it was constructed.
The Genji Monogatari, one of the earliest of the Japanese
romances, was written about the end of the tenth century by
Murasaki Shikibu, a maid-of-honour to the lady who afterwards be
came the consort of the Emperor Ichijo. It consists of fifty-four
chapters, the first forty-one relating to the life and adventures of
Prince Genji, the rest, of which ten are supposed to have been added
by the daughter of the authoress, referring principally to the career
of one of his sons. The period of time covered by the whole story
is about sixty years, and the scenes are for the most part laid in
Kioto. (See translation by Mr. K, Suyematz, from which these
particulars are abstracted.)
The work is probably not a pure fiction, but describes actual
events and real personages, veiled by change of names and embel
lished by poetical invention. It is chiefly personal, and, in its
references to leading characters of the society of the time, is in some
respects comparable to the ' New Atalantis ' of Mrs. Manley ; but,
happily for the credit of old Japan, its scandal is devoid of the
malice and coarse indecency of this unpleasant page of the secret
history of our own country, and displays a refinement of sentiment
altogether beyond the conception of the bed-chamber Clio of the
seventeenth century. I

114 JAPANESE PICTORIAL ART.
The early chapters are devoted entirely to the amorous intrigues
of the hero, Genji, a son of the Emperor, who is distinguished by
his accomplishments as a poet, musician, and artist, and his now
proverbial beauty. Married to a lady of his own rank, he neglects
her to flutter about the capital, flirting and intriguing with every
woman who pleases his fancy, without embarrassing his proceedings
by any scruples on the score of fidelity. Despite his many liaisons —
one of which, with the young wife of his aged sire, is sufficiently
startling — a strong current of kindliness and good nature inter
mingles with the incidents of his Don Juan-like career; and the
description of his paternal care of a little girl, whom he adopts in
consequence of her likeness to his beloved but then lost Empress; and
of his delicate and generous attention to a reduced gentlewoman,
whose nose, " high and long, while its peak a little drooping, was
tinged with red," reminded him of the red lily trunk of the
Elephant of Samantabhadra, wins more than our forgiveness.
The story is replete with striking pictures of the customs,
fashions, tastes, and morality of the period, relieved by many
artistic touches of poetry and not a few twinkles of fun ; but its
chief interest lies in the valuable information that is to be gleaned
from its pages as to the condition of the arts and sciences in the
tenth century. One other remarkable point for notice is the evi
dence of the position of regard which women appear to have
enjoyed in that day as compared with their dependent status in later
times. There is, indeed, demonstrated in this, as in other matters
touched upon in the book, a strong infusion of habits of thought
more in accordance with the tone of modern Europe than with that
of modern Japan.
For illustrations see Nos. 268 and 282-3.
The Is^ Monogatari dates from the tenth century, and is attri
buted to the Emperor Kwazan no In (b. 968, d. 1008). It consists
merely of a brief account of the amours, travels, and adventures
of an unknown hero, designated as "a certain man," who is sup
posed to represent the famous poet Narihira; but who may be
only the impersonal " Somebody " proposed by Mr. Andrew Lang as
a substitute in legendary lore for solar myths and prehistoric
celebrities. As a story it can boast little incident and no plot;
but it is characterized by the frequent introduction of curious

THE YAMATO AND TOSA SCHOOLS. 115
stanzas of an amatory type, and by the subdivision of the work into
diminutive chapters, each of which begins with the expression, " Once
upon a time," A translation has been published by Dr. Pfizmaier
(Aufzeichnungen aus dem Beiche Ise. Wien, 1876). See No, 325.
The Sumiyoshi Monogatari (see Nos, 264-6) is of uncertain
authorship and date, — The composition is thus analysed by Mr.
Satow, in his article upon ' Japanese Literature ' in the American
Cyclopaedia (vol. ix. p. 874) : —
" The story is that of a young girl, the illegitimate daughter of a
nobleman who has two other daughters by his own wife. When
the heroine is about eight years of age her mother dies, after
earnestly praying her lover to send her child to the palace to
become one of the Mikado's waiting women. He takes her to live
in his own house in separate apartments, and the affection he
displays excites the hatred of her stepmother. After a while the
heroine's foster-mother also dies, and she is left alone with her
foster-sister, a girl two years older than herself, through whom she
enters into a secret correspondence with a young nobleman who has
fallen in love with her from report of her beauty. The father con
stantly speaks of sending her to the palace, which excites the
j ealousy of the stepmother, and her ruin is determined upon. With
a hypocritical affectation of concern the stepmother tells her
husband that she has seen a priest get out of his daughter's window
at dawn, and when he refuses to believe this, she conspires with a
wicked maid-servant and bribes a priest to come to the house and
play the part of a detected lover. Upon this he is convinced,
upbraids his daughter, and orders her to marry a man of rank whom
she does not know ; but rather than disobey she is ready to consent.
When the stepmother finds that she has been so far successful, she
plots again to have the object of her hatred stolen away by a horrid
old man, whose lust is inflamed by the promise of a beautiful girl
for his mistress ; but the plan being divulged to the young girl and
her foster-sister by a friendly female servant, they make up their
minds to flee to Sumiyoshi, where the late nurse of the dead foster-
mother is living as a nun. This they accomplish successfully, and
the author takes advantage of this opportunity to introduce some
very effective descriptions of seaside scenery. The lover is despe
rate and resolves to become a hermit, but the hiding-place of the
I 2

116 JAPANESE PICTORIAL ART.
young lady is revealed to him in a dream, and he proceeds in search
of her. Having found her out, he disguises her as a peasant girl
and brings her back to Kioto, where they are secretly married and
have two children. The father is disconsolate at the flight of his
daughter, but after seven years is invited to a feast by the young
noble, and discovers in his wife his own long lost favourite. Upon
this the wickedness of the stepmother is revealed ; she suffers the
penalty of her misdeeds by dying in misery and want. All the
partners of her guilt are duly punished by avenging fate, and the
father retires from the world, while all the good people in the
story have their reward."
It will be observed that the plot is simplicity itself, and with a
few alterations in names and local colouring might appear as a story
of mediaeval European life, while its termination is marked by an
ideally perfect distribution of rewards and punishments that con
trasts strangely enough with the triumph of strength and cunning
whick closes the real story of Yoshitsune.
The charm of such compositions for the Japanese lies not in
stirring incident, but in the choice of language and the simple but
forcible descriptions of scenery and natural objects. The modern
novel, as typified by the writings of Bakin, evidences a greater
fund of invention than the classical work, but is wanting in the
marks of culture and refinement that alone can recommend it to
the appreciation of the more highly educa,ted native readers.
The Life of Yoshitsund (see Nos. 435 and 1702).— Many of the
facts concerning the hero Minamoto no Yoshitsune will be found in
Griffis' ' Mikado's Empire ' and Eein's Japan, nach Beisen und Studien
dargestellt; but the most complete account of his life is contained in
an untranslated work called the Gi-kei-ki, a copy of which is in the
MS. department of the British Museum.
He was the eighth and youngest son of Yoshitomo, who was killed
in II60 in the war against the Tairas ; and half-brother of Yoritomo,
the first of the Shoguns and founder of the city of Kamakura. In spite
of his brilliant services against the rival Taira clan, who were at
length annihilated at the battle of Yashima, he fell under the sus
picions of Yoritomo, and after many cruel persecutions finally died
by his own hand in 1189, at the early age of thirty.
The story is told in the Gi-kei-ki with pathetic simplicity, and

PLATE 15.

THE YAMATO AND TOSA SCHOOLS. 117
brings out in remarkable prominence the features of the curious
chivalry of old Japan. There is little of poetic justice in the
detioument, except in the fate of the false Yasuhira, who had
betrayed his friend and guest Yoshitsune, but was in requital
crushed by his suborner Yoritomo; for the brave and blameless
hero, with his little band of staunch adherents, and the innocent
women and children attached to his cause, perished miserably,
while the unscrupulous ambition of Yoritomo and the mean envy of
Kajiwara, the lago of the history, bore all the fruits of success.
It may be added that the death of Yoshitsune in 1189 is a
matter of dispute. It has been averred that he escaped to Yezo,
and there earned the reputation of a god amongst the Ainos, who
venerate his memory to this day. It is at least certain that the
corpse, if recovered at all from the ruins of the burned castle where
he is supposed to have fallen, could scarcely have been in a recog
nizable state, and hence the head, sent to Yoritomo by Yasuhira may
have been taken from some other victim. According to another
view, Yoshitsune is identified with Genghis Khan, but there is
nothing to support this conjecture beyond a certain coincidence of
dates and some ingenious manipulation of names.
Most of the episodes illustrated by artists are referred to in the
account of Benkei. The following may be added to complete the
list :—
I. The young Yoshitsune learning the art of fencing from the
Tengus (sylvan spirits, half bird, half human). The Tengu king
is seen looking on, superintending the trial of skill. The youth is
sometimes depicted riding upon the back of a Tengu to the place of
meeting. 2. Fighting at the battle of Yashima.
3. The night attack upon the palace of Horikawa. Yoshitsune
being armed by his concubine Shidzuka, who had discovered the
intentions of the besieging party, and prepared the adherents of her
lord for resistance.
4. His suicide, which was accompanied by the slaying of his wife
and son, who had begged that they might die with him. His infant
daughter was killed at the same time.
The Story of Benkei (see Nos. 462 to 485). — Benkei, the
famous adherent of Yoshitsune, is familiar to every Japanese child as

118 JAPANESE PICTORIAL ART.
an example of strength and fidelity. He was a scion of a noble
family, who had placed him while yet a child as a novice in the
monastery of Hiyeizan ; but as he grew, his violent disposition and
remarkable physical powers procured for him the expressive name of
" Oni-waka," or the Young Devil, and the fear and hatred of his
associates. He at length quitted the temple, and became a highway
robber. He appears to have been a formidable fellow. " Eight feet in
height, strong as a hundred men, with face black as lacquer, and
always armed with an iron bar, in addition to seven other weapons
in reserve upon his back." His powers were destined, however, to
serve a noble end, and his career of villany was at length brought to
a close by an encounter with an adversary who proved more than his
match, an effeminate-looking stripling, whom he had mistaken for
a fit subject to supply his thousandth stolen sword. This youth
was Yoshitsune. Instead of yielding his blade, he fought with
the giant on Gojo bridge, and by the exercise of marvellous activity
and address made him sue for quarter. Benkei, struck with admira
tion for his conqueror, attached himself with dog-like fidelity to his
fortunes, till he fell fighting in his cause at the castle of Takadachi,
in Oshiu, in 1189,
He is an especial favourite of the more modern artisan artists,
but the Tosa and Kano painters have also left many illustrations
of his life.
The following are the principal conditions under which he appears
in pictures : —
I. His fierce head, with large rolling eyes, is one of the most
common decorations for children's kites.
2. As Oni-waka, assaulting the priests of Hiyeizan.
3. Carrying away the great bell of Miidera.
The story runs that Benkei stole the gigantic bell from the
temple of Miidera, and carried it a distance of some miles to the
rival monastery of Hiyeizan. The treasure was appropriated
without scruple and suspended in a belfry, but to the disappoint
ment of its wrongful possessors, the mighty tones that once resounded
far and wide in prolonged and sonorous cadence, refused to utter
aught but a weakling note that ever seemed to whimper the wish to
go back to Miidera. At last Benkei became disgusted with this
extraordinary behaviour, and cast the bell down from Hiyeizan into

PLATE 16.

THE YAMATO AND TOSA SCHOOLS. 119
the valley, whence it was recovered by the monks of Miidera and
taken to its former home, regaining there its old voice with its old
associations. The legend is related in the ' Guidebook for Japan '
(p. 82), and in Griffis' ' Japanese Fairy World.'
4. His first meeting with the young Yoshitsune.
5. Fighting with Yoshitsune on Gojo bridge. The difference
between the physical proportions of the combatants is often so far
exaggerated that Yoshitsune may appear balancing like a marionette
upon the end of Benkei's spear. The author of the Gi-kei-ki
commemorates the agility of Yoshitsune on this occasion, by telling
us that the hero, while leaping down from the parapet of the bridge,
sprang back again in the midst of his descent — before touching the
ground — to avoid a sweeping blow from his adversary's spear.
6. Bringing Tosabo, Yoritomo's emissary, by force before Yoshi
tsune, whose life he had been hired to destroy.
7. Writing a notice, by order of Yoshitsune, to protect from injury
by wayfarers an ancient plum-tree at Amagasaki in Settsu, that
had been the subject of a famous poem by the Emperor Nintoku
(313-319 A.D.),
8. Travelling with Yoshitsune and his party, all attired as Yama-
bushi, or wandering priests.
9. Eeading a supposed authority from the noted Bishop of Hokoji
to collect alms for the building of a new church, in order to lull the
suspicions of the guard at the gate of San-no-kuchi. This expe
dient, aided by a bufi'et to Yoshitsune, who was by his side in
similar disguise, enabled the little band to escape arrest. The story
is told in the ' Mikado's Empire,' p. 206,
10. His death. He died pierced by numberless arrows, but " his
form remained erect after his soul had fled,"

120 JAPANESE PICTORIAL ART.

YAMATO-TOSA SCHOOL,

201, 2, and 3, A set of three Kakemonos, on paper, painted in
monochrome. Size, 28| X I0|.
1. Fukurokujiu. (See p. 30.)
The usual figure, but with the attributes of the fan and stag .
commonly assigned to Jurojin.
2. Bird and waterfall.
3, Mandarin ducks, and lotuses.
Painted by Sumi-yoshi Hieo-michi. Seal. Certificate by
Sumiyoshi Hiroyuki, dated Kwansei, the 4th year (1792).
Seventeenth century.
204. Kakemono, on silk, painted in colours. Size, 37f X 15J.
Saigio Hoshi at Kita Shirakawa.
Saigio, in the dress of a travelling priest, with a staff and a very
large hat, stands in a listening attitude at the gate of a mansion.
The perspective exposes the interior of a room, on the floor ol
which is seen a musical instrument (hiwa). An inscription in
grass characters appears at the upper part of the picture.
Painted by To-sa Mitsu-naei. Signed To-sa Sho-eoku no
GE sAKu-YE Shogen Fuji-waba NO MiTsu-NAEi. Seal. Seven
teenth century.
Sato Hioy^ Norikiyo — better known as Saigio Hoshi — was the seventh
in descent from the famous Tawara Toda Hidesato, the slayer of the great
Centipede. He held office in the Court of the Emperor Toba, but m the
third year of Hoyen (1137) he abruptly abandoned his home, leaving his
wife and daughter, and became a priest. Under the names of Bni and
Saigio he travelled through various parts of Japan for self-discipline
until scarcely a place remained that he had not explored. He is cele
brated as a poet, the most familiar of his compositions being a verse upon
the Peerless Mountain (see E-hon Koji dan, vol. i.). He died in 1198 at
the age of 73.
He is generally drawn in the guise of a travelling priest, with a large
hat and a long staff ; and school-boys are fond of sketching " Saigio mi Fuji,"
or Saigio gazing at Fuji, by means of two lines meeting at an angle above,
to represent the outline of the Peerless Mountain; a circle for Saigio'a
hat, which conceals the rest of the figure ; and a line projecting above it

YAMATO-TOSA SCHOOL. 121
to stand for the end of the pilgrim's staff — a comprehensive simplicity of
design equalled only by that of Hogarth's picture of a soldier and a dog
passing through a doorway.
205. Kakemono, on silk, painted in colours. Size, I2f x 8.
Ono no Komachi.
Attributed to Iwa-sa Mata-hei. No signature or seal.
Sixteenth century.
Ono no Komachi, one of the noted characters in early Japanese story,
is supposed to have lived in the ninth century, during the halcyon days
of the court of Kioto. It has been said that she was the daughter of a man of
noble rank named Dewa no Kami Yoshizane, but much doubt exists both
as to her parentage and her birthplace, and there is even some reason to
believe that she was rather an embodiment of a principle than an actual
entity. Accepting, however, her story as we find it, we may he grateful
for a curious page of romance. A graceful form moving amidst the high
cultivation of the Imperial Court, " fair as the Princess Yang and Li Fujen,
with a face lovely as a lotus flower, eyebrows like the slender willow
branches of spring,'' and a mind illumined by poetic fire aud sparkling wit
— but frail as she was beautiful and gifted, and on occasions cruel as
profiigate. She is shovra in her days of pride and luxury drawing rain
down upon the parched earth by the numbers of her magic verse, bringing
to shame the rival who sought to fasten upon her the stigma of
plagiarism and falsehood ; courted by the noblest of the brilliant band
that surrounded the throne — and again, without a step of transition, old
enfeebled, clad in unclean rags, begging her way from door to door until she
died, rotted, and became the food of dogs on the highway — a moral illus
tration of the Buddhistic text, "All is vanity,'' that the artist never
tires of repeating, and sometimes elaborates with sickening detail.
She is enumerated as one of the six great poets, and many verses
attributed to her were included in the Kokinshiu by Ki no Tsurayuki,
who says that her compositions are like those of Soto Ori Hime, and
compares them to " a beautiful woman in sickness.'' In pictures she
appears under several aspects :
1. As a model of feminine beauty.
2. As one of the Six or Thirty-six Poets. (See No. 343 et seq.)
3. Reciting her poem in a time of threatened famine from long drought.
Her lines are said to have attracted the storm-cloud so rapidly that her
recitation was not completed before it was necessary to shield her from the
rain. The event is recorded as having taken place in 866 a.d. (See
No. 2855.)
4. Washing the book of old poems in which her rival Kuronushi
had inscribed one of her verses to make it believed that the composition
was a plagiarism. The water removed the newly-applied ink from the
page, leaving the old writing intact, and thus vindicated her honesty and
talent. (See No. 210.)
5, Old and ragged, seated by the wayside begging, or chased hy street boys.
6. Illustrating all the stages of decomposition of the body after death.
A large number of curious references to Ono no Komachi have recently
been collected and translated by Mr. Satow, and will probably be placed
before the public.

122 JAPANESE PICTORIAL ART.
205a. Kakemono, on silk, painted in colours. Size (oval), 1\ x lOf .
Ono no Komachi and Ise (9).
Two ladies in court dress — fan mounts.
Attributed to To-SA Mitsu-oki. No signature or seal.
Seventeenth century.
Ise is included amongst the thirty-six famous poets, but little is
to be discovered as to her history.
206, Kakemono, on silk, painted in colours. Size, I9J x 25^.
Shiehifukujin, (See p. 27.)
The Seven Gods of Good Fortune, drawn with some approach to
Buddhistic formality of treatment. Bishamon, as in the older
temple carvings, is represented as trampling upon a prostrate
demon. Benten bears the attributes of the Torii (Shinto gate
way) and white serpent. Jurojin is attended by two boys, one of
whom holds his staff and rolls, the other a branch of coral and
the fungi emblematic of longevity. Fukurokujiu is accompanied
by the crane and stag. Hotei, seated, plays with a boy who holds a
Buddhist wand (nio-i). Lastly, !lfebisu with his tai and fishing-
rod, and Daikoku, with the rice bags and mallet, are drawn as in
later pictures.
This painting, which dates from about the end of the seven
teenth century, is one of the earliest in which the seven ancient
divinities known as the Shichi-fuku-jin are grouped together. It
is probable that the constitution of the little company fluctuated
for some time, as we find variations in the Butsu zd dzu-i, Buzen
Shiehifukujin kd, and other books published near the same period ;
but the personages here represented are identical with those drawn
upon the modem porcelain of the exporting fabriques, although
free from the modem familiarity of treatment.
Painted by To-sa Mitsu-suke. Seal. Seventeenth century,
207, Kakemono, on silk, painted in colours. Size, 40 J x 16^.
Kuge and Lady, Scene from the ' Genji Monogatari ' (?).
Two formal personages in court dress seated in a room bor
dering a garden, and looking with imbecile stolidity at a cherry-
tree laden with blossoms that, like the figures, have been con
ventionalised out of all vitality and truth to nature.
Painted by To-sa Mitsu-yoshi. Signed Tosa Sho-go-i-ge.
Danjo Sho-ohin Fuji-waba no Mitsu-yoshi. Seal. Eigh
teenth century.
This picture, which is probably an illustration to some passage
in the ' Genji Monogatari,' exemplifies the manner in which the

YAMATO-TOSA SCHOOL. 123
artists of the Yamato-Tosa school often succeeded in reducing
representations of living beings to mere receptive surfaces for
colour.
208, Kakemono, on silk, painted in colours. Size, Ilf x I7|.
Flowers. Copied by Tosa Mitsu-atsu from a picture by Mitsu-oki.
Signed Gwa-sho Adzukaei Jiu-shi-i-ge Tosa no Kami Fuji-
waba no Mitsu-atsu. Eighteenth century.
209. Kakemono, on silk, painted in colours. Size, 22| x 39^.
1. Court Procession.
The fore part of the procession is veiled by decorative mists in
order to convey the strongest impression of its length.
Painted by Tosa Mitsu-atsu. Signed Gwasho Adzukaei
Ji-SHi-No-GB Tosa no Kami Fuji-waea no Mitsu-atsu.
Eighteenth century.
210 and 211. A pair of Kakemonos, on silk, painted in colours.
Size, 86J X 141
1. Ono no Komachi washing the book.
At one of the poetical competitions ( Uta no Awase) in the Imperial
palace Ono no Komachi was to contend for the palm against Otomo no
Kuronushi. Kuronushi seeking to gain the prize by stratagem, listened
at the back of her house, till he heard her repeat to herself the verse that
she was to recite in the contest, and then secretly wrote down the lines in
the midst of a collection of poems called the Man-yo-shiu. When the day
of competition arrived the composition of Komachi was greatly admired by
the Emperor and was pronounced unequalled ; but her rival bringing
forth the Man-yo-shiu proclaimed that the verse was stolen, and the
assembled nobles aU believed that Komachi had deceived them. The
poetess, seeing through the device, called for water and washed the page
upon which the forgery was inscribed. The new ink disappeared leaving
the old writing unchanged, and Kuronushi was put to shame.
The poetry of Komachi is compared to a beautiful woman in sickness ;
while that of Kuronushi has been likened to a woodman reposing amidst
the flowers. 2. "Musashi no dzu." The Musashi picture, A
court noble (Narihira .!') and lady seated amidst the
long grass.
Painted by Ishi-yama Moeo-ka or Sammei. Signed
Mo-BOKA. Seal. End of seventeenth century.
Ariwara no Narihira was a fanaous poet and courtier in the ninth
century. He was the AntiniJus, as was his apocryphal contemporary,

124 JAPANESE PICTORIAL ART.
Ono no Komachi, the Phryne of the Japanese Court, and is generally
referred to with Genji, the hero of the Q-enji Monogatari, as a type of
masculine beauty (" As handsome as Narihira or Genji "). He received
the poetic crown in 841 a.d., and died at the age of fifty-six, in 880. It
is supposed that he was the hero of the Ise Monogatari (see p. 114).
He is most commonly represented in pictures as follows : —
1. As one of the Six or Thirty-six famous Poets.
2. Fording the Tamagawa ("Tamagawa no Dzu"). See No. 2102.
3. Travelling upon the Tokaido and gazing at Mount Fuji, by which he
was inspired with a celebrated poem.
4. Seated with Komachi (?) in the long grass ("Musashi no Dzu").
212. Kakemono, on silk, painted in colours. Size, 28J x 36|.
The house of a Court noble.
The interior of the buHding is exposed by the curious artistic
licence of removing the roof, a plan which has also the advantage
of displaying a greater amount of the scenery beyond. The dresses,
the simplicity of furniture, the gorgeous decorative effects pro
duced by screens and panels, are all deserving of notice, as forming
a part of the real " high life " in Japan. The so-called " pictures
of high life " referred to in foreign writings are usually scenes iu
houses of ill-fame.
Copied from an old picture by Sumi-yoshi Hibo-chika.
(Fifteenth century.)
213. Kakemono, on silk, painted in colours. Size, 37f x I4|.
Birds and Flowers,
Painted by Sumi-yoshi Hieo-yuki. Signed. Seal. End
of eighteenth century.
214. Kakemono, on silk, painted in colours. Size, 42^ x I5{-.
Scene of Court life, from the ' Genji Monogatari ' P
A lady in Court dress, seated in a room that opens into a garden,
is playing upon a liwa ; three other ladies of inferior rank are
sitting upon the verandah.
Painted by Sumi-yoshi Hieo-sada. Signed Sumi-yoshi
Nai-ki Hieo-sada. Seal. Nineteenth century.
215. Kakemono, on silk, painted in colours. Size, 36| x 20|,
Yii the Great.
The Emperor, in robes of ceremony, holds a sceptre of peculiar
form, and grasps the right thumb with the left hand.
The outer garment is decorated with emblematic figures of
dragons, a pheasant, a rock, and the sun, moon, and stars. The

YAMATO-TOSA SCHOOL. 125
position of the hands is probably traditional, as it is frequently
repeated in portraitures of the monarch. See No. 732.
Painted by Hieo-sada. Signed Sumi-yoshi Naiki Hieo-
sada. Seal. Nineteenth century,
Yii the Great was the successor of the Emperor Shun, and the reputed
descendant of the Emperor Hwang Ti. After observing the usual
ceremony of mourning for three years subsequent to the death of his
predecessor, he commenced to reign in 2205_b.c. His great work was
controlling the - waters of the flood that covered the territories of the
empire, a task to which he devoted nine years, without care for food or
raiment, and even regardless of the natural affections, for it is said that
he never interrupted his labours by entering the doors of his house, though
thrice passing so close that the wailings of his infant son reached his ear.
(See Mayers' ' Chinese Eeader's Manual,' No. 931.)
216 and 217. A pair of Kakemonos, on silk, painted in colours.
Size, 38| X 14f.
Amusements of Court life. Spring and Autumn,
scenes.
Courtiers and ladies enjoying boating and music.
Painted by Hieo-sada. Signed Sumi-yoshi Naiki Hieo-
sada. Seal. Nineteenth century.
218. Kakemono, on silk, painted in colours. Size, 44 x 29|^.
Kwan Yii,
A martial figure with long black beard and dragon crest, A
large spear rests by his side.
Painted by Kei-i Hieo-naga, Signed, Seal, Nineteenth
century. Kwan Yii, the Chinese God of War, is a very familiar figure in Japanese
works of art.
Once a vendor of bean-curds at Kiai Chow, in Shan-si, he elevated him
self to the position of the greatest military commander of his country.
He first rose into notice in 184 a.d., when he joined in a solemn confederacy
or brotherhood with Liu Pei and Chang Fei (Jap. Gentoku and Chohi),
the former of whom he aided largely in securing possession of the throne
of Shuh. Mayers relates, in illustration of his fidelity, that when the
Eegent Ts'ao Ts'ao wished to turn him from his fealty towards Liu Pei,
he shut him at night in the same apartment with the two wives of his
friend, but the hero preserved his reputation and honour by mounting
guard in an ante-chamber until morning, with a lighted lantern in his
hand. He was deified as God of War in 1594,. and his worship has been
firmly established since the accession of the Manchow Dynasty (see
Mayers' ' Manual,' Part i., No. 297).
The Japanese representations of Kwan Yii are derived from Chinese
pictures, which show him as a man of robust proportions and stern aspect,

126 JAPANESE PICTORIAL ART.
distinguished especially by a large black beard descending to his waist
(whence one of his names, "The Lord of the Splendid Beard"). He
u.sually carries an enormous spear, and is attended by a ferocious-looking
retainer.
219. Kakemono, on silk, painted in colours. Size, 38 x 14,
Yoriyoshi striking the rock,
A good study of Japanese armour.
Painted by Kei-i Hieo-naga. Signed Fuji-waea no Hieo-
naga. Seal. Nineteenth century.
During the rebellion of Ab6 no Yoritoki, in the sixth month of the year
1052, the rainfall ceased for many days, and the army led by Minamoto
no Yoriyoshi against the rebel suilered greatly from thirst, but no water
could be found. Yoriyoshi, moved by their distress, prayed earnestly to
the gods, and then struck a rock with his bow, when by the favour of
heaven a clear stream immediately gushed forth (see Sha-ho bukuro,
vol. ii.).
The same phenomenon is said to have occurred when Yoshi-iy6, the son
of Yoriyoshi, was leading an army against the Ainos, and the stream which
flowed in answer to his prayer became the source of the great Kita Garni
river (see Eein's ' Japan,' vol. i.) ; and in the Jiki shiho, Li Kwang-li,
a general of the Emperor Wu Ti, is made the hero of a similar episode
during his expedition against the kingdom of Ta Yiian in 104 B.C.
220. Kakemono, on silk, painted in colours. Size, 18^ x 28.
Scene of Court life.
Kuge and lady looking at paintings.
Painted by Ko-Jiu (or Hieo-hisa). Signed, Seal. Nine
teenth century,
221. Kakemono, on silk, painted in colours. Size, 52| x 26|,
The Mikado's visit to Sumiyoshi.'
The Imperial car, drawn up by the sea-shore, is surrounded by
Court nobles, but the Emperor himself is not visible.
Painted by Kei-i Hieo-naga. Signed Sumi-yoshi Hieo-
«. NAGA. Seal. Nineteenth century.
The Temple of Sumiyoshi, situated on the borders of the province of
Settsu, consists of four shrines dedicated to the Empress Jingo and the
three gods whose spirits accompanied her to Korea. See ' Handbook for
Japan,' p. 193.
222. Kakemono, on silk, painted in colours. Size, 37^ x I3f.
Scenes of Court life,
Kug6 and ladies.
Interior of room exposed by removal of roof.

YAMATO-TOSA SCHOOL. 127
Painted by Hieo-tomi. Signed Sumi-yoshi Naiki Hieo-
TOMi. Nineteenth century.
223 and 224. A pair of kakemonos, on silk, painted in colours.
Size, 36| X I3|.
Birds and Flowers, Summer and Autumn Scenes,
(Compare with No, 213.)
Painted by Ita-ya Kei-shio (Hieo-masa). Signed Kei-
SHiO. Seal. Eighteenth century,
225, Kakemono, on silk, painted in colours. Size, 41| x I7|^.
Shiehifukujin, (See p. 27.)
This may be compared with the earlier and more formal render
ing of the same subject in No. 206. Benten, in a kind of undress
costume, is playing the hiwa, while Jurojin, Hotei, Daikoku, and
Ebisu are watching the approach of Fukurokujiu, who is sailing
through the air upon a crane. Bishamon alone retains his Bud
dhistic dignity.
Painted by Ita-ya Kei-shiu. Signed Kei-shiu, Seal,
Eighteenth century,
226 and 227, A pair of Kakemonos, on silk, painted in colours.
Size, 41 X I5J,
Six Copies of pictures by celebrated masters,
1, Eats and Sweet Melon. After Shun-ku (Jap. Shun-kio), a
Chinese painter of the Ming dynasty.
2. Ono no Komachi, after Nobu-zane. (Yamato school. Thirteenth
century.) 3. Carp, after Tosa Hiro-michi, (Tosa school. Seventeenth
century). 4. Birds and flowers. After Awada-gdchi Hogen or Tosa Taka-
mitsu. (Yamato school. Fourteenth century.)
5. Chinese landscape. After Kano Masa-nobu. (Kano school.
Fifteenth century.)
6. " No " dancer. After Kasuga Yuki-hid]6. (Tosa school. Fifteenth
century.) Painted by Ita-ya Kei-shiu. Signed Kei-shiu Hibomasa.
Seal. Eighteenth century.
228 and 229. A pair of Kakemonos, on silk, painted in colours.
Size, 47i X 17i.
Falcons,
The vigorous and life-like drawings of these birds is curiously at
variance with the laborious and conventional execution of the

128 JAPANESE PICTORIAL ART.
historical and semi-historical pictures by which the Tosa artists
are best known.
Painted by Kei-shiu, at the age of sixty-one. Signed
Sumi-yoshi Kei-shiu Fuji-waea no Hieo-masa. Seal (Hieo-
masa). Eighteenth century.
230. Kakemono, on silk, painted in colours. Size, 43J x 17f.
Landscape. Spring view.
Conventional cherry-tree in foreground. Decorative clouds in
blue and gold.
Painted by Masa-hiea "for amusement." Signed, No
seal. Eighteenth century.
231. Kakemono, on silk, painted in colours. Size, 33 x I3j,
Snow.
Coolies covering with white plaster the outlines of a gigantic
Chinese character, signifying " Snow."
Painted by Suke-hide. Signed Jo-SAi. Seal Poetical
inscription by Denkian. Nineteenth century.
232, Kakemono, on silk, painted in colours. Size, 22 x Hj.
Japanese Shiehifukujin. (Nippon shojiki jizai shichi
FUKU FUGU JA FOKU. The seven honest and free gods of
wealth, who reject unjustly-acquired riches.)
1. Inari Dai Mio-jin, or Mike-mochi no Mikoto.
2. Eurishima Dai Mio-jin, or Suku-na-hiko-na Mikoto.
3. Kasuga Dai Mio-jin, or Koyane no Mikoto.
4. Itsukushima Dai Mio-jin, or Ichikishima Hime.
5. Tsubaki Dai Mio-jin, or Saruda-hiko no Omikami.
6. Okuni Nushi no Kami, or Ona-muchi no Mikoto.
7. ]febisu Dai Jingu, or Koto-shiro-nushi no Mikoto.
Painted by Issui-sai Adzuchi Ho-sen. Signed. Seal.
Nineteenth century.
233. Kakemono, on silk, painted in colours. Size, 35-| x 13.
Hawk's Nest.
Hawk and young in a nest built upon the branches of a pine-
tree, behind the column of a waterfall.
Painted by Fuji-waea no Koee-dzumi. Signed. Seal.
Nineteenth century.

YAMATO-TOSA SCHOOL.^ 129
234. Kakemono, on silk, painted in colours. Size, I7|- x 28 1.
The Shint5 shrines at Ise.
Painted by Matsu-i Shun-sho. Signed Asa-hi Matsu-i
Shun-sho. Seal, Nineteenth century.
For an account of the origin and peculiarities of Shinto architecture,
see Satow and Hawes' ' Handbook for Japan,' 2nd edition, page [64].
235, Kakemono, on silk, painted in colours. Size, 45 x 20J.
Hawk and pine-tree.
Painted by Yo-go. Signed. Seal. Nineteenth century.
236, Kakemono, on silk, painted in colours. Size, 23^ x 34^.
Court nobles at the entrance of the Imperial palace
at Kioto on a day of reception.
The style of drawing resembles that of the Shijo school.
Painted by Hayashi Ean-ga. Signed. Seal. Nineteenth
century.
237, Kakemono, on silk, painted in colours. Size, S6^ x I6f.
The Emperor She Hwang-ti, (Jap. Shiko Tei, or Shin
NO Shtko), sheltered by the pine-tree.
Painted by Ka-no Toki-nobu at the age of eighty. Signed
Fuji-waea no Toki-nobu. Seal. Seventeenth century.
(Kano School.)
The Emperor She Hwang-ti or Cheng (259-210 B.C.) was the great
sovereign who founded a new and homogeneous empire from the ruins of the
Chinese feudal system (Mayers). The episode illustrated in the kakemono is
taken from a well-known poem relating how the monarch, being overtaken
by a shower when hawking, sought shelter beneath an aged pine, and was
preserved from the rain by a miraculous thickening of the foliage above
his head. The Emperor, in commemoration of the circumstance, con
ferred upon the tree the rank of Tai-yu.
Mr. Dickins explains, in a note to his translation of the Chiushin
gura, that the word Tai-yu means not only a rank, but also " great rain ;"
a quip that would tell forcibly amongst such inveterate punsters as the
Japanese. The story is related, with some slight differences of detail, in the
Yokioku gwashi, and is there illustrated by Tachibana no Moeikdni.
238. Kakemono, on silk, painted in colours. Size, 37J x I3f,
Cranes (Grus viridirostris).
Painted by To-sa Mitsu-sada. Signed E-dokoeo Adzu
kaei Sho-go-i-ge To-sa no Kami Fuji-waea no Mitsu-sada.
Dated second year of Bunkwa (1805).

130 JAPANESE PICTORIAL ART.
Two kinds of crane are represented by Japanese artists, one, the Orus
Leucauchen (Temm.) or white-naped crane, with ashy grey and black
plumage, relieved by a crown and nape of pure white ; the other, the (?.
viridirostris (Veillot), or Mantchurian crane, characterized by a plumage
of white and black, and by a bare crimson patch upon the forehead and
crown. It is the latter that appears in the works of Chinese artists and of
the Japanese painters of the older schools, and is regarded as especially em
blematic of longevity. The white-naped crane, which is rarely depicted
except by the modern popular artists, is the national crane of Japan, and
¦ was formerly reserved as noble sport for the falcons of the Daimios.
Three other varieties are known in Japan, the O. leiKogeranus, Q. com-
munis, and C monachus, but are seldom introduced into paintings. (See
' Monograph on the Natural History of the Cranes,' by the late Mr. Edward
Blyth, enlarged by Mr. Tegetmeier, and recently reprinted.)
These birds must not be confounded with the egrets, which owe what
ever good repute they possess to their utility as worm-destroyers in the
paddy fields.
The crane is familiarly known in Japan as the Tsuru — or with the
honorifics, " 0 Tsuru Sama," and lends its name to many places (e.g.
Tsuru-mi, or "Crane view," near Yokohama). Its status in popular
estimation, at the end of the 17th century, may be judged from the
following quotation from Ksempfer's ' History of Japan,' book i. : — " The
Tsuru, or crane, is the chief of the wild birds of that country, and hath
this particular imperial privilege, that nobody may shoot him without an
express order from the Emperor, and only for the Emperor's own pleasure
or use. In Saikokf, however, and other provinces remote from Covurt, a
less strict regard is had to the like Imperial commands. The cranes and
tortoises are reckoned very happy animals in themselves, and thought to
portend good luck to others, and this hy reason of their pretended long
and fabulous life, of which there are several remarkable instances in their
historical writings. For this reason the Imperial apartments, walls of
temples, and other happy places, are commonly adorned with figures of
them, as also with figures of firs and bamboos, for the like reason. I never
heard country people and carriers call this bird otherwise than 0 Tsuri
sama, that is, ' my great lord crane.' There are two different kinds, one
white as snow, the other ash-coloured."
In Chinese mythical zoology four varieties of crane are enumerated —
the black, the yellow, the white, and the blue — and of these the black is
supposed to attain the greatest number of years. The bird is supposed to
become superior to the necessity for other sustenance than water after
completing six hundred years.
In pictures it is nearly always associated, as an emblem of longevity,
with the conventional vermilion sun, or with the bamboo, and in a well-
known composition, represented in Nos. 690 and 700, appears swimming
upon the waves near to a rock upon which grows a fruit-laden peach-
tree. In paired kakdmonos it is a companion to the tortoise, and is there
depicted in multitudes upon the pine-clad shore of the Mount of the
Immortals. As an accessory it is met with as the attribute of Fukuro
kujiu and occasionally of Jurojin, as the aerial steed of Wang Tsz' Kiao,
as the associate of the poet Lin Hwa-ching, and in various other con
nections where the artist wishes to introduce an allegory of the blessings
of long life.

YAMATO-TOSA SCHOOL. 131
239. Kakemono, on silk, painted in colours. Size, 40^ x I6J.
Hawking. Painted by Su-wa Sho-yei. Signed. Seal. Nineteenth
century. In former days hawking was a favourite amusement of the aristocracy of
Japan, and was jealously guarded as a privilege of rank. It is still occa
sionally followed.
An admirable series of pictorial illustrations of the sport will be found
in the E-hon Taka Kagami, by Kiosai.
240. Kakemono, on silk, painted in colours. Size, 38^ x 15^.
Portrait of Uyesugi Kenshin,
A warrior in complete armour, the helmet replaced by a priest's
cap. He is seated upon a camp-stool, and behind him stands a
war banner, on which is inscribed the character " Pi " (proba
bly the first character of Bishamon, or the second character of
Kompira). Painted by Minamoto no Kiyo-yoshi. Signed Den-
pan Shofu Minamoto Kiyo-yoshi. Two Seals. Nineteenth
century. Uyesugi Kenshin, a celebrated chieftain of Echigo, was the rival of
Takeda Shingen, the ruler of Koshiti, with whom he fought desperate
battles on the plain of Kawanakajima, near Niigata. He died in 1578.
241, Kakemono, on silk, painted in colours. Size, 22 x 32.
The Imperial Orchestra,
The Emperor and Empress are seated upon a raised mat, while
the musicians, five in number, with their faces turned away from
the royal audience, perform upon their several instruments, the
great drum (taiko), the small drum (Jeakko), the pipes (shd), the
flute (oteki), and the fife (fuye).
Painted by Ma-gawa I-itsu. Signed. Seal. Nineteenth
century. The ordinary Japanese orchestra generally includes nine performers,
two drummers, two fife-players, two flageolet players, a triangle-man
(Kane-gata), and two singers or reciters (Utai-gata). This number may
be reduced to five by omission of the duplicate musicians. See appendix
to translation of the Chiushingura, by Mr. F. V. Dickins.
242. Kakemono, on silk, painted in colours. Size, 19| x 24|.
Japanese Shiehifukujin,
In place of the usual seven divinities of mingled origin, the
number is made up by Japanese personages. Ebisu and Daikoku
K 2

182 JAPANESE PICTORIAL ART.
are preserved, although the latter is probably Brahmanic in origin;
and tho number is completed by Saruda-hiko Daijin, recognisable
by his red face and long nose ; Mike-mochi no Mikoto (Inari), as
an old man carrying sheaves of grain; Koyane no Mikoto and
Sukuna-hiko-na Daijin, two figures clad in white, one holding a
sword, the other a golden ball; and lastly Ichikishima Hime, a
female in Court dress playing upon a stringed instrument (gekkin).
See also No, 620.
Painted by To-sa Masa-kuni. Signed Fuku- yama E-dokoeo
0-mi. Seal, Nineteenth century,
243, Kakemono, on paper, painted in colours. Size, 55 x 32.
Birds and Spring Flowers.
Painted by Ishi-yama Moeo-ka, No signature. Two
seals. Eighteenth century.
244, Kakemono, on silk, painted in colours. Size, 39| x I4|.
Take-no-uohi no Sukune, with the child of the Empress
Jingo, Painted by Ai-mi Minamoto no Take-kuni, Signed.
Seal, Nineteenth century.
Takd-no-uchi no Sukun^, the most venerable of veterans, attained the
ripe age of two hundred and fifty years in the service of six successive
emperors. He was the faithful associate of the Empress Jin<'o in her
Korean expedition, and the guardian of her child.
He is generally represented in company with the Empress, holdmg in
his arms the infant prince, afterwards the Emperor Ojin, or graspmg the
tide-ruling gems which had been presented to the Empress by the servants
of the Dragon King. (See note, p. 141.)
245. Kakemono, on silk, painted in colours. Size, 30| x I3-,
Jizo, K'shitegar'bha, distinguished by his attributes the Precious Gem and
Einged Staff, is descending upon a cloud. In the foreground of the
rocky scenery is a deer, and floating across the lower part of the picture
are iridescent clouds.
This picture is an adaptation of the style of the Tosa school to a
Buddhist subject.
Artist unknown. No name or seal. Nineteenth century.
246, Kakemono, on silk, painted in colours. Size, 371 x I9i,
(Prom the Franks Collection.)
Dead Crane.
A dead crane suspended by means of cords and pieces of bamboo

YAMATO-TOSA SCHOOL. 133

to a bar. The bird is probably a trophy of the prowess of a
favourite falcon.
Painted by Ki Yei-sai. Signed. Seal. Nineteenth
century,
247, Kakemono, on paper, painted in colours. Size, 3If x 9|.
Samurai and Wakashi.
This picture is said to be a copy of a work originally painted in
the thirteenth century. Execution very indifferent.
Artist unknown. Seventeenth century.
248, Kakemono, on silk, painted in colours. Size, 43 x I5f.
Hawk and pine-tree.
No signature. Two seals. The lower seal contains the famous
Chinese line, " The peach and plum blossoms are silent, yet is a
path worn to the place where they grow."
Painted by Mobi-yoshi. Seal. Nineteenth century.
249. Kakemono, on silk, painted in colours. Size, 38^ x 1 6 J.
Falcon. Painted in the style of Keishiu (see No. 228). Artist
unknown. No signature. Seal half obliterated. Nineteenth
century.
250. Kakemono, on silk, painted in colours. Size, 41 x 13^.
lyeyasu, Hidetada, and five celebrated generals.
The portraits are supposed to be historically correct. The
figures are arranged in the following order.
lyeyasu, Hidetada,
Sakai, Sakakibara,
Ii, Honda,
Okubo Hikozayemon.
Painter unknown. No signature or seal. Nineteenth
century.
Portraits of personages of high rank seldom bear the name or
seal of the artist,
lydyasu was the great founder of the Tokugawa line of Shoguns, and is
beld in reverence to the present day as a profound statesman and temperate
ruler. He is known to Europeans as the patron of the English pilot. Will
Adams. The main features of his career are sketched by Mr. Griffis in the
' Mikado's Empire.' He died in 1616, at the age of seventy-three.

134 JAPANESE PICTORIAL ART.
251, 252 and 253. A set of three Kakemonos, on silk, painted
in colours. Size, 52 x 30^.
Scenes from the life of H6nen-Sh5nin,
The picture is subdivided by means of conventional clouds uito
a number of compartments, in which the different episodes of the
story are represented.
Painter unknown. No signature or seal. Sixteenth
century (?)
Honen Shonin, known also as Enko Daishi, was bom in 1133 in the
province of Mimasaka, his advent into the world being accompanied by
various portents. At the age of fourteen he was sent to- the great
monastery of Hiyeizan, where he made rapid progress in study, and
developed a special doctrine of salvation which became the creed of a
new sect called the Jodo-shiu. In 1207 he settled at Kioto, and five
years later died there at the age of seventy-nine. (See Satow and Hawes'
' Handbook for Japan,' p. 373.)
254 and 255, A pair of Kakemonos, on silk, painted in colours.
Size, 56| X 32i,
Scenes from the life of Shotoku Taishi.
The illustrations of the different episodes are separated by means
of conventionalized blue clouds, an artistic substitute for a more
, mathematical subdivision.
The colouring is heavy but decorative, in the style of the Tosa
school. Painter unknown. No signature or seal. Seventeenth
century (?),
Shotoku Taishi was the eldest son of the Emperor Yomei. The following
semi-legendary details of history are extracted from the Butzu zo dzu-i. "He
was born on the first day of the first month of the second year (first year
according to some authorities) of the reign of the Emperor Bitatsu (573
A.D.), and owing to the circumstance that his mother was unexpectedly
delivered near the Imperial stables, he received the name of Umaya-do no
Oji (Prince of the Stables). His advent was announced by a brilliant
light that came from the West (India) and illuminated the palace. When
he was only six ye,ars of age, Nichira, a Korean sage, came to Japan and
paid homage to him, and during their converse their bodies suddenly
became luminous. It was at this time that the sacred books of Bud
dhism were first introduced into Japan.
" On the third year of the reign of the Empress Suiko (595 a.d.) a
learned man named Eji came from Korea and became the teacher of
the prince. Twelve years later the Taishi entered the sleeping palace, and
closing the doors was not seen for seven days and seven nights : on the
morning of the eighth day he appeared, and there lay upon the table a
sacred volume, to which he pointed, saying : ' This is the holy book that

YAMATO-TOSA SCHOOL. 135
refers to my previous state of existence, and has' been brought; by my
disembodied spirit from the Empire of China.'
" When he was preaching from the Shomon Kiyo (a Buddhist Siitra)
flowers of two or three feet wide fell down from heaven.
" At the age of sixteen he quelled the rebellion of Mono-nobe no Moriya.
" He died at the age of forty-nine, and his consort died with him.
" He had six names, Umayado, Jogu, Seitoku, Yatsumimi (eight ears),
Toyotoshi, and Niso, and he built nine temples."
A more detailed account of his life will be found in Satow and Hawes'
' Handbook for Japan,' p. 344.
256, Kakemono, on silk, painted in colours. Size, 26f x II|-,
Quail and millet (" Shigi to Awa ").
Artist unknown, no signature. Two seals in upper left-
hand corner. Sixteenth century (?).
The quail in the Japanese picture is always represented together with
the millet, an association of ideas comparable with that which connects
the swallow with the willow-tree, and the peacock with the peony. It is
probable that nearly all of these groupings have their origin in famous
poetical compositions. A list of the most familiar associations is given
in the ' Budget of Japanese Notes,' by Mr. Pfotmdes.
257. Kakemono, on paper, painted in colours. Size, 11 x 20|^.
Flowers. Artist unknown. Two seals. Inscription, "Nippon no
ko-gwa hana-no-ki dzu." (Ancient Japanese picture of a
flower tree).
Artist unknown. Seal. Eighteenth century.
258. Kakemono, on paper, painted in colours. Size, 36^ x I6|.
Portrait of Shotoku Taishi. (See No. 254.)
Probably copied from an older picture. Artist unknown.
No signature or seal.
259. Kakemono, on silk, painted in colours. Size, 35 x I2|.
lyeyasu and his seventeen famous retainers. (See
No. 250.)
The names appended to the portraits are as follows : —
1, Sakai Sayemon-no-jo Tadatsugu
2, Matsudaira Jintaro Yoshiharu
3. Ji-hiobu no Shoyii Naomasa
4. Honda Nakatsukasa no Taiyu Tadakatsu
5. Sakakibara Shikibu no Taiyu Yasumasa
6. Okubo Hikozayemon Tadanori

136 JAPANESE PICTORIAL ART.
7. Okubo Shichizay6mon Tadamasa
8, Torii Hikoziayemon Mototada
9, Makumazo Tadamasa
10. Hachiya Han-no-jo Sadaharu
11. Okubo Jiyemon Motohiro
12. Watanabe Hanzo Moritsuna
13. Naito Shirozayemon Masanari
14. Suganuma Shinhachiro Sadamitsu
15. Hattori Hanzo Masanari
16. Yonekidzu Niudo Joshin
17. Takagi Mondo Yoshitoshi.
Artist unknown. Nineteenth century.
260. Makimono, on silk, painted in colours. Size, 48 x I9f.
Presentation of Korean ambassadors at the Court of
the Mikado.
Artist unknown. No name or seal. Eighteenth century.
261. Makimono, on paper, painted in colours. Size, 83 x 15|.
The Battle of Ogaki.
Painted by Mobo-zo-ni. Signed. Seal. Nineteenth
century. The battle of Ogaki was fought in 1600 between lyeyasu and Hide-
yori, resulting in the defeat of the latter and the re-establishment of
lyeyasu in the Shogunate. The engagement appears to have been very
sanguinary, and it is said that forty thousand heads were cut off. Japanese
figures, however, are purely romantic where relating to public or historical
events. ,
262. Makimono, on silk, painted in colours. Size, 402 x I3|,
"Hiak'ki no Yako," The Nocturnal march of the
hundred demons.
A wild and irregular procession of demons of the most grotesque
aspect, for whose figures almost every familiar object, animate and
inanimate, from tigers to gravestones, has been laid under con
tribution. The strange creatures are seen lightening the tedium
of their journey by all the tricks and mockery that malice and
invention could devise in travestie of the busy ceremonials of man,
till we reach the van of the troop, who are recoiling and fleeing
in confusion from the dazzling glare of the rising sun, which
disperses the weird forms of the night-clouds and sheds its rays on
all around.
The picture is copied from an ancient makimono by an unknown
artist of the Tosa school, probably anterior to the fifteenth century.
An engraving of a similar roll will be found in the Kiyo gwa yen.

YAMATO-TOSA SCHOOL. 137
Painted by Sumi-yoshi Hieo-naga. Signed Fuji-waea no
HiEONAGA. Seal. Nineteenth century.
263. Makimono, on silk, painted in colours. Size, 227 x 9|,
Horses and oxen.
Carefully but very incorrectly drawn representatives of
the different native breeds. The series is preceded by a
picture of Ma She Hwang healing the sick Dragon. Artist
unknown. Nineteenth century.
Ma She Hwang (Jap. Bashiko) is described in the Ressen-zen den as a
skilful physician for horses, who lived in the reign of Hwang Ti (2697-
2597 B.C.). " He was learned in the secret of the pulses, and could foretel
whether a sick horse would die or recover, in the latter case swiftly curing
the disease. Once a dragon appeared to him, and She Hwang perceiving
by its falling ears and drooping jaw that it was ill, performed acupunctiure
upon its lip and administered a potion of liqUorice : the sickness was at
once relieved, and the dragon, restored to health, flew away into the clouds."
According to some versions of the story, the grateful monster bore the
adept upon its back to the home of the Immortals.
264, 265, 266. A set of three makimonos, on paper, painted in
colours, with descriptive text. Size, 495 x I2|.
The Sumiyoshi Monogatari (see p. 115).
Illustrations in the style of those of the Gengi and Ise
Monogataris. Probably copies of older rolls. Artist un
known. No signature or seal. Eighteenth century.
267, Makimono, on paper, painted in colours, with descriptive
text. Size, 718 x I2|.
" A journey Eastwards." Scenes of travel.
Painted by Fuji-waea no Tame-tsuna. Eighteenth
century.
268. Makimono, on silk, painted in colours. Size, 211 x Ilf,
Eight scenes from the Gengi Monogatari (see p, 113).
Painted by Tosa Mitsu-yoshi. Signed Sho-eoku i-no-ge
Sakon-ye no Sho-gen Fuji-waea no Mitsu-yoshi. Seal.
Eighteenth century,
269, 270, 271. A set of three makimonos, on paper, painted in
colours, with descriptive text. Sizes, 330 x I2J and
356 X 121
The story of the Young Shiuten Doji. (See p. III.)
Tracing his career from his infancy, and showing how the early
manifestations of cruelty, with a taste for intoxicating liquids and

138 JAPANESE PICTORIAL ART.
the flesh of animals, led to the gradual development of the demon-
robber, virgin-stealer, and cannibal, whose destruction by Eaiko
and his associates is recorded in Nos. 388 to 416.
Artist unknown. Eighteenth century. The pictures are
probably copied from earlier rolls.
272. Makimono, on paper, painted in colours. Size, 456 x 14.
Scenes of Yashiki life.
The roll is apparently intended to depict the reception
and entertainment of guests.
Artist unknown. No signature or seal. Eighteenth
century.
273. Makimono, paper, painted in colours. Size, 420 x'16|-.
The sacred dances at Nikko.
Showing instruments, costumes, &c., "properties" of "No"
actors. Painted by Han-ein-sai Minamoto no Moto-yoshi.
Signed. Seal. Dated twelfth year of Bunkwa (1815).
274, Makimono, on paper, painted in colours. Size, 582 x 14 J.
The Hundred Demons (" Hiaku Ingio no dzu ").
The gruesome company, introduced by a triple-headed King of
Hell (Yemma 0), comprises about thirty individuals, of an aspect
too hideously grotesque to be comical. Each is distinguished by a
special name. The series is closed by a picture of the rising sun
dispersing the clouds, and with them the spirits of evil ; and as a
kind of postscript is added a sketch of the Inexhaustible Wallet, the
Eain Coat of Good Fortune, and the Hat of Invisibility, three of the
ten objects grouped together under the name of ' Takara-mono.'
Coarsely and unskilfully drawn.
It bears the following inscription: "Taken from a
picture in the possession of Nanzo Etsuzen." Copied in
Nikko in the second year of Bunsei (1819) by Go-gaku
Shun-sen. Ee-copied in the seventh year of Kayei (1854)
by Minamoto no Chiu-betsu.
275, Makimono, paper, painted in colours. Size, 126 x I0|.
Pictures of the Dresses of actors in " N5 " performances.
Painted by Shiu Yoshi-nobu. Signed. Seal. Dated
tenth year of Horeki (1760).

YAMATOzTOSA SCHOOL. 139
276. Makimono, paper, painted in colours. Size, 360 x lOJ.
A naedical roll (" Yamai no soshi").
A series of representations of various morbid conditions, amongst
which may be recognised carbuncle, bursal and other tumours, para
lysis of the lower extremities, gangrene, acne rosacea, lycanthropy,
eye diseases, abdominal dropsy, intestinal fistula, gastric fistula (a
man whose mouth is obliterated is introducing food through an
aperture in the region of the stomach), and elephantiasis. Descrip
tive text at end of roll.
Originally painted by To-sa Giobu no Taiyu Mitsu-naga
(twelfth century). Copied in the ninth year of Anyei (1780)
by Ima-muea. Ee-copied in the eighth year of Temmei
(1788) by KuMA-SHiN.
277 to 279. A set of three makimonos, on paper, painted in
colours. Size (average), 720 x I2|^.
Scenes from the life of S'akyamuni, with text. A copy
from an older manuscript. (See p. 61.)
Artist unknown. Eighteenth century.
279a and 280. A pair of makimonos, on paper, painted in colours.
Scenes from ancient Chinese and Japanese History.
With text. Sizes, 564 x I2| and 602 x I2|.
1. The battle at Cho-luh between the Chinese Emperor Hwang ti
and the "first of the rebels," Ch'ih Yeo (2697 B.C.).
2. The Emperor Ch'eng T'ang attacking the tyrant Kieh
(1767 B.O.).
3. Amawaka hiko no Mikoto shooting Nanashi no Kiji ("the
Nameless Pheasant ").
Amawaka was the third messenger sent by the Sun Goddess' Amatdrasu
to the evil-minded Koto Shironushi no Mikoto to induce him to sm-render
the beautiful land of Japan. The ambassador fell in love with Shitateru
Hime, a daughter of Earth, and did not return to Heaven. " The Nameless
Pheasant " was sent at the end of three years as a fourth envoy, and Ama-
waka-hiko, fearing lest the truth should be conveyed to the Sun Goddess,
shot the bird, which expired as soon as it had regained the heavens.
Amaterasu drew out the arrow from the breast of her murdered messenger
and cast it back to earth with the wish that it should strike Amawaka-
hiko if his heart were rebellious — and the arrow pierced the traitor, and
he died.
4. Mikadzuchi no Mikoto and Futsunushi no Mikoto before the
demon cave of Shironushi no Mikoto.
The two warriors were the fifth ambassadors dispatched by Amaterasu
to Shironushi. Their aspect and their arms and armour (each article of

140 JAPANESE PICTORIAL ART.
which was distinguished by a title of formidable length) terrified the
usurper into obedience, and he retired with his evil spirits to a distant
place, after which Ninigi no Mikoto descended from heaven to the province
of Hiuga, accompanied by thirty-two retainers and " three kinds of trea
sure," and thenceforth Japan became peaceful and its people grew rich.
5. Hikohohodemi no Mikoto in the submarine reahn of the
Dragon God. He is concealed in a tree which overhangs a well,
but the daughter of the dragon king perceives his reflection upon
the surface of the water.
Hikohohodemi was one of the legendary rulers of Japan, the fourth
from Amat&asu, and is said to have reigned 580 years. It is related that
having accidentally lost a fish-hook belonging to a younger brother, whose
jealousy he had excited, he was unable to appease the owner. Wandering
sorrowfully hither and thither by the shore, his grief excited the com
passion of a marine god, who counselled him to visit the Dragon
realm at the bottom of the sea, where he might discover that which he
sought. The king descended to the Dragon palace, but seeing two
daughters of the Dragon God approaching in the courtyard, concealed
himself in a tree, the branches of which spread over a well. The sisters
bending over the well saw the refiection of his form, and ran home
abashed to tell of the beautiful stranger to their father, who at once
hospitably invited him ioto the palace. Hikohohodemi, received with
due honour, told the object of his visit, and his courteous host sum
moned his marine subjects to inquire for the lost hook. AU the
inhabitants of the deep presented themselves except the Akam^-dai
(Serranus marginalis ?), who was found to have excused himself on the
score of a "fish-hook in the mouth.'' The hook was, of course, the
identical one required, and was at once restored to its owner.
The sequel of the story is, that Hikohohodemi returned to find the
throne seized by his brother, but by means of two tide-compelling sacred
gems which had been presented to him by the Dragon God, he drove the
usurper to the mountains and re-established himself in his dominions.
6. The fishes appearing before the Dragon God and Hikohoho
demi. 7. Mono-no-funo Michi On no Mikoto attacking the demon Tsuchi-
gumo (Earth Spider).
In the reign of the Emperor Jimmu (660-585 B.C.) there appeared in
the province of Yamato a monster, who was described as having a horned
head, fiery red hair, eyes shining like mirrors, teeth like saws, six arms,
and two legs. He was able to hurl massive stones, to rend rocks, up
root great trees, and spin out from his body white threads by wliich he
could entangle man or beast. To rid the country of this direful pest
the monarch sent his general to attack him, but the invulnerable Spider
demon made terrible havoc amongst the troops, slaying many and putting
the rest to flight. Then the Emperor adopted the stratagem of covering
the monster's den with an iron net to prevent his escape, and heaping up
burning fuel at the mouth of the cave, choked in its stronghold the
creature that no sword or arrow could pierce. " This," says the text, " was
the origin of strategy in warfare."

YAMATO-TOSA SCHOOL. 141
The Tsuchigumo is probably not altogether a fable, but may have been
evolved from traditions of a race of cave-dwellers, of whom traces are still
to be foimd in many parts of Japan.
8. Yamato-dake cutting down the flaming grass.
The prince Yamato-dake, the son of the Emperor Keiko (71-130 a.d.),
was dispatched to subdue a rebellion of the people of the Eastern provinces.
The " Eastern barbarians " feared him greatly, but thought to ensnare him
by deceit. They induced him to go to a large prairie covered with tall
grasses, lying at the foot of Mount Fuji, telling him that there he would
find abundance of deer, and might enjoy the pleasures of hunting after the
fatigue of his travels. Unsuspectingly, he availed himself of the sugges
tion, and began the chase. The treacherous barbarians then set fire to the
long grass, hoping so to destroy him, but the prince drew his sword " Ama
no Murakumo no hoken " and cleared around him a space in the vegeta
tion. The flames were unable to reach him, but spreading swiftly in the
direction of his foes, reduced many of them to ashes. The Murakumo
blade, in commemoration of the service, was re-named "Kusanagi no
Tsurugi," or the grass-cutting falchion, and became one of the Three
Treasures of the Imperial Eegalia.
9. The expedition of the Empress Jingo to Korea.
According to Japanese historical records. Jingo, the consort of the
Emperor Chiuai (reigned 192-200 a.d.), being favoured by a command
from the gods to subjugate Korea, communicated the divine message to her
husband, who refused to be convinced, and was consequently struck down
by the vengeance of heaven. The Empress boldly undertook the ordained
expedition, and with the aid of her general, Take-no-uohi no Sukune,
conquered the invaded country. Eeturning at the end of three years she
gave birth to a son, Ojin, wliose advent had been miraculously delayed
during the whole of her absence. She reigned from 201 to 269 a.d., and
was succeeded by her son, to whose passive influence the whole credit of
the Korean Conquest is commonly assigned.
Ojin died in 310, and was deified under the name of Hachiman, as the
national god of battles.
Jingo is said to have lived 100 years, Ojin 111 years, and his successor,
Nintoku, 122 years; and the Emperor Chiuai, as pointed out by Mr.
Chamberlain in his translation of the Kojiki, was not born until thirty-six
years after the year recorded as that of the death of his father, Yamato-
dak4 These flgures are sufficient to make us think the incredulity of
Chiuai not altogether unpai donable, and might even justify a doubt as to
the reality of the Korean drama and the existence of the actors who are
supposed to have taken part in it. The fact is that Japanese " history "
does not cease to be self-contradictory until it reaches the beginning of the
fifth century a.d., a period which may be regarded as within a few decades
of the earliest use of writing in Japan.
10. The erection of the temple of Hachiman in 1063 in Sagami
province by Yoriyoshi to celebrate his victory over Abe no
Sadato and Muneto.
11. Yoritomo at the temple of Hachiman at Tsuruga-oka.
Minamoto no Yoritomo, the half-brother of the Japanese Bayard, Yoshi
tsune, was the great representative of the Minamoto '(Gen) line, and

142 JAPANESE PICTORIAL ART.
utterly destroyed the rival Tairas (Hei), thus putting an end to the Oempei-
hassen, the long struggle between the factions. He became Sei-i-Tai
Shogun in 1192, and founded the city of Kamakura as the capital of the
Shogunate. He died in 1199, at the age of 52.
281. Makimono, on paper, painted in colours. Size, 370 X I2|.
The Story of Urashima. With text (see p. 105).
1. Urashima capturing the Sacred Tortoise.
2. His descent to the Sea Palace.
3. His interview with the old man after his return to his birth
place. 4. The opening of the casket in which his wife had enclosed the
seven hundred years passed in the Kingdom of the Sea.
5. The Emblems of Longevity.
Artist unknown. Nineteenth century. The drawings are
probably copied from an older roll.
282 and 283. A pair of Makimonos, on silk, painted in colours.
Size, 154 X 121
Scenes from the Genji Monogatari (see p. 113).
A very beautiful specimen of the most decorative manner of the
school. Painted by Kano To-jiu in the style of the Yamato school.
Signed. Seal. Eighteenth century.
284. Makimono, paper, painted in colours. Size, 120 X 12f.
The Battle of Yashima.
Artist unknown. Copied from a roll of uncertain date.
The Battle of Yashima in 1185 a.d. was the closing episode of the
Japanese " War of the Eoses," which had commenced nearly thirty years
before. After the death of the all-powerful Taira regent Kiyomori the
fortunes of his house began to fail, and at last, in 1184, the adherents of
his son were driven by the Minamoto army from their strongholds, the last
of which was the Castle of Yashima, and were forced to stake their final
hopes upon a sea fight at Dan-no-ura in the Straits of Shimo-no-Seki.
The cast of the die was against the unfortunate house of the Tairas.
Owing partly to the valour and address of the Minamoto leader Yoshitsunfi,
and partly to treachery in the ranks of the defeated host, the entire clan,
sdve a few who escaped to Kiiishiu, were slain or drowned in the crimsoned
waters, where it is believed to this, day that from time tp time their ghosts
may still be seen, bathed in phosphorescent light, baling the fatal sea
with bottomless ladles.
The account of this bloody battle forms one of the most startling pages
of Japanese history. The principal events in connection with it have been
related by Mr. Griffis in the ' Mikado's Empire.'

YAMATO-TOSA SCHOOL. 143
285. Makimono, on paper, painted in colours. Size, 459 x 12.
The Story of Yorimitsu and the Spider.
The adventures of Minamoto no Yorimitsu in his quest of the.
Demon Spider, terminating with the capture and death of the
monster. Copied by Ima-muea Zui-gaku from an old roll by Tosa
Naga-taka (thirteenth century).
An abstract of the text is appended to the Introduction
(p. 109).
286. Makimono (roll), on paper, painted in colours. Size, 368 x II.
Sketches illustrative of poetry.
These drawings, suggestive, graceful, and insubstantial as
Japanese poetry itself, may be classed with the amateur works
known as ' Bunjin gwa,' or ' Literary man's pictures,' a name
originally applied to the pictures of the Southern Chinese school.
Painted by Yij-chiku. Signed. Seal. Eighteenth cen
tury.
287. Unmounted drawing, on silk, painted in colours. Size, l-} x 7|,
Okam.e (Uzume no Mikoto).
A female figure in the dress of a Court lady, with a round,
foolish face, holding bells and go-hei.
Painted by Tsune-hieo, Signed. Seal. Nineteenth
century. Okame, or Am6 no Uzume no Mikoto, one of the primitive Shinto
divinities, is regarded as an embodiment of the Spirit of Folly. It was
she who danced and sang before the cave to aid her associates in enticing
the Sun Goddess to emerge from her retirement (see No. 1905), and who
sought to propitiate the long-nosed god Saruda-hiko no Mikoto by a
lavish display of her physical attractions, when he appeared likely to
oppose the passage of a divine exploring party.
Her face, with its receding forehead, fat cheeks and small eyes, is
constantly met with in masks; and her figure, in Court attire, with
streaming hair, is a common motive in keramics, ivory carving and other
branches of art.
288 to 292. A set of five drawings on silk, painted in colours.
Size, 7J X 6|.
Pictures emblematically illustrating the festivals of the
first, third, fifth, seventh and ninth months.
Painted to exhibit in succession at the appropriate times in a
Kakemono mount.

144 JAPANESE PICTORIAL ART.
Painted by Ko-zan Sho-tei. Signed, Seal. Nineteenth
century.
293 to 304, A set of twelve unmounted drawings, on paper,
painted in colours. Size, 12J x 17.
Emblematic pictures of the Twelve Months.
Landscapes, with poetical inscriptions.
Artist unknown. Nineteenth century.
305 to 324. A set of twenty-three unmounted drawings, on paper,
painted in colours. Size, 3J x 9f .
Illustrations of Japanese history.
The pictures are painted as fan mounts, and have probably been
removed from an old screen.
Artist unknown. Sixteenth century (?).
325, Unmounted drawing, on paper, painted in colours. Size,
%l X 6f.
Scene from the ' Ise Monogatari,' A book illustration.
Artist unknown. Nineteenth century.
326 to 334. A set of nine unmounted drawings, on silk, painted
in colours, with nine poetical inscriptions on ornamental
paper. Size, 7f X 6|,
Illustrations to poetry.
Good examples of the formal and decorative manner of the
school. Painted by Sumi-yoshi Hokkio. Signed. Seal. Eighteenth
century (?).
335 to 340. A set of six unmounted drawings, on silk, painted in
colours,. Size, 7 x 6|.
Portraits of the six celebrated poets. (See No. 343.)
Painted by Ka-no Mine-nobu in the style of the Yamato
school. Signed Mine-nobu. Seal. Eighteenth century.
341 and 342, A pair of unmounted drawings, on silk, painted in
colours. Size, 8 J X 6f.
Portraits of two poets (Hitomaro and Sojo Henjo).
Artist unknown. Eighteenth century.

YAMATO-TOSA SCHOOL. 145

343 tp 378. A set of thirty-six unmounted drawings, on paper,
painted in colours. Size I2J X 8|.
Portraits of the Thirty-six famous Poets.
Artist unknown. Seventeenth century.
The selection of the famous Thirty-six is attributed to Dainagon Kinto,
a court noble of the eleventh century. The portraits of<the group were
first painted by Pujiwaba no Nobuzane Iq the period Shoji (about
1200 A.D.). Their names are as follows :
1. Kakinomoto no Hitomaro. Died 724 a.d.
2. Minamoto no Shitago. Died 983, at the age of 72.
3. Chiunagon Atsutada. Died 943.
4. Mibu no Tadami.
5. Fujiwara no Nakabumi.
6. Fujiwara no Okikaze. Flourished 911.
7. Kiyowara no Motosuke. Died 989.
8. Fujiwara no Toshiyuki Ason. Flourished at the end of
the ninth century.
9. Saigu Niogo (poetess).
10. Minamoto no Nobuakira Ason.
11. Minamoto no Munenaga Ason.
12. Fujiwara no Kiyomaea.
13. ChiSnagon Tomotada.
14. Ise (poetess). Flourished 886.
15. Minamoto no Shigeyuki. Died 963.
16. Sosei Hoshi (a priest). Son of Sojo Henjo.
17. Minamoto no Kintada Ason.
18. Ki no Tsurayuki. Bom 884, died 946.
19. Onna Kurodo Sakon.
20. Sakanouye no Korenori. Died 786.
21. Onakatomi Yorimoto Ason.
22. Sojo Henjo, or Sada-mune (a priest). Died 890.
23. Sarumaru Taiyu. Died 771.
24. Fujiwara no Tadamitsu.
26. Ono no Komachi (poetess). Flourished 866 (?).
26. Ariwara no Narihira Ason. Born 825, died 880.
27. Ki no Tomomori. Flourished 900.
28. Nakatsukasa (poetess).
29. Yamabe no Akahito. Flourished ninth century.
30. Taira no Kanemori. Flourished 949.
31. Fujiwara no Motozane.
32. Onakatomi Yoshinobu Ason. Son of Yorimoto.
33. Ochikochi no Mitsune.
34. Chiiinagon Yakamochi. Died 785.
35. Chiiinagon Kanesuke. Died 933.
36. Mibu no Tadamine. Born 867, died 966.

146 JAPANESE PICTORIAL ART.
A list is given in the Jiki shiho, but differs in a few details from
the above. The dates are in great part extracted from ' Japanese
Odes,' by Mr, F, V, Dickins,
379, Unmounted drawing, on silk, painted- in colours. Size,
I8f X I4|.
Fowls, Painted by Fuji-waba no Hieo-mine, Signed, San-kei
Fuji Hieo-mine, Seal, Sixteenth century (?).
380 to 382. A set of three unmounted drawings, on paper, painted
in colours. Sizes various.
Scenes from the Genji Monogatari (see p. 113).
Illuminated in the style of the Tosa school. Originally executed
as decorations for small screens.
Painted by Kano Oku-nobu. Signed. Seal. Eighteenth
century (?),
383 to 416, A set of thirty-four drawings, on paper, painted in
colours. Sizes various.
The Story of Raik5 and the Shiuten Doji,
This tale, which belongs to the same class as those of the ' Seven
Champions of Christendom,' is of some antiquity, and has been
told and re-told in an infinity of ways by writer and artist during
the past six hundred years. It narrates the most exciting episode
in the semi-fabulous career of a court noble, named Minamoto no
Yorimitsu, better known as Eaiko, who earned undying fame as
the Slayer of the Demon Spider and of the man-eating Bobbers of
the Eashomon, and died at an advanced age in 1021, The date
assigned by chronological works to the destruction of the Shiuten
Doji and his band is the year 947, and there is little doubt that the
Eobber demon is a highly coloured portrait of some powerful outlaw
of the time. The imaginative faculty has not been exercised more
unscrupulously than in the historical account of the slaughter of
the Dragon by Dieudonne de Gozon of Ehodes in the fourteenth
century, and in a hundred other grave fictions by the mediEevEtl
writers of Europe.
The story is as well known in Japan as that of ' Jack the Giant-
Killer' in England, It gave occupation for the pencils of the
Tosas as early as the thirteenth century, and a portion of it ap
peared in print in 1776 in explanation of some woodcuts in the
Sha-hd Bukuro, by Tachibana no Moeikuni. An outline in English
was given by Mr. C. P. Pfoundes in the ' Japan MaU ' a few years
since, and the story has also been related by Mr. GrifSs in tie

YAMATO-TOSA SCHOOL. 147
' Mikado's Empire,' and more recently by Mr. F. V. Dickins (see
p. 111).
The present series bears no signature or seal, but probably
belongs to the seventeenth century. They have originally formed
the illustrations of a set of makimonos, but have been divoi-ced
from the text apparently for the reduction of bulk.
A description of the incidents illustrated by the respective
drawings may suffice to convey the main elements of the story.
1. News brought to the Mikado (Murakami Tenno) of the
continual outrages perpetrated by the demon Shiuten Doji and his
band. 2. Eaiko receives the Imperial Commission to destroy the
monsters. 3. Orisons at the Buddhist shrine before departure.
4. Yisit of purification to the Shinto temple,
5. The ceremony of purification.
The female holding the bells is probably the daughter of the
Kannushi or Guardian of the Temple, The contrast may be noted
between the plain white wood of the Shinto temple and the
gorgeous architectural decorations of the Buddhistic building.
6. Preparations for departure,
Coimcil of Eaiko with his six squires. The inferior retainers are
sharpening the swords, preparing food for the journey, and feeding
the horses,
7, The departure.
The band have adopted the disguise of a peripatetic order of
Buddhist priests called Yama-bushi, and are utilising as receptacles
for their armour the portable wooden cases which the priests
are accustomed to carry upon their backs during their professional
excursions, 8. The journey.
The meeting with the Spirit of Sumiyoshi, who appears in the
form of an old man of venerable aspect,
9, (A double picture.)
a. The friendly Spirit entertains the party. He is served with
marks of profound respect by Eaiko himself.
b. He presents Eaiko with a close-fitting helmet to wear
beneath his own, and a poisonous drug to be used for the
purpose of stupefying the monster.
10. The journey continued.
Climbing the mountain pass under the guidance of the Spirit.
11. The same.
Crossing a tree bridge that spans a deep chasm.
12. (A double picture.)
a. The arrival of the band at the borders of a mountain lake.
b. The discovery of a weeping lady washing a bloody garment in
a stream. She directs the travellers to the home of the monster.
L 2

148 JAPANESE PICTORIAL ART.
14. The arrival at the gates of the Ogre's castle.
The heroes receive an ironical ¦^elcome from the demon guards.
16. The sensation in the courtyard at the news of the arrival of
the supposed priests.
16. The ante-room. The band awaiting the summons to present
themselves before the Ogre.
17. The Shiuten Doji. The monster has the appearance of a
huge boy attired in Chinese garb ; he is leaning upon two youthful
pages and receives the new-comers, while his demon attendants
range themselves respectfully on either side.
18. The hospitality of the Ogre's castle.
A newly-severed human leg, apparently that of a female, is set
before the guests. Eaiko eats with seeming relish while his
comrades look on with stolid countenances.
19. The adventurers prepare sake for their host, who is now
attended by two richly dressed ladies. It is implied that the
liquor has been duly tempered with the medicament received from
the Spirit of Sumiyoshi.
20. The Orgie. The Shiuten Doji is succumbing to the influence
of the drink. A demon performs a comic dance which is greatly
applauded by his comrades and the heroes.
21. One of the guests volunteers a dance, and by his skill excites
great enthusiasm amongst the demons, who meanwhile indulge in
copious draughts of sake.
22. The Ogre is carried out helplessly drunk. The heroes con
tinue to ply the demons, most of whom are already in an advanced
stage of inebriety, and manifest their condition after the manner of
ordinary mortals.
23. The consultation with the captive ladies.
24. The heroes arming for the attack.
Eaiko, who is distinguished by the richness of his arms and
accoutrements, is conversing with two of the captives.
25. The band, under the guidance of the ladies, are passing the
drunken guards to enter the portion of the building in which the
Ogre sleeps.
26. The Ogre's chamber.
On the right is seen the exterior of the apartment. The heroes
are about to push open the sliding-doors. The Spirit of Sumiyoshi
reappears to jDresent them with a coU of rope.
To the left is the interior of the room. The Shiuten Doji, resum
ing his true form in sleep, is seen as a hideous flame-coloured demon.
He lies supine in a state of drunken stupor, while a number of fair
captives are occupied in soothing him to sleep by gently stroking
his hairy limbs. Some of the ladies make signs that their de
liverers are at hand.
The room is of large size, panelled with sliding-doors in Japanese
fashion, and along the walls are ranged spears and other weapons

YAMATO-TOSA SCHOOL. 149
of formidable aspect. The monster is covered with a richly
brocaded quilt.
27. The attack.
The giant, having been tied during his sleep to the wooden
pillars of the apartment by means of ropes slipped around his
wrists and ankles, has been decapitated by a single stroke of
Eaiko's sabre. The writhing trunk and members, convulsed by a
preternatural energy, have snapped like packthreads all of the
bonds save one — presumably the one brought by the Spirit of
Sumiyoshi — while tho severed head, after springing high into the
air, pursued by a spout of blood, has darted down upon Eaiko like
a beast of prey, seizing the hero's helmet with its demon fangs.
Eaiko, staggered by the concussion, falls upon one knee, but is
protected from the monster's teeth by the under cap of steel, the
gift of the friendly Spirit. In the meantime the good knights
have been inflicting fearful gashes upon the struggling frame on
the floor, while the ladies, who had prepared the way for the
retribution, fly in terror from the scene.
The artist, to express the attack upon Eaiko, has drawn the
demon's head twice, once poised in the air at the summit of its
ascent, and again when fastened upon the hero's helmet, the line of
flight between the two places being indicated by a bloody streak.
The expression of diabolical rage is very forcibly rendered.
28. The combat with the Ogre's guards.
The demon troop, aroused from their drunken sleep, have no
chance against the brave knights. Eaiko, with a placid smile, has
just split the head of one of the most formidable of the crew with a
stroke of his blade, while his companions, with cheerful zest, are
making havoc amongst the remainder. Eaiko's outer helmet,
spoiled by the giant's teeth, has disappeared, leaving only the steel
cap which has rendered him such good service.
29. Another phase of the conflict.
The sturdy little band have now to encounter a whole horde of
the demon soldiery who have suddenly burst upon them through a
gateway, but their prowess is irresistible ; one devil lies cut in two
across the waist, another is cleft to the chin by a mighty nashi-wari
or "pear splitter," a third has received an equally efficient stroke
upon the nape of the neck, and a swish of a sabre has deprived a
fourth of two of his limbs : the heroes meanwhile, unwounded and
unwearied, await the remainder of their foes.
30. The victorious party have arrived at the demon's shambles,
and are capturing two monstrous guardians of the place. In the
background the corpses of three women hang from the branches of
a dead tree, and the ground is bestrewn with skulls and bones.
31. The charnel house.
The knights, under the guidance of three of the ladies, have
reached the penetralia of the temple of murder. A recently

150 JAPANESE PICTORIAL ART.
slaughtered victim lies upon the ground surrounded by fragments
of human bones, and the caverns hollowed in the rocks around are
gorged with dead bodies piled heap upon heap in every stage of
decomposition. 32. The execution of the prisoners,
A cserulean demon, bound and forced upon his knees for de
capitation, awaits his fate with a scowl, and a second monster, tied
to a tree, is turning round to snarl at his executioner, who stands
behind him with drawn sword prepared to strike the blow.
32a. Homeward bound.
The band, laden with the heads of the Ogre and his chief
followers, are retracing their way through the defiles under the
escort of the rescued damsels.
33 and 34. The triumphal procession.
The heroes, in the array of victory, are riding in procession
through admiring files of patrician spectators, to lay the trophies
of their expedition before the Emperor. Eaiko, in the place of
honour, is attended by six pages and armour-bearers, and preceded
by a troop of coolies carrying the demon heads ; the huge scowling
face of the Shiuten Doji, borne by two stalwart varlets, leading the
way towards the spot where the Emperor waits to receive his
brave subjects. The roll is terminated by a view of the wheels of
the sacred ox chariot, the only indication of the royal presence that
the artist has ventured to depict,
417 to 428, A set of twelve unmounted drawings, on paper,
painted in colours. Size, 48J x 19|.
Horses in their stalls.
Sketched in ink and sparingly tinted with colour. Compare
with No. 494.
Attributed to To-sa Mitsu-shige, No signature or seal.
Sixteenth century,
429, Unmounted drawing, on silk, painted in colours. Size,
21i X 33i.
Falcon and crane.
Painted by Toyo-hisa, (Popular school ?) Signed. Seal,
Nineteenth century,
430. Unmounted drawing, on silk, painted in colours. Size,
38| X 20J,
Priests and Court noble.
A Buddhist priest of high rank is seated upon a raised mat in
the background. In front a Court noble hands a folded paper to a
priest of lower grade.

YAMATO-TOSA SCHOOL. 151
Painted by Kai-un, Signed, Two seals. Calligraphic
inscriptions above the picture. Dated Hare year of Kayei
(1850),
431, Unmounted drawing, on paper, painted in colours. Size,
36i X 22.
Crane and sun.
Decorative design. The stork, with widespread wings, poised in
front of the vermilion disc of the sun. An inscription states that
the original was brought from a foreign country by Minamoto no
Nobu-hide, Copied by Ki no Tada-yoshi, Signed, Seal replaced by
a Kakihan, or written cypher. Eighteenth century (?).
432 and 433. A pair of unmounted drawings, on silk, painted in
colours. Size, 37 x 16J.
Portraits of an old gentleman and lady.
The shaven heads and the rosaries held in their hands indicate
that they have ostensibly retired (Inkiyo) from active interference
in worldly affairs to hold a position with regard to the church
and society not unlike that of the abbe in France.
Painted by Ko Su-kei, Signed, Seal. Nineteenth
century.
434. Unmounted drawing, on silk, painted in colours. Size,
43| X 161
Scene of Court life.
Court nobles in a pleasure-boat upon the ornamental waters of a
palace, A portion of the building, tenanted by two ladies, is seen
in the distance.
The use of conventionalised blue clouds bordered by a golden
mist, may be noted as an important aid to the colour effect of the
picture. Painted by Watana-be Dzu-sho Nao-teeu, Signed.
Seal. Nineteenth century.
435, Unmounted drawing, on silk, painted in colours. Size,
I9i X 26i.
Yoshitsune at the battle of Yashima,
The hero is seen on horseback riding into the water to secure a
floating bow which a party of the enemy are endeavouring to seize
with boat-hooks. Painted by Sumi-yoshi Nai-ki Hieo-sada. Signed. Seal.
Nineteenth century.

152 JAPANESE PICTORIAL ART.
436. Unmounted drawing, on silk, painted in colours. Size, 50J
X 21|.
The spirits of the pine-trees of Takasago and Sumi
yoshi.
An aged man and woman in the dress of the Samurai class,
holding a besom and rake. They stand beneath the spreading
limbs of an ancient pine.
Painted by Sumi-yoshi Nai-ki Hibo-sada. Signed. Seal.
Nineteenth century.
The song or poem of Takasago is the first of the hundred Utai com
posed for performers upon the No stage. It relates how one Arakida
Tomonari, the guardian of a Shinto shrine of the temple Aso in the
province of Higo, betook himself to Kioto in obedience to a divine revela
tion to seek an elevation of rank. His desires being gratified by investi
ture with the fifth grade of nobility, he proceeds to mark his rejoicing
at the prosperous result of his journey by making an offering at the
temple of Sumiyoshi.
Two ancient pine-trees that had grown from time immemorial upon the
opposite shores of Sumiyoshi in Tsu, and Takasago in Banshifl, were
the object of much reverence, and had been tenanted by the poetic fancy
of the people with the spirits of a venerable couple, man and wife, who
were known as Ai-oi (a punning term which has the double meaning of
old man and woman, and longevity). Tomonari, arriving at Takasago
with two companions, beholds these Japanese Dryads in the form depicted,
and holds converse with them. The spirits, after chanting in alternate
strains the praise of poetry and long life, embark in a boat in the direction
of Sumiyoshi and disappear in the distance. Tomonari and his com
panions follow them and arrive in time to be spectators of a sacred dance
performed by the old man in honour of the gods of the great temple there.
A poetic version of this Utai has been given in an appendix to Mr.
F. V. Dickins' translation of the Chiushingura.
437 to 439. A set of three unmounted drawings, on paper, painted
in colours. Size, 1I| x 36.
The Twelve Animals (Jiu-ni Shi).
The animals (rat, bull, tiger, hare, dragon, serpent, horse, goat,
ape, cock, dog, and boar), representing the signs of the Zodiac, are
depicted in the attire and following the occupations of human
beings of various ages and social grades.
Artist unknown. Eighteenth century.
440, Unmounted drawing, on silk, painted in colours. Size,
39| X 14,
Scene of Court life.
A Court noble about to start on a journey is taking leave of two
ladies (one of whom holds a child) before entering his ox-chariot.

YAMATO-TOSA SCHOOL. 153
The picture probably represents an episode in one of the semi-
historical novels of old Japan.
Painted by Sumi-yoshi Nai-ki Hieo-sada. Signed. Seal.
Nineteenth century.
441. Unmounted drawing, on silk, painted in colours. Size,
33|- X 161.
The Fan Dance.
Five dancers, holding fans with emblematic decorations.
Painted by Sumi-yoshi Nai-ki Hieo-sada. Signed. Seal.
Nineteenth century.
442 to 447. A set of six unmounted drawings, on silk, painted in
colours. Size, 42| x 17|.
Screen pictures.
Vague pictorial suggestions awakened by familiar verses of
poetry. 1. The verdure-clad hills.
2. A riverside conversation.
3. The cuckoo.
4. The cascade.
6. The prairie.
6. The blossoming of the cherry-trees.
Painted by To-sa Mitsu-atsu. Signed, To-SA no Kami
Fuji-waea no Ko-fu. Seal. Eighteenth century.
448 to 461. A set of fourteen unmounted pictures, on paper,
painted in colours. Size, 10| x 12J.
Scenes in Japanese history. Extracted from an illus
trated manuscript.
Artist unknown.
462 to 485. Twenty-four unmounted pictures, on paper, painted
in colours. Size, 9^ x 6f .
Scenes from the life of Benkei. (See p. 117.)
These sketches are ordinary examples of the illustrations to the
more ambitious manuscript books, for which there was a certain
demand amongst the more wealthy Japanese until within the last
decade. The drawings, like the present set, were usually copied
from works by noted artists of the Yamato school.
Artist unknown. Eighteenth century.

154 JAPANESE PICTORIAL ART.
486, Unmounted drawing, on silk, painted in colours. Size,
lOf X 14i,
Cranes,
Artist unknown. Sixteenth century,
487, Unmounted drawing, on silk, painted in colours. Size,
641 X llj.
The custom of " Kiokusui,"
Painted by To-cho, Signed, Seal. Seventeenth cen
tury (?),
The " Kiokusui " was an annual amusement amongst the Kuge or
nobles of the Mikado's Court. The little flat, lacquered wooden cups,
known as sakadzuki, were partially filled with sak6 and floated down a
stream, to be taken up by those of the party who were stationed at
a lower part of the current. This pi'oceeding was accompanied by the
composition of verses.
488, Unmounted drawing, on paper, painted in colours. Size,
I4| X 3I|.
The execution of a detachment of the Forty-seven
Bonins.
The story of the Forty-seven Eonins who banded themselves
together to revenge the death of their lord is graphically told in
Mitford's ' Tales of Old Japan,' and Mr. F. V, Dickins has given
a translation of the dramatised version of the facts in the Chiushin
gura, or " Loyal League," a work which offers an invaluable picture
of the habits of thought of the Japanese in the days of their later
chivalry. The sketch is of especial interest as showing the ceremonials of
Harakiri. The suicide was nearly always nominal, death being the
result of decapitation by a Samurai, to whom was assigned the duty
of executioner, but an abdominal wound of more or less severity
may have been self-inflicted by the victim before the stroke fell.
For a full account of the complicated formalities appertaining to
the act, see Mitford's ' Tales of Old Japan.'
Drawn by Tam-bi, Signed, Seal, Nineteenth century,
489, A set of twelve MS. volumes, with illustrations, painted in
colours. Size, 9x6^,
Teikan dzusetsu. The pictorial mirror of Emperors,
Stories from Chinese history,
A good specimen of the MS, Editions de Luxe of classical works.
The brilliantly coloured and gilded illustrations are probably copies
from older works.
Artist unknown. Eighteenth century.

YAMATO-TOSA SCHOOL. 155
490, MS, volume, with illustrations, painted in colours. Size,
Ilf X 8f.
The life of Bunsho of Hitachi.
Drawings in the style of the Tosa school, richly coloured and
gilded. Artist unknown. Eighteenth century.
491. MS. volume, with illustrations, painted in colours. Size,
91 X 121
The story of the Muge H5-jiu Gem, (See p. 103.)
Illustrations in the style of the Tosa school, copied from older
works. This legend is frequently seen in manuscript, but the writer
has not yet met with a copy in print. As it has been illustrated
by many artists of the Tosa school, an abstract of the text is
given in the Introduction,
Artist unknown. Eighteenth century.
492, Album containing twelve drawings, on paper, painted in
colours. Size, 7x6.
Verselets with illustrative sketches.
Artist unknown. Eighteenth century,
493, Album containing twenty-eight drawings and calligraphy,
executed, in colours, upon silk and thin plates of wood.
Size, 10 X IIJ.
Verselets with illustrations.
The artist is unknown, but the calligraphy is the work of
members of the Imperial famUy and household. The names of
the contributors are written against the several compositions.
Nineteenth century,
494. Makimono, on paper, painted in colours. Size, 234 x I4|,
Horses.
An example of the earlier and most vigorous manner of the Tosa
school. It is characterised by the simplicity of technique and
mastery of touch of the old Chinese painters, and by a power of
expressing action and vitality that is the more remarkable in view
of the disregard shown for the study of anatomical form. The
style is that of Mitsunobu, to whom the roUs are attributed, but
the seals have not been identified. Compefte with Nos, 417-28,
Fifteenth century ?

156 JAPANESE PICTORIAL ART.

TOBA-YE.

The " Toba pictures " are humorous caricatures which date from
the twelfth century, and derive their name from the inventor,
Kaku-yu, or Toba S6j5.*
Kakuyu, a distinguished scion of the Minamoto family, was an
abbot of the Temple of Miidera, in the province of Omi, in the reign
of the Emperor Eokujo (1166-II68 a.d.). His more familiar
appellation, Toba SojO (the Toba priest), refers to the monastery
Toba no In, where he had at one time resided. He was an accom
plished artist in the (Chinese style, and appears to have been the first
Japanese painter who made a speciality of comic drawing and em
ployed it as a means of attacking official dishonesty. His original
works are now extremely rare, but the copies which have reached us
show that his burlesque manner has been carefully preserved.
The Toba-ye- introduce us to an aspect of Japanese art which
owes nothing to China, but, for obvious reasons, its merits lie
to a great extent outside the range of the foreigner's compre
hension. Even to the European, however, if he be at all acquainted
with Japanese life, the works display a spontaneous drollery that
proves the existence of a remarkable sense of humour as one of
the national characteristics of the people ; and although the wit often
drifts into Eabelaisian channels, it is seldom lascivious in intention
and never ill-natured.
The style did not give rise to a " School," but was taken up by
men of any or no academy who desired to give expression to their
feelings in broad caricature. Its peculiarities of design as applied
to figures consisted merely in exaggerating the size of the head,
giving it a frog-like character by widening the mouth and reducing
the nose to a couple of nostril dots, and elongating and attenuating
* He is sometimes confused with Ono no Sojo, an artist-priest of the Mitsu
sect who lived in the eleventh century.

TOBA-YE. 157

the limbs at discretion. There was, however, no attempt at por
traiture, and as the draughtsmanship was freed from all academical
difficulties, the field was open to artistic and inartistic competitors
alike. In some cases, indeed, the sketches gained in comicality by
the startling violations of art canons in which their creators indulged,
but in others the simplification of the process of production led to
floods of mere burlesque scrawls, which could only attract attention
by their extravagance of badness.
At the present time it is no longer adequate to the demands
of the caricaturist. Japan, amongst its manifold adaptations of
European ideas, has elaborated a Punch, and the pictorial criticism
of public personages and events by the Maru-maru Chimbun has
evolved a new force, the capabilities of which may hereafter become
enormous ; but it has destroyed the art of Toba SojO.

158 JAPANESE PICTORIAL ART.

TOBA-YE.

562. Makimono, on paper, painted in colours. Size, 402 x I0|.
Burlesque pictures of the Toba school.
The subjects are very numerous. Some, depending upon verbal
quips, would be unintelligible to the European, but in others the point
is sufficiently obvious. The first sketch shows two furious parties
of Samurai indulging in the safe amusement of abusing each other
from opposite sides of a wide stream. In the next, a couple of
"horny-handed sons of toil " are displaying enormous vigour iu
the use of a huge saw to divide a soft melon held by a third, .while
a sympathetic assistant fans their sweating brows. In another a
demon is dragging a poor mortal to Hell by a large wen that
decorates his face; and farther on a coolie carrying a parcel of
umbrellas is getting wet through in the effort to shelter himself
with his hat. Many others might be described in illustration of
the Oriental sense of humour.
The drawing of the figures with their big heads and long,
ungainly legs, is quite characteristic of the school.
Painted by Miya-gawa Ch6-ki. Signed.. Seal. Early
part of eighteenth century.
563. Album, painted in colours. Size, 12^ X 8.
Comic sketches.
Artist unknown. Eighteenth century.

( 159 )

CHINESE. SCHOOL.

The Japanese were undoubtedly indebted to Korean intercourse for
their first introduction to the arts and sciences of the neighbouring
continent, and many important branches of the arts in Japan
received their early development from the labour and example of
Korean immigrants, but it was from the Chinese that the painters
learned their craft. Naneiu, the first pictorial artist in Japan of
whom any record is preserved, was a native of China, and the
names of the famous masters of the T'ang dynasty, whose works
gave direction to the genius of Kanaoka,* are even now as familiar
to the educated Japanese as the story of Jingo Kogo and the Korean
conquest. Moreover, although many Korean painters resided in
Japan, and many Korean pictures must have been imported before
the ninth century, neither the men nor the works appear to have
led to the initiation of a definite style or school, while on the other
hand there have been but few Japanese painters of note who were
not proud to register themselves as followers of one or more of
the T'ang, Sung, or Yuen masters of the Middle Kingdom.
The naturalization of the Chinese School may be said to date
from the time of Kose no Kanaoka, and has hence an antiquity of
about a thousand years.
The historical evidence and curious fictions current as to the
power of Kanaoka in the secular branch of the art, together with
the admirable existing specimens of his talent as a painter of Bud
dhistic pictures, lead to the belief that the early productions of the
academy were of a very high order, but unfortunately the absence of
any example of his work, or that of any of his descendants, in the
Chinese style, leaves us wholly to conjecture upon this point. His
influence was undoubtedly very great, for long after his death painting
* It has been mentioned that the proficiency of Kose no Kanaoka, the first
Japanese artist, has been attributed to his study of the pictures of Wu Tao-tsz', the
celebrated painter in the service of the Chinese Emperor Ming Hwang (685-762 A.D.).

160 JAPANESE PICTORIAL ART.
remained a favourite occupation of the courtiers and of many of the
sovereigns, and although the demand for Temple pictures secured the
best eiforts of the leading artists, the production of sketches of native
scenery, of illustrations to Chinese and Japanese legends, of repre
sentations of Court ceremonials, and other subjects requiring some
originality of design, was carried on in Kioto, and found all due
appreciation. The style of execution of these works is not well
known, but it was probably at first that of the old Chinese painters,
and gradually merged into the more conventional and decorative
manner of the Yamato school.
The partial eclipse of the pure Chinese school, which followed so
soon upon its rise, was of long duration. Some portion of its light
was reflected in the Yamato style, developed by a pupil of the Kose
line, but from the end of the ninth to the middle of the fourteenth
century there were few painters of note who strictly adhered to the
rules of the ancient Chinese masters. In the course of the four
teenth century a number of artist monks won a lasting renown by
simple monochrome or lightly-coloured drawings after the manner
of the old Chinese artists. Amongst these Nen Ka-w6, who
flourished in the early part of the century and is supposed to have
introduced the practice of mounting pictures as "kakemonos,"
stands highest in the estimation of his countrymen. He was
especially famous for his rapid ink sketches, which are said to have
been indistinguishable from those of the great Sung artist Muh-ki,
and is regarded as the leading pioneer of the great Chinese art
renaissance afterwards consummated by Sesshiu, Shitjbun, Sotan,
Soga Jasoku, and Kano Masanobu.
The early part of the fifteenth century brought powerful aid to
the cause of Chinese art through the medium of a priest of Kioto
named Jo-setsu, who after a profound study of the pictures of the
celebrated artists of the Sung and Yiien dynasties, established at the
temple of Sokokuji, in the Imperial city, a monastic academy for
the promulgation of their teachings, and grouped around him a
body of pupils destined to initiate a new departure in the art
history of their country. Little is known of this painter, and it is
even uncertain whether he was of Japanese or Chinese birth. Ac
cording to some authorities, he came from China and settled in Japan
in the period Oyei (1394 to 1428); while others claim him as a
native of the province of Kiushiu. His paintings, moreover, are now

CHINESE SCHOOL. 161

as rare as those of Kanaoka, and the one or two examples still
-shown as his handiwork* leave his artistic status quite undecided ;
but as a teacher he had rare success, for amongst the pupils said
to have issued from his atelier, are the founders of three out of the
four schools which monopolised the attention of the artistic world
down to the middle of the last century; Shiubun, Sesshiu, and
Kano Masanobu.
The Honcho Gwashi states that he was noted for. pictures of
landscape, figure, flower and birds. "His style resembled that of
Ba-yen, Ka-kei, Mok-kei, and Giokkan of the Sung, and Ganki of
the Yiien dynasty. (Ma Ytjen, Hia Kwei, Muh-ki, and Yuh-kien.)
The ancient masters of Japan never studied the works of these
periods; the first to do so was Josetsu, and he became deeply
learned in the art."
Shiu-bun, the only one of the three reputed alumni of Sokokuji
who is not renowned as the inventor of a school, must be con
sidered as the real leader of the revived Chinese manner. He,
like his instructor, was a monk of Sokokuji, and, unlike his fellow-
pupil Sesshitj, made no effort to emerge from his priestly seclusion.
The following account is extracted from the Honcho Gwashi: —
"The priest Shiubun held the rank of Tosu in the temple
Sokokuji ; he also bore the name of Shun-iku, and used a seal upon
which was engraved 'Ekkei Shiubun,' Ekkei being a place near
the temple Eizenji, in the province of Omi, where he once lived.
His pictures were representations of landscapes, figures, flowers and
birds, sketched in ink or lightly coloured, after the rules of Ba-ka-
GAN.f He was perfectly versed in the most profound principles of
MoKKEi and Giokkan, and had studied under Josetsu. He never
painted in the Yamato style. In modern times the followers of
Sesshiij, Oguei, and Kano used Shiijbun as a ladder by means of
which they might reach the altitude of the Sung and Yiien
dynasties." A list of his pupils and followers is given on page 182.
The motives of the revived school were almost wholly derived
from Chinese and Buddhistic sources. So thoroughly had the
painters become imbued with the Chinese spirit, that they would
* A picture by Josetsu has been engraved in the Owa-ko sen-ran (1741).
t An abbreviation of the names of Ba-yen, Ka-kei and Gan-ki (Ma Yuen, Hia
Kwei and Ngan-Hwui. M

162 JAPANESE PICTORIAL ART.
have been at a loss if called upon to make a picture from nature of a
Japanese subject, and it is said that when a certain artist was
ordered to paint a view in Kioto, he was led by force of habit to
people his native streets with Chinese figures. Such an anti-
patriotic bias gave to the Yamato painters, as well as to the
apostates of modern times, a strong weapon, and even the later
adherents of the school deplored that the beauties of their own
land and its belongings should be neglected, in favour of a country
from which they had then but little to expect. A similar plaint
is poured forth by the popular artist Nishigawa Sukenobu of Osaka,
in an appendix to the Yamato Hiji (1742), in which he deplores at
some length the fashion of depicting Chinese scenery and people,
and of painting Japanese figures in such a manner that they look
like Chinese. He asks pathetically, " Is it not that these persons
(the artists) incline towards a foreign country and despise their
own ? " This feeling was probably shared by many, but the dashing
monochromes and lightly-tinted sketches of Shiubun and his school
held their own for over two centuries, and the Kano and Sesshiu
academies during the same period gave powerful support to the
same manner, leaving the Tosa school to fight the battle unaided
on the Japanese side ; but near the end of the seventeenth century
the classical school began to show signs of degeneration, and the
defection of Hanabusa Itcho and many others from the accepted
traditions was a noteworthy sign of the feeling that opened the
way for the artisan-artists of the present era.
A few decades later a new element was introduced, which prac
tically divided the " Kara-ye " into two classes. The Goku-zaishiki,
or highly-coloured paintings, which became popular in China during
the Ming period, were for a time little appreciated in Japan, for
the pictures of the Ming artists Shiushiben (Chiu Chi-mien), Eioki
(Lij-Ki) and others, imported in large numbers about the end of the
sixteenth century, were in the older style ; but in the period Horeki
(1751-64), a painter named EiO-ei-ki6, a native of the province of
Yamato, rose into notice as a remarkable colourist in the decorative
Miug style, and made the new method popular amongst his
countrymen. The Ming picture depended principally upon its attractions of colour,
as did those of the Sung and Yiien period upon their calligraphic
beauties of outline, and in that respect bore some resemblance to the

CHINESE SCHOOL. 163

Tosa compositions. The drawing though careful, and often graceful,
had little of the force that characterised the work of the Eenaissance.
It was usually executed with a fine brush, but considerable variety
existed in this respect, the extremes of which may be seen in Nos.
610-612, by EitJEiKio himself, and No. 683, by a modern artist of
the province of Echigo.
The style attracted many workers, although it did not destroy the
affection of the connoisseurs for the simpler manner of the early
dynasties; and it appears to have produced some effect upon the
mode of painting in other schools, for the Kano contemporaries of
EiUEiKio adopted a heavier colouring than that before practised;
and in the last fifty years a few of the school have so closely
followed the Ming style that they have lost almost every trace of
the teaching of the old masters of their own line.
A little after the middle of the eighteenth century, the Chinese
school was strengthened by the arrival of some Chinese immigrants,
of whom the best known were I-fu-kiu, Chin-nan-pin, and Ho-sai-
YEN. Of these I-fu-kiu was the most highly esteemed, on account of
his freely-drawn sketches of landscape in the style of the Yuen
dynasty. He left several famous pupils, the most noted of whom
was Tai-ga-do of Kioto. Chin-nan-pin was a merchant, who appears
to have been only a clever copyist, and was surpassed by his pupil,
Yiu-hi of Nagasaki. Ho-sai-yen was skilled in lightly-sketched
pictures of flowers and birds, but has left comparatively few works.
It was through some of these men that the " Southern " branch of
Chinese art, a style which took its origin near the end of the Sung
dynasty (1280 a.d.), gained an undeserved recognition in Japan.
The works of the " Southern School " were mostly facile sketches,
illustrating poetical ideas, and as resemblance to nature was not a
desideratum, the manner became popular amongst amateurs, chiefly
of the literary class, who if of sufficient distinction found no want
of admiring critics. In its relation to the true Chinese art the
fashion was of no more real importance than the Delia Crusca school
as a phase of English poetry, but for a time the parasite was
able to draw some of the strength from the noble stem on which it
grew : and is regarded by a recent highly qualified writer in the
Nichi-Nichi Shimbun as one of the most potent agents in the modern
deterioration of Japanese painting. M 2

164 JAPANESE PICTORIAL ART.
In the present century the most prominent painters of the Chinese
school were O-nishi Kei-sai, Haeu-ki Nam-mei, Shiu-ki, and So-bin,
who, together with the talented amateur Ina-gaki, appear to have
been influenced in their drawings by the example of the Shijo
artists. The pheasants by the first (No. 661), the hawk by the
second (No. 699), and the " Thousand Carp " by the last (No. 818),
will show how closely the old school had approached to the new.
The various styles peculiar to the school are enumerated in the
introduction of the Chinese pictures.
Motives. — The artists of the Chinese School adopted not only the
style but the motives of the famous masters of the Sung and Yiien
dynasties, and drew their historical, legendary and religious inspira
tions almost entirely from the literature or paintings of the Middle
Kingdom. A vast number of these pictures claim no more ambitious subject
material than a slight reminiscence of vegetable life, such as a limb
of bamboo or pine, a peony or orchid, or a flowering branch of plum
or peach. Spirited and life-like sketches of birds, of which the
favourites were the crane, the sparrow, the swallow, the quail, the
crow, the hawk, the pheasant, the peacock, the fowl, the cuckoo,
and the wood pigeon, were equally common, and in most cases,
like the last, conveyed to the Chinese and Japanese a poetical
or emblematic meaning, that ensured a lasting popularity for the
motive. The examples selected from the mammalia were more
limited, being almost confined to the horse, the mule, the dog, the
ox, and a long armed-species of monkey. The tortoise and serpent
were the principal representatives of the reptiles; and amongst
fishes, the carp, as an emblem of perseverance, held the highest
place of honour. Insect life, except as an accessory, was rather
the property of a few individual painters than of the art.
The Chinese artist was often remarkably felicitous in the
renderings of the wilder forms of picturesque beauty in landscape.
Silvery cascades, tranquil pools, and winding streams; towering
silicic peaks and rugged headlands; gnarled fantastic pines and
plum-trees, side by side with the graceful stem and feathery foliage
of the bamboo; mansions or pavilions, gorgeous in vermilion and
gold, crowning the heights or bordering the expanse of an inland

CHINESE SCHOOL. 165

lake, and rustic cottages with straw-thatched roofs nestling in the
cultivated valleys ; these were elements that the painter could
assort and reconstruct into a thousand pictures of never-failing
interest and beauty. The Japanese painters of the classical schools,
seduced by the charms of the foreign ideal, were often led to neglect
the more familiar attractions of their own scenery, and without
having beheld any of the spots depicted by the old landscape masters
of China, squandered an infinity of talent and ingenuity in building
up new creations of their own with the material borrowed at
second hand from their neighbours.
The most frequently repeated studies of the figure were calli
graphic portraitures of Buddhist divinities, Taoist genii, and
historical celebrities in the domains of war, politics or learning ;
all designed with immense power, but showing little heed for aca
demical truth. On the other hand, portraits from life, which were
not rare, were almost always formal, ungraceful, and inexpressive,
and stood at great disadvantage amongst the other pictorial works
of the Chinese painter and of his Japanese imitator.
Mythical zoology held a very important place in Chinese art
motives, evidencing as it did a courage of invention almost un
paralleled in the pseudo-science of Oriental races, and would richly
repay the investigator who has the knowledge and opportunity
required for pursuing it in the Middle Kingdom itself. A brief
outline on the subject is given on p. 166.
Among the more elaborate compositions of the brush may be cited
those founded upon episodes of history, a large proportion of which
belong to the records of the rise and fall of the Han dynasty
(206 B.c. to 220 A.D.); anecdotes illustrative of filial piety, of
which some will be quoted hereafter ; stories of feudal devotion,
typified by that of Yu Jang ; * anecdotes encouraging perseverance
in the acquisition of knowledge, exemplified in the lesson
conveyed to Chang Liang by an aged woman whom he found
* Yu Jang (Jap. Yojo) was a retainer of the King of Tsin, who fell in a war
with the monarch of a rival state. He sought every means of slaying the
destroyer of his lord, but his determination was at length overcome by the
repeated generosity of his intended victim, and being tmable to accomplish his
vendetta or to live beneath the same heaven with his master's foe, begged the
latter to cast him his mantle. Seizing the garment, he stabbed it with his
sword and then plunged the weapon into his own body. The story has been
told by Mr. Dickuis in his translation of the Chiushingura (p. 175),

166 JAPANESE PICTORIAL ART.
patiently occupied in grinding down a bar of iron to make a needle ;
stories commemorating readiness of resource, as in that of Szema
Kwang (No. 1535) and the Alexander-like act of the Chinese prince
who solved the problem of an inextricable knot, which a neighbour
ing state had sent in challenge, by cutting it with a knife (see
Bokwwo Shin-gwa) ; and tales of physical strength, like that of the
archer, who, mistaking a distant rock for a tiger, drove an arrow
deep into the solid stone.
A hundred similar " stories with a purpose " might be quoted, but
the absence of one motive which has afforded so frequent a theme
for writer and painter in the West, is a fact worthy of note. The
chivalry of masculine love as understood by the mediaeval romancers
of Europe appears to find no illustration in Chinese story ; nor does
the literature or art of the celestial kingdom echo the noble
examples of female devotion commemorated in the Japanese history
of Kesa's sacrifice of her own life to save her husband from the
murderous hand of a man who wished to replace him in her
embraces ; of the brave and gentle Shidzuka's worship for her hero
Yoshitsune; or of the self-immolation of the consort of Prince
Yamato Dake to appease the angry waves that threatened the
frustration of her husband's expedition ; but in place of the delicate
sentiment that strikes us in the pages of early Japanese literature,
there is little in Chinese history relating to the fairer sex but
narrations of the disastrous infatuation of monarchs for vile mis
tresses, and records of the favouritism, cruelty, and vice of women
whose beauty had raised them to a power which they held only to
abuse. Mythical zoology has perhaps been developed to a more re
markable extent by the Chinese than by any other nation. Their
literature teems with strange conceits, some of which appear to be
transcripts of local folk-lore, others appertain to Buddhism or
Taoistic legends, and others are accepted as sober facts of natural
history. Nearly all have been adopted by the Japanese, who have
utilized them as a basis for a rich fund of comic or dramatic essays
by author and artist: in fact, almost the whole of the anthropo
logical and zoological curiosities rendered familiar to us through
the modern art works of Japan, are of Chinese origin ; but although
the credit of the invention rests with the Middle Kingdom, almost
everything that makes the treatment of the themo amusing or

>-Im

G16KIBOKU KOKEi Native of
(Tailed men). (Crooktd legs). kafuei.
CHOHI or TEN AGA E5GAH M0FUEn UUIH
(Long arms). (Nape eye). (No belly). (Flying man).
TEIREI SAN8HIN
(Horse legs). (Triple budy).

KOBITO IlITOBAN SANSHtU KENKIO
(Pigmies). (Flying bead). (Triple face). (Perforated cliest).
KUKOCU CHdJI CHOKAKir
(DoK head) and wiff. (I-onp: ears). or .ashinaga
Well Dweller. jiuri N«tivpof (Longlgs).
Native of (One arm and sho.
BUBSHiN. one leg).

MYTHICAL "FOREIGNERS.** After Hokusai. (Page 169.)

CHINESE SCHOOL. 167

interesting belongs to the younger country. A few Chinese myths
associated with Buddhism are of Indian origin, but have been
considerably modified in the course of their naturalization, and
many others remind us of European traditions, but usually belong
to a type of ideas that might arise independently in the minds of
any number of men possessed of a common stock of associations.
The poverty of imagination displayed in the greater portion of these
phantasies would lead the modern thinker to refer their creation to
an era in which the human intellect was in its childhood.
The anthropological myths may be arranged into three classes : —
I. Persons born of woman with or without divine agency, who
develop magic powers that enable them to assume changes of form,
to become invisible at will, to accomplish miracles, and to attain a
fabulous longevity. To this class belong the Sien-nung or Eishi
(see p. 53).
2. Persons distinguished by physical peculiarities of a fabulous
nature, but which do not separate them from the human family ;
such as Giants, who are supposed to attain a height ranging from
thirty feet to any degree permitted by liberality of the story-teller ;
Dwarfs, whose stature is limited to nine inches, and who dare
not travel except in bands lest they should be picked up like worms
by their enemies the cranes, but do not imitate the pigmies of
Pliny in endeavouring to limit the multiplication of their foes by
attacking them in ovo ; the Perforated men, who dwell eastward of
the Tsoi country, whose breasts are traversed by a canal largo
enough to transmit a pole by means of which the richer individuals
of the race may be carried like a .sedan chair by hired coolies ; the
Stomachless men, who dare not laugh " because they have no sides to
hold " ; the Long-armed and Long-legged natives of the country near
the Hung Sheung Tree in the North, who as fishermen rejoice in a
beneficial association of labour. Long-arms mounting upon the
shoulders of Long-legs, who then wades into deep water while his
partner plunges his far-reaching upper limbs to the bottom of the
sea and catches the fish ; the Tailed men, who are in the habit of
digging holes where they sit, to provide a receptacle for the
appendage, and protect it from all possibility of injury ; the hapless
Women of the land where no males are born and whence no
masculine visitant has ever returned, who become enceintes by
gazing upon the reflection of their charms in the mirror of a well,

168 JAPANESE PICTORIAL ART.
or, like the mares of Lusitania, by exposing their bodies to an
impregnating wind ; the Long-necks, whose heads have the power
of quitting the trunk, retaining only a filamentous bond of con
nection ; the Three-eyed hermaphrodites, who are able to fly in the
direction of the wind ; the Long-eared men, who are obliged to sup
port their pendent lobes with their hands while walking ; the Half-
men, who have each but one arm, one leg, and one eye, and assort
themselves in pairs, right and left, for purposes of locomotion ; and,
lastly, a number of other races distinguished only by a variation
from the orthodox provision of eyes, heads, or members. Accounts
of these fabulous relatives of ordinary mankind will be found in
the Wa-kan San-zai dzu-ye, where they are quoted from Chinese
authorities as instructive information for investigators into geogra
phical lore ; and in various Chinese books.
3. Transitional beings, who combine with human elements parts
naturally appertaining to the lower animals ; such as the Headless
men, with herrings for eyes and a mouth at the navel ; the Feathered
men, who people the Southern kingdom ; the natives of the Fun-tan
country, who have men's faces, but possess the wings and beak
of a bird (probably the originals of the Japanese Tengu); the
Mermen of the land of Tai-yan, who have human heads and arms
.attached to the body of a fish, and learn the secrets of the deep
from the murmuring hollow of the conchifer ; and an endless
variety of creatures with tiger heads, serpent arms, ox legs, and
other substitutions of brutal for human parts.
The section of mythical animals detached altogether from the
genus homo may be similarly classified: 1. Animals without any
remarkable peculiarities of conformation, but gifted with super
natural attributes, as the Tiger (see page 51), the Fox (see No.
1808), the Hare (see No. 1016), the Tortoise (see No. 625), the Crane
(see No. 238), &c. 2. Animals differing from their fellows only in
size, or in alterations of the due number of parts. To this group
belong the great serpents, eight hundred feet in length, who eat
elephants ; the two-headed snake killed by Szema Kwang ; the nine-
tailed fox that assumed human form as the Chinese concubine
Ta Ki; the four- eared monkey that heralds the deluge; the fish with
ten bodies and one head, whose flesh is a sure preventive of boils ;
the two-headed sow, whose duplicate head occupies the place of its
tail, &c., &c. 3. Creatures made up by the amalgamation of parts

CHINESE SCHOOL. 169

of various animals : like the Dragon (see page 48) ; the K'i-lin
(see No. 702) ; the Feng Hwang (see No. 867) ; the Dog-headed fish,
with a child's voice, prescribed as an excellent remedy for madness ;
and a host of others which show even less expenditure of ingenuity
in their conception.
Pictorial representations of nearly the whole of these beings will
be found in the Wa-kan San-zai dzu-ye, and in the volumes of the
Hokusai Mangwa.
The Japanese have added a few native members to the Chinese
company, and have so far naturalized some of the latter that little
trace of their origin remains. In the anthropological section may
be cited the Vampire bride, a woman fair and graceful as a lily,
whose charms lure men to her deadly embraces till she has drained
away their life-blood drop by drop (Hiaku Monogatari, I860) ; the
Two-mouthed woman, punished for cruelty to her step-daughter by
the development of a second and insatiable maw at the back of her
head ,* and the Faceless maiden, whose undulating form seen from
behind tempts the wayfarer to gallantries that only bring upon him
the shock of the ghastly discovery. The lower animals are re
presented by the serpent foe of Jiraiya (see No. 2035) ; the giant
centipede, destroyed by Tawara Toda Hidesato; monster devil-fishes,
carp, apes, and other exaggerations of the kind ; the Earth spiders,
who probably represent the troglodytes of old Japan ; the Kama-
itachi or Sickle weasel, which from its haunts in rocky solitudes or
abandoned buildings, or during its gyrations in the eddies of the
whirlwind, employs its knife-like fore-claw with terrible effect upon
persons who inadvertently cross its path, the cause of the mischief
meanwhile being as invisible as a Boojum, so that the victim only
learns that he has run foul of a Kamaitachi by the unaccountable
appearance of a gaping wound upon some portion of his person ; the
Tanuki or racoon-faced dog, who shares in a minor degree the magic
powers and mischief-making tendencies of the Fox (see No. 2276) ;
the Nuye, a compound of monkey, tiger and serpent, shot by
Yorimasa (see No. 1770) ; and the Thunder animal, which assumes
the form of a wolf, and is occasionally seen by belated travellers
mounted upon the limbs of an aged tree, mingling his deafening
peals with the downpour of the storm. (See No. 2134.)
The Shojo, the Kokurokubi, the Tengu, and the Kappa appear to
have Chinese prototypes, but the ideas have been so extensively

170 JAPANESE PICTORIAL ART.
developed and so frequently utilized as art motives by the Japanese
that they may almost be regarded as new inventions. The Shojo
and the Tengu are referred to in the notes to Nos. 645 and 2125 :
the Kokurokubi and Kappa, which are depicted in Nos. 2366 and
2038, merit a more extended notice.
The Kokurokubi or " whirling neck " is a being in human form
but gifted with the faculty of elongating the neck in such a manner
as to enable the head to appear in places remote from the frame to
which it is attached. It is one of the most unpleasant of the many
weird objects with which the Japanese little one who is conscious
of past misbehaviour, may expect to be confronted in the dim
flickering of the midnight lamp ; and many a juvenile culprit is fain
to hide his head beneath the quilts lest he should see the apparition
of a ghastly semi-asphyxiated head at the end of a snaky neck
grinning at him over the top of the screens, or gliding through the
windows to pick up earthworms in the garden, while the appertain
ing body lies profoundly reposing in some distant quarter of the
room or house. The Eokurokubi itself may perhaps be a common
place and perfectly harmless individual in waking moments, and
may live on in happy ignorance of the grim divagations of his
vagabond head, until the secret is accidentally discovered by some
terrified eye-witness in his own family, and then his peace of mind
departs for ever.
The scanty basis upon which are built the EokiTrokubi inventions
of the comic draughtsman, will be found in a brief notice from a
Chinese work' quoted in the Wa-kan San-zai dzu-ye. We are there
told that in a remote portion of the Asiatic continent lies a country
whose natives have the power of despatching their hands and head to
distant places, the wandering parts retaining only a more or less
filamentous connection with the body, as a clue to guide their
return when their presence is again required at home. The head
flies towards the Southern Sea, the left hand in the direction of the
sea in the East, and the right hand betakes itself to the marshes
that lie westward. In the morning the head comes back again to
the shoulders, but should the hands meet with a strong wind they
may be delayed and carried far out to sea.
The Kappa, Kawataro, or Kawatachi Otoko, is a creature of
amphibious habits, infesting ponds, lakes, and rivers in various

PLATE 18.

KOKCROKUBI AND MITSUME KOZO. After Hokusai.

A8HINA11A (LONG LEGS), TENAGA (LONG AEMS), IPPI (HALF MEN) AND UMIN (FLYING MAN). After Hokusai.

CHINESE SCHOOL. 171
parts of Japan, but with a special preference for the island of
Kiushia. It is usually figured with a tortoise body ; hairy, scaly or
batrachian limbs; and a head of a somewhat apish character, the
crown hollowed in the centre to form a cup-like receptacle for a
fluid in which the power of the creature is supposed to reside. This
not very imposing animal is of a malignant and quarrelsome dis
position, but polite withal, and is wont to challenge to single combat
any wayfarer who may approach his retreat. The man who is un
fortunate enough to receive such an invitation, which leaves him no
option of refusal, is counselled to preface the conflict with a low
obeisance ; the well-bred Kappa feels bound to acknowledge the
salute, and the inclination of its head causes the strength-bearing
fluid in the cranial cup to spill over, leaving the monster feeble as
Antseus when raised from his mother earth.
The Kappa is believed to adopt a peculiar mode of attacking
unwary bathers, and a method of catching the creature with human
bait has been founded upon this tendency (see Hokusai Mangwa,
vol. xii.). The danger is referred to in a poem written in the ninth
century by Suguwara no Michizane, and the verse was long used in
Kiiishiii as a protective charm by persons who had reason to enter a
stream in which the animal was supposed to dwell.
Drawings of the Kappa, guaranteed from nature, are occasionally
met with in natural history manuscripts, and even a sober guide
book like the Tonegawa meishb dzu-ye has inserted a story of a
certain individual of the species which inhabited the Tone Eiver, and
has given its portrait. A scientific roll in the British Museum
collection discusses the matter with due gravity, and presents us
with a circumstantial account of a Kappa four feet nine inches
in height, that was caught in the year 1830 by draining a pond in
the grounds of the Daimio Matsudaira in Yedo. This specimen had
the reputation of a propensity for killing and eating human beings.
A portrait of a similar creature, to which is given the name
of Suiko or Kawataro, appears in the Tbdo Kimmb dzu-i, a kind
of pictorial cyclopaedia of Chinese objects, published in Japan
in 1802.
The number of Chinese stories in celebration of acts of " Filial
Piety" is very great, and has been supplemented extensively by
Japanese authors. A well-known collection, comprising one hundred

172 JAPANESE PICTORIAL ART.
Chinese compositions of this class, has been studied by M. Thiersant,
who has published a translation of twenty-five of the group,* but
the " Twenty-four " usually illustrated by Japanese artists, although
drawn from the same larger assemblage as the selection just
referred to, corresponds to the latter only in six instances.
Many stories bearing upon the same topiq are found scattered in
educational books both in China and Japan, and of these, one
originating in the former country is especially deserving of quota
tion. It relates how a selfish man, tired of the trouble and expense
of maintaining an aged and crippled father, determined to take him
to a desert place and there abandon him to starvation. He prepared
a rough cart for the removal, and, aided by his child, a little boy,
reached the destined spot. Setting down the cart with its helpless
burden, he was about to return home when his son begged to be
allowed to take back the vehicle. " What will be the use of it ?"
asked his father. " To bring you here when you are as old as my
grandfather," was the reply. And the man, recalled to a sense of
shame, wept, and taking back his parent, ever afterwards tended
him with kindness.f
The style of diction of the various anecdotes is characterized by a
somewhat abrupt simplicity that places the moral at once within
the intellectual grasp of the little ones for whose benefit they are
intended. The matter, equally free from complexity, is often noble
and touching, and though in some cases too suggestive of the
nursery to appeal to the adult mind, is, as a whole, well adapted to
the end to be attained. It is impossible to over-estimate the
influence of such examples, impressed as they are in a hundred
ways upon every Japanese infant from its earliest years, until the
principles are accepted as axioms that are unquestioned even where
they are disregarded. The passive obedience and self-abnegation
which the child is so taught to show for all who stand towards him
in the relationship of parent or guardian, not only facilitate the
control of the household and rob the decrepitude of age of much
of its sadness, but in former days prepared the way for the still
more exacting code that regulated the bond between the retainer
and his feudal lord. The feudal system is now ended, but parental
authority has not yet been swept away, and few Englishmen who
* ' La Vi6l6 filiale en Chine.' Paris, 1877.
t A very similar story will he found in English collections of moral anecdotes.

PLATE 19.

SAIgHI (10).
OOMO (23).
DshS (7).
TEIEAK (4).
MOSO (2).
JCOTKIKEH (24).

ENSHI (17).
KOHAKU.*KIKTJZOKTJ (20).
KOKiS (13).
KI08HI (9).
OSDI (14).

BIKSON (5).
CHIUVU.f TCYEI (i2).
thkinkO (19).
bobaishi (8).
SAIJDN (18).

TAI SHUN (1).
SOSAN (6).
BUNTEI (3).
kakkio (15)4
YOKO (11).
SHUJUSHO (16).

THE TWENTT-FOtTE PARAGONS OF FILIAL PIETY. (Page 172.) After Hokusai.
• Kohaku (Ch. Kiang Keh) appears in place of No. 22. According to Mayers, he was a scholar and public official ^o lived
under the Tei dynasty (c. a.d. 490). and was distinguished by his learning, uprightness, and filial devotion. " In early youth,
during the disturbances of that troublous age, he rescued his mother from a band of brigands by carrying her many miles upon
his back." t Chiutu (Ch. Chung Yeo) here replaces No. 21 in the list. He was a famous disciple of Confucius, who flourished In the
6th century B.C. A saying of his is recorded to the effect that, " In the days when I was poor I carried ice npon my baclc for tlic
support of those who gave me birth." — Mayers.

CHINESE SCHOOL. 173

have seen anything of the inner life of the Japanese can fail to have
been struck with the proudly respectful bearing of children of all
ages towards their real or adopted fathers and mothers, and the
happy resignation with which these accept — or even welcome— the
enfeeblement of advancing years, when it is so well compensated by
the augmenting consideration of those who are most dear to them.
It is this, too, which indemnifies the woman for the comparatively
obscure position to which she is relegated by her matrimonial
relations, for as a mother she commands a degree of veneration from
her children fully equal to that accorded to her husband and master,
and in her children's children may claim a multiplied solace.
In the following group it will be observed that the Oriental want
of thoroughness in classification is exemplified by the inclusion of
Stories No. 21 and No. 22, the first of which refers only to fraternal
union, and the second, which, although containing an allusion to
filial devotion, turns upon an incident of brotherly self-sacrifice.
No. I. Shun,
Tai Shun was a son of Ku Sow (the Blind Old Man), Not
withstanding that he was oppressed by the arbitrary disposition of
his father, and suffered continually from the turbulence of his
stepmother, and the overbearing spirit of his half-brother, his
nature inclined him to respect the laws of filial duty. In obedience
to the command of his parents he betook himself to the Li Moun
tains to cultivate the land ; but while engaged in his menial task
there came to his aid an elephant, who ploughed the ground with
his tusks, and birds, who cleared the fields of weeds. At length
his submissive piety reached the ears of the Emperor Yao, who
bestowed upon him his two daughters in marriage, and chose him
as his successor to the throne (2317-2208 e.g.),
2, Meng Tsung (Jap. Moso or Kobu).
Meng Tsung was deprived of his father during his boyhood.
Once, during the winter months, his old mother fell sick, and in her
illness craved exceedingly for a soup made from the young shoots
of the bamboo, Meng Tsung, knowing not how to gratify her
desire in that season, betook himself to a grove of bamboos, weeping
bitterly while clinging to the yielding stems, when lo! his filial
affection moved both heaven and earth, and suddenly the soil burst
at his feet, and there sprung forth an abundance of succulent shoots.
He carried the miraculous gifts to his home and made them into a

174 JAPANESE PICTORIAL ART.
soup for his parent, who, when she had partaken, became restored
to health.
According to Mayers, Meng Tsung was an official of the Tsin
Dynasty in the third century, a.d.
3. The Emperor Wen Ti of the Han Dynasty (Jap. Kan no
Buntei). Wen Ti was the third son of Kao Tsu of the Han Dynasty (Kan
no Koso). He always acquitted himself of his filial duties towards
his mother with diligence, and during three years while his parent
was afflicted with sickness, he neglected sleep and change of raiment
to watch over her, and himself tasted her medicines before they
were placed before her. The renown of his filial piety extended over
the whole earth.
Mayers states that Wen Ti is celebrated in history as a prudent
and humane sovereign, whose regard for his people led him to
inculcate and practise the strictest economy. He succeeded to the
throne 179 b.c, and died 157 b.o.
4. Ting Lan (Jap. Teikan).
Ting Lan lost his father and mother in his early youth, but his
recollection of their kindness induced him, when he had arrived at
manhood, to carve images in their likeness, and to observe towards
these inanimate memorials all the offices of respect due to the
parents whom they represented. His wife, however, was devoid of
sympathy with his piety, and in jest ventured to prick the finger of
one of the effigies. Blood immediately flowed from the wounded
part, and Ting Lan, thus apprised of the outrage, wept, and put the
woman away from him for ever.
Mayers relates a different version of the story, in which a scoffing
neighbour beats the images during the absence of Ting Lan, but an
expression of displeasure appeared upon the graven features, and
Ting Lan was thus led to divine the insult, which he avenged upon
the perpetrator by a thrashing as sound as it was well-deserved.
He flourished under the Han Dynasty.
5. Min Sun (Jap. Binson or Shiken).
Min Sun was left motherless in his childhood, and his father
married again. Of the second union two other children were born,
and while the stepmother clothed her own offspring warmly in
cotton and fur, she was jealous of Min Sun, and provided him only
with thin garments made of wild reeds. Once while driving

CHINESE SCHOOL. 175

his father's carriage he became so chilled by reason of his
scanty raiment, that the reins fell from his benumbed fingers, and
his parent thus led to ascertain the unkindness of his second
wife, determined to divorce her. But Min Sun interceded for her,
saying, " If my stepmother remain, only one son will be exposed to
insufficient warmth, while if she be sent away then will all three
of your children shiver with cold." The woman, moved by his
generosity, thenceforward reformed her behaviour towards him.
6. Tseng Shen (Jap. Sosan or Shio).
Tseng Shen was observant of his duty to his mother. Once when
he had departed to the mountain to gather fuel, his parent received
a visit, and, desiring the presence of her son, she called him, but, as
he did not come, she bit her finger with vexation. At the same
moment, while he was far away, his thoughts were sympathetically
drawn to her, and he at once set out for home with his load of
firewood. On his arrival he knelt down and asked her whether she
had required anything of him, and she replied that a guest had
been with her, and she had bitten her finger to let him know of it,
Mayers describes Tseng Shen as one of the chief amongst the
disciples of Confucius, one of his Four Accessors, and the reputed
author of a classic entitled ' The Great Learning,' He was born
506 B.C.
7. Wang Siang (Jap. Osho or Kiucho).
Wang Siang, bereaved of his mother in his early years, had a
stepmother who cruelly spoke evil of him tp his father. Neverthe
less, on one occasion, in winter, when his stepmother expressed a
longing for raw fish, he took off his clothes and lay down upon the
frozen lake, seeking to obtain what she desired. Suddenly the ice
was rent beside him, and a pair of carp appeared at the opening.
He took the fish and, carrying them home, laid them before his
unkind relative.
Mayers states that Wang Siang was a public official under the
first sovereign of the Tsin Dynasty, 265 a.d.
8. Lao Lai Tsze (Jap. Eoraishi).
Lao Lai Tsze was replete with filial regard. At the age of
seventy years he was wont to dress in clothes of five colours (gay-
coloured children's' dress), and play like an infant before his
venerable father and mother that they might forget their years.
On one occasion, when carrying some water into their chamber,

176 JAPANESE PICTORIAL ART.
feigning to slip by accident, he threw himself down, and cried in the
manner of a child to give pleasure to his parents' hearts.
According to Mayers, he was a legendary character who is said
to have flourished under the Chow Dynasty.
9. Kiang She (Jap. Kioshi) and his wife Chang She (Choshi).
Kiang She was deeply devoted to his mother, and Chang She also
took pleasure in serving her dutifully. The mother having great
liking for raw fish, and for water from a certain lake, her daughter-in-
law took much pains to gratify her wishes, and with her husband
shared with her their daily meals. At length, one day there sud
denly burst forth, close to the door of their house, a spring of water
resembling that of the lake in taste, and every morning two carp
rose to the surface and allowed themselves to be taken for the sus
tenance of the pious couple and their aged mother,
10. Tsui She (Jap. Saishi),
Ts'ui She had a great-grandmother of extreme age, who, having
lost the whole of her teeth, was unable to eat rice, Ts'ui She,
however, came every day to wash her and dress her hair, and
nourished her with milk from her own bosom, so that the venerable
woman's health was maintained for many, years. At length she
was struck down by a severe illness, and before her death she
summoned all her relatives, young and old, to tell them of the
kindness she had received, saying that she herself could not requite
it, but she prayed to the gods that the children of Ts'ui She might
hereafter manifest to their parents the same degree of filial piety
that their mother had lavished upon her,
II. Yang Hiang (Jap. Yok5),
Yang Hiang was a daughter of Yang Feng, of the district of
Nan-king Hien. Once, when she had accompanied her father to a
millet field, a tiger suddenly sprang upon him. Yang Hiang was
but fourteen years old, and unarmed, but she clung to the tiger's
head and enabled her father to escape from death. Prince
Meng Chao-chi having heard of her deed, inscribed it in front of
her house and bestowed upon her a pension of rice.
In the version of the story given by Mayers, Yang Hiang is
spoken of as a boy, and it is said that his devotion to his father cost
him his life. Temp. Han Dynasty.
12. Tung Yung (Jap. Toyei).
Tung Yung was very poor, and when his father died he sold

CHINESE SCHOOL. Ill

himself as a bond-servant that he might provide money for the
burial. Soon afterwards he met a woman in the road, who asked
him to accept her as his wife. And he took her with him to the
house of his master, and set her to weave silk. In less than a
month she completed three hundred pieces, and then, taking leave
of her husband, disappeared.
Other and more complete versions of the legend state that the
three hundred pieces of silk paid the debt Tsung Yung had incurred,
and that the woman on quitting him announced herself as the Star
Chih Nil, sent by the gods to reward his piety. He is said to have
lived about 200 a,d,
13. Hwang Hiang (Jap. Koko or Bunkio),
Hwang Hiang was but nine years old when his mother died. He
cherished her memory fondly, and earned great esteem by his
affection. At the same time he ministered to the wants of his
father with devotion, and was in every way observant of his duty to
him ; in the heat of summer sitting near his pillow to fan his face,
and in the rigour of winter warming the bed for him with his own
body. The Prince Liu Hwoh ordered an inscription to be placed
over his entrance gate, celebrating his filial piety,
14. Wang Ngai (Jap. Osui or Igen).
Wang Ngai was a dutiful son. After the death of his mother,
who in her lifetime had always been greatly alarmed by the sound
of thunder, he never failed, when a thunderstorm arose, to betake
himself to her tomb, and, kneeling down before it, to cry aloud, ,
"Fear not, mother ! Your son is near."
He is said to have lived during the Wei Dynasty,
15, Kwoh Ku (Jap. Kakkio).
Kwoh Kii had a son three years old, and was sorely beset by
poverty. His wife, seeing that her mother-in-law deprived herself
of food to give to the child^ persuaded her husband that, as they
were too poor to provide sufficient for all, it was their duty to
sacrifice their little one in order that their parent might be saved.
They proceeded to dig the grave in which the infant was to be laid,
when at the depth of three feet there came to light a vessel filled
with gold and bearing an inscription, " The gift of Heaven to Kwoh
Kii. Let it not be appropriated by the government nor stolen by the
people." Kwoh Ku is said to have lived in the second century a.d. N

178 JAPANESE PICTORIAL ART.
16, Chu Show-ch'ang (Jap. Shiujusho),
When Chu Show-ch'ang was only seven years old, his mother,
through the jealousy of her mother-in-law, was separated from her
husband. During fifty years the son and mother did not meet, and
in the meantime the former had attained high rank in the govern
ment. At length, during the reign of the Emperor Chen Tsung
(Sung Dynasty), he quitted his post and went to the principality of
Ts'in, telling his friends that he would never return until he had
seen his parent. On reaching the city of Tong Chow he found her
whom he sought, her age being at that time threescore and ten.
This story is told in greater detail in Thiersant's Piete jUiale en
Chine. 17. Yen Tsze (Jap. Enshi).
Yen Tsze had been gifted by nature with true filial piety. When
his parents grew old they became afflicted with an eye complaint
for which the milk of the deer was the only cure. To obtain the
remedy, Yen Tsze covered his body with a stag's hide, and, be
taking himself to a distant mountain where the animals abounded,
succeeded by stratagem in gaining what he required. On one of
these occasions he was detected by a party of hunters, who
threatened to shoot him, but when he explained to them the object of
his enterprise, they immediately set him at liberty.
He is said to have lived under the Chow Dynasty,
18. Ts'ai Shun (Jap, Saijun).
While Ts'ai Shun was yet a youth his father died, leaving his
mother dependent upon his filial care. A war having broken out
with Wang Meng (25 a.d.) rice became scarce, and he was forced to
gather mulberries for food. Once he was captured by a number of
the rebels, who demanded what he meant to do with the contents of
his basket, and he replied that he was about to give the ripe fruit
to his mother, and reserve the unripe portion for himself. His
captors upon hearing this not only lauded his piety, but sent him
away with a gift of white rice and the leg of an ox.
The stories related in connection with Tseng Shen (No. 6) and
Wang Ngai (No. 14) are also attributed to Ts'ai Shun,
19, Yii K'ien-low (Jap. Yukinro).
Yii K'ien-low was appointed governor of Chw'en Ling. After he
had taken up the duties of his office he was attacked by an uneasy
sensation at his heart, associated with profuse sweating, and filled

CHINESE SCHOOL. 179

¦with forebodings he at once quitted his post to return home. There
he found his father dangerously ill, and was told by the physician
that if he would know his parent's fate he must taste the sick man's
excrement, when, if the savour proved bitter, the disease would pass
away. He tasted, and finding with grief in his heart that it was
sweet, he prayed that night to the North Star that his life might be
accepted in place of his father's.
He is said to have lived about 500 a.d.
20. Luh Su (Jap. Eikuzoku or Chisho).
Luh Su, when a child of six years of age, was invited to the house
of Yiien Chow, and some oranges were set before him. Instead
of eating the fruit, the boy secreted two in his clothes. After
a time he rose to take leave, and while he was bowing to hia
host the hidden oranges fell to the ground. Yuen Chow in surprise
asked wh.y his little guest was carrying away that which had been
offered him to eat, and Luh Sii, kneeling down, said, that as his
mother had a great fondness for oranges, he had intended to give
them to her on his return, Yuen Chow, hearing this, applauded his
dutiful mind,
21, T'ien Chen, T'ien King, and T'ien Kwang (Jap. Denshin,
Denkei and Denko).
When the three brothers, T'ien Chen, T'ien King, and T'ien Kwang,
were dividing their inheritance, they came upon a purple rose-tree
which grew in front of the house and flourished luxuriantly. After
a discussion they split it into three parts, and soon afterwards it
died. Then T'ien Chen grieved, and said, " The tree sprang from a
single root, and hence it perished when divided ; does not this teach
us that we brothers should shun disunion ? " Upon this they re
united their portions into a common lot and thenceforth prospered,
. This story, which has no connection with filial piety, is often
omitted in favour of others of a more appropriate kind,
22. Chang Hiao and Chang Li (Choko and Chorei).
Chang Hiao, with his young brother Chang Li, ministered piously
to the necessities of his mother. Once when food was scarce Chang
Hiao had procured a cabbage, but was beset by robbers while
bringing it to his home. They were about to slay him, but he
begged them to permit him to carry the cabbage to his mother, who
had eaten nothing that day, promising that he would then return to
die. Chang Li, who was near, heard this, and ran forward praying
N 2

180 JAPANESE PICTORIAL ART.
the thieves to kill him and set his brother free. Their captors,
struck with admiration at their behaviour, spared the lives of both.
This story is also very often replaced by another.
23. Wu Meng (Jap. Gomo).
Wu Meng when but eight years of age manifested his filial piety.
His home was very poor, and in the summer nights, when mosquitoes
abounded, he was stung severely owing to the want of curtains, but
he refrained from driving the insects away, lest they should attack
his parents. Such was the magnitade of his devotion.
Wu Meng in later life became a famous necromancer, and in 312 a.d.
slew a huge serpent that devastated the region of the modern
Kiangsi. He is sometimes represented in pictures crossing the water
upon a feather fan, or riding upon an aerial car drawn by two stags.
24. Hwang T'ing-kien (Jap. Koteiken or Sankoku).
In the period Yiien Yew (1086 to 1094), Hwang T'ing-kien
attained the rank of Tai-Tsze, but the sense of filial piety was so
deeply engrafted, that his lofty station never caused him to omit the
attentions due to his mother, and with a true heart he performed a
son's duty, even to the washing of her chamber vessels with his own
hands. He is celebrated also as a poet. He died 1105 a.d. at the age
of sixty. (Mayers.)
The principal artists from the beginning of the fourteenth century
are as follows. The earlier names are principally taken from the
Honcho Gwashi, the later from the Gwa-jo yo-riaku : — -
Nen Ka-wo, or Eio-zen (see p. 160). Flourished in the period
Jowa (1345-50).
Ki-Do. a pupil of Ka-wo.
Don-hO, or ShiU-toku- The founder of the temple of Tenriuji.
Painted in the style of Muh-ki. Flourished in the latter part of the
fourteenth century.
Tesshiu, or ToKu-SAi. Noted for light sketches, nearly always
in monochrome, of landscape, flowers, and birds.
Miy5-taku, Shiu-ccaku, or Eiu-shiu. Noted for Buddhist portraits
in monochrome, in the style of Muh-ki and Ngan Hwui. It is said
that after having prayed for divine aid, in his art, he saw a paper
floating through the air, and seizing it, found it to be a portrait of
Fudo (Atchala). Of this he made a copy daily during twenty years.

CHINESE SCHOOL. 181

ShiU-i. Noted for poirtraits of Muso-kokushi, the famous Abbot
of Toji-in (1275-1351), under whom he and the three preceding
artists served their novitiate.
Jo-TE, or Gu-KBi. A priest in the temple Jufukuji. Painted in
the style of Muh-ki.
ShiU-go. a contemporary of Ka-wo.
Jo-SETsu, or Ean-ho-ken (see p. 160).
15th and I6th Centuries : —
So-GA Shiu-bun. a Chinese artist, contemporary with Josetsu,
who settled in the province of Hida at the end of the fourteenth
century, and was adopted into the So-ga family. He must be dis
tinguished from the Shiu-bun previously referred to.
Bon-h6, or Gioku-ten-shi. Noted for monochrome sketches,
chiefly of bamboo and orchid, in the style of Muh-ki. Died 1420.
Shiu-bun (see p. 161).
0-GUEi So-tan, a pupil of Shiu-bun. He became a priest in the
temple of Sokokuji on attaining middle age, and devoted himself to
the study of the works of Muh-ki (Mokkei), Yuh-kien (Gioku-kan),
Hia Kvrai (Kakei), and Ma Tah (Batatsu).
0-GUKi So-BiTsu. A pupil or son of Sotan. His pictures are
considered inferior to those of his teacher.
ChiO-an, or BoN-SHi. Famous for his pictures in monochrome of
Fudo and Daikoku in the style of Muh-ki. Lived at the end of the
fifteenth century.
YosHi-MASA. A Shogun of the Ashikaga line. A great art patron,
and noted as a caUigraphist and painter. Died 1490.
So-GA Ja-soku. a native of Echizen. A pupil of Soga Shitt-bun.
His vigorous sketches of landscape are amongst the best works
of the fifteenth century. For a good example of his style, see
No. 862. Flourished in the period Bummei (1469-87).
So-ga So-jO. A son and pupil of the last.
So-GA Gen-sen. Son of SojO.
So-GA So-To, Son of Gen-sen.
So-GA ShO-jO. Son of SOYO. The line was completed by his son
and grandson Choku-an and Ni Choku-an, or Choku-an the Second,
who lived in the sixteenth century.
IkkiO. a famous priest, who studied art under Soga Jasoku.
He is better known, however, as a caUigraphist, and for his eccen-

182 JAPANESE PICTORIAL ART.
tricities of behaviour than as a painter. He died in I48I, at the
age of 87.
ToKi ToMi-KAGE. A daimio of Mino province. Noted for pictures
of hawks in the style of Shiu-bun. His descendants for many
generations were known as painters of falcons.
Waku, Iki no Kami. A retainer of the Shogun Yoshimasa (1449-
1472). Noted as a painter of horses.
TsucHi-z6. A Kioto artist, in the service of the Shogun Yoshi-
nori. Flourished in the period Yeikio (1429-41).
Kei-a-mi. a contemporary of Tsuchi-zo.
Shi-ken Sai-do, named also Matsu-ya Eo-jin. A priest of Sokokuji.
Painted in the style of Muh-ki.
Ko-sAi, named also Eiu-ha, or Eei-sen. A pupil of Oguri Sotan.
Noted for monochrome paintings of Kwanyin. He is sometimes
known as Bun-kei, this being the name impressed upon his seal.
Kju-yen, named also Eiu-tan, or Kj:i-sai. A priestly associate
of Ko-SAi. Noted for portraits of Kwanyin.
Kei-ketsu. a priest, noted for monochrome sketches of the god
Daikoku. He is said to have travelled in China. This and the nine
following artists flourished about the end of the fifteenth century.
Kan-tbi, named also Bokkei, or Naka Hogen. A noted follower
of Shiu-bun. He was a priest of the Eitsu sect, and lived in the
temple Shoteiji, in Nara. Famous for lightly-coloured landscapes in
the style of Shiu-bun, and figures after the manner of Liang Chi,
of the Sung dynasty, (See Nos, 1136-7.)
Yo-getsu, or Wa-gioku. A native of Satsuma. A priest of
Kasagi temple. He foUowed both Shiu-bun and Sesshiu, and was
noted for monochromes in the style of Muh-ki. (See No, 861.)
Shin-no, or No-a-mi, A retainer at the Court of the Ashikaga
Shogun, One of the greatest of the followers of Shiu-bun, and noted
also as a poet and caUigraphist.
Shin-gei, or Gei-a-mi, A son of Shin-no ; painted in the same
manner, Shin-s5, or So-A-Mi, A son of the last. He was a great favourite
of Yoshimasa, whom he assisted in the development of the Tea-cere
monials (Cha- no-yu). His paintings were in monochrome, or lightly
coloured in the style of Muh-ki. He is the author of a book called
Kun-tai-kan, in which is a description of the pictures belonging to
the Ashikaga family. (See No. 602.)

CHINESE SCHOOL. 183

Ze-an. a priest of Sokokuji. Painted in the style of Shin-so,
Shiu-ko, a pupil of Shin-no, and a founder of the Cha-no-yu.
I6th Century :—
To-GEN, A follower of Shiu-bun. Painted lightly-coloured views
and portraits.
To-SHUN, A pupil of Shiu-bun, It is told that he was originally
a horse-leader in the province of Bizen, and that Shiu-bun, during
a visit to Bingo, having noticed that he had some skill in drawing
horses, brought him to Kioto and educated him as an artist. He
became noted for pictures of landscape, flowers, and birds,
To-yO. a priest of the Zen sect. Painted in monochrome, in
the style of Shiu-bun.
Ko-JiMA Eio-AN. A follower of Shiu-bun. So-ga Ghoku-an, son
of So-GA Sho-so, noted for drawing of falcons. His son bore the
same name.
Kagb-tanb, or Hi6-bu, A follower of Shiu-bun and Sesshiu.
Gen-sho Ko-ji. Noted for portraits of Hotei, in the style of
Muh-ki. Gi-yen-so. a follower of Shiu-bun and Sesshiu, who studied also
in China. A portrait of Kwanshojo bearing his name records his age
as 114 years. " We know," says the author of the Honcho Gwashi,
who appears to think this statement demands some comment, " that
he lived to a great age arid enjoyed very good health."
Ei-SHiN-SAi. A follower of Shiu-bun. Noted for portraits of
Hotei and Mandjus'ri, in the style of Muh-ki.
Chi-den, or Tan-an. A priest. Imitated the works of Muh-ki
and Yuh-kien. Originally a follower of Shiu-bun.
!fi-Kiu. A follower of Shiu-bun. Noted for figures. His seal
bears the characters Toku-tei.
GiOKU-DO Sei-ha. Said to have imitated Cho Densu, but was not
known as a painter of Buddhist pictures. He was chiefly noted for
paintings of storks, flowers, and bamboos.
Eio-BiN, or KiN-KEi Do-JiN. A follower of Shiu-bun. Painted
figures, flowers, and birds, in the style of Muh-ki.
Gaku-w6. Painted lightly-coloured landscapes in the style of
Shiu-bun. According to some authorities, Gaku-w6 is only another
name of Shiu-bun.
Yu-kan-sai, or Ko-yetsu. Noted for flowers and birds in the style
of Shiu-bun.

184 JAPANESE PICTORIAL ART.
Sei- AN. Noted for monochrome pictures of S'akyamuni in the
mountains. EiO-To. A follower of Shiu-bun and Sesshiu.
Sha-baku. A priestly follower of Shiu-bun. Noted for figures,
flowers, and birds, usually in monochrome.
Sen-ka. a follower of ShiO-bun. Noted for landscapes in mono
chrome and colours.
Kei-ka. a follower of Shiu-bun. Noted for pictures of flowers
and birds in monochrome.
Sho-kei. Noted for monochrome sketches of Kwanyin.
ChO-eiO-sai. Noted for monochrome pictures of Hotei. His style
resembled that of Yo-getsu.
Gan-han. ^A follower of Shiu-bun, Noted for monochrome
sketches of monkeys,
ShO-ki. Noted for coloured drawings of hawks.
No-NO Miya. Noted for monochrome sketches of Hotei, in the
style of Muh-ki.
ToTsu-AN. A follower of Oguei So-tan. Noted for rough mono
chrome pictures of flowers and birds.
Sho-shiu. Noted for swift (running hand) sketches of tigers,
bamboos, and rocks.
I-BOKU. Noted for flowers and birds.
Ji-t6. Noted for monochrome landscape.
Ei-SEKi. A follower of Shiu-bun, His pictures were usuaUy of
large size, and he was especially noted for sketches of Shoki (Chung
Kwei). Kan-zan. Noted for sketches of puppies. He was an imitator of
Mao Yih, of the Sung dynasty.
Eo-sho. Noted for monochrome pictures of the melon and egg
plant. So-ji. Noted for flowers, birds, and small landscapes painted in
monochrome. NittO Son-eo. Noted for pictures of horses.
So-TO. A follower of Shin-so. Noted for figures in monochrome.
So-so. A follower of Shiu-bun. Noted for pictures of Mandjus'ri.
So-KAN. A follower of Shiu-bun. Noted for pictures of daikon
(a kind of turnip with a tap-root),
Do-GA. A follower of Shiu-bun or of Sesshiu, Noted for pictures
of female Sennin.

CHINESE SCHOOL. 185

ShiU-setsu. a follower of Shiu-bun. Noted for monochrome
sketches of Kwanyin.
Eio-FU. A follower of Shiu-bun and Sesshiu.
Jo-KEi. A follower of Shiu-bun. Noted for landscapes.
BoKU-iN. A follower of Shiu-bun, Noted for portraits.
To-HON. A follower of Shiu-bun and Sesshiu. Known chiefly as
a fan painter.
Shin-so. A follower of Shiu-bun. His style is like that of the
Shin-so or So-a-mi before mentioned.
ShiO-yetsu, Noted for monochrome sketches of Shoki.
Gwan-shichi, A priest. Noted for monochrome pictures of
monkeys, in the style of Muh-ki.
Ki-ON. Noted for monochrome landscape, in the style of Yuh Kien.
Gan-son. a follower of Shiu-bun and Sesshiu.
Ka-in. Noted for monochrome drawings of Kwanyin, in the style
of Muh-ki.
Seki-koku. Noted for monochrome figure sketches.
Nobu-haeu. Noted for Buddhist figures, comic sketches, &c.
An imitator of Muh-ki. His descendants had the title of Kasuga
Yedokoro. Setsu-b6.Bun-son, Sho-an,
So-MAN, This and the three previous artists were followers of
Shiu-bun, Ei-SHiN. Noted for monochrome drawings of plum blossoms.
Hoso-KAWA HiSA-YUKi. A Daimio, Noted as a poet and artist.
Died I5II.
Ses-so. a follower of Shiu-bun. Noted for monochrome drawings
of birds, landscapes, &c,
San-eiu, Noted for monochrome sketches of orchids.
EiN-Kio. Noted for ink sketches of Hotei, in the style of Shin-so,
Gen-taku. a priest in the temple Bodaisan. His pictures are
in the style of Shin-so.
Eio-Ki. A follower of Shin-so. Noted for monochrome sketches
of bamboos and sparrows. He must be distinguished from the
Chinese Eio-ki (Lij-Ki).
So-Yo. Painted in the style of Shin-so.
Sai-an. a priest of Sokokuji. Painted in the style of Shin-so.

186 JAPANESE PICTORIAL ART.
KiYO-TADA. A follower of Shin-so. Noted for monochrome
landscapes. Ha-sen. A follower of Shiu-bun. Noted for pictures of Hotei.
YosHi-MOTO. A follower of Shiu-bun. Noted for pictures of
dragons and tigers, in the style of Muh-ki.
Take-da Haeu-nobu, or Shin-gen. A famous warrior. Noted
also as a poet, and as a painter in the style of Shin-so. Died 1573.
17th Century: —
Shin-yetsu, Ko-to, or To-SAi. A Chinese priest who settled in
the province of Mito in the period Kwanyei (1624-44). Noted for
sketches in "light ink." Died 1695, at the age of 56.
MoKU-AN, or Sei-to. a Chinese who lived in the temple of
Obakusan in Uji, and was one of the first adherents of the style of
the Southern Chinese school in Japan. Died 1684, aged 73. His
pictures and calligraphy are greatly valued. See No. 86, Chinese.
Tai-bo Sei-kon, or Sho-wo. A Chinese noted for drawings of
bamboos. Sbi-yu.Chiku-an, or Jo-iN. This artist and the last-named were Chinese
who became priests in the temple of Obakusan in the seventeenth
century. 18th Century :—
Ki-YEN (YANAGi-SAWAf) ; named also EiU-eiki6, or Ko-mi. A
native of Koriyama in Yamato, who became celebrated for his
coloured pictures in the decorative style of the Yiien and Ming
dynasties, a phase of Chinese art which he brought into favour in
Japan. See Nos. 608 to 612. Died 1758, at the age of 55.
I-FU-KiU. A Chinese immigrant, who lived in Kioto in the period
Meiwa (1764-72). He is said to have studied colouring under Eiu-
EiKio. His most noted works are landscapes, rapidly sketched and
thinly coloured, in the style" of the Southern school, but they are too
calligraphic to present much resemblance to nature. A collection of
his sketches was published under the title of Ifukiu gwa-fu in 1803.
His most celebrated pupil was Tai-ga-do of Kioto.
Chin-nan-pin, named also Sen, and Ko-sai.* A Chinese merchant
* The Chinese artists who worked in Japan are little known in China, and their
names have hence been included with those o f the Japanese artists of the Chinese school.
f The surname of the artist is here and afterwards placed within brackets after
the more familiar personal name.

CHINESE SCHOOL. 187

who settled in Nagasaki near the end of the last century. His
drawings of bamboo, orchid, plum, and chrysanthemum were very
popular amongst the Japanese, but were probably all copies from
old Chinese sketch-books. His principal pupil was Yiu-hi of Naga
saki. See Nos. 42 to 47, Chinese.
Ho-SAi-YEN, named also Sai and Kio-sai. A Chinese; noted for
drawings of flowers and birds. His pictures show more grace and
freedom of hand than those of Chin-nan-pin. See No. 63, Chinese.
Hi-KAN-YEN. A Chinese ; noted for landscape.
So-sHi-GAN. A Chinese ; noted for pictures of landscape, flowers,
and birds.
Tbi-bai, or Ko-tei. A Chinese ; noted for paintings of flowers
and birds.
Shiu-ko (Kuma-shieo), named also Hai and Ki-tan. An interpreter
in Nagasaki, a favourite pupil of Chin-nan-pin.
Shiu-zan. The son of Shiu-ko. He must be distinguished from
Sakueai Shiuzan, a female artist.
Ean-sai (Moei), named also Kiu-k6. Pupil of Shiu-ko. Died I80I.
Kaku-tei ; named also Jo-ko and Kai-gan. A priest ; a pupil of
Shiu-ko. (See No. 653.)
Kaku-jiu, named also No and To-koku. A pupil of Kaku-tei.
Kaku-w6, named also Eio and Komei. A pupil of Kaku-tei.
(See No. 2297.)
S6-SHI-SEKI, named also Kun and Sekkei. A native of Yedo. He
was a pupil of ShiO-ko, and afterwards of So-shi-gan. Noted for
flowers, birds, and bamboos. The author of the Sbshiseki Gwa-fu
(1769-71). Died 1774, at the age of 77.
Shi-zan. The son of So-shi-seki.
To-ebi (Hiji-kata). a pupil of So-shi-seki, afterwards became an
adherent of the Shijo school.
Ha-kei (Kaki-zaki), named also Shogen. A pupil of Soshi-seki.
Noted for drawings of birds and flowers.
Eio-TAi (Tate-bb), named also Mo-kiyo and Kan-yo-sai. The author
of two well-known books of pictures, the Wa-kan Zatzu-gwa (1769),
and the Bib-un Chiku-fH (1771). -^-x '< ' .'"-•¦' - ' '- -' - ^•
Sho-katsu-kan, named also Shi-bun and Sei-sai. A native of Yedo.
To-KEi (0-guea). a native of Sanuki. A follower of Chin-nan-pin.
Ki-GiOKU (Kueo-kawa), named also Jo and Shi-ho. A native of
Yedo. Followed Chin-nan-pin.

188 JAPANESE PICTORIAL ART.
MiN-zAN. A native of Aki. A pupil of So-shi-seki.
KwA-TEN (Mi-kuma), named also Shi-ko and Kai-do, of Kaga. A
pupil of Gek-ko. Noted for paintings of cherry-blossom.
Han-ko. a painter of Nagasaki. Noted for ink sketches of birds,
flowers, and bamboos.
Sen-shin-to, named also Tei or Kan-ken. A native of Osaka.
Studied under Chin-nan-pin.
Chitsu-zan, named also Moku-in, or Joeuko Dojin. A priest ;
noted for monochrome sketches of bamboos.
HiAKU-SEN (Su-Jo), named also Shin-yen, Ho-jin, and Hassen-do.
Lived in Osaka. Copied the drawings of the Yuen and Ming
dynasties. Died 1753, at the age of 55.
Nan-kai (Gi-on), named also Yu or Haku-gioku. A native of Kishiii
province. Followed EiO-bikio and Tai-ga-do. Died 1751, aged 74.
Bu-soN (Sha), named also Cho-ko, Yen, and Shun-sei. A native
of Settsu province, who lived in Osaka, and left many vigorous
and highly original landscape drawings in the style of the Yiien
and Ming dynasties. Died aged 67, in 1783. His style was
followed by many pupils and imitators.*
Bai-tei, named also Ki-bai-tbi, Toki-atsu, or Kin-eo. A pupil of
Bu-soN. Noted for landscape and figure. (See No. 1014.)
Gessen (written Getsu-sen). A priest of Jakusoji, in the pro
vince of Ise. Noted for drawings of landscape and of Chinese
worthies, and for a well-known book of portraits of Taoist Eishis,
called Bessen dzu san. His style of painting resembles that of
Bu-son. Died 1809, aged 88. (See Nos. 631, 632 and 1019.)
Nakai-zen, named also ChiU-zen. Lived in Osaka. Painted
landscape in the style of the Ming dynasty.
Ean-den (Waka-gi), named also Gon and Bun-ki. Lived in Kioto.
A pupil of Nakai-zen.
Seki-sai, of Mino province. Noted for pictures of plum and
bamboo. Tai-ga-do (Ike-no), of Kioto. A celebrated pupil of Eiu-ei-kio and
I-FU-Kiu. He is especially noted as a painter of landscape. Died
aged 53, in 1775. His pictures, although so highly reputed in
Japan, are rough and conventional, and show little to please the
"* M. Gonse relates that Bu-son burned a hole in his roof for the purpose of
admiring a moonlight effect, but the fire spreading, a quarter of Kioto was sacrificed
to his artistic enthusiasm.

CHINESE SCHOOL. 189

European eye. A collection of his drawings has recently been
published under the title of Taigadb san-sui ju-seki. See No. 812.
Bu-ZEN (Sumi-ye), named also Do-kan, Shi-zan, and Shin-getsu.
Died 1810. See Nos. 814 and 815.
Jaku-chiu (I-to), named also Kin and Kei-wa. A native of Kioto,
and one of the most noted artists of his time. He studied in the
Kano and Korin schools, and imitated the Chinese paintings of the
Yiien and Ming dynasties. Finally he combined the various styles,
and is regarded as the inventor of a new manner. It is said that he
was especially expert in studies of fowls from life. Died 1800, aged 84.
I-MEi, named also Tai-kei. A priest and a pupil of Jakuchiu.
Painted in the style of the Yiien and Ming dynasties.
Fu-y6 (0-shima), named also Ko or Jiu-hi. A seal engraver of
Kioto. Noted for landscape. His wife Ea-sei painted birds and
flowers in the Chinese style. Died 1784, aged 62.
19th Century: —
Go-GAKU (Fuku-haea), named also Gen-so and Shi-jin. A native
of Bingo province, who settled in Osaka, and became one of the most
noted followers of the style of Tai-ga-d5. He is still living, but is
of very advanced age. (See No. 640.)
Shiku-ya (Aoki), named also Shum-mei, Tai-sho, and Shun-to.
A pupil of Tai-ga-do. Noted for landscape.
Sho-kaku. a priest of Kaibe, in the province of Awa. A follower
of Tai-ga-do.
Kiu-jo (Yama-da), named also Kitsu-gu. A native of Owari.
Painted landscapes, flowers, and birds, in the style prevalent in the
Ming and Yiien dynasties. Known as a clever copyist of old
drawings. In-h6 (Miya-zaki), named also Ki, Shijo, and Tsune-no-shin.
Noted for ink drawings of bamboos in the style of the Ming dynasty.
Ei-kei (Yama-shina), named also Jun-p6. A physician. Noted
for ink drawings of bamboos.
To-NAN (AsA-i), named also Cho-ku and I- yen. Noted for draw
ings of bamboos.
Chiu-kan (Mizo-no), named also Jo-in, Yen-tan, and Tonomo-no-
SUKB. Noted for drawings of bamboos. This and the three pre
ceding artists were familiarly known as the " Four Bamboos of
Kioto," in allusion to their skill in painting the tree.

190 JAPANESE PICTORIAL ART.
Ba-gan, named also Jo-shin. A native of Osaka, and a priest in
the Temple of Obaku.
Teki (Iohi-kawa), named also Kun-kei. A native- of the province
of Omi, who lived in Kioto. Painted in the style of the Yiien and
Ming dynasties. It is said that he was guilty of forging the
drawings of Taiga-d6, Bu-son, and Jaku-chiu, and so lost his
reputation. GiOKU-wo, named also Jin-ku, Kiu-w6, and Gaku-yo. A priest of
the Jodo sect, who lived in Higashiyama. Noted for drawings of
bamboos, in the style of the Yuen and Ming dynasties.
GiOKu-EiN. A pupil of GlOKU-WO.
Sei-shiku (Ki-mdea), named also Ko-kiyo. A native of Osaka.
Noted for ink drawings of landscape and flowers.
Bo-sAi (Kame-da), named also Ko, Sai-eiyo, and Bun-zayemon. A
native of Yedo. Noted for ink drawings in the Chinese style.
Eio-den (Naka-no), named also Kan and Ei-bun. A native of
Owari, Noted for landscape.
Bai-gan (To-toki), named also Yo and Shi-yu. Noted for land
scape. HiKO-BEi (Oka-da), named also Bei Sanjin. A native of Osaka.
Noted for landscape. Died 1818, aged 74.
Han-ko (Oka-da), named also U-zaybmon, A son of Bei Sanjin.
Noted for landscapes in the style of the Southern school.,
Shi-eo (I-no-uye), named also Shiu-jo-wo. A native of Owari.
Studied under Hanko. Noted for ink drawings of bamboos.
Kan-zan (Fuku-shima), named also Shi and Chiu. Noted for
landscape. Nan-kei (Nishi-muea), named also Sei-ko and San-kiyo. Noted
for landscape.
Chiku-sbki (Naga-machi), named also Cho and Kitj-w6. A native
of Sanuki. Studied under Chin-nan-pin. Noted for landscape and
bamboos. Ken (Hama-da), named also Kiy6-d6. A physician of Osaka.
Noted for landscape.
Eiu-NEN (No-Eo), named also Sho-eei, Tei-go-eiu, and Kai-seki.
Studied under I-eu-kiu and Tai-ga-do. Died 1828, aged 81,
Un-sen (Ku-shieo), named also Shiu and Cmu-ru. A native of
Hizen. Noted for landscape.
Chiku-to (Naka-bayashi), named also Sbi-sho and Haku-mei, a

CHINESE SCHOOL. 191

native of Owari. Lived in Kioto, and became a pupil of Kiujo.
Noted for drawings of landscape, plum, and bamboo in the style of
the Yiien dynasty. A collection of his drawings has been
published under the title of Ghikutb sansui gwa ko (I8I3). An
album of Chinese figures, the Ghikutb Sanjin jimbutsu, published
in 1852, is probably from the same hand. Died 1853, aged 77.
EiTSU-ZAN (0-kuea), named also Koku-h6. A native of Kioto.
Studied under Chiku-to, and became noted for drawings of land
scape and flowers. Died 1856, aged 65.
Gen-shiu, named also Ima-oji Hogen, and Min-zan. A native of
Kioto. Noted for landscape.
Tai-ebi (Ma-gata), named also Kan and Giyo, A native of Owari.
Studied under Chiku-to, and became noted for landscape in the
style of the Yuen dynasty.
Bai-itsu (Yama-moto), named also Erro and Mbi-kiyo. A native
of Owari. Noted for drawings of flowers. Died 1857, aged 67.
GiOKU-DO (Uea-kami). Noted for landscape,
Shun-kin (Uea-kami), named also Sen and Jussen. Son of
GiOKU-DO. Noted for landscape and flowers.
Ka-zan. a priest of the province of Tosa. A pupil of Shun-kin.
Noted for landscape.
Eio (Ina-gaki), named also Shi-euku. A native of the province
of Etchi. Noted for landscape.
Hiaku-koku (0-ta), named also Ei, KiyO-kai, and Kai-sen, A
native of the province of Nagato. He was a pupil of Gekkei.
Noted for drawings of landscape, figure, flower, and birds in the
style of the Yiien dynasty.
Nan,-ko (Haeu-ki), named also Kon, Shi-gio, and Yu-seki. A
native of Yedo. Noted " far and wide " for drawings of landscape,
flowers, and birds. (See No. 693.)
Nam-mei (Haeu-ki) named also Shiu-ki, Ei-sho, and Ko-un-sho.
Son of Nanko. He is still living, and is known as one of the best
colorists of the Chinese school. His works are chiefly pictures of
landscape, flowers, and birds. (See Nos. 694 to 700.)
Sei-ko (Haeu-ki), named also Kon-kei. A younger brother of
Nanko, Noted for drawings of landscape and flowers.
Un-zan (Yama-zaki), named also Yoshi. A native of the province
of Note. Painted landscape, plum, and bamboo, in the style of
Tai-ga-d6. Lived in Kioto.

192 JAPANESE PICTORIAL ART.
Shi-butsu (0-ku-bo), named also Giyo, Tem-min, and Shi-sei-do.
A native of Hitachi. Lived in Kioto. Noted for ink-drawings of
bamboos. Jo-TEi (Kashiwa-gi). a native of Yedo. Noted for landscape.
Tai-gan, named also Un-ge. A native of Bungo province.
Noted for ink drawings of bamboo, plum, and orchid.
Kaku-zan (Kame-da). A native of the province of Kaga. He
first studied in the Ganku school, but afterwards adopted the style
of the Ts'ing dynasty of China. Noted for ink drawings of plum-
blossoms, Bbi-zan (Kuea-ishi), named also Jin-sukb. A native of the pro
vince of Echigo. Studied under Unsbn. Noted for landscape.
Ken-zan (Kuea-ishi), The son of the last. Greatly noted in the
provinces of Echigo and Chikuzen for his drawings of landscape.
Chiku-den (Tano-muea), named also Ken and Gio-z6. A native of
the province of Bungo. Noted for drawings of landscape, plum, and
bamboo in the style of the Southern school. Died 1835, aged 58,
Kai-oku (Nuki-na), named also Hio and Kimi-shigb. A native
of Awa. Noted for landscape. Died 1863, aged 85.
Kan-sai (Ishi-kawa). a native of the province of Echigo. Noted
for ink drawings of landscape and bamboo.
Tetsu-w6. a priest in the temple of Shuntokuji, in Nagasaki.
Noted for landscape.
Sai-sai (Shiea-kami). a native of Bitchiu. Noted for paintings
of landscape, figure, and • flowers, in the Chinese style.
Yo-zAN (Hama-chi), named also Koee-shige. A native of the
province of Ise, Painted in the style of the Yuen dynasty,
Bai-in (Aei-kawa), a native of the province of Satsuma, Noted
for ink drawings of plum blossoms,
0-KiN, named also Ko-yu and Ten-eiU Dojin. A native of Shinano
province. Noted for ink drawings of the vine.
Yd-gaku (Oka). A native of Osaka. Studied under Gogaku.
Fu-Yo (Suzu-Ki), named also Yo and Bunki. A native of Shinano.
He was engaged as an artist by the Daimio of Awa, and lived in Yedo.
He was noted for landscape and figure drawing. Died 1816, aged 68.
Naeu-to, named also Se-ki, son-in-law of Fuyo. A native of the
province of Awa. Noted for landscape and figure drawing. Died 1819.
Bam5-ki. Noted for copies of the works of the Chinese artists
of the Yiien and Ming dynasties.

CHINESE SCHOOL. 193

Kei-sai (0-nishi), named also In and Shuku-mei. A native of
Yedo, who entered the service of the Daimio Okudaira. He was one
of the best artists of the century, and excelled especially in draw
ings of birds. Some of his works bear traces of the influence of the
Shijo school. See Nos. 661 to 666.
Gen-tai (Watana-be or Uchi-da), named also Ybi, Yen-ki and
EiNFU-soDO. A native of Yedo. Noted for landscape. Died 1822,
aged 73. See No. 635.
Seki-sui, son of Gen-tai. Painted in his father's style.
Bai-kei (Kabu-eaki), named also Se-in and Kun-chiu. A native
of Nagasaki who lived in Yedo. Noted for drawings of flowers and
birds, in the style of Chin-nan-pin. See Nos. 615 to 618.
Gesso (Tani-guchi), named also Se-tatsu and Mo-sen. Studied
under Gessen, and became noted for drawings of landscape and
figure, in the style of his teacher.
Kan-ein (Oka-da), named also Bu-ko, Shi-h5, and Sui-ga-wo. A
native of Yedo. " Famed throughout the city " for drawings of
birds and flowers. A collection of wood-engravings from his sketches
was published in 1835, under the title of " Kanrin gwa fu." See
Nos. 654 to 656.
KioKU-KA (Shi-midsu), named also Jun and Shi-sho. A native of
Yedo. Noted for drawings of flowers and birds.
Kin-sen (Ni-^ina), named also Sei and Shi-mei. A native of
Yedo. Noted for drawings of flowers and birds.
Nan-eei (Suzu-ki), named also Jun and Shi-shen. A native of
Yedo. Studied under Toro, and became widely renowned for
drawings of figure, flowers, birds, and landscape.
Kwa-zan (Watana-be), named also Tei-sei and Shi-an. A
native of Yedo. Noted both as a painter and a connoisseur of
picture books. According to the Sho-gwa-kai-sui he was rarely
seen, except at artistic reunions in Yedo, and " when he became
drunk he drew pictures. He was very tall — about nine feet
high." Died 1829, aged 48. (See 670.)
Haku-yei (Fuku-ohi). a native of Kioto. Studied under
a painter named HAonirDA Ko-shiu. Noted for landscape.
So-EiN, named also Shi-ko or So-shi-ko, One of the most renowned
of the Yedo artists of the present century. Noted for drawings of
birds and landscape. See Nos. 746 to 748, and 865.
Yei-kai (Sa-take), named also Shu-son, Ai-setsu, Ten-sui-w6, 0

194 JAPANESE PICTORIAL ART.
and KiN-SEi-DO. A noted Yedo artist still living. See Nos. 952
and 719.
Gessho (Cho), named also Gio-tei and Gen-kei. A native of
Owari province. He was the author of a collection of colour
prints called the Fukkei givafii, published in 1817. See No. 633.
Zai-chiu (Haea), named also Shi-jiu and Ga-yu. A native of
Kioto. He became celebrated for his drawings in the style of the
Ming dynasty, but subsequently adopted the style of the Shijo
school. He died in 1837 at the age of 88. His sons Zai-sho and
Zai-mei (see Nos. 2332-3) were also attached to the school of
Okie. Died 1837, at the age of 87.
Shiu-zan, named also Sessho and Kei-getsu. A daughter of
Sakueai Sekkan, and probably the granddaughter of Hogen
Shiuzan (p. 187). She was one of the best female artists of modern
times. See Nos. 743 and 820.
GioKU-ON, a female artist ; named also To-yoko. A native of Bingo
province. She studied under Hachida Koshiu, and became noted
for drawings of landscape, figure, flowers, and birds.
Sai-ko (E'-ma), named also Ki-ki. A female artist ; a native of
Mino. Noted for drawings of bamboos and orchids.
Ko-EAN. A female artist who studied under Chikuto and became
noted for drawings of flowers and birds.
To-BiN, named also Yo-setsu ; and Abe Haya-ta-eo. A celebrated
Yedo painter of flowers and birds, from whose school issued many
noted pupUs, including Sei-sai and Sen an. See Nos. 760 to 762.
Kisu-i (Yama-zaki). Noted for paintings of flowers and birds, in
the style of Chinnanpin.
Sui-AN, or KuEi-MOTO Gen-to. a Yedo physician, who learned
drawing from Kisui, and became greatly reputed as a painter.
" He had always a weakness for wine, and when drunk became
very eloquent " (Sho-gwa-kai-sui).
Kei-ein, or Shi-midsu Han-suke ; named also Cho-ji, or Gen-p6.
Pupil of ToEIN.
Kai-eiu, or Ama-no Gen-no-j6; named also Masa-tsugu. Pupil
of TORIN.
Chin-zan (Tsubaki). Died 1854, aged 53.
Shiu-ki (Oka-moto). PupU of Onishi Keisai. See Nos. 774-5.
Ka-bo, or Taohi ^Kei-zo ; named also Kon-yo. A noted Yedo
painter.

CHINESE SCHOOL. 195"

BuN-CHO (Tani), called in his later years Sha-san-bo, " the old
man who drew mountains," from his numerous sketches of Mount
Fuji, was one of the leading painters of the end of the last and
beginning of the present century, and is sometimes regarded as the
founder of a special school which bears his name. He received his
first lessons in art from the Kanos, but a later study of the drawings
of the masterpieces of the Sung and Yiien dynasties converted him
to the parent school.
He was a versatile artist, and although he adhered so closely to
the Chinese rules that his pictures, especially his landscapes, are
often difficult to distinguish from those of the painters of the Middle
Kingdom, few of his countrymen have displayed as much verve and
originality of design, or a keener appreciation for the wilder forms
of picturesque beauty. His drawings of birds and other animals
occasionally showed a trace of Shijo influence that enhanced their
value, but his most characteristic works are those depicting the
mountain scenery of his own country. Many of his drawings
have been published in the Nippon Meizan dzu-ye, pictures of the
celebrated Mountains of Japan (3 vols. 1810), and in the Tani Bun-
cho gwa /w (2 vols. 1862). He has also illustrated other volumes.
(See Nos. 821 to 836.)
He died in 1840 at the age of 77.
The members of his family known as painters were : —
BuN-Ji. Son.
BuN-iTsu. Son-in-law. Died 1818, aged 31.
Shiu-ko, known also as Shun-kei and Sh6-ko. Sister. Noted for
landscape.
Ean-k6. Sister.
KiTSU-Ji. Daughter.
BuN-Ni, named also Bun-chiu. Grandson. StiU living. See
No. 838.
His chief pupils were as follows : —
Un-tan, named also Sho and San-kitsu. Noted for landscape.
Bu-sei (Ki-ta).
Bun-yo, or BuN-wo (To-saka). See Nos. 844 to 847.
Bun-ki (Tana-be), named also Sei-ka-ken.
BuN-KAi, named also Kin-do. A priest. 0 2

196' JAPANESE PICTORIAL ART.
BuN-zo (AwA-Dzu), named also Shu-ch6-do,
Bun-shin, or Me-gata Sho-hbi. See Nos. 840 to 843.
Gen-nai (Sa-t6), named also Shi-kan.
Shun-sai, or Kuei-baea Ku-z6 ; named also Jun-yei and Shu-
KU-KWA.
Ho-zen, Noted for landscape,
BuN-SAi, or Ya-be Ko-go-bo ; named also Sada-k'dni,
Bun-son, or Ma-da Sa-kichi,
The Catalogue includes paintings by many other artists of ability,
whose names do not appear in any of the published lists.

( 197 )

CHINESE SCHOOL.

601. Kakemono, on paper, painted in monochrome. Size,
26i X I4|.
Chinese landscape.
This is a typical example of the idealized Chinese scenery which
impressed so strongly the imaginations of the Japanese masters of
the fifteenth and sixteenth centuries. Such works were amongst
the most daringly "composed" of landscape paintings, and seem
intended rather to note the vague conceptions and reminiscences
of the poetic minds of the artists than to hand down the true
features of any particular locality; yet they suggested distance,
atmosphere, and even chiaroscuro with so much picturesque force
that it would be ungrateful to assault with naturalistic dicta
such striking creations of the brush.
The painting is in monochrome, sketched upon a yellowish
bibulous Chinese paper, once of smooth uniform surface, but now
cracked and discoloured by age. It is vigorously outlined with a
free brush, and the effects of aerial perspective are secured by broad,
delicately softened washes of dilute ink. The elements of the
scene are few and simple. The foreground on the right shows the
edge of a rugged cliff, cro'wned with giant cryptomerias and chan
nelled by a torrent that sweeps over its craggy sides in a multitude
of slender cataracts, to plunge with graceful curve into the foaming
basin beneath, A winding stream, spanned by a quaintly-fashioned
bridge, descends through the valley to open into a broad, rapid
river above the falls ; and two mountain heights rear their fantastic
peaks into the clear sky high above the mists that veil their feet.
The prospect is overlooked by the gabled roof and curling eaves of
a summer palace; and a philosopher, bent with years, is seen
lingering on his path near the cascade to catch the music of the
hurtling waters.
The same spirit of composition is noticeable in No. 1251 by Kano
Masanobu, Painted by Shiij-bun. Seal. End of fifteenth century.

198 JAPANESE PICTORIAL ART.
602. Kakemono, on.paper, painted in monochrome. Size, 24^ x 31.
Landscape. Mountain and lake scenery.
Painted by So-ami (or Kan-gaku). Seal. End of
fifteenth century.
603. Kakemono, on paper, painted in monochrome. Size, 7| x 20^.
Landscape. Mountain scenery.
The horizontal and vertical planes of the picture are distorted to
conform to the curvature and radii of the circular fan-mount upon
which the subject is painted.
Painted by Eiu-kio. Seals. Sixteenth century (?).
604 and 605. A pair of kakemonos, on paper, painted in mono
chrome. Size 43| X 19.
Tigers and dragons.
The usual conventional tigers represented in association with the
bamboo. The dragons are enveloped in a storm-cloud, through
which is dimly seen a branch of plum-blossom.
Painted by Eio-kbi. Two seals. Sixteenth century.
606, Kakemono, on silk, painted in colours. Size, 37^ X 16f.
Han Shan and Shih-te (Kanzan and Jitoku).
Two rishi, having the appearance of mischievous boys, are
reading a scroll ; a besom, the attribute of Jitoku, hes upon the
ground at their feet.
\ Painted by Nao-kage. Signed Hokkio Nao-kage. Seal.
Sixteenth century.
; Han Shan and Shih-te are described as two earnest devotees of Buddhism,
who for a time looked after the kitchen fire at the temple of Kuo-
Ch'ing-ssu, and used to spend the whole day talking in a language which
none others could understand. They were called the unstable madmen,
and were friendly with no one save the priest, Peng Kan (Bukan Zenji).
Han Shan was so named from his residence in a mountain cave. His
countenance was thin and faded, and his coarse cotton clothes in rags.
Sometimes he would walk gently along the temple corridor, at others he
would shriek, and, looking up at the sky, utter insulting and abusive
language ; but if one of the monks -tried to drive him off he would suddenly
turn and clap his hands and run away. His language was that of a
madman, yet not altogether devoid of sense.
After the death of F§ng Kan he was visited in the mountains by Lti
Ch'iu, who found him and his associate Shih-te seated by a fire laughing
and talking. Lii Ch'iu bowed respectfully, upon which they rated him
loudly with one voice, and after this made speeches and behaved like

PLATE 20.

<.¦

''^•. ;lVojL.,>r-V

KANZAN AND JITOKU. (Page 198.) After Matsuda Kiuhan.

CHINESE SCHOOL. 199

madmen, finally retreating into a crevice of the rock crying, " Ye men, be
diligent every one of you in practising the law of Buddha " (Satow).
In the Butsu zo dzu-i, Han Shan is said to be a transformation of
Mandjus'ri. Shih-te (" picked up ") received his name from FSng Kan, who found him
in the mountains. In the Butsu zo dzu-i it is said that the priest Bukan
Zenji (Feng Kan) once found a child weeping by the roadside and
crying, " I have no home, and am alone." The holy man brought him
to his temple and took care for his welfare. Some time after, a letter
arrived from a distant temple recommending the foundling, who had been
called Jitoku, to the guardianship of Bukan, and announcing that he was
a transformation of the BSdhisattva, Kenshi Inton.
It is further related that the crows having devoured the food set before
the guardian divinity of the temple, Shih-te took a stick and beat the
image, saying, " If you cannot defend your own victuals, how can you
protect the temple ? " This sentiment, which indicates a kind of method
in the madness attributed to the speaker, has its parallel in an anecdote of
. a Japanese priest named Tankwa. Tankwa, when on a winter visit to
, the temple of !lfiriuji in Kioto, finding a lack of fuel, chopped up a
Buddhist idol for firewood, and explained to his host, who was horrified at
the sacrilege, that he had done it to obtain the s'hari (cremation relics) of
the god. " How can a wooden image give shari ? " gasped the proprietor.
" If your god is but a wooden image, of what wickedness have I been
guilty ? " rejoined Tankwa. And his host " lost his eyebrows and hair "
through the shock of his emotions.
The two rishis are always represented as juvenile figures poorly dressed
in boyish attire, their mischievous faces lined with the crow-feet of old
age. When in the same picture, they are usually shown in delighted
contemplation of a manuscript roll; if painted separately, Shih-te is
distinguished hy the possession of a besom, and Han Shan holds the scroll.
607, Kakemono, on paper, painted in colours. Size, 49 J X 22|.
The Three Sages (S'akyamuni, Confucius, and Lao Tsz')
discoursing over the symbol of the Yang and Ying.
The various emblems of longevity are introduced in different
parts of the picture.
Boldly sketched, somewhat after the manner of Shiugetsu, and
lightly tinted with colour.
No signature. Seal. End of fifteenth century (?).
This subject forms a very common art-motive. The representatives of
the three systems. Buddhism, Taoism, and Confucianism, are engaged in
the consideration of the mysterious diagram, a circle subdivided by a
sinuous line into two comma-shaped segments, which symbolizes the Yang
and Ying, the active and passive, or masculine and feminine coefBcients of
nature.
608, Kakemono, on silk, painted in colours. Size, 41| x 12.
Pigeon. Painted by Kiij-ei-kio. Poetical inscription by Eosho.
Signed, Ei-ki6. Seal. Eighteenth century.

200 JAPANESE PICTORIAL ART.
609. Kakemono, on silk, painted in colours. Size, 68| X 40 J,
Plovrers and bamboos.
The picture is divided into five portions by four transverse lines.
The four upper segments consist of groups of flowers ; the lowest,
of bamboos painted in gold upon a black ground. The colouring
is highly decorative, but appears to have been retouched.
Painted by KiO-ei-kio. Signed, Eiu-ei-kio (I), Ei-ki6 (3),
Ki-YEN (4), and Ko-mi (2 and 5), Dated in the spring of
the cyclical year Mizu no ye Tora (1722 ?).
610 to 612. A set of three kakemonos, on silk, painted in colours.
Size, 42| X 20i.
Chinese scenes.
The pictures appear to represent social visits interchanged
between men of learning.
The colouring is highly decorative, and offers a characteristic
example of the style of the artist.
Painted by EiC-ei-kio. Signed, Ki-'yen Shiu-jin, " drawn
at the house called Kwagioku Shiiitoku." Kwambb seal
(indicating point of commencement of the picture) stamped
in left lower corner in 610 and 611, in the right lower
corner in 612. Certificated by Tani Buncho.
613, Kakemono, on paper, painted in monochrome. Size, 26f X ]3f,
Mandjus'ri. (See Buddhist School.)
Painted by Yo-ya. Signed Jo-Yo-sui Hokkio Yo-ya. Seal.
Seventeenth century.
614. Kakemono, on silk, painted in colours. Size, 42 x 18|.
Shen-nung (Jap. Shin-no).
Eepresented as an aged man with strongly-marked features,
large prominent eyes, flowing beard and hair, and two tuberculated
prominences, or rudimentary horns springing from the head. His
attire consists of a simple robe edged with leopard skin, and the
leafy cape of the Eishi. He is tasting a kind of grass selected
from a number of herbs which he holds in his hand.
Painted by Miya-moto Musashi. Seal. Eighteenth
century, Shen-nung, the Divine Husbandman, one of the primitive (mythical)
rulers of China, was the successor of the great Fidi-Hi (Jap. Fukki),
2737 B.C. He was tho son of a princess named Ngan-teng, by whom he
is said to have boon conceived through the influence of a heavenly dragon
(see Mnyers' 'Chinese Reader's llanual').

CHINESE SCHOOL. 201

According to the E-hon Koji Dan " he was horned like an ox. He cut
down trees to make tools for the cultivation of the land ; he tasted the
herbs of the field and invented the art of medicine; he constructed a harp
of five string's and made knovi^n the charms of music ; and he instructed the
people in the laws of commerce."
615 to 617, A set of three kakemonos, on silk, painted in colours.
Size, 36| X 12,
(1.) T'ung Fang-so (Jap. Tobosaku).
A merry-looking old man in Chinese dress standing upon the
waves, holdir.g in his hands a large peach.
(2) and (3), Birds and flowers.
Painted by Bai-kei. Signed Bai-kei Taiea Tsugi-tanb.
Two seals. Nineteenth century,
T'ung Fang-so, the peach-eater, is identical with the historical per
sonage of the same name who is described in Chinese writings as an
adviser of the Emperor Wu Ti, and of whose learning and magical powers
many extraordinary stories are related (see Mayers' 'Chinese Reader's
Manual,' p. 1, No. 689, and Ressen zen den). He is usually depicted in
Chinese and Japanese paintings as an old man hugging a great peach in
hia arms and dancing merrily, and in a Chinese book called the Lieh-sien
chuan (1833) he appears holding two peaches and attended by a deer. The
legend upon which the ordinary representation is founded is probably the
foUowing : —
"In the first year of the period Yuen Feng in the Han dynasty
(110 B.C.) the fairy Si Wang Mu descended from her mountain realm to
visit the Emperor Wu Ti, bringing with her seven peaches. She ate two
of the number, and upon the Emperor expressing a wish to preserve
the seed she told him that the tree from v.'hich they came bore only once
in three thousand years, but each fruit conferred thirty centuries of life
upon the eater. At that moment she perceived Tung Fang-so peeping at
her through the window, and pointing to him said, ' That child whom you
see yonder has stolen three of my peaches, and is now nine thousand years
of age.' A passage in the Sha-hd Bukuro adds : ' Tobosaku is probably
identical with Jurojin.' "
The Peach-tree (T'ao) is an emblem of marriage and a symbol of
longevity. The peach-tree of the gods yields the fruit of immortality, and
that which grows near the palace of Si Wang Mu bears fruit that ripens
but once in three thousand years, and confers that term of life upon those
who are fortunate enough to taste it. The gum of the tree mixed with
mulberry ash is used as an elixir vitce by the Taoists (see Mayers'
' Chinese Reader's Manual,' p. 1, No. 707). In the Kojiki Izanagi is made
to repel the Eight Thunder deities and the Warriors of Hell, who pursued
him when he sought his wife in the Infernal regions, by casting at them
three peaches that were growing at the base of the "Even Pass of
Hades " (the representative of the Styx). See Trans! . of Kojiki by
Mr. B. H. Chamberlain. The idea of the mystic power here assigned to
the fruit was probably of Chinese origin.

202 JAPANESE PICTORIAL ART.
618, Kakemono, on silk, painted in colours. Size, 38f X 13-J.
Birds and flowers.
Painted by Bai-kei. Signed Bai-kei Taiea Tsugi-tane.
Two seals. Nineteenth century.
619. Kakemono, on silk, painted in colours. Size, 21| X 25|.
Birds and flowers.
Painted by Ban-kei. Signed. Seal. Inscription, " Gem
house. A picture of prosperity and nobility," Nineteenth
century,
620, Kakemono, on silk, painted in colours. Size, 40^ X 16f.
" Plum-flower revelry."
A Chinese landscape. A valley intersected by a winding stream
that descends from the mountains in the distance to form a lake on
the broad plain below. By the water-side are seen groups of sages
feasting and making merry amidst the blossoming plum-trees of
early spring. (See also Nos. 22 and 23 Chinese.)
Painted by Bun-ein. Signed. Seal. Nineteenth century.
621. Kakemono, on silk, painted in colours. Size, 51 X 24J.
Flowers. Painted by Chin-zan. Signed. Seal. Seal indicating
point of commencement at the lower right-hand corner.
Nineteenth century.
622. Kakemono, on silk, painted in colours. Size, 39f X IIJ.
Peony. Painted by Chin-zan. Signed. Seal. " Copied at Takwa
Hall on the eighteenth day of mid-autumn in the cyclical
year Hinoto-i" (1827).
623. Kakemono, on silk, painted in colours. Size, 32^' x 1 1^.
Birds and flowers.
Painted by Chin-zan. Signed. Seal. Nineteenth
century,
624, Kakemono, on silk, painted in colours. Size, 56 x 27|.
Birds and flowers.
Painted by Chin-zan, Signed. Two seals. Seal indi
cating point of commencement at right lower corner.
Nineteenth century.

CHINESE SCHOOL. 203

625, Kakemono, on silk, painted in colours. Size, 41f x 17^,
The Hundred Tortoises.
A multitude of tortoises swimming towards the rocky shore of
Mount Horai. Some have the golden filamentous caudal appen
dage, which Chinese fable assigns as an indication of extreme age.
Painted by Chi-haeu. Signed. Seal. Nineteenth century.
The Tortoise (Ch. Kwei ; Jap. Ki or Kame) is enumerated by the Chinese
as one of the four supernatural creatures. The first and greatest of the
tribe is the Divine Tortoise, which is variously represented as an embodi
ment of the star Yao Kwang in Ursa Major, or as a descendant of the first
dragon. It was this being that displayed to Yii the Great the mystic
writing of the River Loh.
Like its sacred associates the Dragon, the Tiger, and the Phcenix, it is
supposed to attain a marvellous longevity (sometimes stated at five
thousand years), and after reaching a certain age to bear the sign of its
patriarchal dignity in the shape of a hairy tail. It is said to conceive by
thought alone, whence in China the expression " progeny of the tortoise " is
used as an euphemism for bastard. As an emblem of strength it appears
in Hindoo legends supporting an elephant, which in turn bears the world ;
in China it is frequently sculptured on stone as the support of huge
monumental tablets (Mayers) ; and in Japanese pictorial art it appears
bearing on its back the mountain abode of the immortals (iMount Horai),
or a rook upon which repose three Sacred Gems. As an emblem of longevity
it constantly appears as the associate of the god Fukurokujiu and of the
spirits of the pine-trees of Takasago and Banshiu ; as a privileged
denizen of Mount Horai ; and as the steed of the Rishis Koan and Koko.
The carapace of the tortoise is an attribute of two mythical creatures,
the Kaiba, or sea-horse, and the Kappa, a somewhat monkey-like denizen
of the lakes and rivers.
626, Kakemono, on silk, painted in monochrome. Size, 41 x 12.
Bamboo, A stout stem with drooping branches.
Painted by Cho-bi " on a summer's day in the year of
the Snake." Signed. Two seals. Seal indicating point of
commencement at the lower left corner. Nineteenth
century,
627. Kakemono, on silk, painted in colours. Size, 35J x 27f,
Chinese landscape,
A palace seen through the branches of the pines and other trees
which occupy the foreground ; in the distance are a lake and
mountains. Painted by Kio-bi Ch6-ko, Signed. Seal. Early part
of nineteenth century.

204 JAPANESE PICTORIAL ART.
628. Kakemono, on silk, painted in monochrome. Size, 45J x 11^.
Landscape with bamboos.
Painted by Hiea-no Dei-ko, Signed Dei-k6, Seal,
Early part of nineteenth century.
629, Kakemono, on silk, painted in colours. Size, 42| x 2I|,
Confucius and his pupils.
The sage with his disciples stands before a framework on which
are supported three bell-shaped cups slung by chains, attached about
midway between the brim and bottom. One of the cups, which
has been overfiUed, has just turned over, and is emptying its
contents. Painted by Gaku-ein, Signed, Seal, Poetical inscrip
tion. Nineteenth century.
It is said that Confucius, when on a visit to the tomb of the Emperor
Hwang Kung, saw three vessels suspended in such a maimer that they
remained erect and steady while moderately fiUed, but hung loosely and
askew when empty, and capsized, losing all their contents, if overfilled.
This apparatus he explained to his disciples as a moral emblem of the
value of moderation in all things.
630, Kakemono, on silk, painted in monochrome. Size, I7J X 21\.
The Dragon of Mount Fuji (" Fujt-koshi no Eio "),
A dragon, enveloped in a cloud of serpentine form, is seen flying
through the air towards the summit of the mountain.
Painted by Gen-kei. Seal. End of eighteenth century.
631, Kakemono, on silk, painted in colours. Size, 45| X 16,
Portrait of T'ao Yiien-ming (Jap, Toyemmbi),
A Chinese sage holding a chrysanthemum. Sketched iu ink and
lightly coloured.
Painted by Gessen. Signed. Two seals. End of
eighteenth century,
T'ao Yiien-ming, the great-grandson of a famous Chinese statesman
named T'ao K'an, was noted no less as a scholar and poet than for his
devotion to the wine-cup. He received an appointment as a magistrate,
but eighty days afterwards chose to resign his seals in preference to " bending
the back" on the arrival of a superior functionary, remarking that it was
not worth while to " crook the loins " for the sake of five measures of rice
(Mayei-s). Retiring into private life in 420 a.d., he adopted the name of
the " Sage of the Five Willows," in allusion to the trees which he had
planted near his house, and ended his days drinking, playing upon the lute,
and making verses amidst the chrysanthemums that embellished the
garden of his retreat (Sha-ho bukuro). He died 427 a.d. at the age of 62.

CHINESE SCHOOL. 205

632, Kakemono, on silk, painted in colours. Size, 41J x I4J.
Ning Chi (Jap. Neiseki) reviling the Government.
A Chinese peasant with a mocking expression of countenance,
standing by the side of an ox.
Painted by Gessen. Signed. Two seals. End of
eighteenth century.
King Chi was a peasant who was once overheard by the Duke Kwan
Kung to sing a song, railing at the government in good set terms, and
beating time the while on the horns of his ox. His hearer, struck with the
penetration and justice of his opinions, appointed him his chief counsellor,
a promotion which Ning Chi justified by discharging a hostile mission
against the rival Duke of Sung with so much diplomacy that he obtained
a bloodless victory for his master.

633, Kakemono, on silk, painted in colours. Size, 55^ x 20-|-,
Kwan Yii and attendants (see No. 218).
The figure of the hero is chiefly remarkable for its great height,
and for the length of the beard, which reaches down to the thighs.
Painted by Gesso. Signed. Two seals. Early part of
nineteenth century.
634, Kakemono, on silk, painted in colours. Size, 47^ x I7J.
Peacock and peony.
Painted by Getsu-ho. Signed. Two seals. Commence
ment of nineteenth century.
635, -Kakemono, on silk, painted in colours. Size, 39 X 13.
Plum-blossoms.
A blossoming branch of plum thrown athwart the face of the
moon. Painted by Uohi-da Gen-tai. Signed Gen-tai San-jin.
Seal. Nineteenth century.
The association of the plum-blossom with the moon is common in
Japanese pictures. The plum is regarded as a symbol of longevity, in
which capacity it is frequently depicted with the pine and bamboo (Sho-
chiku-bai). The beauty of its blossom, which appears in late winter
while the snow is yet on the ground, has been celebrated in innumerable
verses by Chinese and Japanese poets.
636. Kakemono, on silk, painted in colours. Size, 44 x 16^.
Peacock and peonies.
Painted by Gioku-yei. Signed. Seal. Early part of
nineteenth century.

206 JAPANESE PICTORIAL ART.
637. Kakemono, on silk, painted in colours. Size, 43 J x 1 6 J.
Flowers-^plum-blossom, chrysanthemums, peonies, &c.
Painted by Ch6-an Gen-ki. Signed. Seal. Nineteenth
century.
638. Kakemono, ou silk, painted in colours. Size, 34 X 13|.
Fowls and bamboos.
Painted by Tai-ein-sai Gen-chi. (Kano School.) Signed.
Two seals. Nineteenth century.
639, Kakemono, on silk, painted in colours. Size, 50 X 16|.
Golden-crested pheasants, with peonies and plum-
blossoms. Signed Ga-eo San-jin (a nom de pinceau). Seal. End
of eighteenth century.
640. Kakemono, on silk, painted in colours. Size, 35^ x 12|.
Lii T'ung-pin (Jap. Eio-to-hin).
A Chinese figure with fan and sword.
Painted by Go-gaku. Signed. Seal. Nineteenth century.
Lii Yen or Lii T'ung-pin was a Taoist Rishi who lived in the eighth
century a.d. He was instructed in the secrets of the genii by Chung-li
Kuan, and afterwards became the subject of many extravagant tales. In
the twelfth centmy temples were erected to his honour, and were dedicated
to his worship under the designation of Chang Yung (see Mayers' ' Chinese
Reader's Manual,' No. 467). He is usually represented as a dignified
figure armed with a sword, or xrossing a river supported by the weapon.
In the Ressen zen den he appears home upon a cloud which overhangs
the waves.
641, Kakemono, on silk, painted in colours. Size, 38^ x 13^.
Lao Tsz' (Jap. Eo-shi) riding upon an ox.
The philosopher is represented, in accordance with Chinese
piiitorial tradition, as a venerable man with lofty brow and flowing
beard, seated upon a draught-ox. The exaggerated elevation of the
forehead usually represented is here reduced to moderation.
Painted by Gekkio. Signed. Seal. Early part of
nineteenth century.
Lao Tsz', the founder of the obscure philosophy of the Taoists, which
has divided the empire of Chinese ethics and religion with the con
temporary evolutions of Confucianism and Buddhism, was born, according
to Chinese records, in the second month of the Dragon year of Wii Ting
1324-1265 (B.C.). The Ressen zen den, after detailing the various
names by which he was known in previous states of existence, says that

CHINESE SCHOOL. 207'

at his birth he had a white head, two horns like those of an ox upon his
brow, long ear-lobes, and square eyes ; moreover, his nose had two bones
and there were three apertures in each ear.
He is usually drawn as a venerable man with bald capacious head, long
snowy beard, and enlarged ear-lobes,* and is represented either riding upon
an ox on his Western journey in 1131 B.C., discoursing upon the symbol of
the Yang and Ying with Confucius and S'&kyamuni, or as one of the wine-
tasters in the picture of the " Three Eeligions." His reproof of the
Emperor, who had sought to awe him by a haughty boast of his power of
" bestowing wealth or taking it away," is occasionally the subject of a
painting. The sage floating in the air, high above the head of the
astonished monarch, is asking proudly from his elevation, " Am I, then, of
those people whom you can make rich or poor ? "
An account of his life and doctrines will be found in Mayers' ' Chinese
Reader's Manual,' p. 1, No. 336. His work, the ' Tao T'eh King,' has been
translated into English, French, and German.
* A sign of a divine being. The Buddhist saints and Deva are represented
with large ear-lobes.
642, Kakemono, on silk, painted in colours. Size, 42f X 15.
Birds. Painted by Gioku-eei. Signed Gioku-eei Do-jin Sei-eio.
Seals. Nineteenth century.
643. Kakemono, on silk, painted in colours. Size, 61| X 28.
Chinese landscape, A storm.
A rural scene. The rain is pouring in sheets from the low, dark
clouds, beatiag down the strong branches of the cryptomerias, and
swelling the winding stream into a torrent, while belated wayfarers
are seen flying in haste to the shelter of a wayside hut.
Painted by Han-ko. Signed Han-ko Fukkitsu. Two
seals. Dated in the cyclical year Kanoto Tora (1801).
644, Kakemono, on silk, painted in colours. Size, 39 X 13^.
Martin and willow (Tsubako to Yanagi).
Painted by Hayashi Tada-tomi. Signed So-d6. Two
seals. Seal indicating point of commencement at left lower
corner. Commencement of nineteenth century.
The subject is one of the numerous associations of ideas found in
Japanese and Chinese pictures. In many cases the connection between
the two elements of the composition is by no means obvious, but probably
its origin may often be traced to some classical verse or expression.
645, Kakemono, on silk, painted in colours. Size, 23|^ x 37|.
Shojo revelry,
A number of boyish figures with long red hair are grouped
around a huge earthen pot filled with sake. One of them is postur
ing merrily upon the rim of the vessel, while two others beat

208 JAPANESE PICTORIAL ART.
time to the performance below, and the rest are rolling upon the
ground in various stages of intoxication.
Painted by Hei-j6 Shi-san Hei- yen. Signed. Seal. Eigh
teenth century.
The Shojo is a mythical creature supposed to live by the sea-shore.
The fishermen are said to take advantage of its weakness for sake to entrap
it in order to extract a dye from its long red hair, and its blood is also
used as a dye by the ' Western foreigners.' In popular art it appears to be
a type of jovial and reckless intemperance.
It is delineated in the Butsu zd dzu-i (vol. iv.), which states that
"According to the book Inne, the Shojos are like monkeys, but have
human faces, and voices like children ; they can talk intelligibly, aud are
fond of sake."
The original account of the animal is drawn from a Chinese book on
natural history, in which its habits and characteristics are fully described.
646. Kakemono, on silk, painted in colours. Size, 50^ x I9J.
Fowls. Painted by Hitto Sen-tei. Signed. Two seals. Nine
teenth century.
647, Kakemono, on paper, painted in colours. Size, 36f x I2J.
Kwan Yu (see No. 218),
Painted by Ko-kwa-sai. Signed. Two seals. Nine
teenth century.
648 and 649. A pair of kakemonos, on silk, painted in mono
chrome. Size, 44| X 22.
Dragon and Tiger,
The head of the dragon is seen peering from an eddying storm-
cloud. The eyes and flaming appendages are heightened by a wash
of gold.
The tiger is conventional in treatment.
Painted by Ina-gaki. Signed To-sai. Seal. Nineteenth
century.
650, Kakemono, on silk, painted in colours. Size, 18^ x 9f.
Chinese landscape.
Painted by Kan-sui. Signed. Seal. Seal indicating
point of commencement at right upper corner. Nineteenth
century.
651. Kakemono, on silk, painted in colours. Size, 21f x 33.
Chinese landscape. Spring view.
Painted by Katsu-do at the age of seventy-one. Signed.
Seal. Eighteenth century.

SHOKI, (Page 217.) After Kitawo Masayoshi.

SHOJOS. (Page 208.) After Kitawo Masayoshi.

CHINESE SCHOOL. 209

652, Kakemono, on silk, painted in colours. Size, I8f X 22^.
The meeting of the Seven gods of Good Fortune. (See
p. 27.) .
Hotei, ^fibisa, Daikoku, and Jurojin appear in the foreground,
while Fukurokujiu upon a stork, Bishamon upon a cloud, and
Benten upon a white dragon are seen making their way through
the air towards their associates.
Painted by Katsu-do at the age of seventy-four. Signed,
Seal. Eighteenth century,
653, Kakemono, on silk, painted in colours. Size, 38| X 15,
Bird and peony.
Painted by Kaku-tei, Signed, Seal indicating point of
commencement at right lower corner. Poetical inscription.
Nineteenth century,
654 and 655. A pair of kakemonos, on silk, painted in colours.
Size, 38J X 13.
Birds and flowers.
Painted by Oka-da Kan-ein. Signed Kan-ein. Two seals.
Nineteenth century.
656. Kakemono, on silk, painted in colours. Size, 45| X 15J.
Cranes and pine-trees.
Painted by Oka-da Kan-ein. Signed Kan-ein To-een.
Seal. Nineteenth century.
657. Kakemono, on silk, painted in colours. Size, 42^ x I4f.
Ducks. Snow scene.
Painted by Kaku-sbn. Signed. Seal. Nineteenth century.
658. Kakemono, on silk, painted in colours. Size, 47J X I6|-,
Female Rishi on Phoenix, (Eogioku?)
Coloured in the style of the Ming dynasty.
Painted by Kaku-do, Signed, Seal, Nineteenth century,
659. Kakemono, on silk, painted in monochrome. Size, 51 x 22f,
Hawk, Winter scene.
Painted by Kai-an. Signed. Seal. Nineteenth century.

210 JAPANESE PICTORIAL ART.
660, Kakemono, on silk, painted in colours. Size, 40f X I3f,
Hawk and plum-tree,
Eapid sketch in ink, lightly coloured.
Painted by Kaku-eo-jin Bun-kwa, Signed. Seal. Nine
teenth century.
661 and 661a. A pair of kakemonos, on silk, painted in colours.
Size, 50i X I9|,
Pheasants.
Eapidly sketched and lightly tinted with colour.
Painted by O-nishi Kei-sai. Signed Kei-sai. Seal.
Dated in the third year of Tempo (1832).
662. Kakemono, on silk, painted in colours. Size, 39| x I3|.
Cranes, Painted by O-nishi Kei-sai. Signed Kei-sai. Seal. Nine
teenth century.
663. Kakemono, on silk, painted in monochrome. Size, 49| X 21|.
Egrets. Bain scene.
Painted by 0-nishi Kei-sai. Signed Kei-sai. Seal. Nine
teenth century.
664 to 666. A set of three kakemonos, on silk, painted in mono
chrome. Size, 40 X I4|^.
(1.) Bhadra,
A semi-nude figure of an aged man seated upon a rock, holding
the futsu-jin or priestly brush. The head is surrounded by a nimbus.
By his side stands a disciple, and a tiger lies crouched at his feet,
(2.) Panthaka,
An old man with enormously elongated eyebrows, grasping in
one hand the ringed staff, in the other a sphere of crystal. A boy
attendant bearing two manuscript rolls, and a demoniacal figure
holding up a begging-bowl, stand near by, and a dragon coiled
upon the ground is rearing its head towards the sacred jewel.
See Introduction to Buddhist School.
(3.) Cataract.
The picture, which is the centre-piece of the set, is at the first
glance startling in its apparent nothingness. It shows neither the
summit nor the bottom of the fall, and the greater part of the
surface is covered by lines indicating the vertical downpour of the

CHINESE SCHOOL. 211

waters, but on one side is seen a craggy prominence against which
the edge of the column dashes to form a miniature cataract and
then disappears with it into the spray mist below.
Painted by O-nishi Kei-sai. Nos. I and 2 bear the seal
of the artist. No. 3 is signed Kei-sai. Nineteenth century.
667. Kakemono, on silk, painted in colours. Size, 21 1 X 34.
Drawings and calligraphy by various artists,*
Chinese Sage, Moonlight scene.
Painted by Fugi-ho (?)
Chinese landscape, with flight of cranes.
Painted by Nan-kwa So-itsu.
Bamboos. Painted by Kwan-sai.
Peony, Painted by Kwan-sai. Signed. Seals. Nineteenth
century. • The production of a kakemono or album, by the joint contribution
of the various members of a little coterie of artists and calligraphists,
is very common. Several examples are included in the collection.
668. Kakemono, on silk, painted in colours. Size, 45J x I7|,
Yang Kwei-fei (Jap. Yokihi).
The priucess is playing upon a stringed instrument somewhat
resembling the koto. As usual the drawing of the face is insipid
and incorrect, notwithstanding the evident desire of the artist
to represent the highest type of female beauty.
The colouring is rich and harmonious, in the style of the Ming
dynasty. The blossoming plum-tree introduced into the picture indicates
the season as early spring.
Painted by Kei-zan. Signed Kei-zan Chin-jin. Two
seals. Poetical inscription in upper part of picture. Nine
teenth century.
The Emperor Ming Hwang, of the T'ang dynasty (r.. 713-762 a.d.)
reigned for twenty years with the wisdom of Solomon, but on reaching
mid-age he unitated Solomon in his dechne and gave himself up to sensual
indulgences. At this time the reports of the extraordinary beauty of a
neighbouring princess named Yang Kwei Fei reached his ears and led him
to abduct her by force. In her arms he forgot the welfare of his kingdom,
P 2

212 JAPANESE PICTORIAL ART.
he oppressed his people, disgraced his old and faithful retainers, and heaped
honours upon his new mistress and upon her unworthy relatives. At length
his weakness and the greed and brutality of his favourites bred rebellion,
and the men who rallied round the falling throne compelled the besotted
monarch to decree the execution of those who had been the prime cause of
his misfortunes. The Princess Yang Kwei Fei was beheaded, after her
brother had suffered a like punishment, and Ming Hwang, restored to his
kingdom, wasted his remaining years in weeping her loss.
669. Kakemono, on silk, painted in colours. Size, 45 X 17.
Mountain scenery, with Hii Yeo (Jap. Kioyu) and Ch'ao
Fu (Jap. Sopu).
Hii Yeo, seated by the side of a cascade, washes his ear, while
Ch'ao Fu leads his ox away from the stream into which the water is
falling. Painted by Kei-eiu. Signed Kei-eiu Gwai-shi. Seal.
Nineteenth century.
Hii Yeo, the counsellor of the legendary Emperor Yao (2357 B.C.), was a
Chinese Diogenes, who carried to its highest pitch the philosophy of con
tempt for worldly ambition and sensual gratification. Like the Grecian
cynic, he endeavoured to rid himself of all superfluities ; and it Is related,
that when a gourd, which he was accustomed to use as a drinking vessel,
chanced one day, while hanging from the branch of a tree, to make sweet
music with the breeze, its owner resented its appeal to his asthetic instincts,
and, casting it away, would thenceforth avail himself of no other ctip than
the hollow of his palm.
Ch'ao Fu, the " Nest father," his chosen associate, was a hermit of
congenial views and practices.
The Emperor having heard of the profound wisdom of Hii Yeo, sent to
beg him to accept the direction of the government of the mpire. The
sage, after listening to the invitation, washed his ear in a little cascade to
remove the taint it had contracted by the admission of sounds provocative
of worldly ambition, and his friend Ch'ao Fu, who was at the moment
bringing his ox to drink below the spot, led the animal away on hearing
the cause of the ablution, and would not permit its thirst to be quenched
at the morally-infected stream.
670. Kakemono, on silk, painted in colours. Size, 35f X 12.
Lin Hwo-ching (Jap. Einnasei).
A Chinese sage accompanied by two white cranes.
Painted by Kin-to, Signed Kin-t6 Ama-no Shiu, Seal,
Dated in the period Genji (1864-5).
Lin Hwo-ching (Jap. Rinnasei, or Rin-kwa-sei) was a famous poet of
the eleventh century, who never committed his poems to writing, alleging
as a reason that he cared not to be known to posterity. He died during

CHINESE SCHOOL. 213

the reign of Jen Tsung, the fourth Emperor of the Sung dynasty
(1023-1064 A.D.).
He is always represented in association with a crane.
See E-hon Rio-zai, vol. ix.
671 and 672. A pair of kakemonos, on silk, painted in colours.
Size, 551 X 30J.
Peonies and insects.
This picture iUustrates one of the defects of Sinico-Japanese art,
the want of chiaroscuro. The bright colours of the flowers and
leaves, applied in large masses and unrelieved by shadow, produce a
crudeness of effect that the skill displayed in the drawing and
grouping is insuf&cient to correct.
Painted by Ko-shin, Signed, Seal, Eighteenth century,
673. Kakemono, on silk, painted in colours. Size, 11 X 11.
Japanese monkey and young.
Painted by Kwa-zan. Signed. Seal. Nineteenth century.
The native monkey drawn by the Shijo artists and occasionally by the
pupils of the older schools, is the Inuus or Macacus speciosus, the only
representative of the tribe in Japan. According to Dr. Rein, it is common
in Shikoku, Aki, Kiiishiii, and Higo, and extends northward as far as the
41st parallel of latitude. It is depicted in Siebold's ' Fauna Japonica.'
The long-armed monkey seen in the works of the older painters is
copied from Chinese pictures, and is unknown in Japan.
The monkey is said to be the messenger of the Shinto Divinity,
0-kuni-nushi, who is worshipped as San no Gongen at the temple of
Hiyoshi, and is also regarded as a servant of the Divinity of Hiye ; whence
its image is placed on each side of the gate of the Shinto Temple of Hiye
in Tokio. In Nos. 2281 and 2114 the wand, decorated with strips of
paper (gohei), and placed in the hand of the animal, probably marks its
religious status.
A common motive in glyptic art is a simian trinity called " Mizaru,
Iwazaru, and Kikazaru " (sight, speech, and hearing monkeys). One of
the animals is represented with his hands pressed over his eyes, another
closing his mouth in a similar manner, and the third .shutting his ears ;
" indicating that they will neither see, say, nor hear anything that is
evil." A stone carving of the group is seen near Tokio where the
Tokaido crosses the Yokota river. (See ' Handbook for Japan.')
674. Kakemono, on silk, painted in colours. Size, 35 X 13^
Birds and flowers. Hawk pursuing sparrows.
The head of the hawk is foreshortened in such a manner as to
give it the aspect of the face of an owl.
Painted by Ko-getsu. Signed Hokkio Ko-getsu. Two
seals. Eighteenth century.

214 JAPANESE PICTORIAL ART.
675. Kakemono, on silk, painted in colours. Size, 421 x 16J.
The perils of earthly life,
A man closely pursued by a tiger has suspended himself over the
edge of a precipice by a branch of wistaria. The wild beast
rages above him, and below, in a seething mass of water, yawns a
pitchy gulf encircled by the coils of a ferocious-looking dragon,
while the slender support that gives him temporary safety is slowly
yielding under the teeth of a rat that gnaws at its root. The artist
has done his best to depict the victim's agony of apprehension in
the supreme moment when he instinctively draws up his feet away
from the monster into whose jaws he must in a few moments be
precipitated by the rupture of the few half-rent fibres that form
his only link to earth.
Painted by Ko-kei, Signed, Seal, Nineteenth century.
The subject, which is repeated with some variations in No. 1007, is
drawn from a Japanese version of the Life of S'&kyamuni, and is intended
to illustrate the perils that beset man during his wretched existence in
this world. The passage occurs in the course of a speech made by the
Deva Suddhavasa when he visits the young S'akyamuni after the Three
Visions, and is thus translated by Mr. Satow : —
" Man is like a wretch who has fallen into a well and strives in anguish
to support himself by a tuft of grass which juts out from the side. Below
him lies coiled a huge serpent with gaping jaws, a ferocious tiger watches
above with open mouth impatient to devour him if he ascends, and an
army of rats gnaw the roots of the grass. In such a position neither wife
nor child, treasures nor exalted rank, can help him, and if the keen-
edged blast of impermanency strikes upon him he is deprived of all in a
moment."
676. Kakemono, on silk, painted in colours. Size, 33^ X 12|.
The seven Daikokus.
Seven figures of Daikoku, painted to resemble each other as closely
as impressions struck from the same block.
Painted by Ko-ga, Signed, Seal. Nineteenth century,
677. Kakemono, on silk, painted in colours. Size, I4| x 18f.
The Pox Wedding (" Kitsunb Yomeiei ").
A long procession of foxes attired in burlesque imitation of a
bridal party. The forepart of the file, winding along the narrow
paths between the rice fields, is already lost in the hazy mist of
the sun-lit rain-drops and vapours of the summer shower. The
style is somewhat like that of the Shijo school.
Painted by Ko-zan. Seal. Nineteenth century.
A version of the Japanese story of the Fox Wedding is given in Mitford's
' Tales of Old Japaa.' After a sketch of the parentage of the vulpine bride-

CHINESE SCHOOL. 215

groom atid of the ceremonials preliminary to the engagement, the tale
goes on to say that " an auspicious day was chosen for the bride to go to
her husband's house, and she was carried off in solemn procession during a
shower of rain, the sun shining all the while." The domestic romance
then concludes in the usual manner with the loving devotion of the couple
and the rearing of periodical litters of dutiful cubs.
678, Kakemono, on silk, painted in colours. Size, 22\ x I0|.
Kwan Yii as God of War (P),
A burly figure, clothed in the attire of a personage of high rank,
is standing upon a cloud attended by a boy who holds a sword of
the ancient Chinese form.
Painted by Ko-zan at the age of seventy. Inscription.
Signed. Seal. Dated in the 5th year of Ansei (1858),
679. Kakemono, on silk, painted in colours. Size, 22| X 15^.
Two fan-shaped pictures.
(1.) The Seven Poets,
Painted in the style of the Yamato school.
(2.) View of Mount Fuji,
The picture shows only the white truncated cone of the peerless
mountain, and in the foreground a threadlike stream with a group
of rushes. Painted by Ko-zan. Signed, Seal. Nineteenth century.
680, Kakemono, on silk, painted in colours. Size, 38J x lOf.
Flower and sickle.
Painted by Ko-zan, Signed. Seal. Nineteenth century.
The sentiment of the picture, repeated as it is in a thousand ways by
the Japanese poet and artist, needs no explanation.
681. Kakemono, on silk, painted in colours. Size, 39| X Ilf,
Sparrows and bamboos.
The bamboos in silhouette, the sparrows in colour.
Painted by Ko-zan at the age of eighty-two. Signed
H6-GEN Ko-zan. Seal. 1870,
682, Kakemono, on silk, painted in colours. Size, 37| X lOf,
Sparrows and flower.
Painted by Ko-zan, Signed. Seal. Nineteenth century.

216 JAPANESE PICTORIAL ART.
683. Kakemono, on silk, painted in colours. Size, 50J X 22f,
An Imperial summer palace in China.
The painting embodies forcibly the Oriental conception of an
earthly Paradise. The majestic proportions of the palace, the
spacious apartments with their gaily-coloured panels, the massive,
richly ornamented gable roofs, the stately entrance porches, the broad
tesselated verandahs, the trellis-bordered garden terraces, the cool
pavilion jutting out over the placid waters, and the great lake that
stretches far away in an expanse broken only by verdant islets,
combine to form a tout ensemble that has no counterpart in European
magnificence. Painted by Yasu-dzu-mi No-sa of Echigo. Nineteenth
century (present reign),
684. Kal?emono, on silk, painted in colours. Size, 40 X 12,
Magpie and flowers.
Painted by Kin-zane. Signed Hogen Kin-zane. Seal.
Temp, nineteenth century.
685. Kakemono, on silk, painted in colours. Size, 37| X 10|,
Peony. Painted by Ki6-k6, Signed, Seal, Nineteenth century,
686. Kakemono, on silk, painted in colours. Size, 47| X 2IJ.
Kwan Yii on horseback. (See No. 218.)
Painted by a Kano artist in the style of the Ming period. Eich,
rather elaborate colouring, with a kind of false chiaroscuro to
accentuate the features, the folds of the dress, and the contours of
the horse. Painted by Kei-zan Moei-yoshi (Kano School). Signed.
Two seals. Nineteenth century.
687. Kakemono, on silk, painted in colours. Size, 36| X 16f.
The Emperor Ming Hwang (Ytjen Tsung, Jap. Genso)
and the two Demon-quellers.
The Emperor, with an attendant, is gazing at the spectacle of
Chung Kwei (Jap. Shoki) dashing one evil spirit to the ground and
forcing his finger and thumb into the eye-sockets of another ; while
at a lower stage of the picture are seen a number of unfortunate
demons receiving their punishment at the hands of a second Chung
Kwei, who difiers from the first only in the colour of his garments.

CHINESE SCHOOL. 217

Painted by Masa-mochi. Two seals. Nineteenth century.
Chung Kwei, the Demon-queller, a favourite myth of the Chinese,
was supposed to be a ghostly protector of the Emperor Ming Hwang
(713-762 A.D.) from the evil spirits that haunted his palace. His story
is thus told in the E-hon koji-dan : " The Emperor Genso was once
attacked by ague, and in his sickness dreamed that he saw a small demon
in the act of stealing the fiute of his mistress Yokihi (Yang Kwei-fei). At
the same moment a stalwart spirit appeared and seized the demon and
ate him. The Emperor asked the name of the being, who replied, ' I am
Shiushi Shoki of the Shunan mountain. In the reign of the Emperor
Koso (Kao-tsu) of the period Butoku (Wu-T@h, 618-627 a.d.) I failed to
attain the position to which I aspired in the State examination, and, being
ashamed, I slew myself; but at my burial I was honoured, by Imperial
command, with posthumous rank, and now I desire to requite the favour
conferred upon me. To this end I will expel all the devils under heaven.'
Genso awoke and found that his sickness had disappeared. He then
ordered Go Doshi (Wu Tao-tsz') to paint the portrait of the Demon-
queller, and distributed copies of it over the whole kingdom."
Chung Kwei is usually drawn as a burly, tniculent giant clad in official
garb and armed with a two-edged sword. He is sometimes shown riding
upon a lion, but more commonly is engaged in punishing or compelling
menial service from a band of pigmy demons, who adopt the most comical
subterfuges to escape the keen eye of their persecutor. The subject forms
one of the most frequent inspirations of the Japanese artist, and appears in
numberless specimens of porcelain, ivory caiving, and other works. The
netsuke carver usually treats the theme from a comic aspect, aud delights in
the invention of ingenious devices by which the little spirit of evil is made
to outwit his huge enemy.
688. Kakemono, on silk, painted in colours. Size, 43f X 14|.
Birds and peonies.
Painted by Masa-yuki. Signed Hoki no Kami Masa-
YUKi. Two seals. Early part of nineteenth century.
689. Kakemono, on silk, painted in colours. Size, I7f X 22\.
Ch'ao Yiin (Jap. Cho-un) saving the child of Liu-pei
(Jap. EiuBi or Gentoku).
A kneeling warrior clasping an infant in his arms.
Painted by Fu-yo Moku-yo. Signed. Seal. Dated in
the monkey year of Bunkwa (1814).
Ch'ao Yiin was a famous retainer of Liu-pei and one of the heroes of the
Wars of the Three Kingdoms. When Liu-pei was defeated by Ts'ao Ts'ao,
in 195 A.D., Ch'ao Yiin took charge of his two wives and his infant son, and
succeeded in rescuing the latter by tying him to his armour and fighting
a way through the enemy. In the course of his escape while he was
pursued by one of the rival leaders, a great hole in the ground suddenly
yawned before him, but urging his horse to a mighty leap, he cleared the

218 JAPANESE PICTORIAL ART.
chasm. At length, after slaying more than fifty generals of the adverse
forces, he delivered the child in safety to its father (E-hon Rio-zai). Liu-
pei was wont to express his admiration of his adherent's courage by ex
claiming, " His body is one mass of gall " (courage). He died 228 a.d.
(Mayers). See also No. 1376.
690. Kakemono, on silk, painted in colours. Size, 51 X 21|,
Emblems of longevity, " Kai-kaku-ban-t6."
A white crane swimming on the sea near a rock upon which is
rooted au ancient peach-tree. In the background appears the huge
vermilion disc of the setting sun.
Painted by Ga-ko Muku-ga. Signed, Seal, Nine
teenth century.
This subject is a very common one in Japanese art and is of great
antiquity. The original is said to have been painted by a Chinese artist to
embody a dream of the Emperor Ming Hwang of the T'ang dynasty.
691. Kakemono, on silk, painted in colours. Size, 34 x I5J.
Tigers.
H air elaborately painted, but drawing conventional.
Painted by Momo-kawa. Signed. Seal. Eighteenth
century.
692. Kakemono, on silk, painted in colours. Size, 4If x 14|.
Birds and flowers.
Painted by Mu-eio. Signed. Two seals. Nineteenth
century.
693, Kakemono, on silk, painted in colours. Size, 12J X lOf.
Chinese landscape. Night scene.
Mountain scenery : upon the summit of an eminence surmountiug
the clouds, is seen a large mansion approached by a wooden passage
that scales the ascent and bridges over the clefts in the rocks.
The full moon presides over the scene, but does not cast any
shadows or affect the character of the light in the picture.
Painted in the style of the Ming period by Haeu-ki
Nan-ko. Signed Nan-ko. Seal. Early part of nineteenth
century.
694. Kakemono, on silk, painted in colours. Size, 21| X 34.
Peacocks, with pine and roses.
The birds are treated in a decorative manner. One stands facing
the spectator and expands its tail in a manner that displays the
whole of its glories.
Painted by Haeu-ki Nam-mei. Signed Nam-mei. Seal.
Nineteenth century.

CHINESE SCHOOL. 219

695 and 696. A pair of kakemonos, on silk, painted in colours.
Size, 55i X 20f .
Chinese landscape. Moonlight.
The two kakemonos, when placed side by side, are seen to form
corresponding halves of a single picture. They represent a lake fed
by mountain streams, washing the feet of the precipitous rocks that
encircle it or jut out from its bed as islets or peninsulas. The
trees are shedding their autumn leaves, the full moon above is
reflected on the waters, and two pleasure-boats, occupied by Chinese
sages, are drifting over the rippled surface.
The picture is well conceived, but loses immeasurably by the
imperfection of the laws that have guided its execution. The still
lake mirrors nothing but a circular effigy of the moon ; the rocks,
with which the geologist might be inclined to quarrel, display
some capriciously disposed shading, but no shadows ; and although
the presence of the moon announces a night scene, the light is
that of day.
Painted by Haeu-ki Nam-mei at the age of seventy.
Signed. Two seals. Nineteenth century.
697 and 698. A pair of kakemonos, on silk, painted in colours.
Size, 49f X 21.
1, Jigoku Keigan,
A courtesan clad in a silken robe the ample folds of which are
covered with a design representing the Tortures of Hell. Her hair
is ornamented with large pins.
2. Ikkiu.3
An old priest seated in a Buddhist chair.
Painted by Nam-mei, Signed. Seal. Nineteenth century.
Jigoku (Hell) Reigan was a celebrated hetaira of the fifteenth century,
who is said to have received a literary education from the famous priest,
painter, and poet, Ikkiu. She is here shown in the ceremonial or proces
sional attire which gave rise to the grim prefix to her name.
699, Kakemono, on silk, painted in colours. Size, 38 X 13|,
Hawk.
The bird is resting upon the trunk of a pine-tree, of which a
branch projects in front of the vermilion sun.
The drawing is an admirable example of the quicker style of the
artist. The sun is probably introduced as a decorative symbol.
Painted by Nam-mei. Signed. Seal. Nineteenth century.

220 JAPANESE PICTORIAL ART.
700. Kakemono, on silk, painted in colours. Size, 64J x 33,
Crane, sun, rock, and peach-tree.
A slightly different treatment of the subject of No. 690.
Painted by Haeu-ki Nam-mei. Signed. Seal. • Nine
teenth century.
701. Kakemono, on silk, painted in colours. Size, 39| x 12^.
Birds and flowers. Moonlight scene.
Painted by Nan-eo after Getsu-bi-tei, Signed Nan-bo.
Seal. Nineteenth century.
702. Kakemono, on silk, painted in colours. Size, 32 x 31f.
K'i-lin (Jap. Kiein).
A deer-like animal with one horn. The head is somewhat like
that of a dragon ; the greater part of the body is blue, diversified
with whorls of golden hair, aud the throat and abdomen are red and
hairless ; the hoofs are like those of a deer ; the mane and tail
resemble those of the conventional lion ; and the shoulders are
adorned with the flame-like attributes of supernatural animals.
Painted by Nan-kei. Three seals.
The K'i-lin, one of the four Supernatural Creatures, is a composite
animal having the body of a deer, the tail of an ox, and a single horn. In
drawings, the tail is usually curled and bushy, like that of the " Chinese
Lion," the hair is of azure tint, and the shoulders bear flame-like append
ages significant of the divine nature of the being.
It is described as the noblest form of the animal creation and an emblem
of perfect good. Its appearance, like that of the Phoenix (Feng Hwang)
and Red Hare, is generally a happy omen. As a Buddhistic animal it is
said to tread so lightly as to leave no footprints, and so cautiously as to
crush no living creature.
The appellation K'i-Lin is compounded of K'i, the male, and Lin, the
female animal.
703, Kakemono, on silk, painted in colours. Size, 37 X 15^.
Gama Sennin.
A wild-looking being in Chinese dress, holding in his hand a
peach and a flowering branch of the tree A large three-legged
white toad sits upon his shoulder.
Painted by Nan-gen, at the age of seventy- eight, after a
picture by £ki-kei. Signed. Two seals. Dated in the
4th year of Bunkwa (1807),
Gama Sennin is the Japanese appellation of a Taoist Rishi, of whom
little can be discovered beyond a statement that he lived in the mountains
and had as a companion, a frog or toad (whence the name " Gama "). In

CHINESE SCHOOL. 221

the Ressen zen den he is identified with a mysterious drug-seller with
a somewhat batrachian countenance, who was once seen to assume the form
of a frog while bathing.
He is generally represented as a poorly-clad man with flat, commonplace
features. His companion sometimes assumes the form of a frog, some-
'• times that of a toad, and is generally distinguished from the rest of its
kind by a white skin and the substitution of the two hind legs by a single
limb. It is occasionally depicted exhaling a vapour in which appears a
mirage of a walled city.
704. Kakemono, on silk, painted in colours. Size, 43J X 13.
Ducks and chrysanthemums.
Painted by Nan-zan. Signed, Seal, Nineteenth century,
705, Kakemono, on silk, painted in colours. Size, 37f X 13|.
Two pictures,
(1,) Si Wang Mu (Jap. Sei-6-b6) and the Emperor Wu Ti
(Jap, Bu-TEi).
The goddess is gazing lovingly upon the Emperor, who holds a
branch of the peach-tree of immortality.
Painted by Nan-kwa Sho-shi. Signed. Seal.
(2.) Chrysanthemums, &c.
Painted by Settei So-itsu, Signed, Seal, Nineteenth
• century. Si Wang Mu, the Royal Mother of the West or Queen of the Genii,
is a legendary being, whose dwelling was a mountain palace in Central
Asia, where she held court with her fairy legions and received the great
Taoist Rishis and certain favoured mortals. Her amours with the Han
Emperor Wu Ti (died 87 B.C.) have given much occupation for both
author and artist.
In paintings she is usually depicted as a beautiful female in the attire
of a Chinese princess, attended by two young girls, one of whom holds a
large fan, the other a basket of the peaches of longevity. The assemblage
of the Rishis at Kw'gn Lun, her mountain home, is one of the common
art-motives of the older Chinese and Japanese artists.
706, Kakemono, on silk, painted in colours. Size, 51^ x I6f .
Cranes, &c.
Artist unknown. Two seals. Seal indicating point of
commencement, at right lower corner. Nineteenth century.
707. Kakemono, on silk, painted in colours. Size, 55 X 29f .
Birds and flowers.
Painted by 0-k6. Signed Eiyo-un San-jin 0-ko. Two
seals. Nineteenth century.

222 JAPANESE PICTORIAL ART.
708. Kakemono, on silk, painted in colours. Size, 37| X 13^.
" Kai-kaku-ban-to." (See No. 690.)
Painted by Eei-shiu. Signed. Seal. Nineteenth century.
709. Kakemono, on silk, painted in colours. Size, 22| x 32f.
Chinese girls playing upon various instruments of
music.
Coloured in the style of the Ming period.
Painted by Een-zan. Signed Een-zan Jo-shi (female
artist). Dated in the cyclical year Tsuchi no ye Inu (1838.)
710, Kakemono, on silk, painted in colours. Size, 37 x 13|.
Quails and lespedezas.
Style somewhat like that of Shijo school.
Painted by Ein-shin, Signed. Seal. Nineteenth century.
711. Kakemono, on silk, painted in colours. Size, 42^ x 14J,
Golden-crested pheasant and mate.
Painted by Ein-sai, Signed. Two seals. Nineteenth
century,
712, Kakemono, on silk, painted in colours. Size, 14^ x 16^.
Leopard.
Very conventional in drawing.
" Painted from life " by Ein-sei. Signed. Seal. Nine
teenth century.
713. Hiouen Thsang (Jap. Sanzo Hoshi). Size, 441 x I6|.
The Buddhist pilgrim in priestly robes, his brow stamped with
the Urna of the Bodhisattva, is mounted upon a white horse
and travels through the clouds with his fabulous escort, a monkey,
a boar, and a demon.
Painted by Kio-shiu Kon. Signed. Two seals. Nine
teenth century.
Hiouen Thsang, or Yiian Chwan, the famous Chinese priest who spent
seventeen years in India in the seventh century collecting Buddhist relics
and scriptures. The record of his travels, as translated by M. Stanislas
Julien (1853), is well known, and gives many particulars of great interest
to students of the religion ; but the nan-ation is so interwoven with Bud
dhistic " romance " that it is often difBcult to separate truth from fiction.

CHINESE SCHOOL. 223

714. Kakemono, on silk, painted in colours. Size, 45| X 19^.
Chinese landscape.
Painted by Eitzu-zan. Signed. Two seals. Poetical
inscription. Nineteenth century.
715, Kakemono, on silk, painted in colours. Size, 43 x I7f.
Flock of wild geese.
Painted by Eiu-g6-ka, Signed. Two seals. Dated in the
cyclical year Hinoto I. (1827 ?).
716. Kakemono, on silk, painted in colours. Size, 38f x I3|.
Fowls and plum-tree.
Painted by Eiu-koku-den Shige-aki. Signed. Two
seals. Early part of nineteenth century,
717, Kakemono, on silk, painted in colours. Size, 44J x I7f ,
The Merry Genii (Wago-jin),
Two laughing figures in Chinese dress, and having the long
straight hair commonly attributed to supernatural beings. One
bears a lotus ; his companion holds a Buddhistic sceptre aud a salver
filled with corals, precious stones, &c., and tramples beneath his
feet other objects symbolical of good fortune.
Painted by San-kei. Signed. Seal. Inscription in seal
characters signed by Heirin. Eighteenth century.
718, Kakemono, on silk, painted in colours. Size, 39f x 13-|,
Chinese landscape,
A sage's summer retreat overhanging a mountain torrent. Some
boys are carrying books up the path leading to the building.
Painted by Sai-kei. Signed Sai-kei San-jin. Seal, Dated
in the period of Bunsei (I818-I830).
719. Kakemono, on silk, painted in colours. Size, 42f x 15.
The Hundred Cranes.
A number of cranes have alighted upon the branches of two
ancient pines growing upon the shore of Horai. (P'eng Lai Shan.)
A troop of their companions are seen winging their way through the
sky across the lurid face of the sun, while Sacred Tortoises emerge
in crowds from the sea to join the group awaiting them upon the
Holy Mount. Painted by Sa-take Yei-kai. Signed, Seal, Nine
teenth century.

224 JAPANESE PICTORIAL ART.
Mount Horai is the P'eng Lai Shan of the Chinese, one of the Three
Isles of the Genii, which were believed to lie in the Eastern sea opposite
to the coast of China. The happy group was the paradise of the Genii,
who there maintained a sempiternal vigour by quaffing the waters of the
Fountain of Life which flowed for them in a perpetual stream. The pine,
the plum, the peach-tree, and the sacred fungus (ling-che) grow for ever
upon its shores ; the hairy-tailed tortoise swims in the waters that wash
its rocky shores; and the ancient crane builds its nest upon the giant
limbs of its never-dying pine.
The Emperor She Hwang-ti is- said to have despatched a body of young
men and maidens, in the third century B.C., to seek this home of Eternal
Life, and it has been suggested, very daringly, that the members of this
expedition were the ancestors of the present Japanese.
A miniature of Mount Horai with its accessories forms a part of the
paraphernalia of the wedding ceremonial in Japan.
720 and 721, A pair of kakemonos, on silk, painted in colours.
Size, 38 X 14.
Carp.
In the one picture the fish is leaping from the wave, in the
other it skims the surface of the water.
Painted by Jo-yen Sada-toea. Signed Sada-toea, Seal,
Eighteenth century.
The carp (Cyprinus Carpio) in Japan serves as an emblem of vigour
and perseverance. It is frequently drawn in the act of leaping the cataract,
success in the ascent being fabled to win its promotion to dragonhood.
This belief is evidently derived from the Chinese legend, that the sturgeon
of the Yellow River makes an ascent of the stream in the third moon of
each year, and if successful in passing above the rapids of the Lung Men
becomes transformed into a dragon.
722, Kakemono, on silk, painted in colours. Size, 62f x 24|,
Pien Ts'iao (Jap. Henjaku) and Ch'ang Sang Kung
(Choso Kun or Unto Sensei),
Pien Ts'iao, in the dress of a Chinese scholar, is reading a manu
script roll, and listening respectfuUy to the explanations of a wild-
looking being clothed in leopard-skins.
Painted by Son-sai, Signed, Seal. Nineteenth century,
Pien Ts'iao was a famous Chinese physician of the sixth century B.C.
who is said to have dissected the human body, and to be the " discoverer"
of the fanciful channels of the vital spirits, as well as the inventor of the
complex pseudo-physiology and pathology which even in the present day
can number more believers than all the science of the West. His super
natural powers in the art of healing are attributed to the instruction of the
rishi Ch'ang Sang Kung.

CHINESE SCHOOL. 225

723, Kakemono, on silk, painted in colours. Size, 32| X 20.
Carp. Painted by Sasa-yama. Signed Yo-i Fuji-waea I-den.
Two seals. Eighteenth century.
724. Kakemono, on silk, painted in colours. Size, 30 x 12.
Cherry blossoms. Ornamental bordering.
The cherry-branch and flowers which form the subject of the
picture are painted in silhouette. The bordering is painted with
a flower design in colours upon the same piece of silk.
Painted by 0-s5 San-setsu. Signed. Seal. Dated in
the second year of Ansei (1855).
725. Kakemono, on silk, painted in colours. Size, 37^ X 16^.
Autumn leaves and flowers.
Painted by Sen-shiO. Signed. Two seals. Nineteenth
century,
726 and 727, A pair of kakemonos, on silk, painted in colours.
Size, 371 X 13J.
Insects and climbing plants.
Great delicacy of execution.
Painted by Sai-zan, Signed. Seal. Nineteenth century.
727a, Kakemono, on silk, painted in colours. Size, 35^ X Ilf.
Fowls. Painted by Sei-min. Signed. Seal. Nineteenth century,
728. Kakemono, on silk, painted in colours. Size, 48| x 21|.
Peacock, pine, and peony.
Style of painting resembles that of Shijo school.
Painted by Seppo. Signed, Two seals. Nineteenth
century.
729. Kakemono, on silk, painted in colours. Size, 36 x 13|.
Pea-hen and peony.
Painted by Seppo, Signed, Seal, Nineteenth century,
730, Kakemono, on silk, painted in colours. Size, 5If x 21.
Taiko Hideyoshi and Date Masamune looking down
upon the castle of Odawara.
The portrait of the formidable Taiko is said to be historically
correct. Q

226 JAPANESE PICTORIAL ART.
Painted by Settan (Setsu-an) " after an ancient picture,"
Signed, Seal, Nineteenth century.
The siege of Odawara, which took place in 1590, resulted in the over
throw of the later Hojo clan. The attack was conducted by lyeyasu, and
at this time, Hideyoshi is said to have suggested to the future Shogun that
Yedo would be the best site for the capital of the Kwanto (see GrifSs'
' Mikado's Empire ').
Hideyoshi is better known to foreigners by his title as an ex-regent,
Taiko Sama or Taico.
731 and 732. A pair of kakemonos, on silk, painted in colours.
Size, 411 X 16.
Peacock and hen, with flowers.
Painted by Settan. Signed. Seal, Nineteenth century,
733, Kakemono, on silk, painted in colours. Size, 51| x 21|.
Chinese landscape,
A good example of the composition of the Chinese landscape. In
the foreground lies a deep, peaceful valley, intersected by a winding
stream that is fed by a neighbouring cascade ; upon a hUly slope
within sound of the roar of the waterfall, appears a paviHon of the
ancient Chinese form ; lofty hills clad with vegetation rise in the
mid-distance ; and the scene is closed in behind by bluish angular
silicic peaks. The effect is highly picturesque, and presents little
resemblance to the more modem pictures of the willow-pattern
type, which in Europe are considered to represent the true spirit
of Chinese art.
Painted by Settan " in imitation of the pencil of the
Sung artists." Signed. Two seals. Dated in the cyclical
year of Kinoto I. (1815).
734. Kakemono, on silk, painted in colours. Size, 43 X 17^,
Birds and flowers.
Painted by Te-ki Sangen " in the style of the pencil of
Jo-so-SHi." Signed. Two seals. Nineteenth century,
735. Kakemono, on silk, painted in colours. Size, 50^ X 13f,
Birds and flowers.
Artist unknown. Seal (Shimbo?) Inscription, Nine
teenth century.
736, Kakemono, on silk, painted in colours. Size, 50| x 21 J.
Hawk.
Freely outlined in ink, and lightly washed with colour.

CHINESE SCHOOL. 227

Painted by Yama-guohi Sekkei, Two seals. Eighteenth
century.
737, Kakemono, on silk, painted in colours. Size, 40J X I2f ,
Bishamon (Vais'eamana). See page 39.
Painted in black and gold.
Painted by Sei-itsu. Signed Tan-sei Gio-ja Sei-itsu,
Seal, Nineteenth century,
738 and 739, A pair of kakemonos, on silk, painted in mono
chrome. Size, 37J X Ilf.
Chinese landscapes.
Mountain scenery. No. 739 shows a winter view of a mountain lake.
Painted by Hasb-gawa Settei (an artist of the Ukiyo-ye
school) at the age of eighty. Signed Set-tbi. Seal.
Nineteenth century,
740, Kakemono, on silk, painted in colours. Size, 41| X 17f.
Birds and flowers.
Painted by Seki-sui Yen-ko, Signed, Seal, Dated in
the cyclical year Kinoto Tori (1825),
741, Kakemono, on silk, painted in colours. Size, 49^ X 18,
Bird and flowers.
Painted by Kiu-shun Sei-toku. Signed. Two seals.
Dated in the cyclical year Hinoye M'ma (1846).
742. Kakemono, on silk, painted in monochrome. Size, 36^ X 15 J.
Wild geese.
Painted by Ishi-muea Shi-bun. Signed. Two seals.
Nineteenth century.
Seal indicating point of commencement at right lower corner.
743, Kakemono, on silk, painted in colours. Size, I8| X 35f .
Peacocks and roses.
Painted by Saku-eai Shiu-zan (a female artist). Signed
Shiu-zan Jo-shi. Early part of nineteenth century.
744 and 745. A pair of kakemonos, on silk, painted in colours.
Size, 43 X 16f.
(1.) The Hundred Crows.
(2,) The Hundred Egrets,
Painted by Shiu-ki, Signed, Seal. Nineteenth century.
The first of the pair is signed Shiu-ki Ko-jin, or the ancient
Shiu-ki ; the second bears only the characters Shiu-ki. Q 2

228 JAPANESE PICTORIAL ART.
746. Kakemono, on silk, painted in colours. Size, 54| x 27J,
Peacock and hen, with the pine and peony.
The painting of the tree is far less conventional than in the
works of the Kano school.
Painted by Shi-ko So-Em. Signed. Two seals. Early
part of nineteenth century.
747. Kakemono, on silk, painted in monochrome. Size, 42 x 18J.
Squirrels and vine. Moonlight,
This is a reproduction, but of original composition, of an old
Chinese motive. The first picture of ' The Squirrel and Yiue '
appears to have been painted by Ming Yijen Chang, a famous artist of
the Sung dynasty, and has been repeated by innumerable copies in
Japan. The original has been engraved in the Wa-kan mei-gwa yen.
Painted by Shi-ko So-Eusr, Signed, Two seals. Early
part of nineteenth century,
748, Kakemono, on silk, painted in colours. Size, 40J X 12|.
Sparrows quarreling.
Painted by Shi-ko So-ein. Signed. Two seals. Early
part of nineteenth century.
749. Kakemono, on silk, painted in colours. Size, 39^ X 16^.
Peony. Painted by So-sho. Signed. Seal. Nineteenth century.
750. Kakemono, on silk, painted -in colours. Size, 37|- X 13|.
Chinese landscape. Snow scene.
Painted chiefly in ink, water and buildings lightly washed with
colour. Painted by Sh6-to. Signed. Seal. Nineteenth century.
751. Kakemono, on silk, painted in colours. Size, 17| X 28|-.
Mandarin ducks.
The ducks are swimming in a lake, which is overhung by a
snowy branch of plum in full blossom. The water is lightly tinted
with blue, and its transparency is indicated by the outline of
the immersed portions of the birds, but there is no attempt to
show the effects of refraction.

CHINESE SCHOOL. 229

Painted by Muea-ta So-haku. Signed. Two seals. Dated
in the cyclical year of Tsuchi no ye Inu. Seal indicating
point of commencement at right lower corner. Seventeenth
century. The Mandarin duck and drake are regarded both in China and Japan as
emblems of conjugal aflfection.
752. Kakemono, on silk, painted in colours. Size, 36| X 13.
Birds. Quails, woodpecker, sparrow, &c.
Artist unknown. Two seals. Nineteenth century.
753. Kakemono, on silk, painted in colours. Size, 29 x 26f.
Han-sin (Jap. Kanshin) creeping beneath the legs of the
Coolie. Painted by Tai-san Ten-sei-itsu at " Ko-kwai Sho-ken "
(name of a house). Signed. Two seals. Nineteenth
century. Han-sin was a powerful adherent of Liu Pang (see No. 1297), and one
of the " Three Heroes " of the Han dynasty. He was of noble origin, but
was reduced by family reverses to such poverty that he was compelled
to obtain sustenance by angling for flsh in the moat of his ancestral
stronghold. The subject of the picture is the oft-quoted display of moral courage
which characterized the outset of his career, when he patiently submitted
to the insults of a common labourer in the market-place, and even
humiliated himself by consenting to crawl beneath the fellow's legs rather
than compromise the great future to which he felt himself destined, by
engaging in an unworthy brawl with such an antagonist. He eventually
became a famous general, and in 203 b.o. was created prince of the
territory which embraced his ancestral domain. After his elevation he
sought out the man before whom he had degraded himself in the market
place and took him into his service.
He was executed under a false accusation of treason 196 b.o. (see
Mayers' ' Chiuese Reader's Manual,' p. 1, No. 156).
754. Kakemono, on paper, painted in colours. Size, 45 x I6f .
Fowls and chrysanthemums.
Painted by Tai-kio-mo. Signed, Two seals. Nine
teenth century.
755 and 756, A pair of kakemonos, on silk, painted in colours.

Size 36| X 14|.

(1.) Daikoku riding upon an ox.
(2), Ebisu on horseback.
Painted by Kaku-boku-sbki To-zan. Signed. Two seals.
Dated in the second year of Ansei (1855).

230 JAPANESE PICTORIAL ART.
Ibl. Kakemono, on silk, painted in colours. Size, 37^ X I5|.
Festival ceremony of " Go-han " at NikkS.
A ceremonial held at Nikko, in the tenth year of Kwan-sei
(1798) to celebrate the building of a temple.
Painted by Tsutsumi To-shiu. Signed, Seal. End of
eighteenth century.
758. Kakemono, on silk, painted in monochrome. Size, 37| X 13|.
Cranes.
Eapid sketches, on silk of Chinese manufacture.
Painted by To-kwa-sai. Signed. Seal, Nineteenth
century,
759, Kakemono, on silk, painted in colours. Size, 29^ X Ilf,
Chung Kwei sharpening his sword upon a rock. (See
No, 6«7.)
Painted by To-kwa-bai Eei-yo. Signed. Seal. Nine
teenth century.
760 and 761. A pair of kakemonos, on silk, painted in colours.
Size, 42 X 20J.
Flowers. Peonies, cherry blossoms, &c.
Painted by To-kin. Signed. Seal. Early part of nine
teenth century,
762, Kakemono, on silk, painted in colours. Size, 16 X 22|.
A basket of flowers, peonies, chrysanthemums, &c.
Painted by To-ein. Signed. Seal. Dated in the cyclical
year of Hinoto Tori (1837).
763. Kakemono, on silk, painted in colours. Size, 36 X 15J,
Kwan Yu, (See No. 218.)
The hero is seated in a red lacquered arm-chair, and holds a large
roll in his hand.
Painted by To-sai. Signed, Two seals. Poetical in
scription above picture. Nineteenth century.
764. Kakemono, on silk, painted in colours. Size, 42J x 16^.
Wild ducks flying.
Snow scene. Moonlight. The artist has tinted the moon with
shadow, to give the necessary prominence to the snow-laden leaves
of a tree. Painted by To-yen. Signed. Two seals. Dated in the
cyclical year of Kinoto Hitsuji (1835).

CHINESE SCHOOL. 231

765. Kakemono, on silk, painted in colours. Size, 42| x I7f,
The Seven Worthies of the Bamboo Grove.
Seven sages, occupied with music, reading, and conversation.
The bad drawing of the upturned and profile faces is an example
of the carelessness or want of skill always displayed in rendering
the features in these aspects.
Painted by To-sen. Signed. Seal. Early part of
nineteenth century.
The Seven Worthies of the Bamboo Grove (Chikurin Shichi Kenjin ;
or Chuh Lin Ts'i Hien) were a famous club of learned men in the third
century, whose meetings were held in a grove of bamboos. Ki-K'ang
(died 262 a.d.), Shan-tao (died circa 285), and Yuan Ts'i (died 263 a.d.)
were the most celebrated of the number.
According to Thornton (' History of China,' vol. i. p. 416) these men
effected much evil in China by their pernicious tenets and example.
" They disregarded and decried all laws and ceremonies, and professed a
base kind of Epicureanism, pretending that human happiness consisted in
a complete emancipation from all cares and distractions of life and in
unrestrained indulgence in wine."
There are few subjects more frequently represented than this by the
painters of the older schools.
766. Kakemono, on silk, painted in colours. Size, 42J x 12^.
Crows.
A clever example of rapid but expressive manipulation. The
work is almost a monochrome, but is completed by a few sparing
touches of colour.
Painted by To-so. Signed. Seal. Seal indicating .point
of commencement at left upper corner. Dated in the
cyclical year of Hinoto ushi (1757).
767. Kakemono, on silk, painted in colours. Size, 39|- x 19.
Crows, with willow and plum-trees.
Sketched in the rapid style, and bears considerable resemblance
to Chinese work.
Painted by Shiu To-haku. Signed. Two seals. Eigh
teenth century.
768. Kakemono, on silk, painted in colours. Size, 36| x 12|.
Bird and plum blossom.
Eapidly sketched.
Painted by To-gen. Signed. Seal. Nineteenth century.

232 JAPANESE PICTORIAL ART.
 >  ¦
769. Kakemono, on silk, painted in colours. Size, 32| X I5|.
Shan-kien (Jap. Sankan). _
A Chinese sage riding upon a mule, with his face turned towards
the tail. Painted by To-ho. Signed. Two seals. Poetical inscrip
tion above the picture. Seventeenth century.
Shan-kien was one of the Seven Wise Men of the Eastern Tsin dynasty,
and a governor-general of a southern province in the time of the Emperor
Muh-ti (345-362 a.d.). It is said that he was so enraptured with the
scenery of a certain lake where he was in the habit of regaling himself
with wine in his intervals of leisure, that on riding home from the place he
always sat with his face to the tail of the horse that he might behold the
view till distance removed it from his sight (see E-hon riozai, vol. iii.).
770. Kakemono, on silk, painted in monochrome. Size, I3J x 17.
Bamboos.
Eapidly sketched.
Painted by the Governor of Tsu-yama Seal. Seal in
dicating point of commencement at left lower corner.
Eighteenth century.
771. Kakemono, on silk, painted in colours. Size, 39 J X 14|.
Cranes.
A variation of the well-known subject in which the sun, the sea,
a rock with pine and peach-trees, are combined as emblems of
longevity. (See No. 690.)
Painted by Tsuku-kawa. Signed Tsueu-kawa To-gi. Two
seals. Nineteenth century.
772. Kakemono, on silk, painted in colours. Size, 32| X 10|.
Drake and duck swimming.
The water, as usual, shows neither transparency nor the property
of reflection. The wave-lines are so indicated as to convey an
impression that the surface of the stream is inclined strongly down
wards. Painted by Un-tei. Signed. Seal. Nineteenth century.
773 and 774, A pair of kakemonos, on silk, painted in colours.
Size, 39 X l^.
Egrets, Painted by Un-tei. Signed. Seal. Nineteenth century,
775. Kakemono, on silk, painted in colours. Size, 36| X 13,
Egret and humming-bird.
Painted by Un-yei (female artist). Signed Un-yei Jo-shi.
Nineteenth century.

CHINESE SCHOOL. 233

776, Kakemono, on paper, painted in colours. Size, 38f x 15,
Crow,
Eapid style.
Painted by Yiu-hi. Signed Kio Shun-kei Yiu-hi. Com
mencing seal at right lower corner. End of eighteenth
century,
777, Kakemono, on silk, painted in colours. Size, 37| X I4|.
Hawk on pine-tree.
Painted by Yiu-hi. Signed Kio Shun-kei Yiu-hi. Two
seals. End of eighteenth century.
778. Kakemono, on silk, painted in colours. Size, 25J X 39|.
Si Wang Mu (Jap. Sei-6-b5) and Mao Nii (Jap. Mo-Jo).
(See No. 705.)
A young girl clad in a deer-skin, and accompanied by a white
deer, is standing beneath the peach-tree of the immortals, offering
one of the fruit to the Queen of the Genii, who with her attendant
fan-bearer is borne upon a cloud above the waves.
Painted by Yiu-hi. Signed Kio Shun-kei Yiu-hi.
Eighteenth century.
779. Kakemono, on silk, painted in colours. Size, 39J x I3|.
Flowers. Cockscomb, chrysanthemums, and lily.
Eapidly sketched.
Painted by Yiu-zan Sen-sho. Signed. Seal. Seal indi
cating point of commencement at right lower corner.
Nineteenth century.
780. Kakemono, on silk, painted in colours. Size, 45 1 X 16.
Birds and flowers.
Painted by Yo-GiOKU. Signed. Two seals. Nineteenth
century.
781. Kakemono, on silk, painted in colours. Size, 29J x 11^.
Kensu, the prawn priest,
Eoughly sketched upon a coarse transparent fabric, which is
lined and coloured at the margins to represent the mounting.
Painted by Zo-eoku. Signed, Seal. Nineteenth century.
Kensu of Keicho-fu was a bonze of the Binsen sect. According to the
E-hon Hokan he was an eccentric person of somewhat nomadic proclivities,
and wore only one dress, winter and summer, " Every day he caught

234 JAPANESE PICTORIAL ART.
prawns and filled his stomach, and at night he slept in the temple called
Hakuba-bujo in Mount Tozan. And the people called him Kensu 0.sho
(The Prawn Priest)."
782, Kakemono, on silk, painted in monochrome. Size, 42| x 17|.
Monkeys,
The long-armed species frequently represented in Japanese
pictures, but not found in Japan. It is probably a Chinese
gibbon. A white monkey in the picture is brought into prominence by
darkening the background immediately around the figure.
The painting bears evidence of amateur origin.
Painted by Date Tsuna-mune (Daimio of Sendai). Signed.
Seal. Seventeenth century.
783. Kakemono, on silk, painted in colours. Size, 39| X 14.
Birds,
A good example of the vigorous style of colouring characterising
the works of one section of the Chinese school.
Painted by Uchi-da Den-yei. Signed. Seal. Nine
teenth century,
784. Kakemono, on silk, painted in monochrome and gold. Size,
37 X 13i.
Mandjus'ri (Jap. Monju),
An effeminate figure seated upon the conventional Hon, and
holding a sceptre.
Painted by Dai-chin. Signed Dai-chin Taiea. Two
seals. Nineteenth century.
785. Kakemono, on silk, painted in colours. Size, 18 X 25|,
Sleeping cat and peony.
Chiefly of interest as the work of a lady amateur.
Painted by Madame Fuku-i, the wife of the Daimio of
Echizen, Eighteenth century.
786, Kakemono, on silk, painted in colours. Size, 51| X 22^,
Birds and flowers.
Painter unknown. No signature or seal. Nineteenth
century.
787, Kakemono, on silk, painted in colours. Size, 75 X 33|.
Chinese landscape.
Sages in a garden. Summer sceue.
Painter unknown. Seal. Nineteenth century.

CHINESE SCHOOL. 235

788, Kakemono, on silk, painted in colours. Size, 38f X 13,
Fukurokujiu with emblems of longevity,
Fukurokujiu, recognizable by his tall head, is seated upon a rock
by the sea-shore, overshadowed by the branches of bamboo and pine ;
near by are the stork, the white stag, and the sacred tortoise ; and
a boy presents to him a salver upon which are three of the peaches
of longevity, from the fairy gardens of Si Wang Mu,
Painted by Gen-taku (?). Signed Okio (forgery). Seals.
Eighteenth century,
789, Kakemono, on silk, painted in colours. Size, I3|- X 22£.
Landscape. Japanese scenery.
An attempt at perspective is noticeable in the drawing of the
boundary ridges of the rice fields, but is not repeated in the out
lines of the buildings. The execution is in the style of Haruki
Nanko. Painted by Eo-san. Signed. Seal. End of eighteenth
century.
790, Kakemono, on silk, painted in colours. Size, 39| x I4|.
Puppies and peony.
Painter unknown. No signature. Two seals. Nine
teenth century.
791 and 792. A pair of kakemonos, on silk, painted in colours.
Size, 33| X 121
Birds and flowers. Eapid sketch.
Painter unknown. No signature or seal. Nineteenth
century,
793, Kakemono, on silk, painted in monochrome. Size, 22 X lOf .
The swift-flying demon (Bun-sho-sei).
A demoniacal figure, resembling the Buddhist Asura, holds in one
hand a box, in the other a brush. He is mounted upon an animal
which has the head of a dragon, the body and tail of a fish, and
wings formed by an expansion of the pectoral fins.
Painter unknown. No name or seal. Nineteenth century.
The subject is frequently met with in glyptic art. It is probably
emblematic of the power and swift dissemination of written thoughts.

236 JAPANESE PICTORIAL ART.
794 and 795. A pair of kakemonos, on silk, painted in colours.
Size, 57| X 24f .
(1.) Kin-kao (Jap. Kin-ko Sennin), The Carp Rishi.
A boyish figure in Chinese dress holding a blue cup. The con
ventional drawing of the waves, and the use of clouds to indicate
ranges of distance may be noted. The usual vermUion sun is
replaced by a golden disc.
(2.) Ch'gn Nan (Jap. Chinnan Sennin). The Dragon
Rishi.
A sage seated upon the head of a dragon, holding up a bowl
from which ascend two dragons in a wreath of vapour. The
dragons are sketched in the style of Kano Tanyu.
Painter unknown. No signature or seal. Eighteenth
century. Kin-kao was a sage who lived in Northem China about the twelfth
century. It is said that he wandered over the province of Chih-li for two
centuries, and then taking leave of his disciples with a promise to return
by a certain day, he plunged into the river. When the appointed time
for his reappearance arrived, the pupils with a great multitude assembled
upon the bank, and having duly bathed and puritied themselves, made
offerings to him. At length in the sight of ten thousand persons he
sprang from the water riding upon a carp. After tarrying with his friends
for a month he again entered the river and was seen no more.
Ch'en Nan was a rishi who, although possessed of supernatural powers
that enabled him to cure the sick with magic pills, transmute silver into
gold, travel four or five hundred 11 a day, and do other wonderful things,
nevertheless clothed himself in rags, kept his body covered with dust,
lived upon dog's flesh, sometimes passed the whole day in a state of
drunkenness, and was content to gain his livelihood by making baskets,
sieves, and other humble utensils. Once upon a time, as he passed
through a place where the people were praying for rain, he took an iron rod
in his hand and stirred a deep pool, wherein he had divined the presence of
a dragon, and in a short space of time a thunderstorm broke with such
violence that the rivers were instantly flooded.
The most common subject for the artist is the invocation of the dragon.
The rishi is sometimes represented also floating upon a stream supported
by a large basket-work hat, which he is said to have used as a boat on an
occasion when the ferryman would not venture upon the water.
He is supposed to have disappeared in the sea early in the thirteenth
century after having passed a life of 1350 years.
796. Kakemono, on silk, painted in colours. Size, 39f X I3J.
Birds and flowers.
Artist unknown. No signature. Two seals. Nineteenth
century.

CHINESE SCHOOL. 237

797 and 798. A pair of kakemonos, on paper, painted in colours.
Size, 52 X 21f.
The palace of A-fang Kung (Jap. Abokiu).
A view of a great Chinese palace. Outside the walls and in the
court-yard are multitudes of visitors of rank. In the upper story
on the right is seated the Emperor in a gorgeous apartment of
reception, surrounded by his guards and musicians. The rooms of
the Empress are shown on the left.
The paintings are very old and much damaged, but there is no
clue to either artist or period. The two kakemonos form one
picture. A-fang Kung is the name given to the great palace erected by She-
Hwang-ti, b.c. 212, near his ancestral capital Hien-yang. It is said that
the central hall was of such dimensions that ten thousand persons could be
assembled within it, and banners sixty feet in height could be unfurled
below its ceiling (see Mayers' ' Chinese Reader's Manual,' p. 1, No. 1).
799 and 800. A pair of kakemonos, on silk, painted in mono
chrome. Size, 38f X 13|.
Dragons.
1. The Dragon of the Cataract emerging from the foam and
spray of the fall.
2. The Dragon of Mount Fuji (Fuji koshi no Eio) rising from
the waves to ascend to the summit of the peerless mountain.
Painter unknown. No signature. Two seals. Nine
teenth century.
801, Kakemono, on silk, painted in monochrome. Size, 10^ x 22^.
Chinese sage.
A sage holding a Ju-i is riding upon a horse, and behind him
runs a boy carrying writing materials and a bundle of rolls. A
view of a palace is seen in the distance.
Artist unknown. No signature. Two seals; Nineteenth
century.
802. Kakemono, on silk, painted in colours. Size, 45 x 17f.
Jurojin. (See p. 44.)
A venerable figure in the dress of a Chinese scholar, holding a
roll and accompanied by a white stag.
This picture is peculiar in its execution. The outline is
sketched in the usual manner, but the dress pattern appears to
have been executed by a mechanical process. The mounting border
is represented by a stencilled design upon the margins of the piece
of silk upon which the figure is drawn.

238 JAPANESE PICTORIAL ART.
It is possible that the whole picture is an elaborate manual
imitation of the process of Yu-zen.
Artist unknown. No signature or seal. The kakemono
is endorsed as a " five-colour picture," a conventional term
implying that many colours are used. Early part of nine
teenth century.
803. Kakemono, on silk, painted in colours. Size, 38| X 13|.
Si Wang Mu. (See No. 705.)
The fairy queen, in royal garments, is attended by a young girl,
who holds up a green dish bearing the fruit and flowers of the
peach-tree of longevity. Near the flgures is seen the magic tree,
laden with fruit and blossom.
Cloud strata are introduced between the nearer and more remote
branches of the tree, perhaps with the intention of conveying an
idea of the gigantic proportions of the elements of the scene. The
bordering is represented by a design, apparently stencilled, as in
No. 802. Artist unknown. Nineteenth century.
804. Kakemono, on silk, painted in colours. Size, 56J x 30^.
Cat and flowers.
A spirited specimen of the rapid manner of the Chinese school.
Artist unknown. No signature. Seal. Seventeenth
century.
805. Kakemono, on silk, painted in colours. Size, 37 X 51|-.
Basket of flowers.
It is noticeable as a peculiarity of style, that the petals of the
flowers are outlined in white.
Artist unknown. Two large seals. Seal indicating point of
commencement at right lower corner. Eighteenth century.
806. Kakemono, on silk, painted in colours. Size, 44 X 17 j.
Wild geese.
Painted by "Watana-be Gen-tai. Signed Gen-tai D6-jin
Hen-ybi. Seal. Early part of nineteenth century.
807. Kakemono, on silk, painted in colours. Size, 42 X 14|.
Cranes.
Associated with the bird of Fukurokujiu are the pine, bamboo.

CHINESE SCHOOL. 239

and the sacred fungus, all having a similar emblematic reference tp
longevity. Painted by Kaku-sen. Signed Kaku-sbn To-gi. Two
seals. Early part of nineteenth century.
808. Kakemono, on silk, painted in colours. Size, 12-^ X 17.
Kingfisher. Painted by Kon-zan. Signed Tai-in Eio-son. Seal. Seal
indicating point of commencement at the left lower corner.
End of eighteenth century,
809, Kakemono, on silk, painted in colours. Size, 39f X 12^.
Cranes with other emblems of longevity.
Painted by Nan-tei, Signed, Seal. Early part of nine
teenth century.
810. Kakemone, on silk, painted in colours. Size, 47| X 20.
Crane, small birds, and flowers.
Painted by San-shin. Signed. Two seals. Nineteenth
century.
811. Kakemono, on silk, painted in monochrome. Size, 39f x I2|.
Wild goose flying.
Painted by Shun-sai. Signed. Seal. Eighteenth century.
812. Kakemono, on paper, painted in monochrome. Size, 4If X Vi\.
Chrysanthemum and peony.
Sketched in the style of the Southern Chinese school.
Painted by Ike-no Tai-ga-do. Signed Tai-ga-do. Seal.
Eighteenth century.
813. Kakemono, on silk, painted in colours. Size, 39^ x 16f.
Bird and flowers.
Painted by Tsuru-kawa. Signed. Three seals. Nine
teenth century.
814. Kakemono, on silk, painted in colours. Size, 38^- x 17|.
Chinese landscape.
Wild rocky scenery. A drove of mules in the foreground.
Painted by Sumi-ye Bu-zen. Signed Bu-zen. Seal.
End of eighteenth century.

240 JAPANESE PICTORIAL ART.
815. Kakemono, on silk, painted in colours. Size, 22J x 34|.
Waterfall with Mount Fuji in the distance.
Style, intermediate between that of Chinese and Shijo schools.
Painted by Bu-zen. Signed. Seal. Eighteenth century.
816. Kakemono, on silk, painted in colours. Size, 49f x 19|.
Peacocks and Pine.
Painted by To-gaku. Signed. Seal. Dated 1834.
817. Kakemono, on silk, painted in colours. Size, 34| x 13|.
Peacock and Bamboo.
Painted by Shi-ko So-ein. Signed. Seal. Nineteenth
century.
817a and 817b. A pair of kakemonos, on silk, painted ic colours.
Size, 57f X 181.
Cranes and tortoises.
Painted by To-ean. Signed. Seal. Nineteenth century.
818. Kakemono, on silk, painted in monochrome and gold.
Size, Z^ X 48J.
" The Thousand Carp."
The spectator is supposed to be looking into the water, as
through the glass front of an aquarium, at an approaching shoal of
carp, the nearest of which appears to be coming out of the picture,
while the most remote are dimly seen in the far perspective of the
liquid depth. The painting in many respects contradicts the
ordinary practice of Sinico-Japanese Art, in comprising a careful
observance of the laws of apparent size in ratio to distance, and an
almost scientific conception of high lights and shadow gradations.
The style of colouring is that of the Chinese school, but the
design is more suggestive of Shijo teaching. The use of gold to
render the effect of high lights is worthy of remark.
Painted by Inagaki. Signed To-sai. Nineteenth century.
819, Kakemono on silk, painted in colours. Size, 14 x 22.
Chinese landscape. Snow scene.
Painted by Sho-zan. Signed. Seal. Nineteenth century.
820. Kakemono, on silk, painted in colours. Size, 41| x 15|.
Chinese lady and monkeys.
Painted in tho stylo of tho Shijo school, with a light,, graceful

CHINESE SCHOOL. 241

touch, and thinly coloured. The monkeys are worthy of the brush
of SOSEN. Painted by Saku-eai Shiij-zan (a female artist). Signed
Shiu-zan Bi-pu (beautiful woman). Seal. Early part of
nineteenth century.
821. Kakemono, on silk, painted in colours. Size, 45^ x 24.
Waterfall, Chinese scene.
Painted by Tan-i Bun-cho. Signed Bun-cho. Seal.
End of eighteenth century.
822. Kakemono, on silk, painted in colours. Size, 43| x 23f.
Ancient Chinese Emperor with attendants. (YU, the
Great ?)
A youthful but dignified figure, crowned with the imperial
dragon-crested diadem, and attired in a long red robe decorated
with golden clouds and phoenixes. He is accompanied by two
attendants, one of whom bears a large fan-screen, the other a salver
of precious stones.
In the style of the Chinese school. Painted by Tan-i
Bun-cho. Signed Bun-oho. Seal. Dated in the eighth year
of Kwansei (1796).
823. Kakemono, on a transparent woven fabric, painted in mono
chrome. Size, 33 X Ilj.
Landscape (roughly sketched).
Painted by Tan-i Bun-cho. Signed Bun-cho. Seal.
Early part of nineteenth century.
824. Kakemono, on silk, painted in colours. Size, 48J X 18f .
Chinese landscape with figures. Su-she (Jap. Sosha or
Toba), at Ch'ih Pi (Jap. Sekiheki),
Picturesque lake and mountain scenery.
Painted by Tan-i Bun-oho, Signed Bun-oho. Seal.
Early part of nineteenth century.
The subject is known as the " S^kih^ki no Dzu," or " Picture of Ch'ih Pi."
Ch'ih Pi is situated east of the modern Hankow, and is celebrated as the
place of a battle between Lu Pei and Ts'ao Ts'ao in 208 a.d. The pleasure
excursion of Su-she is said to have taken place in the year 1082, on the
15th day of the 5th month.
Su-she was a celebrated statesman, poet, and caUigraphist of the eleventh
century. After the most flattering recognition of his merits at the hands
of his sovereign, his enemies succeeded twice in causing his degradation to
R

242 JAPANESE PICTORIAL ART.
oflices far below his deserts and capacity, but he always conducted the
duties of his administration in such a manner as to exercise the most
beneficial influence in the places where his adverse lot was cast. He
died at the age of sixty-five, shortly after his return from banishment, in
1107 A.D..
He often appears in Japanese pictures as a sage wearing a hat of enor
mous width, and riding upon a mule through a snow-clad landscape.
825. Kakemono, on silk, painted in colours. Size, 54| x 23|.
Fowls and peonies.
Painted by Tan-i Bun-cho. Signed Bun-cho. Seal.
Early part of nineteenth century.
826. Kakemono, on paper, painted in monochrome. Size,
631 X 321
Storm-dragon, *
Boldly sketched with a coarse brush.
Painted by Tan-i Bun-cho. Signed Bun-cho. Seal.
Early part of nineteenth century.
827, Kakemono, on silk, painted in colours. Size, 16| X 11|.
Japanese monkey.
Painted by Tan-i Bun-cho. Signed Bun-cho. Seal.
Early part of nineteenth century.
828, Kakemono, on silk, painted in colours. Size, 32f x 13 J.
Peony, Painted by Tan-i Bun-oho. Signed Bun-cho. Seal.
Early part of nineteenth century.
829. Kakemono, on silk, painted in colours. Size, 28J x 14J.
Chinese Sage.
Painted by Tan-i Bun-oho. Signed Bun-cho. Seal.
Dated in the cyclical year of Hinoto no Mi (1797),
830, Kakemono, on silk, painted in colours. Size 48 x I3|^,
Chinese landscape with figures.
Painted by Tan-i Bun-oho. Signed Bun-oho. Seal. Dated
in the second year of Bunkwa (1809).
831. Kakemono, on silk, painted in colours. Size, 39J x 13|.
Landscape (mountain scenery).
Painted by Tan-i Bun-cho. Signed Bun-oho. Seal.
Early part of nineteenth century.

PLATE 22.

CHINESE SCHOOL. 243

832. Kakemono, on silk, painted in colours. Size, 44 x 21|.
Carp. Painted by Tan-i Bun-oho. Signed Bun-oho. Two seals.
Early part of nineteenth century.
833. Kakemono, on silk, painted in monochrome. Size, 59^ X 27f .
Carp and Pipe-fishes.
Painted by Tan-i Bun-ch5. Signed. Seal. Early part
of nineteenth century.
834. Kakemono, on silk, painted in colours. Size, 56^ X 31|.
The baptism of S'akyamuni by the Naga-r^djS,.
Eight dragon kings enveloped by clouds are pouring forth
streams of water. The infant S'akyamuni does not appear in the
picture. Painted by Tan-i Bui!-oho. Signed. Seal. Dated in
the sixth year of Bunsei (1823).
835. Kakdmono, on silk, painted in colours. Size, 36f X 13J.
Ghost.
A ghastly female figure with long dishevelled hair, greenish
corpse-like complexion, dusky lips, white pupils, and pendent ear-
lobes. The apparition, enveloped in its winding-sheet, is floating
through a doorway.
Painted by Tan-i Bun-cho. Signed Bun-cho. Seal.
Early part of nineteenth century.
836. Kakemono, on silk, painted in colours. Size, 24f x 14|.
Sparrows and millet.
Painted by Tan-i Bun-cho. Signed Bun-oho. Seal,
Nineteenth century.
837. Kakemono, on silk, painted in colours. Size 14 J x 23 J.
Japanese river scenery (probably the Sumida-gawa).
Painted by Bun-itsu. Signed. Seal. Nineteenth century.
838. Kakemono, on silk, painted in colours. Size, 14| x 20|.
Landscape, with view of Mount Fuji.
Painted by Bun-chiu. Signed. Seal. , Nineteenth century.
E 2

244 JAPANESE PICTORIAL ART.
839. Kakemono, on silk, painted in colours. Size, 44 x I4f.
The Seven Gods of Good Fortune. (See p. 27.)
Hotei, !6bisu, and Daikoku, are making merry; Fukurokujiu
converses with Bishamon ; Jurojin sits apart with an abstracted
expression, and Benten is playing upon the biwa.
Painted by Bun-son. Signed. Seal. Nineteenth century.
840 to 842. A set of three kakemonos, on silk, painted in colours.
Size, 391 X 13f.
Performers in " No " theatre.
1. Character of " Samba-so."
The actor, with a black mask, holds in one hand a fan on which
is painted a branch of pine, in the other a number of small bells
attached to a single handle. His outer dress is decorated with
designs of storks and tortoises.
2. Character of " Okina."
The mask is that of an olfl man ; the upper garment bears con
ventionalized figures of the stork, bamboo, and pine. The fan is
embellished with an illuminated design of a peacock and bamboo.
3. An unmasked performer with an outer dress showing figures
of storks and tortoises.
Painted by Bun-shin. Signed. Seal. Nineteenth century.
843. Kakemono, on silk, painted in colours. Size, 43|^ X I5|.
The winter flight of Tokiwa.
Painted by Bun-shin. Signed. Seal. Nineteenth century.
Tokiwa was the concubine of Minamoto no Yoshitomo, the father of
Yoritomo. A thousand of the most beautiful women in Kioto were sought
out for the Emperor Kujo no In, the number was reduced by selection to
one hundred and then to ten ; and of these Tokiwa was the fairest. " It
was indeed believed that the Chinese Li Pu-jen and Yang Kwei Fei were
less perfect than she."
After the death of Yoshitomo in 1159, Tokiwa fled with her three sons,
Imawaka, aged seven, Otowaka, aged flve, and Ushiwaka (afterwards
known as Yoshitsund), an infant of one year. She first stayed at the
district of Uta in Yamato, but finding no succour, went on to Taitojiu.
There learning that her mother had been put to the torture by the order of
Kiyomori, who hoped by this means to discover the place of concealment
of his enemy's children, she determined to risk all to save her parent's life.
" The lives of the three princes," says the Gikeiki, " could only be preserved
by the sacrifice of her aged mother ; but a mother is dearer even than
sons, and the gods take delight in the manifestations of filial piety." She
therefore courageously gave herself up at Kioto, and was thence taken to
Kiyomori. " He had at first thought to kill her by fire or drowning, but
when he looked upon her face his angry spirit was quenched." He spared

CHINESE SCHOOL. 245

her that she might become his mistress, and spared her children, to
win iheir mother's favour — and at length, in the interests of the sons of
her former lover, she sacrificed herself to the desires of his destroyer.
(See Oikeiki, vol. i.)
844 to 846. A set of three kakemonos, on silk, painted in colours.
Size, 43J X 14i.
(1) and (2). Chinese landscapes : Rice cultivation.
(3). Portrait of Chu-ko Liang.
Painted by Bun-yo. Signed. Seal. Nineteenth century.
Chu-ko Liang, also known as K'ung Ming (Jap. Sho-katsu-rio, or Ko
mei), was the famous counseller of Liu-pei. Liu-pei having heard from
one of his retainers of the wisdom of Chu-ko Liang, went in person to
beg his aid in the wars that brought the Han dynasty to a close.
After many disappointments and delays, to which he submitted with a
patience that exasperated his companions Chang Pei and Kwan Yii, he at
length reached the little hut in which the philoso|iher lay sleeping. Leav
ing his angry brethren outside, the great general and future monarch re
spectfully waited for six hours until Chu-ko Liang had awakened, and
then preferred his request with all due ceremony. The sage, who is
described as eight feet high and of imposing aspect, con.sented to accom
pany him, and to give to his projects the assistance of his advice and expe
rience (E-hon Riozai). The ultimate success of Liu-pei is considered
mainly attributable to his counsellor's wisdom and science in the art of
warfare. (See No. 1546.)
Chu-ko Liang died while lying encamped against the rival kingdom of
Wei, in a.d. 234, in the flfty-third year of his age. (Mayers.)
847. Kakemono, on silk, painted in colours. Size, 44| x I6|.
Lin Hwo-ching and crane. (See No. 670.)
Painted by Bun-yo, Signed. Seal. Dated in the I2th
year of Temp5 (1841).
848, Kakemono, on silk, painted in colours. Size, 44f X 21|.
Demons preparing a feast under the direction of
Chung Kwei, (See No. 687.)
Painted by Bun-kei. Signed, Seal, Nineteenth century.
Poetical inscription by Okotsu Kwan, or Taiken, the author of
' A Collection of Poems by Taiken Shiko.'
849, Kakemono, on paper, painted in colours. Size, 34J x 17^.
Chinese landscape.
Painted by Bun-kei. Signed, Seal, Nineteenth century.

246 JAPANESE PICTORIAL ART.
850. Kakemono, on silk, painted in colours. Size, 39J X 16^,
Chinese girl.
A girl cleansing wine-cups while a man measures out wjne from
a large vessel.
Painted by Bun-kei. Signed Bun-kei I-shi. Two seals.
Nineteenth century.
851, Kakemono, on paper, painted in colours. Size, 49 X 22.
Landscape, Snow scene,
Japanese figures in foreground, engaged in hawking. The
colouring of the picture resembles that of the Tosa school.
Painted by Bun-y6-sai. Signed. Seal. Nineteenth
century.
852. Kakemono, on silk, painted in colours. Size, 48| X 16^-.
Chinese landscape.
Painted by Bun-yo. Signed, Seal. Nineteenth century,
853, Kakemono, on silk, painted in colours. Size, 4I| x 17.
Kwan Yu. (See No. 218.)
Painted by Bun-bio. Signed. Seal. Nineteenth century.
854. Kakemono, on silk, painted in colours. Size, 33| x 16.
Hawk and sparrow. Rain scene.
Painted by Shigb-maeo Fuji (waea) Mitsu-chika. Signed.
Seal. Eighteenth century.
855. Kakemono, on silk, painted in colours. Size, 44^ X 12f.
Chinese landscape. Kiang Tsze-ya fishing.
Painted by Kan-ko. Signed. Seal. Dated 4th year
of Kayei (1851).
856, Kakemono, on paper, painted in monochrome. Size, 51f x22|.
Chinese landscape, mountain scenery.
Painted by To-sen. Signed. To-sen Maye-muea Ohi-
SOKU. Seal. Nineteenth century.
857, Kakemono, on silk, painted in monochrome. Size, 40^xl6|.
Chinese landscape, Kiang Tsze-ya fishing.
Mountain and lake scenery.
Painted by Settei Nao-akiea. Signed. Seal. Nine
teenth century.

CHINESE SCHOOL. 247

Kiang Tsze-ya (Jap. Kioshiga or Taikobo) is renowned in history as the
counsellor of Si Peh (12th century B.c). He spent his life in the study
of astronomy, geography, and the art of warfare, and attained a ripe age
before emerging from obscurity. " He was very poor, but he was very
wise, and disapproving of the evil ways of Chow Sin, in whose territory he
lived, he would take no service in the state, but retired into the princi
pality of Si Peh, the duke of Chow, to pass his days in fishing. His
wife could not bear their indigence patiently, and was unwilling to remain
longer with him ; but he entreated her to wait, saying that by the time he
reached the age of eighty his services would be called for, and she might
then live in affluence. And every day he angled by the shore, until once it
happened that his wife, who had brought him food, looked slyly into his
basket, saw its emptiness, then glancing at the end of his line found the
hook represented by a straight pin. Upon this she reviled him and went
her way to seek another husband. Time passed, till at length Si Peh was
led by a revelation to seek the counsel and aid of Kiang Tsze-ya in the war
against the Western barbarians. The poor sage soon made his wisdom pro
verbial, and at the end of some years retired from office loaded with wealth
and honours. Upon his return to his former home, while travelling in im
posing state he was met by his wife, who kneeling in the dust at his feet,
prayed him to receive her again if only as a menial. For reply he poured a
dishful of water upon the ground and bid her put back the fluid in the
vessel. Her fingers groped uselessly in the mud, and he said, " It is
no more possible that man and wife if once divorced can come together
again than that the spilt water sliould be replaced in the dish." He then
proceeded on his way, while the woman, unable to bear the load of her
shame, went and hanged herself.
He died 1120 B.C. at the age of ninety years (Mayers). Compare with
the story of Chu Mai Ch'en, No. 1462.
858. Kakemono, on silk, painted in colours. Size, 21 x 34|.
Landscape, Sketched in ink, lightly tinted with colour.
Painted by Yoshi-yuki, Signed. Two seals. Nine
teenth century.
859, Kakemono, on silk, painted in monochrome. Size, 39| X 14|.
Chinese sage riding upon a mule in the rain (P Su-she),
Painted by Cho-yen Setzu-zan. Signed. Seal. Nine
teenth century.
860. Kakemono, on paper, painted in monochrome. Size, 38| x 11^.
Monkeys catching fish.
A number of monkeys have formed a chain, suspended from the
limb of a tree which overhangs a stream, and the lowest of the
simian links is enabled to reach the water, and seize the fish with
his long arm.
Painted by Taka Ko-koku. Signed To-Eiij O Ko-koku.
Seal. Eighteenth xentury.

248 JAPANESE PICTORIAL ART.
861a. Kakemono, on silk, painted in colours. Size, 32J x II|.
Cranes. Poetical inscription, signed Hi no Dainagon.
861. Kakemono, on paper, painted in monochrome. Size, 32^ X 13^.
Daikoku. Painted by Yo-getsu. Seal. End of fifteenth century.
862. Makimono, on paper, painted in monochrome. Size,
439 X 71
Chinese landscape,
A continuous panorama vigorously sketched in ink, somewhat in
the style of Shiubun.
Painted by So-ga Ja-soku. Certified by Kano Yasunobu.
" This is a genuine drawing of Soga, possessing life, motion,
and beauty. Those who admire this, as I do, will recognise
the correctness of my words," Fifteenth century,
863. Makimono, on paper, painted in monochrome. Size,
139 X ^.
Chinese landscapes.
Eight rapidly sketched views, in the style of Shiubun.
Artist unknown. Seal, Sixteenth century,
864. Makimono, on paper, painted in colours. Size, 820 x 14.
Drawings illustrative of poetry. Sketches of flowers.
Artist unknown. Nineteenth century.
865. Unmounted drawing, on silk, painted in colours. Size,
70 X 42t.

¦^8-

Chinese landscape, with palace.
Painted by Shi-ko So-ein. Signed. Seal. Nineteenth
century.
866. Unmounted drawing, on silk, painted in colours. Size,
62J X 41i.
Lao-tsz', Confucius, S'akyamuni, and children.
Painted by Ko-shun-ki Mo-shin. No name or seal.
Nineteenth century.

CHINESE SCHOOL. 249

867. Unmounted drawing, on silk, painted in colours. Size,
661 X 34.
Phoenixes (Ch. FSng-Hwang ; Jap. Ho).
Painted by Haku-yen Gen-mbi. Signed. Seal. Nine
teenth century.
The Feng or Feng Hwang, (Ftog is the name of the male animal,
Hwang that of the female: the combination of the two words gives
the generic designation of the animal) is one of the Four Supernatural
Creatures. It is said to have "the head of a pheasant, the beak of a
swallow, the neck of a tortoise, and the outward semblance of a dragon "
(Mayers) ; but in works of art it is a nondescript bird of gorgeous plumage
intermediate between that of the peacock and bird of paradise, and bears
flame-like appendages where the neck joins the body.
Like the K'i-Lin it is regarded as an omen of national good, and is
supposed to herald the advent of a beneficent reign. (See No. 762.)
868. Unmounted drawing, on silk, painted in colours. Size,
5If X 28|.
Monkeys and chestnut-tree.
Painted by Haku-yen Gen-mei. Signed Haku-yen. Seal.
Nineteenth century.
869. Unmounted drawing, on silk, painted in colours. Size,
53^ X 26f.
Winter scene. Birds and pine-trees.
Painted by Kan-ho-kitsu. Signed. Seal, Dated 7th year
of Meiji (1874).
870 and 871. A pair of unmounted drawings, on silk, painted in
colours. Size, 27f X 36J.
Arhats. Bhadra and Panthaka. (See Buddhist School.)
Two aged men riding upon the waves, one mounted upon a white
tiger, the other upon a golden dragon.
Painted by Sei-itsu, Signed, Gaku-eoku Gwa-shi Sei-
itsu, Nineteenth century,
872, Unmounted drawing, on silk, painted in colours. Size,
66J X 39.
Birds. Snow scene.
A multitude of birds of various kinds, torpid with cold, perched
upon the snow, laden with blooming branches of a plum-tree.
Painted by Kan-shiu, in the style of the Ming pictures.
Signed. Two seals. Dated in the cyclical year of Hinoto
no Mi (1857).

250 JAPANESE PICTORIAL ART.
873. Unmounted drawing, on silk, painted in colours. Size,
58^ X 34^.
Five Heroes of China.
The central figure is that of Kwan Yii.
Painted by Ko-shun-ki Mo-shin. Signed. Seal. Nine
teenth century.
874 and 875. A pair of unmounted drawings, on silk, painted in
colours. Size, 53| X 27f.
Landscapes, with waterfalls.
Artist unknown. No signature or seal. Nineteenth
century.
876. Unmounted drawing, on silk, painted in colours. Size,
5| X 51.
Landscape, Mountain scene.
Painted by Sui-an, Signed. Seal. Nineteenth century.
877, Unmounted drawing, on silk, painted in colours. Size,
^ X 71
Bird and flower.
Painted by Sho-sai Settei. Signed. Seal, Nineteenth
century,
878. Unmounted drawing, on silk, painted in monochrome. Size,
7ix7. Landscape, Mountain hamlet.
Painted by Ean-sui. Signed. Seal. Nineteenth century.
879 to 884. A set of six unmounted drawings, on silk, painted
in monochrome and colours. Size, 6f X 6f .
Landscapes. Scenes near Kioto.
1. By BoKU-AN.
2. „ Seki-ten Bummei. *

3.
4. 5.6.

, Ba-ch6.
, Ean-u-jo.
, Matsu-da So-un or Nan-koku.
, Bunkei.
Signed. Seals. Nineteenth century.

885, Unmounted picture, on silk, painted in monochrome. Size,

CHINESE SCHOOL. 251

Peasants. Painted by Ho-nen of Enriu-in. Signed. Seal. Nine
teenth century.
886 to 889, A set of four unmounted drawings, on silk, painted
in monochrome. Sizes various.
Miscellaneous designs.
1. Sparrows fighting. Painted by Hei-shiu.
2. Long-armed monkey. Painted by Bun-son.
3. Birds. Painted by Tan-rki.
4. Moth and cherry flower. Painted by Sei-sho.
All signed. Seals. Nineteenth century.
890 to 895. A set of six drawings, on silk, painted in monochrome
and colours. Size, 6f x 5J.
Landscapes. Scenes near Kioto.
1. The sun setting behind an ancient temple.
2. Autumn leaves in Awata.
3. Early blossoming of the cherries in Nagara.
4. Young willows on the Eastern Bank.
5. Morning mist on the Northern Hill.
6. Snow-cloud on the Northern Mountain.
Sketched in the style of Mi Yijen Chang (Jap. Bei-gen-sho).
Artist unknown. Nineteenth century.
896 to 903. A set of eight unmounted drawings, on silk, painted
in monochrome and colours. Size, 8^ X 5|.
Miscellaneous designs.
Painted by Ha-ea-mitsu. Signed Ha-ea-mitsu Do-jm.
Seal. Nineteenth century.
904 to 919. A set of sixteen unmounted drawings, on silk, in
monochrome and colours. Sizes various.
Miscellaneous designs by various artists.
1. Landscape. In colours. Painted by Den-shin.
2. Cicada and fruit. In colours. Painted by Eiu-ko.
3. Wild Geese. Monochrome. Painted by Man-shi.
4. Flowers. In colours. Painted by Sei-shiu.
5. Orchid. Monochrome. Painted by Eio-smC.
6. Bird and flower. In colours. Painted by San-k6-sai.
7. Landscape. Monochrome. Painted by Kei-j6.
' Dated in the cyclical year Kinoto Hitsuji (1847).
8 to 15. Various designs, painted in colour and monochrome.
Copied from old Chinese pictures. Artists unknown.
16. Pigeons. In colours. Artist unknown.
Nineteenth century.

252 JAPANESE PICTORIAL ART.
920 to 926. A set of seven unmounted drawings on paper, painted
in colours. Size, 16f X Ilj,
Birds and flowers.
Artist unknown. Seal (Gun-kai), Nineteenth century,
927 to 950, A set of twenty-four unmounted drawings, on paper,
painted in colours. Size, 11^ X 8 J,
The Twenty-four Paragons of Filial Piety, (See p. 171.)
Painted by To-sai, Signed. Seal, Dated in the cyclical
year of Midzu-no-ye ushi. Sixteenth century,
951, Unmounted drawing, on silk, painted in colours. Size
n X 2if.
Bird and autumn leaves. Fan mount.
Painted by Sa-take Yei-kai, Signed Yei-kai. Seal.
Nineteenth century,
952, Unmounted drawing, on paper, painted in colours. Size,
n X 19^,
Rats stealing an egg,
A rat lies upon its back grasping the egg with its four limbs
while a comrade drags him along by his tail. Fan mount.
Painted by Sa-take Yei-kai. Signed Yei-kai. Seal,
Nineteenth century,.
953. Unmounted drawing, on silk, painted in colours. Size,
8 X 6^.
A man reading.
Painted by Chin-y5, Signed, Seal, Nineteenth century,
954. Unmounted drawing, on silk, painted in colours. Size,
14| X 20^.
Chinese ladies. Winter scene.
Artist unknown. Nineteenth century.
955. Kakemono, on silk, painted in colours. Size, 62 X 32|.
Chinese Landscape. Spring.
Painted by Haya-shi Bun-kwan. Signed, Bun-kwan
Yu-KEi. Seal. Nineteenth century.

CHINESE SCHOOL._ 253

956. Unmounted drawing, on silk, painted in monochrome. Size,
141 X 193.
The Dragon of the Peerless Mountain (Fujikoshi no
Eio),Painted by Yo-zan. Signed. Seal. Dated in the
cyclical year Ki-no-ye Uma (1831).
957, Unmounted drawing, on silk, painted in colours. Size,
141 X 23f.
The Serpent of the Peerless Mountain,
The dragon usually represented in its cloudy flight to the sum
mit of the mountain is here replaced by a large serpent.
Painted by Tan-sui-sai at the age of seventy. Signed
Hokkio Tan-sui-sai (Kano School). Nineteenth century.
958. Unmounted drawing, on silk, painted in "colourSi '. Size,
15\ X 21. '
Chinese landscape. ^
Sketched in ink in the style of the old Kano artists, and lightly
coloured. Painted by I-kaku Yei-sho. Signed. Seal, Sixteenth
century (?),
959. Unmounted drawing, on silk, painted in colours. Size,
22| X II.
Teal. Painted by Un-kin. Signed."*^ Seal. Nineteenth century.
960. Unmounted drawing, on silk, painted in colours. Size,
21^ X 171
Hawk and white rabbit.
Painted by Kwan-itsu, Signed, Seal, Nineteenth century,
961, Unmounted drawing, on silk, painted in colours. Size,
I4J X I9f,
Cherry blossoms.
Painted by To-sen, Signed, Seal, Nineteenth century,
962, Unmounted drawing, on silk, painted in colours. Size,
14^ X I9|,
Flowers and fruit.
Painted by Sui-ean. Signed. Seal. Nineteenth century.

254 JAPANESE PICTORIAL ART.
963. Unmounted drawing, on silk, painted in colours. Siz^,
8f X 5|.
Sh6j5 dancing. (See No. 645.)
Painted by Un-tei. Signed. Seal. Nineteenth century.
964 to 996. A set of thirty-three unmounted drawings, on paper,
painted in colours. Size, 23J x 15|.
Chinese legends of filial piety, &c. (See p. 171.)
Highly coloured, and gilded ; some unskilfully retouched.
Artist unknown. Eighteenth century.
997 to 999. A set of three unmounted drawings, on paper, painted
in colours. Size, 50 X 19 J.
Cranes and bamboos.
Highly decorative in treatment ; originally executed for screen
pictures. Painted by Tai-qaku. Signed. Seal. End of eighteenth
century.
1000. Unmounted drawing, on silk, painted in colours. Size,
32J X 14.
Agricultural scene. View of Mount Fuji in the
distance.
The picture belongs to the Shijo school, but has accidentally
been misplaced. Painted by Go-ebi. Signed. Seal. Nineteenth century.
1001. Unmounted drawing, on silk, painted in colours. Size,
16f X 36.
Chinese landscape. View of Ch'ih pi (Jap. Seki-heki).
(See No. 824.)
Lake and mountains, moonlight.
Artist unknown. No signature. Two seals, almost
illegible. Nineteenth century.
1002. Unmounted drawing, on silk, painted in colours. Size,
29f X 14.
The Dragon of the Storm.
Artist unknown. No signature. Two seals. Nine
teenth century.

CHINESE SCHOOL. 255

1003 and 1004. A pair of unmounted drawings, on silk, painted
in colours. Size, 31J x 20^.
Birds and flowers.
Originally drawn as decorations for the sliding -panels of a small
cupboard. Painted by Un-t6. Signed. Seal. Nineteenth century.
1005. Unmounted drawing, on silk, painted in colours. Size,
27f X 19.
Cherry blossoms.
Painted by Hassai. Signed Hassai Eo-jin. Seal. Nine
teenth century.
1006. Unmounted drawing, on paper, painted in colours. Size,
28i X 20^.
Tiger.
Conventional and calligraphic in treatment.
Artist unknown. Seal (Kiu-chiu). Sixteenth century.
1007. Unmounted drawing, on silk, painted in colours. Size,
401 X 15J.
The perils of human existence. (See No. 675.)
The subject is a variation of that treated in No. 675. The
horrors of the suspended wretch are added to by the approach of
serpents and wasps to hasten his fall into the jaws of tho dragons
below. The tiger is replaced by a white elephant.
Artist unknown. Nineteenth century.
1008. Unmounted drawing, on paper, painted in colours. Size,
51 X 221
Kwanyin seated upon a rock by the sea-shore.
Artist unknown. No signature. Seal (So-zen). Nine
teenth century.
1009. Unmounted drawing, on silk, painted in colours. Size,
22 X 17|.
Birds and flowers.
Painted by Un-kin. Signed. Seal. Nineteenth century.
1010. Unmounted drawing, on silk, painted in colours. Size,
45| X 17.
Kingfisher and peonies.
The absence of the usual mounting paper allows the display of
a peculiarity in the technique of Japanese paintings. The principal

256 JAPANESE PICTORIAL ART.
ground colours of the picture have been applied upon the reverse of
the sheet of silk, and the tints, softened by the semi-transparent
medium through which they are seen, are then finished by light
touches upon the front surface of the fabric.
Painted by Tan-sai Hei-kai. Signed, Two seals. Nine
teenth century,
1011. Unmounted drawing, on silk, painted in colours. Size,
39f X 141.
Si Wang Mu and attendants, (See No. 705.)
The drawing has been made upon silk from which another picture
had been previously obliterated.
Painted by Fuji Shun-gaku, Signed, Two seals. Early
part of nineteenth century,
1012, Unmounted drawing, on silk, painted in colours. Size,
34| X I2f.
Chang Liang and the Yellow Stone Elder (Jap. Chokio
and K5sEKiKo),
Painted by Sen-sai. Signed. Seal. Nineteenth century,
Chang Liang, one of the Three Heroes of Chinese history, was a powerful
supporter of Liu-Pang, the founder of the Han dynasty. It is told that, once,
in early life he met an old man who.se sandal had fallen from his foot, and
with the reverence due to age, he picked it up and knelt down to readjust
it. The old man in return bestowed upon him a roll, saying, " He who
studies this book shall become a king's preceptor," and added that after
thirteen years Chang Liang should meet him once more in the shape of a
yellow stone at Kuh Ch'feng. From this mysterious roll the hero is sup
posed to have drawn the wisdom which rendered his counsels so valuable to
the cause of Liu-Pang. He abandoned public life after his patron's accession
to supreme power, declining all the rewards and honours that the grateful
sovereign would have heaped upon him, and died in retirement 189 b.c.
This precious volume is said to have passed into Japan and to have been
studied by Yoshitsun^ and some other great warriors of the Land of the
Rising Sun. (See Mayers' ' Chinese Reader's Manual,' Part I., No. 26.)
The artist, in accordance with one of the many versions of the story, com
monly represents the genius riding across a bridge, and Chang Liang,
mounted upon a dragon in the river below, holds up the fallen shoe.
See No. 1040.
It is said that the hero learned his most valuable lesson, that of patience,
from an old woman whom he found grinding down an iron bar to make a
needle.
1013, Unmounted drawing, on silk, painted in colours. Size,
34| X 121
Han Sin creeping between the legs of the Coolie, (See
No. 753.)
Painted by Sbn-sai. Signed. Seal. Nineteenth century.

CHINESE SCHOOL. 257

1014. Unmounted drawing, on silk, painted in colours. Size,
45 X 15f.
Emblems of longevity — Crane, waves, sun, and peach.
(See No. 690.)
Painted by Bai-tei. Signed. Seal. Nineteenth century.
1015. Unmounted drawing, on silk, painted in colours. Size,
43| X I6|.
Rishi.
A Chinese sage playing upon a flute, and floating on the waves
in a fragment of a hollow tree.
Painted by Chiku-o-sai. Signed. Two seals. Nine
teenth century.
1016 and 1017. A pair of unmounted drawings, on silk, painted
in monochrome. Size, 38| x I4|.
(1.) Hare running upon the waves.
(2.) Monkey pointing towards the moon.
Painted by Hi-kei-mei. Signed. Seal. Eighteenth
century. The Hare, in Japanese pictures, is nearly always represented in association
with a full moon. This connexion of ideas, illustrated also in the name
Sason (the leaping one), which denotes the moon in Sanskrit inscriptions, is
of very ancient date, and is supposed to have been suggested by a fancied
resemblance between the form of the animal and the outline of certain
marks visible upon the disc of our satellite. In Taoist legends the hare
is also placed in the moon, and is represented as engaged in pounding
with pestle and mortar the drugs that compose the elixir of life.
Many curious superstitions, some of Indian origin, attach to the hare in
Sinico-Japanese folk-lore. Like the fox, the tortoise, the crane and the
tiger, it is supposed to attain a fabulous longevity — one thousand years —
and to become white at the end of one-half of its term ; but it is neither
credited with supernatural powers, like the fox and tiger, nor consecrated
as an emblem of long life, like the tortoise and crane. One of the tribe,
however, the red hare, is grouped with the FSng Hwang and the K'i Lin as
an omen of a beneficial reign.
If the moon be clear on the eighteenth night of the eighth month, the
animal is then supposed to conceive by running upon the surface of the
waves ; but should the sky be veiled with clouds impregnation does not
occur, and there is a consequent dearth of leverets in the following season
(E-hrni koji-dan). An old belief, originating, according to Mayers, with
Chang Hwa (232-300 a.d.), maintains that the necessary infiuence is
induced by merely gazing at the moon, while a still earlier theory,
eliminating the satellite altogether, teaches that the female becomes enceinte
by licking the fur of the male, and in conformity with this view, the
young were supposed to be produced from the mouth.
The plant considered appropriate to the hare, is the scouring-rush,
which is hence usually introduced into drawings of the hare and moon. 8

258

JAPANESE PICTORIAL ART.

In the well-known Japanese story of the hare and the racoon-dog (see
Mitford's ' Tales of Old Japan '), the inoffensive animal shows some of the
wit of " Brer Eabbit," in getting the better of his carnivorous foe. And
in a legend related in the Kojiki, the hare is made to adopt a cunning
expedient in order to reach the mainland from the Island of Oki. The
animal, under the pretext of a desire to compare the number of his tribe
with that of the crocodiles, induced the simple-minded reptiles to
lie in a row from the shore of the island to Cape Keta, and then
made a bridge of their backs ; but the last crocodile, perceiving the trick
that had been played upon his companions, laid hold of the deceiver and
stripped him of his skin. (See Mr. B. H. Chamberlain's translation of the
Kojiki.) The legend of the Pious Hare is well known.
1018. Unmounted drawing, on silk, painted in colours. Size,
16f X 34J.

Japanese landscape.
Painted by Sai-seki. Signed.

Seal. Nineteenth century.

1019. Unmounted drawing, on silk, painted in colours. Size,

14 X 37|.

Japanese landscape.
Painted by Gettan. Signed.

Seal. Eighteenth century.

1020. Unmounted drawing, on silk, painted in colours. Size,
381 X 141
Egrets and Iris.
Painted by Un-po at the age of eighty-one. Signed.
Seal. Nineteenth century.
1021, Unmounted drawing, on silk, painted in colours. Size,
39 X 14.
Si Wang Mu and attendant descending upon a cloud.
(See No, 705.)
Painted by Ha-ea-mitsu. Signed, Seal. Nineteenth
century.

1022. Unmounted drawing, on silk, painted in colours.
40f X 141.

Size,

Si Wang Mu and attendants.
One of the attendants of the fairy carries a basket of the sacred
peaches, the other holds a large fan-screen decorated with a re
presentation of the sun, clouds, and sea.
Artist unknown. No signature or seal. Nineteenth
century.

CHINESE SCHOOL. 259

1023. Unmounted drawing, on silk, painted in colours. Size,
50 X 221.
Pheasants and plum blossoms.
Painted by Kan-ein. Signed Kan-ein To-ben. Two seals.
Nineteenth century.
1024. Unmounted drawing, on silk, painted in colours. Size,
40 X 13.
Flowers. Artist unknown. No signature or seal. Nineteenth
century.
1025. Unmounted drawing, on silk, painted in colours. Size,
33f X 121.
Peonies. Painted by Kio-kwa. Sighed. Seal. Nineteenth cen
tury.
1026. Unmounted drawing, on silk, painted in colours. Size,
38 X 121
Teal. Painted by Un-kin, Signed. Seal. 1875,
1027, Unmounted drawing, on silk, painted in colours. Size,
42^ X 221.
Macaws, Painted by O-gata Ai-yen, Signed. Seal, Nineteenth
century.
1028 and 1029. A pair of unmounted drawings, oh silk, painted
in colours. Size, 37f X 12|,
Eagles, Painted by Un-kin. Signed, Seal. 1875.
1030, Unmounted drawing, on silk, painted in colours. Size,
371 X I3f.
Squirrels and peach-tree.
Artist unknown. No signature or seal. Nineteenth
century. s 2

260 JAPANESE PICTORIAL ART.
1031, Unmounted drawing, on silk, painted in colours. Size,
421 X 17^.
Fowls and wild rose.
Painted by Un-tan. Signed. Seal. Dated in the cyclical
year of Hi-no-ye inu (1826).
1032, Unmounted drawing, on silk, painted in colours. Size,
51J X 22,
Si Wang Mu and attendants, (See No. 705.)
Painted by Tachibana So-seki. Signed. Seal. Nine
teenth century.
1033. Unmounted drawing, on silk, painted in colours. Size,
431 X 141
Birds and pomegranate.
Painted by Ka-ko. Signed. Two seals. Nineteenth
century.
1034. Unmounted drawing, on silk, painted in colours. Size,
36f X 15|.
Japanese monkeys.
Painted by KwA-SHm-SAi. Signed. Seal. Eighteenth
century.
1035. Unmounted drawings, on silk, painted in colours. Size,
471 X 101
Birds and flowers.
Painted by Bai-kei. Signed. Seal. Nineteenth century.
1036. Unmounted drawing, on silk, painted in colours. Size,
III X 27,
Landscape,
The mouth of a river, with a view of Mount Fuji in the distance.
Painted by Haeu-ki Nam-mei. Signed. Seal. Nine
teenth century.
1037, Unmounted drawing, on silk, painted in colours. Size,
2I| X 34.
Fowls and convolvulus.
Painted by Sa-take Yei-kai. Signed Ho-gen Yei-kai,
Seal. Nineteenth century.

CHINESE SCHOOL. 261

1038. Unmounted drawing, on silk, painted in colours. Size,
21| X 34i.
Egrets. Painted by Chiku-o-sai. Signed. Two seals. Nine
teenth century,
1039. Unmounted drawing, on paper, painted in colours. Size,
43 X 18,
The Seven Gods of Good Fortune,
The divinities are descending upon a cloud of serpentine form.
Artist unknown. No signature or seal. Eighteenth cen
tury.
1040 and 1041. A pair of unmounted drawings, on silk, painted in
colours. Size, 35^ X I4J.
(1.) Chang Liang and the Yellow Stone Elder. (See
No. I0I2,)
(2,) Kao Tsu attacking the dragon, (See No, 1297,)
Painted by Sho-kio. Signed, Seal. Nineteenth century.
1042 to 1088. A set of forty-seven drawings, on paper, painted in
monochrome. Size, II X I4f.
Bamboos, Painted by various artists. Signed. Seals, Nineteenth
century.
1089 to 1126. A set of thirty-eight unmounted drawings, on
paper, painted in colours Size, I2J X 9^.
Birds and flowers. Unfinished sketches.
Artist unknown. Dated third year of Meireki (1657),
1127. Unmounted drawing, on silk, painted in colours. Size,
62J X 36.
Pheasants, peacocks, and other birds.
Artist unknown. No signature or seal. Nineteenth
century.
1128 to 1133. A set of six unmounted drawings, on paper, painted
in colours. Size, I8| x 44.
The tiger hunt.
1. The departure of the hunting party.
2. The sea voyage (to Formosa or Korea). The crest upon the
sails shows that the adventurers belong to the Satsuma clan.

262 JAPANESE PICTORIAL ART.
3, Planning the expedition on arrival. The two leaders of the
party, sheltered from a heavy rain by large umbrellas, are giving
directions to their retainers. Mountainous scenery in the back
ground. 4. An engagement with a tiger. One of the himters, joining
issue with a great tiger, has thrust his long Satsuma blade with
such force into the open jaws of the bea^t that the point emerges at
the nape of its neck. Others of the band appear upon the brow of
a precipice in the background, and a stampede of wild boars, foxes,
and other animals is seen in the valley below.
5. A second tiger fight. Another tiger has proved more form
idable, in seizing his assailant by the leg. The unlucky man tries
to make use of his sword, while a comrade comes to his assistance,
and buries his blade in the body of the animal.
6. The trophies of the chase. The successful sportsmen are
carrying home the two huge carcasses, slung by the feet to long
poles. Painted by Ko-ki. Signed Dai-yei Hogen Ko-ki, Dated
second year of Ansei (1855).
h
1134. Album of twenty-three drawings, on silk, painted in colours-
Size, 9f X 7^.
Birds, flowers, &c.
Painted by Chin-zan. Signed. Seal. Dated in the Ox
year of Tempo (1841).
1135 and 1136. A pair of kakemonos, on paper, painted in colours.
Size, I9| X 12^,
Chinese landscapes — Lake scenery.
Painted by Naea Hogen (Kan-tei). Seal, Fifteenth
century.

( 263 )

SESSHIU SCHOOL.

The School of Sesshiu was one of the branches of the revived
Chinese School of the fifteenth century, but its founder, unlike
his famous contemporaries, Kano Masanobu and ShiUbun, had the
advantage of studying the parent art in its native place,
Sesshiu, a scion of the noble family of Ota, was born at Akabama,
in the province of Bichiu, in 1421. At the age of twelve or thirteen
he was placed under the instruction of a priest in the temple of Hofu-
kuji, where he was led by his artistic predilections to neglect the pre
scribed course of religious training. It is said that on one occasion
he was tied to a pillar of the temple in punishment for his idleness,
and when the priest came to set him free he was startled to see a
number of rats at the feet of his prisoner. The good man ran to
drive away the intruders, and found that they were pictures that
the little artist, using his toe for a pencil and his tears for ink, had
drawn upon the floor. Some versions of the story tell that the
pictorial creations were so life-like that they actually scampered
away when the priest drew near.
From this time his talent was recognised, and he was permitted
to follow the bent of his genius during the completion of his priestly
course. Some years later he became a pupil of Josetsu, in Sokokuji,
and under his teaching acquired the manner which brings even his
latest works into close association with those of Shiubun and certain
other artists of the same period. In the period Kwansho (1460-
1466), after he had passed the meridian of life, he determined to
make a voyage to China to see there the works of the old masters,
and study the scenery that had given inspiration to their brushes.
On his arrival he sought for a teacher amongst the noted artists
of the time, but the men whose works were laid before him fell short
of his ideal, and he resolved " to seek instruction from the moun-

264 JAPANESE PICTORIAL ART.
tains, rivers, and trees of the country." He painted many pictures
during his stay, including some reminiscences of Japan, and at
length his fame spread until it reached the Emperor. It is
regarded as one of the most signal honours ever paid to Japanese
art that Sesshiu received a command to paint a picture upon the
wall of the Imperial palace.
After his return to Japan he lived in the temple of Unkokuji
(whence the name of Unkoku adopted by himself and many of his
pupils and followers), and founded a new school from which issued
many celebrated painters. He continued his work until an advanced
age, and so unimpaired were his powers that some of his most valued
pictures were drawn after he had numbered fourscore years. It will
be seen that the Dragon head in No. 1202 of the Collection, painted
at the age of eighty-one, shows little signs of an enfeebled hand.
He died in 1507, at the age of eighty-six.
According to the Honcho gwashi, " his skill was the gift of nature ;
for he did not follow in the footsteps of the ancients, but developed
a style peculiar to himself. His power was greatest in landscape,
after which he excelled most in figures, then in flowers and birds ;
and he was also skilful in the delineation of oxen, horses, dragons,
and tigers. In drawing figures and animals he completed his sketch
with a single stroke of the brush, and of this style of working he is
considered the originator. He preferred to paint in monochrome, and
rarely made use of colours  When he was about to commence a
picture he was wont to play an air upon the flute, or to sing a verse
of poetry, and then would attack his task with vigour, like a dragon
refreshed by its native element." *
It is difficult for a European to estimate Sesshiij at his true value.
His style was in its essential features the same as that of Shiubun :
and notwithstanding the boast of the artist that the scenery of
China was his only teacher, and the credit bestowed upon him by his
admirers of having invented a new style, he has in no respect de
parted from the artificial rules accepted by his fellow painters. He
was, however, an original and powerful artist, and his renderings of
Chinese scenery bear evidences of local study that we look for in
vain in the works of his successors. The grand simplicity of his
* " Rio ga midzu wo y6ru gotoku,'' a proverbial expression equivalent to our
simile of " a giant refreshed with wine." The hteral meaning is " Like a dragon that
has met with water."

SESSHIU SCHOOL. 265

landscape compositions, their extraordinary breadth of design, the
illusive suggestions of atmosphere and distance, and the all-pervad
ing sense of poetry, demonstrate a genius that could rise above
all defects of theory in the principles of his art. It is in land
scape that his pre-eminence is most incontestable ; in other motives,
although he could not fail to be remarkable, he has many equals
and a few superiors.
His materials were few. He usually painted upon Chinese
paper with a moderately large brush, and his drawings were
either in monochrome or strongly outlined in ink, with a few
light washes of local colour. His touch was wonderfully firm,
expressive, and facile, and possessed a calligraphic beauty that
none but a Chinese or Japanese can thoroughly appreciate. His
observation of nature was evident, especially in his landscape
sketches, but he sought to produce reminiscences, or general
impressions, rather than direct transcripts of the reality.
Like most Japanese artists, he was known by a variety of names,
of which Puso-sho, To-yo, Bikei-san, Un-koku or Un-koku-ken, and
Bei-gen San-shiu were the chief.
His two greatest pupils were ShiO-getsu, of Satsuma, and Sesson
of Hitachi ; but many other familiar names in art belong to the roll
of his academy. The following list, compiled chiefly from the
Honcho gwashi, embraces the principal artists of the school down
to the middle of the seventeenth century : —
ShiU-getsu ; named also To-kan. A retainer of the Daimio of
Satsuma. He studied under Sesshiu, and was his companion
in China. Like nearly the whole of the pupils of the school,
he was a priest in the Buddhist Church. His landscapes are
less masterly than those of his teacher, but he was little, if
at all, inferior in other motives. See Nos, 1207 to 1209,
Sesson; named also Shiu-ki, or Kaku-sen O-eO, A famous
painter of landscape, in the style of Sesshiu. According to
some authorities he died in 1495, but it is more probable
that he flourished in the middle of the 16th century,
SoYEN ; named also Jo-sui, A priest of the Zen sect who studied
under Sesshiu, and became celebrated for landscapes. " His
pictures brought a thousand miles into the space of a square
foot."

266 JAPANESE PICTORIAL ART.
X Kei-shoki ; named also Kei-sho or Hin-eaku-sai. A priest of
Tofukuji and a pupil of Sesshiu, He flourished at the end
of the 15th century. Noted for landscape.
Sho-kei, or Yei-fusai. A pupil of Kei-shoki.
Shiu-ko. A pupil of Kei-shoki. His works bore a close
resemblance to those of Sesshiu whom he had accompanied to
China. He was most skilful in landscape, but is especially
noted for pictures of Shoki (Chung Kwei). See No. 687.
Totsu-an. a painter in the style of Kbishoki, who flourished
in the early part of the sixteenth century.
Un-po, a follower of Sesshiu, contemporary with the last.
Sho-yo. a pupil of Sesshiu.
To-ZEN ; named also H6-setsu, A pupil of Sesshiu, but some
times painted in the style of the Chinese artists of the Sung
and Yiien dynasties.
To-SEKi. A retainer of the Daimio of Satsuma. It is not
certain whether he studied directly under Sesshiu,
Jo-Ki, Noted for drawings of Shoki, Shinno (Shun), and the
poet Hitomaru. It is supposed that he was a Chinese who
accompanied Sesshiu on his return to Japan.
X Un-kiH ; named also Shi-zan. His pictures all bear the date
of the period Tembun (1532-1555).
Do-AN, or Yama-da Do-an; named also Mim-bu. Flourished
about the middle of the sixteenlih century. His style bore
considerable resemblance to that of Kano Motonobu. Died
1573,
¦^ ShiO-toku; named also I-ko, A follower of Sesshiu, noted for
monochrome landscapes in the style of the master. He lived
about the middle of the sixteenth century.
Settei. Noted for monochrome drawings of \bamboos and
sparrows.
To-BAi. Noted for drawings of Shoki, in a style like that
of Shiu-ko,
To-k6. a follower of Sesshiu and Shiubun.
Shiu-yo. Noted for monochrome pictures of Shoki.
Yo-EU. Noted for sketches of Daruma. (Dharma.)
Bai-ken. Noted for drawings of S'akyamuni.
To-den; named also Sei-eio. Noted for landscapes in mono
chrome.

SESSHIU SCHOOL. 267

Sei-mo. Noted for monochrome sketches of plum-blossoms.
Nao-tomo. A member of the Minamoto family. Noted for
landscape.
To-Ku. Noted for monochroine drawings of Kwanyin.
Yo-KEi. Noted for monochrome drawings of Daruma.
To-SAi. Noted as a painter, but his style was coarse and did
not resemble that of Sesshiu,
Sai-haku. Noted for paintings of oxen.
Ki-YEi. Noted for pictures of Mandjus'ri, and for humorous
sketches.
To-Yo, A priest of the temple Anyoji, in Sakai (Idzumi pro
vince). Noted for pictures of Shoki. He must be distinguished
from To-Yo, a follower of Shiubun. See Chinese School,
Ko-EOSHi. Noted for monochrome painting of hawks,
To-YETSU. Noted for drawings of Daikoku.
So-HAKU. Noted for pictures of small birds.
Kei-ein. Noted for monochrome pictures of Mandjus'ri.
So-sAi. Noted for lightly-coloured landscapes.
SoKU-BAi. Noted for monochrome sketches of Daruma and
other subjects.
Getsu-yu. Noted for pictures of the S'akyamuni trinity.
Ju-KEN. Noted for pictures of the S'akyamuni trinity.
Setto. Noted for monochrome sketches of flowers and birds.
Eio-EU. Noted for monochrome sketches of wild geese, and
for drawings of S'akyamuni.
So-JO Yu-SEN. A priest of the Shingon sect. Noted for mono
chrome drawings in the style of Sesshiu.
Saku-sen. Noted for monochrome sketches of flowers and birds.
To-satsu ; named also Ha-getsu. Born 1515.
To-BOKU. Noted for monochrome drawings of Atchala.
Ho-SHiu. Noted for pictures of Jurojin. His seal bears the
name of To-gbn.
Ko-GETSU. His seal bears the name of Shiu-ein.
Eio-KAi. Painted in the style of Sesson.
SuKE-CHiKA. Noted for landscapes in the style of Sesson.
To-bei Sui-getsu. Painted in the style of Shiu-getsu.
To-GAN. Originally a pupil of the Kano school, but afterwards
adopted the style of Sesshiu. Flourished about 1580.
To-YEKi. Son of To-GAN.

268 JAPANESE PICTORIAL ART.
To-HAKU (Ha-se-gawa). A celebrated painter of the latter
half of the sixteenth century, who styled himself the fifth
descendant of Sesshiu. He was noted for large pictures in
a style intermediate between that of the Sesshiu and Kano
schools, and although he is known to have intrigued with the
great Sage of the Cha-no-yu, Sen no Eikiu, to depreciate the
Kanos in the opinion of Hideyoshi, he is sometimes regarded
as belonging to the latter academy.
Kiu-z6, or Soya. Son of To-haku.
To-teki, or To-ein. Pupil of To-haku.
To-jiu (Ha-se-gawa). Probably a descendant of To-haku.
Cho-sen ; named also Ei-kai. Flourished in the period Genwa
(I615-I624.)
Many other artists are referred to in the Honcho-gwashi as
followers of Sesshiu, but without particulars of interest. These are
To-gei, Setsu-ein, To-an, Sesshin, Sekko, Boku-taku, To-setsu,
Smu-GEN, Shiu-kei, To-ha, Ei-yei, and Iye-tsugu.. Their period is
not stated ; but they probably flourished in the sixteenth century.

( 269 )

SESSHIU SCHOOL.

1201 to 1203. A set of three kakemonos, on paper, painted in
monochrome. Size, 45J X 20J.
Tiger (left), Dragon (right), and Jurojin (centre).
The head of the dragon is a masterly example of rapid forcible
sketching. The head, neck, and claws alone are exposed, emerging
from the dark background of cloud.
The tiger is vigorously drawn, but conventional.
Jurojin, accompanied by his sfag, is treated in the usual manner.
Painted by Sesshiu " at the age of eighty-two," The right
and left pictures are marked by seals. The central picture
bears both seal and signature. The set is accompanied
by two certificates of authenticity, signed by Eokufuji
Yozan and Kano Tsunenobu. Beginning of sixteenth
century (1502).
1204. Kakemono, on silk, painted in colours. Size 15^ x 37|.
From the Franks collection.
Hotei and children.
Sketched in strong black outline, and lightly washed with colour.
Painted by Sesshiu " at the age of eighty-three." Signed.
Seal. Beginning of sixteenth century (1503).
1205. Kakemono, on paper, painted in colour. Size ISJ x I5J.
Chinese landscape.
Ink sketch, lightly tinted with colour.
Painted by Sesshiu. Seal. Fifteenth century.
1206. Kakemono, on silk, painted in monochrome. Size 39J x 16f .
S'akyamuni.
The figure is a repetition of that known as " Shussan no Shaka,"
and represents S'akyamuni returning from his voluntary penance in
the mountains.

270 JAPANESE PICTORIAL ART.
Painted by Sesshiu. Signed Shi-mei Ten-do Dai-ichi-za
Sesshiit. "Drawn by Sesshiu, the head of the priests of
Thien T'sung in the mountain of Sze Ming." Fifteenth
century.
1207. Kakemono, on silk, painted in colours. Size, 44f x 23f.
Portrait of Vimalakirtti (Jap. Yuima-koji).
An old man dressed as a priest, with striking features and of
dignified aspect. He is seated upon a mat, and holds a futsujin
or clerical brush. Around the head is a colourless nimbus, the
mark of the Arhat.
The drawing shows the touch of a master-hand, and displays a
naturalistic truth that is seldom found in Japanese portraiture. It
is painted upon Chinese silk, which is considerably damaged by age
and exposure. Attributed to Shiu-getsu. No signature. Seal partly
obliterated. Fifteenth or sixteenth century.
Vimalakirtti was a famous, Indian priest, a native of VMs'Mi, said to
have been a contemporary of S'&kyamuni, and to have visited China
(Eitel). He is mentioned in the Butsu zo dzu-i, vol. iii.
1208. Kakemono, on silk, painted in colours. Size, 45 J x 22.
Chinese Sage.
Painted by. Shiij-gbtsu. Signed. Seal. Fifteenth or
sixteenth century.
1209. Kakemono, on paper, painted in monochrome. Size22|xl4.
Buddhist divinity. (Mandjus'ei ?)
An effeminate figure holding a sacred roll.
Painted by Shiu-getsu. Seal. Fifteenth or sixteenth
century.
1210. Kakemono, on paper, painted in colours. Size, 23f X 13|.
Chinese lady.
Painted by Sesso, " the eighth descendant of Sesshitj."
Signed. Seal. Eighteenth century.
1211. Kakemono, on paper, painted in monochrome. Size,
38| X 131.
Wild goose.
Rapidly sketched.
Painted by Sesso. Seal. Sixteenth century ?

SESSHIU SCHOOL. 271

1212 and 1213. Pair of kakemonos, on silk, painted in monochrome.
Size, 28| X I2|.
Tiger and Dragon.
Painted by Tsutsumi To-ji. Signed. Seal. Sixteenth
century (?).
1214 to 1216. A set of three kakemonos, on silk, painted in colours.
Size, 37f X 16f.
(1) and (2). Chinese landscapes.
(3). Han Shan and Shih-te (Jap. Kanzan and Jitoku).
See No. 606.
Painted by To-han. Signed " Un-koku Ho-gen To-han, the
sixth descendant of Sesshitj." The prefix Unkoku, referring
to the temple of Unkokuji, was adopted by many of the
followers of Sesshitj. Seventeenth century.
1217 and 1218. A pair of kakemonos, on silk, painted in colours.
Size, 401 X 13J.
Chinese landscapes.
Painted by To-kei. Signed, Un-koku To-kbi. Seal.
Eighteenth century.
1219. Kakemono, on paper, painted in monochrome. Size, 43 X 21.
Chung Kwei pursuing the demon. (See No. 687.)
Artist unknown. No seal or signature. Poetical inscrip
tion. Sixteenth century.
1220 and 1221. Pair of kakemonos, on paper, painted in colours.
Size, 39J X I9f.
Chinese landscapes.
Sketched in ink and lightly tinted with colour.
Artist unknown. Two seals. Sixteenth century.
1222. Kakemono, on silk, painted in colours. Size, 46J x 17|.
Jurojin, (See p. 44.)
Painted by Tan-i Bun-cho after a picture by Sesshitj.
See also No. 1223. Signed Bun-cho. Seal. End of
eighteenth century.
1223. Kakemono, on silk, painted in colours. Size 48 x 23f.
Jurojin,
Very similar to the preceding.
An old man with long white beard and transparent horse-hair

272 JAPANESE PICTORIAL ART.
hat. He is accompanied by a white deer, and surrounded with
branches of the pine, bamboo, and plum trees, — emblems of
longevity. The moon placed behind his head has the appearance
of a nimbus. Painted by Ka-no Yei-toku Eiu-shin after a picture by
Sesshiu. Signed. Seal. Nineteenth century.
1224. Kakemono, on silk, painted in monochrome. Size, 14^ x 224.
Chinese landscape. Lake and mountain scenery.
Painted by Ha-se-gawa Sekko Noku-uji, " the fourteenth
descendant of Sesshiu." Signed. Seal. Early part of
nineteenth century.
1225. Kakemono, on paper, painted in monochrome. Size 95 x 55|,
Fukurokujiu, (See p. 30.)
Painted with a very large brush. Copied from the picture
.of Sesshiu by I-sen m Ho-in Yei-shin (Ka-no Naga-nobu),
and re-copied by Sei-sen Yo-shin (Ka-no Osa-nobu). Signed.
Seal. Nineteenth century.
Presented to the Collection by C. H, Eead, Esq,
1226. Makimono, on silk, painted in colours. Size, I5| x 648,
Chinese landscape.
Sketched in ink, and lightly tinted with colours.
Painted by Ka-no Yo-shin (Osa-nobu) at the age of fifteen,
after a picture by Sesshiu. Signed Gioku-sen Yo-shin.
Seal. Dated in the period of Bunkwa (1804^18).
1227. Makimono, on paper, painted in colours. Size, I5| X 414.
Designs for the arrangement of flowers in vases.
In Japan the art of arrangement of flowers is a feminine
accomplishment, holding a place with music and painting, and
having its special professors and literature. It is of some interest
to note that, four centuries ago, the greatest artist of his age did
not consider it derogatory to furnish designs for the guidance of
fair amateurs in the practice of this offshoot of decorative art.
In the system of arrangement, it will be seen that branches of
trees, natural or trained into capricious shapes, flowerless or with
flower in bud or blossom, held an all-important place in the grouping,
and that the receptacles made to hold them offered a remarkable
variety of form. The whole art, with its numerous appliances, is of
Chinese origin.
Painted by To-sen, after Sesshiu. Signed Mon-jin Tosen.
Seal. Dated eighth year of Horeki (1758).

SESSHIU SCHOOL. 273

1228. Unmounted drawing, originally a screen decoration on
paper, painted in colours. Size, 60f x 126^.
Chinese landscape. Autumn scene.
Near the centre of the picture, in the mid-distance, is a lofty
eminence crowned with gaily-painted mansions, and fronted by a
rugged foreground covered with aged trees ; on the left a mountain
stream winds around the base of a gigantic cliff, whose summit is
already clothed with the snows of winter ; a broad expanse of water
stretches far to the right, and beyond its distant mist-hidden shore,
the bluish summits of remote silicic peaks rise up in sharp relief
against the sky. Two fishing-boats, one reposing upon the smooth
bosom of the lake, the other moored by a quaintly formed bridge
that spans the river, help to lend a human interest to the scene.
The picture belongs to the class termed Usu-zaishiki (thinly
coloured). The outlines have been firmly but rapidly sketched in
ink with a coarse brush, the warm brown and yellow tints of the
dying foliage are in contrast with the bluish-green of the unchang
ing pines and the pale umber of the foreground rocks, and a thin
grey wash serves to express the murky tone of the autumnal sky.
The composition, viewed as a whole, is evidently the work of a
mind capable of grasping the spirit of nature in its broader aspects,
but caring little for the study of naturalistic detail ; while the swift
masterly touches that map out the component parts of the scene
and the harmony of the sparing tints that serve to differentiate the
local characters of the foreground, indicate the work of a hand and
eye that had learned all the lessons that Chinese art could teach.
Painted by Sesshiu. Signed Bi-yo Sesshiu (Sesshiu of
Bitchiu). Seal. Fifteenth century.
1229. Unmounted drawing, on paper, painted in colours. Size,
41 X 181.
Chinese Landscape.
The picture apparently represents the outskirts of a great city.
The principal features of the scene are distinguished by descriptive
writing. Copied from a picture by Sesshitj. The original signature
reads, Shi-mei Ten-do Dai-ichi-za Sesshiu (as in No. 1206).
The copy is dated 1819.

274 JAPANESE PICTORIAL ART.

KANO SCHOOL.

The Kano school, one of the three branches of the fifteenth century
revival of Chinese teaching, had for its first master a scion of the
Fujiwara clan named Ka-no Masa-nobu, who was born at Odawara, in
the province of Sagami, about 1424 (Manpo zensho). Masanobu
is said to have studied painting under Shiubun and Oguei S5tan
(see Chinese School), and, according to a doubtful tradition, was at
first a pupil of Josetsu. He seems, however, to have exercised his
skill merely as an amateur until Sesshiu, after his return from China
(1469), chanced to see one of his pictures, and took an opportunity
of bringing his talent under the notice of the Shogun Yoshimasa.
About this time it happened that Oguei Sotan died, leaving un
finished a decorative painting in the temple of Kinkakuji, in Kioto,
and by the recommendation of Sesshiu, Masanobu was employed to
complete the work, a task he efl'ected with such success that his
reputation became firmly established.
He died about 1520 at the advanced age of 96, leaving two sons,
Oi-NO-suKE (afterwards called Moto-nobu) and Uta-no-suke (after
wards Yuki-nobu).
He was known in his youth by the name of Suke-kiyo,* and after
his professed retirement from the world, as Yu-sei, and received the
titles of Echizen no Kami and Hogen.
His style in the delineation of landscape, birds, and flowers, was
very similar to that of Oguei Sotan, and his figures are said to have
been modelled upon those of the Sung artist Ling Chi. But although
he was an accomplished painter, his originality and genius failed to
gain the universal recognition achieved by his eldest son Motonobu,
to whom the academy which bears his name really owed its per
manent existence.
* The Manpd zensho gives also the names of Shiro-jiro and Oi-no-suk£, which
according to the Honcho Owashi belong to Motonobu.

KANO SCHOOL. 275

Ka-no Moto-nobu, the actual head of the school, was born in
1477. There is little known as to his early life and education, but
it is said that many years of his youth were spent in Bohemian
rambles through the country, with empty purse and encumbered only
by a change of clothing and the necessary implements of his craft ;
stopping to sketch whatever pleased his eye ; and paying his way with
the produce of his brush. For a long time he worked in poverty,
and almost in obscurity, but his genius at length asserted itself, and
honours began to fall upon him. In the period Eisho (1504 to 1521)
he sent a number of his works to China, and one of the most cele
brated painters of that country was so strongly impressed by their
power that he wrote a letter to the artist, comparing them to the
drawings of Chao Chang and Ma Yuen, and expressing a wish to
become his pupil. The famous metal worker Go-to Yu-j6, the Ben
venuto Cellini of the age, contracted an intimate friendship with the
painter, whose designs he adopted in the engraving of sword orna
ments. His painted fans were chosen as ceremonial gifts to the
Emperor and Shogun. Lastly, the head of the ancient and aristocratic
Tosas, Mitsushige, thought him worthy of the hand of his daughter,
herself an artist of no small talent ; and Motonobu passed the
remainder of a long life in the midst of all the happiness that
sympathetic companionship and widespread fame could bestow.
His character appears to have been unambitious, yet proud and
self-reliant. The Honcho gwashi, to illustrate his indifference to
patronage, relates how Ota Nobunaga, one of the greatest personages
in the history of the sixteenth century, attracted by Motonobu's
dawning fame, condescended to go to his house, and walking with
his friends in lordly fashion, unannounced, into the studio, met with
a silent reproof at the hands of the artist, who pursued his occupa
tion without paying the slightest attention to the presence of his
haughty visitor. The story, however, is hardly probable, as Nobunaga
was himself almost unknown at the period referred to.
He died at the age of 82 in 1559.
The name by which he is most commonly known was that belong
ing to the most active period of his life. In his youth he was called
Oi-NO-suKE and Shieo-jieo (see Honcho gwashi), and after his " re
tirement " he took the name of Yei-sen. He is frequently referred to
as Ko-HOGBN, or the Ancient Hogen, to distinguish him from the
many painters of after times who received the title.

»276 JAPANESE PICTORIAL ART.
His most characteristic paintings, like those of Sesshitj, derived
little aid from mechanical finish or complexity of materials, but were
for the most part sketches either in monochrome or lightly tinted
with colour, and were dashed in with extraordinary facility, and
with a calligraphic force that has never been surpassed. All his
works display evidence of the Chinese origin of his teaching, trans
mitted probably through his father from Oguei Sotan and Shiubun.
His landscapes, chiefly imaginary transcripts of Chinese scenery, are
perhaps his most remarkable performances, and, despite the artifi
ciality of their elements and their scientific defects, display so much
individuality and picturesque beauty, enhanced by so perfect a com
mand of the brush, that it is not difficult to understand the charm
which they have exercised for centuries upon the painter's country
men. The same spark of genius illuminates his other pictures,
whether of bird or flower, sage or rishi ; and all, though often
hackneyed in motive and fashioned in accordance with the artificial
rules of the Chinese masters, bear the stamp of a master hand.
According to his biographers, he took for his models in landscape
the works of Ma Ytjen, Hia Kwei, Muh Ki, Yuh Kien, Shun ktj, and
Tsz' Chao ; in birds and flowers he followed Chao Chang, Ma Ytjen,
and Shun Kij ; his colouring was in the style of Ma Ytjen, Hia Kwei,
Liang Chi, and Ngan Hwui; and he occasionally painted in the
Japanese manner after Nobuzane and Tosa Mitsunobu. The
Japanese compare him to the great Chinese caUigraphist of the
fourth century, Wang Hi-Che, who although not decidedly superior
to certain of his rivals in any one style of writing, was pre-eminent
by virtue of the uniformly high level of excellence he attained in
all sections of the art.
He left three sons, and his manner of painting was preserved with
more or less modification by his younger brother Uta-no-suke, and
by his earlier descendants and the adopted pupils of his line. The
renown of the school lost nothing under his son Sho-yei and his
grandson Yei-toku, or under its collateral adherents San-eaktj and
San-sbtsu. Tan-yu, the fourth in descent from Motonobu, .was
one of the most vigorous and original painters of the Academy,
and ranks next to the master in the estimation of the Japanese;
his brothers Nao-noeu and Yasu-nobu were worthy associates ; and,
lastly, To-un and Tsune-nobu took a high position amongst the
leading artists of the seventeenth century.

KANO SCHOOL. 277

The works of the academy exhibit two distinct manners with
many intermediate gradations ; the one characterized by rapidity
of execution and simplicity of material, the other by decorative effect,
in which full play was given for complexity of design and splen
dour of colouring. The first style, in which Sesshiu had excelled,
was practised by all the Kano artists, but reached its highest per
fection and greatest extravagance in the drawings of Tanyu. The
most " impressionistic " of these sketches were landscapes, many of
which offer an extraordinary combination of artistic treatment with
a dexterity that approached dangerously near to pictorial jugglery.
The style is well illustrated in Nos. 1283 and 1286 of the collection.
Such works were most frequently in monochrome, but occasionally
the effect was heightened by a few light washes of colour.
The second or decorative manner was distinguished in most cases
by a more careful outline, usually with a finer brush, and by a free,
often lavish use of gold and colour. It was comparatively little
favoured by the artists of the first three generations, but began to
appear in some force in the mural embellishments of the great
castles carried out in the time of Hide-yoshi by his proteges, Yeitoku
and Saneaku, and became more and more pronounced from the be
ginning of the eighteenth century, till at length all the brilliancy
and elaboration of the Tosa and Buddhist paintings reappeared in
the works of the school whose acknowledged masterpieces were found
amongst the unobtrusive monochromes and lightly tinted sketches
of Kohogen and Tanyu. The sharp decisive touch of the early
masters, with its arbitrary variations in breadth of stroke, is, how
ever, apparent in nearly all the works of the Academy, and enables
the connoisseur to distinguish specimens in which the other charac
teristics have been entirely lost.
The motives favoured by the Kano artists were mostly classical —
Chinese sages, Chinese landscapes, Buddhist divinities in the style
of the old Chinese masters, and reproductions of the animals and
flowers that had appeared in the works of the Yiien and early
Ming periods — all delineated and coloured with Chinese convention
ality ; but Japanese subjects were by no means excluded, and occa
sionally the territories of other schools were trespassed upon by
illustrations of ancient semi-historical stories in the Yamato-Tosa
style, as in Nos. 282-3 ; humorous sketches and scenes of town life
in the manner of the Ukiyo draughtsmen as in Nos. 1434-6 ; and in

278 JAPANESE PICTORIAL ART.
rarer instances Temple pictures upon the model of the Butsu-ye
as in No. 85. In conclusion, it may be noted that several painters
who had been educated in the school subsequently released them
selves from their academical traditions. Amongst these may be
named Hana-busa Itoho, Tachi-bana Moei-kuni, and Nishi-gawa
SuKE-NOBU, who became shining lights in the early popular school ;
YosHi-MUEA Shiu-zan, the Netsuke carver ; Toei-yama Seki-yen and
Ybi-shi, two well-known designers for colour prints ; Tan-gen and
Moei-kage, whose decorative paintings upon the older Kutani and
Satsuma pottery are eagerly sought by the collector ; and Ta-ni
Bun-cho, who became the founder of a branch of the Chinese school
at the end of the last century.
The list of the alumni is very long, but the names inserted ace all
sufficiently well known to warrant their introduction.
To end of sixteenth century.
Masa-nobu. (See Nos. 1251 and 227.)
Moto-nobu. (See Nos. 1252 et seq.)
YuKi-NOBU, named also Uta-no-suke. The younger brother of
Moto-nobu, of whose works he was a close imitator. Died
1575, aged 62. (See No. 1266.)
MuNE-suKB. Pupil of Masa-nobu.
Chiku-boku. Pupil of Masa-nobu.
Sho-yei, named also Nao-nobu and Minbu-shoyu. The third son
of Moto-nobu. Died, aged 73, in 1592. His eldest brother
Yu-sbtsu died in 1562, aged 48, He and the three before-
named painters are sometimes spoken of as belonging to the
Josetsu school. (See Nos. 1269-70.)
SuYE-YOEi, named also Jibu-no-shoyu and Jo-shin. Second spji
of Moto-nobu. He died before his father.
Yo-SBTSU. Son-in-law of Moto-nobu.
So-CHiN. Nephew of Moto-nobu.
GioKu-EAKu. Nephew of Moto-nobu. His pictures bear no seal,
and are often mistaken for those of Ko-hogen.
Naga-mitsu — Kimura family — afterwards named Zen-eiyo. A
pupil of Moto-nobu. Was noted for pictures of flowers and
birds, and for ' life-like portraits.'
Gen-ya. a pupil of Moto-nobu. Was noted for large pictures,
which resembled those of Yei-toku. Other less known pupils

KANO SCHOOL. 279

of Moto-nobu are as follows ; — I-sei, Ji-boku, Kin-eiu, Masa-
SUKE, Go-BOKU, MOTO-TADA, ShIGE-NOBU, SaDA-NOBU, MiTSU-
MASA, Tai-shun, and Iye-tsugu.
Shin-sho, named also Hide-nobu. Son of Suye-yoei. Like his
father, he was chiefly known as a painter of fan pictures.
Ei6-j6, named also Hide-masa. Son of Shin-sho.
Haya-to, named also Gen-shin, son of Eio-j6.
Yei-toku, named also Shige-nobu and Gen-shieo. Eldest son
of Sho-yei, and a pupil of his grandfather, Moto-nobu. He
was engaged by Hideyoshi to decorate the walls of his
castles, and became especially noted for large mural designs.
Died 1592, at the age of 47. (See No. 1271.)
Mune-hide, named also So-shiu. Second son of Sho-yei. Painted
in the style of his brother Yei-toku.
So-HA, third son of Sho-yei.
Kiu-HAKU, named also Naga-nobu. Fourth son of Sho-yei.
Mitsu-nobu or Ukiyo, second son of Yei-toku. A clever
painter, but inferior to his father. Died in 1608, at the age
of 43.
Taka-nobu or Ukon, son of Yei-toku. Inferior to his father
and brother. Died 1618, at the age of 47.
Yu-sh6, named also Sho-ybki and Kai-hoku. A pupil of
Yei-toku. It is said that he presented a picture of a dragon
to the King of Korea, who sent an autograph letter of
thanks in acknowledgment. Died 1615, aged 82. (See No.
1271a.)
KiN-TOKU, named also Gen-suke. A pupil of Yei-toku.
San-eaku (Kimuea), named also Mitsu- yoei. In his youth he
was a page in the service of Hideyoshi; but his master,
having observed him absorbed in sketching a horse in the
sand instead of attending to his duty, placed him under
the tuition of Yei-toku, whose son-in-law he afterwards
became. He was associated with his father-in-law in the
mural decorations in the castles of Hideyoshi's favourites,
and may be regarded as one of the greatest colourists and
most original designers of his school. He died in 1635, at
the age of 76. (See Nos. 1272-3 and 1428.)
So-YU, named also Hidb-iye and Hide-nobu. A son-in-law and
pupil of Yei-toku. Died 1617, aged 63.

280 JAPANESE PICTORIAL ART.
So-SEN or Tanb-nobu, a pupil of Sho-yei.
So-OHi, son of So-HA.
Ikkei, named also Nai-zen and Shigb-yoshi. Pupil of Sho-yei.
Tane-naga (Takumi) or So-shin. Pupil of Sho-yei.
Gen-ha. Pupil of Sho-yei.
Kiu-haku, named also Saybmon Sho-shin. Son of Kiu-haku
Naga-nobu.
Kru-YEN, brother of the last named ; also named Sbi-shin or
KlYO-NOBU.
Seventeenth Century : —
Sada-nobu, son of Mitsu-nobu. Died at the age of 27.
K5-I (Yama-moto). A pupil of Mitsu-nobu^ and famous as the
teacher of the three brothers Moei-nobu, Nao-nobu, and
Yasu-nobu. He died in 1636, leaving two sons, named
Ko-ho and Eio-shi.
Yu-YEKi, son of So-CHi ; named also Uji-nobu.
Shun-sbtsu, named also Shige-nobu. Son of Yu-yeki.
Sho-kwa-d6, named also Taki-moto-bo and Sho-jo. Pupil of
San-eaku. A noted caUigraphist and painter of Kioto. He
is best known for original and grotesque sketches called
Kio-ye (Kioto pictures), which bear some resemblance to the
manner of Ko-ein. The style was maintained by his pupils
Taki-moto-bo Jo-jun and Do-zan Ho-zo-bo. Died 1639, at
the age of 57.
San-setsu, named also Da-soku-ken. Son or son-in-law of
San-eaku ; and one of the best artists of his period. Died
in 1654, at the age of 62. (See Nos. 1274-5.)
Shiu-ei, named also Mitsu-noei. Son of San-eaku.
So-SBN, named also Nobu-masa and Ge-ki. Son of So-yu. Died
1658, aged 61.
Yu-SBTsu. Son of Kai-hoku Yu-sho. Died 1677, aged 83.
Tan-yu or Tan-yu-sai, named also Moei-nobu. Eldest son of
Taka-nobu. The most celebrated artist of his school after
Moto-nobu. It is said that he first followed the style of
Sesshiu, and of the Chinese artists of the Sung and Yuen
periods, but he subsequently invented a manner of his own.
He painted the portrait of the retired Emperor, and replaced
Kanaoka's pictures of the Chinese sages in the Imperial

KANO SCHOOL. 281

palace at Kioto. He received the titles of Hogen, and after
wards Ho-in, and was appointed Edokoro Adzukari. He was
one of the most prolific and original painters of his time,
and carried the impressionistic style to its highest ex
treme. He died in 1674, at the age of 72. (See Nos. 1276
et seq.)
Nao-nobu, named also Shu-mei and Ji-teki-sai. Brother of
Tan-yu, whose manner he imitated. Died in 1650, at the
age of 47. See Nos, 1267-8,
Yasu-nobu, named also Boku-shin-sai, and the "Ancient
Yei-shin." Youngest brother of Tan-yu. Died 1685, aged 72.
He left many pupils, whose names are as follows : — No-muea
So-tatsu, So-sen, Sh6-un, Yei-un, Jo-shiu, Eiu-sen, Yei-jun,
San-seki, Yei-wo, Yei-so, Shichi-zayemon, Yei-kiu, and Ch6-ko
(afterwards known as Hana-busa Itoho). So-tatsu, a very
original artist and accomplished colourist, is also claimed as
a pupil of the Tosa school. He died in 1685, at the age of
62. (See Nos. 1294-5.) ;
Tan-gen, commonly known as "the Batsuma Tan-yu." A
pupil of Tan-yu, who originated the pictorial decoration of
the early Satsuma pottery.
Tan-eio (Matsu-baea). Pupil of Tan-yu.
Tsune-nobu, named also Yo-boku, Ko-shin and Ko-un-sai.
Son of Nao-nobu. Died in 1713, at the age of 77. (See
Nos. 1304 et seq.) ' -" ' ' ' '''
Tan-shin, named also Moei-masa. Son of Tan-yu. Died 1718,
aged 65. (See Nos. 1315-7.)
Tan-setsu, named also Moei-sada. Son of Tan-yu. Died 1714,
aged 59. (See Nos, 1320-2.)
Tan-zan. (Tsueu-zawa.) A pupil of Tan-yu. He left a son
named Tan-ji, and two pupils named Ko-shiba Moei-nao or
Tan-shun-sai, and Tachi-bana Moei-kuni. (See Popular
school.)
Moei-kage, (Kusumi), named also Han-bei. A pupil of Tan-yu,
who became celebrated as a painter of Kaga pottery,
Sesshin (Kiyo-haea). A niece of Tan-yu, and wife of Moei-kage.
Yei-no, named also San-sei and Nui-no-suke. Said to be a son
or grandson of San-setsu. The author of the Honcho gwa
shi (1693), a celebrated biographical list of painters, which

282 JAPANESE PICTORIAL ART.
has been extensively quoted in the present work. He was
followed by Yb-eiu and Ye-eio.
To-UN, named also Masu-nobu or Ybki-shin. Son-in-law of
Tan-yu. Died 1694, at the age of 70 (Gonse). (See Nos.
1297 et seq.)
\ To-shun, named also Fuku-shin, Kane-nobu and Eio-shin.
Son of To-UN. (See No. 1368.)
Tan-giu, named also Moei-michi. Son of San-setsu.
Soku-yo, named also Tanb-nobu. Son of Yu-yeki. A retainer
of the Daimio of Kaga. He left a son named Shu-sen or
FUNA-GAWA.
Shun-sbtsu, named also Shige-nobu. Son of Yu-yeki.
Haku-yen, named also Kei-shin. Son of Yu-yeki.
Dai-kaku, named also Uji-nobu.
Toki-nobu, named also Gen-shieo. Son of Yasu-nobu. Died
1678, aged 36. (See Nos. 237 and 1570.)
Sekko (Hase-gawa). Painted in the style of Tan-yu.
Kei-ho (Taka-ta). An original and talented artist. Many
of his drawings are engraved in the Keihb gwa-fu. He
died in 1755, at the age of 81. (See Nos. 1301 to 1303.)
Shun-sbtsu, named also Nobu-yuki. Son of Haya-to.
Yei-haku. (See No. 1399.)
Bai-ybi, named also Chi-shin, or Tomo-nobu. Son of Haya-to.
Shun-sho, named also Eio-shin. Son of Haya-to.
Bai-shun, named also Kiu-shin. Son of Bai-ybi.
Shun-sui, named also Mei-shin. Son of Shun-sho.
Shun-sbtsu, named also Shige-nobu. Son of Yu-yeki.
KlU-YEN.Kiu-TON, named also Ei-shin. Son of Kiu-haku.
Kiu-SEKi, named also Yu-snm, or Tomo-nobu. Son of Kiu-haku.
Kiu-zan, named also Koee-nobu. Son of Kiu-yen.
GlOKU-YEN. Son of KlU-S^KI.
Jiu-SHm, named also Kest-ta-eo.' Son of Kiu-zan. A pupil of
Tan-zan.
Eighteenth Century : —
EiTsu-w6 (0-gawa). Originally a pupil of the school, but sub
sequently became famous as a sculptor, peramist, and lacquer
painter. He died in 1747, at the age of 81.

KANO SCHOOL. 283

Shun-boku (0-oka). Died in the period Horeki (1751 to 1764),
at the age of 87. (See Popular school.)
Shun-jiu. Son-in-law of Shun-boku. Died in the period
Anyei (1772 to 1781), at the age of 54.
Tan-sen, named also Aki-nobu (d. 1756). Son of Tan-shin.
Died 1728, at the age of 42, leaving two sons named Tan-yen
and Tan-jo.
Chika-nobu, named also Jo-sen and Ko-shin, and in his later
years Yei-sen. Son of Tsune-nobu. Died;_ 1728, aged 69.
(See Nos. 1319 and 1372.) /&Si~'y^-^
Mine-nobu, named also Ho-shin. Son of Tsune-nobu. Died
1708 (Gonse). (See Nos. 335^0.)
Ten-shin, named also Yei-sen and Haku-gioku, youngest son
of Tsune-nobu. (See No. 1445.)
Zui-SEN, son of Mine-nobu.
Tomo-nobu. Son of Chika-nobu.
HisA-NOBU, named also Yei-sen. Son of Chika-nobu. (See
Nos. 1326-30.)
Michi-nobu, named also Yei-sen-in-Ho-in. Son of Hisa-nobu.
(See No. 1323.) One of the best of the later artists of his
school.
Shiu-shin. Son of Toki-nobu.
SuYE-NOBU. Son of Sniu-SHm.
I-SHIN. Son of SuYE-NOBU.
Suke-kiyo. Son of Suyb-nobu.
So-SEN, named also Sei-shin, or Naei-nobu. Son of Haku-yen.
(See No. 1401.)
Haku-sei, named also In-shin, or Yoei-nobu. Son of So-sen.
To-shun, or Yoshi-nobu. Son or pupil of To-shun Kane-nobu.
Died 1798.
Yei-shi. A pupil of Michi-nobu, but afterwards attached to the
Ukiyo-ye school. (See No. 1403.)
Jo-sen or Tsune-kawa, son of Zui-sen.
Nineteenth Century : —
Koee-nobu, named also Gen-shi-sai and Yo-sen-in-Ho-in. Son
of MiOHi-NOBU. Died 1808, at the age of 55. (See Nos.
1329-33.)

284 JAPANESE PICTORIAL ART.
Naga-nobu, named also I-sen in Ho-in. Son of Michi-nobu.
Died 1828, aged 53. (See Nos. 1336 et seq.)
Osa-nobu, named also Kwai-shin-sai and Sei-sen Hogen. Son
of Naga-nobu. (See Nos. 1345 et seq.)
Tan-shin-sai Moei-michi. (See Nos. 1437 et seq.)
Tan-ybn-sai Moei-zanb. Son of Moei-michi. (See Nos. 1552
et seq.)
Tan-gen-sai Moei-tsune. (See Nos. 1643 et seq.)
Kadzu-nobu. Famous for his portraits of the Sixteen Arhats
exhibited at Shiba in Tokio. (See Nos. 1376 et seq.)
Masa-nobu, named also Sho-sen-in-Hoin. Son of Osa-nobu.
StiU living. (See Nos. 1532 et seq.)
Ei5-sh6, named also Hide-masa.
The names of many other artists of the present century will be
found in the following list of paintings.

( 285 )

KANO SCHOOL.

1251. Kakemono, on paper, painted in colours. Size, 24f X I3f.
Chinese landscape.
Painted by Ka-no Masa-nobu or Yu-sei. Seal obliterated.
Fifteenth century.
1252. Kakemono, on paper, painted in monochrome. Size,
261 X 12f.
Chung-li K'iian (Jap. Shoeiken), or Katsu-gen (Koh Ytjen).
A bearded man, in loose attire, borne upon the waves by a sword.
Painted by Ka-no Moto-nobu. Seal. Early part of
sixteenth century.
Chung-li K'iian, described by Mayers as the first and greatest in the
category of the Eight Immortals, is said to have flourished during the Chow
dynasty. A long narration of his miraculous birth and supernatural gifts
and achievements is contained in the Ressen zen den, but the ingenuity of
the story is less remarkable than Its extravagance, and scarcely greater
than its veracity.
His attribute is a sword, by means of which he is said to have been able
to travel upon the water. He must not be mistaken for Lii Tung-pin, his
pupil, who is also distinguished by a sword. A figure with like charac
teristics also appears under the name of Koh Then (Jap. Katsu-gen).
The picture has been engraved in the Wa-kan mei-gwa yen.
1253 and 1254. Pair of kakemonos, on paper, painted in mono
chrome. Size, 36 X 12 J.
Wild Geese.
Eapid style.
Painted by Ka-no Moto-nobu, Seal. Early part of
sixteenth century.
1255. Kakemono, on paper, painted in monochrome. Size,
20f X 8|.
PSh I and Shuh Ts'i (Jap. Haktji and Shikusei).
Two scholars conversing in a mountain retreat.

286 JAPANESE PICTORIAL ART.
The picture is in the shape of a fan, and was probably painted as
a decoration for a screen or slide, or as a fan mount.
Painted by Ka-no Moto-nobu. Seal. Early part of
sixteenth century.
Peh I and Shuh Ts'i, two brothers who lived in the twelfth century b.c,
are renowned as examples of fraternal affection and purity of mind.
Their father wished to confer the succession upon Shuh T.s'i, the younger,
but he declined to accept his brother's birthright, and proved his sincerity
by disappearing from the scene. Peh I, in turn, rejected the inheritance,
under the plea that he might not act in disobedience to his father's wishes,
and to avoid dissension he also withdrew, leaving the succession to a third
brother. He joined Shuh Ts'i in a life of seclusion, and the two passed the
rest of their days in the uninterrupted enjoyment of fraternal and intellec
tual communion.
1256 to 1258. Set of three kakemonos, on paper, painted in
colours. Size, 501 x 21f.
(1) and (2), Sparrows and peonies.
(3). Crane (Grus viridirostris).
Painted by Ka-no Moto-nobu. Seal. Early part of
sixteenth century.
1259. Kakemono, on silk, painted in colours. Size, 13| x 9|.
Hawk and sparrow.
Painted in the style of the Yamato school.
The details are executed with a delicacy of finish rarely dis
played in the works of this artist, who moreover seldom worked
upon sUk. The value placed upon it by its original possessors is
manifested in the extraordinary series of envelopes by which it is
guarded. Painted by Ka-no Moto-nobu. Seal. Certificates. Early
part of sixteenth century.
1260. Kakemono, on paper, painted in monochrome. From the
Franks collection. Size 21^ x 33^.
" The Three Laughers."
Painted by Ka-no Moto-nobu. Seal. Early part of
sixteenth century.
The story illustrated is that of a Chinese sage who had retired from
active Ufe, vowing never to move beyond the confines of his insular retreat.
On one occasion, however, he received a visit from two old comrades, and
after having made merry with them, was unconsciously beguiled while
dazed with argument and reptated cups of wine, to cross the bridge that
linked him to the outer world. The moment chosen by the artist is

KANO SCHOOL. 287

that in which the two guests, having achieved their object, are laughing
at their forsworn friend, and he, taken by surprise, cannot help joining in
their glee.
1261. Kakemono, on paper, painted in monochrome. Size
24 X Ilf.
Chinese Juggler with Monkey.
Painted by Ka-no Moto-nobu. Seal. Early part of
sixteenth century.
1262, Kakemono, on paper, painted in colours. Size, 49f x 21.
Two Chinese Sages.
Their dresses and the branches of the trees are violently agitated
by a strong wind.
Painted by Ka-no Moto-nobu. Seal. Early part of
sixteenth century.
This is a copy of the Chinese painting No. 71, or of some work that
preceded both. The story illustrated by the sketch has not been traced.
1263 to 1265. Set of three kakemonos, on paper, painted in
monochrome. Size, 30^ x 13^-.
(1) and (2). Chinese landscapes. Summer and Winter.
(3). Hotei. See p. 37.
Eapid style.
Painted by Ka-no Moto-nobu (?). Seal. Sixteenth century.
1266. Kakemono, on paper, painted in colours. Size, 15 x 23|.
Bird and flowers.
Dravra. in the style of Motonobu.
Painted by Ka-no Uta-no-suke, No seal. Certificate of
authenticity. Early part of sixteenth century.
1267. Kakemono, on paper, painted in monochrome. Size,
35f X 121
Bird and pine-tree.
Rapid style.
Painted by Ka-no Nao-nobu. Seal. Seventeenth century.
1268. Kakemono, on silk, painted in monochrome. Size, 8^- x 12|.
Sparrow. Painted by Ka-no Nao-nobu. Signed. Seal. Seven
teenth century.

288 JAPANESE PICTORIAL ART.
1269. Kakemono, on paper, painted in monochrome. Size, I2|
X 20f.
Birds and bamboos.
Painted by Ka-no Sho-yei. Seal. Sixteenth century.
1270. Kakemono, on paper, painted in colours. Size, 42 x 18|.
Mandarin ducks.
Painted by Ka-no Sho-yei. Signed. Seal. Sixteenth
century.
1271. Kakemono, on paper, painted in colours. Size, 35 x I6|.
Mao Nii (Jap. Mojo Sennin).
A youthful female figure, clad in skins and leaves ; she carries a
fruit and blossom-bearing branch of the peach-tree of longevity,
and a basket containing a roll, a pine-branch, and loqua,ts. The
style of painting bears great resemblance to that of Motonobu.
A similar picture by a Chinese artist, named Ching Soh-tao,
is engraved in the Wa-kan sMu-gwa yen.
Painted by Ka-no Yei-toku. Seal, Sixteenth century.
Mao Nii is described in the Ressen zen den, as a female of wild aspect,
covered with long hair, who was often met in the mountains by travellers
and hunters. To those who questioned her, she related that she had been
a maid of honour in the palace of the Emperor, and that after the fall of
the T'sin dynasty (206 b.o.) she fled to the solitiide of the mountains,
where, by living upon pine-leaves, she at length lost the sense of hunger,
and became so light that she was able to soar in space imimpeded by
earthly grossness.
1271a, Kakemono, on paper, painted in monochrome. Size, 44^
xl8i,
Chinese Sage,
An aged man standing upon the borders of a stream watching
the movements of a crab.
Painted by Kai-hoku Yu-sho, Two seals. Sixteenth
century,
1272, Kakemono, on paper, painted in monochrome. Size, 16
X 33|.
Landscape. Eight celebrated prospects. Moonlight.
Painted by Ka-no San-eaku. Signed San-eaku. Seal.
End of sixteenth century.

KANO SCHOOL. 289

1273. Kakemono, on paper, painted in monochrome. Size, 11|
X 8.
The Three-clawed Dragon,
Copied from a painting by Cho Densu, probably the gigantic
ceiling decoration of the temple of Tofukuji in Kioto.
Painted by Ka-no San-eaku. Signed. Sixteenth century.
1274. Kakemono, on paper, painted in monochrome. Size, 36^
X I5|.
Landscape. Bain scene.
This is an anticipation of the impressionist school, a few almost
shapeless strokes of the brush being made to suggest with remark
able ftjrce the drenching downpour of a tropical shower.
Painted by Ka-no San-setsu. Signed San-sbtsu. Seal.
Early part of seventeenth century.
1275. Kakemono, on paper, painted in colours. Size, 38^ x I4|.
Quails and millet.
Painted by Ka-no San-setsu. Seal. Early part of seven
teenth century.
1276 and 1277. A pair of kakemonos, on paper, painted in
colours. Size, 46| x 18f.
(1.) Shen Nung. (See No. 614.)
An aged man with massively moulded features, large prominent
eyes, and two rudimentary horns upon the brow. He is clad in
skins, leaves, and feathers, and is writing upon a tablet that bears
the mystic diagrams revealed to Fuh-hi upon the back of the
dragon-horse. (2.) Yii the Great. (See No. 215.)
A personage in the ancient dress of the Chinese Emperors. The
robe is ornamented with emblematic designs of the sun, moon,
stars, pheasants, dragons, and mountains.
Painted by Ka-no Tan-yu. Signed Ho-in Tan-yu, aged
seventy. Seal (Kunaikiyo no in). Seventeenth century
(1671).
1278. Kakemono, on silk, painted in colours. Size, I5| X 34^.
Chinese landscape.
Eapidly sketched in ink, and lightly washed with colour.
Painted by Ka-no Tan-yu (?). Signed Tan-yu-sai. Seal.
(Moei-nobu.) Seventeenth century (?).

290 JAPANESE PICTORIAL ART.
^19 and 1280. A pair of kakemonos, on silk, painted in colours.
Size, 481 X 20f .
Falcons.
Executed with more attention to detail than is seen in most of
the pictures of this artist.
Painted by Ka-no Tan-yu. Signed Tan-yu Ho-gen. Seal
(Moei-nobu). Seventeenth century.
1281 and 1282. Pair of kakemonos, on silk, painted in mono
chrome. Size, 55 X 21.
Dragon and Tiger.
The head of the dragon emerging from the storm-cloud affords
an admirable example of the combined skill and f(5rce of the
artist. The tiger is conventional in treatment.
Painted by Ka-no Tan-yu. Signed Tan-yu-sai. Seal
(Ho-gen Tan-yu). Seventeenth century.
1283. Kakemono, on silk, painted in monochrome. Size, I0| x 24.
Landscape.
Mountain and lake scenery. " Impressionist " style.
Painted by Ka-no Tan-yu. Two seals. Seventeenth
century.
1284. Kakemono, on silk, painted in monochrome. Size, 38| x 14|.
Chinese landscape.
Eapidly sketched.
Painted by Ka-no Tan-yu. Signed Tan-yu. Seal.
Seventeenth century.
1285. Kakemono, on silk, painted in monochrome. Size, 26| X 13|.
Samantabhadra seated upon an elephant.
Painted by Ka-no Tan-yu. Seal. Seventeenth century.
1286. Kakemono, on silk, painted in monochrome. Size, 18 X 30f .
Landscape.
Eocks, mist, and water, suggested by a few lines and seemingly
haphazard dashes of ink.
Painted by Ka-no Tan-yu. Signed Tan-yu Ho-gen. Seal
(Ho-gen Tan-yu). Seventeenth century.

KANO SCHOOL. 291

1287. Kakemono, on silk, painted in colours. Size, 79 X 37f .
Kwanyin.
The form known as "Sei-dzu Kwannon." A female figure in
simple white dress, seated upon a rock. By her side is a small vase
holding a branch of bamboo. A waterfall in the background is
visible through the translucent nimbus.
Strongly outlined in ink, and lightly tinted with colour.
Painted by Ka-no Tan-yu at the age of sixty-three.
Signed Ho-in Tan-yu. Seal. Seventeenth century (1664).
1288. Kakemono, on silk, painted in monochrome. Size, 35 X 14|.
Chung Kwei. (See No. 687.)
The demon-queller is clenching his fist, and stamping his foot
with rage while looking up after the evasive demons.
Painted by Ka-no Tan-yu. Signed Tan-yu Ho-m, aged
sixty-five. Seal (Sei-mei). Seventeenth century (1666).
1289, Kakemono, on silk, painted in colours. Size, 38| X I9f.
Chinese landscape.
Strongly outlined in ink, with light colour washes.
Painted by Ka-no Tan-yu. Signed Ho-in Tan-yu, aged
sixty-seven. Seal. Seventeenth century (1668),
1290, Kakemono, on silk, painted in colours. Size, 16 x 29f ,
Jurojin, with crane and white stag.
This picture illustrates the community of emblems between
Jurojin and Fukurokujiu. (See p. 44.)
Painted by Ka-no Tan-yu. Signed Ho-in Tan-yu, aged
sixty-nine. Seal (Sei-mei). Seventeenth century (1670).
1291. Kakemono, on silk, painted in colours. Size, 50|^ x 31J.
Kwanyin the Unsurpassable (Anoku Kwannon).
The goddess clothed in a white dress with flowing folds, is seated
upon a rock by the sea-shore. At her feet stands a Chinese boy in
an attitude of prayer, and above, in the clouds, is seen a martial
figure, probably Ida Ten, holding a sword enveloped in a cloth
wrapper. Painted by Ka-no Tan-yu. Signed Ho-in Tan-yu,
sixty-seven. Seal. Seventeenth century (1668).
u 2

292 JAPANESE PICTORIAL ART
1292. Kakemono, on silk, painted in monochrome. Size, 60 x 26|.
Crow and pine-tree.
Painted by Ka-no Tan-yu (? forgery). Signed Ho-gen
Tan-yu. Seal. Seventeenth century.
1293. Kakemono, on silk, painted in monochrome. Size, 36 |x 13 J.
Doves and pine-tree.
Painted by Ka-no Tan-yu. Signed Tan-yu-sai. Seal.
Seventeenth century.
The Pigeon is regarded by the Chinese as a symbol of longevity, from
the custom which prevailed under the Han dynasty " of bestowing upon
persons above the age of eighty a jade-stone staff, upon which the figure
of a bird was engraved, the pigeon being believed to have peculiar powers
of digesting its food, and a wish for similar strength on the recipient's part
being thus symbolized." See Mayers' ' Chinese Eeader's Manual,' p. 1,
No. 272, and ' Chinese Notions about Pigeons and Doves,' by T. Watters,
' Trans. Shanghai Branch of the Royal Asiatic Society, 1867.'
1294. Kakemono, on silk, painted in monochrome. Size, 39f x 18.
Botankwa Shohaku.
A priest riding upon an ox.
Painted by Ka-no Yasu-nobu. Signed Ho-gen Yei-shin.
Seal. Seventeenth century.
Botankwa was a priest of royal descent, whose real name was Shohaku,
but who assumed the name of Botankwa, or " Peony Flower,'' from
caprice. He was a great student and lover of poetry, and was fond of
travelling in search of scenery (" climbing mountains "). He settled in early
life in the town of Sakai, and it is said that he was in the habit of riding
upon a bull with gilded horns, reading his books, regardless of the laughter
of those whom he met. In his old age he removed to Ik^da in the
province of Settsu, and there with his " Three Affections," the wine-cup,
incense-burning, and flowers, he passed his days until the civil wars
caused him to remove to Idzumi, where he died in 1527 at the age of
eighty-four. He is usually represented riding upon an ox whose horns are decorated
with peonies. (See Fusd Initsu Den and San-zai dzu-y4.)
1295. Kakemono, on silk, painted in colours. Size, 12^ x 21.
Landscape.
Dashed in with rapid strokes of the brush. When looked at
closely, the sketch has the aspect of a chaos of blotches, but seen
from a distance, the apparently unmeaning splashes of ink assume
form with wonderful suggestiveness as a mountain scene half
concealed by mists.
Painted by Ka-no Yasu-nobu. Signed Ho-gen Yei-shin.
Seal. Seventeenth century.

KANO SCHOOL. 293

1296. Kakemono, on silk, painted in colours. Size, 44| x 16^.
White Phcenix. (See No. 867.)
Painted by Ka-no Hide-nobu (or Yei-shin). Signed Ho
gen Hide-nobu. Seal. Eighteenth century,
1297. Kakemono, on paper, painted in colours. Size, 12| X Ilf.
Kao Tsu of the Han dynasty (Jap. Kan no Koso).
A Chinese warrior in complete armour, with dragon-crested *
helmet, holding in one hand a sword, in the other a feather-fan.
Painted by Ka-no To-un, or Yeki-shin. Seal. Signed
Yeki-shin. Seventeenth century.
Liu Pang, or Kao Tsu, was the founder of the Han dynasty (b.c. 206).
OriginaUy a peasant, he rose into fame as a warrior during the insurrection
raised by Hiang Liang against the successor of She Hwang Ti in B.C. 209,
and aided by the counsel of his astute adherents Ch'en Ping and Chang
Liang and the strong arms of Fan Kw'ai and Han-sin, he speedily attained
a position of supreme power. Finally, after defeating Hiang Tsi, the
nephew of Hiang Liang, he received, in 206 B.C., the insignia of Empire.
He was at first noted for his clemency and moderation, but in his old
age fell into vicious self-indulgence, and ungratefully ordered the execu
tion of his faithful retainer Fan Kw'ai, who some time before had dared
to upbraid him for his dissolute life. He died 19.5 b.c, leaving the throne
to his cruel wife, the Empress Lii.
The meeting with the dragon depicted in the drawing No. 1041 is
one of the fabulous incidents of his early career.
1298 and 1299. A pair of kakemonos, on silk, painted in mono
chrome. Size, 39 X 14J.
Han Shan and Shih-te. (See No. 606.)
Two figures, one holding a scroll, the other a rice-straw besom.
They have the attire and bearing of boys, but their eyes are
furrowed by the wrinkles of age.
Painted by Ka-no To-un. Signed Yeki-shin. Seal.
Seventeenth century.
1300. Kakemono, on silk, painted in colours. Size, 31f X 12^.
Two Chinese Sages in conversation over a scroll.
Painted by Ka-no To-un. Signed To-un. Seal (Nm-
waea). Seventeenth century.
1301 to 1303. A set of three kakemonos, on paper, painted in
monochrome. Size, 37 X 13|.
(1.) Gama Sennin. (See No. 703.)
The rishi appears here to have caught his frog by means of ii
fishing-rod.

294 JAPANESE PICTORIAL ART.
(2.) Li T'ieh Kwai liberating his spiritual Essence.
(See No. 1348.)
(3.) Kin Kao riding through the air upon a carp.
(See No. 794.)
Painted by Ka-no Kei-ho. Two seals. End of seven
teenth century.
1304. Kakemono, on silk, painted in colours. Size, 34| x 15^.
Kwanyin the Unsurpassable.
Compare with the figure by Tan-yu, No. 1291.
Painted by Ka-no Tsune-nobu. Signed. Seal. End of
seventeenth century.
1305, Kakemono, on silk, painted in colours. Size, 19 X 34|.
Su-she and his friends at Ch'ih Pi. (See No. 824.)
Lake scene. Three Chinese sages in a boat drifting over the
moonlit surface of a lake.
Painted by Ka-no Tsune-nobu. Signed Tsunb-nobu
Seal. End of seventeenth century.
1306 to 1308. A set of three kakemonos, on silk, painted in
monochrome. Size, 37^ X 14,
(1) and (2), Chinese landscapes. Summer and winter
scenes.
(3), Fukurokujiu. (See p, 30.)
Painted by Ka-no Tsune-nobu, Signed Tsune-nobu,
Seal. Seventeenth century.
1309 to 1311. Set of three kakemonos, on paper, painted in
monochrome. Size, 48 x 20f .
(1). Landscape,
(2) and (3), Wild Geese,
Painted in the most rapid manner of the school, and resembling
in style the pictures of Motonobu, Nos. 1253 and 1254.
Painted by Ka-no Tsune-nobu, Seal, Seventeenth
century.
1312, Kakemono, on silk, painted in colours. Size, 38f x 15J.
Cranes,
Ink sketch, lightly tinted with colour.
Painted by Ka-no Tsune-nobu. Signed Tsune-nobu.
Seal. Seventeenth century.

KANO SCHOOL. 295

1313, Kakemono, on silk, painted in colours. Size, 34| x 15J.
Chow Mao-shuh (Jap. Shumoshiku), the Philosopher
Chow,
A sage seated on the border of a lake gazing at the lotus-flowers.
Calligraphic style ; lightly tinted with colour.
Painted by Ka-no Tsune-nobu. Signed Tsune-nobu.
Seal. End of seventeenth century.
Chow Mao-shuh, or Chow Tun-i, was a famous scholar of the eleventh
century (a.d. 1017-1073), who, after holding various high positions in the
state, retired from the world, abandoning himself to philosophic con
templation and to rapt admiration of the fiowers of the lotus (E-hon Riozai,
vol. iii.). According to Mayers, he is considered second only to Chu Hi
(a.d. 1130 to 1200) in matters of philosophy and research,
I3I4, Kakemono, on paper, painted in monochrome. Size, 49 X 17|^.
Saigio H5shi. (See No. 204.)
An old priest in travelling dress, with a large hat and long
staff. Painted by Ka-no Tsune-nobu. Signed Tsune-nobu.
Seal. End of seventeenth century.
1315. Kakemono, on silk, painted in colours. Size, 36 x 12.
Dove and plum blossom.
Painted by Ka-no Tan-shin or Moei-masa. Signed Tan-
shin. Seal. End of seventeenth century.
This subject is of considerable antiquity. The original is seen in a well-
known picture by the Sung Emperor Hwui Tsuno, which has been
engraved in the Wa-Kan mei-gwa yen (1751), and is frequently copied
upon lacquer and keramic ware. The pigeon and the plum or pine tree
are associated as emblems of longevity. (See No. 1293.)
1316. Kakemono, on silk, painted in colours. Size, 42| x 19^.
T'ung Fang-so (Jap. Tobosaku). (See No. 615.)
A Chinese sage receiving the peaches of longevity from an
attendant. Painted by Ka-no Tan-shin. Signed. Seal. End of
seventeenth century.
1317. Kakemono, on silk, painted in colours. Size, 59| x 26f.
Crane and plum-tree.
Painted by Ka-no Tan-shin. Signed Tan-shin. Seal.
End of seventeenth century.

296 JAPANESE PICTORIAL ART.
1318. Kakemono, on silk, painted in monochrome. ¦ Size, Il| x 12|.
Hotei. (See p. 37.)
Painted by Taka-ta Kei-ho. Signed Kei-ho Yei-sai. Seal.
Seventeenth century.
1319. Kakemono, on silk, painted in colours. Size, 5I| x 31|^.
Lin Hwo-ching, (See No. 670.)
A Chinese sage attended by a crane.
Painted by Ka-no Chika-nobu. Signed Chika-nobu. Seal,
End of seventeenth century.
1320. Kakemono, on silk, painted in colours. Size, 40 X 14.
Lin Hwo-ching, (See No. 670.)
A Chinese sage accompanied by a crane. A blossoming plum-
tree stands in the foreground.
Painted by Ka-no Tan-setsu. Signed Tan-setsu. Seal,
End of seventeenth century.
1321 and 1322. A pair of kakemonos, on silk, painted in colours.
Size, 40 X 14.
Chinese landscapes.
Painted by Ka-no Tan-setsu. Signed Tan-setsu. Seal.
End of seventeenth century.
1323. Kakemono, on silk, painted in colours. Size, 15^ x 37.
Flying crane.
Painted by Ka-no Michi-nobu. Signed Ho-gen Yei-sen.
Seal. Eighteenth century.
1324 and 1325. A pair of kakemonos, on silk, painted in colours.
Size, 32J X 12.
Birds and flowers.
Painted by Ka-no Mune-nobu. Seal. Eighteenth century.
1326. Kakemono, on silk, painted in monochrome. Size, 36f X I8J.
Swallow and lotus.
Painted by Ka-no Hisa-nobu. Signed Hisa-nobu. Seal.
Eighteenth century.
1327. Kakemono, on silk, painted in colours. Size, 19 X 33|.
Japanese landscape.
View of Enoshima, with Mount Fuji in the distance.

KANO SCHOOL. 297

The apparent size of the mountain is enormously exaggerated—
a very common practice with Japanese artists.
Painted by Ka-no Hisa-nobu. Signed Hisa-nobu. Seal.
Eighteenth century.
1328. Kakemono, on silk, painted in colours. Size, 33^- X I4f.
White falcon.
Painted by Ka-no Hisa-nobu. Signed Hisa-nobu. Seal.
Eighteenth century.
1329. Kakemono, on silk, painted in colours. Size, 33f X 19-^.
Flying squirrel (Pteromys momoga).
A clever drawing from nature. Compare with plate in Siebold's
' Fauna Japonica.'
Painted by Ka-no Koee-nobu. Signed Gen-shi-sai
Ho-m. Seal. End of eighteenth century.
1330. Kakemono, on silk, painted in colours. Size, 43^- X 16.
Jur5jin with stag. (See p. 44.)
Painted by Ka-no Koee-nobu. Signed Yo-sen in Ho-in.
Seal. End of eighteenth century.
1331 to 1333. Set of three kakemonos, on silk, painted in mono
chrome. Size, 44|- X 22J.
(1) and (2). Chinese landscapes.
(3). Fukurokujiu in conversation with the Emperor
Chgn Tsung (?).
Fukurokujiu is distinguished by his lofty forehead. The Emperor,
who holds a sceptre, is probably Chen Tsung of the Sung dynasty.
The white stag is receiving food from a boy, and the crane is seen
wandering in an adjacent grove of bamboos.
Painted by Ka-no Koee-nobu. Signed Yo-sen in Ho-in.
Seal. End of eighteenth century.
An account of the interview between Chen Tsung and a personage
answering the description of Fukurokujiu, but called Jurojin, is given in
the FUzoku Shi, or Becord of Customs, an extract from which in the
Hengaku ki han has been translated by Signor Puini (I sette Genii della
Felicita, 1872). The passage is of interest, as showing the identity of
Fukurokujiu and Jurojin (see p. 44).
1334. Kakemono, on silk, painted in colours. Size, 66^ X 27f.
Chung Kwei. (See No. 687.)
A life-size figure of martial aspect, clothed in a red robe upon
which is embroidered a dragon.

298 JAPANESE PICTORIAL ART.
Painted by Ka-no I-shin, Signed Ho-gen I-shin. End
of eighteenth century.
1335, Kakemono, on silk, painted in colours. Size, 37| X 13|.
Arhat,
An aged mau holding a bamboo staff. His sacred character is
indicated by the translucent nimbus and the enlargement of the
ear-lobes. Painted by Ka-no To-sen. Signed Zen-eaku-sai To-sen
Ho-gen. Seal. Nineteenth century.
1336, Kakemono, on paper, painted in colours. Size, 50J X 21|.
Falcon, Painted by Ka-no Naga-nobu. Signed I-sen Ho-gen.
Seal. Early part of nineteenth century.
1337 and 1338, Pair of kakemonos, on silk, painted in colours.
Size, 431 X 161.
Chinese landscapes. Agricultural scenes.
Painted by Ka-no Naga-nobu. Signed I-sen Ho-gen
Naga-nobu. Early part of nineteenth century.
Chinese agriculture is a very favourite subject with artists of the Kano
school. Many large serial pictures by Motonobu, Teitoku, and others
have been painted to show the different stages of farming and preparation
of rice,
1339 and 1340, Pair of kakemonos, on silk, painted in colours.
Size, 33 X 11|.
Chinese landscapes. Sunset and moonlight.
Painted by Ka-no Naga-nobu. Signed I-sen in Ho-in.
Seal. Early part of nineteenth century.
1341. Kakemono, on silk, painted in colours. Size, I6| X 30|:.
Japanese landscape. Spring. A view of a lake and
paddy flelds.
In the foreground a party of mountebanks are amusing a httle
group of peasants in front of a cottage. Ploughing and other
agricultural operations are going on in the vicinity. The per
spective of the cattle in the middle distance is peculiar even for a
Japanese picture.
Painted by Ka-no Naga-nobu. Signed I-sen in Ho-in.
Seal. Early part of nineteenth century.

KANO SCHOOL. 299

1342. Kakemono, on silk, painted in colours. Size, 41|- x 13^.
Japanese landscape. Lake scene, with Mount Fuji in
the distance.
Painted by Ka-no Naga-nobu. Signed Isen Fus-waea
NO Naga-nobu. Seal, Early part of nineteenth century,
1343, Kakemono, on paper, painted in colours. Size, 21 x 36^.
Chinese landscape. Lake and mountain scenery.
Painted by Ka-no Naga-nobu. Signed I-sen in Ho-in.
Seal. Early part of nineteenth century.
1344, Kakemono, on silk, painted in colours. Size, 34^ x 13^.
Fukurokujiu. (See p. 30.)
Painted by Ka-no Naga-nobu. Signed I-sen Fuji-waea
NO Naga-nobu. Seal. Nineteenth century.
1345. Kakemono, on silk, painted in colours. Size, 19f X 33|.
The Seven Sages of the Bamboo Grove. (See No. 765.)
Painted by Ka-no Osa-nobu. Signed Sei-sen Ho-gen.
Seal. Nineteenth century.
1346. Kakemono, on silk, painted in colours. Size, I4| x 24f.
" Adzumaya-bune." The elopement of Adzumaya Kimi,
A Court noble and lady in a boat drifting along the moonlit
river. Painted by Ka-no Osa-nobu. Signed Sei-sen Ho-gen.
Seals. Nineteenth century.
The picture represents an incident in the Oenji Monogatari, the elope
ment of a Court lady named Adzumaya Kimi with her lover, Nio Giobu
Kio, the son of Hikaru Genji, upon the Uji river. (See Sha-hd Bukuro,
vol. i.)
1347 and 1348, A pair of kakemonos, on silk, painted in colours.
Size, 40f X 15.
Gama Sennin. (See No. 703.)
A wild-looking figure caressing a three-legged toad.
Li T'ieh Kwai (Jap. Tekkai Sennin).
A ragged cripple breathing forth a miniature image of himself.
Painted by Ka-no Osa-nobu. Signed Sei-sen Ho-gen.
Seal. Nineteenth century.
Li T'ieh Kwai is one of the most familiar of the Taoist Rishis. Accord
ing to the Ressen zen Den he was a pupil of Lao-tsz', and possessed the

300 JAPANESE PICTORIAL ART.
power of setting free his spirit from the encumbrance of its earthly frame.
One day, desiring to visit his instructor in the mountain of the Immortals, he
instructed a disciple to take charge of his body, saying that he (i.e. his vital
or spiritual essence) would return to resume possession in seven days. On
the sixth day the guardian received intelligence that his mother was
sick, and in conformity with the laws of filial piety was forced to depart
and hasten to her succour. On the seventh day the spirit of T'ieh Kwai
returned according to promise, but, the material frame having disappeared,
it was compelled to take refuge in the dead body of a starved toad. Hence
the face of the Eishi was from that time ugly, and he was lame in gait.
(Ressen zen Den, vol. i.)
The story as told by Mayers differs somewhat in detail. The original
form of the Eishi is said to have been of noble proportions and aspect, but
the spirit on its return from its journey, finding the body to have become
devitalized in consequence of its desertion by the disciple, entered the
corpse of a lame and crooked beggar whose soul had at that moment taken
its flight, and in this shape the philosopher continued his existence
supporting his halting footsteps with an iron staff.
He is included by the Taoist writers in the category of the Eight
Immortals, but no precise period is assigned to his existence upon earth
(Mayers). It appears probable that he was a real personage, and that the
fable here narrated was an invention by himself or his disciples to explain
his physical defects.
1349 to 1351. Set of three kakemonos, on silk, painted in
colours. Size, 42 x 13|.
Chinese landscapes. Spring, summer, and winter
views. Painted by Ka-no Osa-nobu. Signed Sei-sen Ho-gen.
Seal. Nineteenth century.
1352. Kakemono, on silk, painted in colours. Size, 16^ X 24^.
Falcon and egret.
Sketched in the style of Tanyu.
Painted by Ka-no Osa-nobu. Signed Sei-sen in Ho-in.
Seal. Nineteenth century.
1353. Kakemono, on silk, painted in monochrome. Size, 37| X Ut.
Lion and cub. (See No. 1553.)
A lion has cast his offspring from a precipice and stands watching
the result with an expression of ferocious interest.
Painted by Ka-no Osa-nobu. Signed Sei-sen Ho-gen.
Seal. Nineteenth century.
The paternal lion is said to be in the habit of testing the viability of
his cubs by casting them from a high rook. If the result of this Spartan
experiment be fatal, it is considered a proof that the youthful victim was
unwortliy tn attain tho dignity of full lionhood.

KANO SCHOOL. 301

1354. Kakemono, on silk, painted in colours. Size, 37| X lOf.
Wave birds (Nami no Chidobi).
Small birds flying above the surface of the waves.
Painted by Ka-no Osa-nobu. Signed Sei-sen in Ho-m.
Seal. Nineteenth century.
The Nami no Chidori is described by Mr. Suyematz as " a small sea-
bird that always flies in large flocks. Its cries are considered very
plaintive, and are often alluded to by poets." The name is probably
applied to any small birds that fly about the shore, and Messrs. Blakiston
and Pryer state that it may belong to any kind of sandpiper, plover, or
dotterel. In pictures the Chidoris are represented as having the size and
general aspect of sparrows. The artist, by a play of fancy, sometimes
makes it appear that the little flutterers are a transformation of the
spherules of spray detached from the wave crests.
1355 to 1357. A set of three kakemonos, on silk, painted in
colours. Size, 33^ X 12|.
(1) and (2). Chinese landscapes,
(3), Ch'gn Nan (Jap. Chinnen Sennin). See No. 795.
A man of wild aspect holding up a cup from which a dragon is
darting into the skies.
Painted by Ka-no Osa-nobu. Signed Sei-sen Ho-gen
Osa-nobu. Seal. Nineteenth century,
1358. Kakemono, on silk, painted in colours. Size, 21|- x 34.
Kohogen's dream,
Kwanshojo (see No. 28) mounted upon a black ox, riding
furiously. The picture is said to be an illustration of a dream of Kano
Motonobu, but its significance is uncertain : it is only known that
Sugawara no Michizane (Kwanshojo) was in the habit of riding
upon an ox during his banishment in Kiushiii.
Painted by Ka-no Sho-sen. Signed Sh5-sen Ho-gen
FujiwAEA no Masa-nobu. Seal. Nineteenth century.
1359. Kakemono, on silk, painted in colours. Size, 42 x 16|.
Chinese palace with mountain scenery.
The inhabited portion of the building is raised to a great height
upon an elevated basement of stone or brick, an expedient often
adopted both in Japan and China to increase the range of
prospect. The entrance of the palace bears a framed inscription,
" The Gate of Immortality." The modification of style shown by
minute attention to detail, and the use of bright colours, is an
innovation iu the school that dates from about 1830.

302 JAPANESE PICTORIAL ART.

Painted by Ka-no Tan-sei-sai Moei-toshi. Signed Tan-
SBi-SAi Moei-toshi. Seal. Nineteenth century.
1360. Kakemono, on silk, painted in colours. Size, 23^ x 10|.
The Thirty-six famous Poets (San-jiu-eok' Kasen).
Figures painted upon a gilded background (See No. 343).
Painted by Ka-no Sho-shin. Signed. Sho-shin. Seal.
Nineteenth century.
1361. Kakemono, on silk, painted in colours. Size, 40 X 13|.
Yang Kwei-fei (Jap. YoKmi). See No. 668.
Painted by Haku-getsu-sai Yoshi-nobu (or Yushin).
Signed. Two seals. Nineteenth century.
1362. Kakemono, on silk, painted in colours. Size, 40| X 17.
The emblems of longevity.
Fukurokujiu, with the stag, crane, and hairy-tailed tortoise ; near
by are the pine, bamboo, and plum trees (" Sho-chiku-bai "), The
whole are grouped to form a circular composition.
Painted by Ka-no Yoshi-nobu (or Bi-shin). Signed Yoshi-
nobu. Two seals. Eighteenth century,
1363. Kakemono, on silk, painted in colours. Size, \&\ X 28^.
Landscape. Snow scene.
Eapid ink sketch ; lightly tinted with colour.
Painted by Ka-no Yoshi-nobu (or Gi-shin) at the age of
seventy-seven. Signed Yoshi-nobu. Seal. Eighteenth century.
1364 and 1365. A pair of kakemonos, on silk, painted in colours.
Size, 40 X 13|.
Peonies.
The colouring is crude, and a rather unpleasant effect is created
by the introduction of a background of a blue of indifferent quaHty,
which made its first appearance in Japanese pictures after the
middle of the present century.
Painted by Yoshi-nobu Haku-getsu-sai. Signed To-eih
Fuji-waea no Yoshi-nobu. Seal. Nineteenth century.
1366. Kakemono, on paper, painted in monochrome. Size,
41 X I4|.
Fukurokujiu. (See p. 30.) ,
Painted by Ka-no Yoshi-nobu (or Gi-shin). Signed.
Seal. Eighteenth century.

KANO SCHOOL. 303

1367. Kakemono, on silk, painted in colours. Size, 33J X 14|^.
The ceremony of gathering seaweed at Hayato
Momioju (" Waka mekaei no jiuji ").
The waters of the sea at the foot of a Shinto temple are dividing
to leave a pathway for the descent of the priests to gather seaweed
from the bottom.
Painted by Ka-no To-shun (?). Signed Ho-gen To-shun.
Seal. Eighteenth century.
It is believed that the sea at the foot of the Shinto temple Hayato
Momioju, in the province of Nagato, dries on the last day of every year
at the hour of the Eat (midnight), and the Shinto priests then descend
with torches to cut the seaweed from the exposed bed of the ocean as an
offering to the gods for the flrst day of the New Year. " It was the opinion
of many that the Dragon King forced the waters to separate" (Yokioku
Gwa-shi).
1368, Kakemono, on silk, painted in monochrome. Size,
37f X I3|.
Sparrow and pine. Snow scene.
Eapid sketch in ink.
Painted by Ka-no To-shun. Signed Ho-gen To-shun.
Seal. Eightbenth century.
1369. Kakemono, on silk, painted in monochrome. Size
34f X 15f.
Chung Kwei (Jap. Shoki) riding upon a lion (see No. 687).
Sketched in red ink.
Painted by Ka-no Shin-sho. Signed. Seal. Inscription
by Dasan. Nineteenth century.
1370. Kakemono, on paper, painted in colours. Size, 19^ x Ilf.
Hotei and boy.
Painted by Ka-no Shin-sho. Signed Shin-sho. Seal.
Nineteenth century.
1371. Kakemono, on silk, painted in colours. Size, 39| x 13|.
Seishonagon drawing up the'blind.
Seishonagon in a room in the palace is rolling up a blind to
expose the landscape. The Emperor (the lower part of whose dress
alone is visible) is in the background, and a lady and two courtiers
are seated in front. .
Drawn and coloured in the style of the Yamato school.
Painted by Ka-no Shin-sho. Signed. Seal. Nine
teenth century.
Seishonagon was a maid of honour, famous for her beauty and intel
lectual accomplishments, in the service of the consort of the Emperor

304 JAPANESE PICTORIAL ART.
Ichijo (reigned 987 to 1010 a.d.). Like her ill-fated prototype Ono no
Komachi, she sank into indigence and misery in her old age, and became a
mark for pity if not for charity.
The picture illustrates an occasion on which she gained high praise for
her ready comprehension of a classical allusion made by the Empress, her
recognition of the quotation being silently conveyed by the display of the
winter scene outside the palace. (See GrifSs' ' Mikado's Empire.')
1372. Kakemono, on silk, painted in monochrome. Size,
32f X 121
A rescue.
A man in a boat is going to help a person in the water who is
praying for assistance.
Painted by Ka-no Chika-nobu. Signed Chika-nobu.
Seal. Eighteenth century.
This picture is no doubt an illustration of a Chinese legend, but the
story has not been traced.
1373. Kakemono, on silk, painted in colours. Size, 36J x IZ\.
Sparrow and bamboo.
Quickly sketched in ink ; bird lightly tinted with colour.
Painted by Ka-no Kwan-shin. Signed Kwan-shin. Seal.
Nineteenth century.
1374. Kakemono, on silk, painted in monochrome. Size,
371 X 131
Chung Kwei and the Demon. (See No. 687.)
Painted in red ; the pupik of the eyes and corners of the mouth
are touched with black.
Painted by IcHi-GiOKU-SAi Yei-shun. Signed. Seal Nine
teenth century.
1375. Kakemono, on silk, painted in colours. Size, 45 X 19|.
Haehimantaro (Minamoto no Yoshi-iye).
A warrior on a black horse stopping to look at the falling petals
of the cherry-blossoms. The curious conventionalization of the
flowers is worthy of notice.
Painted by Ichi-gioku-sai Yei-shun. Signed Ichi-gioku-
SAi. Seal. Nineteenth century.
Minamoto no Yoshi-iyd was the eldest son of Yoriyoshi (see No. 219).
Yoriyoshi having dreamed that the god Hachiman appeared to him and
presented him with a sword, and his wife shortly afterwards giving birth
to a son, interpreted the dream as a portent of the future greatness of his
offspring, and conferred upon the infant the name of Haehimantaro, or
the Young Hachiman.

KANO SOEOOIi. 305

In due time the child became a brave man and a " god-like archer.'' So
great was his strength that he could pierce three suits of armour placed
one behind the other with his arrow; and even the evil spirits were
dominated by his prowess, for in the third year of Kaho (a.d. 1096), when
the Emperor was seized by a mysterious illness, the third twang of Yoshi-
iy^'s terrible bow-string in the Imperial bed-chamber caused the demons
of disease to fly, and the royal patient was immediately restored to health.
Many stories are told of his deeds of valour during the war in Oshiii.
1376. Kakemono, on silk, painted in colours. Size, 43f X 13J.
Chao Yiin (Jap. Cho-un) leaping the chasm. (See
No. 689.)
Painted by Ka-no Kadzu-nobu. Signed Kbn-yu-sai
Kadzu-nobu. Seals. Nineteenth century.
1377 and 1378. Pair of kakemonos, on silk, painted in colours.
Size, 42J X I7f .
Horses.
These pictures illustrate the want of appreciation of the Japanese
artist for the anatomical forms of the horse. The action of the
animal is well indicated, though less successfully than usual,
and the proportions are good ; but the shapeliness of head, trunk,
and limbs is entirely missed, and the defects of drawing are
exaggerated where any attempt has been made at foreshortening.
Painted by Ka-no Kadzu-nobu. Signed Hokkio Kadzu-
nobu. Seal. Nineteenth century.
1379. Kakemono, on paper, painted in colours. Size, 49f X 22|.
Haehimantaro. (See No. 1375.)
In the dress of a Court noble, mounted upon a dapple grey horse.
Painted by Shiu-gen Sada-nobu. Signed. Seal. Nine
teenth century.
1380 and 1381. A pair of kakemonos, on silk, painted in colours.
Size, 43| X 171
Carp.
In one picture the fish is leaping up a cataract ; in the other it is
sporting in the agitated waters of a torrent.
Painted by Shiu-gen Sada-nobu. Signed. Seal. Nine
teenth century.
1382 and 1383. A pair of kakemonos, on silk, painted in colours.
Size, 35| X 121
Chinese landscape, with the Seven Gods of Good
Fortune. (See p. 27.)
1. Hotei and Jurojin are seen crossing a bridge to reach a
X

306 JAPANESE PICTORIAL ART.
pavilion in which Benten is seated playing upon a stringed
instrument. 2. ifibisu and Daikoku making merry while Bishamon studies a
manuscript. A white crane bearing Fukurokujiu is winging its
way through the skies to join the assemblage.
Painted by Ka-no Ki-shin. Signed Ki-shin. Seal. Nine
teenth century.
1384. Kakemono, on silk, painted in colours. Size, 43^ x I9J.
The Empress Jingo in Korea.
The Empress, mounted upon a dapple grey horse, is writing upon
a rock with the end of her bow the triumphant inscription, " Koku
0," or Monarch of the Country.
Painted by Ka-no Chi-shin. Signed Ho-gen Naga-hide
Chi-shin Seal. Nineteenth century.
It is said that the Empress Jingo, after the conquest of Korea, signed
the characters " Koku 0," as a mark of annexation, upon a rock on the
sea-shore.
1385. Kakemono, on silk, painted in colours. Size, 33|- x 13|.
Chinese sage and children.
The figure of the sage resembles that of Jurojin, but the
attributes are different.
Painted by Ka-no Tan-saku. Signed Ho-gen Tan-saku.
Seal. Eighteenth century.
1386 to 1388. A set of three kakemonos, on silk, painted in
colours. Size, 36f X Ilf.
(1) and (2). Chinese landscapes.
(3). Fukurokujiu, with emblems of longevity.
Painted by Ka-no Tatsu-nobu (or Eitsu-shin). Signed
Yei-toku Tatsu-nobu. Seal. Nineteenth century.
1389. Kakemono, on silk, painted in colours. Size, lOf X 2I|.
Lion dance (Shishi-mai).
Two mummers, covered by a cloth and mask, are made up to re
present the conventional Hon, and are dancing before an admiring
audience of two or three children and a coolie.
Painted by Ka-no Tatsu-nobu. Signed Sei-setsu-sai
Tatsu-nobu. Seal. Nineteenth century.
1390. Kakemono, on silk, painted in colours. Size, 20| X 27,
Chinese scene.
An Emperor, seated in a boat, is looking at an enormous carp
placed before him by two warriors.

KANO SCHOOL. 307

Painted by Tan-getsu-sai Moei-yoshi. Signed. Seal.
Nineteenth century.
The legend or incident referred to in the pictme has not been traced.
1391, Kakemono, on silk, painted in colours. Size, 35f x Ilf.
Chinese landscape.
Painted by Tan-eiu Moei-tama, Signed Tan-eiu. Seal.
Nineteenth century,
1392 and 1393. A pair of kakemonos, on silk, painted in colours.
Size, 38 X Ilf,
The Seven Gods of Good Fortune. (See p. 27.)
The male portion of the assemblage are seated upon the ground
amusing themselves with conversation, while Benten touches the
cords of the biwa.
Painted by Tan-sai To-sui at the age of seventy. Signed.
Seal. Nineteenth century.
1394. Kakemono, on silk, painted in colours. Size, 33^ x Ilf.
Phoenixes. (See No. 867.)
Painted by Nan-sen. Signed. Seal. Nineteenth century.
1395. Kakemono, on silk, painted in colours. Size, 52 X 15^-.
Murasaki Shikibu composing the Genji Monogatari.
The poetess seated in rapt contemplation in a pavilion over
looking Lake Biwa. The image of the moon is reflected upon the
tranquil waters. Drawn in the style of the Yamato school.
Painted by Tan-sei Moei-taka. Signed. Seal. Nine
teenth century.
Murasaki Shikibu was in her youth a maid of honour to the lady who
afterwards became the consort of the Emperor Ichijo. She married a
Kuge named Nobutaka, to whom she bore a daughter, named Idzumi
Shikibu (the authoress of a work of fiction called Sagoromo Monogatari).
Surviving her husband, she spent her latter years in peaceful retirement,
and died a.d. 992. The exact date of her story is not given in the
book, but her diary proves that it was composed before she arrived at
old age. (See p. 113.)
Tradition says that when she was requested to write the story she
retired to the Buddhist temple in Ishiyama, situated on hilly ground at
the head of the picturesque river Uji, looking down upon Lake Biwa.
" It was the evening of the fifteenth of August. Before her eyes the view
extended for miles. In the silver lake below, the pale face of the full
moon was reflected in the calm, mirror-like waters, displaying itself in
indescribable beauty. Her mind became more and more serene as she
gazed on the prospect before her, while her imagination became more and
X 2

308 JAPANESE PICTORIAL ART.
more lively as she became calmer and calmer. The ideas and incidents of
the story which she was about to write stole into her mind as if by divine
influence" (Translation of Genji Monogatari by K. Suyematz, 1882).
1396. Kakemono, on paper, painted in colours. Size, 43| x 20.
Cranes. Painted by Ean-sen Moei-hieo. Signed. Seal. Nine
teenth century.
1397. Kakemono, on silk, painted in colours. Size, 43 x 17|.
Chinese landscape, with flgures of sages.
Drawn with a fine brush, and highly coloured.
Painted by Tan-gen-sai Moei-tsune. Signed. Seal.
Nineteenth century.
1398. Kakemono, on silk, painted in colours. Size, 34f x I0|.
The Hundred Monkeys.
A number of long-armed monkeys sporting upon a rocky bank.
The animal is a kind of Gibbon, wholly unlike the Inuus or
Macacus specioms of Japan, whose form and features have been
perpetuated by Shiuho and Sosen.
Painted by Ko-t6 Yo-kei. Eighteenth century.
1399. Kakemono, on silk, painted in colours. Size, 43 x 20|.
Chinese landscape showing the Four Seasons, and the
Twelve Signs of the Zodiac.
The picture is wholly ideal. The foregroimd of the scene is
brightened by the early blossoms of spring, and the signs of the
later seasons are traceable in the landscape through summer and
autumn, to the snow-clad peaks of a wintry distance. The animals
representative of the zodiacal signs are distributed over the different
parts of the view in such a manner as to render their discovery a
rather puzzling process. The geology and perspective are almost as
fictitious as the coincidence of seasons.
Painted by Ka-no Yei-haku. Signed Sai-to Yei-haku.
Seal. Eighteenth century.
1400. Kakemono, on paper, painted in monochrome. Size,
50i X I7f ,
Chinese landscape. " Snow scene at the gate of Isen."
An impressionistic study in black and white.
Painted by Ka-no Yei-gaku. Signed Ka-no Nui-no-suke
Yei-gaku. Seal. Nineteenth century.

KANO SCHOOL. 309

1401. Kakemono, on silk, painted in colours. Size, 40 X 17^.
Grey falcon.
Painted by Ka-no Sbi-shin. Signed. Seal. Eighteenth
century.
1402. Kakemono, on silk, painted in colours. Size, 39^ x 13|.
Crane, rock, and peach. (See No. 690.)
Painted by Tan-sai Yei-chi. Signed. Two seals. Nine
teenth century.
1403. Kakemono, on silk, painted in colours. Size, 34|^ x I4J.
Cocks fighting.
Painted by Yei-shi. Signed. Seal. Eighteenth century.
1404. Kakemono, on silk, painted in colours. Size, 37^ X 13-|.
Haehimantaro watching the fall of the blossoms.
(See 1375.)
Painted by Ka-no Sho-shin. Signed Kiu-shun Sho-shin.
Nineteenth century.
1405. Kakemono, on silk, painted in colours. Size, 17 X 24|.
The journey of the Shogun's Envoy from Yedo to Aki.
The kago (palanquin) bearing the Envoy is escorted by a crowd
of lantern-bearers amidst the excitement of the populace. The
procession is about to enter the gateway of the Daimio's mansion.
It will be noticed that the roof shingle is kept in position by
heavy stones, an expedient which in many provinces replaces the
use of thatch and tiles.
Painted by Tan-sai Moei-dzumi in the third year of
Kokwa (1846). Signed Cho-tan-sai Fuji-waea Moei-dzumi.
Seal. Nineteenth century.
1406. Kakemono, on silk, painted in colours. Size, 40^ x 22f .
Portrait of Takeda Shingen.
The mounting border, which resembles that of a Buddhist picture,
is represented by a diaper design, cleverly drawn upon the margin
of the silk on which the picture is painted.
Name of painter inscribed on back of picture as On
Edokoeo Kami So-tei Fuji-waea no Yo-shin. Nineteenth
century. Tak&ia Shingen was a famous chieftain of Koshiii in the sixteenth century
noted for his battles with Uyesugi Kenshin, and reputed also as a painter
and caUigraphist. He died in 1573;

310 JAPANESE PICTORIAL ART.
1407. Kakemono, on silk, painted in colours. Size, 43| X 16^.
Landscape with view of Mount Fuji.
Style somewhat resembles that of Tosa school.
Painted by Tan-getsu-sai Moei-yoshi. Signed. Seal.
Nineteenth century.
1408. Kakemono, on silk, painted in colours. Size, 49^- x 19^.
Peacock and peonies.
Painted by Tan-i Moei-yoshi. Signed. Seal. Nine
teenth century.
1409. Kakemono, on silk, painted in colours. Size, 36 X 15.
Chung Kwei and demon. (See No. 687.)
The demon-queller has seized the imp, who has stolen the flute
of Yang Kwei-fei, and is squeezing his eyes out of their sockets.
Painted by Issei. Signed. Seal. Eighteenth century.
1410. Kakemono, on silk, painted in colours. Size, 3I| X 11^.
The Tri-corporate Sage.
Three figures with one head in common. Two of the profiles
are so blended as to represent the front aspect of a third face.
Painted by To-haku Ai-shin. Signed. Nineteenth
century. The subject is probably to be classed with that of the Three Wine
Tasters (No. 1548), as implying the community of sentiment or essence in
different religions. The faces represent S'akyamuni (Buddhism), Lao Tsze
(Taoism), and Confucius.
1411. Kakemono, on silk, painted in colours. Size, 35| X 12|.
" No " dancer.
A man in female dress, with the mask of a Court lady.
Painted by Gioku-yen Yei-shin. Signed. Seal, Nine
teenth century.
1412. Kakemono, on silk, painted in colours. Size, 45 x 19f .
Mountain Elf.
An ugly dwarfish figure, in gaily-coloured clothing of Chinese
shape, carrying a bundle of books, a gourd, and a musical instru
ment, slung on to the head of a long fork.
Painted by T6-k6-sai. Signed. Seal. Nineteenth
century.

KANO SCHOOL. 311

1413. Kakemonos, on silk, painted in colours. Size, 38J X 14|^.
The Seven Worthies of the Bamboo Grove (Chikuein
Shichi-kenjin). See No. 765.
Painted by various artists of the Kano and Tosa schools,
living in the middle of the present century.
Signed Tan-gen-sai (Kano).
Naiki Hieo-sada (Tosa).
Kei-shiu Hieo-nobu (Tosa).
To-SEN Ho-gen (Kano).
Sho-sen Ho-gen (Kano).
Yei-shin Tatsu-nobu (Kano).
Tan-yen-sai Ho-gen (Kano).
Such an association of several artists for the production of
a single picture is not uncommon in Japan.
1414. Kakemono, on silk, painted in colours. Size, 41| x I7J.
The Hundred Cranes.
A flight of red-crested cranes (Grus viridirostris) assembling in
their mountain retreat. Pine, bamboo, and plum trees, emblems of
longevity, are seen growing from the rocks.
Painted by Sei-sui. Signed. Seal. Nineteenth century.
1415 and 1416. A pair of kakemonos, on silk, painted in colours.
Size, 41| X I6J.
Various subjects. Flowers, &c., in the form of Hari-
maze or screen mounts.
Effect of colouring deteriorated by the use of European pig
ments. Painted by Sei-sui. Signed, Seal. Nineteenth century.
1417 to 1419, A set of three kakemonos, on silk, painted in
colours. Size, 38J x I4|.
Falcons. Painted by Bai-kwa-ken. Seals, Early part of nine
teenth century,
1420 and 1421, A pair of kakemonos, on silk, painted in colours.
Size, 34J X 13^.
Hawks. Painted by Kano Teeu-ijobu. Signed Ho-gen Yu-sei.
Seal. Eighteenth century.

312 JAPANESE PICTORIAL ART.
1422. Kakemono, on silk, painted in colours. Size, 42J x I6f.
Yang Kwei-fei (Jap. Yokihi). See No. 668.
A Chinese lady, richly attired and playing upon a stringed
instrument. The artist's ideal of female beauty is lacking both in
grace and intellect.
Coloured in the style of the Ming dynasty. It wiU. be noticed
that the diaper pattern of the dress is continued without modifica
tion over the folds. This is a very common practice with Japanese
artists, and adds considerably to the general fiatness of effect in
their colouring. Painted by Ka-no Kwai-shin-sai (Osa-nobu?) Signed
KwAi-smN-SAi Ho-gen. Seal. Nineteenth century.
1423 and 1424. A pair of kakemonos, on silk, painted in colours.
Size, 44^: X 201.
Birds and flowers.
Painted by Kio-shin. Signed. Seal. Nineteenth cen
tury.
1425. Kakemono, on silk, painted in colours. Size, 37 x 13f .
Sparrows and peony. Rain scene.
Painted by Ein-bhin. Signed Hokkio Ein-shin. Nine
teenth century.
1426. Kakemono, on silk, painted in colours. Size, 42f x 16^.
Chung Kwei. (See No. 687.)
The demon-slayer, with an air of suspicion, stands upon a
narrow bridge, beneath which is crouched the shrinking figure of
a little demon.
Painted by Ka-no Tai-gen-sai Sho-bhin. Signed Ka-^o
Sho-bhin. Seal. Nineteenth century.
1427. Kakemono, on silk, painted in monochrome. Size, 34| x 14.
Kin Kao (Jap. Kinko Sennin). See No. 794.
Chinese sage holding a roll, and seated upon a large carp which
is just springing from the water.
Painted by Ka-no Sho-un. Signed Ka-no Hokkio Sho-un.
Seal. Seventeenth century.
1428. Makimono, paper, painted in colours. Length, 236 x 12.
Asaina in Hades.
The hero is first seen browbeating the " Old Woman of the Three
Paths," and the demons at the entrance to the infernal regions.

KANO SCHOOL. 313

He is next found displaying his superior physical prowess in a
struggle with the demons, whose efforts fail to shake his foothold.
In the following picture he is holding up a sturdy vermilion devil
upon his outstretched arm. After this he vanquishes a huge
black fiend at a trial of force called Kubi-hiki (neck-pulling), and
another formidable monster with long horns and three eyes is, in
turn, compelled to yield to him in strength of wrist and fore-arm,
while an important personage in rich robes and of official aspect looks
on at the redoubtable intruder in grave astonishment. After giving
one or two other proofs of his vigour, he appears as an honoured
guest of Yama, the King of the Infernal realm, and is ministered to
by the whole of the retinue of heU.
Painted by Ka-no San-eaku. Two seals. End of six
teenth century.
Asaina Saburo was one of the most famous adherents of Yoritomo. His
great strength is commemorated by many stories, of which the following
(in addition to the subject of the roll) are frequently utilised as art
motives : —
1. Wrestling with a rival named Matano no Goro.
2. Catching and throwing back a mass of rock cast down at him from
a height by Matano no Goro.
3. Struggling with Soga no Goro. (See p. 384.)
4. Swimming with a shark under each arm, as a display of strength and
natatory skill, before Yoritomo and his retainers (see Zenken Kojitsu).
1429 and 1430. A pair of makimonos, paper, painted in mono
chrome. Length, 724 x 10.
Chinese and Japanese landscapes.
Eoughly sketched.
Copied from designs by Ka-no Tan-yu and other artists of
the same school. Eighteenth century.
1431. Makimono, paper, painted in colours. Length, 356 x 12|^.
Landscapes, chiefly Japanese.
Painted by Ka-no Naga-nobu. Signed Ka-no I-sen Yei-
shin. Seal, Dated in the third year of Bunkwa (1806).
1432 and 1433. A pair of makimonos, silk, painted in colours.
Length, 101 x lOf.
"The Hundred Cranes."
Painted by Kano Shin-sho. Signed. Seal. Eighteenth
century.

314 JAPANESE PICTORIAL ART.
1434 to 1436. A set of three makimonos, paper, painted in
colours. Length about 315 x I2|.
The banks of the Sumida-gawa.
The river is traced upwards from its mouth at the Bay of Yedo.
The pictures, which convey a remarkably truthful impression of the
general character of the scenery, are painted after the manner of
the Ukiyo-ye, and the artist has even made an attempt at linear
perspective in the drawing of the bridges.
Painted by Ka-no Kiu-ybi. Signed Fuji-waea no Kiu-
YEi. Seal, Eighteenth century,
1437 to 1441. A set of five makimonos, paper, painted in mono
chrome. Sizes various.
Miscellaneous rough sketches.
Painted by Tan-shin-sai Moei-michi, Signed Ka-no Tan-
SHiN-BAi Moei-michi. Nineteenth century.
1442. Makimono, on paper, painted in monochrome. Length,
253 X I0|.
Landscapes,
Eapid sketches.
Painter unknown. No signature or seal. Eighteenth
century. •
1443. Makimono, on silk, painted in colours. Length, 234 x 13f.
Horses.
Boldly sketched in ink and lightly tinted with colours.
Artist unknown. No signature or seal. Nineteenth
century.
1444. Makimono, paper, painted in monochrome. Length,
180 X Ilf.
Chinese Sages and Eishis.
Bough sketches.
(1.) Lin Hwo-ching (Jap. Einnasei). Sage with crane. (See
No. 670.)
(2.) Wang Hi-che (Jap. Ogishi). Sage with goose.
Wang Hi-che was a Chinese ofiicial of distinction in the fourth
century (a.d. 321 to 379). He is principally celebrated for his skill in
caUigraphy, the modern principles of which he in great measure instituted
(Mayers). He is said to have shown great fondness for the companionship
of geese.

KANO SCHOOL. 315

(3.) ChS'n Nan (Jap. Chinnan). Eishi crossing a stream upon
a hat. (See No. 795.)
(4.) Kin Kao (Jap. Kinko). Eishi flying through the air upon
a carp. (See No. 794.)
(5.) Wang Tsz' Kiao (Jap. Oshikio). Eishi upon crane.
Wang Tsz' Kiao, a famous rishi, is said to have been the son of Chow
Ling Wang (b.c. 571). " According to the legends he abandoned his
heritage and gave himself up to a wandering life, diverting himself by
playing the flute. Having been initiated into the mysteries of Taoism by
Tow K'iu Kung, he dwelt with this sage for thirty years upon the How-she
mountain. One day he sent a message to his kindred, desiring that they
should meet him on the seventh day of the seventh moon at the summit of
this mountain ; and at the time appointed he was seen riding through the
air upon a white crane, from whose back he waved a final adieu to the
world as he ascended to the realms of the genii." (Mayers' 'Chinese
Eeader's Manual,' Part L, No. 801.)
(6.) Rishi with banana-leaf.
(7.) Chang Kwoh (Jap. Ch5kwaeo). Eishi holding a gourd
from which emerges a horse.
Chang Kwoh, one of the 'Eight Eishi' of the Taoists, flourished
towards the close of the seventh and middle of the eighth century.
"Leading an erratic life, he performed wonderful feats of necromancy.
His constant companion was a white mule, which carried him thou
sands of miles in a day, and which, when he halted, he folded up and
hid away in his wallet. When he again required its services he spirted
water upon the packet from his mouth, and the beast at once resumed its
proper shape." He expired, or as the Taoists assert, entered into immor
tality without suffering dissolution, about a.d. 740, after a second summons
from the Emperor Ming Hwang to his Court. (See Mayers' 'Chinese
Eeadei-'s Manual,' Part L, No. 22.)
In Japanese pictures he is often represented in association with Li T'ieh
Kwai (see No. 1302), and the spiritual essence escaping from the mouth of
the latter is made to mount upon a miniature horse or mule that appears
out of a gourd carried by Chang Kwoh, and rides away through the air to
the home of Lao Tsz'.
(8.) Hwang Chuh-ping (Jap. Koshohei). Eishi turning
stones into sheep. (See No. 66, Chinese.)
(9.) Chu Mai-<jh'§n (Jap. Shubaishin). A wood-cutter reading
while carrying his faggots.
Chu Mai-ch'en lived under the Han dynasty, and was originally a
humble purveyor of firewood, but his thirst for knowledge led him to read
incessantly, even while carrying his faggots for sale to the city. His wife
often rated him soundly on the score of his inattention to his trade, and at
last, though exhorted to forbearance and patience for yet a few years, she
quitted his house with revilings, and married another man. As years
passed, the fame of the woodseller's learning became noised abroad till it
reached the ears of the Emperor, and procured him a summons to an
honourable employment. Finally, he was appointed to the position of

316 JAPANESE PICTORIAL ART.
governor of his native province, and soon afterwards set out' to visit his
former home, in all the pomp of his new rank, " that he might not be
like a man who journeyed by night after having clothed himself in fine
raiment." On his way he saw two road scavengers, who, as the cortege
approached, drew to the side of the path to bow down before him, and in
the wretched labourers he recognised his former wife and her second
husband. Pitying their poverty, he stopped his carriage and took them
with him to his house, where he treated them with great regard. The
woman, however, inconsolable for her past folly, and overwhelmed by the
sense of unmerited kindness, went and hanged her.self. Chu Mai-ch'en
ordered that her corpse should be interred with all respect, and the
husband was dismissed with gifts of money. (See E-hon Riozai, vol. iii.)
(10.) Lii Ngao (Jap. Eoko). Eishi with Sacred Tortoise.
Artist unknown. Nineteenth century.
1445. Makimono, on silk, painted in colours. Length, 215 x 11|.
The Hundred Cranes.
Painted by Ka-no Ten-shin. Signed Ten-shin. Seal.
Eighteenth century.
1446 and 1447. A pair of makimonos, paper, painted in colours.
Length, 308 x 10^.
Miscellaneous rough sketches.
Painted by Ka-no Shin-sho. Signed Ka-no I-shin and
Shin-sho I-shin. Seal. Nineteenth century.
Amongst other subjects will be found illustrations of two well-known
zoological myths, the Uwabami and the Kappa (see p. 170).
1448. Makimono, paper, painted in monochrome. Size, 372 x Ilf.
Miscellaneous rough sketches.
Artist unknown. Nineteenth century.
1449. Makimono, paper, painted in monochrome. Length,
396 X 20f.
Miscellaneous rough sketches.
Artist unknown. Nineteenth century.
1450 to 1459. Unmounted drawings, painted in monochrome.
Miscellaneous rough sketches.
Artist unknown. Nineteenth century.
1460. Unmounted drawing, on silk, painted in colours. Size,
61x4. View of Mount Fuji.
Painted by Ka-no Tan-yu at the age of sixty-seven.

KANO SCHOOL. 317

Signed Ho-m Tan-yu-sai. Seal. Seventeenth century
(1668).
1461 to 1468. A set of eight unmounted drawings, on silk, painted
in monochrome. Size, 6f X 6|^,
Landscapes,
Sketched in the most rapid style. The most suggestive of the
number are a marshy landscape over which a flight of birds are
seen passing through the misty air, and a rain scene, showing the
blurred outlines of the mountains and trees through the downpour
of the semi-tropical storm.
Painted by Ka-no To-un. Signed Yeki-shin (Masu-nobu).
Seal. Seventeenth century.
1469 to 1476. A set of eight unmounted drawings, on silk, painted
in monochrome. Size, 7x6.
Landscapes.
Sketched in the same manner as the preceding.
Painted by Sada-yoshi. Signed. Seal. Seventeenth
century.
1477. Unmounted drawing, on silk, painted in monochrome. Size,
14 X 10.
Chung Kwei riding upon a Lion. (See No. 687.)
The calligraphic treatment of the animal is very noteworthy.
Painted by To-gioku. Signed. Seal. Eighteenth century.
1478. Unmounted drawing, on silk, painted in monochrome. Size,
5J X 5i.
View of Mount Fuji.
Painted by Ka-no Hieo-nobu. Signed. Seal. Eighteenth
century.
1479. Unmounted drawing on silk, painted in colours. Size,
5f X 51
Chinese landscape.
- Lake and mountain scenery.
Painted by Tan-ka, Signed, Seal. Eighteenth century.
1480 to 1514. A set of thirty-five unmounted drawings, on paper,
painted in colours. Size, IIJ X I7|.
Designs for lacquered saddles.
Painted by Ka-no Yu-ho. Signed. Seal. Eighteenth
century.

318 JAPANESE PICTORIAL ART.
1515. Unmounted drawing, on silk, painted in colours. Size,
14| X 211
Haehimantaro watching the flight of wild geese.
Artist unknown. Seal. (Ten-h6 ?). Eighteenth century.
When Haehimantaro (see No. 1375) was marching against Kaiiazawa
during the war with Tak^hira, he spied a flight of wild geese suddenly
change their intention of settling on the ground, and resume their flight.
Eemembering that his mentor Masafusa had once told him that such an
occurrence was an indication of the presence of an enemy lurking in
ambush amongst the grass, he divided his force in such a manner as to
surround the spot. The precaution was rewarded by the discovery and
easy defeat of a body of three hundred soldiers. (E-hon Koji-dan,
vol. vi.)
1516. Unmounted drawing, on silk, painted in colours. Size,
211 X 13f.
The Sixteen Arhats. (See p. 46.)
Painted by Ka-no Chi-shin. Signed Ho-gen Naga-hidb
Chi-shin To-moku-sai. Nineteenth century.
1517. Unmounted drawing, on paper, painted in colours. Size,
45f X 831
Chinese children at play.
Picture originally painted upon a screen.
Painted by Ka-no Kadzu-nobu. Signed Hokkio Kadzu-
nobu. Seal. Nineteenth century.
1518 and 1519. A pair of unmounted drawings, on silk, painted in
colours. Size, 46J x 251.
Peacock and Argus Pheasant.
Painted by Ka-no Haku-yen. Signed I-sen Haku-yen.
Seal. Nineteenth century.
1520. Unmounted drawing, on silk, painted in monochrome (red).
Size, 8 X 5f .
Chung Kwei. (See No. 687.)
Painted by Ka-no Toki-nobu. Signed Sho-zan Fuji-waea
NO Toki-nobu. Seal. Seventeenth century.
1521, Unmounted drawing, on silk, painted in colours. Size,
5f X 41.
Chinese Sages.
Artist unknown. Seal. Nineteenth century.

KANO SCHOOL. 319

1522. Unmounted drawing, on paper, painted in Colours. Size,
19f X 541.
Chinese scene. Amusements of the learned.
Executed in decorative style*. Eemoved from a small screen.
Painted by Ka-no Kwan-shin. Signed Fuji-waea no
Kwan-shin. Seal. Nineteenth century.
1523 and 1524. A pair of unmounted drawings, on silk, painted
in colours. Size, 39J X 14|.
Ancient Chinese warriors.
Painted by Shin-sei I-sei. Signed, Seal. Eighteenth
century.
1525, Unmounted drawing, on silk, painted in colours. Size,
31f X 141
Carp leaping from the waves.
Painted by Shin-sei I-sei. Signed. Seal. Eighteenth
century,
1526, Unmounted drawing, on paper, painted in colours. Size,
24| X 481
Chinese landscape.
Painted by To-tei Noei-nobu. Signed. Seal, Nine
teenth century,
1527, Unmounted drawing, on silk, painted in colours. Size,
42^ X 17i,
Court nobles in retirement.
Probably a scene from the Genji Monogatari. Drawn in the
style of the Yamato school. Unfinished.
Painted by To-tei Noei-nobu, Signed. Seal. Nine
teenth century.
1528, Unmounted drawing, on paper, painted in colours. Size,
66J X 13|,
Cranes, Painted by Ka-no Sei-sui. Signed Sei-sui. Two seals.
Nineteenth century.
1529. Unmounted drawing, on silk, painted in colours. Size,
43f X 23.
The spirits of the pine-trees of Sumiyoshi and Takasago.
(See No. 436.)
An aged man and woman standing beneath a pine-tree, the man

320 JAPANESE PICTORIAL ART.
 —  ,  — ¦  — . —
holding a bamboo rake, the woman a fan. A sacred tortoise with
young is at their feet, a stork has nested amongst the branches of
the pine, and its mate is seen flying through the air across the face
of the sun. The emblems of longevity are completed by the plum-
tree and bamboo.
Painted by Sei-sui. Signed Sei-sui Yo-k6. Seal. Nine
teenth century.
1530. Unmounted drawing, on silk, painted in colours. Size,
43f X I7|,
Chinese landscape.
Mountains and lake. Moonlight.
Painted by Sei-sui, Signed. Seal. Nineteenth century.
1531. Unmounted drawing, on silk, painted in colours. Size,
43J X 17f .
The Wife and Husband Rocks (Mioto-Seki) of Futami
ga Ura.
Painted by Sei-sui. Signed. Seal. Nineteenth century.
The ' Mioto-S^ki ' are two curious rocks close to the shore of Futami.
They stand side by side, rising like twin giants high above the waves, and
are joined together by a band of straw rope which is believed to act as a
talisman against evil influences of aU kinds.
The use of a straw irope as a charm against disease and other ills is said
to have originated at Eutami. According to a local legend Susano no
Mikoto, when belated near the place, was succoured by a peasant named
Somin. To reward this act of hospitality, the god foretold the approach
of a plague, advising his host to wear a belt of twisted grass as a protective
against the disease, and to fasten a straw rope across the entrance of his
house. The plague arrived, and the family of Somin alone escaped.
Susano is also said to have installed the whole company of the gods in a
niche on the seaward side of the larger rock. (See Satow and Hawes'
' Handbook for Japan,' p. 150.)
1532 and 1533. A pair of unmounted drawings, on silk, painted in
colours. Size, 60f x 341
Summer and winter birds and flowers.
The summer is represented by ducks and peonies, the winter by
pheasants and plum and camellia blossoms.
Painted by Ka-no Sho-sen. Signed Sho-sen Ho-gen.
Seal. Nineteenth century.
1534, Unmounted drawing, on silk, painted in colours. Size,
16f X 22.
Yoshitsune and Benkei. (See p. 116.)
Yoshitsune, who is reduced to pigmy dimensions, has leaped
upon the broad blade of Benkei's spear.

KANO SCHOOL. 321

Painted by Ka-no Sho-sen, Signed Sho-sen Ho-gen.
Nineteenth century.
1535. Unmounted drawing, on silk, painted in colours. Size,
21J X 37.
Szema Kwang (Jap. Shiba Onko) breaking the water
vessel.
A child while playing has fallen into a large jar of water. Most
of his companions stand terrified and helpless, but the little hero,
Szema Kwang, dashes in the side of the vessel with a large stone,
giving vent to the water, and thus saving his playmate from
drowning. Painted by Ka-no Sho-sen. Signed Sho-sen Ho-gen
Ma8A-nobu. Seal. Nineteenth century.
Szema Kwang was a famous statesman and author of the eleventh cen
tury (a.d. 1009-1086). The incident which forms the subject of the
picture is related as an example of precocious readiness of resource.
1536. Unmounted drawing, on silk, painted in colours. Size,
37i X I2f.
Chinese landscape.
Mountain scenery with waterfall. In the foreground is seen a
personage on horseback admiring the prospect.
Painted by Ka-no Sho-sen. Signed Sho-sen Ho-gen.
Seal. Nineteenth century.
1537 to 1539a. A set of four unmounted drawings, on silk, painted
in colours. Sizes various.
Chinese Scenes.
1. The manufacture of an ideographic decoration.
2. Hunting scene.
3. Eice cultivation.
4. Mirror sellers' children at play.
Painted by Ka-no To-un. Signed. Seal. Seventeenth
century.
1540. Unmounted drawing, on silk, painted in colours. Size,
39f X I7J.
Hotei and children. (See p. 37.)
Painted by Ka-no Sho-sen. Signed Sho-sen Ho-gen.
Naka-tsuka no Kio. Seal. Nineteenth century.

322 JAPANESE PICTORIAL ART.
1541. Unmounted drawing, on silk, painted in colours. Size
341 X I3|.
M^ng Tsung discovering the bamboo shoots in winter.
(See p. 173.)
Painted by Tan-ko-sai Gi-shin. Signed Tan-ko-sai Shiu-
gen Minamoto no Gi-shin. Seal. Nineteenth century.
1542. Unmounted drawing, on silk, painted in colours. Size,
441 X 17.
Hachimantar5 on horseback. (See No. 1375.)
Painted by Tan-ben-sai Shin-bun. Signed. Seal. Nine
teenth century.
1543. Unmounted drawing, on silk, painted in colours. Size,
49f X 22.
The Four Accomplishments.
A party of Chinese men of learning occupied in writing, music,
chess, and the criticism of pictures.
Painted by Tan-gen-sai Moei-tsune. Signed. Seal.
Nineteenth century.
1544 and 1545. A pair of unmounted drawings, on silk, painted
in colours. Size, 43| X 17|.
Landscapes.
Mountain scenery. Morning and evening.
Painted by Tan-gen-sai Moei-tsune. Signed. Seal.
Nineteenth century.
1546. Unmounted drawing, on silk, painted in monochrome. Size,
481 X 181
Chinese landscape, with Chu-ko Liang (Jap. Ko-mei)
receiving visitors. (See No. 846.)
Unfinished. Painted by Moei-tsune. No signature or seal. Nine
teenth century.
1547. Unmounted drawing, on silk, painted in colours. Size,
371 X 131
Female Rishi on Phoenix Lao-yu (Jap. ESgioku).
Colouring in the style of the Ming dynasty.
Painted by Moei-masa. Signed Tan-ybn-sai Ho-gen
Moiu-masa. Seal. Nineteenth century.

KANO SCHOOL. 323

1548. Unmounted drawing, on silk, painted in colours. Size,
501 X 19f.
The Three Wine Tasters. (See No. 1719.)
Three personages, typifying Buddhism, Taoism, and Confucianism,
are tasting a brew of sake, and each is shown by the expression of
his countenance to be affected by the beverage in a manner peculiar
to himself. The jar bears the brand Dai-ichi-jo, or " Best quality.''
Painted by Ka-no Tatsu-nobu after a picture by Ka-no
Masa-nobu. (Fifteenth century.) Signed Yei-shin Fuji-
waea NO Tatsu-nobu. Seal. Nineteenth century.
The object of the picture is to show that although the forms by which
religions are expressed differ widely in kind, they are all the result of a
common inspiration ; or that the same religious principle, passing through
the minds of different apostles, may become translated in various ways,
according to the idiosyncrasies of its promulgators.
1549. Unmounted drawing, on silk, painted in colours. Size
40i X 141
Kin Kao. (See No. 794.)
Painted by Ka-no Tatsu-nobu. Signed Yei-shin Tatsu-
nobu. Seal. Nineteenth century.
1550 and 1551. A pair of unmounted drawings, on silk, painted
in colours. Size, 43J x 17f.
Chinese landscapes.
Painted by Tan-eiu Moei-tama. Signed. Seal. Nine
teenth century.
1552. Unmounted drawing, on silk, painted in colours. Size,
40| X 12f.
Egret and lotus.
Painted by Tan-yen-sai Moei-zane. Signed Tan-ybn-sai
Ho-gen. Two seals. Nineteenth century.
1553. Unmounted drawing, on silk, painted in colours. Size,
461 X 16|.
Lion and waterfall.
A conventional lion of azure colour standing beneath a cascade.
Painted by Moei-zane. Signed Tan-yen-sai Ho-gen
MoEi-zANE. Seal. Nineteenth century.
The Lion is dignified with the title of " The King of Beasts " in China and
Japan as well as in Europe. It is related that the Emperor Shao Ti of
Y 2

324 JAPANESE PICTORIAL ART.
the Wei dynasty, having received a present of a lion from a foreign country,
put the royalty of its nature to the test by bringing before it two tigers and
a leopard, which at once, by drooping tail and closed eyes, confessed their
inferiority : and when a blind bear was led forth, the mere scent of the lion
was sufficient to make it break its chain and take refuge in its den, quiver
ing with terror.
An old Chinese book asserts that the lion can run five hun.dred li in
a day, and at the sound of its roar the other animals burst their brains
and die ; but powerful though it be, there is a little creature shaped like
a badger that, by leaping on to the head of the lion, makes the monarch
sink helpless to the earth and perish where it falls.
The lion of the artist is by no means a formidable beast, despite its big
eyes and fierce countenance. It is usually depicted with beautifully-curled
mane, disporting amidst huge peony fiowers or indulging in kitten-like
gambols with a Sacred Gem ; as harmless as its pictorial brother in Euro
pean Heraldry, and offering even less resemblance to the real " Monarch
of the Forests."
In Buddhist pictures the lion appears as the emblem of S'akyamuni.
1554. Unmounted drawing, on silk, painted in colours. Size,
I6f X 34|.
Shinto temple.
Painted by Ka-no Kei-sen. Signed Ka-no Ho-gen Kei-
SEN. Seal. Nineteenth century.
1555. Unmounted drawing, on silk, painted in colours. Size,
44 X 18.
Chinese children at play.
Coloured in the later style of the school.
Painted by Tan-sho-sai. Signed. Seal. Nineteenth
century.
1556. Unmounted drawing, on silk, painted in colours. Size,
181 X 281
Li Peh (Jap. Eihaku) beside the cascade of the LU
Mountains. Painted by Tan-eiu Moei-tane. Signed Tan-eiu-sai.
Seal. Nineteenth century.
Li Peh, or Tai Peh, is described by Mayers as the most widely celebrated
amongst the poets of China (a.d. 699 to 762). It is said that the Emperor
Hiian Tsung, wishing to show respect for his literary eminence, not only
directed the favourite concubine of the Imperial harem to hold his writing
materials, but served him at table with his own hands ; and when the bard
had become intoxicated by a too free use of the wine-cup, his boots were
removed by the privy councillor. Subsequently, however, a satirical
allusion in his verses offended the chief concubine, and by her influence his
progress was intercepted. " He led for the remainder of his life a wander-

KANO SCHOOL. 325

ing existence, celebrating in continual flights of verse the praises of
, Bacchanalian enjoyments and of the beauties of nature in the various
localities he visited" (Mayers).
His poems were collected and edited by a kinsman under whose pro
tection he remained until his death.
The famous cascade of the Lii mountains formed the subject of one of
his writings. It has been likened in an ancient composition to a piece of
silk woven by angels, and carried down to the mountain by a breeze from
heaven. Li Peh is frequently represented in pictures in a state of drunkenness.
It must be remembered that over-indulgence in wine was regarded in the
old days of China merely as an amiable weakness that was by no means
incompatible with the full preservation of self-respect and the esteem
of others (see E-hon Rio-zai, vol. ix.).
1557. Unmounted drawing, on paper, painted in colours. Size,
70f X 31.
Kii Ling-jin (Jap. Koeeijin).
A sage accompanied by a tiger. Mountain scenery.
Artist unknown. Seal. Nineteenth century.
Kii Ling-jin is described as one of the Eight Sennin, a rishi of marvellous
powere, whose favourite associate was a white tiger. He is not included
in the Ressen zen den, and the legends attached to his name have not
been discovered.
1558 to 1569. A set of twelve unmounted drawings, on silk,
painted in colours. Size, 49 1 X 15f,
Sages and Rishis,
1, Sage watching the flight of fi wild goose.
2, Su-she (Jap. Toba). See No, 824,
3. Li Peh (Jap. Eihaku) by the waterfall of the Lii Mountains
(see No. 1566J.
4. Chung Kwoh (Jap. Chokwaro), See No, 1460,
5, Mei Fuh (Jap. Baifuku),
A sage playing upon a reed instrument, with a crane by his side,
Mei Fuh was a Taoist patriarch, who lived in the first century b.c. Dis
gusted with the license of the times, he resigned his office as governor to
Nan Ch'ang, and retired to the mountains of the south, where he attained the
knowledge of the secrets of the Eishi. " Having drunk the magic elixir he
revisited his native place, Show Ch'un, whence shortly afterwards he was
caught up to heaven upon a gorgeous Lwan bird attended by a bevy of
celestial youths and maidens." (Mayers' 'Chinese Eeader's Manual,'
p. 1, No. 487.) In Japanese drawings he is represented either riding away
uix)n the Phoenix, or as in No. 5 of the present series.
6. Tung Fang So (Jap. Tobosaku). See No. 615.
7. Ch'en Nan (Jap. Chinnan) evoking a dragon from a bowl of
water. (See No. 795.)

326 JAPANESE PICTORIAL ART.
8. Chow Mao Shuh (Jap. Shumosniku) gazing upon the lotus
pond. (See No. 1313.)
9. Kii Lingjin (Jap. Koreijin) riding upon a tiger. (See
No. 1567.)
10. Jurojin. (See p. 44.)
11. Keuh Tsz' Tung (Jap. Kiku Jido).
Keuh Tsz' Tung was a youthful favourite of the Emperor Muh Wang
of the Chow dynasty (died 947 B.c). Having on one occasion offended
against the etiquette of the Court by touching the Emperor's pillow with
his feet, the officials demanded that the crime of leze-majeste should be
punished by banishment or death. The Emperor was forced to pronounce
a decree of exile, but, pitying the boy, taught him a magic sentence received
from S'akyamuni, the utterance of which ensured protection from evil and
conferred the gift of long life. Jido in his mountain retreat passed his
time in writing the characters upon the leaves of chrysanthemums that he •
might not forget the mystic sounds, and so powerful was the charm that
the dew which washed away the potent inscriptions derived from them the
virtues of an elixir (" Furo-fushi no Kusuri," a medicine to drive away
age and death); whence the people who lived near the place attained
extraordinary longevitj' — even to the span of eight hundred years.
The introduction of the name of S'akyamuni is not an anachronism
according to Chinese chronology.
12. Chang Kiuko (Jap. Chochiuka) converting fragments of his
clothing into butterflies.
Chang Kiuko was a Eishi who lived under the Sung dynasty. The
Emperor once observed that he always wore thin clothes, and asked
the reason ; upon which the sage cut off pieces of his garments with
a pair of scissors, and the fragments as they were detached became con
verted into butterflies, fluttering around his head vmtil he clapped his
hands, when they immediately resumed their form and position as parts
of his attire.
Artist unknown. Nineteenth century.
1570. Unmounted drawing, on paper, painted in colours. Size,
681 X 38.
Kwan Yii on horseback. (See No. 218.)
Artist unknown. Seal. Nineteenth century.
1571. Unmounted drawing, on silk, painted in colours. Size,
33f X 12|.
Hwang Ngan (Jap. Koan).
An aged Eishi borne upon the waves, on the back of a Sacred
Tortoise. Artist unknown. Nineteenth century.
1572. Unmounted drawing, on silk, painted in colours. Size,
44f X 16f.
Shojo masker.

KANO SCHOOL. 327

An actor with a mask representing a boyish face reddened by
over-indulgence in sake, aud overshadowed by long, straight red
hair. (See No. 645.)
Artist unknown. No signature. Seal. Eighteenth
century.
1573, Screen, paper, painted in colours. Size 71 X 147.
Chinese landscape.
Picturesque rural scenery. In the foreground are seen rustic
buildings, in which a number of peasants are engaged in tea-sorting
and other occupations.
The outlines are rapidly sketched in ink, and the local tints
are indicated by light washes of colour. The picture is a good
example of the Usu-zaishiki, or thinly coloured painting, a style
which the early artists of the Sesshiii, Chinese, and Kano schools
had adopted from the masters of the Sung and Yiien dynasties.
Painted by Ka-no Yasu-nobu. Two seals. Seventeenth
century.
1574, Album of pictures, on silk, painted in colours. Size,
14 X 101
The Twenty-Four Paragons of Filial Piety. With
explanatory text. Twenty-four drawings. (See p. 171.)
Attributed to Ka-no To-un. No signature or seal.
Seventeenth century.
1575, Album of sixteen drawings, on silk, chiefly in monochrome-
Size, 8 X 12f.
Birds, flowers, &c.
Artist unknown. Seal. Eighteenth century.
1576. Album of drawings, on paper, painted in monochrome and
colours. Size 10| X 7|.
Rough sketches ; originals and copies.
A practising sketch-book. Such collections were very numerous,
but rarely possessed any great intrinsic value, as the majority of
the drawings were merely copies from the works of well-known
artists, repeated until the pupil had acquired the necessary power
of touch. Artist unknown. Nineteenth century.
See also Nos. 227, 237, 282-3, 335-40, 638, 686, 967, 2855, 2856,
and "Copies from Chinese," 165-161.

328 JAPANESE PICTORIAL ART.

POPULAH SCHOOL, OR, UKIYO-YE RUT.

As a comparatively modern phase of Japanese art, presented
chiefly through the medium of the wood engraver, and having no
claim to reflect the noblest aspects of the pictorial genius of the
country, the popular school has hitherto met with little considera
tion and less encouragement at the hands of native connoisseurs.
For the foreigner, however, the wealth of new ideas it has unsealed
in decorative aesthetics, the immense variety of motives and ap
plications it has gathered together from all sources, and, above all,
its easy accessibility for purposes of study outside Japan, demand
for it a wider notice than could be allotted to any of the more
classical and cultivated academies from which its leading principles
were drawn.
The motives of the school were by no means limited to the scenes
of common life, to which its name* and individuality were originally
due, but embraced all that had been utilized by its predecessors,
from Buddhist divinities to Toba caricatures. The chief subjects
adopted or evolved by the new men, however, were designs for wood
cut illustrations to printed volumes of history, legend, or fiction;
portraits of noted actors, wrestlers, geishas, and courtesans, mostly
reproduced by chromoxylography ; scenes of domestic and out-door
existence amongst the humbler classes ; comic drawings of an un
conventional type, distinct from that of the Toba-ye ; native scenery,
chiefly in the form of single sheet chromoxylographs and illustra
tions to guide books for the provinces and great cities ; books of
instruction in drawing, including both original sketches for imitation
* The term " Ukiyo-ye" now signifles " worldly," or popular pictures. Ukiyo
as originally written had a Buddhistic meaning, as " this miserable world," but the
depreciatory sentiment of religious pessimists has faded away, and the characters at
present used may be interpreted simply as the " passing world."

POPULAR SCHOOL, OR, UKIYO-Yi: RIU. 329
and also skilful reproductions of works by the old masters of China
and Japan ; complimentary picture cards printed for circulation at
the New Year; play-bills for the theatres; and, lastly, books of
patterns for embroiderers, dyers, pipe and comb makers, and other
labourers in the field of art industry.
The illustration of the literature of biography, history, and
fiction dates from the earliest days of the Yamato school, but it was
not until the seventeenth century that the elaborate pictorial rolls
of the old artist nobles of the Mikado's court were supplemented
by something within reach of the. less wealthy classes. Not later
than 1 608 commenced the publication of the " E-hon," or picture-
books, which were destined to bring into play striking talents of
a new order from the previously unrecognised body of artisan
draughtsmen. The earlier examples, as might be expected, were
rough and unskilful as specimens of wood engraving, and presented
little that was worthy of remark in point of design; but about
1680 an almost sudden advance took place, when a dyer's draughts
man in Kioto, named Hishigawa Moeonobu, began to publish a
series of remarkably vigorous and original sketches, worthily trans
ferred to wood by men who probably worked under the immediate
direction of the artist. Erom this period, which may be regarded
as an epoch in Japanese art, the artisan artist and the wood
engraver have laboured together with a perfect sympathy,, and their
joint productions may fairly claim a place apart, and one of the
most prominent, in the history of xylography.
Moeonobu was the first of a long and talented line of book
illustrators, amongst whom may be named, the Toriis, Kiyomitsu,
KiYOTSUNE, and Kiyonaga; Tomikawa Gtinsetsu; Tachibana
Moeikuni; Shimokawabe JiOsui, Nishikawa Sukenobu and Tsu
kioka Tange, in the eighteenth century; and Ishida Giokuzan,
Utagawai Toyohieo, Utagawa Toyokuni, and Katsushika Hokusai,
who worked at the end of the last and during the opening years of
the present cycle.
The early popular artists, including Moeonobu, frequently imitated
Kano Saneaku, the Hasbgawas, and the Kaihokus in representing
the brave deeds of native heroes; and a few, like Tsukioka Tange,
were chiefly known by their power in drawings of this sort. The
more modern leaders of the school in adopting the same motive,
which appeared to be keenly relished by their peace-loving

330 JAPANESE PICTORIAL ART.
patrons, vulgarized it by importing into the efiigies of their warriors
the grimaces and exaggerations of the stage. The Yoshitsunes and
HachimantarOs, iii the drawings of Keisai Yeisen and his fellows,
always seemed to be playing to the gallery, and there is no doubt
that this unintentional burlesque of martial nobility aided greatly
in securing for the later Ukiyo-ye the disregard of educated art
connoisseurs. In the portraiture of actors in character the popular artists had
no predecessors and were in no danger of rivalry by the older
academies, the members of which regarded the stage and all things
appertaining as beneath their notice. Even amongst the plebeian
painters the social position, or rather the absence of social position,
of the actor sometimes brought upon the theatrical section of the
Ukiyo-ye a pseudo-patrician contempt, and a few draughtsmen who
devoted their pencils to perpetuating the graces of tea-house girls
and courtesans, chose to consider they would dishonour their art
by employing it in the portrayal of the impersonations of the
Garricks of the drama. Nevertheless, Japanese chromoxylography
and the Yedo and Kioto stage were inseparably connected: the
most beautiful colour prints in Japan, and perhaps in the world,
were the likenesses of players of male and female parts, com
menced by ToEi: Kiyonobu about 1700, and brought to perfection
by ToEii Kiyonaga and Katsugawa Shunsho seventy years later.
Play-bill designs and stage scenery were in the hands of a lower
grade of painters, but theatrical signboards were often executed
by artists of repute.
Another set of artists, intimately associated with those last
named, applied their talents to the delineation of women, by more
or less individualized portraits, or by impersonal and somewhat
insipid representations, and did considerable injustice to the
attractions of their gentle countrywomen in works that were
sometimes of high artistic merit. The names of Nishikawa Sukenobu,
Suzuki Haeunobu, Yeishi, and Kitawo Masanobu are especially
distinguished in this section of popular motives.
A new school of comic drawing, free from the extravagant
mannerism of the Toba-ye, was introduced by a contemporary
of Moeonobu named Hanabusa Itoho, who, however, did not draw
for the engravers. His style was made more widely known two
or three generations after his death by the publica.tion of several

POPULAR SCHOOL, OR, UKIYO-YE RIU. 331
collections of engravings of his sketches, and has been followed
by many workers in the present century.
Woodcut representations of native scenery began to appear from
the end of the seventeenth century, but reached their highest
development about 1790, under Takahaea ShUnchosai, and a genera
tion later under Has^gawa Settan, the artist of the Yedo Meisho
dzu-ye. Single-sheet pictures (Ichimai-ye) of famous places were
brought to great perfection under Hokusai and Hieoshige before
the middle of the present century.
Books designed to aid in the self-instruction of young artists
were issued in considerable numbers from the beginning of the
eighteenth century by Tachibana Moeikuni, Keisai Masayoshi,
Sakueai Shiuzan, 0-oka Shunboku, and many other members of
the old and new schools. The two last-named imitated Moeonobu
in reproducing celebrated pictures by the old masters of China and
Japan in cheap albums of woodcuts.
The custom of circulating pictorial New Year's cards is said to
have arisen about 1765, and all the resources of chromoxylographic
skill were employed by Hokusai and his associates in the execution
of these works.
Lastly, the publication of printed collections of designs for
artisans of various callings was initiated early in the last century,
as exemplified in the Tokiwa-gi (1700), the Tokiwa hinagata by
Takagi Kosuke (1732), the Makiye daizen by Hokkio Haeukawa
(1759), &c., and was aided more recently by Hokusai, in the Ban-
shoku dzu-ko and other works, and by Hoitsu, who directed the
reproduction of a large series of the invaluable designs of Ogata
KoEiN (see Korin School).

The art motives of the schools of painting in existence before the
sixteenth century included little or no reference to the actual life
of the dwellings, streets, and pleasure resorts of the great cities ;
but such an inexhaustible field of ideas could not always remain
unfilled. The earliest attempt to found a popular school dates
from the beginning of the seventeenth century, and the first painter
who made a speciality of subjects drawn from his immediate sur
roundings was an ofi'shoot of the most formal and aristocratic
academy in the country.
IwA-SA Mata-hei, the reputed originator of the Vkiyo-ye or

332 JAPANESE PICTORIAL ART.
popular pictures, was the son of a follower of the regent Nobunaga,
named Araki Tsu no Kami, who was sentenced to commit harakiri
for rebellion against his lord. He became a pupil of Tosa Mitsu
shige, and appears to have learned thoroughly the art-lessons of his
school ; but, after the close of the sixteenth century, he detached
himself from the Tosas, and began to apply his powers of brush
to the delineation of caricatures and scenes of ordinary life.
It is difficult to form an opinion of his ability and influence,
for the available biographical details are as scanty as the existing
examples of his handiwork. We are indeed forced by lack of original
material to study the earliest phase of the popular school in the
productions of the revivalists of his style, led by Hishigawa Moeo
nobu. The specimen in the collection merely shows that his
manner of drawing and colouring resembled that of the Tosa line ;
but other existing works, attributed to his brush, one of which is in
the Ernest Hart collection, tend to support the statement made by
native writers, that the Ukiyo revival of the latter part of the seven
teenth century, to which reference will presently be made, was in
direct imitation of the example of Matahei.
As a caricaturist his reputation has been handed down, very
unworthily, by rough sketches called Otsu-ye, specimens of which
are still to be obtained at Otsu near Kioto, and are said to represent
his manner. They have, however, little claim to notice beyond that
accorded by their assumed descent.
Ukiyo Matahei, as he was called, left no active successors to
maintain the effect of his precedent, and his death was followed by
an ailmost complete hiatus in the history of the school. A few
painters contributed some works to popular art, including Kita-muea
Chiu-bei, and* Yama-moto Ei-hei (fl. 1624-44), Tsuji-muea Mo-hei
(fl. 1644-61), Ino-uye Kan-bei (fl. 1661-73) ; but it was left for
HisHi-GAWA MoEO-NOBU, 01 KiOHi-BEi, a native of Hoda, in Boshiu,
originally a designer for dyed robes and embroideries, to build up
the school upon a lasting foundation. A master of the pencil, an
original observer, and a most indefatigable worker, he could not
fail to succeed, and his success was rendered more permanent than
that of his predecessor, by his judgment in having recourse to the
aid of engraving to multiply and disseminate his works. He was,
in fact, the first artist of any repute who- made a speciality of book
illustration, and no small portion of his fame should rest upon

POPULAR SCHOOL, OR, UKIYO-YE RIU. 333
the important aid he thus rendered to the progress of the art of
pictorial wood-cutting, which, before his time, had been in a very
rudimentary state. The first sign of the remarkable powers of
the Japanese engravers showed itself in the forcible, though still
somewhat rough illustrations in the numerous books of Moeonobu,
the execution of which was probably carried out under the direction
of the artist himself.
As an artist, the vigorous individuality manifested in all his
designs, his refined sense of colour, and his wide range of motive,
signalize him as one of the most striking figures in the history of his
school. He moreover led the way for his successors in the Ukiyo-ye,
not only as an exponent of contemporary life, but in the interpreta
tion of fiction, poetry, and sentiment, and his works are free from
the vulgarity that tainted the productions of many of the best repre
sentatives of the school in later times. As a recorder of the
manners and costume of his period, his labours are of considerable
interest to the student of Japan. The life that he has set forth
was, for the most part, different from that which Hokusai and his
artisan followers have so faithfully mirrored in the present cen
tury; for although traders, artisans, and coolies were introduced
freely into his pictures, they rarely came upon the scene except as
instruments or accessories of the existence of the two-sworded Corin
thian Toms and Jerry Hawthorns of whom he was the artistic
Pierce Egan. His sketches display a phase of existence which the
foreigner can see only through Japanese eyes. The gilded youth
of a couple of hundred years ago, adorned with the moustachios
and mutton-chop whiskers of an ephemeral fashion ; • the habits and
amusements of their picturesque but very questionable associates ; and
the curious entourage of their haunts of pleasure, all appear with
out disguise, but without indelicacy, and form a good complement
to the formalities and vapidities of the Court life, as depicted by
the Tosa school, and to the hearty, almost childish enjoyments of the
people, as witnessed on any public merrymaking of to-day, or seen
in the pictures of Takahaea Shunohosai, and Hasegawa Settan.
He died in the period Shotoku (I7I1-I7I6), at the age of
about 67.
The following is a list of the principal books in the collections
of Mr. Satow and the author, containing his illustrations reproduced
in woodcuts.

334 JAPANESE PICTORIAL ART.
Iwaki e-dzukushi. Pictures of social life. 1682.
Koi no Uta Kagami. Illustrations to amatory poetry.
Signed " Hishi-gawa Yana-ye." 1683.
Bijin e-dzukushi. Drawings of beautiful women. 1683.
\ Kokon Bushido e-dzukushi. Scenes in the lives of Japanese
warriors. 1685.
Yama-san-nasake no Kayoi-ji. Story of fast life. 1685.
Yokei tsukuri-niwa no dzu. Sketches of landscape gardens.
1691.
Sugata-ye hiakunin isshiu. Scenes of social life. Occupations
of women. 1695.
Kakemono e-dzukushi. Copies from kakemonos. I70I.
Koi no mina kami. " The Springs of Love." N.D.
Yamato-ye dzukushi-bon. Scenes in Japanese story. N.D.
Ko-koku hiaku-jo, N.D.
Yamato no Oyose. Scenes of social life. N.D.
To these may be added the following titles quoted from the
Ukiyo-ye riu-kb.
Hiaku-nin ^tiu. 1680.
Yamato shino e-dzukushi. 1684.
Shoshoku e-hon kagami. 1686.
Tbkaidb meisho-shi. (6 vols.) 1687.
Tsukinami no asobi. 1686.
Ise monogatari.
Koshok^i Yedo murasaki.
Wakoku hiaku-jo. (3 vols.) 1690.
Yume no uranai e-dzukushi.
Ehon Yamato-zvmii. (3 vols.)
Ukiyo hiakunin onna.
Wakoku meisho kagami.
And many ojthers, concerning which no information can be obtained,
were also printed in the periods of Tenwa and Jokio (1681-1688).
The more intimate associates of Moeonobu in the development of
the Ukiyo-ye were his brothers Moeo-eusa, Moei-shigb, and Moei-
NAGA, and two pupils named Ishi-kawa Izai-ybmon To-shiu-ki, and
SuGi-MUEA Ji-HEi Masa-taka, who wcre probably the authors of
most of the unsigned book illustrations which appeared between
1680 and 1710. A second Moeo-nobu is also mentioned.

POPULAR SCHOOL, OR, UKIYO-YI! RIU. 335
By the side of Hishigawa Moeonobu must be placed a wholly in
dependent contemporary artist who aided importantly in the advance
of the school. Taga Ch6-ko, better known by one of his many
noms de pinceau, Hana-busa Itcho, was the son of a physician in
Osaka, and a talented but erratic pupil of Kano Yasunobu. The
source of his education was indelibly stamped upon his productions,
for he has left masterly sketches of sages and genii scarcely dis
tinguishable from those with which his teachers had already covered
acres of paper and silk ; but while retaining the old touch and
methods, he adopted a new set of motives, in which he appears to
have had no predecessor of ability since Toba Sojo Kakuyu (see
p. 156). As a colourist he stands in the first rank.
His name was speedily brought into prominence by his daring
and novel creations, and unconventional renderings of subjects which
had hitherto been held almost sacred. As an example of his style
may be noticed a sketch reproduced in the ' Pictorial Arts of Japan,'
where we see a travelling priest, who, earnest in belief, has prepared
fire, pan, knife, and even seasoning, and lacking only the meat, now
extends his hands, rolling the beads of his rosary with holy fervour,
towards a plump goose that flies overhead, while the bird, in happy
unconsciousness of what is expected of it, leaves the hungry man to
lament the degeneracy of the animal world since the pre-Buddhistic
days of the pious Hare.* In another drawing. No. 1727, the Thunder
God having brought his noisy circle of drums too near to earth,
his loin cloth has been grasped by a blind beggar, who has mis-
' taken it for a leading string and ^ays for his mistake by an aerial
flight, the ultimate destination of which the artist leaves to our
imagination. The ' Seven Gods of Good Fortune ' also had the evil for
tune to present considerable attractions for his irreverential pencil,
and in his hands lose every shred of divinity, behaving like emanci
pated shop-boys, and sharing his page with courtesans and coolies
on terms of perfect equality. He was, however, most at home in
the streets, and appears to have revelled in the vulgar amusements
provided by the peripatetic showmen and mountebanks, who offered
open-air entertainments for the idlers of the great city. It was,
perhaps, his disregard for the conventions that made him obnoxious
* S'ttyamuni is said to have sacrificed himself when in a previous existence as
a hare, that he might assuage the hunger of the disguised Indra, whence the flgure
of the animal was drawn upon the moon by the admiring deity (' Folk-lore
Journal,' vol. ii.).

336 JAPANESE PICTORIAL ART.
to his superiors, for in addition to his early expulsion from the
School of the Kanos he was compelled in the midway of his life to
expiate by an eighteen years' exile to the island of Hachijo a
dangerous liberty which he ventured to take with the domestic
concerns of the Shogun in publishing the portrait of one of his
female favourites amongst a series of drawings of popular beauties
of the time.
Itcho, unlike Moeonobu, did not make a speciality of representing
the social life of his time, nor did he seek to render his works more
widely known by means of engraving. It was nearly forty years
after his death that the first collection of his sketches were repro
duced in wood, and published in the form of an album ; but this
essay was soon followed by others, and at last the number of
volumes amounted in all to over twenty.
His influence upon the progress of the Ukiyo-ye was less direct
than that of Moeonobu, and was exerted without evidence of effort,
or even of desire on the part of the artist to take a prominent place
in the history of the school, but in the end was perhaps almost as
powerful. It is to be feared, however, that the chief characteristic
of his sketches, their wit, can never be fully understood or appre
ciated outside the people for whom they were drawn.
He died in 1724, at the age of 73, leaving a son named Nobu-
KATSU, and a son or pupil named Ittei.
His principal followers were : —
Cho-haohi or Taga Cho-hachieo, named the second Itcho.
Flourished in the period of Kioho (1716-1736).
Hana-busa Ippo. Ippo was one of the go or professional names
of Itcho, and was probably assumed by his disciple as a
respectful tribute to the memory of the master. He died in
1772, at the age of 85.
Hana-busa Su-shi. Flourished 1780-1790.
Hana-busa Su-kokp. Flourished 1804-1818.
Haka-busa SiJ-GETSU. Contemporary with the last.
Hana-busa Ikkiyo. Flourished I830-I844.
Hana-busa Ikkei. Contemporary with the last.
Ko Su-KEi. Lived in the early part of the present century.
The various go or professional titles of Itcho were Kio-un,
Nobu-ka, Yasu-wo, Sukb-no-8hin, Muso-wo, Hoku-so-wo, Ippo,
EiN-SHO-AN, and Ikkan Sanjin.

POPULAR SCHOOL, OR, UKIYO-YE RIU. 337
The name Itoho was first assumed in 1709 ; that of Hoku-so-wo
(the Ancient of the Northern Window) on his return from banish
ment, in allusion to the aspect of his studio window.
The best known albums of wood-cuts from his sketches are : —
Hanabusa Uji gwa hen (3 vols.). 1753.
Hanabusa Itcho hiaku gwa (5 vols.). About 1760.
Itcho gwa-fu (3 vols.). 1770. Another series (1 vol.) 1773.
Gwa-to setsu miyo (3 vols.). 1774. (Eeprinted in 1821.)
Gun-to setsu miyo (3 vols.). , 1779.
GuMchb gwa-yei (3 vols.). 1772.
Hanabusa Itchb kib-gwa (1 vol.). Printed in colours. 18 — .
The principal artists of the popular school from the time of Moeo
nobu, with the exception of Itcho and Miyagawa Choshun, worked
almost entirely for the publishers of books and " single-sheet
pictures " (ichi-mai-ye). Their earlier drawings were printed in
black, or in the form of nishiki-ye or colour-prints (lit. : brocade
pictures) the production of which began about the commencement of
the eighteenth century. The following list is fairly complete : —
Kawa-ai Kan-setsu. Flourished in the period Genroku (1688-
I7I6). See 2311-12.
Yama-moto Den-eoku. A contemporary of the last.
Hase-gawa Ch5-shun. A contemporary of the last. Pro
bably the same as Hase-gawa To-un, the artist of the
tl-hon hokan (1688), one of the oldest volumes of illustrated
legends, and which may have suggested to Tachibana no
Moeikuni some years later the plan of the E-hon-kbji-dan.
Ishi-kawa Eiu-sen. A contemporary and. imitator of Moeo-nobu.
The artist of Yamato kbsaku ye-sho, a book of agricultural
scenes. He is probably identical with Ishi-kawa Izai-ybmon
To-shiu-ki, mentioned on p. 334.
Miya-gawa Gho-shun, a late contemporary of Moeonobu, ranks
after him amongst the leaders of the revived Ukiyo-ye. In
style and motive his works resemble those of Moeonobu, and
possess an equal charm of colouring, but he fell much behind
his associate in versatility and power, and contributed nothing
to book illustration. See Nos. 1707 and 1708.

338 JAPANESE PICTORIAL ART.
He was succeeded by his son Cho-ki, who worked in the period
Kioho (1716-1736), and in the caricature roll No. 562 has
left a good indication of his wit and artistic capacity.
ToEii KiYO-NOBU or Sho-bei. a conteufporary of the last.
He is said to have been the originator of the " single-sheet "
engravings, chiefly of theatrical stars and noted beauties of
the capital, which were published from the end of the seven
teenth century under the name of Yedo-ye. The style in
which theatrical signboards are still painted is also believed
to have the same origin. He appears to have been the
founder of the theatrical section of popular art, a speciality
untouched by Hishigawa Moeonobu and despised by many
later artists, but which in the hands of Nishtmuea Sm-
genaga, Toeii Kiyonaga, Ippitsusai Buncho, Katsugawa
Shunsho, Suzuki Haeunobu, Utagawa Toyokuni, Kitagawa
Utamaeo, and a few others, has given us some of the most
perfect specimens in existence of the chromoxylographic art,
Toeii Kiyo-masu, the immediate follower of Kiyo-nobu. He
carried on the style and motives of his predecessor during
the first two or three decades of the eighteenth century, but
did not add materially to the progress of the school.
Oku-muea Masa-nobu, also called Bun-kaku, Ho-getsu-do,
Tan-cho, and 0 Gen-eoku. A late contemporary of Kiyo
nobu, and an imitator both of this artist and of Hjshigawa
Moeonobu. He is known by a number of colour prints
of actors and beautiful women (bijin) in the style of the
former, and some illustrated volumes, after the manner of the
latter. Amongst his books, which were published between
1690 and 1720, two, the Yukei Sennin and the Kinriu-zan
Asakusa sembon zakura, are in the author's collection; and
three others, the E-hon shin Yoshiwara sembon zakura, the
E-hon Bijin zuku-toku San-jiu-ni Sb, and the YH-giva shiki
are mentioned in the second edition of the Ukiyo-ye riH-ko.
Nishi-muea Shige-naga. A well-known imitator of Toku
Kiyonobu. Many portraits of actors and women printed
from four blocks, after his designs, appeared between 1716
and 1748, and under his auspices some advance was made in
the art of chromoxylography.
Kon-d6 Suke-goeo Kiyo-haeu. Noted for drawings of theatrical

POPULAR SCHOOL, OR, UKIYO-YE RIU. 339
and Yoshiwara scenes, and as an illustrator of books for
children, before the middle of the eighteenth century.
Moohi-dzuki Kan-suk:b. Flourished between 1716 and 1736.
Tachi-bana Moei-kuni. One of the most important book
illustrators of the eighteenth century, and noted also as a
caUigraphist and as a scholar of wide attainments. He was
the author of a large number of volumes of drawing examples
and illustrations of legends, intended for the instruction of
art pupils and as models for the artisan artist, and ren
dered by his well-conceived and skilfully-executed designs
a service to the cause of " artisan art " that would be difficult
to over-estimate. He died in 1748, at the age of 78.
The subjoined list gives the names and dates of his chief works :
E-hon Koji-dan (8 vols.). I7I4. Illustrations to legends.
> E-hon Sha-hb bukuro (9 vols.). 1720. Drawing examples and
illustrations to legends.
X il-hon TsU-hbshi (9 vols.). 1725. Drawing examples and
illustrations to legends.
Gwa ten tsu, kb (10 vols.). 1727, Illustrations to legends.
Wa-cho meisho gwa-dzu (4 vols.). 1732. Illustrations to poetry.
Yokioku gwa-shi (10 vols.). 1732. Illustrations to legends.
Fusb gwa-fu (5 vols.), 1735. Illustrations to poetry.
E-hon 0-shuku-bai (7 vols.). 1740. Illustrations to legends.
E-hon Jiki shiho (9 vols.), 1745. Drawing examples,
^ Umpitsu, So-gwa (3 vols.). 1749, Miscellaneous rough sketches.
An admirable example of the artist's more rapid manner.
Biaku gwa (3 vols.), 1750. Miscellaneous rough sketches,
Honahb gwa-yen (6 vols.), 1782. Illustrations to poetry.
His style of drawing bore considerable resemblance to that of the
Kano artists, of one of whom, Tsueu-zawa Tan-zan, he is said to
have been a pupil. ,-^
He left a son named H6-koku or Yasu-kuni, and a pupil named
KuNio Ko-TEN-SAi or Su-YA Hei-jueo, the artist of the Mbshi dzufu.
In certain of his works his name is signed as Tachi-bana no Ben-ji
and Tachi-bana no Yu-yetsu.
Nishi-gawa Suke-nobu, known also as Bun-kwa-do and Nishi-
gawa Ukiyo, a native of Kioto (b. I67I), who settled in Osaka, was a
contemporary of Moeikuni. He is said to have been a pupil of
., >:.. z 2

340 JAPANESE PICTORIAL ART.
Kano Yeino, and is also claimed as an alumnus of the Tosa school,
but the style he adopted was that of the Ukiyo revivalists and
particularly of Okumuea Masanobu, and his skill was chiefly directed
to book illustration. He was especially renowned for sketches of
women and illustrations of social customs, and was the author of
the E-hon Yamato Hiji, a book of illustrated legends, to which he
appended an essay on painting. He does not appear, however, to
have aimed at a reputation as an instructor of artists.
In power and versatility he was inferior to Moeikuni, but within
the narrower limits of his motives his sketches give more pleas
ure. It was especially in the drawings of the female figure that he
excelled. The young girls who held the place of honour in most of
his pictures were remarkably graceful, and their faces, delicate in
feature, good humoured and innocent in expression, were devoid
both of the exaggerations of traits seen in the works of the later
popular school, and of the shapelessness and inanity which appears
to have represented the older artists' ideal of beauty; but unfortu
nately these charming little speciniens of Japanese girlhood were
almost all alike, and hardly displayed more individuality than the
ladies in a Paris fashion-plate. Sukenobu, however, was a man of
ioark, and contributed a large share towards the completion of the
work that Hishigawa Moeonobu had commenced, the elevation of
the practice of wood engraving in Japan to the rank of a fine art.
The greater part of the credit of the improvement is, perhaps, due
to Moeikuni, who added to his other accomplishments a practical
acquaintance with the wood-cutters' art, and no doubt himself
directed the execution of the blocks upon which his designs were
reproduced. The following selections of the works illustrated by Nishi-gawa
Sukb-nobu give the best idea of his powers, but the complete list
would more than treble the number here given.
Haku-nin jorb shina sadame. Sketches of women of all
classes. 1723.
E-hon Tsukuba yama. Japanese poetry. 1730.
E-hon Tama kadzura. Occupations of women. 1736.
E-hon Chitose yama. Moral maxims. 1740.
^-hon Yamato Hiji. Illustrated legends. 1742.
]&-hon Kame no 0-yama. Japanese stories. 1747.

POPULAR SCHOOL, OR, UKIYO- YJ^ RIU. 341
E-hon Fude-tsu bana. 1747.
Goriu e-hon zoroye. Miscellaneous sketches. 1748,
E-hon Chiomi gusa. Occupations of women, 1741. ,
E-hon Himo kagami. Illustrations of vers de soeiete. 1755.
E-hon Yoshi no gusa. 3 vols. 1759.
E-hon ike no kawadzu. Illustrations of social life. 1768.
Hattoei B ai-shin. Flourished about the middle of the 18th
century.
Ko-KAN. The author of a collection of popular sketches entitled
Jimbutsu sb-gwa, published in 1722.
O-OKA Shun-boku, called also Boku- wo and Ho-gen Shun-boku.
A pupil of the Kano school, whose illustrations to legends
and copies from the old masters of China and Japan, engraved
and published in album form in Osaka, formed an important
supplement to the works of Sukenobu and Moeikuni. He
died at the age of 84, between 1751 and 1764.
The principal volumes containing his sketches are as follows : —
Gwa-shi kwai-yb. Copies from celebrated pictures (6 vols.).
1707.
E-hon te-kagami. Copies from celebrated pictures (6 vols.).
1720
Gwa-kb sen-ran. Copies from celebrated • pictures (6 vols.).
1740.
Wa-Kan mei-hitsu gwa-yen. Copies from pictures (6 vols.).
1749.
Tansei nishiki-bukuro. Miscellaneous sketches (6 vols,), 1753,
Wa-Kan koji Boku-wb shin-giva. Illustrated legends (5 vols,).
1753.
KoYE-KAWA Shun-cho. A designer of colour prints. Died
1789, at the age of 46.
Saku-eai Shiu-zan or Ho-gen Shiu-zan. An artist of the
Chinese school who followed Shun-boku in the publication of
copies of the old masters. The Wa-Kan mei-hitsu gwa-yei,
1750; Wa-Kan mei-hitsu gwa-hb, 1764; and the Gwa-sbku,
1777, formed part of the same series as the Gwa-shi kwai-yb.
A female descendant bearing the name of Shiu-zan is referred
to in p. 194.
ToEd KiYO-MiTsu, the son of Kiyo-masu. He maintained the

342 . JAPANESE PICTORIAL ART.
style of Kiyo-nobu during the middle of the eighteenth
century, and left many clever book illustrations and colour-
print portraits of actors.
Sada-toshi. The artist of an album of miscellaneous sketches
called the E-hon ritsu-hb, published in 1752.
Shimo-kawa-be Jiu-sui. Chiefly noted for illustrations to moral
stories in the style of Sukenobu. Flourished between 1765
and 1791.
TsuKi-oKA Tan-ge, known as Kin-do, Eo-jin-sai or Masa-nobu.
Noted for drawings of warriors. His different styles are
well illustrated in the E-hon Musha tadzuna. Pictures of
heroic deeds, 1759 ; E-hon Hime bunko, " The young lady's
companion," 1760 ; and the Tbgoku meisho-shi, Sketches of
scenery, 1762. He died in 1786 at the age of sixty-nine.
Ishi-kawa Toyo-nobu. A pupil of NiSHiMxniA Shigenaga, and
an industrious book-illustrator and " single-sheet " draughts
man. He died in 1789.
Suzu-Ki Haeu-nobu. Also a pupil of Shigenaga, who devoted
himself chiefly to an early form of colour-print known as
Adzuma Nishiki-ye or Surimono, a kind of New Year's card,
printed from five or six blocks, and sold in large numbers at
the beginning of the year. He was noted for drawings of
reigning beauties, but, unlike most of the early Nishiki-ye
draughtsmen, regarded it as beneath the dignity of his art
to produce portraits of actors. His works appeared between
1764 and 1779. His son or pupil, Haeu-nobu the Second,
learned to draw in the Dutch style (Ban-gwa)..
ToEiii KiYO-NAGA, named also Seki Shun-suke, a pupil of Kiyo
mitsu. He surpassed all his predecessors and contemporaries
as a designer of chromoxylographic portraits of actors and
women and as an illustrator of novelettes (1765-1780). His
colour-prints, which are unfortunately very scarce, nearly
reached the limits of perfection in their combined grace of
drawing and purity of tones.
His fellow pupils Kiyo-hieo and Kiyo-tsune were distin
guished in the same branches of art ; the works of the
latter are comparatively common.
Tomi-gawa Fusa-nobu Gin-setsu. An illustrator of novels and
designer of lehimai-ye. His colour-prints are rare, but many

POPULAR SCHOOL, OR, UKIYO- YE RIU. 343
of his illustrated novelettes which were issued near tho
middle of the eighteenth century, are still to be obtained.
GioKU-sui-SAi YosHi-KANE. The artist of the Gtva-to Sen-yb,
a book of rough sketches, published in 1766.
Ko-MATSU-YA, commonly called San-yemon. An Ichimai-ye
designer, chiefly remembered for immoral sketches, drawn
after the style of Nishi-gawa Suke-nobu. He worked in the
period of Meiwa (1764-1772).
Katsu-gawa Shun-sho, called also Kmo-SAi and Yu-sukb. The
most talented of the depictors of actors in costume. He
and his pupil associates, Shun-ko and Shun-ybi, have left
many very beautiful specimens of Nishiki-ye, which appeared
chiefly!, between 1770 and 1780. Good examples of his
Nishiki-ye style will be found in the following books, now
very rare and valuable : — Kbbi no Tsuho, portraits of actors,
printed in colours (1770) ; Sei-rb Bijin Awase kagami,
portraits of Yoshiwara beauties, printed in colours (1776);
and Ni$hik-i Hiakimin Isshiu, Adzuma ori, portraits of the
hundred famous poets, printed in colours (Siebold Collection,
1776). But his masterpieces were " single-sheet " portraits
of actors, a line in which he ranked as facile princeps. There
is indeed in the reproductions of his theatrical pictures,
which were sold at a phenomenally low price, a sentiment of
life and passion, and a mellow harmony of colouring that
appear as a revelation to the European art student.
He commonly used a seal shaped like a jar, and bearing
the charat;ter " Hayashi," the name of a merchant with
whom he lodged. From this he received the nickname of
TsuBO (jar), and his pupil Shun-ko was called Ko-tsubo, or
" the Little Jar."
He died in 1792. His chief pupils were Shun-yei, Shun-ko,
Shun-j6, and Shun-kiu, who were close imitators of his
style; Shun-man and Gaku-tbi, well known as designers
of New Year's cards ; and, last and greatest, Shun-eo, who
afterwards became famous under the name of Hokusai.
Ean-tqku-sai Shun-do a book-illustrator and designer of colour-
prints who flourished about 1780. His painting No. 2262,
in the style of the Shijo school, is a work of remarkable
power.

344 JAPANESE PICTORIAL ART.
Toei-yama Seki-yen Toyo-fusa. A pupil of the Kano school
who adopted the style of the Ukiyo-ye. His chief works
are the Toriyama Sekiyen gwa-fu, a large album of mis
cellaneous sketches, printed in colours (1774) ; Gioa-jiki-hen,
illustrated legends (1777) ; and Zokku-hiak 'ki, pictures of
goblins, printed in black and grey (1779), and lately repub
lished.
KiTA-wo Shige-masa, known also as Ko-sui-sai, Kwa-ean, and
Sa-suke. Famous for popular sketches of social customs
and Yoshiwara scenes after the manner of Sukenobu. His
portraiture of women, as seen in the heroines of the E-hon
Biwa-ko, was as attractive as that of Sukenobu, and perhaps
more refined. He died at the age of 80 in 1819. '7:<;-/k '^
His principal works appeared between 1775 and 1802.
Amongst these may be noted, E-hon asa Murasaki (n.d.),
E-hon Biwa-ko (1775), and i]-hon Yotsu-no-toki (1775).
KiTA-wo Masa-nobu. The artistic name of the famous novelist
Kio-YA Den-zo (Kio-den) a pupil of Shigemasa. Died 1830,
aged 55. He has left many beautiful chromoxylographs.
Ippitsu-sai Bun-cho. a painter of actors and scenes of ordi
nary life, who worked between 1760 and 1780, '1 he colour-
prints after his pictures are highly esteemed.
Iso-DA Sho-bei, commonly called Ko-eiu-sai. A contemporary
of Bun-cho. Noted for chromoxylographic designs,
KuBo Shun-man, known also as Sho-sa-do, A pupil of Shige-
masa, and afterwards of Shunsho, chiefly noted for illustra
tions to comic verselets and New Year's cards. He died at
the commencement of the present century.
Gaku-tbi Haeu-nobu. A pupil of Shunsho, known in the
early part of the century as a designer of Surimono and
colour prints. An admirable example of his style is repro
duced in facsimile by M. Gonse, in ' L'Art Japonais.'
Uta-gawa Toyo-nobu. An associate with Buncho and Shunsho
as a designer of theatrical portraits for colour-prints about
1770. His works are comparatively sc&rce,
Shi-b,v Go-kan. A pupil of Suzuki Haeunobu, noted as a
caUigraphist and artist. His principal woodcut illustrations
appeared in the Giva-to Sai-yu-dan, a book of travels,
published in 1794. He introduced copper-plate engraviug,

POPULAR SCHOOL, OR, UKIYO-YE RIU. 345
which process he learned, together with other elements
of European art, from a Dutch resident ; and was probably
the first Japanese who made use of the elements of linear per
spective in pictorial art, but his education in the science was
very imperfect. He died in 1818, at the age of seventy-one.
Ejta-gawa Uta-maeo. A pupil of Toriyama Sekiyen. He
originally followed the style of the Kanos, but subsequently
adopted the popular manner of the Katsugawa school, and
became renowned as a designer of colour-prints. His works
appeared about the beginning of the present century, and
were largely exported from Nagasaki by the Chinese, with
whom they were very popular. His Momo chidori kioka awase,
pictures of birds, with comic verses, published about 1800,
is an admirable specimen of chromoxylography, and the
practice of " embossing " the paper by strong pressure of an
uninked block, as an aid to the effect of colour-printing.
The Seirb Nenjiu gioji, or Annual of the courtesan quarter
(1804), is another valuable example of his manner. He
was followed by Uta-maeo the Second, and Kita-gawa
Shun- sei.
Hoso-DA Teeu-yuki, named also Cho-bun-sai. A talented artist,
said to have been a pupil of Kano Yeisen. The en
gravings from his designs in the Onna San-jiu-rok 'kasen
(1798) are amongst the finest specimens of Japanese colour-
printing.
Ybi-shi. A pupil of the Kano school. Best known by the
chromoxylographs after his drawings of women, published
between, 1795 and 1805,
Tsu-BO TosHi-MiTSU, A left-handed artist. Chiefly known as
an illustrator of comic verselets. Flourished about 1800.
To-SHitJ-sAi Sha-eaku. Drew portraits of actors at the end
of the last century. It is said that " he made too strenuous
efforts to copy nature, and the result was that his pictures
missed the higher truth. After one or two years he retired
from the scene." The few of his works that have reached
us certainly demonstrate his failure, but in no degree support
the theory of its causation. His drawing is, in fact, more
incorrect in detail than that of any of his contemporaries.
Ka-gen, A designer of colour-prints, who lived in Owari at

346 JAPANESE PICTORIAL ART.
the end of the last century. Some of his drawings appear in
the Kwasho Kbretsu (I78I).
Taka-haea Shun-cho-sai. One of the earliest and best illus
trators of Meisho, or guide-books to celebrated localities.
His chief works are the Miako (Kioto) Meisho (1786), the
Settsu Meisho, which includes a description of Osaka (1796-8),
the Yamato Meisho (1791), and the Idzumi Meisho (1793).
Many of the sketches in these volumes show remarkable
feeling for the picturesque, and great power of composition.
IsHi-DA GioKU-ZAN. An iudustrious and talented book illus
trator. He drew innumerable sketches for guide-books, his
torical works, and novels, at the end of the last and beginning
of the present century, before the publication of the Hokusai
Mangwa.
Amongst many volumes containing his sketches may be
noted the following : —
Yorimitsu ichidai-ki. History of Yorimitsu (Eaiko). 1 vol.
1796,
Sumiyoshi Meisho dzu-ye. Celebrated places in Sumiyoshi,
5 vols, 1797,
E-hon Kusunoki Ni-dai gun-ki. History of Kusunoki
Masashige. 1800.
^-hon Taikb-ki. History of Hideyoshi, 84 vols. 1798-
1808.
E-hon Kan-so Gun-dan. 1802.
Tbdb Meisho dzu-ye. Celebrated places in China. 6 vols.
1805.
E-hon Doji kio. Moral teaching for the young. 1806.
Shi-tomi Kwan-getsu. A pupil of Tsukioka Tange, and an
imitator of Giokuzan. He is well known by his illustrations
to the Ise sangu meisho dzu-ye (1798) and the San-kai mei-san
dzu-ye (llh). ?
Nishi-muea Chiu-wa, a native of Kioto. The artist of the
Kishiu Meisho dzu-ye, the Kiso-kaidb Meisho dzu-ye, the E-hon
Nendaiki, &c.
Sh6-ko-sai Han-bei. One of the early students 'of the
European elements of drawing introduced by Go-kan. His
illustrations to a handbook of the theatre, called Shibai
gaku-ya (1800) contain some clever perspective drawings.

POPULAR SCHOOL, OR, UKIYO-Y^ RIU. 347
KiTA-wo Masa-yoshi, called also Kei-sai and Jo-bhin, The
son of KosuiSAi, and an early contemporary of Hokusai.
Most of his works appeared in the first decade of the present
century. He is especially noted for rapid sketches, in which
the characteristics of the objects depicted were suggested with
remarkable skill by a few apparently careless strokes of the
pencil and a hasty wash of colour. Most of his drawings
represent comic scenes of ordinary life; but he has left a
valuable album of landscapes, and some careful sketches of fishes.
He died in 1824, His principal works are the following : —
E-hon Kwa-chb kagami. Birds and flowers copied from
drawings by a Chinese artist. Printed in colours, (Sie
bold Collection,) 1789.
Shoshoku ye kagami. Drawing examples for artists. The
later reprints are imperfect and very inferior. 1794.
Biaku gwa shiki. Miscellaneous sketches. Printed in colours,
1795,
Shiuki Ichi-futsu. Miscellaneous rough sketches. (Burty
Collection.) 1800,
Biaku gwa-yen. Miscellaneous rough sketches. Printed in
colours. 1809.
Sansui Biaku-dzu shiki. Eough sketches. Printed in
colours. Uniform with the last. 1810.
Giobai riaku-dzu-shiki. Drawings of fishes and molluscs.
Printed in colours. Circa 1810.
Uta-gawa Toyo-haeu, the founder of the Utagawa branch of
the popular school. It is said that he drew modern ukiyo-ye
better than the artists of the Horeki period (1751-64), and
imitated a style, called Uki-ye, derived from European oil-
painting. He died in the period Bunkwa (1804r-I818) at the
age of 69, His works are extremely scarce,
Uta-gawa Toyo-hieo, called also Ichi-eiu-sai, A pupil of Toyo-
haeu. Noted as a book illustrator and painter of screen-mounts
(hari-maze) and single sheet rough sketches printed in black
or colours. He died in 1828, The following books, containing
his illustrations, offer good indications of his abilities : —
Zenmiokan Sayotsuki. Novel by Bakin. 5 vols, (Hart
Collection.)

348 JAPANESE PICTORIAL ART.
Kengu Irigomi Sento Shinwa. A novel. (Burty Collection.)
1802.
Fukuso Shiriyo. Printed in colours. (Burty Collection.)
1804.
Kataki uchi Sembon zakura. (Burty Collection.) 1809.
Matsura Sayo-hime Seki-kon-roku. Novel by Bakin. (Hart
Collection.)
Asaina Shima meguri no ki. Novel by Bakin. (Hart
Collection.) 1819.
Musbbibye Kochb Monogatari. Novel by Bakin. (Hart
Collection.) 1810.
Uta-gawa Toyo-kuni, named also Ichi-yo-sai, A pupil of Toyo-
haeu, and a well-known book illustrator and designer of
theatrical chromoxylographs. His later prints are more highly
pitched in tone than the earlier specimens, but are exceedingly
effective and harmonious. He is said to have introduced the
use of purple into colour-printing. Most of the volumes con
taining his drawings were novels by Kioden, Bakin and others,
and appeared in the first decade of the present century, but he
published after this date a valuable album in the style of the
Mangwa, called the Toyokuni Toshidama fude. He died in
1828 at the age of fifty-six. His name was adopted from 1844
by his pupil Kado-ta Sho-goeo or Kuni-sada, who became
known as Toyo-kuni the Second.* Of his other pupils the
best were Kuni-masa and Kuni-yasu, whose works, chiefly
portraits of actors, are seldom met with. Other followers of
lesser note were Kuni-mitsu, Kuni-tada, Kuni-naga, Kuni-maeu,
and KuNi-TsuGU.
Shortly before the opening of the present century the Ukiyo-ye
Biu began to extend its sphere of action, and became developed into
the purely artisan school to which Europe and America owe their
chief experience of the decorative beauties of Japanese art.
It is difficult to fix a date for the phenomenon of which the
rise of the artisan school merely forms a part, the full exercise of
the hitherto half latent powers of the industrial community. The
way had been prepared long before, but the most powerful efforts
? The younger Toyokuni usually omitted to write " the Second " after his
signature, and hence some confusion has arisen between the earlier and later
holders of the name.

POPULAR SCHOOL, OR, UKIYO-YE RIU. 349
in the good cause were those of two individuals who gave to
popular art and literature a wealth of useful work and new
ideas. These men, Bakin, the novelist, and Hokusai, the book
draughtsman, fast friends as such men should be, laid no claim
to the origination of the sentiment of self-help and self-asser
tion, of which they were the most energetic exponents; nor did
they even appear to be conscious of their championship of intel
lectual free trade, for all that is heard of their lives shows a
remarkable absence of the qualities of ambition and assertiveness,
in the more objectionable signification of the terms. Their renown
was earned solely by an irresistible combination of untiring industry
with high abilities, and they have both deserved a full measure of
gratitude from their countrymen ; but to the one who has written
the manners, thoughts, and traditions of Japan in the universal
language of the pencil may well be accorded also a meed of praise
from lovers of art in all countries.
Hokusai, whose real name is variously stated, was born in 1760,
and was the son of one Nakajima Ise, a maker of mirrors, who lived
in the district of Honjo, in the north of Yedo.* He learned the
rudiments of his style under Katsugawa Shunsho, the theatrical
draughtsman, and assumed the name of Katsu-gawa Shun-eo in
compliment to his teacher, but for some reason he was discharged
from the school and left to his own resources.
We learn on the authority of the artist himself that he laboured
at his profession almost from infancy, but nevertheless his history
previous to the midway of his life is almost a blank. It is, however,
known that he became the heir of one Tawara-ya Sori after quitting
the academy of Shunsho, and assumed the name of Soei the Second,
which he soon gave over to a pupil, adopting that of Hoku-sai
Tatsu-masa Eai-to before the close of the last century.
His early efforts were designs for woodcut illustrations to verselets.
New Year's cards, and cheap novelettes, and bore more resemblance
* A small portion of the following account has already appeared in a paper by the
author, printed in the ' Transactions of the Asiatic Society of Japan ' for 1878. Other
notices of the artist have been contributed hy Professor Morse to the ' American Art
Journal,' vol. i. (1880), Mr. P. V. Dickins in his English edition of ' The Hundred
Views of Fuji' (1880), M. Uuret in the 'Gazette des Beaux Arts,' 1882, and by
M. Gonse in ' L'Art Japonais.' Copies of his drawings appeared in Europe long before
any written account of his life, and several of his sketches were reproduced as early
as 1864 in ' Le Japon, la Chine, et I'lnde,' by M. Chassiron.

350 JAPANESE PICTORIAL ART.
to the contemporary drawings of Utagawa Toyokuni than to those
of Shunsho. They were nevertheless quite characteristic, and al
though the artist had not yet attained his full powers of design, the
promise of the genius afterwards displayed in the Mangwa was fully
apparent. It is remarkable that he appears as author as well as
illustrator of some of these early volumes, under the pseudonym
of TOKI-TA-EO E^-k6.
The first of his more important works appears in a kind of
frontispiece to a rare and beautiful volume of colour prints, entitled
the Onna San-jiu-rok 'kasen (" The Thirty-six Famous Poetesses "),
issued in 1798, the date at which the artist first adopted his now
historical name of Hokusai. The execution of this sketch shows
all the indications of a practised hand, and its presence in a book
of high pretensions may be considered to prove that his skill had
by this time earned some degree of recognition. During the next
fourteen years he was engaged in teaching and in illustrating books
of various kinds, of which the most remarkable were four series of
chromoxylographic views of Yedo and its neighbourhood, published
between 1800 and 1804 (see list, page 357) ; and it was to the great
demand for his drawings as copies for art-students and artisan
draughtsmen that we owe the commencement of the publication of
the work upon which his fame now chiefly rests, the Mangwa, or
Eough Sketches.
The first volume of the Mangwa appeared in 1812. He had at this
time lost many of the imperfections of his early drawing, notably
the ungraceful elongation of the figure, which was conspicuous even
in the Yedo views just alluded to ; and the certificates appended to
the painting of Tametomo and the Demons (No. 1747), executed at
the request of his friend Bakin in 1810, as well as the terms of the
introduction to the first volume of the Mangwa, show that he was
duly honoured by those who were most competent to appreciate his
works. The following abstract from the preface referred to (quoted
from the translation by Mr. F. V. Dickins), indicates both the
scheme of the work and the circumstances under which it was
undertaken : —
" How shall one hand dowti to future ages, and bring within the
knowledge of our remote fellow-men beyond a thousand leagues,
the spirit and form of all the joy and happiness we see filling the

POPULAR SCHOOL, OR, UKIYO- Y^ RIU. 351
universe ? Art alone can perpetuate the living reality of the things
of the world, and only that true art which abides within the realm
of genius can properly serve this end. The rare talent of the
master, Hokusai, is known throughout the land. This autumn, in
his journeyings westwards, the master by good hap visited our city,
and there, to the great delight of both, came to know Bokusen, of
Gek-ko (Moonlight) Hall, under which roof some three hundred
compositions were thought out and executed. Things of heaven
and of Buddha, the life of men and women, aye, even birds and
beasts, herbs and trees were not left unattempted, and the^master's
brush depicted all phases and forms of existence. For some time
past the talent of our artists has been on the wane ; life and move
ment were wanting to their productions, and their execution fell
short of their conceptions. Of the sketches here presented, rough
as they are, the admirable truth and vigour cannot fail to be
recognised ; the master has essayed to give life to all he has de
picted, and his success is shown by the joy and happiness he has so
faithfully expressed. Who can add to his work ? To the aspiring
student of art this collection will form an inestimable guide and
instructor. The title, Man-gua — rough or rapid sketches — was
chosen by the master himself.
" Written by Kei-jiu, of Han-shiu Hall, at Biro-ka in Owari,
period Bun-kua (1804-18). Blooming of letters." *
The appearance of the first book of the " Eough Sketches " was
the turning-point in his career. The novelty and grace of the
woodcuts conveyed the news of the draughtsman's genius to all
who could pay the small sum required for the purchase of the little
volume, and the author rose to the position of a celebrity in his own
wide but humble sphere. A new series was called for and supplied,
and Hokusai, now over fifty years of age, began to reap the reward
of the patient labour of his early and middle life. His hours were
soon monopolised by the demands of publishers for fresh volumes,
but his inexhaustible imagination and unwearying energy made it
a simple task to build up the big edifice of books upon which his
name is inscribed. His literary associates were proud to write for
his volumes admiring, elegant, but for the most part empty, pre
faces ; his contemporaries rendered him the sincere flattery of
* See introduction to ' The Hundred Views of Fuji,' an English edition of one
of the best works of Hokusai. Batsford, 1880.

352 JAPANESE PICTORIAL ART.
imitating his albums ; and a clever band of pupils began to transmit
his style, and marked their respect for his teaching by adopting, more
Japonico, one of the two characters of his artistic name, with the
prefix or affix of a distinctive ideographic sign. The success of his
experiment was great, although the more critical of his patrons found
some lack of calligraphic dexterity in his touch, and of refinement
in his treatment of the multitude of themes to which he turned his
facile hand ; but it was to the people at large that his art appealed,
in the rich profusion of sketches that mirrored their everyday life
with a truth that could only come from one who shared their
thoughts and feelings, a truth directed by close observation and
pointed by the quaint humour of the artist, but never poisoned by
coarse, ill-natured or misconceiving caricature. For there were
printed, in characters that the most unlearned could read, a record
of all the little social ceremonials that were as dear to the shopkeeper
or workman as were more imposing formalities to the samurai or
daimio ; their child-like amusements, their historical landmarks, their
folk-lore, and the homely jokes that never lost by repetition ; and at
every page a holiday resort, a household pet, a favourite fiower, or some
other of the thousand familiar objects of their simple existence, were
summoned vividly before them by the magic of a few swift strokes
of the artist's pencil. It would be difficult to conceive a work more
calculated to impress those for whom it was intended, or to give the
student of old Japan a more undistorted view of the sentiments and
tastes of the easy-going multitudes who fill the closely-packed
streets and alleys of the chief city of the Land of the Eising Sun.
Thus, at an age that to an ordinary man would have prompted
a retirement from active employment, did the artist begin the labour
that was to form the key-stone of his renown. It was no empty boast
that he made when his well-used life was drawing to an end, that he
had " worked diligently from his sixth to his eighty-eighth year ;" but
his harvest came later than that of most men of success. From the
date of the appearance of his sketch-book, the rich storehouse of
mind and skill yielded volume after volume, until the total of his
handiwork represented a sum of originality attained by few of the
artists of any country, and by none of his own. The " Eough
Sketches " alone, in its fourteen closely-filled volumes, would have
been a worthy life-work ; but these records of his versatility and
industry are but a small part of his legacy. Even as late as 1836 he

POPULAR SCHOOL, OR, UKIYO-YE RIU. 353

was still adding important works to the list, and these included the
E-hon Suiko-den, the Fugaku hiak 'kei, the E-hon Saki Galce, and
the Musashi abumi, which are regarded as some of his most vigorous
productions. At this date he was nearly eighty, but in robust
health, and his eyes, clear and true as at the beginning of his
career, were independent of the optician's aid.* His green old age
brought neither impairment of faculties nor desire for repose ; and
of his subsequent works, some of the latest, the sketches in the
Sbzan Ghbmon Kishin, painted at the age of eighty-eight, would
scarcely lose by comparison with the productions of his best period ;
and the E-hon Saishiki-tsu, issued two years before his death, was a
bold effort on the part of a man approaching his tenth decade to
elucidate his methods by a manual of instruction, that showed no
loss of firmness of hand. It appears to have been amongst the
last efforts of his extraordinary energies. He died in 1849,t at the
patriarchal age of eighty-nine — or ninety, according to the Japanese
method of computation. He left no son to inherit his genius, but of
three daughters, one, named Teeu, was possessed of considerable
artistic talent, and another became the wife of a pupil named
Yanagawa Shigenobu.
Hokusai must be judged chiefly by the woodcutters' transcripts
' of his sketches. It is true that he left many paintings of great
merit, and it is reported that in the early portion of his career
he attracted notice by the exhibition of a number of colossal
pictures, some of which even reached the dimensions of 36 yards
square, but he was essentially a book artist, and as the drawings
made for the engravers were pasted upon the blocks and sacri
ficed in the process of cutting, comparatively few of the more
characteristic works of his hand have reached us. Fortunately
Europe possesses a few examples to show his power of brush. Of
these, one large kakemono, painted in 1810 (No. 1747), and five
sketches on silk (Nos. 1772-6), executed in his later years, are in
the present collection, together with a small picture (No. 1899)
signed Tame-iohi, late Hoku-sai. A valuable collection of album
drawings similar to the five above alluded to is in the possession of
* See preface to Musashi Abumi (1»36).
t M. Gonse announces as the exact date of his death the 13th of April, 1849,
and states that he was buried in the Buddhist temple of Saikioji in Hachi-kenji
Cho, Asakusa. Upon his tomb appears the simple legend, " Genyo Hoku-sai Shinji
Nan Shoyen — Le glorieux et honnete chevalier Hokusai." See L'Art Japonais, vol. i.
2 A

354 JAPANESE PICTORIAL ART.

the Hon. James Saumarez, to whose kindness the writer is indebted
for Nos. 1747 and 1172-8. Professor Morse is the owner of
another painting, of which an engraving was published in the
first volume of the American Art Journal ; M. Gonse has also
obtained two kakemonos and two rolls of album sketches, bearing
the signature of the master; and others are in the collections
of Dr. Gierke and Mr. Ernest Hart. The powers of Hokusai as
a colorist were very unequal, but are shown to most advantage
in his earlier sketches. In some of his later works the pigments
were of bad quality, and produced effects that were unworthy
of his forcible outline and perfect composition ; but even at his
best he merits no especial distinction above many of his fellows in
this respect. '
The influence of Hokusai's teaching and example was not limited
to his own pupils or his own public, but extended to industrial
art in all its branches. The admirers of the pottery, bronzes,
lacquer, and other art products, for which a market has been sought
outside Japan, will in most cases recognise the impress of the half-
emancipated artisan, who, in imitation of the Katsushika painter,
has shaken off the traditions that hampered the free exercise of his
artistic instincts, and, amidst much that is crude and rococo, has
evolved those daringly successful feats in decoration which have
helped to make the nineteenth century a new era in the art history
of his country.
No biographical facts as to the man can be found in the printed
literature of his country, beyond a few details of little interest. The
noms de pinceau which he chose to adopt at various periods in his
career were very numerous ; the earliest appear to have been Kin-
TAi-SHA, Shun-eo, Tetsu-goeo, Toki-ta-e6 and S5ei the Second, which
latter he changed in 1798 for that of Hoku-sai Tatsu-masa. As
Hoku-sai, Hokusai-shi, or Katsu-shika Hoku-sai, he was thence
forth kuown, but other artistic signatures were sometimes appended
to his works, as Eai-shin, Sai-to, Tame-iohi, or I-itsu, and lastly,
in his later years (from about 1833), Man Eo-jin, or Gwa-
Kio E0-.JIN Man.* The signature to the earlier of his known
works was usually Katsu-shika Hoku-sai, the first name derived
from his birthplace, the second, which signifies "northern studio,
* M. Gonse adds to the list the names of Sesshin, and Tai-gaku. S.ee L'Art
Jq,po,nais.

POPULAR SCHOOL, OR, UKIYO- YE RIU. 355
probably referring to the quarter of the city in which his atelier
was situated. After the age of seventy he replaced the characters
of Hoku-sai by the Buddhistic Svastica, which is represented in
Japanese by the word Manji, or ten thousand, and in this case
implies fabulous longevity. The characters Gwa-kio, or "infatu
ated with pictures," are occasionally prefixed to this symbol.
The author of the revised edition of the Ukiyo-ye riH-kb (MS.),
published in 1844, inserts a long notice of Hokusai, and amongst
other details tells us that " he could draw with anything — an egg,
a quart measure, a bottle, or with his thumb-nail — and could use
his left hand as well as his right. He was perpetually finding new
outlets for his skill, and, from the signboard of a perfumer to that
of a theatre, from oil painting to Dutch painting, he left nothing
unattempted." It is also said that he drew many hundreds of
pictures for the Dutch, until a prohibition was issued by the Govern
ment ; if this be true, it would be interesting to know what has
become of these exportations.
Of his personal character we are left to judge by his works, which
fortunately supply us with more than his niggardly biographers
have taken the pains to relate. They demonstrate not only the
versatility and range of his artistic genius, but convey a vivid
impression of his moral and intellectual qualities, of his keen but
kindly powers of observation, wit untainted by malice, strongly
marked individuality free from self-consciousness, and an art-loving
industry that never permitted him to save labour by repetition or
plagiarism, or to mar his conceptions by carelessness of hand or
thought. He was a cyclopaedia of folk-lore and legend, and has left
untouched scarcely one motive that was worthy of his pencil.
As an artist he was a true Japanese. It was rarely that any
half-understood elements of the pictorial rules of European acade
mies stole into his sketch-books to pervert the freedom of his natural
style. The science of chiaroscuro was as lightly esteemed in his art
as were the laws of linear perspective or the forms of superficial
anatomy. He had undoubtedly seen foreign books and pictures,
and some of his own drawings show that he knew as much about
perspective as any of his contemporaries, but the specimens of
Western art that accident had thrown in his way were not of a
character to make him dissatisfied with the models of style trans
mitted by the masters of his own country and of China. Hence he
2 A 2

356 JAPANESE PICTORIAL ART.
took the art as he found it, applying it to embody his own ideas and
observations, without feeling the need of more perfected theories or
methods. It is not easy to say in what particular direction in the realm of
painting his genius tended, for figure, landscape, animals, and still
life all appeared to come with equal facility from his brush. His
great strength, however, lay in his extraordinary gift of fixing, by
means of a few sirdple lines, the essential characteristics of his
subject; and with this power were combined a strong perception of
beauty of form, and a firmness and decision of touch, that expressed
his meaning as forcibly if not as elegantly as the master-stroke of
the artists of the older schools. His rapid sketches sometimes
convey suggestions of contour, and even of colour, that were scarcely
excelled by the monochrome masters of China, and his work is
always as free from carelessness as from indication of effort. To
apply to the Japanese draughtsman the remarks of Euskin upon the
English John Leech, his drawings were wonderful " in their accu
rate felicity and prosperous haste ;' ' and he was not merely right
in what he seized, but " refined in the sacrifice of what he refused."
His position, however, must not be overstated. He seizes our
admiration in a thousand ways in the multitude of his achieve
ments ; but we have no right to look for the grandeur of conception
of a Meioho, or the graphic perfection of touch and consummate
harmony of colouring of a Motonobu or a Saneaku. It is indeed
impossible that the artisan with no more than the ordinary schooling
of his class, condemned to labour from childhood to old age for a
bare subsistence, should have been able to convey into his works the
evidences of a culture which only well-directed study and gentle
associations could secure; and it is easy to comprehend why, in
Japan, his deficiencies in this respect have robbed him of, a large
portion of the esteem that his untutored genius might fairly claim.
But to judge such a man by the classical standard would be narrow
and unjust, and to compare his art with one it never sought to rival
can strengthen the reputation of neither. It is sufficient that his
life-work was almost unique in its originality, scope, and utihty;
and his award of fame may be safely entrusted to the unprejudiced
verdict of time. In France he has already found some generous and
keenly sympathetic critics, and the number of his admirers will
multiply wherever his labours become known.

POPULAR SCHOOL, OR, UKIYO-YE RIU. 357
The following list of books, illustrated by Hokusai, may be
of interest to collectors : —

Onna San-jiu-rok 'kasen. Portraits of celebrated poetesses. The
first picture, only, by Hoku-sai (signed' Hoku-sai), the rest by
Hoso-DA Cho-bunsai. Printed in colours. 1 vol.* 1798.
Tbto Shbkei Ichiran. Scenery in and near Yedo. Printed in
colours. 3 vols. (Siebold Collection.) Signed " Hoku-sai Tat
su-masa." 1800.
E-hon Adzuma Asobi. Uniform with the last. 3 vols. 1802.
Chigo Monju Osanago Kibkun. Novelette by Hokusai. 3 very
small volumes. 1802. Signed Toki-ta-eo Kako.
Ogura hiak'ku. The hundred short poems of Ogura. 1803. (Duret
Collection.)
E-hon kioka Yama mata Yama. Uniform with the Toto Shbkei
Ichiran. 3 vols. (Burty Collection.) 1803.
E-hon Sumida-gawa riogan ichiran. Uniform with the last.
3 vols. 1804.
Tengu. Novelette by Ikkiu. Signed Shun-eo now Gum-ba-tbi.
1804.
Shunsetbu Yumi hari dzuki. Novel by Bakin. Signed " Katsu
shika HoKU-SAi-SHi." (Hart Collection.) 1807.
Kataki uchi Miga-wari Mibgb. Novel by Bakin. (Burty Collec
tion.) 1808.
Hokusai Man-gwa. Miscellaneous sketches printed from two or
three blocks; in some early editions in black only. 14 vols.
The first volume is dated in the 9 th cyclical year in the period
of Bunkwa (1812).t The last dated volume, the thirteenth,
appeared in 1849. The time of issue of the fourteenth is
uncertain, and the so-called fifteenth volume, published in 1878,
is merely a reprint of old pictures, chiefly from the Hokusai
Shiu-gwa ichiran. Some of the early sketches were reproduced
in a volume called E-hon Shitori Keiko.
Shin riaku-gwa. A drawing-book, showing the modes of repre-
* Unless otherwise stated, the titles, etc., enumerated, are drawn from books in
the author's collection. The most important collections of the works of Hokusai
are those of MM. Duret, Burty, and Gonse.
t A note in the 15th volume states that the publication began in the 11th year
of Bunkwa, or 1814, but this is probably an error.

358 JAPANESE PICTORIAL ART.
senting the various actions of the human figure. Signed Katsu
shika Hoku-sai. 1 vol. 1815.
Hokusai Santai gwa-fu. Miscellaneous sketches printed from
two blocks. 1 vol. 1816.
Wa-go In-shitsu-mon e-sho. Illustrated by Nan-ei-tei and Sai-to.
2 vols. (Burty Collection.) 1818.
Hokusai gwa shiki. Miscellaneous sketches printed in black, or
from two blocks. Signed " To-to Gwa-kio saki no Hoku-sai
Sensei," and " Katsu-shika Sai-to." Preface dated 1818.
E-hon riyo-hitsu. Miscellaneous sketches. Uniform with the
above. Cuts subsequently reprinted in Hokusai gwa-fu. 1820.
Sessen hinagata. Kushi hinagata. Designs for pipes and combs.
3 vols. Signed " Saki no Hoku-sai Tame-iohi or I-iisu." 1823.
Ei-yu gwa-yen. Miscellaneous sketches. 1825.
E-hon tekin Orai. Models of priestly calligraphy, vrith illustra
tions by HoKU-SAi. 3 vols. Signed "Hoku-sai Gwa-kio."
1828.
E-hon Suiko-den. Chinese heroes and heroines. Signed " Saki no
Hoku-sai Tame-ichi Eojin." I vol. 1829.
E-hon Tbshi^sen. Illustrations to Chinese classics. Signed " Ki5
Eo-jin Man 0," the whimsical Ancient of a hundred centuries.
10 vols. 1833. (Other series of the same work contain illustra
tions by other artists.)
E-hon Ghiu-kib. Examples of fidelity of retainers. 1 vol.
Signed " Saki-no Hoku-sai Tame-iohi Eo-jin." 1834.
M-yu dzu-ye. Military heroes of Japan. 1 vol. Signed " Gen-
Eiu-SAi Sai-to." 1834.
E-hon Sai-yu-ki. Story of the travels of Hiouen Thsang, by
Kiusan. 40 vols. Signed " Katsu-shika Sai-to." (Hart Collec
tion.) 1835.
Fugaku hiak 'kei. A hundred views of Fuji. Printed from two
blocks. 3 vols. 1835 to 1837. This work has been recently
republished in England with an introductory essay and a
description of the plates, by Mr. F. V. Dickins. Eeductions of
some of the cuts have appeared in a volume entitled Ukiyo-ye-
dehon (1850).
E-hon Saki-gake. Japanese heroes, &c. Signed " Saki no Hoku
sai Gwa-kio Eo-jin Man." I vol. 1836.
Musashi Abumi. Uniform with the above. 1 vol. '1836.

POPULAR SCHOOL, OR, UKIYO-YE RIU. 359
Wa-kan Homare. Uniform with the above. 1 vol. The artist's
age is here given as seventy-six in an inscription over the last
cut. 1836.
The three preceding works have been republished. The preface
to the Wa-kan Homare is dated third year of Kayei ( 1 850).
E-hon Tsu-zoku San-goku Shi. Novel by Bakin. 75 vols.
Signed " Katsu-shika Sai-to." 1836.
Db-chiu gwa-fu. Sketches on the Tokaido. Printed in two tints.
2 vols. 1836. Eepublished 1881.
Hokusai Shiu-gwa ichiran. Miscellaneous sketches. Printed in
colours. Many of the pictures have been republished in the
fifteenth volume of the Mangwa. About 1836.
Nikko-zan-shi. A pictorial description of Nikko. Illustrations
by various artists, including Hoku-sai. 1836.
Shin Hinagata. Designs for carpenters and wood-carvers. Signed
"Gwa-kio Eo-jin Man." 1836. The full title is Sho-shoku
E-hon Katsushika Shin Hinagata, but in later editions this is
reduced to Hoku-sai Shin Hinagata.
Banshohu dzu-kb. Designs for workmen. By "Sai-to Sensei."
5 vols. About 1836.
Shaka Ichi-dai-ki dzu-ye. Life of S'akyamuni. 6 vols. (Burty
Collection). Preface dated 1839.
Jingo Kbgb San-kan tai-di dzu-ye. Story of the Empress Jingo and
the Korean conquest. 6 vols. Signed Katsu-shika Sai-to. 1841.
E-hon Hayabiki. Nagashira Musha Burui. Eepresentations of
famous warriors, classified for quick reference. 1841. (Duret
Collection.)
-Hokusai gwa-yen. Miscellaneous sketches. Printed in colours.
Signed " Saki no Hoku-sai Man-eo-jin." Originally printed
under the title of Man-6 so-hitsu gwa-fu, from two blocks only.
1843.
Betsu-jb hiakunin IsshiU. Partly illustrated by Hoku-sai. (Burty
Collection.) 1847.
E-hon Saishiki-tsu. Book of instruction for art students. Two
series. The first signed " Gwa-kio Eo-jin Man " ; the second,
" Saki no Hoku-sai Man-eo-jin." 1847.
Kwa-chb gwa-den. Drawings of birds. By Katsu-shika Sai-to.
2 vols. 1848.

360 JAPANESE PICTORIAL ART.
Ei-yu hiakunin Isshiu. Book of poets. Partly illustrated by
HoKU-sAi. (Burty Collection.) 1848.
Sbzan Ghbmon Kishin. Strange things seen and heard of by
SSzan. Illustrated by various artists. Some by Hoku-sai are
signed with the Svastika or Manji, and record his age as
eighty-eight. 1849.
E-han kb-bun kb-kiyo. Illustrated legends. 1849.
Bon-gioa shitori geikb. Self-instruction in Tray pictures. Printed
in colours. N. D.
Hokusai dzu shiki. Miscellaneous sketches. Mostly reprinted
from old blocks. 1882.
Ukiyo ye-dehon. Miscellaneous sketches. Many reduced from
Fugaku Hiak'kei. 1 vol. 1850.
Yedo Murasaki. The story of Gompachi. Signed Toki-ta-eo.
I small vol. 1780 ? (Duret Collection.)
Tsuki no Kumasaka. The history of the Brigand Kumasaka.
Signed Toki-ta-eo. I small vol. 1780 ? (Duret Collection.)
Ywiga-hama Ohiuya Monogatari. Novelette. Signed Toki-ta-e6.
1790 ? (Duret Collection.)
Mappira gomen. Novelette. Signed Toki-ta-e6 KakO. 1790?
(Burty Collection.)
Kamadb Shbgun. Comparison of historical and domestic events.
Signed Toki-ta-eo. 1 small vol. 1780 ? (Duret Collection.)
Mottomo Sekai Chiushingura. Burlesque upon the story of the
Forty-seven Eonins. Signed Toki-ta-e6. 2 small vols. 1797 ?
(Duret Collection.)
Yamato Honzo. Comic Natural History of Japan. Signed Toki-
ta-eo. 3 small vols. 1797 ? (Duret Collection.)
Saifu no Himo. A story. Signed Toki-ta-eo. 3 small vols.
1798 ? (Duret Collection.)
Bushiu ho. A collection of blunders. Signed Toki-ta-eo. 3 small
vols, 1798 ? (Duret Collection.)
Biyo-hitsu gwa-fu. Landscape with figures. 1 vol. Signed
" Toto (Yedo) Hoku-sai Saito," in association with Naniwa
(Osaka) Eiu-ko-sai. (This volume must be distinguished
from the book of the same name previously mentioned.)
The figures are drawn by Hoku-sai, the landscapes by
Eiu-Ko-sAi. The probable date is about 1820.
Hokusai giva-fu. Miscellaneous sketches. 3 vols. Printed in

POPULAR SCHOOL, OR, UKIYO-YE RIU. 361
colours in the re-issues published in Kayei (1848-1854). The
pictures are nearly all reprints of those in the E-hon Biyo hitsu
and Hokusai gwa shiki.
Hokusai Onna Imagawa. Examples of female virtue. I vol.
Early edition printed in black, later in colours.
Haya-ji nan. A drawing-book. Two series,. Preface signed
" Saki no Hoku-sai Tame-ichi." N. D, The second series is
sometimes entitled Hokusai Mangica haya-ji-nan.
Shimpen Suiko den. A Chinese story, translated by Takai
Eanzan. (Burty Collection.) J^uj 9>^^- ^ ¦S'-*'''^'^'^ si^im er,^ I>Si,^
Fugaku san-jiu-rok' kd. Thirty-six views of Fuji printed in
colours. Amongst the finest works of the artist. Signed
"HoKU-SAi Tame-ichi." (Burty Collection, Duret Collection.)
A few supplementary sheets were published after the com
pletion of the series.
Shimpen Kokuji Suiko gwa den. Chinese novel, translated by
Bakin. 45 vols.
Suiko gwa den. Stories of Chinese heroes. Printed in colours.
- 3 vols.
Tbkaidb go jiu-san EM. Fifty-three posting stations on the Tokaido.
Printed in colours. (Alexander Collection.)
Omi hak'kei. Eight views on Lake Biwa. Printed in colours.
(Alexander Collection.)
Mutsu Tamagawa. Yiews of the six rivers called Tamagawa.
Printed in colours. (Alexander Collection.)
For the following additional lists the author is indebted to
Mr. Satow :—
Saito gwa-fu. Miscellaneous drawings.
Akindo kagami. The tradesman's mirror.
Hokusai kib-gwa. Comic sketches.
Adzuma hiakurnin onna Tamadzusa.
Bandai Bannin misa wo bunko.
Sono no yuki. 5 vols.
Baikb Ajari kwai-so den. 6 vols.
Nitta Koshin roku. 10 vols.
Shakurson Go-ichi-dai-ki dzu-ye. Novel by Yamada Isai, Illus
trated by Saki no Hokusai Eo-jin.

362 JAPANESE PICTORIAL ART.
Iso hiakkwa sen. Selection from curious plants and flowers.
Mei-kiyo hiak'kei. Views of noted bridges.
Hiak'kwa kijutsu. Occupations (?).
Hiaku-jiu, hiaku-fuku. Eejoicings and prosperities.
Kio-gwa sohitsu gan. Comic pictures.
Giyoku hiak'kei. Fishing scenes.
Gek'ka hiak'kei. Moonlight scenes.
Hiaku-ba hiaku-gu. Horses and cows.
Hiak'kin hiaku-ju. Birds and animals.
Noka hiak'kei. Agricultural scenes.
Empo Choten ippiaku ji-zai dzu-ye.
The following are named in the second edition of the Ukiyo-ye
riu-kb. (a) Drawing books.
Ji-mon hinagata (patterns for weavers).
Hokusai E-kagami,
Hokusai gwa-sb.
Tameichi gwa-fu.
Shashin gwa-fu. 1 vol.
Jbruri-zekku. 1 vol.
(b) Illustrated novels.
Sanshichi zenden Nanka no yume. By Bakin.
Chiur-kb Itako-bushi. 5 vols. By Emba.
Tama no Ochiho. 1 vol. By Koyeda Shigeru.
Kwai-dan Shimo-yo no Hoshi. 5 vols. Bv Eiiitei.
Adzuma Futaba no Nishiki. 5 vols. By Shigeru.
Kokuji Nuye Monogatari, 5 vols. By Shakuyakutei.
Awa-no Naruto. 5 vols. By Eiutei.
Kana dehon gojitsu no Bunshb. 5 vols. By Emba.
Shin Kasane gedatsu Monogatari. 5 vols. By Bakin.
Kataki-uchi urami Kudzu no Ha. 5 vols. By Bakin.
Futatsu Ghbchb Shiraito Zbshi. 5 vols. By Shakuyakutei.
0 Biku Kbsuke Yume no UJci-hashi 3 vols. By Toyei. 1809.
Sumida-gawa BairiiJb Shinsho. 6 vols. By Bakin.
Baigb Kwai so den. 10 vols. By Bakin.
Yuriwaka Nozuye no Taka. 5 vols. By Mantei Soba.

POPULAR SCHOOL, OR, UKIYO-YE RIU. 363

MatsuAJUb Monogatari. 6 vols. By Shigeru,
Awoto FujitsuMa Morib-an. 10 vols. By Bakin.
Seta no hashi riujo Hon-ki. 3 vOls. By Eiiitei.
Hida no takumi Monogatari. 6 vols. By Jimori. 1809,
Peipei Gbdan. 6 vols. By Bakin.
Hashi kuyb. 5 vols. By Shigeru.
Ogwri gwai-den. 16 vols. By Bakin.
Hokuyetsu Ki-dan. 6 vols. By Tachibana Shigeyo. 1812.
Nureginu zbshi. 5 vols. By Shakuyakutei.
Sansho Daiyu. 5 vols.
(c) Books of colour prints,
Shokoku Sansui. Scenes in the provinces.
Hiak'ki yagib. Devil's nocturnal excursions.
Shokoku Taki meguri. Cascades of the whole country.
Kwachb dzukushi. The universe of birds and flowers.
Biukiu Hakkei. Eight views of Loochoo.
Hiakunin isshiu. Century of poets.
Besides these were many advertisements, single-sheet pictures,
New Year's cards (Surimono), and other scattered and ephemeral
productions. Of the Surimono, which were often gems of chromoxylo
graphic art, remarkable specimens are in the possession of M. Burty,
M. Montefiore, and M. Duret.

%
Katsu-gawa Shun-wo, Kiku-gawa Yei-zan, Toeii Kiyo-mine, and
TsuKi-MAEO were noted for ' drawings of women in the style of
Utamaeo, in the first two decades of the nineteenth, century,
Katsu-gawa Shun-cho. One of the most successful imitators of
ToEiii Kiyonaga. His works are chiefly colour prints, and
illustrations to Kusa-zoshi, between 1800 and 1820. He after
wards gave up the Ukiyo-ye style, and changed his name to
Shun-ken. He was still living in 1821,
Kabu-kido. An indifferent designer of theatrical pictures at the
beginning of the present century.
Katsu-gawa Shun-tei, A follower of Katsu-gawa Shunyei.
Principally known as a book illustrator between 1800 and

364 JAPANESE PICTORIAL ART.
1820, The following works may be cited as representative of
his style : —
Kurai yama homare no Yoko-dzuna. Novelette by Jippensha
Ikkiu, 1812,
Nankb sei-chiu, gwa den. 4 vols. The history of the loyalty
and fidelity of Kusunoki Masashige, 1815.
Ito-goromo Tengu Baikai. 6 vols. Novelette by Nakamura
Utayemon. About I8I5.
Katsu-gawa Shun-sen or Shun-ko the Second, a pupil of Shun-yei,
who illustrated a few novels, but afterwards applied himself to
the decoration of porcelain sake cups, which came into fashion
during his time. He flourished between 1800 and 1818,
Moei Shun-kei, The author of the Shunkei gwa fu, a colour-
print album of flowers, birds, and insects, collected from
Chinese sources ; published in 1820, (Alexander Collection.)
Eo-EBN. The author of the Gwa-to sui fu-yo. 3 vols. An album
of miscellaneous sketches, published in 1810.
NiWA To-KEi. The artist of the Kawachi Meisho dzu-ye, or cele
brated places in the province of Kawachi, 5 vols. Published
in 1802,
Haya-mi Shun-kio-sai. The illustrator of the Nenjiu Gioja taisei,
a description of holiday festivals in Yedo, with drawings in
the style of Shunohosai ; published in 1807. He was also both
author and artist of the E-hon Nankb-ki. 30 vols, (Hart
Collection.) 1809,
BoKU-AN. The author of an album of rough sketches called
Bokuan So-gwa, published about 1812.
Hase-gawa Settan. One of the most celebrated of the guide-book
artists. He lived in Yedo, and devoted his pencil entirely to
delineating the noted places and public festivals of the city,
in emulation of Shunohosai, His chief works are :
Yedo Meisho dzu-ye. 20 vols, 1832-6.
Yedo Yiuran hana-goyo-mi. The pleasure resorts of Yedo.
3 vols. 1837.
Tbto Saijiki. The holiday festivals of Yedo. 5 vols. 1839.
This work includes some curious examples of hybrid
perspective.
Hase-gawa Settei. Son of Settan. A clever artist, who has

POPULAR SCHOOL, OR, UKIYO-YE RIU. 365
left many paintings, but does not appear to have worked as a
book illustrator. See Nos. 1749-50.
Nishi-kuni, or Hokkio Nishi-kuni. The artist of the Kisb-ji
Meisho. 7 vols. 1806.
Han-zan Yasu-nobu. The artist of the Kwaraku Meisho. I8.o9.
NuMA-TA Gessai. A book illustrator in the style of Hokusai.
He is the artist of the E-hon Imagawa Jb, 1824. Died 1864,
aged 77,
0-HAEA To-YA. An illustrator of novels and guide-books in the
early part of the present century.
Fuji-i Ean-sai. A book illustrator in the style of Giokuzan. His
drawings were engraved in the Tai-hei Ko-ki e-hon Mib yo den,
a selection of scenes from Japanese history. 5 vols. 1834.
Yama-zaki Ki-yu. The artist of the Zbho e-hon Kunkb gusa,
stories of Japanese heroes, with colour print illustrations. 1838.
Kei-sai Yei-sen, surnamed Ike-da. An industrious book illustra
tor, who followed closely in the footsteps of Hokusai and the
Utagawas. The Ukiyo-ye riu-kb informs us that he was a great
drunkard, and would sell the clothes off his back for sake ; and
that he amused himself with novel- writing when not otherwise
engaged. He abandoned the practice of his art at a com
paratively early age, on the grounds that, as he was sure to
deteriorate, it was better to discharge his patrons than to
receive his conge from them. His works are too numerous to
detail at length, but the following may be referred to as
offering the best examples of his manner : —
Jingi Andon. A collection of miscellaneous sketches, printed
in colours. Illustrated by Kei-sai Yei-sen, in association
with other artists. 5 vols. Circa 1825.
Kogane no Suzu Sachibani Sbshi. Novel by Kiutei Masa-
nawo. (Hart Collection.) 1829.
Nishiki no Fukuro. Miscellaneous sketches, in the style of
the Mangwa. I vol. 1829.
Keisai ukiyo gwa-fu. Miscellaneous sketches, by Kei-sai and
HiEo-SHiGE in the style of the Mangwa. 3 vols. Pub
lished about 1836.
Keisai So-gwa. Eough sketches, printed in colours. Very
forcible in early editions. 5 vols. 1832.

366 JAPANESE PICTORIAL ART.
Bu-yu Saki-gake dzu-ye. Drawing of Japanese heroes.
2 vols. N. D.
Satomi Hak'ken den. Novel by Bakin. Issued between 1816
and 1842. With illustrations by Kei-sai Yei-sen, Yana
gawa Shige-nobu, and Gioku-ean-sai Sada-hide.
Uta-gawa Kuni-sada, known also as Go-t6-tbi, Ka-ch6-eo, and
loHi-Jiu-SAi, and afterwards, from 1844, as Toyo-kuni the
Second. One of the principal designers of book illustrations
in the present century. Died in 1865 at the age of seventy-
eight. He supplied drawings, a few of which show a rudi
mentary knowledge of perspective, for large numbers of Kusa-
zoshi and other books published between 1820 and 1860 (often
signed Toyo-kuni), and left many good chromoxylographs of
actors and courtesans. His style is well illustrated in the
following volumes : —
Natsu no Fuji. Portraits of actors. Printed in colours.
2 vols. 1827.
Santo Yakusha Suiko den. Theatrical characters. Printed
in colours. 1829.
Kaikwan rioki kibkahu-den. Novel by Bakin. (Hart Col
lection.) 1833.
Haikai kijin den. Scenes of theatre. Printed with two
blocks. 1833. Amongst the earliest works bearing the
name of Kuni-sada are two small and comparatively
unimportant books, called Shb-gwatsu yaoyo no kado,
published about 1810 ; and Otoko no naka no Otoko
kagami, a novelette, published in 1816.
0-HAEA To-YA. A Meisho artist.
Shun-sen-sai. The author of some of the finer landscapes in the
Tbkaidb Meisho.
Tsutsumi To-ein. A noted painter of lanterns and Ex-votos for
temples in the first half of the present century.
En-do Han-yb-mon, known as Sai-to the Second. A' pupil and
close imitator of Hokusai ; the author of the Musha kagami,
Saito gwa-fu, Komin Hinagata, and many others which are
often mistaken for the works of his master.
Shin-sai. An early pupil of Hokusai.

POPULAR SCHOOL, OR, UKIYO- YJE RIU. 367
To-TEi HoKU-SHi. A pupil and imitator of Hokusai. See Nos.
1779-1816.
Tbi-sai Hoku-ba, surnamed Aei-saka. A pupil of Hokusai. He
is known by his illustrations to novels, among which may be
named the Tbshitsu ybgen kwai-roku, 30 vols. (Burty Collec
tion), published in 1809, and the Den-ka chawa, 5 vols.,
published in 1829 ; and left many pictures. See Nos. 1762-3.
Uwo-YA HoKKEi. A pupil of HoKUSAi, but is said to have pre
viously studied under Kano Yosbn. Many of his paintings are
in existence, and bear a very strong resemblance to the works
of the former artist. As a book illustrator he is best known
by the Hokkei mangwa, the Kibka Go-jiu-nin Isshiu (Burty
Collection), 1819 ; and the drawings in the Hokuri jiu-ni toki.
He died in the period Ansei (1854 to 1859). M. Duret
considers him the most talented of the pupils of Hokusai.
See No. 1906.
. HoKU-MEi. A female artist of the school of Hokusai. The author
of the Hokumei gwa-fu, an album of miscellaneous sketches,
published about 1825.
HoKU-UN. A pupil of Hokusai. The author of the Hoku-wn
Mangwa, which M. Gonse believes to be the work of Hokusai
himself.
Ho-GA. A pupil of Hokusai. He does not appear to have illus
trated books, but is known by his paintings, which are in the style
of his teacher. See No. 2036,
HoKu-so, or Ean-sai Hoku-so, a pupil of Hokusai, and a designer
of theatrical colour prints.*
HoKU-Jiu. A pupil of Hokusai. The author of the Hokujiu
gwa-fu, a,n album in the style of the Mangwa.
HoKU-CHo, HoKU-SHiu, and Hoku-yei, designers of single-sheet
colour prints of actors in the style of Toyokuni.
Uta-gawa KuNi-'tosHi, known also as Ch5-yei-eo and Ichi-yu-sai.
A son or pupil of Toyokuni, and a close imitator of his style.
Died 1861, at the age of sixty-one. He is principally
known as a designer of single-sheet colour prints, but has also
* Neither Hokusai himself nor his pupils, with the exception of Hokuso,
HoKUCHo, Hokuyei, and one or two others, were contributors to the pictorial
record of the theatres. The mantle of Katsu&awa Shunsho, the Vandyck of the
stage, fell upon the Utagawas.

368 JAPANESE PICTORIAL ART.
illustrated many books, of which the following give the most
characteristic examples of his power : —
Ichiyu gwa-fu. Miscellaneous sketches. Published in I83I.
Wakan yeiyu. Stories of Japanese heroes, N. D.
Kuniyoshi zatsu-gwa. Miscellaneous sketches. N. D.
Nippon kaibiaku yu/raiki. 6 vols. A history of the ancient
days of Japan. 1856.
Uta-gawa Yoshi-tsuna (known also as Ichi-t6-sai), Kuni-aki
(known also as Ippo-sai), Kunimasa, Kuni-hieo, Kuni-shige,
KuNi-TSUNE, YosHi-TOSHi, aud YosHi-TAKi afo the names of
less known pupils of the Utagawas. These artists were all
designers of theatrical and other single-sheet pictures. The
living representatives of the line are named Yoshi-toki and
YosHi-TOEA (called also Iohi-mo-sai).
Gioku-ean-sai Sada-hide. A noted book illustrator. His manner
is very like that of Keisai Yeisen, whom he joined in the
illustration of the Satomi Hak'ken den. The Chiu yu Asakusa
Nikki, a novel by Shotei Kinsui (Hart Collection) contains
some of the best examples of his work. His illustrations to
the Chiushin mei mei gwa den show some knowledge of linear
perspective.
Yana-gawa Shige-nobu. A pupil and son-in-law of Hokusai.
He was associated, together with Sadahide and Keisai Yeisen,
in the illustration of the Satomi Hak'ken den, and published
two collections of miscellaneous sketches in 1821, the Yana
gawa giva-jo, and the Yanagawa gwa-fu. He died in 1842, at
the age of about fifty-five. The JE-hon Fuji bakama, printed
in 1836, was illustrated by Yana-gawa Shige-yama, who was
probably the same as Shigenobu.
0-iSHi Ma-toea. ' A book illustrator, now chiefly known by his
share in the Jingi Andon (see Keisai Yeisen), the Itsukushima
Meisho dzu-ye, and the So-gwa hiaku butsu, a volume of mis
cellaneous sketches, published in 1833. Died 1833, aged 41.
FuKU-zEN-SAi. A native of Owari. His principal work is the
Ippitsu gwa-fu, " single line drawings," in which various objects
are very cleverly outlined, each by a single continuous stroke
of the brush, somewhat in the manner of Keisai Masayoshi.
These sketches are very similar in style to those of Hokusai,

POPULAR SCHOOL, OR, UKIYO-YE RIU. 369
by whose advice they were published (see preface to the
volume) ; but some authorities believe that they are really the
work of the latter.
BoKU-SEN. A native of Owari. The author of the Bokusen so-
gwa, an album of miscellaneous sketches printed in colours,
and published in 1815. It was at his house that the plan of
the Mangwa was sketched out, and the drawings for the first
volume executed.
Hieo-shige, known also as Iohi-eiu-sai, and Kon-do Jiu-bei.
Originally a Yedo fireman, afterwards one of the most original
and talented pupils of Utagawa Toyohieo. He was an ex
tensive contributor to single-sheet colour prints, but made a
speciality of landscape, and has left, both in woodcuts and
paintings, some of the most energetic and truthful representa
tions of Japanese scenery that have been produced in his school
during the present century. He appears to have been influenced,
to a certain extent, by specimens of European art, for most of his
pictures display attempts to carry out the rudimentary laws of
linear perspective. He died of cholera in 1858, at the age of
sixty-one. The name of Hieoshige has since been appended to
landscape sketches of inferior merit, in the Nihon Chishi riaku
- dzu kai (circa 1870) and other works, which are probably from
the hand of a pupil. Of his single-sheet pictures, which are
almost innumerable, M. Gonse reproduces a striking example in
' L'Art Japonais.' See Nos. 1756-7 and 1895-6.
Some of his principal book illustrations appear in the fol
lowing works: —
Fuji no hiaku-dzu. Views of Fuji. Printed in colours.
(Burty Collection.) 1820.
JEl-hon Tokio miyage. In many volumes. Scenes in and near
Yedo. Printed in colours. Published about 1850.
Tbkaidb Fu-kei Sb-gwa. Scenes on the Tokaido. Printed in
colours. 1851.
- Go-jiu-san Eki Tbkaidb tsu-dzuki ye. Scenes on the Tokaido.
(Dickins Collection.) 2 vols. N. D.
Go-jiu-san tsugi Meisho. Printed in colours. N. D.
Matsu-gawa Han-zan. Noted for drawings of Japanese scenery.
His pictures, like those of Hieoshige, were mostly of small size
2 B

370 JAPANESE PICTORIAL ART.
and printed in colours, but he was inferior in artistic ability
to the Yedo draughtsman. His principal book illustrations
are : —
Naniwa no Nigi-wai. Popular resorts in Osaka. Printed
in colours. N. D.
Ujigawa rio-gan. 2 vols. The banks of the Uji. Printed
in colours. 1862,
Yodogawa rio-gan. 4 vols. The banks of the Yodo. Printed
in colours. 1862.
Sai-koku San-jiu-san-chb Meisho. 1854.
Jiguchi Andon. An album of popular sketches. Printed in
colours. N. D.
Sane-nobu, called also Oko. The artist of the Meihitsu gwa-fu,
miscellaneous sketches, printed in colours ; and the Omi hak'kei,
or eight views of Omi, colour print, both undated, probably
published about 1850.
Yo-YEN YosHi-TADA. The artist of the Zenkbji Michi Meisho
dzu-ye. 5 vols. Published in 1850.
Ota-giei Tada-ohika, The artist of the Owari Meisho. 7 vols.
Published in 1844.
Ya-shima Sada-oka, The artist of the Kashima Meisho. 2 vols.
Published about 1850.
I-SAi, or Katsu-shika Isai. A pupil and close imitator of
Hokusai. His drawings are often mistaken for those of the
master, but on careful examination may be distinguished by
their inferiority in point of originality and vigour. He is ^een
to most advantage in the illustrations to the Niehiren Shonin
iehi-dai dzu-ye (6 vols.), a life of Niehiren, published in 1858,
and in the Kwannon kio riaku dzu kai, passages extracted from
Buddhist Siitra (1851). Many hundreds of his miscellaneous
sketches are reproduced in the Isai gwa shiki (2 vols.), 1864,
the Kwa-chb-san-sui dzu-shiki (5 vols.), 1865 to 1868, and the
Man-gwa haya-biki (four series), 1867, recently reprinted,
Sh6-pu Kio-sai. This artist, who is still living (born 1831), is
one of the most remarkable pupils of the Hokusai school. He is
the only genuine successor of the master in his comic vein, and
although inferior to Hokusai in genius and industry, he dis
plays not only a rollicking originality of motive, that perhaps

POPULAR SCHOOL, OR, UKIYO- YJE RIU. 371
occasionally smacks of the sake-cup, but is gifted with a rapid,
forcible and graceful touch, and a power of realising action
that would do no discredit to the best pages of the Mangwa.
A large number of his sketches are included in the collection,
and hundreds of his designs have been recently published in
album form. His portrait, together with much interesting
information, will be found in ' Promenades Japonaises,' by
Guimet and Eegamey.
A sketch-book called the Kibsai gwa-fu, was issued about
1860, and may have been one of his early essays, but the first
character of the name is different from that which appears in
the signature to the recent productions of the artist. The
first of his sketches that attrr 3ted attention were illustrations
to the E-hon Taka kagami (5 vols., commencing about 1870),
which included some remarkable drawings of hawks. This was
succeeded by the Kibsai gtva-fu (1880), the Kibsai Don gwa,
Kibsai raku-gwa, Kibsai Man-gwa, ani Kibsai riaku-gwa (1881),
and the Kibsai sui-gwa (1882). See Nos. 1827 et seq.
The principal of the remaining book draughtsmen now working

are:-

Sen-sai Ei-taku, the artist of the Meiji Tai-heki and many other
works ; Tachi-bana Unga ; Aeai To-jieo, or Heki-san (most of
whose works are engraved on copper) ; Ko-bayashi Yone-zo ;
Naga- wo Mu-boku ; Nawo-yb Toku-ta-eo ; Hoku-ho Do ;
Take-zawa Kio-shi, and, lastly, Bai-eei, whose sketches in the
Bairei hiaku chb gwa-fu (4 vols., 1881-2) deserve notice for the
spirited delineation of bird-life.
Many artists who have been represented only by a few unim
portant works have been omitted from this list.

2 B 2

372 JAPANESE PICTORIAL ART.

UKIYO-YE RIU.

OTSU YE.
1701. Kakemono, on paper, painted in colours. Size, 22:| x 8f .
Demon habited as a travelling monli.
A coarsely executed caricature.
Artist unknown. Seventeenth century.
HISHIGAWA EIU.
1702. Kakemono, on silk, painted in colours. Size, 15| X 24c\.
Yoshitsune and ladies.
A room occupied by a number of ladies playing upon different
instruments of music. Yoshitsune stands outside a rustic gate
sounding a flute.
Painted by Hishi-gawa Moeo-nobu. Seal. End of
seventeenth century.
1703. Kakemono, on silk, painted in colours. Size, I2f X 26J.
River scene.
A pleasure-boat, manned by a dozen oarsmen, conveys a Samurai
and an attendant party of musicians and dancers. On the left of
the picture is a small boat in the service of a group of bathers of
both sexes. The Wakashi courtesans in the principal boat carry
short swords in their girdles.
Painted by Hishi-gawa Kichi-bbi Moeo-nobu. Signed.
Seal. End of seventeenth century.
1704. Kakemono, on silk, painted in colours. Size, 38| X 13.
Geishas.
Two gaily attired young girls, one playing upon a samisen.
Drawing and colouring after the manner of the Tosa school.
Painted by Hishi-gawa Moeo-nobu (? the Second).
Signed. Seal. End of seventeenth century.

UKIYO-YE RIP. 373

1705, Kakemono, on silk, painted in colours. Size, 18 X 24f .
Geisha caressing a cat.
Style resembles that of Hishigawa Moronobu.
Painted by Jo-ean. Signed. Seal. Poetical inscription.
Eighteenth century.
1706. Kakemono, on silk, painted in colours. Size, 10 X 16.
Blind man deluded by a fox.
A blind man conducted towards the fields by a fox whose tail
he trustingly grasps, in ignorance of the nature of his guide. Two
courtesans at the gate of a way-side house are laughing at the
scene. No name or seal. End of seventeenth century.
There is probably some old story attached to the picture, but it has not
yet been traced.
1707 and 1708. A pair of makimonos, on paper, painted in
colours. Size, 204 x 15f .
Popular amusements.
Painted by Miya-gawa Cho-shun. Signed. Seal. End of
seventeenth century.
The pubhc flower exhibitions, and groves or avenues of cherry aud other
trees famous for the beauty of their blossoms, are amongst the most
popular holiday resorts of the townsfolk of the great cities of Japan.
Here the visitors, with cheerful faces and gaily-coloured apparel, flock in
thousands and outvie in brightness the flowers that attracted them, enjoy
ing their holiday with a zest ahnost peculiar to the infant and adult
children of the Par East. Drawings of such places form a conspicuous
feature in the illustrated guide-books, and a work in three volumes, the
" Yedo yiuran hanagoyo-mi," filled with charming pictures by Hasegawa
Settan, has been devoted to the most favourite of these scenes in the present
capital. A roll especially devoted to these holiday scenes will be found in
No. 1770.
1709. Makimono, on paper, painted in colours. Size, 296 X 13|.
Matsuri procession.
A holiday procession of considerable pretensions, in which con
spicuous parts are taken by men habited as the Seven Gods of
Good Fortune. Artist unknown. No signature or seal. Eighteenth
century.

374 JAPANESE PICTORIAL ART.
1710. Unmounted drawing, on silk, painted in colours. Size,
121 X 55f.
Wakashi bagnio.
Painted by Hishi-gawa Moeo-nobu. Signed. Seal. Dated
second year of Jokio (1685).
1711 to 1716. A set of six drawings, on silk, painted in colours.
Size, 26| X 12.
Mountebanks, courtesans, &e.
Painted by Sugu-waea no Mitsu-sada. Signed. Seal.
Eighteenth century.
1717 and 1718. A pair of screens, paper, painted in colours.
Size, 591 X 1841
A river festival at Nagoya (Owari province).
The river is occupied by the show of the occasion : a procession
of highly ornamented barges, each distinguished by a special badge
and crest, some bright with scores of red lanterns, others forming a
stage for bands of music, and others bearing tower-like erections
covered with gaily-coloured fabrics crowned with images of Dra
gons, Shojos, the Spirits of the Sumiyoshi and Takasago pines, and
other emblematic figures. These are jostled by numbers of boats,
tenanted by pleasure-parties of all grades, from the shopman busUy
cooking eels for his own refection, to the daimio, whose order of
importance is announced by the number of his retainers and the
paraphernalia they bear. At one place a rope has been stretched
from a barge to a neighbouring boat for the display of the gym
nastic feats of a mountebank ; a bridge which spans the river has
been closed, to serve as a kind of Grand Stand for specially privi
leged spectators ; and a religious element asserts itself in the form
of a staff decorated at its summit with the sacred strips of paper
(go-hei), and implanted deeply by its other extremity into the bed
of the stream.
The banks are lined by a lively crowd, laughing, chattering,
feasting, and, by exception, quarreling. Here a blind mendicant,
with his stick projected far in advance, plods his way through a
scene which for him means nought but noise and the possible em-
pouchment of some small coin of charity ; here a group of sirens
are trying to lure a shaven pilgrim to his moral destruction ; here
a doctor, in the sombre garb of his profession, walks with measured
pace, followed by a servant bearing a huge box of healing appliances ;
here some two-sworded gentry amuse themselves with an infant, and
look for the nonce as child-like as their little play-mate ; and every
where the refreshment-booths and pathways teem with the life of

UKIYO-YE RIU. 375

a people who understand, perhaps better than all the rest of the
world, the great art of holiday-making.
These pictures, which belong to the end of the seventeenth
century, are valuable as records of dress and customs, and, despite
the conventionality of drawing, possess considerable artistic beauty.
They are probably the work of an artist of the Hishigawa school,
but bear no mark of identification. ITCHO EIU.
1719. Kakemono, on paper, painted in colours. Size, 40f X 16f.
"The three creeds." (See No. 1719.)
The style of this painting differs little from that of the Kano
school, of which the artist was originally a pupil.
Painted by Hana-busa Itoho. Signed Hoku-so 0. Seal.
Beginning of eighteenth century.
1720. Kakemono, on paper, painted in colours. Size, 32| x I0|.
Shint5 Priest.
The priest is carrying a lantern in the I'ain, to light the lamp of
the shrine. Painted by Hana-busa Itcho. Signed. Seal. Eighteenth
century.
1721. Kakdmono, on paper, painted in colours. Size, 27^ X 9|.
£bisu. (See p. 36.)
The god, holding his attribute, the Tai fish, above his head, is
capering gaily upon the lintel of a Shinto gateway.
Painted by Hana-busa Itcho. Signed. Seal. Eighteenth
century.
1722 to 1724. A set of three kaksmonos, on silk, painted in colours.
Size, 45 X 16f .
1. Si Wang Mu. (See No. 705.)
A fairy handmaid holds a wing screen above her mistress's
head. 2 and 3. Flowers.
Painted by Hana-busa Itcho. Signed. Seal. Eighteenth
century.
1725. Kakemono, on silk, painted in colours. Size, 14 x 22f.
Rural ceremonial in honour of the rice harvest.
A number of peasants, some in white Shinto attire, are carrying
a box filled with rice; others in ordinary dress are bearins: torches

376 JAPANESE PICTORIAL ART.
and a staff of go-hei. Mount Fuji is dimly seen through the mists
of night-fall. Painted by Hana-busa Itcho. Signed. Seal. Eighteenth
* century.
1726. Kakemono, on paper, painted in colours. Size, 13| x 19f.
Spotted Egret (Goi-sagi).
Painted by Hana-busa Itcho. Signed Cho-ko. Seal.
End of seventeenth century.
1727. Kakemono, on silk, painted in monochrome. Size, 43|^ X 15|.
The Blind Beggar and the Thunder God.
A blind mendicant has unwittingly taken hold of an extremity
of the waist-cloth of the Thunder God, who had chanced to pass
near him while sweeping along with the storm. The misguided
man, clinging convulsively to his strange leading-string, is being
whirled up into the sky, leaving his stick, umbrella, and clogs far
behind him. The frozen summit of Mount Fuji, dimly seen in
the far distance through the cloud and mist, appears to indicate
the probable termination of the aerial journey.
Painted by Hana-busa Itcho (?). Signed. Seal. Eigh
teenth century.
1728 and 1729. A pair of kakemonos, on paper, painted in
colours. Size, 52f X 22|.
Strollers.
1. Two manzai performers, attired in travestie of the old Japanese
dress; one wields a fan, the other beats a small drum. Various
objects emblematic of the new year lie scattered at their feet.
2. Two dancers, one holding two pieces of bamboo, the other a
fan upon which are figured a knife and two rings. The hats of the
performers are decorated with ferns and honeysuckles.
Painted by Itoho, Ittei, and Nobu- katsu. Signed
Hoku-so 0 Itcho, Hana-busa Ittei, and Eoku-so Hana
busa NoBU-KATSU. Seals. Eighteenth century.
On the flrst day of the new year wandering minstrels called Manzai
(always in couples, one of the two being called Man-zai, the other Sai-zo)
show themselves in the streets. They appear always to have come from
Mikawa (as water-sellers in Prance seem always to be Auvergnats, and
organ-grinders in London to be Savoyards). The phrase "Manzai,
Manzai" or " Senjiu Manzai " (a thousand times long life, ten thousand
years of life to you) is constantly repeated by these strollers. See " The
Calendar of Japan " in the Japan Weekly Mail, 1878.

UKIYO-YE RIU. 311

1730. Kakemono, on silk, painted in monochrome. Size, 37;^ X 16.
Monkeys.
One monkey points upwards to the moon, while the other stoops
towards a pool to seize the reflection of the satellite. The animals
depicted are taken from Chinese paintings, and are unknown in
Japan. Painted by Hana-busa Itcho. Signed. Seal. Eighteenth
century.
1731. Kakemono, on silk, painted in colours. Size, 35f x 13|.
Chinese landscape. Mountain and lake scenery.
Moonlight.
Sketched in ink, and lightly tinted with colour, in the style of
the older Chingse or Kano school.
Painted by Hana-busa Ippo at the age of seventy.
Signed. Two seals. Eighteenth century.
1732. Kakemono, on silk, painted in colours. Size, 37J x 17f .
The procession of the Sakaki (Cleyera imperialis).
A crowd, mostly clad in the white Shinto ceremonial attire, and
holding fans, are escorting the sacred tree, the branches of which
are decorated with slips of paper (go-hei).
Painted by Ko Su-kei. Signed. Seal. Nineteenth
century.
1733. Kakemono, on silk, painted in colours. Size, 39J X 14f.
Yoritomo and his retainers.
Yoritomo is riding on horseback, protected from the sun's rays
by an umbrella which is held over his head by a Samurai attendant.
A warrior of truculent aspect, whose hair is gathered into a double
ball at the back of his head, walks by his side, armed with a long
iron club. Painted by Ko Su-kei. Signed Ko Su-kei Nobu-yoshi
(or SmN-Gi). Seal. Nineteenth century.
1734. Kakemono, on silk, painted in colours. Size, 39| X I4f .
Cranes and pine-trees — emblems of longevity.
In the foreground is the great stone gateway (torii) of Hachiman
at Kamakura, flanked by the ancient pines of the temple. The sea
and hills of the adjoining shore stretch out in the far distance. A
crane has alighted upon the lintel of the gate, and his mate is in
the act of swooping down to join him.
Painted by Ko Su-kei. Signed. Seal. Nineteenth
century.

378 JAPANESE PICTORIAL ART.
1735. Kakemono, on silk, painted in colours. Size, 39J X I4|.
Landscape.
A view of the eastern shore of Japan, near Kamakura, with
Mount Fuji in the distance.
Painted by Ko Su-kei. Signed. Seal. Nineteenth
century.
1736. Makimono, on paper, painted in colours. Length, 366 X 11.
Miscellaneous sketches (mostly humorous).
Painted by Hana-busa Itcho. Signed Hoku-so 0 Itcho.
Seal. Eighteenth century.
1737. Unmounted drawing, on silk, painted in colours. Size,
13| X I9|.
Ebisu. (See p. 36.)
Painted by Hana-busa Ikkei at the age of seventy-two.
Signed. Seal. Nineteenth century.
1738 and 1739. A pair of unmounted drawings, on paper, painted
in monochrome. Size, 17| X 52f.
Chinese landscapes sketched in ink upon a gilded
background.Painted by Hana-busa Ippo. Signed. Seal. Eighteenth
century.
1740 to 1746. A set of seven unmounted drawings, on paper,
painted in colours. Size, 53J X 22-|-.
Chinese worthies.
1. Wu Yun. (Jap. Goshisho).
A warrior, holding above his head a massive brazier with one
hand, while writing a verse of poetry with the other.
Wu Yiin was a famous Chinese general of the fifth century B.C. Driven
from his native state of Ts'u after the death of his father and elder brother,
about 520 B.C., he took service in the rival Court of Wu, and remained
faithfully attached to three successive sovereigns of that country. He was
condemned to commit suicide, about B.C. 475, by the Prince Fu Ch'a, whom
he had ventured to reproach for his debauchery. (Mayers.)
Many incidents in his career are {.old by writer and artist, but he is
best remembered by his feat on the occasion of an assembly of the Dukes
of various provinces at the Eoyal palace. It was then proposed to decide
by competition, in accordance with an ancient custom, which of those
present was the strongest and most learned ; the test fixed being to
compose a sentence upon a given theme and to write it while holding up
a metal brazier weighing a thousand pounds. Wii Yiin, who then repre-

UKIYO-YE RIU. 879

sented his native state of Ts'u, alone was able to accomplish the double
task. On the same occasion the representatives of the states brought offerings
from the treasures of their lands to lay before their host, but the country
of Wu Yiin was lacking in material resources and could furnish no gift.
The deficiency giving rise to a disparaging remark concerning the poverty
of Ts'u, Wu Yun arose, and proudly replied, like Eberhard of Wiirtem-
berg,* " My country is rich in the treasures of a virtuous people, the
masses are industrious in their vocations, the nobles are generous to their
vassals, and the retainers are faithful to their lords ; this is better far than
the precious stones of Chin " (Sha ho Bukuro).
His revengeful outrages upon the dead bodies of those who had caused
the death of his father and brother are recited as a mark of his filial piety
and strength of purpose.
* " Eberhard, der mit dem Barte
WUrtemberg's geliebter Herr,
Sprach : Mein Laud hat kleine Stadte,
Tragt nicht Berge silberschwer.
Doch ein Kleinod halt's verborgen,
Dass in Waldern noch so gross,
Ich mein Haupt kann kuhnlich legen,
Jedem Unterthan in Schooss."
Der reichste Fiirst, by Justinus Kerner.
2. Chao Ch'ung-kwoh (Jap. Chojiukoku). An aged warrior.
Chao Ch'ung-kwoh was a military commander during the reigns of Han
Wu Ti, Chao Ti, and Siian Ti, and rendered important service in warfare
B.C. 99 and 61. " It was by his advice that a body of troops was per
manently stationed on the frontier as military settlers ; and the practice
of allotting tracts of land to the support of stationary garrisons is attri
buted to this origin." (Mayers.) He died B.C. 52 at an advanced age.
3. Fan Li (Jap. Hanrei) with Si She (Jap. Seishi). A warrior
and a lady in a boat.
Pan Li, the minister of Kow Tsien, took an important part in the over
throw of Pu Ch'a. To deliver his master from the snare of the fatal beauty
of Si She, the mistress of the fallen prince, he abducted and drowned her.
He is best known, however, as the Chinese Croesus. When he considered
his services no longer necessary to the State, he retired from ofiice
(B.C. 473), aud subsequently gained fabulous wealth by agriculture, com
merce, and the rearing of fishes in ponds. His name became proverbial
for riches. See Mayers, p. 1, No. 127.
4. Chao Yiin (Jap. Choun) leaping the chasm. (See No. 689.)
5. Fan K'wai (Jap. Hapkai) forcing his way into the chamber of
conspiracy. Pan K'wai was a famous adherent of Liu Pang. (See No. 1297.) When
a plot had been formed to assassinate Liu Pang, by a rival named Kao-yu,
Pan K'wai, who had heard that his master's life was in danger, burst open
the great doors of the building in which the conspirators were assembled,

380 JAPANESE PICTORIAL ART.
and appeared before them with fierce aspect and drawn sword. Kao-yu,
affecting to treat the matter lightly, ordered the servants to bring wine
for Pan K'wai, who, strong in feasting as in fighting, quaffed ten shos
(nearly four gallons) at a draught, and ate the leg of a wild boar, using his
sword as a carving knife ; then boldly accused Kao-yu of his intended
treachery. During this scene Liu Pang secretly fled with Chang Liang ;
and Pan K'wai, to cover the evasion, continued his debauch before the
admiring Kao-yu until he fell into a drunken sleep upon the floor. (E-hon
Riozai.) Many years after, like Wii Yiin, he received an ill reward for his services
in being condemned to execution by his ungrateful and then besotted
master, but the timely death of the monarch prevented the fulfilment of
the order.
6. Chang Fei (Jap. Chohi) feasting before the camp of Ts'ao-
Ts'ao. Chang Fei was united by a bond of sworn brotherhood with Kwan Yii
and Liu Pei and, like them, emerged from a humble position to win
undying renown in the Wars of the Three Kingdoms. It is related that
when he was flghting against Ts'ao Ts'ao (Jap. So-so), to draw the
enemy from a place of vantage in the mountains, he pretended to have
given himself up to carelessness and debauchery. The general of Ts'ao
Ts'ao, perceiving, as he thought, the hostile chieftain seated with some
boon companions on the open ground in the midst of their camp, drinking
and making merry, believed the favourable moment had arrived for an
attack, and gave the signal for advance ; but when his troops~ drew near,
it was discovered that the supposed revellers were figures of grass. Before
the victims of the strategy could recover from their consternation, fires
burst out upon the heights in their rear, and Chang Fei, suddenly
appearing at the head of his army, faced them, brandishing a lance eighteen
feet in length, and with bloodshot eyes gleaming like a hundred mirrors,
roared out his name in a voice of thunder, then rushing with his followers
upon the opposing host, put them to flight (E-hon Riozai). It is said that
when he menaced the army of Ts'ao Ts'ao, a general who stood near to the
king fell dead with terror at the sound of the terrible voice, and the; king
himself fled headlong followed by his host. The fugitives in their mad
haste knew not friend from foe, but crushed and killed each other, malsing
a noise like the rolling of the ocean tide or the crumbling of a falling
mountain (Oshikuhai). He died a.d. 220 by the hand of an assassin.
7. Ts'ao Ts'ao (Jap. Sos5) watching the flight of crows.
Ts'ao Ts'ao was the most prominent character in the great drama of
history forming the epoch known as that of the ' Three Kingdoms ' (a.d.
221-264). "He was the son of a military official of obscure rank, but
by means of his sword, exercised first against the Yellow Turban insurgents
in A.D. 184 and later against the usurper Tung Cho, he raised himself to such
power that on the death of Tung Cho, in a.d. 192, he was able to aspire to
the possession of the throne. He defeated his rival Liu Pei in a.d. 195, and
after placing the imbecile Emperor Hien Ti in forced confinement, he took
the reins of empire into his own hands, but without assuming regal title.
About twenty years later he threw the coiMort of the monarch into prison,
slew her two sons, and proclaimed his daughter Empress. Soon after he

UKIYO-YE RIU. 381

assumed royal dignities with the title ' Prince of Wei.' He died in a.d.
220, and was succeeded by his eldest son Ts'ao P'ei." (See Mayers'
' Chinese Eeader's Manual,' p. 1, No. 768.)
He is figured in the Sha ho Bukuro, vol. vii., as in the drawing, standing
in a boat watching the flight of two crows towards the Nan Ping moun
tains in tbe country of Wu, and composing a poem in reference to the
incident. Painted by Kio Su-ki6. Signed. Seal. Nineteenth
century. See also Nos. 814-5.
MODEEN OE AETISAN UKIYO-YE.
1747. Kakemono, on silk, painted in colours. Size, 21 1 x 32|.
Tametomo and the demons at Onigashima.
The Japanese hero is seated grasping a bow while three muscular
. demons strain with unavailirig force at the string, and a fourth,
apparently worn out by previous efforts, looks on with a baffled
scowl. The work is very characteristic of the painter in its firm, freely-
drawn outline and somewhat heavy colouring, as well as in the
remarkable vigour and expressiveness of the principal figures. Two
small birds flying off in terror strongly recall certain of the cuts in
the Mangwa. Painted by Hoku-sai. Signed Katsu-shika Hoku-sai.
A poetical inscription relating to the subject is written upon
the picture by Bakin, the celebrated novelist. This is dated " On
the last night (of the year), in the height of winter of the cyclical
year of the sheep in the period Bunkwa (a.d. 1811). Written by
.Kiokutei Bakin."
The following note is placed inside the case : —
" My grandfather Hirabayashi Shogoro (Bakin) published the life
of Chinzei Hachiro (Tametomo) in the early part of the period
Bunkwa (1804-17),'with the title of Yumi hari dzu-ki. This picture
has since been handed down in his family, and was repaired by
Shogoro, the third in. descent, in the month when the chrysan
themum is in bloom (the ninth calendar month) of the cyclical
year of the Tiger, in the period Kayei (1854)."
Tametomo, the grandson of Yoshiiye (Haehimantaro), was a famous
archer who lived in the latter part of the twelfth century. He is described
as standing seven feet high and having the left arm of such inordinate length,
that he was able to draw the bowstring eighteen hands breadth from the
arrow-head, his bow being eight and a half f^et long, and requiring the
strength of three ordinary men to bend it. He was banished to Oshima,
an island south of Yedo bay, for his share in the civil wars, and to render
him powerless, the tendons of his arms were cut. According to the Hogen
Monogatari he committed suicide in this place of exile ; but a current
legend traces him to the Liukiu Islands, where he is said to have settled,

382 JAPANESE PICTORIAL ART.
his son becoming the first historical king of this tributary group, which is
now reduced to the position of a Japanese province.
He is fabled to have visited the Isle of the Demons (Onigashima) and
to have there demonstrated his own physical superiority over the evil
tenants of the place, to their great discomfiture. This episode is the subject
of Hokusai's painting.
1748. Kakemono, on silk, painted in colours. Size, 18^ x 28^.
Scene on the Sumida River. Suburbs of Yedo.
The principal object is a pleasure-boat containing a party of men
and geishas. To the left, a ferry-boat conveys a soberly-attired
merchant and his servant across the stream.
Painted by Hoku-ba, Signed Tbi-sai, Seal, Nineteenth
century.
1749. Kakemono, on silk, painted in colours. Size, I5J X 24|.
The Battle of Ogaki. (See No. 261.)
The fighting, which is of a rather desultory nature, is going on
in the foreground of the picture. Some of the combatants are
armed with match-locks, others with sabres ; some are bearing off
the heads of their slain foes in triumph, while others are tending
their wounded comrades, ready, if necessary, to discharge the friendly
office of decapitating them should their injuries be deemed beyond
the relief of native surgery.
lyeyasu and his staff are seen in the background, and on the left
is shown, by a fiction of point of sight, the interior of the castle, in
which the wounded are receiving succour from the ladies of Hide-
yori's Court. Painted by Ha-se-gawa Set-tei. Signed. Seal. Nine
teenth century.
1750. Kakemono, on silk, painted in colours. Size, I5| X 21^.
Women making " Asakusa nori."
Painted by Ha-se-gawa Set-tei. Signed. Sealed. Nine
teenth century.
"Asakusa nori" is a preparation of an edible seaweed much in favour
with the people of Yedo.
1751 and 1752. A pair of kakemonos, on silk, painted in colours.
Size, 24J X 31.
Low tide at Shinagawa, on the third day of the third
month.
A busy crowd of " mudlarks," of both sexes and aU ages, are
gathering the objects left by the recession of the waters, while the

UKIYO-YE RIU. 383

still navigable channels in the bed of the stream are occupied by
pleasure-boats. Painted by Ha-se-gawa Set-tei, Signed. Seal, Nine
teenth century.
Shinagawa is a suburb of Yedo that extends for some distance along the
border of the bay. On the third day of the third month (old style) in the
year the fall of the tide in Tedo bay is very great, and the beach at Shina
gawa is then a favourite holiday resort for the people, who may be seen in
crowds picking up shells and any flotsam and jetsam that the occasion
may bring within reach.
1753. Kakemono, on silk, painted in colours. Size, 42| X II|^.
Courtesan.
The figure is characterized by the showy dress and the large hair
ornaments. The lower lip is painted green.
Painted by Iohi-y6-sai Yoshi-taki. Signed Nani-wa
(Osaka) Yoshi-taki, Seal, Nineteenth century,
1754. Kakemono, on silk, painted in colours. Size, 37| x Ilf.
Geisha, Painted by Yoshi-toshi. Signed. Seal. Nineteenth
century,
1755, Kakemono, on silk, painted in colours. Size, 47^ x 22|^.
Courtesan and attendant.
Painted by Kuni-aki. Signed Toyo-kuni Kan-jin Ichi-
yo-sai Kuni-aki. Seal. Nineteenth century.
Prom the great exaggeration of dress and ornament in the principal
figure, the original was probably a woman of considerable notoriety.
The outer robe and sash (obi) bear the device of the Storm Dragon, and
the dress of the servant is decorated with the same design. The use
of startling dress patterns appeared to have been the fashion amongst
the leading members of the sisterhood, the extreme of which is shown in
No. 697, where the entire robe is covered with a comphcated and ghastly
representation of the tortures of hell.
1756, Kakemono, on silk, painted in colours. Size, 37| X 13.
Tora and Soga no Goro.
Tora, standing upon a high balcony is gazing after the departing
figure of her lover.
This picture illustrates the early efforts of the popular artists to
incorporate with the national style the new ideas derived from
outside sources. The drawing of the figures and landscape is
purely Japanese, but the balcony from which Tora signs an adieu
to Soga is represented in perspective. Unfortunately the lesson had
been only half learned, and although the various lines converge

I
384 JAPANESE PICTORIAL ART.
towards a vanishing point, this point is made to fall very wide of
its proper situation.
The face of the woman has the exaggerated traits by which the
later popular artists were accustomed to express their ideal of
aristocratic beauty. The type was characterised by a long oval
contour, strongly aquUine nose, small and very oblique eyes, and
thin lips, peculiarities that reach their highest development in
the more recent chromoxylographic theatrical portraits and were
originally drawn from noted actors.
Painted by Hieo-shige. Signed. Seal. Nineteenth
century. The Soga brothers, Sukfeari or Juro and Tokimune or Goro, were the
sons of Kawadzu Suk^yasu, who had been killed by Kudo Suke'tsune. At
the time of their father's death the brothers were children, but a determi
nation to revenge his murder grew with their growth. When the elder had
reached the age of twenty-two and the younger was in his twentieth
year, a hunting party of Yoritomo, at which Suketsune was to be present,
afforded the long-desired opportunity. They awaited their victim's return
to his home, and iii the dead of night made their way into his house to find
him given into their hands in the helplessness of a drimken sleep. The
younger brother raised his arm to strike the fatal blow, when Sukenari
stayed him, saying that " to kill a sleepingman was no better than hacking;
a corpse ; " and they cried aloud, " The Soga brothers are upon you ! "
Suketsun^, startled into consciousness, had but time to recognise his
enemies before falling under their swords. Suk&ari's refinement of revenge,
however, had given the alarm and the house was in tumult. The elder
was attacked and slain by Nitta no Shiro, and the younger was secured
by Goromaru after an obstinate resistance, and brought before Yoritomo.
The youth and bold bearing of the survivor pleaded for him with the stern
Shogun, but the son of the slaughtered man clamoiued for the destruction
of his father's executioner, and Tokimune was condemned to death. The
story, as told in the Buke Hidrin, is very pathetic, and gives an interesting
picture of the chivalry of old Japan.
The following are the episodes most commonly represented in connection
with the life of the brothers : —
1. A trial of strength between Soga no Goro and Asaina Saburo. Asaina,
wishing to compel Soga to enter a room, has seized one of the skirt lappets
of his armour. Soga resists, and the strength of the two men is so great
and so equal that the powerful cords of the lappet are rent asunder. The
popular artist carries the story a step farther, and depicts the natural result
of a sudden cessation of resistance under the circumstances — the heroes
sprawling unheroically upon their backs.
2. Soga no Jm-o riding upon a horse, which he has taken from a coohe,
to join his brother in Oiso with the news of the approaching hunting party.
3. Tora, a courtesan of Oiso and the mistress of Goro, making signs to
her lover — or giving the brothers admission to the house of Sukdtsun^.
1757. Kakemono, on silk, painted in colours. Size, 23f X 14|.
River scene.
Painted by Hieo-shige. Signed. Seal. Nineteenth century.

UKIYO-YE RIU. 385

1758. Kakemono, on paper, painted in colours. Size, 28 x 44f .
Holiday ceremonial.
A number of persons, of various ranks and occupations, are
pulling ropes attached to a branch of a huge pine. All present
appear anxious to take part in the performance, and new-comers
are joining the group from all sides. The meaning of the cere
mony has not yet been ascertained.
Artist unknown. No name or seal. Nineteenth century.
1759. Kakemono, on silk, painted in colours. Size, 31|- x 121.
Street scene in Osaka,
The fore-ground is occupied by an animated group of coolies and
small traders. Artist unknown. No signature. Seal (Nan-een-sai).
Nineteenth century.
1760, Kakemono, on silk, painted in colours. Size, 44^ x 23|^.
The Hundred Coolies — " Hiaku-fuku no dzu."
The coolie treated from a humorous aspect. A few are following
their ordinary employments, but the majority are shown in moments
of relaxation — eating, drinking, quarrelling, bathing, smoking,
gambling, tracking fleas in the inner recesses of their garments, and
otherwise varying the monotony of their daily labour.
Eoughly sketched and lightly tinted with colour.
Painted by To-shiu Shi-ebi, of Osaka, " by request and
for amusement."
Signed. Seal. Nineteenth century.
1761, Kakemono, on paper, painted in colours. Size, 40|^ x I2|.
The Hundred Courtesans " Hiaku-j5r6 no dzu."
Painted after the manner of the last.
Artist unknown. Signature illegible, probably Kei-jin.
Seal, Nineteenth century.
1762, Kakemono, on silk, painted in colours. Size, 21| X 34.
The Seven Gods of Good Fortune on Shichi-ri no
Hama, or Seven ri Shore, near Enoshima,
A humorous view of the subject. Benten is riding upon an ox ;
a boy is scattering upon the sand the takara-mono taken from
Hotel's bag. Jurojin amuses two other children with a hatful of
the precious articles, "febisu and Daikoku are enjoying their leisure,
while the martial Bishamon good-humouredly loads his broad back
with their baggage. Fukurokujiu, carried through the air upon
2 0

386 JAPANESE, PICTORIAL ART.
the back of his stork, approaches the party, and his sacred tortoise
swims in the sea in the same direction.
The picture is painted and mounted in burlesque of the Butsu-ye.
Painted by Hoku-ba, Signed Tbi-sai. Seal, Nineteenth
century.
1763. Kakemono, on silk, painted in colours. Size, 42J x 17f .
Geisha on the banks of the Sumida,
Features very conventional ; dress and sash decorated with designs
of fishes. Painted by Hoku-ba. Signed Tbi-sai. Seal. Nineteenth
century.
1764. Kakemono, on silk, painted in colours. Size, 63| x 18^.
A ghost,
A weird female figure, with ghastly corpse-like features and
dishevelled hair, floating upwards out of the confines of the picture.
The illusion is effected by replacing the usual brocade bordering by
an imitation mounting painted on the margin of the silk upon
which the subject is designed. A similar expedient is adopted in
No. 1164, Painted by Maki Choku-sai in the first month of the
year 1862. " By order of Mr. Sawai." Signed. Seal.
1765. Kakemono,,on silk, painted in colours. Size, 33| X 16,
Portrait of a courtesan,
A girl with a pleasing and intelligent face and blackened teeth,
seated in Japanese manner, holding a long tobacco-pipe.
The picture is evidently from life, and shows an unusual attempt
at naturalism in the high lights upon the hair-pins.
Painted by Issen-sai Yei-yo. Signed. Seal, Nine
teenth century,
1766, Kakemono, on paper, painted in colours. Size, 44| X 17.
Roadside scene.
Travellers taking shelter during a passing shower.
Artist unknown. No signature. Seal, Early part of
nineteenth century,
1767, Makimono, on paper, painted in colours, with text. Size,
654 X 12J,
Scenes from the life of an actress.
The drawings show a young and beautiful actress dressing and
painting for a series of masculine parts, and engaged in her per-

UKIYO-YE RIU. 387

formances on the boards. After the last of these representations,
the character of the roll changes. The girl, who has become
enceinte, has resumed the attire of her sex ; she has fallen into the
hands of a woman, apparently a jealous wife, who after subjecting
her to a number of revolting brutalities, compels her to commit
harakiri, and tearing the unborn infant from the dead body, butchers
it without remorse. Then follow a ghastly series of dissection
of the corpse of the mother; and the artist, who seems to revel
in horrors, does not leave the remains till they are hacked into
scattered fragments to become the food of pariah dogs.
The text is long, and is regarded as a good specimen of calligraphy.
An inscription at the end of the roll states that the work extended
over a space of fourteen years, terminating in 1862.
Painted and written by Ama-no Kissei.
1768, Makimono, on paper, painted in colours. Size, 270 x lOf.
The story of Peachling (Momo-taeo).
A roughly sketched copy of an older roll. The incidents in the
life of the httle hero are traced from his childhood, to his conquest
of the demons and his return to the cot of his adopted parents with
the Takara-mono which he had received as a tribute from the
subdued retainers of the King of Hades. The story is told in
Mitford's ' Tales of Old Japan.'
Painter unknown. Nineteenth century.
1769, Makimono, on paper, painted in colours. Size, 360 X 10|.
A Japanese Brobdignagia,
The roU depicts, in a series of sketches, the adventures of a party
of pleasure-seekers who have accidentally been thrown into contact
with a race of giants.
1. Shows the occupants of a couple of pleasure-boats at sea,
startled in the midst of their merry-making by the appearance of a
gigantic fish, which is advancing towards them with yawning
jaws. 2. The fish, after having engulphed one of the boats entire, with
its passengers and crew, has been caught by fishermen of a giant
race, to whom the creature has but the proportions of a salmon.
It has been laid open, exposing its strange load, as unhurt as Jonah
in the whale's belly, to the great astonishment of the Brobdignagian
witnesses of the disinterment. Two of the pigmy excursionists are
being displayed in the ample area of a saucer to a giant of venerable
and not unamiable aspect, who is engaged in devouring a meal of
rice and other comestibles a la mode Japonaise. The boat is still in
the body of the fish, and the boatman, beside himself with alarm,
tries to punt his craft through the mass of intestines amid which
its bottom is entangled. 2 c 2

388 JAPANESE PICTORIAL ART.
 _i 
3. The ancient giant has caused the boat to be floated in a large
plate, and watches its management by the boatman with great
interest. The passengers inside appear to have completely re
covered their usual equanimity.
4. The adventurers have undertaken to shampoo their host by
machinery, and having erected a scaffolding over him, are pounding
his loins by means of a pile-driver worked with ropes. The patient
lies upon his stomach, smoking- his pipe with an air of placid
enjoyment of the process.
5. A second scaffolding has been constructed to enable the
adventurers to reach the ears of the giant, in order to relieve the
passages of superfluous cerumen. The fruit of their industry with
spade and hatchet is already visible in the shape of a huge brown
heap, which is rapidly growing by fresh contributions lowered in
basketfuls from the seat of operations.
6. A portion of the little group are continuing their personal
attentions to the comfort of their host by endeavouring to haid out
the rope-like hairs from his nostrUs ; but three of their comrades
have fallen into misfortune from the sportivenees of a mischievous
young Titan who has thought fit to try the experiment of shutting
• them up in the air-tight compartments of a medicine-box. They
have been released, considerably the worse for the pleasantry, and
the author of their danger is undergoing a sound rating from a
mature individual of military aspect, who appears to stand in
paternal relation to the culprit.
7. The party, seated calmly npon a leaf as large as four mats,
are being wafted across the ocean by a wind raised with an
enormous fan, manipulated by one of the Brobdignagians.
8. The story is terminated by a view of the Peerless Mountain,
the towering summit of which serves as a piUow for the head of the
aged giant. We are fain to assume that the journey of the party
whom we left ih mid-air upon the loquat-leaf has reached a
happy termination.
There is no text appended to the roll, and inquiries have faUed
to trace any familiar legend explanatory of the pictures. The story
bears no resemblance to that of " Wa-sau-biyauwe," the Japanese
Gulliver, which has been translated by Mr. B. H. Chamberlain in
the pages of the ' Transactions of the Asiatic Society of Japan.'
The sketches appear to have been made as a preliminary to a more
finished work.
Artist unknown. No name or seal. Nineteenth century.
1770, Makimono, on paper, painted in colours. Size, 262 x I3J,
" Hana-mi no dzu."
Holiday making in the flower season. See No. 1707.
Artist unknown. No signature or seal. Nineteenth century.

>-Im •9CO

THE SLAUGHTER OP THE NUYE. (Page 389.) After Kaikuku Cliiflzayemon 'a.d. 1635.

UKIYO-YE RIU. 389

1771. Unmounted picture, on cotton fabric, painted in colours.
Size, 144 X 53J.
The slaughter of the Nuye.
The Nuye, a composite beast with the legs of a tiger, the head of
a monkey, and a serpent taU, has been brought to earth by the
shaft of the Court noble Yorimasa, and is being despatched by the
Samurai retainer Ii no Hayata.
The two figures are essentially theatrical in conception, and
probably represent stage celebrities.
Painted by Uta-gawa Kuni-toshi. Signed Haea Kuni-
TOSHi. Seal. Nineteenth century.
Minamoto no Yorimasa, the fifth descendant of Yorimitsu of Shiiiten-
doji fame, was renowned as an archer, horseman, and poet. His chief
exploit was the slaughter of the Nuy6. The legend tells that oa the fourth
month of the third year of Ninpei (1153), the Emperor became aflaicted
with an illness, and at the same time a strange " bird " was heard to sing
every night upon the roof of the Imperial palace. Yorimasa then brought
forth his bow and shot an arrow into the gloom in the direction of the sound,
and immediately there crashed upon the ground a creature such as never had
been seen before by man : it had the head of a monkey, the back of a badger,
the feet of a tiger, and a tail like a snake. Undaunted by its fierce aspect
Ii no Hayata, the trusty retainer of Yorimasa, sprang upon it and despatched
it with his sword, and immediately the Emperor's sickness disappeared.
Yorimasa was rewarded for his deed by the gift of a sword and the hand
of one of the ladies of the Court. (See Zenhen kojitsu, vol. vi.)
1772 to 1776. A set of five unmounted drawings, on silk, painted
in colours. Size, 6J x 8|.
Miscellaneous Sketches.
1. Eacoon-faced dog (Tanuki), dressed as a priest. The animal
is cautiously inspecting a trap baited with a dead rat. (See
No. 2776.)
2. Frog swimming.
3. Eats and capsicum pods.
4. New-year's symbolical decorations. Cray-fish, oranges, fern-
fronds, and go-hei.
5. Kusunoki Masashig6 delivering the ancestral roll to his son
before committing suicide.
Painted by Katsu-shika Hoku-sai. All are signed with
the Svastika (Jap. Man-ji), a mark adopted by the artist
in his old age, and occasionally prefaced by the characters
Sen Hoku-sai or " formerly Hoku-sai."
In manner of painting these sketches differ considerably from
the rather heavily-coloured pictures of the earlier periods of Hoku
sai's work, and approach more nearly to the style of the Korin
school than to that followed by most of the popular draughtsmen.
Kusunoki Masashige is one of the most famous examples of courage and

390 JAPANESE PICTORIAL ART.
loyalty in Japanese history, and his meritorious deeds are recited in the
book Nanko Sei-chiU gwor-den, illustrated by Katsugawa Shuntbi (1815).
In the first year of Genko (1331). he was designated by the Emperor to
defend the cause of the throne against the rebel Takatoki. With a
garrison of only five hundred he held the castle of Akasaka against a large
army under Sadanao, and at a later period defended the fortress of Chihaja
with a garrison of nine hundred, holding the place by a variety of stratagems
until the enemy were compelled by lack of supplies to raise the siege :
finally he quelled the insurrection, and Takatoki and his leaders were
executed. A few years later, in 1336, he was pitted against a more for
midable. foe in Ashikaga Takauji. Again he wgn a. victory for the Imperial
forces, and suggested a scheme for wholly crushing the Ashikagas, but his
advice being rejected, he precipitated himself into an unequal conflict
against a large army under Takauji. Nearly all his retainers died fighting
aromid him, and at last, the day lost, he retired with his brpther, the
survivors of his staff, and sixty followers, to a farmer's house in Minato-
gawa, where the whole number committed suicide. Thu.s, at the age of
forty-three, died one of the most skilful and devoted soldiers of the empire.
It is recorded that before ending his life he called his eldest son before
him and gave to him the ancestral roll as a precious heirloom to stimulate
him to preserve the renown won by his predecessors.
1777. Unmounted drawing, on silk, painted in colours. Size,
71 X 71
The " tongue-cut sparrow."
An old woman falls shrieking with terror at the apparition of a
troop of goblins issuing from a large box which she has just opened.
The two most prominent figures amongst the ghostly tribe are the
"one-eyed wcdimx" (Hitotsn-me ko-zd), and an evil spirit with a neck
of enormous length, terminated by a rather comical head with three
eyes (a combination of the Bokuro-kubi, or " whirling neck," with
the Mitsu-me ko-zd, or triple-eyed child).
The story has been translated in Mitford's 'Tales of Old
Japan ' and GrifSs' ' Japanese Fairy World.'
Artist unknown. Seal. Nineteenth century.
1778. Unmounted drawing, on silk, painted in colours. Size,
9x7f.
View of the shore of Yedo Bay.
Copied from a picture by Hoku-sai. Artist unknown.
1779 to 1816. A set of thirty-eight sheets of drawings, on paper,
painted in monochrome and colours. Sizes various.
Miscellaneous sketches.
These embrace a few historical and legendary subjects of great
interest : the chief of these are as follows : —
(17.) Tomoye Grozen slaying Morishige.
Tomoy(5, or Tomoyd Gijzen, the concubine of Kiso Yoshinaka (12Ch
century), was celebrated for her bravery and strength. She followed

UKIYO-YE RIU. 391

Yoshinaka in the wars and performed many deeds of valour, the most notable
of which were her combat with the stalwart MorishigiS of Musashi, whom she
conquered and beheaded ; and her trial of strength with Wada Yoshimori,
when the two antagonists struggled with such vigour for the possession of
a young pine-trunk with which the latter had armed himself, that the
tough fibres of the huge club, twisted in opposite directions, were rent
asunder. After the death of Yoshinaka she ended her days in retirement
as a nun.
(18.) Hadesu killing the Korean tiger.
Kashiwa-d^no Omi Hadesu, was sent, accompanied by his family, as
an ambassador from the Emperor Kimmei to Korea, in a.d. 545. On
one snowy night during his stay in that country his little . daughter
was lost. All research was in vain, until at last a bloody track marked by
the footprints of a tiger gave a sad clue to the mystery, and the father, deter
mined to avenge if too late to save the child, followed the beast to its lair.
When he reached the den the tiger was on the alert and came towards him
with open mouth, but Had&u, thrusting his hand between the yawning
jaws, seized the creature's tongue and plunged a sword into its bodj'.
(Zenken kojitsu, vol. viii.)
(19.) Abe no Seimei studying an astronomical diagram,
Ab^ no Seimei was a great astrologer who lived about the middle of the
tenth century. He was a descendant of the celebrated poet Ab^ no Naka
maro, and is said to have been the offspring of a white fox who had
assumed the form of a girl with whom his father was in love. His necro
mantic powers have served as a foundation for many stories.
(25.) The Nine-tailed Fox (Kiubi-no-Kitsunb).
The Fox in the folk-lore of China and Japan bears a worse .reputation
than that conferred upon his European brother in fairy tale and fable. He
is a spirit of mischief, possessed of supernatural cunning and gifted with the
power of assuming various forms in furtherance of his wicked ends. The
sphere of his potency for evil enlarges with age. At fifty he is able to accom
plish at will his most favourite and baneful metamorpho.sis into the semblance
of womankind ; at one hundred he can take the shape either of a young and
beautiful girl or of a wizard strong in all the powers of magic; and when
he reaches the term of one thousand years he becomes a Celestial Fox
characterized by a golden colour and nine tails, and may be admitted to
heaven. (See Mayers' 'Chinese Eeader's Manual,' art. Hu.) It must,
however, be understood that the title of Celestial Fox does not necessarily
imply any pious tendencies, but, on the contrary, the dignity of the nine
tails often appears to bring only an augmented capacity for deceitful ways,
as exemplified in the stories of the Nine-tailed Pox who assumed the form
of a beautiful woman and worked much ill in India, China, and Japan,
and of Ta Ki, the concubine of Chow Sin (12th century B.C.), who stimu
lated the tyrant to the most fiendish cruelties, and was detected in her true
shape as a nine-tailed fox by the mirror of the Taoist priest. The fox, whether
of one or nine tails, is the centre upon which turn a thousand popular stories
both in China and Japan, where he is supiiosed to import many curious and,
usually, undesirable complications into human affairs, but pccasionally taking

392 JAPANESE PICTORIAL ART.
a sentimental or beneficent part, as in the case of the white fox who fell
in love with a Japanese noble, and became the mother of the famous
,1 , a1v| V j.^ astronomer Ab6 no Seimei; and in that of a vulpine veteran of thirty
centuries, who is believed to have lived for many years as a priest in the
temple of Dendzu-in in Koishikawa, where he compiled the records of the
institution. He is not, however, a common subject for the artist except
in the woodcut illustrations to the popular novelettes of the last hundred
years. The animal is found in most parts of Japan, and even in the present
day may be met with stealing through the larger Yashiki gardens of Tokio,
or heard in the environs of the city making night hideous with the weird
note of his unmelodious bark. The superstitions as to his uncanny faculties
are still rife amongst the populace, and often secure for him a certain
degree of impunity in his predatory nocturnal excursions amongst the hen
roosts. Foxes are supposed to be the messengers of the ShintS god Uga no Mitama
or Inari. Mr. Satow traces this connection to an etymological blunder
between the words Mik^tsun^ (a name of the divinity) and Mikitsun^.
The association of a multiplicity of tails with preternatural powers is
found also in case of the cat. (See the story of the Cat of Nabeshima in
Mitford's ' Tales of Old Japan.')
(31.) The dream of Eosei,
The dream of Lu Sheng (Jap. Eosei) is a curious story illustrating that
rapid action of the imagination by which the conception of a sequence of
events apparently extending over long periods of time may be compressed
within the space of a few moments. The real object of the legend is to point
out the vanity of human greatness. It is thus told in the E-hon koji-dan : —
In the period Kai Yiien (a.d. 718-742) of the T'ang dynasty there lived
a man named Lu Sh§ng. A report having reached his ears that the
Emperor desired the services of wise retainers capable of aiding in the
conduct of government, he left his home and set out for the capital. On
arriving at the town of Kantan he rested at an inn, and there he fell in with
a certain Eishi. The two conversed of many things, Lu ShSng imparting all
his projects of ambition, till wearied with travel he lay down to sleep,
with his head upon a pillow lent to him by his new acquaintance, while
his host was beginning to steam some millet for supper. Now this pillow
had the magic property of engendering Dreams of Wealth. Lu Shtog
quickly sank into a doze, but scarcely had he closed his eyes when he was
aroused by the arrival at the inn of an Imperial envoy, who came to seek
him, bearing presents and a command that he should present himself at the
Court. He started joyfully to obey the summons, and reached the capital
in safety. There he appeared before the Emperor, and having the good
fortune to win approval by the expression of his opinions upon the govern
ment of the country, he was at once appointed to an honourable post in the
administration. His rapid success, however, procured for him the jealousy
of his fellow-oflScials, who spread false reports that led to his degradation
and banishment to a distant province. Three years passed In exile, but at
length he was recalled to be again elevated to a position of honour ; and
during three decades he continued to serve his country with varying reward,
till finally he attained the most exalted rank that could be conferred upon
a subject. Soon afterwards the Emperor died, leaving no heir, and Lu

UKIYO- YJ^ RIU. 393

Shing was chosen to mar^y the daughter of his late sovereign and to ascend
the vacant throne. In due course the marriage had issue in the birth of »
prince. Three years passed happily and the little heir was emerging from
infancy, when one day it happened, as he was amusing himself in a pleasure
boat upon the garden lake with the Empress and her attendants, that he
slipped from his mother's hold and fell into the water, amidst the shrieks
of the spectators. The noise struck the ear of Lu Shgng, and he awoke —
to find his Kantan host had not yet completed the preparation of the millet.
He had learned that human wealth and poverty pass as in a dream. So,
taking leave of his companion, he abandoned his intention to seek fame in
the turmoil of public life, and returned to his native country to end his days
in seclusion,
A similar story, known in Japan as the " Nanka no yum^" or Dream of
Nan Ko, is related by Li Kung-tso, an author of the T'ang dynasty (see
Mayers' ' Chinese Eeader's Manual,' p. 1, no. 513). Both legends are illus
trated by Japanese artists, and the former is burlesqued in one of the
volumes of the Hokusai Mangwa, where the ambitious Lu Sh§ng, in his
dream of wealth and power, is represented by a sleeping porter of human
manure, whose fancy creates a pleasing vision of inexhaustible receptacles
of fertilising riches. The cut has been reproduced in ' A Glimpse of
Japanese Art,' but the author has misunderstood its meaning.
Painted by To-tei Hoku-shi, Signed, Kakihan.
Oneof the pictures bears the date of the 9th year of Bunsei [1826),
but it is uncertain whether the period named is that of the painting,
1817 to 1823, A set of seven unmounted drawings, on paper,
painted in colours. Size, 9 X 24 J,
The Nine Gods of Good Fortune,
Two ancient Shinto divinities are introduced in addition to the
seven personages forming the common group of Shiehifukujin.
One of these, an aged man with long white beard, is Inari, the other,
represented as a boyish figure of gigantic size, is probably Okuni
nushi no Kami, The last picture shows two children acting the
fight of Yoshitsune and Benkei,
Artist unknown. No signature or seal. Nineteenth
century,
1824. Unmounted drawing, on paper, painted in colours. Size,
7f X m-
Daikoku and Fukurokujiu. (See p, 30,)
The two divinities are wrestling in professional style ; a little
boy acts as umpire, and the spectators are represented by rats.
Artist unknown. Nineteenth century.

394 JAPANESE PICTORIAL ART.
1825. Unmounted drawing, on paper, painted in colours. Size,
7f X 181
The Rishis Gama and Tekkai. (See Nos. 703 and 1348.)
The spiritual essence of Tekkai has left the body and is going
through an acrobatic performance upon a stand, while Gama's
familiar, the White Toad, balances upon a pole.
Painted by the same artist as the preceding.
1826. Unmounted drawing, on silk, painted in monochrome. Size,
Ilf X I7f .
Carp. In the style of the Shijo school.
Painted by Uta-gawa Toyo-kuni the Second. Signed
Gro-so-TBi Toyo-kuni. Nineteenth century.
1827 to 1831. A set of five unmounted drawings, on paper, in
colours. Size, 15 x 21\.
Scenes in Hades.
1. The sinner confronted with King Yama.
2. Judgment and execution.
On the left is the accusing mirror, before which the culprit is held
by a horse-headed gaoler. Another miserable creature is shrieking
to the King for mercy, and on the right the demons have commenced
their work of punishment. The artist's imagination seems to have
rioted in the appalling details of his subject. The intense terror and
anguish of the condemned, the convulsive crispations of the wretch
down whose throat a tormentor pours a kettleful of molten lead, and
the grim ferocity of the devils are more suggestive of a dream of a
man on the verge of delirium tremens than the deliberate invention
of a comic draughtsman.
3, 4, and 6. Punishment.
The King of Hell is holding up his palm, from which two eyes
glare upon the malefactors. The details of the torture chambers
are too horrible for description.
Painted by Kio-sai. Signed. Seal. 1879.
1832. Unmounted drawing, on paper, painted colours. Size,
15 X 20|.
Buddhist subject.
Atchala (Fudo), mounted upon an animal resembling an antelope,
is niaking a raid upon a number of fiying men and demons, amongst
whom he distributes castigation with the utmost impartiality.
Painted by Kio-sai. Signed. Seal. 1879.

UKIYO-Yi: RIU. 395

1833. Unmounted drawing, on paper, painted in colours. Size,
15 X 21.
Buddhist subject.
A four-armed Atchala, riding upon a wild boar, is driving away a
number of dismal gobhns, which apparently typify the evil passions.
Painted by Kio-sai. Signed. Seal. 1879.
1834. Unmounted drawing, on paper, painted in colours. Size,
15 X 20f.
Fight between men and demons.
Two men, one armed with a stick, the other with a sword, are
resisting the attack of a band of devils. One of the demons has
seized the comparatively unprotected mortal, and is biting his leg
with the ferocity of a wolf.
Painted by Kio-sai. Signed. Seal. 1879.
1835 to 1846. A set of. twelve drawings, on paper, painted in
colours. Size, 15 X 20f .
Goblins.
Drawn after the style of the ' Night Journey of the Hundred
Demons to the Eising Sun.' (See No. 262.) Some of the figures are
copied from an old Tosa roll.
Painted by Kio-sai. Signed. Seal. 1879.
1847 to 1894. A set of forty-eight unmounted drawings, on
paper, painted in colours. Size, 15 X 21.
Humorous Sketches.
1. Men chased by wolves.
2. " Turning the tables." The Frogs and the Snake.
The frogs have captured their natural enemy the snake, and
having lashed him firmly to a couple of stakes are avenging past
injuries by dancing, drumming, and swinging on his body, pulling
his tail, tickling him with a straw, and otherwise jubilating over
his present impotence.
3. The Eats and the Cat.
A cat has fallen under the power of the rats, who are tantalizing
and insulting their imprisoned foe. The corpse of a kitten, probably
the offspring of the captive, is laid out upon a saucer before its face.
4. Tengus as mountebanks.
5. The attack of the Eagles upon the Tengus. (See
No. 2125.)
6. The Knights and the Demons.
A big-nosed warrior is making havoc amongst a ' number of
demons, while a companion, who appears to be seeing fair play, is
barring the way against the escape of one of the crew.

396 JAPANESE PICTORIAL ART.
7. The warrior Fishes expelling the Octopus and Molluscs
from their domain.
8. Procession of frogs.
9. Eace between hares and monkey.
10. Street scene. Mountebank and marionettes.
11. Yoshitsune fencing with the Tengus.
The hero has alighted upon the long nose of one of the Tengus,
to the serious discomfort of the possessor of the organ.
12. A mock Shinto procession.
The leading priest is represented by a sombre-looking cat, the rest
of the train by rats,
13, The return from hunting. Burlesque,
14. Mountebank Tengus,
15, The round of robbery,
A kite has carried off a fish belonging to a townsman, and while
the bystanders neglect their own affairs to shout after the feathered
robber, thieves of the canine, feline, and human species take the
opportunity of making free with their effects. The Japanese method
of filching the purse and pipe- case by means of a hooked stick is
here shown.
16. The Signs of the Zodiac, more or less humanized,
engaged in general combat.
Only nine out of the " twelve animals " are exhibited.
17 and 18, Mock festival procession.
The parts of men taken by hares, foxes, cats, monkeys, and other
animals. 19. Comic dance.
The performers are animals of various kinds,
20, Archery practice of monkeys and other animals.
A wriggling tortoise of the soft, edible variety suspended by his
tail from a scaffolding, is the unfortunate target. On the right,
the Kappa, a mythical relative of the victim, looks on at the pro
ceedings with lively interest.
21. Demon assaulted by men armed with pestles.
The picture is probably a burlesque upon some historical legend.
22 and 23. Mask dance by street mummers,
24, Demon attacking a group of travellers,
25 and 26. Comic dance by various animals.
27. Men with demon masks terrifying a wayfarer.

UKIYO- Y^ RIU. 397

28. Frog life,
A street scene, representing a portion of a popular festival, the
parts of men being played by frogs.
29. Demons.
A red- faced monster whose head and shoulders alone appear above
" the surface of the soil is being hammered into the earth, like a huge
misshapen nail, by a party of smaller demons armed with mallets.
30. Tortoise amusements.
31. A demon attack upon a travelling-car.
32. The lion dance (Shishi-mai).
33. Frog dance.
34. Blind mendicants who have lost their way.
35. Decapitation scene.
On the left a decapitation is about to take place. On the right a
number of severed heads are seen suspended from a bar, and two
others have taken to themselves wings and fly off laughing at their
executioners. Near by, a man hanging by the neck from a tree
saves himself from strangialation, by resting his toe upon a head
which has rolled beneath his feet.
36. Demons as Samurai.
37. Monkeys, badgers, and hares.
38. The hunter captured.
A number of animals, foxes, hares, wolves, and racoon-faced dogs
are leading in triumph a man who crawls along with his captors
upon all-fours. The procession is headed by a large racoon-faced dog
borne upon the shoulders of two human coolies.
39. Frogs and snake.
40. The game of Ken, with demon players.
41. Wrestling match between a frog and a rabbit ; a monkey
acts as umpire.
42. Ken and wrestling by animals and goblins.
43. Blind mendicants quarrelling.
44. Street scene. The monkey leader,
45, Comic mask dance.
Painted by Kio-sai, Signed. Seal, 1879.
1895 and 1896. A pair of unmounted drawings, on silk, painted
in colours. Size, I7f x 24.
Japanese landscapes.
Thinly sketched on a gauzy silk.
Painted by Hieo-shigb. Signed. Seal, Nineteenth
century.

398 JAPANESE PICTORIAL ART.
1897. Unmounted drawing, on silk, painted in colours. Size,
17| X 24.
Japanese landscape.
Painted by Jun-sei. Signed. Seal. Nineteenth century.
1898. Unmounted drawing, on silk, painted in colours. Size,
17f X 24.
Landscape. Painted by Eiu-SHm. Signed. Seal. Nineteenth century.
1899. Unmounted drawing, on silk, painted in colours. Size,
14f X 211
Bird. Painted by Hoku-sai. Signed Tame-ichi, late Hoku-sai.
1900 to 1902. A set of three unmounted drawings, on silk, painted
in colours. Size, 12^ x 36|.
The proce"sses of tea preparation.
A series of pictures showing the various steps in the preparation
of the leaf, concluding with the final ceremonials of presentation.
The nature of each of the processes represented is indicated by a
descriptive writing.
Painted by Uwa-bayashi Sei-sen. Signed. Seal. Nine
teenth century.
1903. Unmounted drawing, on silk, painted in colours. Size,
12| X 27|-.
Japanese landscape, with figures.
A very modem production, probably executed for sale to
foreigners. Artist unknown.
1904. Unmounted drawing, on silk, painted in colours. Size,
39| X 14^.
Courtesan and kitten.
Painted by Mo-kio. Signed. Nineteenth century.
1905. Unmounted drawing, on silk, painted in colours. Size,
17i X 51|.
The Sun-goddess emerging from the cave.
The strong god Tajikari-o no Mikoto is seen dragging away the
great stone from the mouth of the cavern, exposing the luminous

UKIYO-YE RIU. 399

face of the offended Amaterasu to her expectant fellow-divinities.
Koyane no Mikoto kneels, holding the sacred rope of rico-straw that
is to be stretched across the entrance to the retreat to prevent the
re-seclusion of the goddess. Uzume no Mikoto, the Goddess of Folly,
has completed her song and dance, and moves away with a back
ward glance of great satisfaction at the successful result of the
stratagem. In the background a number of figures in silhouette
appear dazzled by the sudden burst of light from the cave. The
cock, the fire, the mirror, the music, &c., are all in accordance
with the legend.
The drawing of the picture is after the manner of the Shijo
school. Artist unknown. No signature or seal. Nineteenth
century. The Sun-goddess Amat&asu was born from the left eye of Izanagi no
Mikoto during his purification in the sea after his visit to the infernal
regions. Her brilliancy induced her sire to select her as the Euler of the
Heavens, whence her light might radiate over the universe, while her
brothers Susano (see No. 2036) and Tsukiyomi, the contemporary offspring
generated from the nose and right eye of Izanagi, were placed in dominion
over tho moon and sea. Susano, who was the mauvais sujet of the not
very happy family, neglected his charge, cried incessantly, clamoured to
join his mother Izanami in the regions under the earth, and otherwise
comported himself in a variety of objectionable manners. At last, making
his way to the chamber in which his sister was spinning, he cast a flayed
horse at her feet, and caused her to hurt herself with the shuttle. The
indignant goddess, with a spirit more feminine than divine, immediately
resented the insult by shutting herself up in a cave, and so plunged the
universe in utter darkness.
The device of the gods to allure her from her retirement is shown, with
some variations, in the drawing. Fires were lighted and a large mirror
was suspended in front of the cavern. A god named Ame no Koyan6 no
Mikoto pronounced a highly complimentary address in honour of the
offended luminary; the goddess Am6 no Uzum^ no Mikoto, while her
companions kept time by striking two pieces of wood together, played an
air upon a bamboo flute, and then, waving a spear decorated with small
bells, commenced to dance and sing, finally closing her performance with
the complete display of her physical attr.nctions to the spectators. The
curiosity of Amaterasu was so strongly aroused by the speech of Koyan^
aud the din of Homeric laughter with which the gods saluted Uzume's
last pleasantry, that she peeped out of her hiding-place to see what was
going on. Her gaze falling upon the mirror, which was at once thrust
before her radiant face, she was persuaded to emerge still farther from the
refuge, and the strong god Ame' no Tajikara-o no Mikoto seized the oppor
tunity to drag open the rocky door and lead her forth to rejoice the world
once more with her beams.
The legend is narrated in detail in an article entitled "The Shinto
Shrines of Is^," by Mr. Satow. See Trans. Asiat. Soc. of Japan. 1874.

400 JAPANESE PICTORIAL ART.
1906. Unmounted drawing, on silk, painted in colours. Size,
221 X 42f .
Courtesan and child.
Executed in close imitation of the more heavy style of colouring
of Hokusai. Painted by Hokkei. Signed Awui-oka Hokkei. Seal.
Nineteenth century.
1907 to 1928. A set of twenty-two unmounted drawings, on
paper, painted in colours. Size, 19 X 7|.
Miscellaneous rough sketches.
Drawn after the style of Hanabusa Itcho.
Painted by- Ei-SAi Em-zAN. Early part of nineteenth
century.
1929 to 2034. A set of one hundred and six drawings, on paper,
painted in colours. Size, 7 X 9^.
Miscellaneous sketches.
Painted by Ei-sai Ein-zan. Early part of nineteenth
century.
2035. Framed picture (gaku), on silk, painted in colours. Size,
I2| X 48|.
Jiraiya slaying the Giant Serpent.
The hero stands amidst his prostrate followers armed with a
matchlock as large as a cannon, while the dying reptile lying at his
feet emits its final breath, which is seen eddying away in the guise
of a thin vapour across the face of the moon. On the left an old
man of weird aspect, mounted upon a huge toad, appears to have
teen aiding in the conflict. The irregularities of the adjacent
rocks have been made to assume the outlines of toads.
Artist unknown. No signature or seal.
The story of Jiraiya, by Kioden, a famous novelist of the begin
ning of the nineteenth century, is well related by Mr. GrifSs in the
" Japanese Fairy World." Divested of its Turpin-like romance, its main
incidents are as follows : —
Ogata Shiuma, nicknamed Jiraiya, the son of a chieftain in Kiiishiii, was
left destitute at an early age by a series of family calamities, and being
spurred by an ardent desire to build up again the fortunes of his ruined
house, he adopted as the most direct means to his end a course of theft
and murder that in strict justice should have brought him to the gallows.
The result of his early enterprises failed to satisfy his ambition, till at
length a curious adventure placed him in possession of powers that gave
a wider range to his efforts. It happened during one of his bandit
excursions that a heavy storm forced him to seek refuge in a lonely hut.

UKIYO- Y^ RIU. 401

where he was received by its only inmate, a woman, with all the rites of
Japanese hospitality. After eating and drinking his fill, the hero retired
to rest ; and in the dead of night, feeling his energies recruited for a new
step towards the restoration of the family glory, he stole into the chamber
of his entertainer, and seeing her apparently unaware of his presence,
raised his sword to strike off her head, as a preliminary to levying upon
her property a contribution towards the good cause. He had, however,
calculated without his hostess; for, as the blow was about to fall, her
form suddenly changed into that of an old man, who, springing up,
struck the weapon from his hand and held him at mercy. The strange
being was a Toad Spirit, gifted wilh the supernatural powers appertaining
to the reptile. Instead of requiting the treachery of his guest as it
deserved, the Genius, having by some inscrutable reasoning, arrived at
the conclusion that Jiraiya was the proper kind of person to rectify the
wrongs of the poor, instructed him in the secrets of the Mystic Art, and
at the end of some weeks discharged him, with injunctions to use his
new accomplishments for the good of the people.
From this time Jiraiya became a kind of Eobin Hood — ^succouring the
poor at the expense of the rich, at the same time not neglecting to mako
his public-spirited mission particularly advantageous to himself. His
renown grew apace, but one bitter drop poisoned his cup ; his powers were
Inferior to those of a rival magician who was the offspring of a venomous
snake and had inherited the Serpent's necromantic cunning. Fortune,
however, again declared in his favour. A young girl, with all the virtues
and attractions that a Japanese damsel should possess, had been chosen
by a Snail Spirit to receive instruction similar to that for which Jiraiya
had been indebted to the Toad Spirit. Now the Snail Magic is superior
to that of the Serpent, and the hero, learning how richly dowered was the
maiden, wooed and won her, and by this accession of strength became
irresistible. Many adventures were shared by the couple, and at last
Jiraiya took part in a great faction struggle, in which his rival was
enlisted upon the opposite side. After a narrow escape from death by
the poison which the Serpent Magician contrived to instil into his veins
during sleep, a mighty battle afforded the hero an opportunity of joining
issue with his foe, and, as the picture shows, succeeded, with the aid of
the friendly Toad Spirit and a matchlock, in gaining the victory.
His services iu the conflict were rewarded by liis elevation to the rank
of Lord of the Province of Idzu, and he passed the remainder of his days
in the not obviously congenial pursuits of "reading the book of the
Sages ; composing verses ; admiring the flowers, the moon, and the laud-
scape ; and occasionally going out hawking and fishing. There, amidst
his children and children's children, he finished his days in peace."
2036. Framed picture, on wood, painted in colours. Size,
8^ X lOf.
Susano-no-Mikoto making a compact with the Spirits
of Disease.
The spirits are grouped around the god. One ugly being, with a
horn upon his forehead and a mallet by his side, has just stamped
his inky palm upon the contract sheet by way of signature, leaving
2 D

402 JAPANESE PICTORIAL ART.
the demon impress of a three-fingered hand. The representatives
of Measles, Small-pox, Elephantiasis, Mumps, and Itch are easily
recognisable, but the other ghastly embodiments of disease are
less open to identification. Three corpse-like starvelings, one of
whom bears a large bundle on his shoulders ; a hoglike creature with
a half human, half brutish head ; a figure mottled with red blotches ;
and a very stout, but youthful and otherwise decent-looking per
sonage, who alone amongst the crew has black instead of red hair,
are probably meant to typify respectively Fevers, Leprosy, Erysi
pelas, and Corpulence.
Painted by Ho-ga after a picture by Hoku-sai. On the
right is written, " The picture of the ancient one, aged eighty-
six years." On the left, " Unskilfully copied by Hoga from the
picture of the ' Old man of a hundred centuries,' " Dated
I860. Susano no Mikoto, the " Impetuous Male," was the motherless son of
Izanagi, the creator of the sun and moon, the world and all things that
appertain thereto. He was generated during a bath of purification taken
by his sire after a fruitless expedition to Hell in search of his dead consort
Izanami, and was appointed the Euler of the Sea or of the Tides (in the
latter capacity he is by some authorities regarded as the Ltmar Divinity).
He subsequently, however, appears freed from his marine dominions and
acting as the ancestor of a line of chieftains who settle iu the provinces of
Idzumo and Yamato.
His career as told in Shinto legend is by no means divine or even
edifying. After behaving in a highly unbecoming manner before his
sister the Sun-Goddess, and causing her to retire in dudgeon into a cavern
(see No. 1905), he kills the Food Goddess, and is very properly turned
out of Heaven. He then descends upon the province of Idzumo in Japan,
and achieves the Perseus-like adventure of rescuing a fair damsel,
Kushinada Him6, from the jaws of an eight-headed dragon, which he slew
after having beguiled it into inebriety by the temptation of eight vessels
of sake, one for each head. Finally he marries, begets many children,
and fades from the scene.
Mr. Satow alludes to a very suggestive variation iu the legends con
cerning Susano, which makes him descend from Heaven upon the Korean
Peninsula, from whence he crosses over to Japan.
See the Introduction to the Handbook for Japan, p. [68].
2037, Drawing (on panel), in two halves, painted in colours. Size,
41 X 251
" Y5r5-no-taki." The water changed into wine.
A woodman kneeling by the side of the cascade shows to the
Mikado a gourd containing the metamorphosed water of the fall.
Painted by I-kawa Kwai- an Ei-sai. Signed. Seal. Dated
1852.

UKIYO-Yii RIU. 403

Y5ro-no-taki, a cascade about 70 feet in height, is situated five miles
from the town of Tarui, in the province of Mino (see 'Handbook for
Japan,' p. 247), The story is that of a poor woodman who had been accus
tomed by dint of great industry to purchase wine for the use of his aged
father and mother, but was on one occasion unable to obtain means for the
usual luxury and sat down by the side of the cascade in profound distress
at the privation which his parents were to undergo ; the gods, however,
desiring to reward his filial piety, converted the falling water into purest
wine. The event is said to have happened in a.d. 717.
2038 to 2040. Three albums of drawings, on paper, painted in
colours. Size, I3| X 8\.
Ghosts and Goblins (Bakemono),
The drawings, about a hundred in number, are roughly but
vigorously sketched. A few are from the hand of Kiosai, but the
greater number are by an unknown artist.
The series form an almost complete resume of the popular
demonology of the Japanese. Most of the horrible or comic figures
portrayed in these volumes have an antiquity of many centuries, and
some are of Chinese origin.
Nineteenth century.
2041. Album of drawings, on paper, painted in colours. Size,
Hi X 7|.
Comical Botany.
Flowers, trees, and fruit tortured into the resemblance of animal
life. Artist unknown. Nineteenth century.

2 D 2

¦404 JAPANESE PICTORIAL ART.

KO-RIN SCHOOL.

The Ko-rin school owes its name to O-gata Ko-ein, a famous painter
and lacquer artist of the latter part of the seventeenth century.
The source of Ko-bin'^ early education in painting is a matter of
doubt. The Tosi. school claims him as a pupil of Sumiyoshi Hieo-
zumi, while, according to the Wa-kan Sho-gwa Shiu-ran, he was
taught by Kano Yasunobu, and other authorities maintain that he,
his brother Kenzan, and an associate named Ko-ho, had for their
master an artist named Honnami Ko-YETSu(d. 1637), the grandfather
of KoHO, who appears to have been an Admirable Crichton ih the
polite accomplishments of his age. The works of Ko-rin present little
similarity either in drawing or colouring to those of any of the estab
lished schools. They display remarkable inventive power, harmonious
colouring, and usually a vigorous and expressive drawing ; but in his
delineations of the human figure and quadrupeds his daring conven
tionality leaves even the Tosa school far behind. His men and women
have scarcely more shape or expression than indifierently-made dolls ;
his horses and deer are like painted toys, and even his floral pieces
can only be regarded as sketchy decorations. His reputation rests
chiefly upon his lacquer work, in which he attained a celebrity
even wider than that won by his brother Kenzan (1663-1743), in
the decoration of pottery, but his influence upon industrial design
in general was more sjbrongly marked than that of any artist before
the time of Hokusai. He died in 1716 at the age of 56.
He was known by many professional names, of which the most
familiar are Sei-sbi-do and Cho-ko-ken.
There is no account of any immediate pupils outside the lacquer
industry, and it was not until the beginning of the present ceutury
that his style was revived, or anything deserving the name of a
school was formed. At this time a priestly admirer of his works,

KO-RIN SCHOOL. 405

named Ho-itsu, a son of the Daimio, Sakai Uta no Kami, and chief
priest of the Nishi Hongwanji temple at Kioto, after having studied
all the existing schools undertook the foundation of a new Korin
Academy. He published three collections of the designs o^ Koein,
and himself produced many pictures in the same style, which could
scarcely be considered inferior to those of the master. He attracted
some defer pupils to the cause, and has succeeded in rescuing from
comparative oblivion one of the most original and characteristic of
the branches of Japanese pictorial art. He died in 1828 at the age
of 67 (Gonse).
Ho-itsu was as admirable as a painter of birds, as he was extra
vagant in his drawings of men and women ; but he had the same
graceful touch and the same instinct of harmony that reign in the
works of Koein, and has deservedly ranked high in the estimation
of his countrymen. The contrast in the quality of his work in the
two sets of motives will be illustrated by the comparison of Nos.
2104 and 2105.
The chief followers of the Korin style, after Ho-itsu, were : —
0-HO. Son of Ho-itsu.
Ki-iTSU. Pupil of Ho-itsu. Died in 1858. See No. 2117.
Shiu-itsu. Son of Ki-itsu. See No. 2124.
Ko-soN (Ikeda). Pupil of Ho-itsu.
Ko-itsu. Pupil of Ho-itsu. See No. 2110 et seq.
Ho-Ni. Probably a pupil of Ho-itsu. See Nos. 2107-10.
The works of the school may be studied in the faithful reproduc
tions offered by the following volumes : —
Makiye daizen. Designs for lacquer decoration, including
several copies of the works of Ko-rin. By Hokkio Haeukawa.
5 vols. 1759,
Kb-rin gwa-fu. Miscellaneous sketches by Ko-ein, I vol.
Printed in colours,
Kb-rin hiaku-dzu. Miscellaneous sketches by Ko-ein; three
series, each in two volumes, *^ First series 1815, second series
1826, third series 1864,
X Kb-rin Mangwa. I vol, N,D,
Kenzan hiboku. Designs for keramic decoration by Kenzan,
after the manner of Koein. 1 vol. Printed in colours. 1828,

406 JAPANESE PICTORIAL ART.
Banzb sohigoshi. Miscellaneous sketches by Ho-itsu, I vol.
Printed in colours, 1817,
X Ho-itsu Shonin. Shinsei kagami. Miscellaneous sketches by
Ho-itsu, printed from two blocks. 2 vols. N.D,
0-M gwa-fu. Miscellaneous sketches by Ho-itsu, printed in
colours. 1 vol. 1818.
Shasan-Bb gwa-fu. Miscellaneous sketches by Bun-cho and
Ho-itsu. 1 vol. N.D.
Some very characteristic drawings by Ko-ein have also been
engraved in the Gwashi Ktvaiyb (1707).

( 407 )

KO-RIN SCHOOL.

2101. Kakemono, on silk, painted in colours. Size, 36^ x 13|.
Flowers.
The treatment is decorative and conventional. The leaves are
painted with a wet brush in such a manner as to produce grada
tions of tint, partly accidental and partly related to the curves of
the blade, and the veins are outlined in gold. The colouring of
the blossom is perfectly flat.
This style is in some degree characteristic of the founder of the
school, who was unequalled as a decorative artist, but cared little
for realistic accuracy of drawing. His defects are illustrated still
, more strongly in the following picture, but his true strength must
be learned by a study of his masterly works in industrial design.
Painted by O-gata Ko-ein. Signed. Seal. End of
seventeenth century.
2102. Kakemono, on silk, painted in colours. Size, 33^ X 13|.
The Tamagawa picture (Tamagawa no dzu).
The hero of the Ise Monogatari (supposed to be the poet Narihira)
on horseback fording the Tama river.
A fair example of the worst style of the artist. The poet
Antinous of the ninth ceutury is reduced to a doll-like caricature ;
the horse is almost worthy- of a place in the Bayeux tapestry, and
the face of the retainer has no more expression than the yellow
flowers that are shown bordering the famous stream.
Painted by O-gata Ko-ein. Signed Sei-sei Ko-itm. Seal.
End of seventeenth century.
2103. Kakemono, on silk, painted in colours. Size, 33| X 16-|.
Crow and persimmon tree.
Painted by Ho-itsu. Signed. Seal. Nineteenth century.

408 JAPANESE PICTORIAL ART.
2104. Kakemono, on silk, painted in colours. Size, 38| X I5|.
Narihira crossing the Tamagawa.
Compare with No. 2102. The figures, judged by an academical
standard, might have been drawn by a child from his toys.
Painted by Ho-itsu, Signed, Seal. Nineteenth century.
2105 and 2106. A pair of kakemonos, on silk, painted in colours.
Size, 391 X 15f.
Fowls.
Two masterpieces, combining extraordinary delicacy and facUity
of touch with a fidelity to nature rarely observed in the works of
the school. It is difficult to believe that these paintings came from
the same hand as the last.
Painted by Ho-itsu, Seal, Nineteenth century.
2107. Kake'mono, on silk, painted in colours. Size, 40| X I5|,
Mandarin ducks. Winter scene.
Painted by Ho-ni. Signed. Seal. Nineteenth century.
2108. Kakemono, on silk, painted in colours. Size, 28 X lOf.
Samantabhadra.
The god, represented in feminine form, is seated upon a white
elephant and holds a Chinese book.
Modified Butsu-y6.
Painted by Ho-ni. Signed Sei-sei Ho-ni Yo-shin. Seal.
Nineteenth century.
2109. Kakemono, on silk, painted in colours. Size, 28| x I0|.
Fukurokujiu with white deer. (See p. 30.)
Painted by Ho-ni. Signed Sei-sei Ho-ni. Seal. Nineteenth
century.
2110. Kakemono, on silk, painted in colours. Size, 33f X 10|.
Flowers. Painted by Ko-itsu. Signed. Seal. Nineteenth century.
2111 and 2112. A pair of kakemonos, on silk, painted in colours.
Size, 42f X 151
Carp and waterfall. (See No. 723.)
Painted by Ki-itsu. Signed Sei-sei Ki-itsu. Seal.
Nineteenth century.

KO-RIN SCHOOL. 409

2113 and 2114. A pair of kakemonos, on silk, painted in colours.
Size, 31^ X Ilf,
Tiger and monkey.
The tiger differs little in appearance from the domestic cat, and
has none of the ferocious demeanour with which the Japanese
artist usually endows him. The bamboo and plum are introduced
into the picture as emblems of longevity. The monkey, which
replaces the dragon as a companion subject to the tiger, difiers from
the common Macacus speciosus of Japan in the great length of its ears.
The -animal, seated upon a high rock, holding in his hand a wand
with go-hei, probably represents one of the mountain divinities of
Japan. (See No. 673.)
Painted by Ki-itsu. Signed Sei Ki-itsu. Seal. Nine
teenth century.
2115 and 2116. A pair of kakemonos, on silk, painted in mono
chrome. Size, 43| X 18.
Bamboos.
The leaves and smaller twigs are represented, as usual, in
silhouette, but the mode of rendering the cylindrical contour of the
stem joints is a tour de force peculiar to the Korin school.
Painted by Ki-itsu. Signed Sei Ki-itsu. Seal, Nine
teenth century,
2117, Kakemono, on silk, painted in monochrome. Size, 15| X 16^,
Mandjus'rf.
The divinity is seated upon a lion and holds a Buddhist sceptre
(Nio-i), Painted by Ki-itsu. Signed Sei-sei Ki-itsu. Seal.
Nineteenth century.
2118 to 2120. A set of three kakemonos, on silk, painted in
colours. Size, 38| X 13.
1 and 2. Cherry blossoms.
3. Festival toys (hina).
A pair of highly conventionalized doUs, representing male and
female figures in Court dress. These are appropriate to the festival
of the third day of the third month (old style).
Painted by Shin-itsu. Signed Mo-mu Shin-itsu. Seal.
Nineteenth century.

410 JAPANESE PICTORIAL- ART.
2121 to 2123. A set of three kakemonos, on silk, painted in
colours. Size, 38^ X I2|.
The Three Gods of Good Fortune (San-fuku-jin). See
p. 37.
1. Hotei with children.
2. Daikoku seated at the window of a granary.
3. ifebisu fishing.
Painted by Shin-itsu. Signed. Seal. Nineteenth century.
2124. Kakemono, on silk, painted in colours. Size, 21^ x 33^.
A summer evening in the suburbs of Kioto.
A picture of considerable interest in connection with local
customs. Painted by Shiu-itsu. Signed Sei-sei Shiu-itsu. Seal.
Nineteenth century.
2125. Kakemono, on silk, painted in colours. Size, 38J X 11^.
Kintoki and the Tengus.
Kintoki, as a sturdy boy bearing the paraphernalia of a sparrow
catcher, is watching with professional interest the emergence of a
little tengu from a newly broken egg, while an attendant monkey
holds up his finger to impress silence and caution. Kintoki's
basket, slung across his back, is already well filled with beaked
tengus, and one of the tribe just caught is struggling upon the
limed stick of his captor.
Painted by Sen-zan Sho-shiu. Signed. Seal. Nine
teenth century.
Kintoki was the son of a female mountain spirit (Yamauba), and was
adopted as a squire by Eaiko, the hero of the Shiutendoji. (See No. 2306.)
The Tengus are a inythical race who are supposed to haunt the moun
tains and forests. They are of two kinds — the ordinary Tengu, which has a
human face and form, but is provided with wings and a long nose ; and
the Karasu Tengu (Crow Tengu), distinguished by bird-like head and
claws and a more avial general conformation. In their relations with man
they are not supposed to have any especially evil tendencies, and in some
cases appear to be ready to do a good turn to any one who is deserving of
their services. Thus it was to the Tengu King that Yoshitsun^ is sup
posed to be indebted for the early fencing lessons which gave him such
unrivalled skill in the use of the sword. In later times the creature has
become almost wholly the property of the popular artists, who, taking
advantage of the comic feature in his countenance, turn his proboscis to a
variety of base uses in their portraiture, as a porter's yoke, a juggler's rod,
a brush-handle, or to any other office which tho dimensions of tho organ
mny suggest to their fertile imagination. (See Nos. 1097 and 1104.)

KO-RIN SCHOOL. 411

2126. Kakemono, on silk, painted in colours. Size, 36| x 13^.
Flowers. Painted by Ki-h6 Shige-naga. Signed Ki-ho. Seal.
Nineteenth century.
2127. Makimono, paper, painted in colours. Size, 243 X 11^-.
Miscellaneous rough sketches of flowers, &c.
Painted by So-do. Signed. Seal. Nineteenth century.
2128 and 2129, A pair of unmounted drawings, on silk, painted
in colours. Size, 55| x I9f ,
Birds and flowers.
Painted by Ho-itsu, Signed Ho-itsu Hei-shin. Seal.
Nineteenth century.
2130 to 2151. A set of twenty-two unmounted drawings, on paper,
painted in colours. Sizes various.
Tortoises.
Swiftly sketched in monochrome and sparingly touched with-
colour. Action admirably rendered.
Painted by To-nan. Signed. Seal. Nineteenth century.
2152 and 2153. A pair of unmounted drawings, on silk, painted
in colours. Size, 39 X 15|.
" No " actors.
1, The performer's mask represents a youthful face, and his head
is covered with the form of hat called the Eboshi. His outer tunic,
white traversed by blue zigzag lines, is ornamented with designs
emblematic of longevity (pines, bamboos, cranes and tortoises). He
holds a fan and wears a sword in his girdle.
2, The actor carries a set of small bells attached to a short stem.
His mask is that of a wrinkled negro ; the hat is black, high, and
terminated by a flat triangular summit, and the dress is blue, but
bears the same figurative decorations as in the companion figure.
Painted by Ki-itsu. Signed Sei-sei Ki-itsu. Seal.
Nineteenth century.
2154 to 2197. A set of forty-four drawings, on paper, painted in
colours. Sizes various.
Miscellaneous rough sketches. Fainted in ink and
lightly coloured.
Painted by So-do. Signed. Seal. Nineteenth century.

412 JAPANESE PICTORIAL ART.

SHIJO SCHOOL,

That a careful study of nature is essential to secure the highest
results in art was occasionally admitted as a general principle
by the older painters of China and Japan, but their, recognition of
the formula was qualified by a latitude of interpretation that
relieved them from any constraint it might have been expected to
impose upon their practice. Many of the old Chinese masters had
indeed observed nature while conventionalising it, and were in ad
vance of some of their imitators, who often copied their works with
an enthusiastic faith that forbade analysis, re-conventionalising
conventionality, and magnifying the faults to which an admixture of
truth had only given currency, until the precious element was
scarcely assay able in the mass of calligraphic alloy.
The first artist to modify Japanese art by the promulgation
and practice of realism was Maeu-yama 0-kio, the founder of the
Shijo naturalistic school. Okio was born, in the province of Tanba
in 1733, He learned the rudiments of his art from a painter named
Ishi-daYu-tei, whose name has reached posterity only by virtue of the
bond that links it with that of his pupil. There is no reason to suppose
that YuTBi was the author of the idea which created the new school ;
for we are told in the Gwajo yoriaku that Okio's education con
sisted, as usual, in copying the most celebrated of the old drawings ;
but as their study gave him no inclination to follow the rules of the
ancient masters, " he invented a new style, painting birds, flowers,
grasses, quadrupeds, insects, and fishes, from nature. His talents
were also manifested in the delineation of landscape and figure,
and he was a skilful colorist; so that his fame became noised
throughout tbe Empire ; all people learned by his example, and he
effected a revolution in the laws of painting in Kioto."
There are many anecdotes, savouring more of ingenuity than

SHIJO SCHOOL. 413

truth, recorded to show his powers of close imitation of nature.
One of these may serve as a sample of the whole. A patron of Okio
having expressed a desire for a picture of a wild boair, the artist,
true to his principles of drawing only from nature, requested a
farmer who lived in an adjacent district, where the animals were
sometimes seen, to send him word should he ever, find one asleep.
In due time a message came to say that the opportunity had arrived,
and Okio hastening to the spot found his model stretched upon the
ground in sound repose, and after having taken a careful portrait
withdrew without disturbing him. Some months later he seized
an occasion of submitting his drawing to the opinion of a person
who was extremely intimate with the appearance and habits of the
boar. _This practical critic, after, examining the picture closely,
at length said that although it haid an exact resemblance to the
animal, it was rather like a sick than a sleeping boar, and explained
that the latent power of limb always evident in the healthy animal,
even during sleep, did not appear in the representation, Okio saw
the truth of the remark, and in vexation tore up his sketch. He
thought no more of the matter until one day, happening to be in the
neighbourhood of the farmer who had sent him the summons, it
struck him to inquire what had become of the boar. The man
was eager to tell him of a curious circumstance in connection with
the incident — that the animal had never moved from the place in
which it was first seen, and the next morning was found dead.
The induction as to the realistic genius of the artist is obvious,
but a word of appreciation may also be reserved for the keen
criticism of the expert.
Notwithstanding the praise bestowed upon Okio, a study of his
works proves that he lacked the full courage of his convictions.
Many of his pictures, especially those of birds and fishes, were
really true to nature in point of drawing, even in the most minute
details ; but he still sacrificed, almost unconsciously perhaps, to the
altar of the old faith. His perspective was Chinese; his drawing
of the human figure showed but little more of anatomical truth than
that of his predecessors, and .nothing worthy of the name of chiaro-
oscuro appeared in any of his pictures. Nevertheless there was a
novel and intelligent grace in his most characteristic sketches,.
which, in association with the technical skill and sense of unobtru
sive harmony derived from his early study of the old masters.

414 JAPANESE PICTORIAL ART.
insured him a success that was only inferior to that merited by his
bold assertion of independence.
In the periods Anyei and Temmei (1772 to 1789), when his prin
cipal works were executed, his reputation secured for him the
highest support. Full of radical ideas for art, he had taken the
bold step of establishing himself in Kioto, the centre of all that was
conservative in Japan ; but his genius sanctified his heresy, and at
length he succeeded in attracting to his cause the greater section
of the rising talent of Kioto, who eagerly sought his instruction,
and formed the nucleus of the new Academy, which received its
name from the street in which the artist had fixed his studio. He
lived to see the influence of his teaching spread on all sides, even to
the older schools which affected to find all that was worth knowing
in the masterpieces of the ancients.
His reward, like that of Motonobu and Hokusai, came after the
meridian of life, but he did not live so long as these veterans to enjoy
it. He died in 1795, at the age of sixty-two — a fair term for the
Japanese in general, but a short one for the painters, who as a body
appear to have been gifted with remarkable longevity.
To the name by which he is generally known may be added those
of Chiu-sen Sen-sai, and Mon-do Dan-sai, and his youthful appella
tion Sen-eei.
He never drew for the engravers, but two collections of his rough
sketches were printed in colours and published under the titles of
En-b gwa-fu (1837) and Okio gwa-fu (1851), and others have been
copied in different volumes. His pictures are now so lost in the
midst of clever forgeries that it is not often safe to conclude that
any work bearing his name is really authentic.
He left two sons and a large number of pupils and imitators, in
whose hands his teaching was productive of some of the most
graceful if not the most powerful works of Japanese pictorial art.
The chief characteristics of the typical Shijo picture are an easy,
but graceful outline, free from the arbitrary mannerisms and
unmeaning elegance of some of the works of the older schools ; com
parative truth of interpretation of form, especially in the delineation
of birds,* associated with an extraordinary rendering of vitality and
* These features are admirably illustrated in Mr. Frank Dillon's facsimiles of
Japanese drawings,

SHIJO SCHOOL. 415

action ; and, lastly, a light harmonious colouring, suggestive of the
prevalent tones of the objects depicted, and avoiding the purely,.
decorative use of gold and pigment.
The motives most in favour with the classical academies were
necessarily excluded by the principle of the Shijo school; but
Chinese landscapes, Chinese sages, and animals which the painter
never saw in life, were profitably replaced by transcripts of the
scenery and natural history of Japan, The subjects peculiar to the
Popular School, the life of the streets and theatres, were, however,
as carefully avoided by the naturalist as by the classical artist;
but where the two schools chanced to coincide in motive, as in the
drawing of Japanese heroes, the advantage of refinement always
lay on the side of the pupils of Okio,*
The subjoined list of tlie principal followers of Okio is extracted
chiefly from the Gwa-jb Yo-riaku, Amongst them -pre-eminence
attaches to the names of Eo-setsu, Gen-ki, Gekkei, Ho- yen, So-sen,
Kei-bun, Ippo, Shiu-h6, and Yo-sai, The works of the three first,
which are rare, are less characteristic of the school than those of the
other artists named, A few painters of the highest ability, amongst
whom may be noticed Sai-ku-ko Yu-sei (No, 2314) appear to have
been passed over by all the native authors,
0-zui; named also Giho. The eldest son of Okio. He was an
imitator of his father's style, but his drawings have neither the
strength nor originality of those of Okio, Died 1829. (See
No, 2261.)
0-Jiu. Second son of Okio. Died at an early age in 1815.
0-SHiN ; named also Chiu-kio. Son of Ozui. Noted for land
scapes. Died 1840, at the age of 49.
6-Eiu (MAEU-YAMA).-f The painter of picture 8 in the Imperial
palace at Kioto. His relationship to Okio has not been ascer
tained.
Ko-sbtsu (Naga-sawa) ; named also Giyo and Sui-kei. An original
but eccentric artist, who became a convert to the principles of
the Shijo school, while preserving a style that was peculiarly
his own. His pictures were amongst the most vigorous works
* Compare the Zen-ken ho-jitsu of Kikuchi Yosai with the Musashi Abumi of
Hokusai and the Ukiyo gwa-fu of Keisai Yeisen.
t The name first in order is the personal cognomen, by which tho artist is most
familiarly known, the patronymic is included within brackets, and the subsequent
appellations are for the most part professional pseudonyms.

416 JAPANESE PICTORIAL ARl.
of the school, but the author of the Gwa-jo Yo-riaku coiisiders
that an insufficient study of the old masters had induced a
want of refinement in his manner of painting. Died 1799,
aged 44,
Ko-SHiu, Son of Eo-setsu, (See No, 2308,) Died 1847, aged 80.
Gen-ki; named also Ko-mai Ki and Shi-on, A pupil of Okio,
who won a reputation for paintings of beautiful women, and of
flowers, animals, and other subjects, and for the beauty of his
colouring. He died in 1798, at the age of 47,
Kaku-ebi (Yama-ato) ; named also Gi-yen and Kun-giyo, A native
of Osaka, who settled in Kioto, and studied under Okio, Noted
for drawings of " flowers, grasses, quadrupeds, and insects."
Nan-gaku (Watana-be) ; named also Gan and Iseki, A pupil of
Okio, but was also an admirer of Koein's style. Noted for
drawings of women and fishes. Died I8I3, aged 46.
Ko-GAKU ; named also Sen-shiu. Son of the last. Studied under
Bu-ZEN.
Tessan (Moei) ; named also Shiij-shin and Shi-gen. A native of
Osaka, who studied under Okio, but adopted a modified style.
Noted for figures, flowers, birds, and quadrupeds. Died 1841.
(See Nos. 2300 and 2306.)
Shiu-eei (Yama-moto) ; named also Kazu-ma. A pupil of Okio.
Nan-tei (Nishi-muea). A pupil of Okio. A collection of his
drawings has been published under the title of Nantei gwa-fu
(3 vols. 1805). Died 1835, aged 79.
Ko-KBi (Yoshi-muea) ; named also Mu-i. Studied under Okio, but
adopted a modified style. Died 1866, aged 65.
Ko-BUN ; named also Kun-iku. Son of the last.
So-JUN (Yama-guchi) ; named also Haku-go. A pupil of Okio,
noted for figure designs after the manner of the Popular school.
Some of his drawings have been published in three volumes
under the title of Sojun gwa-fu (1810). See 2340-50.
Ya-cho (Ya-no) ; named also Sei-bin. A pupil of So-jun. Noted for
landscape,
BuM-MEi (0-Ku) ; named also Man-i, A pupil of Okio,
Gen-choku (Shima-da) ; named also Shi-h6 and Shi-gen, A pupil
of Okio.
Sai-bi (To-ki) ; named also Ei-sho and Haku-ge, A pupil of Okio.
Choku-ken (Shi-eai) ; named also Chi-syi. A pupil of Okio, Noted
for drawings of rats, as was So-Sen for monkeys.

SHIJO SCHOOL. 417

Shun-kio, a pupil of Okio, Noted as a colorist,
Ki-ebi (Kame-oka) ; named also Shi-kio, A pupil of Okio,
Shissai (Kami-be). Painted in the style of Okio.
Gekkei (Matsu-muba) ; named also Go-shun and Haku-bo. He
first studied under Bu-son, but afterwards painted in the style
of Okio, and became one of the most noted members of the
school, of which he is said to have headed a new section. His
landscapes were very remarkable works, and stamp him as an
artist of great originality and power; he was noted also for
drawings of fruits and flowers. He died in 1811 at the age of
sixty-nine. (See No. 2294.)
To-YO ; named also Tai-yo and Gioku-ga, Originally a pupil of
Kano Baisho, but upon becoming acquainted with Okio and
Gekkei he adopted the style of the Shijo school. He was noted
for landscape and figure. Died 1839, aged 86.
Nan-eei (Suzu-ki) ; named also Jun and Shi-shin. A native of
Yedo. He was at first a pupil of Toyo, but subsequently made
the acquaintance of Oka-moto Hogen, to the great advantage of
the painting of both.
To-YEN ; named also Moku-sei. Son of Toyo.
Shun-pei (Muea-ta). Pupil of To-yen. Noted for landscape and
figure.
KwA-m. Noted for drawings of flowers. (See No. 2301.)
DoN-KEi (0-haea). Noted for landscape and figure.
DoN-SHiu. Son of the last. A pupil of Gito.
Eo-Ko (Mikuma). a female artist who studied under Gekkei.
Noted for drawings of cherry blossoms.
Kin-kin (0-ta), A pupil of Kwa-in and Eo-ko. Noted for drawings
of cherry blossoms, (See No. 2302. )
Eai-sho (Naka-jima), a pupil of Ozui. (See No. 2343.)
Nan-po (Dzu-shi). a pupil of Ozui.
Ki-YEN (Mina-gawa) ; named also Haku-kio and Ses'sai, A com
panion of Eo-setsu,
Kei-bun (Matsu-muba) ; named also Shi-so and Kwa-kei, A
younger brother of Gekkei. One of the most gifted pupils of
the school. His drawing was remarkable for delicacy and truth
to nature. Died 1844, aged 64. (See Nos. 2265 et seq.)
Sei-ki (Yoko-yama), a pupil of Keibun,
Kiu-Bi (Haeada), a pupil of Keibun. 2 B .

418 JAPANESE PICTORIAL ART.

Oka-moto Hogen; named also Shi-gen Toyo-hiko and Ko-son.
A pupil of Gekkei. A talented and original landscape painter.
Died 1845, aged 67. (See No. 2360.)
Un-sho (Shiwo-gawa) ; named also Shi-bun, A pupil of Oka-
moto Hogen.
Gi-To (Shiba-ta) ; named also I-cmu and Km-CHO. A pupil of
Gekkei. Most noted for landscape and figure, after the manner
of the Shijo school, but also painted flowers and birds in the
style of the Ming dynasty. Died 1819, aged 39.
Gi-HO. Son of Gito.
Go-eei (Yaye-gawa). a pupil of Gito.
K6-YBN (Cho-zan) ; named also Shi-eio. Lived in Osaka. A
pupil of Gekkei.
To-ki (Ki-no) ; named also Hieo-naei and Bo-dai. A pupil of
Gekkei, but afterwards adopted a different manner and became
noted for Buddhist pictures in the style of Wu Tao-tsz'.
So-sen (Moei) ; named also Shu-sho and Shuku-ga. A famous
animal painter. He is best known by his inimitable pictures
of the Japanese monkey, but his range was by no means limited
to the one subject. M. Gonse, who was the first to do him
justice in this respect, has reproduced admirable sketches of the
rat, carp, and tiger (the latter not drawn from nature). The
Dillon collection includes a vigorous delineation of the peacock,
and the hare and deer are well represented in Nos. 2288 and
2285. It isjiowever by his studies of simian life, which con
stitute more than nine-tenths of his existing work, that he
must be judged, and although it is certain that he might have
attained equal eminence in other sections of animal painting,
his almost exclusive devotion to a narrow speciality must con
demn him to rank below Okio, Keibun, Hoyen, and perhaps
other members of his school.
He painted in two distinct styles ; the one delicate and some
times highly elaborated, the other bold, rapid, and impression
istic ; both manners are well exemplified by the specimens in
the collection. According to the Gwa-jin riaku nen-pio, he
died in 1821, at the age of seventy-four.
Shiu-ho ; named also Ki-shin and Sho-yu-sai. A celebrated artist
of Osaka. His drawings of monkeys are little inferior to
those of SosBN. (See No. 2291.)

SHIJO SCHOOL. 419

Ho-YEN. One of the most accomplished and representative artists
of the school. His paintings of animal and vegetable life com
bined a perfectly graceful touch with great fidelity to nature ; and
while many of his rivals produced little more than academical
studies, he has given us some of the most charming picture com
positions of the present century. The collection of Mr. E. Phene
Spiers includes some valuable specimens of his work, and a good
example of his burlesque style may be seen in No. 2264. Many
clever pupils were educated in his atelier, and some of his
followers are working for the foreign market in the present dav.
Ean-ko (Na-kai); named also Shin and Haku-yo. A native of
Osaka. Noted for landscape and figure.
Yo-SAi (KiKU-OHi) ; named also Take-yasu. The most brilliant
of the modern pupils of the Shijo School. He distinguished
himself from the rest of the naturalists by directing his powers
almost entirely to figure painting, and is now chiefly known by
his magnum opus the Zenken kbjitsu, a noble series of portraits
of Japanese celebrities in the costume of their periods. He
died at the age of ninety-one, in 1878. Many of his original
drawings are in the collections of Messrs. Gonse and Duret,
and have been recently exhibited at Paris ; and two good
examples of his brush are in the collection (Nos. 2345-6).
Jo-Eiu. A pupil of Okio. His style was vigorous, but compara
tively coarse. (See Nos. 2270-1.)
Shin-zo. Son of Jo-Eitj. Noted for drawings of beautiful women.
Ippo (Moei). A pupil of Tessan. As a painter of birds he
• stands very high, even amongst Japanese artists. The col
lection of Mr. Gowland, of Osaka, includes some of his best
works. (See Nos. 2275-7.)
To-shiu (Muea-kami) ; named also Naei-aki. A contemporary of
Okio.
Ze-shin (Shiba-ta). A living artist of great originality, cele
brated chiefly as a lacquer painter. An admirable example of
his naturalistic manner has been reproduced by M. Gonse in
'L'Art Japonais,' and the picture of Shoki and the Demons
(No. 2255) illustrates equally well another phase of his genius.
Tetsu-gai (Naka-muea) ; named also Kin-noei, Zaku-een, and
Mu-GEN Eo-jin. Eenowned especially for drawings of Mount
Fuji. (See No. 2295.) 2 E 2

420 JAPANESE PICTORIAL ART.

SHIJO SCHOOL.

2251. Kakemono, on silk, painted in colours. Size, 38| x 13J.
Two fan-mounts, decorated with flower designs.
Painted by Maeu-yama 0-kio. Signed 0-kio. Seal. Dated
in the period Anyei (1772 to 1781).
2252. Kakemono, on silk, painted in colours. Size, 14^ x 19|.
Carp.
The transparency of the stream is indicated by wavy bands of
light and shadow, through which appear the objects in the water.
Painted by Maeu-yama 0-kio. Signed 0-kio. Seal.
Dated in the Hare year of Temmei (1783).
2253. Kakemono, on silk, painted in colours. Size, 40| X 13|.
" The Hundred Cranes."
Painted by Maeu-yama 0-kio. Signed 0-kio. Seal.
Eighteenth century.
2254. Kakemono, on silk, painted in colours. Size, 17^ X 18|.
Daikoku. (See p. 33.)
The god, mounted upon his rice bags, is looking at a salver con
taining a number of the Takara-mono. The setting sun appears
in the background.
Painted by Maeu-yama 0-kio. Signed 0-kio. Seal,
Dated in the 4th year of Temmei (1783).
2255. Kakemono, on silk, painted in colours. Size, 38| X I2|.
Puppies at play.
Painted by Maeu-yama 0-kio. Signed 0-kio. Two seals.
Dated fourth year of Temmei (1783). The seals are not
those generally used by the artist, but the signature and
draughtsmanship indicate the genuineness of the work.

SHIJO SCHOOL. 421

2256. Kakemono, on silk, painted in colours. Size, I4| x 25|.
Bird's-eye view of Uji.
liightly sketched in ink, water faintly tinted with blue.
Painted by Maeu-yama 0-kio. Signed 0-kio. Seal.
Latter part of eighteenth century.
Uji is a small town upon the river of the same name. The place is
surrounded by tea plantations, and is celebrated for producing the best
quality of tea in Japan (see Satow and Hawes' ' Handbook for Japan ').
2257, Kakemono, on silk, painted in colours. Size, 4*^f X I6|.
Carp leaping the cataract.
Painted by Maeu-yama 0-kio(?). Signed 0-kio, Seal.
Latter part of eighteenth century.
2258, 2259, and 2259a. A set of three kakemonos, on silk,
painted in colours. Size, 38| x 15f .
1. The winter flight of Tokiwa. (See No. 843.)
2 and 3. Fowls.
Painted by Maeu-yama 0-kio (?). Signed 0-kio. Seal.
Dated " Ox " year of Temmei (1781).
2260. Kakemono, on silk, painted in colours. Size, 36| X 12f .
Fowls. Painted by Maeu-yama 0-kio (?). Signed 0-kio. Seals-
Poetical inscription by Yoeo-an. Dated ninth year of
Temmei (1789).
2261. Kakemono, on silk, painted in colours. Size, 16 x 27f .
Fowls.
In the style of Okio, but much less spirited in design.
Painted by Maeu-yama 0-zui. Signed 0-zui. Seal, End
of eighteenth century,
2262. Kakemono, on silk, painted in colours. Size, 43J X I6J.
Cock in a rain shower.
A vigorous sketch, in the best manner of the school, by an
* ukiyo-ye ' painter.
Painted by Ean-toku-sai. Signed. Seal. Dated sixth
year of Temmei (1785).

422 JAPANESE PICTORIAL ART.
2263. Kakemono, on silk, painted in colours. Size, 15| X 50J.
Cock. Painted by Den-ko-kio. Signed. Seal. Dated Tiger
year of Temmei (1782).
2264. Kakemono, on silk, painted in colours. Size, 19f X 34.
The Grasshopper procession.
A Daimio's procession burlesqued by insects. The Daimio's Icago
is represented by a wicker cicada cage, but the tenant of the con
veyance is not visible. This is preceded by a noble array of Mantis
Samurais, whose affected and exaggerated stride is intended to
caricature the peculiar gait by which the military vassals of old
Japan were wont, on special occasion, to impress their superiority
upon the unmartial civilians. Behind these come an army of wasps,
who take the place of baggage coolies ; and in the rear is seen one
of the 01 TToXkoL bowing his head to the ground in obedience
to the stern order of " Shita ni iro," or "Down with you!" shouted
at intervals by the two-sworded escort.
The processional spears, &c., the number of which is proportioned
to the rank of the Daimio, are represented by wild flowers of various
kinds. This picture has an interest as the original of the multitudinous
sketches made in later years by artisan artists for the foreign
market. Painted by Ho-yen. Signed. Seal. Early part of nine
teenth century.
2265 and 2266. A pair of kakemonos, on paper, painted in
colours. Size, 53f X I4f ,
1, Sparrows in the rain-light.
2. Cuckoo.
Painted by Matsu-muea Kei-bun. Signed Kei-bun. Seal.
End of eighteenth century.
2267. Kakemono, on silk, painted in colours. Size, llf X 8|.
Fisherman. Painted by Matsu-muea Kei-bun. Signed Kei-bun. Seal.
End of eighteenth century.
2268. Kakemono, on silk, painted in colours. Size, 40 X 19f.
Wild Geese, Moonlight,
Painted by Kei-bun. Signed. Seal. End of eighteenth
century.

SHIJO SCHOOL. 423

2269, Kakemono, on paper, painted in colours. Size, 52| x 22f .
Woodmen. Attributed to Kei-bun. No signature. End of eighteenth
century.
2270 and 2271. A pair of kakemonos, on silk, painted in colours.
Size, 42 X I6|.
Birds and spring flowers.
Painted by Jo-Eiij. Signed. Seal. End of eighteenth
century.
2272 and 2272a. A pair of kakemonos, on silk, painted in
colours. Size, 37^ X 13.
Landscapes. Spring and autumn views.
Painted by Moei Ippo. Signed Ippo. Seal. Nineteenth
century.
2273. Kakemono, on silk, painted in colours. Size, 45| X 20|^.
Peacock.
A powerful sketch without any of the usual elaboration of
plumage. Painted by Moei Ipp5. Signed Ippo. Seal. Nineteenth
century.
2274. Kakemono, on silk, painted in colours. Size, 40| X 14^.
Ducks. Winter scene.
Painted by Moei Ippo. Seal. Nineteenth century.
2275, Kakeinono, on silk, painted in colours. Size, 56| X 33f.
Plying cranes.
The two birds, sweeping gracefully through the air, are skilfully
foreshortened, and drawn with a delicacy and decision of touch
characteristic of the works of the artist. The lower half of the
picture is left blank to convey an idea of the height at which the
storks are poised. The conventional red sun is introduced partly
in conformity with a time-honoured association of ideas, and partly
for purposes of decorative effect.
The effect of the feathery surface is obtained by a thin " glazing "
of white. Painted by Moei Ippo. Signed Ippo. Seal. Nineteenth
century.

424 JAPANESE PICTORIAL ART.
2276. Kakemono, on silk, painted in colours. Size, 40| x 16^.
Tanuki (Nyctereutes procyonoides, or Eacoon-faced dog).
The animal is sitting upon its hind quarters, drumming upon its
• abdomen in the moonlight.
Painted by Moei Ippo. Signed Ippo. Seal. Nineteenth
century. The racoon-faced dog (Tanuki), commonly referred to by Europeans as
a badger, has a reputation of almost as unenviable a character as that
of the fox. Like his vulpine relative, he has the power of transformation,
but his changes of shape tend rather to the accomplishment of practical
jokes than to wilful evil-doing, and in addition he is credited with a
fictitious peculiarity of anatomy which has given rise to many funny
stories. The most familiar Tanuki narrative is that of the " wonderful and lucky
tea-kettle " (see Mitford's ' Tales of Old Japan,' and Griffis' ' Japanese Fairy
World '). The animal is believed to be in the habit of leading wayfarers
astray on moonlight nights by sweet sounds evoked by drumming upon its
inflated abdomen.
2277. Kakemono, on silk, painted in colours. Size, 37 X 13|.
Landscape. Moonlight.
The borders of a lake. In the foreground a fisherman returning
from his labours.
The light differs in no respect from that of a day scene.
Painted by Moei Ippo, Signed Ippo, Seal. Nineteenth
century.
2278, Kakemono, on paper, painted in monochrome. Size,
52J X 19|,
Japanese monkeys.
Painted by Moei So-sbn. Signed So-sen. Seal. End
of eighteenth century.
2279. Kakemono, on silk, painted in colours. Size, 46^ X 20|.
Monkeys and pine-tree.
In the more careful style of the artist.
Painted by Moei So-sen. Signed So-sbn. Seal. Nine
teenth century.
2280. Kakemono, on paper, painted in colours. Size 14^ X 22|,
Monkey.
A long-armed black monkey, with an abundance of long hair
about the face.

SHIJO SCHOOL. 425

Sketched in rapid style with ink. Eyes and tongue lightly
tinted. Painted by Moei So-sen. Signed So-sen. Seal. End of
eighteenth century.
2281. Kakemono, on purple silk, painted in gold ink. Size, 9J x 9J.
Monkey.
The animal has a Shinto hat upon his head, and holds a go-hei
wand. Painted by Moei So-sen. Signed So-sen. Seal. Nine
teenth century.
2282. Kakemono, on paper, painted in monochrome. Size,
46f X I8f.
Monkeys.
Eapid sketch.
Painted by Moei So-sen, Signed So-sen, Seal, End of
eighteenth century,
2283, Kakemono, on silk, painted in colours. Size, 4If X I5f,
Monkeys and plum-tree.
Carefully painted, A characteristic exarhple of the more -finished
work of the artist.
Painted by Moei So-sbn, Signed So-sen, Seal, Nine
teenth century,
2284, .. Kakemono, on paper, painted in monochrome. Size,
371 X lOf ,
Monkey.
Eapid sketch.
Painted by Moei So-sen. Signed So-sen, Seal, End of
eighteenth century.
2285. Kakemono, on silk, painted in colours. Size, 39J X I4|^.
Deer and Pawn (Gervus Shika, Sieb.).
Painted by Moei So-sen. Signed So-sen. Seal. Nine
teenth century.
2286. Kakemono, on silk, painted in colours. Size, 21| x I6f ,
Deer. Painted by Moki So-sen. Signed So-sen. Seal, Nine
teenth century.

426 JAPANESE PICTORIAL ART.
2287. Kakemono, on silk, painted in colours. Size, 30-| x 8|.
Hart and Hind.
Painted by Moei So-sen. Signed So-sen. Seal. Nine
teenth century.
2288. Kakemono, on paper, painted in colours. Size, 41J x 10|.
Hare.
Sketched in ink, and lightly tinted with colour.
Painted by Moei So-sen. Signed So-sen. Seal. Nine
teenth century.
2289. Kakemono, on silk, painted in colours. Size, 50| X 19|.
Chinese Sages.
Eoughly sketched. (Ganku school ?)
Painted by Gan-kei. Signed. Seal. Nineteenth century.
2290. Kakemono, on silk, painted in colours. Size, 36| X 11^.
Cranes. Artist unknown. No signature. Seal. Nineteenth century.
2291. Kakemono, on silk, painted in colours. Size, 41| X 11^,
A group of monkeys.
Painted after the manner of Sosen, and with equal deHcacy
of touch and truth to nature.
Painted by Shio-ho at the age of sixty-five.
Signed Ho-gen ShiO-h6. Seal. Nineteenth century.
2292. Kakemono, on silk, painted in colours. S'ize, 18 X 52|.
View of Mount Fuji.
Painted by Ishi-bashi Ei-cho. Signed Ei-oho. Seal.
Early part of nineteenth century.
2293. Kakemono, on silk, painted in colours. Size, 47f X 20.
Waterfall. Painted by Ishi-bashi Ei-cho. Signed Ei-cho. Seal.
Early part of nineteenth century.
2294. Kakemono, on paper, painted in monochrome. Size, 60| X 36.
Landscape. Bain scene.
Painted by Ishi-bashi Ei-ch6 after a picture by Go-
. getsutKei (Gekkei or Go-shun). Signed, Seal. Nine
teenth century.

SHIJO SCHOOL. 427

2295. Kakemono, on silk, painted in colours. Size, 22J X 33f.
View of Mount Fuji.
Painted by Tetsu-gai. Signed. Seal. Early part of
nineteenth century.
2296. Kakemono, on silk, painted in colours. Size, 43^ X 15|.
Monkeys. Painted by Moei Shiu-sen. Signed Tai-shi Yu-eio-sai
Moei Shiu-sen. Seal. Nineteenth century.
The prefix Tai-shi indicates that the succeeded name was con
ferred by the Shogun.
2297. Kakemono, on silk, painted in colours. Size, 39| x 14|^.
The cascade of Mino.
Showing the descent of the slender, graceful waterfall into a
picturesque wooded valley.
Painted by Kaku-o Niohi-eio at the age of seventy-
eight. Signed. Seal. Nineteenth century.
The waterfall is situated a few miles to the N.W. of Osaka, and is the
second in Japan for beauty and extent of fall (60 feet). See Summers'
' Notes on Osaka,' Trans. As. Soc. of Japan, v. 7.
2298. Kakemono, on silk, painted in colours. Size, 39| X 5J.
Landscape. Snow scene.
Painted by Ei-oho-shiu. Signed. Seal. Nineteenth
century.
2299. Kakemono, on silk, painted in colours. Size, 40|^ X I4f.
Quails. Painted by Ei-cho-shiu. Signed. Seal. Nineteenth
century.
2300. Kakemono, on silk, painted in colours. Size, 64 x 36|.
Deer and maple-tree.
Painted by Moei Tessan. Signed Tessan (Tetsu-zan).
Seal. Early part of nineteenth century.
2301. Kakemono, on silk, painted in colours. Size, 40f X 14|.
Cherry-trees in flower.
" Copied from the cherry-trees of Tsukuba Hill."
Painted by KwA-m. Signed. Seal. Early part of nine
teenth century.

428 JAPANESE PICTORIAL ART.
2302. Kakemono, on silk, painted in colours. Size, 56f X 22f ,
" The cherry-blossoms of Mikawa,"
A characteristic example of the flower painting of the Shijo
school. The edges of the petals are thrown into relief by a process
of impasto. Painted by 0-ta Km-Km, Signed 0-ta no Musume (the
daughter of Ota), Dated in the period of Bunkwa (1804 to
1818).
2303, Kakemono, on silk, painted in colours. Size, 34f x 13,
Cherry-blossoms, Pan mounts,
A pretty but untruthful effect is gained by conferring a fictitious
semi-transparency upon the petals. This is one of many expedients
adopted to compensate for the absence of chiaroscuro.
Painted by Gioku-shi. Signed Gioku-shi Shiu-jin. Seal,
Nineteenth century,
2304, Kakemono, on silk, painted in colours. Size, 34^ x 13^,
The temple of Ishiyama. Snow scene.
Painted by Ko-shiu. Signed, Seal, Nineteenth century,
2305, Kakemono, on paper, painted in monochrome. Size,
241- X 43|,
Chinese landscape. Winter scene.
The shore of a bay or lake. The whole landscape thickly covered
with snow.
The whiteness of the snow is represented by the untouched paper.
The execution, as well as the materials, is of the simplest kind, but
the artist has been remarkably successful in conveying the im
pression of the still, chilly atmosphere that reigns over the wintry
scene. Painted by Moei Tssen. Seal. Nineteenth century,
2306. Kakemono, on silk, painted in colours. Size, 39| X 13^.
The young Kintoki and his mother, (See No, 2125,)
Kintoki is seen as a sturdy boy of florid complexion, grasping an
axe of formidable dimensions. His mother, a " Yama-uba," or
mountain woman, of rather witch-like aspect, is carrying upon her
back a basket of loquats (biwa).
Painted by Mobi Tessan, Signed, Seal. Poetical
inscription. Early part of nineteenth century.
The Yama-ubas, or old women of the mountain, are beings, half spiritual,
half human, that haunt the mountains and are friendly to man, guiding

SHIJO SCHOOL. 429

lost wayfarers, or aiding overloaded woodmen to caixy their burdens. The
only member of the tribe that has been invested with a special individu
ality in story is the mother of Sakata Kintoki.
It is related that Yorimitsu (see Nos. 285 and 383) had long belin searching
to enlist a retainer worthy of association with his doughty squires Tsuna,
Suyetake, and Sadamichl. Once, when stopping on his way to Kioto, to
enjoy the magnificent prospect from Mount Ashigara in Idzu, he observed
a cloud of curious form overhanging a distant summit, and interpreting
the appearance as an indication of the presence of a hero, he ordered Tsuna
to seek the place. The retainer, after travelling over a steep and difficult
path to the bottom of a valley at the foot of the peak, found a hut in
which were an old woman and a boy. He accosted them, and when the
woman learned that he was a retainer of the noble Yorimitsu she proposed
to place the boy, her son, in the same service. She told him that " shfe
had breathed the air of heaven upon tbe mountains for many hundreds of
years, and had neither parents nor husband, but the child who was with
her was the fruit of a dream in which a red dragon had appeared before
her. From his earliest years the boy had shown a warlike spirit and longed
to follow a great general, that by brave deeds he might make his own name
famous throughout the empire."
The boy was adopted by Yorimitsu, and became one of the knightly
celebrities of his age.
Another version of the story is related in Griffis' ' Japanese Fairy World.'
In pictures he is commonly seen as a stout, ruddy child, half naked, and
armed with a huge axe, sometimes struggling with a bear, sometimes
standing over the prostrate Thunder-god, whom he has overthrown, or
playing with a nest of callow Tengus which he has just captured by means
of the limed stick of the birdcatcher (see No. 2125). As a follower of
Yorimitsu he does not appear to have made for himself a separate renown
like his comrade Tsuna, the demon-slayer.
2307, Kakemono, on silk, painted in colours. Size, 50| X 21^,
Camels,
Probably copied from life.
Painted by Ean-ko, Signed. Seal. Nineteenth
century,
2 08, Kakemono, on silk, painted in colours. Size 60f x 17|,
Plum-blossom and Mount Fuji.
The picture and its bordering are formed by the same piece of
silk, which is coloured where it represents the mounting. Within
the picture limits is seen a faint outline of the peerless mountain,
while a boldly drawn flowering branch of plum stretches across the
whole surface, producing the efi'ect of a tree standing in front of
the painting. Painted by Naga-sawa Eo-shiu. Signed Eo-shiu, Seal,
Beginning of nineteenth century.

430 JAPANESE PICTORIAL ART.
2309, Kakemono, on silk, painted in colours. Size, 21-|^ X 21\.
Monkeys. Painted by Sen-po. Signed. Seal. Dated ninth year
of Bunsei (1826).
2310. Kakemono, on silk, painted in colours. Size, 38f X 13|.
Monkey, Painted by Ama-no Hei-gan, Signed, Seal. Nineteenth
century.
2311, Kakemono, on silk, painted in colours. Size, 46f x 21.
Courtesans.
The large hair-pins and the long, highly decorated pipe are
accessories worthy of note. The drawing is after the manner of the
Hishigawa school, and should have been placed with the Ukiyo-ye.
This picture was probably intended to form a companion to
the following. Painted by Kawa-ai Kwan-sbtsu. Signed Kwan-setsu.
Seal. End of eighteenth century.
2312, Kakemono, on silk, painted in colours. Size, 49| X 21f .
Courtesans. Painted by Kwan-sbtsu. Signed. Seal. End of eighteenth
century.
2313, Kakemono, on silk, painted in colours. Size, 49^ X 21f.
"Cuckoo (HoTOTOGisu) in rain light."
The bird, flying far above the trees, is uttering its note. The
breaking clouds above transmit slanting rays of sunlight which
illuminate the vapour-laden atmosphere and throw a half-trans
parent veil before the distant pine-clad hills.
The style is in great contrast to that of the two preceding pictures
by the same artist.
Painted by Kwan-sbtsu. Signed, Seal, End of eighteenth
century,
2314, Kakemono, on silk, painted in colours. Size, 56f X 33|.
Pea-fowl and pine-tree.
Sketched in ink and thinly washed with gold and colour.
In delicacy and freedom of touch, and in fidelity to nature, this
picture holds a place in the first rank of the productions of the
school, but no record can be found of the artist's name.
, Painted by Sai-kio-eio Yu-sei. Signed, Seal, Early
part of nineteenth century.

SHIJO SCHOOL. 431

2315, Kakemono, on silk, painted in monochrome. Size 45| X 27J.
The approach of a storm. River scene.
The story is told by the agitated waves driven into great billows
by the gust that heralds the storm, by the cowering reeds, the bent
limbs of the trees that fringe the river-bank, tbe unwonted energy
of the fishermen who, urging their boat in the teeth of the wind,
are straining every nerve to reach a place of safety before the
torrent bursts upon them. The murky sky and the dismal
atmosphere, expressed by a few "sweeps of the artist's brush,
complete the picture.
Painted by To-gaku Sei Shi-ki. Signed. Seal. Inscrip
tion, " The wind that sways the willow branches." Nine
teenth century.
2316. Kakemono, on silk, painted in colours. Size, 19 x 33|.
View of Mount Fuji.
The plain at the foot of the mountain is half concealed by mist.
On the right of the foreground is shown the brow of a hill,
bordered by a winding path.
Painted in ink relieved by a light wash of reddish-brown.
Painted by To-shiu. Signed. Seal. Nineteenth century.
2317. Kakemono, on silk, painted in colours. Size, 39|^ X I6f.
Monkey and Wistaria.
In the style of Sosen, but painted with a finer brush and with
less freedom of style.
Painted by Uye-da Ko-chiu. Signed Ko-chiu, Seal.
Nineteenth century.
2318. Kakc?mono, on silk, painted in monochrome and gold. Size,
57i X 281.
Pea-fowl and peonies.
Painted by Ko-sei. Signed. Two seals. Seal indi
cating point of commencement at right lower corner. Nine
teenth century.
2319. Kakemono, on silk, painted in colours. Size, 42f x 16f .
Carp and other fishes.
After the style of Okio.
Painted by Ean-tei. Signed. Seal. Nineteenth century.

432 JAPANESE PICTORIAL ART.
2320. Kakemono, on paper, painted in colours. Size, 62 X 37f ,
Sparrows.
Eoughly sketched.
Painted by To-Ko, Signed To-k6 Cho-sha. Seal, Nine
teenth century.
2321. Kakemono, on silk, painted in colours. Size, 42| x 13|^.
Carp and other fishes.
Painted by Kan-ho. Signed. Seal. Nineteenth century.
2322. Kakemono, on silk, painted in colours. Size, 43J X 17|,
Children and pine-trees.
Painted by Ha-shiu, Signed, Seal, Nineteenth century,
2323, Kakemono, on silk, painted in colours. Size, 22| x 44f ,
A spring view of Yoshino,
The general character of the scenery is very faithfully repro
duced. The valley at the foot of the mountain is white with
cherry-blossoms. Painted by Un-po, Signed, Seal, Nineteenth century,
Yoshino, in the province of Yamato, is a famous resort of pilgrims, who
are attracted in the spring or early summer by the beauty of its cherry
groves. The prospect in the month of AprU, when the trees are iu blossom,
almost defies the pencil of the artist. For a description of the locality,
see the ' Handbook for Japan,' p. 407.
2324, Kakemono, on silk, painted in colours. Size, 39f X 14,
Portrait of a warrior.
After the style of Hoyes,
Painted by Gen- ybi. Signed, Seal, Nineteenth century,
2325, Kakemono, on silk, painted in colours. Size, 44f X 16|.
Cherry-tree and small birds. Spring.
Painted by Boku-sho. Signed. Seal. Nineteenth century.
2326. Kakemono, on silk, painted in colours. Size, 32| X Il|^.
Sparrow, Painted by Chin-nen, Signed, Seal. Nineteenth century.
2327, Kakemono, on silk, painted in colours. Size, 39 X I4J,
Cuckoo and rainbow.
Painted by Gen-ean. Signed, Seal. Nineteenth century.

SHIJO SCHOOL. 433

2328, Kakemono, on silk, painted in colours. Size, 37f X 16|.
Carp,
After the style of 0-kio.
Painted by Kwa-ya. Signed. Seal. Nineteenth century.
2329. Kakemono, on paper, painted in colours. Size, 48J x 21J.
Small fishes in stream.
Painted by Eissaku-shi Gan-shun. Signed. Seal. Nine
teenth century.
2330, Kakemono, on silk, painted in monochrome. Size, 40 X 14.
Carp ascending waterfall.
Edges of scales heightened with gold.
Painted by Shin-sai. Signed. Seal. Nineteenth century.
2331. Kakemono, on silk, painted in monochrome. Size, 34| X 10|- .
Carp and other fishes.
Painted by Masu-yama Sessai. Signed. Seal. Nine
teenth century.
2332. Kakemono, on silk, painted in colours. Size, 46| X 16.
May festival decoration.
A bunch of white and red flowers, bound together with chrys
anthemum leaves and pranges by means of " cords of five colours "
(white, blue, yellow, green, and red), and suspended upon one of
the upright posts (hashira) which support the cross-beams of the
room. Painted by Haea Zai-mei. Signed Zai-mei. Seal. Nine
teenth century.
2333. Kakemono, on silk, painted in colours. Size, 48f X 19f .
Fowls and gourd plant.
Painted by Haea Zai-sho and Ko-ybi. Signed. Seals.
Nineteenth century.
2334 and 2335. A pair of kakemonos, on paper, painted in
colours. Size, 47^ X 20|.
Cranes and tortoises.
Painted by Tachi-bana Shun-to. Signed Shun-to. Seal.
Nineteenth century. 2 F

434 JAPANESE PICTORIAL ART.
2336. Kakemono, on silk, painted in colours. Size, 44f x 21|.
Flowering cherry-tree and small birds.
Painted by Kin-eio. Signed. Seal. Nineteenth century.
2337. Kakemono, on silk, painted in colours. Size, 37f x 14|.
Imperial grooms and horse.
Painted by Ji-ho Gen-w6. Signed. Seal. Nineteenth
century.
2338. Kakemono, on silk, painted in colours. Size, 40| X 16.
Wild Geese.
Sketched in ink and lightly coloured. A large moon is drawn in
the upper part of the picture, but casts no shadow.
Painted by Kei-ein. Signed. Seal. Nineteenth century.
2339. Kakemono, on silk, painted in colours. Size, 40 X 141.
The Empress Jingo with the infant Ojin Tenno
and Takeno-uchi no Sukune. (See page 141.)
Painted by Kan-zan. Signed. Seal. Nineteenth century.
2340. Kakemono, on silk, painted in colours. Size, 41f x 16^.
Peacock, peony, and plum-blossoms.
Painted by Kan-zan. Signed. Seal. Nineteenth century.
2341. Kakemono, on silk, painted in colours. Size, 18f X 28|.
Imperial procession to the Temple of Kami-kamon
in Kioto.
A long cortege of Kuge, Samurai, Shinto priests, and servants,
escorting the sacred Phoenix Car. In the distance is a less preten
tious vehicle, bearing the Tokugawa crest, accompanied by Hata-
motos (Samurai in the service of the Shogun). The rear of the
procession is lost in the arbitrary cloud which artistic licence allows
to excuse the introduction of unnecessary details.
Painted by Haku-eei. Signed. Seal. Dated third year
of Bunkiu (1863).
2342. Kakemono, on silk, painted in colours. Size, 41| x 14^.
Cranes.
Painted by Kiu-ko. Signed. Seal. Nineteenth century.
2343. Kakemono, on silk, painted in colours. Size, 44 X I6|,
Carp leaping from the water.
Faintly coloured, high lights touched with gold.
Painted by Eai-sho, Signed. Seal, Nineteenth century.

SHIJO SCHOOL. 435

2344. Kakemono, on silk, painted in colours. Size, I5f x 25|.
Pishing by moonlight.
An attempt is made to show the shining path of light reflected
upon the water by the rising moon.
Painted by To-sho. Signed. Seal. Nineteenth century.
2345. Kakemono, on silk, painted in colours. Size, 20| x 28f.
Hadesu slaying the Korean tiger. (See page 391.)
Painted by Kiku-chi Yo-sai. Signed Yo-sai. Seal. Nine
teenth century.
2346. Kakemono, on silk, painted in colours. Size, 40| X llf.
Fukurokujiu. (See p. 30.)
YosAi's conception of the earthly embodiment of the " Star of
Longevity " differs as widely from the hackneyed and often insig
nificant portraitures of the Kano and Chinese schools, as do the
heroes of his Zenken Kojitsu from the nonentities that sometimes
figure in the makimonos of the Yamato artists. The face of the
god, that of a grave old man whose near approach to the extreme
confines of this life would seem to have permitted a glimpse into
the mysteries of the higher existence beyond, has a strange expres
sion of thoughtful sadness, a far-away look into the past of his lost
youth, and gains in intellectual dignity from the preternaturally
lofty brow that tradition has fixed as his distinctive character.
The unsubstantial diaphanous aspect of the rest of the figure throws
out into strong relief the firmly limned features, and is in perfect
harmony with the vaporous cloud-wreath that bears the departing
sage upwards into the liome of the Immortals.
The lineaments of the figure are said to present a strong resem
blance to those of the artist, a fact which would lend a special
significance to the work, one of the latest productions of Yosai's
declining years.
Painted by Kiku-chi Yo-sai at the age of eighty-three.
Signed Yo-sai. Seal. Nineteenth century.
2347. Kakemono, on silk, painted in colours. Size, 35J x 12J.
Kwanyin on Dragon. (" Eiu-dzu Kwannon.")
Attributed to Kiku-chi Yo-sai, but probably the work of a pupil.
No signature or seal. Nineteenth century.
2348. Kakemono, on silk, painted in colours. Size, 13 x 22.
The Signs of the Zodiac.
A circle formed chiefly by representations of the twelve animals
of the Duodenary cycle of the Chinese, and completed by the
2 P 2

436 JAPANESE PICTORIAL ART.
figures of Daikoku and l^bisu. A coolie is seen outside the
zodiacal ring leading his horse through a stream.
Painted by Ye-da Chiku-koku, Signed Chiku-koku.
Seal. Dated thirteenth year of Bunkwa (1816).
The " Twelve Animals " (Jiu-ni Shi) of the Duodenary cycle, which are
in some degree analogous to our Signs of the Zodiac, are tlie Rut, the Ox,
the Tigei-, the Hare, the Dragon, the Serpent, the Horse, the Goat, the
.Monkey, the Cook, the Dog, and the Boar. They are supposed to exercise
an influence according to the attributes assigned to each, over the hour,
day, or year to which as elementary parts of the cycle they respec
tively appertain. Their use is said to extend as far back in China as
the second century, a.d., and is believed to have been introduced by Tartar
intercourse. Ste Mayers' ' Chinese Eeader's Manual,' p. 351.
2349. Kakemono, on silk, painted in colours. Size, 34|- x 17^.
Bird's-eye view of a portion of Kioto.
Painted in the style of the Meisho artists. The moment is chosen
when the evening mists are descending upon the city, obscuring
the humbler dwellings, but topped by the nobler architecture of
temple and mansion.
Painted by Yama-guohi So-jun. Signed So-jun. Seal.
Nineteenth century.
2350. Kakemono, on silk, painted in colours. Size, 39| x 14.
O-kame. (See No. 287.)
The goddess is attired in the dress of a lady of the ancient
Japanese Court. Her face has the traditional foolish form and
expression. Painted by Yama-guchi So-jun. Signed. Seal. Poetical
inscription by Kamo no Seitaka. Nineteenth century.
2351. Kakemono, on silk, painted in colours. Size, 13 X 31|.
A roadside robbery. Winter scene.
The thieves have pillaged and stripped a wayfarer, but, inter
rupted in their merciless work by the passage of a file of merchants
along the adjacent road, are threatening their victim to deter him
from raising an alarm. The freezing atmosphere of the picture,
and the wild scenery, convey a vivid idea of the probable fate of
the poor naked wretch, who is clasping his hands in an agony of
entreaty and despair, while his plunderers prepare to carry off the
whole of his possessions.
Artist unknown. Seal. Nineteenth century.

SHIJO SCHOOL. 437

2352. Kakemono, on silk, painted in colours. Size, 16| X 20|.
The Sun Goddess emerging from her cave, (See
No. 1905.)
The strong-arihed god Tajikara-o no Kami has dragged aside the
rock from the entrance of the cavern into which the insulted Ama
terasu had retired, and is leading her forth amidst the acclamations
of her fellow-deities. Okame, the Goddess of Folly, is a conspicuous
figure, dancing upon a drum in disordered attire, and holding in
her hands a bamboo branch and bells.
The darkness of the sky and distant hills contrasts with the
strongly illuminated group in the foreground.
Artist unknown. Nineteenth century,
2353, Kakemono, on silk, painted in colours. Size, 41| X 16.
Persimmon tree and small birds.
Painted by Kisu-i. Signed. Seal. Nineteenth century.
2354, Kakemono, on silk, painted in colours. Size, 14| x 19|.
Puppies,
Painted by Kisu-i, Signed. Seal. Nineteenth century.
2355. Kakemono, on silk, painted in colours. Size, 40 X 15.
Chung Kwei and the Demons. (See No. 687.)
The mounting of this kakemono is represented by a coloured
border painted upon the same piece of silk that bears the design,
by which departure from the ordinary practice the artist is enabled
to represent the imps as having been kicked out of the picture by
the fierce demon-queller.
The introduction of the golden dust cloud enveloping the expelled
devils is deserving of notice.
Painted by Shiba-ta Ze-shin. Signed. Seal. Nine
teenth century,
2356. Kakemono, on silk, painted in colours. Size, 43 x 15f .
Sparrow and Wistaria.
The ends of the rolling stick are decorated with a lacquered
design, probably by the artist. The material used in the mounting
is a European fabric.
Painted by Shiba-ta Ze-shin. Signed ^e-shin. Seal.
Nineteenth century.
2357. Kakemono, on silk, painted in colours. Size, 40| X 14^.
Monkeys.
The style of painting resembles that of the Shijo school, but the

438 JAPANESE PICTORIAL ART.
drawing is inferior to that of Sosen and some other Japanese artists
attached to the more naturalistic academies.
Painted by Gaku-h6 Yo-koku. Signed, Seal. Early part
of nineteenth century.
2358. Kakemono, on silk, painted in colours. Size, 70 X 43|.
Tiger. Painted from life.
The animal is represented climbing upon a rock by the sea
shore. The attitude and expression are rendered with extraordinary
vigour, and the details of hair and other parts are painted with
extreme minuteness, but without injury to the power of the design.
The artist has, however, drawn upon his imagination in the delinea
tion of the canine teeth, and has conventionalised the painting of
the eye.
The effect of the hairy coat is softened by a thin glaze of white.
Painted by Kiu-ho To-yei (an artist of the Kano School ?)
Signed. Seal. Dated Snake year of Kiowa (1803).
2359. Kak'mono, on silk, painted in colours. Size, 4A\ x 16f.
Fishes.
A group of small fishes swimming in a transparent stream. Two
large branches bearing white flowers cross the foreground of the
picture. Painted by Ki-ho. Signed. Seal. Nineteenth century.
2360. Kakemono, on silk, painted in colours. Size, 42| X 14^.
Snow scene.
Eapidly sketched.
Painted by Oka-moto Hogen (or Ko-son). Signed Oka
ToYO-HiKO. Seal. End of eighteenth century.
2361. Makimono, silk, painted in colours. Size, 386 X 10|.
"Interesting Views of the Islands of the Sea."
1. The island Tomoshima in Bingo.
2. The natural cave of Kannen-kaku.
3. The natural cave of Johon-iwa.
4. The well Akai.
6. The pool of Tsurugi.
6. The pool of Shinjoga.
7. A view from Mount Fuji.
8. A view on the inland sea from Mount Nagusa.
Artist unknown. Dated in the Horse year of Kwansei
(1798).

SHIJO SCHOOL. 439

2362. Makimono, paper, painted in colours. Size, 334 x 10|.
Views of Mount Fuji.
Painted by 0-ba Koee-kage. Signed. Seal. Dated
sixth year of Kwansei (1794).
2363. Makimono, paper, painted in colours. Size, 528 x 5^.
The Crown of Mount Fuji in all seasons.
The summit of the Peerless Mountain is shown as it appears at
different seasons in the year, and under the more exceptional
meteorological conditions. The phenomena of the single and
double snow cap are carefully drawn.
Artist unknown. Nineteenth century.
2364 and 2365. A pair of makimonos, paper, painted in colours
Size, 252 x II|-.
Miscellaneous rough sketches.
Painted by Shiba-ta Ze-shin. Nineteenth century.
2366, Makimono, on paper, painted in colours. Size, 448x1 0|-.
The Haunted Palace,
A ruined palace tenanted by dire goblins, who re-enact in cari
cature the stately parts once played by its noble occupants of
bygone days in the now dilapidated apartments. The weird
panorama is closed by a scene of active practical life in the kitchen
of a large mansion. A cock crowing upon a gate post indicates
that it is early morn, and that the horrors that have gone before
are but the disordered fancies of a dream.
Painted by Minamoto no Saki. Signed Minamoto Ki.
Two seals. Dated Dog year of Anyei (1778).
2367, Unmounted drawing, om silk, painted in colours. Size,
46| X I6|.
Tortoises,
Painted by Maeu-yama 0-kio. Signed 0-kio. Two seals.
Dated Snake year of Temmei (1785).
2368 to 2373, A set of six unmounted drawings, on paper, painted
in colours. Size, &\ x 5f .
Landscapes,
Painted by Maeu-yama 0-kio (?). Signed 0-kio, Seal,
End of eighteenth century.

440 JAPANESE PICTORIAL ART.
2374, Unmounted picture, on silk, painted in colours. Size,
&l X 11
Peony,
Painted by Maeu-yama 0-kio (?), Signed 0-kio. Seal.
End of eighteenth century.
2375. Unmounted picture, on silk, painted in colours. Size,
23| X 34i.
Mount Fuji,
Painted by Kan-gaku. Signed. Seal. Nineteenth century.
2376. Unmounted picture, on paper, painted in colours. Size,
24| X 39-1-.
Shinto Shrines at Ise,
Drawn in perspective.
Painted by Gioku-sho. Signed. Seal. Nineteenth
century (1880).
For a description of the shr'nes, see article by Mr. Satow in the ' Trans
actions of the Asiatic Society of Japan,' 1874.
2377 to 2395, A set of nineteen unmounted drawings, on silk,
painted in colours. Size, 16| X Ilf.
Miscellaneous sketches by artists of the school of
Ho-yen,
1. Plum, by Ho-yen.
2. Carp, by Kin-eei.
3. Flowers, by Go-sen.
4. Sparrow and plum-tree, by Nan-rei.
5. Scroll-genius, by Ko-san.
6. Chinese boys, by Go-sen.
7. Boys fishing, by Ko-y6.
8. Tortoises, by Eio-SETSU.
9. Melon, by Kio-ho.
10. Liu Pei (Gentoku) plunging into the stream,* by Kiso-i,
11. Cicada, by Shun-ko.
12, Fisherman, by Bai-sho.
13, Water plant, by Kan-yei.
14. Flower, by NAN-EEr.
15. Dried fish, by Shi-zan.
16. Fox in the dress of a pr'est, by Shon-h6.
17. Bird and flower, by Ko-Yo.
18. Samurai in armour, by Siio-gaku.
19. Flower, by Gioku-an.
Nineteenth century.
* Liu Pei, Jap. Eiubi or Gentoku, historically known as Chao Lieh Ti, was a
famous soldier of fortune of the 3rd century a.d., who rose from the position of

SHIJO SCHOOL. 441

a vendor of straw shoes to the throne of one of the three kingdoms into which
China was divided after the fall of the Han Dynasty. He died a.d. 222, shortly
after his accession to sovereign power. (See also Nos. 218, 689, 846, and 1745.)
The story relating to the incident here depicted has not yet been traced,
2396 to 2416, A set of twenty-one drawings, on paper, painted in
colours. Size, 8J X Ilf.
Birds and flowers.
Painted by Ko-yo. Nineteenth century.
2417 to 2421. A set of five unmounted drawings, on silk, painted
in colours. Size, 7^ X 7.
Miscellaneous designs. Birds, &c.
Painted by Sho-sh6-to Kage-muea. Signed, Seal. Nine
teenth century.
2422. Unmounted picture, on paper, painted in colours, ^ize,
lOf X 141.
Monkey.
Painted by Mi-wA. Signed. Seal. Nineteenth century.
2423. Unmounted drawing, on silk, painted in colours. Size,
91 X Hi.
Puppies.Artist unknown. Nineteenth century.
2424 to 2426. A set of three unmounted drawings, on silk,
painted in colours. Sizes various.
Sparrows.
Painted by Ikkio. Signed. Seal. Eighteenth century.
2427. Unmounted drawing, on silk, painted in colours. Size,
14J X 22f .
Imperial Cortege in Kioto.
Painted by Bai-shiu Gioku-ko. Signed. Seal. Dated
first year of Kayei (1848).
2428. Unmounted drawing, on silk, painted in colours. Size,
I4i X 22i.
Winter scene in Osaka.
Painted by Bai-shiu Gioku-k6. Nineteenth century.

442 JAPANESE PICTORIAL ART.
2429. Unmounted drawing, on silk, painted in colours. Size,
III X 50.
Bird's-eye view of Itsukushima.
Painted by Naka-muea Tbtsu-gai, Signed Tetsu-gai.
Seal. Nineteenth century.
2430. Unmounted drawing, on silk, painted in colours. Size,
151 X 42f.
The Shinto shrines at Ise. (See No. 2376.)
Painted by Tetsu-gai after a picture by Kwan-getsu.
Signed. Seal. Nineteenth century.
2431. Unmounted drawing, on silk, painted in colours. Size,
16| X 28.
Landscape. River with bridge.
Painted by Gekko. Signed. Seal. Nineteenth cen
tury.
2432. Unmounted drawing, on silk, painted in monochrome.
Size, 381 X 17.
Dragon.Painted by Minamoto no 0-ko. Signed Ji-ho Mina
moto NO 0-KO. Seal. Nineteenth century.
2433. Unmounted drawing, on paper, painted in colours. Size,
47f X 22|.
Tiger. Prom nature.
Painted by Kai-shin. Signed Tai-chi San-ka Kai-shin.
Seal.
" Copied for amusement on a summer day in the period of Bun
kiu (1861 to 1864)."
2434. Unmounted drawing, on silk, painted in colours. Size,
41 X I4J.
Wild Goose in flight.
Painted by Ka-gen. Signed. Seal. Nineteenth century.
2435. Unmounted drawing, on silk, painted in colours. Size,
43f X 18.
Wild Geese and Rushes. Moonlight.
Painted by Gun-p6. Signed. Seal (partly destroyed).
Nineteenth century.

SHIJO SCHOOL. ' 443

2436. Unmounted drawing, on silk, painted in colours. Size,
I5J X 41i.
Landscape. View of Mount Fuji.
A Daimio's cortege is seen in the foreground, and two peasants
kneel by the roadside in obedience to the cry " Shita ni iro," of the
Samurai guard who leads the train.
Artist unknown (Tetsu-gai?). Seal. Nineteenth century.
2437. Unmounted drawing, on silk, painted in colours. Size,
441 X 16f.
Sparrows and peonies.
Painted by Kei-bun. Signed. Seal. Nineteenth century.
2438. Unmounted drawing, on silk, painted in colours. Size,
39^ X 14f.
The Fairy attendant of Si Wang Mu (Sbi-o-bo no
Shiji).
A female figure not unlike that of Benten, crowned with a
Phoenix tiara, and holding a one-stringed instrument of music.
She is supported by a cloud, and a white dragon lies coiled around
her feet. (See Jiki Shiho, vol. iv.)
Painted by Ko-un. Signed. Seal. Nineteenth century.
The handmaids of Si Wang Mu (see No. 705) are described as four in
number, and, like the Deva Kings of Mount Sumeru, are severally related
to the Four points of the Compass. The chief is Tung Shwang Ch'eng
(Jap. TosCsei), who is probably identical with the personage represented
in the picture.
2439. Unmounted drawing, on silk, painted in colours. Size,
14 X 28.
Landscape. Spring.
Painted by Hissei. Signed. Seal. Nineteenth century.
2440 to 2442. A set of three unmounted drawings, on silk,
painted in colours. Size, 15^ X 39.
Japanese landscapes.
Painted by To-setsu Yu-shin. Signed. Seal. Nine
teenth century.
2443. Unmounted drawing, on silk, painted in colours. Size,
17 X 33|.
Japanese landscape.
Painted by To-setsu YiJ-SHm. No signature or seal.
Nineteenth century.

444 JAPANESE PICTORIAL ART.
2444 to 2446. A set of three unmounted drawings, on silk,
painted in colours. Size, 16f X 34.
Japanese landscapes.
Painted by Ho-gen Tsune-nobu. Signed. Seal. Nine
teenth century.
2447 to 2492. A set of forty-six unmounted drawings, on paper,
painted in colours. Sizes, Ilj X 16f .
Various birds.
Drawn from life or from prepared specimens. Illustrations of
natural history. Eough, but very bold and characteristic sketches.
Painted by No-da To-min. Signed No-da To-min Fuji-
waea NO Yoshi-toshi. Early part of nineteenth century.
2493 to 2522. A set of thirty unmounted drawings, on paper,
mounted in colours. Sizes, 12 x 17^.
Various birds.
Drawn from nature as illustrations of natural history. Carefully
finished. Artist unknown. Nineteenth century.
2523 to 2630. A set of one hundred and eight unmounted
drawings, on paper, painted in colours. Sizes various.
Various birds.
Drawn from nature or from prepared specimens as illustrations
of natural history.
Artist unknown. Oneof the sketches bears the date of
the eleventh year of Bunkwa (1814).
2631 to 2637. A set of seven unmounted drawings, on silk, painted
in colours. Sizes various.
" The Seven Calamities."
1. The Uwabami.
A giant serpent, whose girth exceeds that of the forest trees, has
suddenly reared its head in the midst of a group of terrified way
farers. Some other more distant travellers are warned of the
proximity of the reptile by glimpses of tho scaly coUs visible at
different parts of its rocky lurking place.
There are many Japanese fables relating to serpents big enough to
swallow stags and bears. Some of the larger ophidians, however, exist in the
country, and it is hence probable that the stories are relics of traditions
imported fi-om Chinese and Korean sources.

SHIJO SCHOOL. 445

2. The "Eoc."
A gigantic eagle has seized a child playing at the threshold of
his peasant home, and is bearing him away swiftly through the air.
The parents rush headlong after the robber, but a scattered heap
of toys upon the ground, and a tiny red coat that swings drying
in the breeze, are all that remain to them of their son.
The legends of gigantic birds, like those of enormous snakes, are probably
of Chinese origin. The Peng Niao is a fabulous bird, said to be " of mon
strous size, with wings like the clouds of Heaven, with which at every
swoop it speeds upwards at a distance of three thousand li." It is also
asserted that "it comes into being by metamorphosis from the Kwen fish,
a monster of the deep." The flight of this bird is symbolical of rapid
advancement in study (Mayers).
3. The Earthquake.
The scene depicts a village thrown into confusion by a great
earthquake. On the right are seen a man and woman clinging to
a cluster of bamboos, whose tangled roots are thought to be a safe
guard against the chasms wrought by the convulsion. Around the
place of refuge surges an agitated mass of water impelled by a
tidal wave ; the heaving ground is widely rent ; the beams and
pillars of the wooden dwellings sway and crack ; walls collapse and
roofs crumble in, burying in the ruins all who have wanted time or
power to escape ; men, women and children rush hither and thither
distracted by terror, some losing their footing on the unsteady soil ;
dogs, cats, and even birds fall paralyzed by fear; the stone gateway
of the temple is broken, and the shrine itself is overthrown. On
the left a body of men are striving, at the risk of their own lives,
to extricate the sufferers, who lie crushed and imprisoned in the
ruins ; and finally, in the background appears the glare of the in
evitable conflagration kindled by the domestic lights and fires of
the falling households.
Terrible as are the details, the accounts given by eye-witnesses of
the memorable earthquake which destroyed a large portion of Yedo
in 1857 prove that the artist has been guilty of no exaggeration.
4. The Storm.
Clouds, lightning, and torrents of rain. A great cryptomeria is
riven by lightning, and the " Thunder beast," a monster of wolfish
aspect, is seen clinging to the falling stem. At the foot of the tree
a peasant struck by the same flash lies bleeding on the ground, his
prostrate body emitting rays of electric light, while a group of
terrified comrades fly wildly in search of shelter and protection.
5 and 6, The Inundation,
The heavy winds and rains of early summer have caused the
swollen liver to burst its bounds. An ocean of water precipitates
itself upon the cultivated plains, and while the hurricane hurls

446 JAPANESE PICTORIAL ART.
down houses, uproots trees, and whirls the straw-stacks like feathers
through the air, the advancing -flood sweeps away every obstacle
opposed to its resistless course. Amidst the wrecks of ruined in
dustry is seen a solitary fishing-smack torn adrift and half sub
merged, with its strong masts snapping like reeds ; near by, a
raft upon which a few naked wretches have cast their lot is dis
appearing beneath the overarching crest of a mighty breaker ; and
through all, the pitiless rain pours down incessantly in blinding
sheets to swell the already overwhelming mass of the triumphant
element. The second picture shows a torrent crashing through a fertfle
valley, carrying in its bosom fragments of broken buildings, uptorn
trees, and every living thing encountered in its path, A man
is cliuging to a thatched roof in companionship with a field snake ;
a solitary child holds himself above water by the support of a
wooden gable ; a peasant kneeling upon the shingled summit of a
hut that has been raised entire from its foundations strives to
drag his wife and little ones to him through an upper window ; a
woman clasping an infant to her breast strikes out boldly in mid-
stieam; another hanging to the boughs of a floating orange-tree
stretches out her hand to seize her little son who has just been
carried away from her side; a third, upborne by broken rafters,
tries to steady a young pine-tree, upon a branch of which hangs
her babe, who smiles placidly upon the waters, less moved than the
two serpents entwined upon the same bough, but the mother, upon
whom all depends, is just reeling under the conpussion of a massive
beam, and in another moment will be lost. These are the main
incidents of the calamity, but the artist has neglected no detail
that can aid the realization of the scene. The giant Serpent is
seen writhing to gain a rock that stands above the flood ; a brawny
draught-ox swims for its life ; the little grey lizards detached from
the walls of the destroyed habitations dart through the water in
pairs ; a boy's kite floats lightly on the surface, forming a raft for
a great yellow toad ; and, to complete the story, a shattered water-
wheel wrenched from its bearings rolls helplessly along in the
midst of the current it once utilized for the human beings whose
corpses are whirling in the surrounding eddies.
7, The gateway of the Mikado's palace.
A number of persons laden with offerings of various kinds are
drawing near the entrance. A group of inferior servants of the
household laugh and joke under the shade of a cluster of pines, and
close by stand two richly caparisoned horses reserved for the use of
the monarch. The falling petals of the cherry-blossoms indicate
the approach of summer.
Painted by Minamoto no 0-ko, after pictures by Maku-
YAMA 0-KIO. Signed. Seal,

SHIJO SCHOOL. 447

The text accompanying the pictures runs as follows : —
" The Seven Disasters, according to the Sutra called the Nin-0
Kio, are Earthquake, Flood, Fire, Gales, Demons, War, Eobbery,
and Sickness, The Seven Good Fortunes — Honour, Long life.
Servants in plenty, Eiches, Eiding in a conveyance (in place of
walking). Com and Money, Silken Fabrics and Fine Houses (seven
not being understood in a precise sense). The writer had long
desired to put these truths before his fellow-men in a visible form,
but, being no artist, was obliged to have recourse to Fujiwara no
Okio for aid, who, after working for three years, has produced a
roll which can be understood even by children, and he hopes that
his intentions will be duly rewarded by the rejection of Evil and
firm adherence to that which is Good,"
This prefatory note was written by Prince Emman In, and
copied, together with Okio's drawings, by Minamoto no 0-ko."
Dated second year of Anyei (1773).
2638 to 2645, A set of eight unmounted drawings, on silk, in
monochrome. Size, 1\ x &\.
Miscellaneous designs in the style of Hoyen.
Artist unknown. Seal. Nineteenth century.
See also 287 and 814-5,

448 JAPANESE PICTORIAL ART.

GANKU OR KISHI SCHOOL,

The founder of the Ganku School, Kishi Do-ko, better known by
his nom de pi-nceau of Gan-ku, was born in Kanazawa, in the
province of Kaga, about the middle of the last century. He was
at first a retainer of Prince Arisugawa, subsequently entering the
service of the Emperor, and appears to have originally adopted
painting as an amusement; but in his later years the pursuit
became a profession, and gave him an eminent position amongst
the art teachers of Kioto. His style was based upon the pictures
of the masters of the Sung Dynasty, but by importations from
various other sources underwent sufficient modification to give to
his work a distinctive character sufficient to justify the separation
of his school from the existing academies.
His manner of painting displayed a vigorous individuality equalled
only by one of his contemporaries, Tani Buncho, and was marked
by a characteristic touch and certain peculiarities of colouring.
He was especially noted for his drawings of tigers, in which
he was a close imitator of the Sung artists, but his delinea
tions of birds indicate that the fame of Okio's teaching had not
been without an efi'ect upon his theories. The naturalistic element
was, however, far less apparent in his works than in those of some
of his pupils who approached so closely to the Shijo practice, that
the separation of the paintings of the two academies is often a task
of some difficulty. He died in 1838, at the age of 89. (See Nos.
2701 et seq.)
He is known by many other names, of which Fun-zen, Kakan-do,
Ko-TO-KWAN, and Ten-kai-kutsu are the chief, and received the title
of Uta-no-suke, and afterwards that of Chikuzen-no-sukb, He is
commonly referred to in books by the respectful appellations of
Gan 0 or Tenkai 0, the honourable Gan or Tenkai,
Gan-tai, named also Gan Taku-do and Kun-chin, and entitled

GANKU SCHOOL. 449

Chikuzen-no-suke, was the eldest son of Ganku, and adopted
his father's manner with an additional leaning towards the
Shijo school. He excelled in the representation of birds,
monkeys and other animals in action, and has left some
effective sketches of Japanese scenery. One of his principal
works is a " Meeting of Chinese Poets," upon the sliding walls
of an apartment in the Imperial palace of Kioto.* He died at
the age of seventy, in 1863. See Nos. 2709 et seq.
Gan-eio, named also Gwa-un and Shi-eio, and entitled Uta-no-
suKE, A nephew of Ganku, and a retainer of Prince Arisu
gawa. Noted for drawings of fiowers and insects. Died 1852,
aged 54.
Gan-kei, named also Shi-zen, and entitled Nagato-no-suke, The
son of Gan-tai. See No. 2289.
Een-zan (Ao-ki), named also Shi-d6 and Gan-toku, was a pupil
and afterwards son-in-law of Ganku. He was one of the
foremost artists of his time, and has left many drawings
of birds and landscape in a style very similar to that of
the Shijo school. His decorative paintings upon the sliding
walls of one of the apartments of the Imperial palace at Kioto,
representing a flight of wild geese, are amongst the most re
markable of the pictorial embellishments of the building.
He died in 1859. See Nos. 2712-3.
Bum-p6 (Kawa-muea), named also Ki and Shun. A pupil of
Ganku, but studied also under other artists, and formed an
original style. He was a noted painter of landscape and figure,
and was the author of several albums of woodcuts.
Ki-ho, named also Go-itsu. Son-in-law of Bumpo.
Ho-sen. Pupil of Bumpo.
Sh6-do (Muea-kami), named also Toku and Shi-ko. Pupil of
Ganku. Died 1855, aged 65.
Kwa-zan (Yoko-yama), named also Issho and Shun-eo. Pupil of
Ganku, but followed also the style of Gekkei. He was noted
for drawings of landscape, figure, flowers and birds. Died
1837, at the age of 53.
Gioku-sen (Mochi-dsuki), named also Ki, Tb-eu and Shi-yei. A
pupil of Ganku and Gekkei. Died 1852.
* For a descriptive list of the pictures in the palace at Kioto, see Satow and
Hawes' Handbook for Japan.
2 G

450 JAPANESE PICTORIAL ART.
BuM-PEi (Matsu-moto), named also Ken. Born in Bingo province.
He became a pupil of Ganku, and made a reputation as a
painter of landscape, figure, dragons and tigers.
Tem-min (Shi-midsu), named also Ken. A pupil of Ganku. Born
in the province of Omi. He lived for a time in Kioto, and
subsequently established himself in Yedo. See No. 2725.
Yen-bu (Yoshi-da). a pupil of Ganku.
Sen-tei (Ike-no), named also Hiyo-an. A pupil of Ganku. See
No. 2716.
Ho-jiu (Moei). A pupil of Ganku. Engaged as artist to the
Daimio of Kaga.
JuN-KO (Hieo-se). a pupil of Ganku. Noted for drawings of
oxen and horses.
Haku-yen. Son of Jun-ko.
Kaku-nen (Aka-matsu), named also Gen-sho. A pupil of Ganku.
Noted for drawings of landscape and figure.
San-to (Kuei-kawa), named also Setsu and Shiyo. A pupil of
Ganku. Died at the age of twenty-two.
Bu-YETSU (Miya-zawa). A pupil of Ganku. Chiefly noted for
drawings of orchids.
To-Kiu (Muea). a pupil of Ganku.
Bai-gaku. Son of Tokiu.
Sho-ean (Take-no-uchi). a female artist. Studied under Okio,
and afterwards under Ganku, whose style she followed.
Chiku-do, named also Gan-ki. A Kioto artist attached to the
Ganku school ; but his pictures of birds and other animals and
his landscapes are in the style of the Shijo painters. See
Nos. 2718-20.
. Bun-ein (Shiwo-gawa). In Bunrin of Kioto we meet with one
of the foremost landscape painters of the present century. His
brush was guided by the imagination of the poet and the
cunning of the artist, and has flxed upon paper and silk with
exquisite refinement and suggestiveness the most striking of
those atmospheric effects that cast a fairyland glamour over
the scenery of Japan. Some characteristic examples of his
power are included in the collection. In the spring view of
the Yodo river (No. 2726) he has depicted the soft, changeful
avpours of early morning gently drifting before the rising
breeze, lingering to kiss the rippled surface of the stream,

GANKU SCHOOL. 451

and half veiling the blossoming gardens of the bank and the
undulating perspective of the fertile hills; the simple mono
chrome sketch of Lake Biwa (No. 2728) reveals the silvery
expanse of the waters reposing beneath the still transparent
haze of the moonlit air, and bordered by the strong silhouette
of the hilly shore; and the remaining works (Nos. 2721-2)
afford proof of his strength and versatility in other motives.
But the full range of his genius still remains to be demon
strated.
There is yet but little known concerning this artist except that
he was one of those who took part in the decoration of the
Imperial palace in Kioto, and that he died at an advanced age
in 1877; but his life in the calm retreat of the city of the
Mikados was probably uneventful, and left little that would
interest those who can read his mind in his works.

2 g 2

452 JAPANESE PICTORIAL ART.

GANKU SCHOOL.

2701. Kakemono, on silk, painted in colours. Size, 58 J x 33|-.
Tiger.
The colouring bears more resemblance to that of the Chinese Chao
Tan-lin than to the ordinary manner of the artist. Compare with
2702 and 2703,
Painted by Gan-ku. Signed. Seal. End of eighteenth
century.
2702. Kakemono, on silk, painted in colours. Size, 49 X 33f ,
Tiger,
Sketched in ink, with a light wash of colour.
Painted by Gan-ku, Signed Uta-no-suke Gan-ku, Early
part of nineteenth century.
2703, Kakemono, on silk, painted in monochrome. Size,
19^ X 26f,
Tiger. (Ucmij no Toea.)
The Buddhistic tiger standing beneath a pine-tree, the bamboo
grass at the animal's feet inclining under the downpour of the
storm. Painted by Ko-to, Signed, Two seals. Nineteenth
century.
2704. Kakemono, on silk, painted in colours. Size, 47^ X 22,
Peacock.
More strongly coloured than is customary with the artists of this
school. The gilding of the tail feathers has been applied by
an unskilled hand.
Painted by Gan-ku, Signed Uta-no-suke Gan-ku. Seal,
Dated 7th year of Tempo (1836).

GANKU SCHOOL. 453

2705 and 2706. A pair of kakemonos, on silk, painted in mono
chrome. Size, 37J X 14.
The Cloud Dragon and the Tiger.
The head of the dragon is sketched in blurred and tremulous
outline, as though gradually assuming form out of the cloud vapour
that environs it.
The pictures are in the style of the Ganku school, but are pro
bably not the work of the founder, whose name and seal are
appended. Signed Eohizen-no-Sukb Gan-ku. Seal. Nineteenth
century.
2707, Kakemono, on silk, painted in colours. Size, 50| X 21|.
Monkeys.
Sketched in vigorous style with a coarse brush.
Painted by Gan-ku and Gan-tai. Signed. Seals. Early
part of nineteenth century.
2708, Kakemono, on silk, painted in colours. Size, 39| X 14.
Taikob5 fishing. (See No. 857.)
Painted by Ko-to. Signed. Seal. Temp, beginning of
nineteenth century.
Tai- ko-bo (" Grandsire's expectation") is the Japanese form of the name
given to Kiang Tsze-ya, the counsellor of Si Peh (12th century b.c).
" Legends relate that when Si Peh was about to undertake his campaign
a.2;ainst the Western barbarians, intending to divert himself one day with a
hunt, he inquired of an Oracle what his luck would be, and was told that
the tro|hy of bis chase would be neither tiger nor dragon, bear nor leopard,
but the counsellor of a king. In the course of his excursion he accordingly
encountered an aged man who was fishing in the river, whose conversation
proved so sage and impressive that the prince begged him to enter his
service as minister, saying, ' My grandfather told me tfiat when a wise
counsellor should join himself to Chow, the fortune of Chow should flourish
—and you are he for whom my grandfather looked.' " — Mayers' ' Chinese
Eeader's Handbook,' Part 1, No. 257.
It is said that he was wont to fish with a straight piece of iron instead
of a hook, but that the fish acknowledged his virtue by voluntarily
impahng themselves for his benefit.
2709. Kakemono, on paper, painted in colours. Size, 67^ X 53f .
Eagle and monkey.
An eagle mounted upon a rock, watching for a monkey which is
concealed in a hollow below.
Characteristic of the rougher style of the school. Sketched with
a large brush in ink and lightly washed with colour.
Painted by Gan-tai. Signed Chiku-zen-no-sukb Gan-tai.
Seal. Nineteenth century.

454 JAPANESE PICTORIAL ART.
2710, Kakemono, on silk, painted in monochrome. Size,
m X 14^.
Tiger.
The drawing and proportions of the animal are strongly sugges
tive of an enraged cat, but the introduction of the bamboos and
rain, the customary accessories of the Buddhistic tiger, leave no
doubt that the artist intended to represent the nobler animal.
Painted by Gan-tai. Signed. Seal. Nineteenth century.
2711, Kakemono, on silk, painted in colours. Size, 18J^ X 26|.
A spring view of Mount Fuji.
Painted by Gan-tai. Signed. Seal. Nineteenth century.
2712 and 2713, A pair of kakemonos, on silk, painted in colours.
Size 41f X 161
Chinese landscapes with flgures.
Painted by Gan-toku (Aoki Eenzan). Signed Gan-bun-
SHiN. Nineteenth century.
2714, Kakemono, on silk, painted in colours. Size, 39|^ X 14|.
The Empress JingS and Takenouchi no Sukune, with
the young Prince Imperial. (See p. 141.)
Painted by Gan-kio. Signed. Seal, Nineteenth century.
2715, Kakemono, on silk, painted in monochrome. Size 43f X 21|.
Tiger and dragon.
Painted by Bokkai. Signed Bokkai Do-jin. Seal. Nine
teenth century,
*
2716, Kakemono, on silk, painted in monochrome. Size, 39^ X
14. Tiger.
Great resemblance in touch to No. 2703.
Painted by Iko-sen-jo (or Ike no Sentei). Signed. Sealed.
Poetical inscription at upper part of picture. Nineteenth
century.
2717, Kakemono, on silk, painted in colours. Size, 43^ X 15f,
The temple of Kiyomidzu. Winter scene.
Drawn in the style of the Shijo school.
Painted by Chiku-d6. Signed. Seal. Nineteenth century.
Tlie temple of Kiyomidzu, one of the most ancient of the religious

GANKU SCHOOL.

455

edifices in Kioto, is said to have been originally built by the novice Enchiu
with materials derived from the house of the legendary warrior Tamura-
maro. Part of the building dates only from the Ashikaga dynasty.
Standing upon a hill and raised to a great height above the ground upon
a massive framework of pillars, it is the most conspicuous and picturesque
object of the outskirts of the city. The view of Kioto from the temple is
very extensive and beautiful. For a detailed description of the building and
its contents, see Satow and Hawes' ' Handbook for Japan,' p. 369.
2718. Kakemono, on silk, painted in colours. Size, 42^ X 16-|.
Sparrows and waterfall.
Drawn in the style of the Shijo school. Compare with the
picture of Keibun, No. 2265.
Painted by Chiku-do. Signed. Seal. Nineteenth century.
2719. Kakemono, on silk, painted in colours. Size, 48^ X 2Q\.
Monkeys,
Carefully and correctly drawn in the style of the Shijo school.
Painted by Chiku-do. Signed. Seal. Nineteenth century.
2720. Kakemono, on silk, painted in colours. Size, 48|- X 21^.
Landscape.
Painted by Chiku-do. Signed Chiku-do Gan-eoku. Seal.
Nineteenth century.
2721. Kakemono, on silk, painted in colours. Size, 39| x 14|.
Sparrow and peony.
Painted by Shiwo-gawa BuncEin. Signed Bunein. Seal.
Nineteenth century.
2722. Kakemono, on silk, painted in monochrome. Size, 46^ X 19|.
The Dragon of Mount Fuji (Fuji koshi no Eio).
The monster is emerging from the waves, half concealed by a
mantle of cloud. The truncated cone of the Peerless Mountain
rises in the background.
Painted by Bun-ein. Signed. Seal. Nineteenth century.
2723. Kakemono, on silk, painted in colours. Size, 16^ X 27|.
Chinese girls making embroidery.
Drawn and coloured in the style of the Chinese school.
Painted by Shi-midzu Tem-min. Signed Temmin. Seal.
Nineteenth century.

456 JAPANESE PICTORIAL ART.
2724. Kakemono, on silk, painted in colours. Size, 34| x 12^.
A peasant's siesta.
A man and woman resting from labour beneath a rough lattice
work over which is trained a gourd-plant.
Painted by Kwa-zan. Signed. Seal. Nineteenth
century.
2725. Makimono, on silk, painted in monochrome. Length, I12|
X lOJ.
Tortoises.Painted by Tem-min. Signed. Seal. Early part of
nineteenth century.
2726 and 2727. A pair of unmounted drawings, on silk, painted
in colours. Size, 45 x 20|.
Japanese landscapes.
1. The morning mists on the Yodo Eiver.
2. Moonlight scene, near Kioto.
The influence of the Shijo school is strongly manifested in these
works. The first is a remarkable example of the power of the artist.
Painted by Bun-ein. Signed. Seal. Nineteenth century.
2728. Frame drawing (gaku), on silk, painted in monochrome.
Size, 14f X 40.
View of Lake Biwa. Moonlight.
An impressionistic sketch of great power.
Painted by Bun-ein. Signed. Seal. Nineteenth century.
Lake Biwa, in the province of Omi, is the largest lake in Japan.
According to Dr. Rein, it is nearly equal in size to the lake of Geneva.
It lies about 1000 metres above the level of the sea, and its greatest depth
is said to be nearly 100 metres. The legend declares that it appeared in a
single night coincidently with the upheaval of Mount Fuji on the borders
of the provinces of Tsuruga and Kai, and it was believed that the excavation
of the depths now filled by the waters of the lake provided the material
for the construction of the Peerless Mountain.

( 457 )

DRAWINGS SHOWING EUROPEAN
INFLUENCE.

When we consider the length of the period during which Japan
has held intercourse with certain Western nations, it is somewhat
remarkable that Japanese art — omitting from consideration that of
the last ten years — has displayed so few traces of European influence.
From upwards of three hundred years ago, traders and missionaries
of various nationalities have had access to the country, where they
have not failed to leave enduring marks of their presence in mat
ters other than sesthetic ; and several educated natives have visited
the great centres of the pictorial art of the West. As early as 1585
a number of envoys were sent to Eome by the Daimio of Bungo, aud
thirty years later Hashikura, a retainer of Date Masamune, Daimio
of Sendai, also visited the Holy City. These men must have seen
the art treasures of the place, and perhaps brought back specimens
as offerings to their lords. Hashikura at least was the bearer of
one relic, in the shape of an Italian altar-piece, a very poor work
in oil, which is still in existence.
The effect of this experience upon the productions of the native
schools was apparently nil.
In the latter part of the eighteenth century some principles of
European art were made known by Dutch traders and settlers.
About 1780 Shiba Gokan learned the art of engraving on copper,
together with a smattering of perspective and other branches of
pictorial science, from a Dutch resident in Nagasaki, and produced a
book of travels and some albums of etchings, in which his foreign
accomplishments were displayed but not made attractive. He was
in fact a very indifferent artist, and was only saved from oblivion
by the novelty of the information he so imperfectly conveyed to
his countrymen. About the same time — in 1785 — appeared a book

458 JAPANESE PICTORIAL ART.
called Kbmb zatsuwa, treating of matters to be learned from the
Dutch, in which the tools of the copper-plate engraver were depicted,
and some of the plates of Gerard de Lairesse were reproduced by
woodcuts, nearly in facsimile. From this time we meet with little
in the style of the " Kan-gwa " (Dutch pictures) beyond a clever
album of copper etchings, the Doban sai gwa cho, by Oka-da Shun-
TO-SAi, published about 1855 (in which not only linear perspective, but
some rudiments of chiaroscuro were introduced) ; the Tokaido go-jiu-
san Eki, a similar but inferior work ; and a few travesties of foreign
pictures, such as those which illustrate the Life of Napoleon (Kai-
gai jimbutsu Sho-den, 1860) ; the History of America (Meriken
Shin-shi, 1855), the description of Yokohama (Yokohama kaiko
kemmon shi, 1862), and a few drawings of little merit by obscure
draughtsmen. Hokusai notices Dutch art only by an incorrect copy
of two perspective diagrams, and the introduction of perspective in
a few of his illustrations to novels ; Keisai Masayoshi, Hasegawa
Settan, and many others, also knew a little of the science, but only
made use of it on rare occasions where their ordinary practice was
found inadequate, as in the delineation of the interior arrangement
of a theatre, or the whole extent of a street ; and, lastly, Hieoshige,
who worked from about 1820, made constant use of the rudiments
of perspective, but sieldom recognized any other elements of our art.
It will thus be seen that only a few known artists have allowed
foreign example to materially affect their practice in drawing, and
these were all members of a school still despised by the connoisseurs
of their own country.
This apparent want of receptiveness may perhaps be traced partly
to the habits of thought stereotyped by centuries of Chinese teach
ing, but is chiefly due to the inferior nature of most of the specimens
of European art that reached Japan. In the last ten years better
opportunities of understanding the new principles have been afforded
by the engagement of Italian instructors in connection with tbe
Engineering College of Tokio, and by the visits of able English and
American artists ; and there are now a large number of the new
generation who are adopting the foreign system in its entirety,
and many others who are making a bad compromise between the two
methods. It is owing to the exclusive study of the worthless pro
ductions of men of the latter class that many erroneous views of
Japanese art have crept into European books.

( 459 )

DRAWINGS SHOWING EUROPEAN
INFLUENCE.

2751 to 2761. A set of eleven unmounted drawings, on silk,
painted in colours. Sizes various.
Foreigners and foreign vessels at Nagasaki.
1 and 2. Dutch ships. Drawn with great attention to detail.
By the side of one of the pictures is a written description in Dutch
of the date of the vessel's arrival (1818), the name of the captain,
and other particulars.
3. A Malay (?) fishing-boat.
4 and 6. Chinese junks.
6 to 10. Portraits of a Dutch officer with his wife, children, and
servants, and some Chinese merchants.
11. View of Deshima.
The drawings have been taken from nature and worked up with
much care, but the artist appears to have derived his education
from an indifferent foreign draughtsman, and has only been able to
ofi'er a poor imitation of " Western art." The productions are, how
ever, iriteresting as early examples of what may be termed the
Dutch school.
Some of the pictures are signed and bear seals, others have no
indication of the artist's name and are somewhat different in style.
Painted by Ishi-zaki Yusai-teeu. Signed. Seal. Early
part of nineteenth century.
2762. Kakemono, on silk, painted in monochrome. Size, 19f X 13^.
The Crucifixion.
A copy of a European engraving. Carefully executed, but
apparently taken from an indifferent lithograph.
No signature or seal. Nineteenth century.
2763. Unmounted drawing, on paper, painted in colours. Size,
17 X 131
Japanese fishermen.
Painted in 1878 by Tama (a female artist).

460 JAPANESE PICTORIAL ART.
2764. Unmounted picture, on silk, painted in colours. Size,
281 X 37-|.
Tea-farm at Tenriiigawa (near Tokio).
Characterized by an attempt at Chiaroscuro.
Painted by Yiu-hio. Signed. Seal. Nineteenth century.
For a description of the scenery of Tenriugawa, see
' Guide-book for Japan,' p. 156.
2765. Kakemono, on silk, painted in colours. Size, 32\ x I5J.
Portraits of a family of Saghalien Ainos.
A fisherman with his wife and two children. The upper lip of
the woman is tattooed blue. Her infant is slung across her back
as amongst the lower classes of the Japanese, but is suspended by a
cord that passes around her brow.
Artist unknown. Seal. Nineteenth century.
2766. Makimono, on paper, painted in colours. Length, 417 X llj.
The People of all Nations.
Artist unknown. Nineteenth century.
This is a very common motive, and has been copied, with slight varia
tions, many hundreds of times for educational purposes. The figures
are more comical than instructive.

See also Nos. 1756, 1777, 1905, 2344, and 2376.

( 461 )

MIXED SCHOOLS.

2801 to 2827. A set of twenty-seven unmounted drawings, on
silk, painted in monochrome and colours. Size, 8x8.
Miscellaneous album sketches.
Painted by various artists of the early part of the present
century, chiefly of the Chinese and Shijo schools.
1. Carp, by Yij-TOKU.
2. Crane, by Yu-tei.
3. Bird and fiower, by Boku-sen Ho-shin.
4. Birdsi by Sho-koku.
5. Landscape, by Kwan-sho-sai.
6. Landscape, by To-san.
7. Landscape, by Cho-mei
8. Landscape, by Cho-do.
9. Landscape, by Setsu-do.
10. Eats, by Ban-jiu.
11. Kingfisher, by Setsu-d6.
12. Boy on ox, by Gwa-kio.
13. Berries, by Nan-kei.
14. Chestnut, by Shin-in.
15. Chestnut, by Kiu-shin.
16. Flowers, by Sho-kwa.
17, Flowers, by Ko-kei.
18. Flowers, by Sen-sai,
19, Sparrow, by Do-shiu,
20. Bird and flowers, by Kiu-bi.
21. Bamboo, by Un-po.
22. Plum-tree, by Yu-eei.
23. Hanshin crawling beneath the legs of a coolie, by Kio-an.
See No. 1013.
24. Street scene, by Do-itsu.
25. Butterfly, by Tetsu-ho.
26, Winter landscape, by Cho-nin,
27, Landscape, by Ko-bun.
Signed. Seals,
Some of the pictures bear the date of 1833.

462 JAPANESE PICTORIAL ART.
2828 to 2853. A set of twenty-six unmounted drawings, on
paper, painted in monochrome and colours. Sizes various.
Miscellaneous sketches.
By various artists of the beginning of the present century,
chiefly of the Shijo school,
1. Monkeys.
2. Sparrow and plum-tree, by Bum-po.
3. Landscape, moonlight, by Bun-ko.
4. Landscape, by Kai-fuku.
5. Landscape, by To-kitsu.
6. Shojo, by Gbtsu-eei.
7. Bird, by Sho-kei.
8., Ox, by Yeki-shin.
9, Moonlight scene, by Gesshiu,
10. Flowers, by Sui-eei.
11. Landscape, by Sei-ka.
12 to 14. Landscapes, by. Cho-nen.
15. Flower, by Eio-SHiu,
16, Landscape, by Bai-sen.
17 and 18. Moonlight scenes, by Tai-kiu,
19 to 27, Various subjects, by unknown artists.
2854, Album of drawings, on silk, painted in monochrome and
colours. Size, 3^ X 3^.
Sketches by various artists.
The pictures are all uniform in size, and were evidently drawn
expressly for the album by the contributors, who include most of
the leading Kioto artists of the early part of the present century,
as well as many well-known calligraphists. The schools re
presented are Tosa, Kano, Shijo, Ganku, and Chinese,
The following is a list of the pictorial contributions : —
1. Birds in silhouette, by Ka-no Ho-gen Tan-eiu,
2, Crabs in silhouette, by Ki-ho,
3, Landscape, by Maru-yama 0-eiu.
4, Bird and plum-tree, by Kano Nui-no-suke Yei-gaku,
6. Butterfly, by Fusa-hiko.
6. Crane, by Chikuzen-no-suk^ Gan-tai,
7, Court noble picking up cash, by Tosa Mitsu-yuki.
8. Moth, by Hiji-kata Gen-hei.
9. Landscape, by To-zan.
10. Landscape, by Sei-eio.
11. Bamboo, by Kai-zan.
12. Kug6, by an unknown artist.

MIXED SCHOOLS. 463

13. Landscape, by Ka-gaku.
14. Flying crane, by Tosa Mitsu-yoshi.
15. Fungus, by Tosa Mitsu-kiyo.
16. Chinese lady, by Ean-setsu.
17. Landscape, by Ko-SHO.
18. Landscape, by Een-zan Joshi.
19. Frog, by Chiku-jiu.
20. Bamboo, by Kiu-bi.
21. Winter scene, by To-kei.
22. Landscape, by So-han.
23. Eat, by Yiu-sen.
24. Landscape, by Otsu-ko.
25. Bird, by Kiu-bi.
26. Landscape, by Kin-jo-sei.
27. Landscape, by Ko-seki-hai.
28. Plum, by Sui-wo.
29. Plums, by Een-zan Gan-toku.
30. Bamboo, by Boku-itsu.
31. Landscape, by Kan-zan.
32. Chrysanthemum, by Setsu-h6.
33. Plum, by Bai-eei.
34. Landscape, by Kiu-ko.
35. Pine, by Kiu-shun.
36. Eose, by Bai-sen.
37. Monkeys, by Ikkei-sai.
38. Landscape, by Haea Zai-sho.
39. Hotei, by an unknown artist.
40. Bird and plum-tree, by Mo-ko-ki.
41. Bamboo, by Yu-chiku.
42. Landscape, by Sui-ei.
43. Wasp and nest, by Eai-sho.
44. Flower, by Kio-u.
45. Landscape, by Sai-sho.
46. Landscape, by Chiku-gan.
47. Landscape, by Chiku-sho-sei.
48. Landscape, by Eitsu-zan.
49. Orchid (Ean), by Shiu-ean.
50. Flower, by Kei-gi.
51. Orchid, by Sho-u.
52. Landscape, by Hoso-nami Hio-hio.
53. Clam, by Eo-Ho.
54. Pines, by Eio-gen.
55. Landscape, by Sei-ki.
56. Clam mirage, by Kan-zan.
57. Orchid, by Mu-bai.
58. Flower, by O-mei-hon.
59. Hermit Crab, by an unknown artist.

464 JAPANESE PICTORIAL ART.
60, Hotei, by Ei-sai.
61. The boat with the three Precious Jewels, by Han-zan.
62. Insect, by Ko-chiu.
63. Egg-plant, by Ki-sui.
2855, Album of twenty-six pictures, on silk, painted in mono
chrome and colours. Size, llj X 9|.
Miscellaneous sketches by various artists,
Chinese School.
1 to 12. Various subjects. Artist unknown. Seals.
17. Chinese children, by Tan-sui (at the age of 62).
18. Chinese landscape, winter scene, by Eio-sen.
19. Sparrow and grapes, by Tsueu-kawa.
21. Plum and camellia blossoms, by To-ko-sai.
23. Bird. Winter scene, by Haeu-ki Nan-kwa.
24. Fishes, by Nan-sei.
25. Grapes. Copied by To-sen from a Chinese picture of the
Ming dynasty.
26. Landscape, by To-eei.
27. Coast scene. Evening. Artist unknown.
Yamato School.
13. Ono-no Komachi reading the verse which brought rain in a
period of drought. Painted by Kano Shin-sho at the age of 65.
Signed. Seal.
An example of a picture in the Yamato style, by an artist of the
Kano school.
22. The ' Butterfly dance.' Painted by Awada-guchi Fuji-waea
NO Taka-yoshi. Kano School.
14 and 15. Chinese landscapes. Painted by Sei-sui (no signature).
Shijo School.
16. Cherry blossoms. Painted by Ko-soN Do-jin Ko-setsu.
Buncho section of Chinese School.
20. Convolvulus. Painted by Bun-kiku Jo (female artist).
2856. Makimono, on silk, painted in monochrome and colours.
Copies of pictures by the old masters of China aud
Japan. Length, 348 X 12|.
1 to 10, Chinese,
1, Orchid, in monochrome, after Tsz' Ch'wang (Jap, Sesso),
2, Sweet melons, in monochrome, after Yung Tien (Jap, Yo-dEn),

MIXED SCHOOLS. 465

3. Dragon, in monochrome, after Chao Ung (Jap. Sho-wo).
4. Bodhi Dharma, in colours, after Tsz' Mao (Jap. Su-go or
Cho-su-go). 5. Priest with peach blossoms, in colours, after Ngan Hwui (Jap.
Gan-ki). 6. Grapes, in monochrome, after Ji-kwan (Jap. Ni-kwan).
7. Bodhisattva rising from the sea, after "Tsz' Tung (Jap. Sexto).
8. Bamboo, in monochrome, after Su-she (Jap. To-ba).
9. Fruit, in colours, after Lij-Ki (Jap, Eio-ki).
10. Children, in colours, after K'iu-ying (Jap. Kiu-yei).
11 to 16. Japanese.
11. Japanese poet by the side of a waterfall, in colours. Copied
from an old Tosa picture (15th century).
12. Han-shan and Shih-te, in monochrome, after Shiu-bun
(15th century).
13. Wild geese, in monochrome, after Sesshiu (15th century),
14. Safsuma potato plant, in monochrome, after Sesson (16th
century), 15. Bird, in monochrome, after Gen-shin (10th century).
16. Landscape, in monochrome. Eapid sketch by Kano To-un.
Painted by Kano To-un. Signed. Seal. Eighteenth
century.
2857, Album of drawings, on paper, mostly in monochrome.
(From the Siebold Collection, No. 497.)
Designs for sword-guards (Tsuba) and handles of small
scabbard knives (Kodzuka).
The book is entitled ' On Tsuba ne kagami ' or Manual of Sword-
guards, by Okada Masatoyo.
Dated ninth year of Bunsei (1826).
The designs, which are elegantly drawn with a fine brush, are
about one hundred in number. A few bear inscriptions as
foUows : —
1. Tsuba design. Plum blossoms. Made by Yo-sai.
ba. Tsuba design. Chrysanthemums. Dravm (copied) by
To-GIOKU. 5&. Eeverse of the last. Made by Gen-i-sha. Drawn by To-
GIOKU. 8. Tsuba design. Cherry blossoms. Drawn by To-gioku.
11 and 12. Tsuba designs. Cloud dragons. Seal " Su-koku."
13. Tsuba design. Interwoven rings. Made by Kan^i-iye.
16a. Tsuba design. Wave dragon. Engraved by Cho-gwa-ko.
Drawn by To-gioku.
2 H

466 JAPANESE PICTORIAL ART.
18&. Tsuba designs. Pine branches. Made by Mi-bata. Drawn
by To-gioku.
19a. Tsuba design. Ground plant. Seal (of designer ?) Sei-koku.
196. Eeverse of the last. Engraved by Ju-mio-sai. Drawn by
" the ancient To-gioku."
21. Tsuba designs. Boatman. Drawn by Uta Kag^-masa.
22. Ko-dzuka. Three Chinese landscapes. Dravm by To-gioku.
24a. Tsuba design. Cloud dragon. Drawn by "the ancient
Masa-yoshi." 246. Eeverse of the last. Dragon quitting the waves. Drawn
by Masa-yoshi at the age of 69.
25. Tsuba design. The Thunder-god. Drawn by Ka-so-sai.
Masa-toyo, whose name appears after the title; is referred to in the
Kinko henran as a pupil of Nomura Masa-mitsu. His common name
was Sagoko, but he seems to have adopted the surname of his master
Nomura. He lived in Ashiu (Awa), one of the four provinces of
, Shikoku.

( 467

MISCELLANEOUS ROUGH SKETCHES.

2901 to 2919. A set of nineteen unmounted drawings, on paper,
painted in colours. Sizes various.
Designs for screens.
Painted by Bun-k5. Signed. Dated fourth year of
Kokwa (1847).
2920 to 2976. A set of fifty-seven unmounted drawings, on
paper, painted in monochrome. Sizes various.
Miscellaneous rough sketches : originals and copies.
Painted by Ei-ein. Nineteenth century.
2977 to 2983/' A set of seven unmounted drawings, on paper,
painted in colours. Size, 16^ X 11.
Saints and Genii.
Sketched in the style of Gessen. Artist unknown. Nine
teenth century.
2984 to 3014. A set of thirty-one unmounted drawings, on paper,
painted in colours. Size, 19 x 7|.
Miscellaneous rough sketches ; designs for kakemonos.
Artist unknown. Nineteenth century.
3015 and 3106. A set of ninety-two unmounted drawings, on
paper, painted in colours. Size, 7f X lOf.
Rough sketches of Japanese scenery.
Painted about 1875. Artist unknown. 2 H 2

468 JAPANESE PICTORIAL ART.
3107 to 3383. A set of two hundred and seventy-seven drawings,
on paper, painted in monochrome and colours. Sizes
various. Miscellaneous sketches by various artists.
Nineteenth century.
3384 to 3399. A- set of sixteen unmounted pictures, on paper,
painted in monochrome and colours.
Rough copies from various artists, Chinese and
Japanese.

( 469 )

EMBROIDERIES.

The embroidered picture (m'u-haku) is histoiically coeval with painting.
The art was once extensively used in the production of Buddhist kak^-
mom^s, and works of this kind attributed to Suotoku Taishi and Chiujo-
HiME are still extant ; but it was also in early times an aocomplishnient
of ladies of rank, as in European countries during the middle ages. For
the embellishment of robes, sashes (obi), wrappers (fukusa), &c., it has
long constituted an industry of great importance, which has its chief
centre in Kioto. The work is in the hands of artizans, who carry out
designs supplied by or adapted from the works of painters of the various
schools. A combination of embroidery with stencil printing is frequently
met with both in wrappers (fukusa) and robes.
In recent years large embroideries, in emulation of the old European
tapestries, are made for the foreign market, and an active manul'acture of
screen decorations is carried on in Ki'ito and othc r parts ol Japan.
3501. Kakemono. Embroidery on silk. Size, 2^\ X 11^.
Buddhist divinity. Kwanyin P
Seventeenth century (?).
3502. Kakemono. Embroidery on silk. Size, 37 X 13|.
Crane flying above the waves.
The diaphanous texture of the silk upon which the work is
executed allows the wall surface behind the picture to appear as a
background to the design.
Nineteenth century.
3503. Kakemono. Embroidery on silk. Size, 36| X 14.
Cranes and peonies.
Nineteenth century.
3504. Kakemono. Embroidery on silk (transparency). Size,
28 X 10.
Chrysanthemums. Nineteenth century.

470 JAPANESE PICTORIAL ART.
3505. Kakemono. Embroidery on silk (transparency). Size,
13| X 201
Rabbits and peach-tree.
Nineteenth century.

STENCIL PEINTS.
A mode of colour printing, upon the same principle as the stencil
work of Europe, was introduced by Som£-ya Yo-zen, a well-known
dyer of the latter part of the seventeenth century. The whole
picture is upon a single piece of silk, the dift'erent bordering
materials of an ordinary kakemono being imitated by stencilled
patterns. The art is brought to such perfection in the present
day that the products are sold as hand paintings. Interesting
descriptions of this and the allied processes wiU be found in
Dresser's ' Industrial Arts of Japan.'
3521, Kakemono, on silk, printed in colours. Size, 35|- x 15|.
Cranes. Nineteenth century.
3522. Kakemono, on silk, printed in colours. Size, 37| X 11|.
Chinese scene.
A sage with a large sun-hat is crossing a bridge to reach a house,
in the verandah of which is seated a lady.
The mode of execution is similar to that in the preceding picture.

WOOD ENGRAVINGS.
3532. Kakemono. Wood engraving. Size, 26 x lOf.
Daikoku.
The execution of the cut is rough, but displays some artistic
power. The original block is said to have been engraved by
KoBO Daishi in the early part of the ninth century. If genuine, it
would prove that pictorial woodcuts were made by the Buddhist
priesthood nearly seven centuries before the art was applied to
book illustration, but as remarked in the Introduction, the number
of works of art attributed with obvious falsity to Kobo Daishi and
other prominent leaders of the early Buddhist Church, is so great
as to cast doubt upon the authenticity even of specimens which
present no decided signs of a fabricated history.

WOOD ENGRAVINGS. 471
3533. Kakemono. Wood engraving. Size, ftO| x 22.
lyeyasu and his eighteen celebrated retainers.
The block from which the impression is taken probably belongs
to the last century.
WOVEN PAPEE PICTUEE.
3541. Unmounted drawing on woven paper, painted in mono
chrome. Size, 38J X 18^.
Mandjus'ri and devotee.
The subject has been painted partly upon one, partly upon the
other of two sheets of paper, each sheet is then cut into narrow
strips, in the one case lengthwise, in the other transversely, and the
strips are interwoven. The drawing as seen in the completed
picture has somewhat the effect of needlework, and any beauty of
line it may have possessed is necessarily spoiled by the perverted
ingenuity of the process to which it has been subjected. See also
No. 114 Chinese.
Artist unknown. No signature. Seal (To-eeki (?) ).
BASSO-EILIEVO PICTUEE IN PLASTEE.
3551. Framed picture in plaster, partly modelled in low relief,
partly painted. Size, 12| X 23^.
Landscape. A temple pavilion built out over a lake.
Copied by Kan-d6 from a drawing by Taohi-bana no Moei
kuni. Signed Kan-do San-jin. Seal.
This kind of picture appears to be of recent origin, probably within the
last thirty years. The border, which is painted in imitation of a wooden
frame, is a part of the slab of plaster upon which the subject is depicted.
CALLIGEAPHY.
3561. Kakemono. Specimen of calligraphy. Written upon silk.
Size, 41^ X Ilf,
Framed or mounted specimens of calligraphy are as common and as
highly prized as pictorial designs. Writing is a fine ort in China and
Japan, and, as such, ranks second to none in the estimation of the educated
classes, and is in a certain sense the basis of Japanese pictorial art. Like
painting, it has its great masters, and the history of the accomplishment
is enveloped by a halo of the marvellous, which almost cists into shade
the stories of KA^'A0KA's horse and Ono Deksd's Atchala.

472 JAPANESE PICTORIAL ART.
3562, Unmounted specimen of calligraphy, on paper. Size,
46J X 20^.
A large and complicated character executed by an uninterrupted
stroke of a broad brush. The perfection of its proportions, the
firmness of line, and the grace of the various curves will demonstrate
the extraordinary command of pencil acquired by the Oriental
caUigraphist, Signed. Seal.

( 473 )

APPENDIX,

SEALS, SIGNATUEES, INSCEIPTIONS, &c.
The custom of appending to a picture a mark personal to the artist is
not of very old date in Japan, although existing from an early period in
China ; but since the middle of the fifteenth century the seal, with or
without the signature, is seldom absent, except in Buddhist paintings,
and portraits of important personages, in either of which cases the
introduction of the artist's name would usually be regarded as in
bad taste.
The seal not unfrequently appears without the name, especially in
the works of the early Kano artists ; but the signature is never, unless
by accident, written without the seal or a hand-drawn sign (Kakihan)
as a substitute.
Artists commonly possess a variety of seals, and as. the seal characters
can be deciphered only after a special study, and when read may give
only a fanciful name difiering from any of the appellations by which
the painter is known to the public, their use is often very perplexing.
Fortunately, however, some guidance may be obtained from books of
facsimiles such as the Kun in Hdsho, Man-po zensho and others, which
may be used to identify doubtful impressions ;* but difficulties, arising
partly from the incompleteness of these collections and partly from the
number of forgeries to be found in the market, will often require the aid
of special experts for their elucidation.
The seal is impressed with red ink (consisting chiefly of vermilion,
and oil of Sesamum Orientate with a little wax), and is usually placed
in the lower part of the picture, below the name. Etiquette pronounces
it " impolite " to assign an elevated position to the stamp, but this rule,
as well as that which forbids its appearance altogether in Butsu-ye and
portraits, is not always observed.
Besides the name-seal, another stamp is frequently met with in
Chinese, and sometimes in Japanese kakemonos, called the Kuam-bd,
* The following is a list of books containing facsimiles of seals —

Kun in Hoslw. 1810.
Mim-po zen-sho. 1694.
Qwa-ko Sen-ran. 1710 (Kano school only).

Honcho Gwa-shi. 1693.
Sho-gwa zen-sho. Circa 1862.
Sho-gwa-kai-sui. 1833.

474 APPENDIX.
which marks the point at which the artist began his work, and com
monly includes the characters of a familiar classical sentence or verse of
poetry. Should a caUigraphist contribute a verse or other inscription to the
picture, his seal, with or without the signature, is commonly appended
to the composition ; and, in instances where the writer is of greater note
or higher rank than the painter, the seal of the latter may be omitted.
Other seals, occasionally found in old and valuable pictures, are
those of owners, or of connoisseurs who have examined the work in the
capacity of experts.
The signature was frequently omitted by the artists who Uved
anterior to the seventeenth century, but is found in nearly all pictures
of subsequent date.
The nature of the signature varies considerably, the artist not only
having the choice of many real and assumed names, but diversifying
them by various titles or fanciful appeUations, The laws of pronun
ciation of the characters forming a name are moreover very complex,
and it may require a knowledge not always possessed even, by educated
Japanese to select the right reading.
The artist is most commonly known by his personal name, or by a go
or professional name (nom de pinceau), the family cognomen being often
omitted, and in some cases altogether unknown.
In signatures both the family and personal names may be written, as
Kano Toshun (the family name being placed first), or the personal name
only, as Tsunenobu for Kano Tsunenobu, and by exception one cha
racter only of each or either name may appear as Oka Kan for Oka-da
Kan-rin. Various titles may accompany the name, and in pictures of the Tosa
school these may constitute a formidable array. Thus in No. 268
Tosa Mitsuyoshi signs ' Sho-roku i-no-ge, Sakon-ye no Sho-gen, Fujiwara
no Mitsu-yoshi ' ; and in No. 238, Tosa Mitsusada writes himself ' Edokoro
Adzukari, Shogo-i-ge, Tosa no Kami, Fujiwara no Mitsusada ' ; the first
two words giving his official position as keeper of the Imperial pictures,
the succeeding term defining his precise rank, and the appellation Tosa
no Kami, or " Lord of Tosa," being a complimentary title which appears
to have become hereditary in the Tosa line. Fujiwara was the name of
the clan, and Mitsusada the personal name, that by which the artist
would actually be recognised.
The titles conferred upon artists, exclusive of ordinary degrees of
nobility and ofiicial rank, are as follows : —
E-dokoro, E-sho or Gwa-sho. The name of an office, said by some
authorities ' to date from the eighth century, bestowed upon dis
tinguished painters attached to the court, and usually falling to
the lot of members of the Fujiwara or Tosa family. The duties
attached to the position are not well known, but probably included

APPENDIX. 475

the execution of paintings under the direction of the Emperor.
The office of Kasuga Ye-dokoro is said to have been associated
especially with Buddhist art. According to the Honcho Gwashi the
first appointment was conferred upon Fujiwara no Takayoshi
(11th century),
E-dokoro adzukari. Keeper of the Imperial collection of pictures.
Hoin, Hogen, and Hokkio. Titles originally belonging to the Bud
dhist priesthood, but subsequently conferred by the Shoguns upon
artists (chiefly of the Kano school), who had nominally retired into
the bosom of the Church.* They conveyed no definite rank, but
nevertheless brought more or less social consideration. Their
relative importance is indicated by the order in which they are
named. In signatures they may be placed either before or after
the name. (See Nos. 1276, 1279, and 1377.)
The self-assumed titles usually adopted after the nominal retirement
from worldly cares are very numerous. Those more commonly appended
to names of artists are : — •
San-jin. Hermit, or man of leisure. Lit. " man of the mountains,"
in aUusion to a custom in ancient times amongst Chinese men of
learning of retiring to philosophize in rural or mountain retreats
when fatigued with the turmoil of the world. (See No. 635.)
San-teki. Has a similar signification as a man in retirement,
Son-jin. Villager.
Inshi. A retired writer or artist.
Cho-sha, Gio-jin, or Gio-shi. An angler, Eeally a man of leisure. It
probably alludes to the occupation of Kiang Lii-shang, who occupied
himself in fishing while waiting for a call to fame.
Yu-jin, Kan-jin. Man of leisure.
Gu-jin. Stupid fellow.
Ya-jin. Uncivilized man.
Chin-jin. A useless or unserviceable person. An obtrusively modest
designation which, like most expressions of the kind, must be
regarded merely as a dictate of " the pride that apes humility."
(See No. 668.)
Kioai-shi. A lover of antiquities^
Gttiai-shi. One who records from without, i.e., independently. (See
No. 669.)
Giva-sM. Pictorial artist. (See No. 870.)
.Dd-jin. One who practises religious austerities, (See No, 642.)
Shivt-jin. Master or owner (of a house). (See No. 610.)
"• It is a frequent custom in Japan for men who have passed middle age to shave
tlieir heads and nominally or actually to Teslgn the charge of their worldly affairs to
their successors. In this retirement, expressed by the term inMo, the person holds a
relation to the Buddhist Church somewhat like that of the Abbe' to the Roman Catholic
Church. It often occurs, however, that his worldly activity continues without
diminution, and may even be rei^laced by a power greater, because more subtle, than
tliat previously wielded.

476 APPENDIX,

Mon-jin. Pupil. (See No. 1227.)
Bd-jin. Man of years. The terms Gwa-kio Eojin, or "Old man
infatuated with pictures," and Eojin Manji, " The Ancient of a
Hundred Centuries," were assumed as names by Hokusai in his
later years. (See No. 1005.)
Jo-shi. Female writer or artist, (See No. 709.)
Almost every artist has one or more noms de pinceau, which may be
employed in substitution for his real name. Such appellations were
especially afiected by painters of the Popular school. Thus all the
names by which Hokusai is known (Katsushika Hokusai, Sori, Saito,
Tame-ichi, &c.) are of this kind, while his true family and personal
names still remain a matter of uncertainty.
These go names or professional designations are often assumed in
an incomplete form by pupils. Nearly all the followers of Hokusai
adopted one or other of the two characters forming the name, as in the
cases of Hokkei, Hoku-ba, and I-sai ; and more rarely the entire name
has been transferred or appropriated, as when Utagawa Kunisada
abandoned his personal name in favour of that of his predecessor
Toyokuni, and became thenceforth " Toyokuni the Second."
The age of the painter is frequently recorded after the signature, but
seldom until an advanced period of life has been attained.*
The date of execution of the work is sometimes written upon it, and
is recorded either by means of the Nengd (a period of years correspond
ing to a reign or part of a reign) or the Cycle of sixty years. In the
latter case it may be impossible to determine the age of the picture.
Both systems of indicating time are extremely troublesome, even to the
Japanese. Descriptive and poetical inscriptions are frequently written near the
drawing, and in some cases the calligraphy so introduced may be of
greater value than the pictorial work.
Old and important paintings are often guaranteed by written certifi
cates from some recognized connoisseur. The value of such documents
is, of cour.se, subject to variation from circumstances of the same kind
as those which affect the credibility of similar assurances of authen
ticity in Europe.
* Age in .Japan, ns in China, cai-rics with it a claim to respect •per se, and lience
when a man has long passed the meridian of life he is proud to make known his full
tale of years, ami is perhaps occasionally tempted to enlarge his title to consideration
by fictitious additions to the true number, lu the registration of age the current year
is added to the total, so that a person who has just entered liis sixty-third year is called
sixty-three yenrs oM. The ordimiry Euiopean custom has, however, been followed in
all refirenoes uttiiched to the foregoing pages, except where inscriptions or extracts are
quoted verbatim, and hence the age will appear to be one year less than that given in
native accounts.

APPENDIX. 4:11

The words which correspond to the fecit or j»i«a;ii of European painters
aud are commonly written after the name, are : —
Hitsu, pencil.
Gwa, picture.
Dzu. planned (drew).
Shirusu, marked (drew).
Sei, executed.
E-gaku, drew.
Setsu-gd, unskilful pencil.
Sui-gwa, drawn when intoxicated.
Utsusu, copied.
Yoru, following, or after.
Kei, bestowed, or executed.
Mosu, copy.
The characters Utsusu and Mosu do not necessarily imply a copy in
our sense of the word, but may mean an original picture copied from
nature. The above terms may be qualified by the addition of various expres
sions, as : — Wa-shuku, Tsuisushinde or Kin, respectfully.
Tsutanaku or Setsu, unskilfuUy.
Tawamure ni or Gi, for amusement.
0-jiu, in response to the request of.
Kokoro-mini, for experiment.
Haidai, respectfully denominated.
Tai-shi. Princely gift. Applied to names of artists,
&c., conferred by the Sho-gun. See No. 2296.
Tai-mei. Princely order.
&c. &c.

CHINESE AND KOBE AN
PICTOEIAL AET.

( 481 )

CHINESE PICTORIAL ART.

China has hitherto engrossed little of the attention of the busy
Western world, and even in the present day the majority of other
wise well-informed Europeans merely regard the great Empire with
a languid curiosity that has its chief foundations in false impres
sions concerning the character and history of the people. It is from
no fault of the Sinologist that the knowledge is not more widely
spread. He has spared no toil, even in the most arid regions of
research, and has brought to light an abundance of well-sifted fact
for those who care to take advantage of it ; but unfortunately the
greater part of the product of his labour is too abstruse to interest
a large section of the public. The only field whose outcome is
likely to aff'ord results that will command a wide appreciation is that
of art, but although much has here been successfully accomplished,
the richest corner still rests unexplored, for there yet remains, out
side the treasures of keramic ware, jade, ivory, and metal work
which we have already learned to admire, a mine of wealth awaiting
the efl^ort of those who possess the qualifications and opportunity
necessary for the investigation, and all lovers of the beautiful will
have reason to be grateful when the pictorial treasures of the Middle
Kingdom are brought within their ken.
The task of research has some difSculties, for the amount of
material has long been sufiering progressive diminution under a
variety of destructive agencies, and the special faculty essential
for the- detection of the precious relics may be wanting even
wuere all the other requisites for the undertaking are present;
but the time cannot be far distant when the attempt will be made.
In the meantime the writer offers as a first contribution to the
future store, a few fragments of knowledge gathered in Japan.
It must be premised that for the archaeologists of Egypt, Assyria,
2 I

482 CHINESE AND KOREAN PICTORIAL ART.
and Greece, the art products of China are not ancient. M. Julien
has already demonstrated the comparatively recent origin of the
higher developments of the Keramic industry ; * the oldest specimens
of Glyptic art that bear marks of the higher aesthetic culture are
Buddhistic images,t the production of which is necessarily posterior
to the introduction of the religion from India in the reign of the
Emperor Ming Ti (a.d. 62) ; and as yet there is no evidence to
show that the Pictorial art which existed before the same event,
had emerged from its rudimentary stages.
The early history of Chinese Pictorial art is very obscure. Native
authors allude to it as one of " the six branches of calligraphy " —
that which teaches " the forms of matter "• — and thus refer its
origin to the legendary era ; but no satisfactory record of the
name and achievements of any individual painter appears before
the third century a.d., nearly two hundred years after the im
portation from India of the Buddhistic pictures and images, which
probably formed the starting-point for a new and ambitious phase
of a previously undeveloped art.
The first painter whose name has been found in history was Tsao
FuH-HiNG (So-iutsu-koJ), who served under the Emperor Sun Kiian
in the third century a.d. He was noted for the delineation of
figures and dragons, and is said to have executed Buddhist pictures
for the temples which were then becoming rapidly multiplied. Two
marvellous legends are all that remain to celebrate his genius.
One of these repeats the story, already familiar to European ears, of
a painted fly so skilfully introduced into a picture, that the critic
(in this case an Emperor) raised his hand to brush the supposed
insect from the paper :— the other fable, one of the first amongst a
multitude of similar myths, relates how the display of a dragon §
delineated some centuries before by the same artist, caused the
* M. Julien places the invention of porcelain between the years 185 b.c. and
87 A.D. It is probable however that no specimens in accordance with modern
European standards of beauty were produced before the Yuen dynasty.
t The so-called " ancient vases of the Shang Dynasty," (1766 to 1122 b.c.) possess
considerable beauty of shape, but are essentially barbaric in design, and offer no
indication of study of natural forms. The dates assigned to them are moreover
open to suspicion.
X The name placed within brackets after the Chinese name is that by which the
artist is known in Japan.
§ The dragon is believed to be the dominant spirit of the waters and to pervade
the Rtorm-clond.

CHINESE PICTORIAL ART. 483
clouds to gather in the sky and the rain to fall upon the earth in
time to avert impending famine.
The next artist, concerning whom any precise information is
attainable, was Chang Sang-yiu (Cho-so-yu), who lived about the
middle of the sixth century, and was engaged by the devout monarch
"Wu Ti as a painter of Buddhist pictures. It is uncertain whether
any of his works are now in existence, but his name is frequently
referred to as that of a master whose style was imitated by many
later celebrities. Like every great artist in China and Japan, he
has given employment to the ingenuity of fable-mongers. They
tell us that he once delineated a wondrous dragon. No sooner was
the picture completed by touching in the eyes than a black cloud
suddenly arose from the paper, and filling the chamber, sent forth
peals of thunder. In the midst of the elemental strife the monstrous
creation of the pencil became instinct with life, and bursting through
the walls vanished into the sky,*
The principal artists of the seventh century were Yen Li-tbh (En-
riu-toku)j his younger brother. Yen Li-pun (En-riu-hon), who is
chiefly remembered by a series of portrait studies of historical _
paragons of learning and loyalty ; and Chang Yijeh (Cho-setsu), who
lived a. little later than these, and though greatly esteemed as a
painter, is better known as the Minister of State to the Emperor
Hiian Tsung, He died a.d, 730, at the age of sixty-three.
Several famous painters left their mark on the history of the
eighth century. The greatest of these was "Wu Tao-tsz' (Go Doshi),
after whom came two lesser luminaries — ^Wang Wei (0-i), and Han
Kan (Kan-kan),
Wu Tao-tsz' was engaged as a court artist by the Emperor
Ming Hwang (To no Genso), It was only after a long struggle
against poverty, and a failure to attain proficiency as a caUigraphist,
that he turned his attention to painting, to win in that calling a
celebrity scarcely paralleled before or since.
In style, he followed the masterpieces of Chang Sang-yiu, with
whom he was declared to be identified by metempsychosis. He was
especially famous as a designer of Buddhist pictures, and his por-
* Such stories, strained as they are in conception and hackneyed by repetition
are perhaps worthy of notice, partly as a mark of the esteem in which certain artists
were held, and partly to indicate the existence of an ideal of realism in art which
the painter rarely attempted to attain in practice. 2 I 2

484 CHINESE AND KOREAN PICTORIAL ART.
trai tures of Kwanyin and certain other divinities are still regarded
as the models for priestly artists; his landscapes were of ex
traordinary vigour, and full of picturesque beauty; and his de
lineations of animals are said to have been life-like to an illusive
degree. His works are now chiefly known by copies, some of which
are marked by a force and unconventionality rarely seen in the
paintings of later artists; but the specimens are insufficient to
allow a fair judgment of his capabilities. An original altar-piece,
representing the Nirvana of Sakyamuni, is preserved at the temple
of Manjuji, in Kioto, and some landscapes and Buddhist figures have
been engraved in various Japanese albums. The former work, in
dignity of composition, and in the extraordinary truth of expres
sion and action marking the figures of the weeping divinities
and disciples, manifests a genius possessed by few of the Buddhistic
artists of later centuries, who have indeed been content to copy the
design of the T'ang master with a fidelity that speaks volumes as
to their estimation of the original.
The myths by which his admirers have sought to embellish his
renown are very curious, though now somewhat weakened by frequent
repetition and imitation. One writer thus recites his praise : " It is
told that an ancient artist painted a picture of a woman, and when
the representation was pierced in the region of the heart it shrieked
aloud — Wu Tao-tsz' sketched a mule for the decoration of a temple
hall, and every night the priests were disturbed by the soundTof
neighing and trampling. Chang Sang-yiu painted a dragon which
came to life and ascended to the clouds — Wu Tao-tsz' also limned
a dragon which seemed to ,move before the spectator, and when a
storm approached, the clouds gathered around the picture." * The
legend, which celebrates the disappearance of the artist from the
worldly stage, has a strong Taoist flavour. "In the palace of
Ming Hwang, the walls were of great size, and upon one of these
the Emperor ordered Wu Tao-tsz' to paint a landscape. The artist
prepared his materials, and concealing the wall with curtains com
menced his work. After a little while he drew aside the veil, and
there lay a glorious scene, with mountains, forests, clouds, men,
birds, and all things as in nature. While the Emperor gazed upon
* In some accounts the dragon story is identical with that related of Chans
Sang -YIU.

CHINESE PICTORIAL ART. 485
it with admiration, Wu Tao-tsz', pointing to a certain part of the
picture, said, ' Behold this temple grot at the foot of the mountain
— within it dwells a spirit.' Then clapping his hands, the gate
of the cave suddenly opened, ' The interior is beautiful beyond
conception,' continued the artist, ' permit me to show the way, that
your Majesty may behold the marvels it contains.' He passed
within, turning round to beckon his patron to follow, but in a
moment the gateway closed, and before the amazed monarch could
advance a step, the whole scene faded away, leaving the wall white
as before the contact of the painter's brush. And Wu Tao-tsz' was
never seen again,"
Wang Wei (0-i) was a famous landscape painter, who held high
rank at court in the period K'ai Yiian (713-742).
Han Kan (Kan-kan), a protege of the last, was introduced by him
to the notice of the government. It is said that when commanded
by the Emperor to study under a noted painter of horses, he
declined, with the excuse that " he had already a teacher in the
steeds of the Imperial stable."
Other names of painters in the T'ang dynasty (ending a.d. 907),
are Li Tsien (Ki-zen), the most celebrated artist of his period for
figures and horses, who left a son, Li Chung-ho (Ei-chiu-wa), also
reputed for his skill in the same subjects; Yuen Ying (Gen-yei),
a clever painter of bees and butterflies ; Kiang Tao-yin (Kio-do-in),
a landscape painter ; and Li Cheng (Ei-sei), whose fame rested
principally upon his landscapes.
The names of great artists of the Sung dynasty (a.d. 960-1206)
have reached us in considerable numbers : the principal of these
are subjoined : — •
Kwoh Hi (Kwakki), noted for landscape painting after the
manner of Li Cheng, flourished in the period Kai Pao (968-976).
His works are frequently copied by the Japanese. See No. 160.
I Yuen-kih (I-gen-kitsu), a famous painter of flowers and animals.
The monkey was also one of his favourite subjects.
Su She, or Tong-po (So-sha or Toba), a famous statesman and
poet. As a painter, he is best known for sketches of the bamboo.
See No. 160, and Jap. 2856.
Chao Ling-jang (Ch6-rei-j6), noted for landscapes, particularly
snow scenes, and for bamboos in the style of Su She.

486 CHINESE AND KOREAN PICTORIAL ART.
Chao Chang (Cho-sho), noted for painting of fruit, grasses, and
insects. Twelfth century.
Chao Tsien-li (Cho-sen-ri), a favourite of the Emperor Kao Tsung
(1127 to 1163). Painted all subjects, but was most skilful in
figure drawings
Li Tang (Ei-to), also a favourite of Kao Tsung. Noted for
paintings of landscape and figures, and for drawings of oxen;
flourished in the period Kien Yen (1127-1131).
Li Tih (Ei-teki), a contemporary of the last. Painted birds,
flowers, bamboos, rocks, and landscapes.
Hwei Tsung (Kiso Kotei), an emperor of the Sung dynasty.
Eeigned 1101 to 1126. He was gifted with a remarkable talent for
the delineation of flowers and birds. Two of his pictures are en
graved in the Wa-kan mei-giva yen.
Liang Chi (Eio-kai), noted for portraits of sages.
Wang Ts'uen (0-sen), noted for pictures of landscapes and birds.
See Nos. 4 and 5,
Li Lung-yen (Ei-riu-min, or Ei-ko-rin), The most celebrated
artist of the Sung dynasty. He is said to have equalled Han Kan as
a painter of horses, and Wu Tao-tsz' in Buddhist pictures ; and to
have excelled in landscapes and figures. His original drawings were
executed in monochrome, upon paper, but he used silk and colours
v/hen copying ancient works. The Nirvana in the collection is
probably a copy from an older painting. See No. 1.
Mao Yih (Mo-yeki), noted for painting of birds and flowers, and for
small landscapes. Flourished in the period Kien Tao (1165 to 1174).
Li Ngan-chung (Ei-an-chiu). Twelfth century. Noted for flowers
and birds.
Ma YiJEN (Ba-yen), one of the greatest masters of the twelfth
century. Noted for landscapes, figures, flowers, and birds. He is one
of the three painters (Ma Yijen, Hia Kwei, and Ngan Hwui) whose
style Japanese artists were most fond of imitating. See No. 156.
Ma Tah (Ba-tatsu), the younger brother of the last. Less
known than Ma YtiEN,
Hia Kwei (Ka-kei), one of the most famous painters in the Sung
dynasty. Flourished in the reign of Ning Tsung (1195-1225),
See No. 160.
Muh Ki (Mokkei), one of the leading artists of the dynasty.
His favourite subjects were dragons, tigers, monkeys, storks, and

CHINESE PICTORIAL ART. 487
wild ducks ; but he also painted figures and landscapes. See Nos. 9
and 10, and 161-2.
Hwui Su (Kei-so), celebrated for drawings of birds ; lived in the
twelfth century. See No. 3.
Li Ju (Ei-su), at first a wood-carver, he subsequently became a
painter, and was especially renowned for portraits of priests. He
flourished in the early part of the thirteenth century, during the
reigns of Kwang Tsung and Li Tsung (1190-1265),
Chao Tsz'-how (Cho-shi-ko), noted for pictures of mountain and
forest scenery.
Chao Yung, or Chung Muh (Cho-yo, or Chiu-boku), chiefly noted
as a painter of landscapes. See No. 12.
Yuh Kien (Giokkan), a famous artist of the Sung dynasty, who
had many followers in Japan.
Mi Yuen Chang (Bei-gen-sho). Noted as a caUigraphist and as
a painter of figures and landscapes. His son, Mi Yih-jen (Bei-yu-
jin), was also an artist of reputation,
Ngan Hwui (Gan-ki) lived in the early part of, the 13th century,
and belongs to both the Sung and Yuen dynasties. He was the last
of the great masters, and is placed with Ma Yuen and Hia Kwei, to
form an artistic trinity referred to by Japanese painters under the
compound title of Ba-ka-gan (Ma-Hia-Ngan), His pictures were
mostly painted in monochrome upon silk. See Nos. 6 and 7, and
2856 Jap.
The list of the artists of the Yijen, Ming, and Tsing dynasties
is of great length. In the Gen-min-sei roku, in which are enume
rated the chief painters of these dynasties, some four thousand names
are recorded, A few of these are selected as those of the masters
with whose works the Japanese were most familiar.
Yiien dynasty : —
Ma Lin (Ba-rin), son of Ma Yuen of the Sung dynasty.
Ma Liang (Ba-rio), son of Ma Yuen. See No. 70.
Chao Meng-fu (Cho-su-go).
Noted as a painter of horses; lived 1254 to 1322. See
No. 159, and 2856 Jap.
Chao Tan-lin (Cho-tan-rin).
Noted for tigers, birds, &c. See No. 11.

488 CHINESE AND KOREAN PICTORIAL ART.
Ming dynasty : —
Wang Ching-ming (Bun-cho-mei) ; lived 1522 to 1567.
Noted for landscapes and calligraphy.
Wang Lieh-pun (0-riu-hon).
Noted for flowers and landscapes. See No. 24.
Si-kin Ku-tsze (Sei-kin-ko-ji).
Noted for portraits. See No. 37.
Tsze Chung-chao (Ka-chiu-sho).
Noted for flowers. See No. 65.
K'iu-ying (Kiu-yei).
Noted for landscapes and figures. See Nos. 22, 23, 97, and
162, and 2856 Jap.
SiEH-sHE Sze-chung (Sha-ji-shiu).
Noted for landscapes and figures ; flourished 1522 to 1567.
See No. 79a.
Cn.vNG Ki (Cho-ki) ; flourished 1488 to 1506.
Noted for female figures. See Nos. 14 and 169.
Wan Chin (Bun-shin).
Noted for figures and birds. See Nos. 20 and 21.
Lij Ki (Eio-ki) ; flourished c. 1490.
Noted for birds and flowers. See Nos. 29 et seq.
Chiu Chi-mien (Shiu-shi-ben).
Noted for birds and flowers. See Nos. 17 to 19.
Shun KiJ (Shun-kio).
Noted for birds and flowers. See Nos. 160 and 168, and 226 Jap.
Liu TsuN (Eiu-shun) ; flourished 1465 to 1488.
Noted for figures. See No. 96.
LiN Liang (Ein-rio) ; flourished 1457 to 1465.
Noted for birds and flowers. See Nos. 26-7,
Pien King-chao (Hen-kei-sho) ; flourished 1403 to 1425.
Noted for birds and flowers. See No. 155.
Yueh Chao (Gesshiu).
Noted for birds and flowers. See Nos. 38-9.
The styles of art practised in China have been classified in various
ways : —
1st. According to period.
That of the T'ang and Epoch of the Five Dynasties (a.d. 618-
960).

CHINESE PICTORIAL ART. 489
That of the Sung dynasty (960 to 1206).
„ the Yuen and early Ming dynasties (1206 to about 1450).
„ the later Ming dynasty (1450 to 1628),
„ the Tsing dynasty (from 1628),
2nd, By subdivision into the schools of the North and South.
The ancient pictorial art of China created by the native
masters of the T'ang and perhaps of .earlier dynasties, and
emulated by the greatest painters of Japan, found a rival
in a mannerism invented by the caprice of influential
amateurs, and nourished by their admirers. The new
school, which became known as that of the South, appeared
as early as the Sung dynasty. Its leaders were for the
most part eminent scholars and men of rank, who found it
possible to secure artistic fame without the genius and
labour that had enabled their predecessors to establish a
national art. The roughest sketch of flower or bird or
landscape, provided that it bore the mark of a well-known
name, gained an admiration proportionate to the reputa
tion of its producer rather than to the artistic merit of
the execution ; and although such pictures often displayed
much calligraphic power, and even pictorial suggestiveness,
the ideal was immeasurably inferior to that set up by the
artists of the older or Northern school.
The style of the North maintained its pre-eminence through
out the Sung and Yuen dynasties; but with the Ming
period commenced a steady and progressive decadence,
which allowed the Southern school to wax stronger in
public estimation, until at last the country that had given
birth to men of such mould as Wu Tao-tsz', Muh-ki, Ngan
Hwui, and a score of others, became represented by an art
which is justly despised by the rest of the world.
The evil influence of the Southern school was first felt in
Japan in the middle of the last century, under the teaching
of a few political refugees from China, of whom Ifukiu was
the chief. Its adoption, however, did not extend widely until
the beginning of the present century, when the afl"ectation
of the facile pseudo-art aided the Naturalistic and Popular
schools in destroying the last traces of the older schools.

490 CHINESE AND KOREAN PICTORIAL ART.
3rd. According to mode of outline.
The style corresponding to the square or formal character
(Chieh shu).
The cursive style, corresponding to the " grass " characters
(Ts'ao shu).
The intermediate style, corresponding to the characters
between the two former (Hsing shu).
A " fine " and " coarse " style were also recognised. It was
the former which was chiefly followed by the artists of the
Yamato school in Japan, while the Kano pictures were
nearly always executed in the bolder manner,
4th, According to mode of colouring.
Monochromes. Thinly coloured paintings.
Medium-coloured painting.
Highly coloured paintings.
The first classification, that of period, is the most difficult to
follow, as the tendency of the Chinese to worship the carefully
treasured pictures of the old masters led to constant reversions
of manner. As a generalization, it may be said that the best
non-Buddhistic pictorial art of the T'ang, Sung, and YiJEN dynasties,
represented by the paintings of Wu Tao-tsz', Muh Ki, and Ngan
Hwui, were characterized by simplicity of style, subordination
of colour, remarkable calligraphic power in the manipulation of
the pencil, and a comparative freedom from conventionality of
treatment. The later Ming artists, as represented by Chang Ki and
K'iu-ying, adopted a more decorative manner of painting, in which
force and freedom of outline were subordinate to beauty of colouring ;
but not a few of their contemporaries and successors maintained the
more classical style. In the present dynasty no new or distinctive
manner has been initiated, except that of the trash executed for
the foreign market and mistaken by its Western patrons for typical
Chinese art.
The grouping, according to mode of outline, is incomplete, as
it bears no reference to colour. The most formal and elaborate
pictures belong to the square character style ; the free rapid out
line which was afterwards carried to an extreme in Japan (as in the
sketches of Sesshiu and Kano Tanyu) is that of the cursive hand.

CHINESE PICTORIAL ART. 491
Lastly, the arrangement according to mode Of colouring may be
used to supplement the deficiencies of the preceding classification.
Monochrome drawings in black, or more rarely in red or other
colours, were amongst the best works of the most ancient masters.
The " thin-colouring," in which pale and flat but highly effective
washes of pigment are added, was practised- by nearly all the mono
chrome artists. The " highly-coloured picture " is best exemplified
in the Buddhist altar-pieces and less favourably in the secular
works of the Ming painters, which were imitated in Japan by Eiu-
KiKio and some Of the modern representatives of the Kano school.
Finally, the pictures characterized by moderate use of colour, the ChiH
zaishiki of the Japanese, were common to the Sung and later periods.
The Buddhist art of China appears to have differed little from its
Japanese descendant. There is, however, much reason to believe that
the earliest works of the T'ang dynasty had derived through India cer
tain elements of Greek art, which were completely lost in later times.
The main features of Chinese art may be summed up as follows : —
1. Drawing calligraphic; beauty of outline and decision of touch
being of more importance than scientific observation of form. The
sacrifice of the latter element is more marked in pictures of the
middle period than in the older works, while both are often lost in
the more recent productions of the country. The defect of drawing
is, as a rule, most obvious in the rendering of female faces in general,
and profiles in particular, and is least marked in birds and other
animals whose anatomical forms present the least complexity. The
proportions of both men and animals are usually good, and action is
forcibly and truthfully suggested.
An exceptionally realistic art, however, occasionally appeared in
portraiture, and in the works of at least two, artists, Chen Chung-
FUH and Si-kin Ktr-TSZE, offered examples of great academical truth
and power, (See Nos. 13 and 37.)
2. Perspective isometrical. A few works of the pure Chinese
school and some Btiddhist pictures suggest a rudimentary idea of linear
perspective by showing the convergence towards a vanishing point
of lines that are parallel in nature, but the point is wrongly placed,
and in other respects the rendering of distance indicates a lack of
intelligent- observation.
3. Chiaroscuro sometimes absent, sometimes represented by a kind

492 CHINESE AND KOREAN PICTORIAL ART.
of shading that serves to throw adjacent parts into prominence, with
out indicating any study of the true appearances. Projected shadows
always omitted. Eeflections, whether of form, light, or colour,
always ignored, unless the repetition of an image upon the surface
of a mirror or lake be required by the exigencies of the story.
4. Colouring almost invariably harmonious, but often arbitrary,
and either flat, or presenting delicate gradations, which compensate
in some degree for the absence of chiaroscuro.
5. Composition good. Appreciation of the picturesque remarkably
evidenced in landscape.
6. Sense of humour less strongly displayed than in the pictures
of the Japanese, but the other intellectual qualities of the artist are
well marked. The inventive capacity of the Japanese popular artists
of the last hundred years appears to be greater than that manifested
by their Chinese brethren, but it is impossible to be certain upon this
point until more extensive opportunities are afforded for the study of
the art of the Middle Kingdom.
7. Applications of pictorial art, as in wood-engraving, decoration
of pottery and lacquer, embroidery, &c., as a rule, far less intelligent,
skilful and varied than in Japan.
The magnitude of the debt in pictorial art that Japan owes to its
neighbour will be understood by a comparison of the works of the
two countries, in fairly representative collections, and even in woodcut
copies, such as those in the Wa-kan mei-gwa yen and other books
of the same kind.* This obligation the Japanese has never failed
to acknowledge with candour and generosity. " Our painting," says
a Japanese writer of the last century, " is the flower, that of China
is the fruit in its maturity." Europeans, however, who compare the
works of the Naturalistic and Popular schools of Japan with the
contemporary art of the Middle Kingdom may not be inclined to
agree with this modest self-depreciation, for while Chinese pictorial
art has been drifting into evil ways, the Japanese have created for
themselves an individuality, both in motives and treatment, that
has altogether reversed the former relations of the two countries.
Chinese artists, like the Japanese, painted both on paper and silk,
and the Japanese method of mounting pictures as kakemonos and
rolls, is of Chinese origin.
* See bibliographical list appended to preface.

( 493 )

KOREAN ART,

Little can be said with reference to Korean art ; partly on account
of its close resemblance to the art of China, and partly because of
the difficulty in obtaining access to authentic historical facts, and
of procuring a sufficient number of representative specimens. It is,
however, placed beyond doubt that Korean art in general could
claim in ancient times a far higher position than that to which it
is now entitled.
The early painters in Japan, before the time of Kanaoka, were
mostly Korean immigrants, and were treated with marked respect
by the Japanese. The Nara wood-carvings of the Deva Temple-
guardians, attributed to a Korean of the seventh century, are worthy
of a sculptor of ancient Greece ; the casting of some of the greatest
Buddhist bronzes was effected under the superintendence of Korean
workmen ; brocade weaving was learned in the fifth century from a
native of Korea ; while in Keramics, the Korean ivory white glaze,
and the well-known grey and white ware, were reproduced in the
old Satsuma and Yatsushiro pottery, and the Baku yaki of the
Korean Ameya and his descendants provided sesthetic feasts for
the connoisseurs of the last three centuries. Hideyoshi's invasion
of the country, at the end of the sixteenth century, unfortunately
appears to have led to a rapid decline in the Korean arts ; and the
recent experience of those Japanese who have effected an entrance
into the hitherto jealously secluded kingdom, points to a state of
poverty and ignorance that must form a painful contrast with its
former dignity, in the days when Korea was the teacher and Japan
the pupil. It is worthy of remark that the drawings made by the
artist who accompanied the Korean Ambassador to Japan in 1878
(Nos. 224-6) are identical in manner with those of the old Chinese

494 CHINESE AND KOREAN PICTORIAL ART.
painters ; while a portrait (No. 227) executed in Korea within the
last few years is characterised by an attempt at light and shade
that indicates a certain acquaintance with European practice.
As a precautionary hint, it may be mentioned that the so-called
" Korean pottery " now sold in London is a very modern Japanese
ware of indifferent quality, and is entirely unlike any known
keramic produce of Korea,
The Kun in Hoshb, a collection of the seals of painters and calli
graphists, enumerates many Korean artists, including one of the
kings of the country, but the names would be of too little service
to the foreign investigator to justify their reproduction here.

( 495 )

I. CHINESE PICTURES.

1, Kakemono, on silk, painted in colours. Size, 76| x 57,
The Nirvana of S'akyamuni,
The details of the subject correspond closely to those of the
Japanese-Buddhist pictures Nos. 7 and 8, and do not differ in any
important respect from those of the earlier work of Wu Tao-tsz',
preserved in the temple of Manjuji at Kioto (see " Pictorial Arts
of Japan ").
Painted by Li Lung- yen (Jap. Ei-eiu-min).
Eleventh century.
2, Kakemono, on silk, painted in colours. Size, 48^ x 25,
White falcon.
Drawn in a simple but masterly style. The feathers are touched
at their extremities and along the central stem with white, and
stand out boldly from the dark-brown ground of the silk.
This picture is attributed to the Emperor Hwei Tsung
(Jap. Kiso KoTEi), but bears no seal. Beginning of
twelfth century.
3. Kakemono, on silk, painted in monochrome. Size, 49J x 25|^.
Wild geese in the rushes.
The simple, freehanded style of the drawing is that which was
most favoured by the great masters of the Sung and Yiien dynasties,
and was imitated closely by the Japanese schools of the renaissance.
There is a prevalent but erroneous impression in Europe that this
manner is characteristic of Japanese art.
Painted by Hwui Su (Jap. Kei-so). Twelfth century.
4 and 5. A pair of kakemonos, on silk, painted in colours. Size,
261 X 12.
Fowls and peonies.
The manner is very similar to that followed by the Kano school
in its middle period.
Painted by Wang Tsuen (Jap. 0-sen). Seal. Sung
dynasty.

496 CHINESE AND KOREAN PICTORIAL ART.
6. Kakemono, on silk, painted in monochrome. Size,' 57 X 32|.
Three Rishis, Li T'ieh-kw'ai (Jap. Ei Tekkai), Han
Chung-li (Jap. Sh6-ri-ken), and LU Tung-pin (Jap. Eio-
to-hin). See No. 1358.
Three men, of wild but striking aspect, are seated conversing in
a mountain haunt. The background is formed by the rugged
fissured walls of a rocky cavern, from a chink in which jets a silvery
stream to form a winding rivulet upon the crag-strewn floor. The
fantastic limbs of an aged pine and wild plum, the emblems of
longevity, fitly complete the scene.
The drawing of the figures is rather calligraphic than natural
istic, but the attitudes and expressions are vigorously portrayed.
The profile of LU Tung-pin conventional and incorrect.
Painted by Ngan Hwui (Jap. Gan-ki). No name or seal.
Two certificates of authenticity accompany the picture, one
by Kano Yeishin, the other by Kano Korenobu. Thirteenth
century.
7. Kakemono, on silk, painted iu monochrome. Size, 44 J x 17].
Li T'ieh Kwai. (See No. 1348.)
The Eishi appears in the usual form as a ragged half-naked man
leaning upon a crutch. The face is turned upwards, and from the
mouth issues a vapour which ascends bearing the spiritual counter
part in its flight towards the Sacred Mount of the Immortals. The
leafy girdle that ekes out the tattered dress is one of the attributes
of the Taoist Genii.
Painted by Ngan Hwui. Seal. Thirteenth century.
8. Kakemono, on silk, painted in colours. Size, 25f X 16|.
A Boy-Rishi.
A childish figure riding upon a goat and carrying suspended from
a branch of a plum-tree a cage containing a blackbird. A number
of kids are gambolling around him.
Painter unknown. The picture is attributed to Han Kan
(Jap. Kankan) of the T'ang dynasty, but bears neither name
nor seal. It has been retouched in Japan.
The personage represented is probably Hoh Yiu (Jap. Katsuyu), a
Taoist Eishi, whose portrait appears in the Ressen zen Den, and is fre
quently introduced in Japanese pictures as a sage clad in a long cloak
and riding upon a goat.

CHINESE PICTURES. 497

9 and 10. A pair of kakemonos, on silk, painted in monochrome.
Size 451 X 20|.
Eagles. Vigorously sketched in the style of the Sung dynasty.
Attributed to Muh Ki (Mokkei). No name or seal.
Eleventh century.
These pictures originally formed part of a set of throe, but the ci'utral
painting, a representation of Kwanyin, is in the possession of a native
collector.
11. Kakemono, on silk, painted in colours. Size, 57| X 33.
Tiger and cubs.
Bold but conventional in drawing, hair minutely painted. One
of the cubs has the spots of a leopard. Compare with No. 2702 by
Ganku, who was an imitator of this artist.
Painted by Chao Tan-lin (Jap. Cho-tan-rin). Seal. Cer
tificate by Kano Hogen Yeishin. Thirteenth century.
12. Kakemono, on silk, painted in monochrome. Size, 16| X 16|.
Chinese sage.
Painted by Chao Chung-muh (Jap. Cho-ohiu-boku). Seal
partially obliterated. Fourteenth dynasty.
13. Kakemono, on silk, painted in colours. Size, 47f x 17J.
Portraits of a sage and attendant.
A remarkable specimen of the art of the Ming dynasty. The
faces of the two figures are evidently drawn from nature, the traits
are rendered with great truth and delicacy, and sufScient chiar
oscuro is introduced to reproduce the moulding of the features. The
dresses and scenery are painted in accoidance with the ordinary
Chinese practice. Compare with No. 40.
A long inscription in seal characters is written at the head of
the picture. Painted by Chen Chung-fuh (Chin Chiu-fuku). No name
or seal. Certificate by Kano Hogen Yeishin. The picture is
also accompanied by an eulogium of the painter, who is said
to have drawn the portrait of the Emperor. Ming dynasty;
probably fifteehth century.
14. Kakemono, on silk, painted in colours. Size, 40 x 19^.
Portrait of a Chinese lady.
The drawing is free and graceful, but very conventional; colouring
soft and harmonious.
Painted by Chang-Ki (Jap. Choki). Seal. Certificate of
2 K

498 CHINESE AND KOREAN PICTORIAL ART.
authenticity by Kano Hogen Yeishin. End of fifteenth
century.
15 and 16. A pair of kakemonos, on silk, painted in colours. Size
521 X 241.
Cranes. These pictures are very fine specimens of the work of the early
Chinese school, and appear to have been the models from which
many of the crane designs of the Japanese artists were copied.
They have been engraved in the Gwa-ko Sen-ran.
Signed Siang Lang-lai. Seal. Sung dynasty.
17. Kakemono, on silk, painted in colours. Size, 58^ X 27f.
Birds and flowers.
The drawing of the wild geese, roses, &c., is very inferior to that
of the works of the Sung artists.
Painted by Chiu Chi-mien. Seal. Dated 1578.
18. Kakemono, on silk, painted in colours. Size, 55^ x 16|.
Birds and flowers.
Quails, bamboo and convolvulus. Weak in drawing.
Painted by Chiu Chi-mien. Seals. Sixteenth century.
19. Kakemono, on silk, painted in colours. Size, 36| x 14.
Birds and flowers.
Painted by Chiu Chi-mien. Seals. Sixteenth century.
20. Kakemono, on silk, painted in colours. Size, 49| x 29|.
Chinese Sages
Three men in the dress of scholars, reading and writing, in a
small enclosed garden ; two visitors are approaching on horseback,
attended by a servant with a fan. Amongst the accessories may be
noticed a pair of tame cranes.
The drawing is conventional, and the colouring is in the some
what heavy style favoured in the Ming dynasty. Compare with
No. 38. Painted by Wan Chin (Jap. Bun-shin). No name or seal.
Ming dynasty.
21. Kakemono, on silk, painted in colours. Size, 12} x 1Q\.
Crow and loquat tree.
Attributed to Wan Chin. No name or seal. Ming
dynasty.

CHINESE PICTURES. 499

22 and 23. Pair of kakemonos, on silk, painted in colours.
Size, 501 X 21|.
Landscapes with figures.
The pictures are entitled " Plum-flower revelry," and represent
a party of learned men repairing to the house of a friend to cele
brate by festivity and intellectual amusements the flowering of the
plum-trees in early spring. The introduction of the moon in one
of the rolls indicates that the " revelry " is nocturnal, but in all other
respects the painting is indistinguishable from that of a daylight
scene. Painted by K'iu-ying (Jap. Kiu-yei). Seal. Ming dynasty
(fifteenth century ?).
24. Kakemono, on silk, painted in monochrome. Size, 36| X 15|.
Landscape. Mountain and valley scenery.
The horizontal line rises nearly to the top of the picture, but a
small building in the foreground shows an attempt at perspective,
its outlines converging towards a vanishing point, which, however,,
falls far below the horizon. These half-hearted endeavours to
realise visual impressions are not very rare in the pictures of
Chinese artists.
Painted by Wang Lieh-pun (Jap. 0-eiu-hon). Certificate
by Kano Yeishin. Ming dynasty.
25. Kakemono, on silk, painted in colours. Size, 13f x, 23|.
Bird and flowers.
Painted by Kl4.ng Li-k'an (Jap. Ki6-ritsu-k6). Seal.
Ming dynasty.
26 and 27. A pair of kakemonos, on silk, painted on monochrome.
Size, 54f X 311.
Wild geese, lotuses, and rushes.
Painted in the style of the Sung dynasty. The drawing re
sembles that of LiJ Ki (Eioki) (Nos. 27 and 28), but has even
greater spirit and freedom of touch. Compare with No. 3.
Painted by Lm Liang (Jap. Ein-eio). Sixteenth century.
28. Kakemono, on silk, painted in colours. Size, 42| x 15|.
Wild geese and other birds, with rushes and peonies.
Attributed to Liu Chi (Jap. Eiku-ji). No name or seal.
Ming dynasty.
2 K 2

500 CHINESE AND KOREAN PICTORIAL ART.
29 and 30. A pair of kakemonos, on silk, painted in colours. Size,
Hi X 40J.
1. Pheasants and other birds, with plum-tree.
2. Ducks and various small birds, with willow and
plum-trees. Painted by Lii Ki (Jap. Eio-ki), of the Ming dynasty.
Signed Lt; Ki. Seal. End of sixteenth century.
31. Kakemono, on silk, painted in colours. Size, 54| x 28|^.
Egrets, martins, &c., with willow and lilies.
Attributed to Lu Ki. No name or seal. Sixteenth
century. The association of the martin and willow, and that of the egret and lily
arc fl equently met with in both Cliinese and Japanese pictures.
32. Kakemono, on silk, painted in monochrome. Size, 37| x 18^.
Kite and pine-tree.
Attributed to Lti Ki. No name or seal. Certificate. Six
teenth century.
32a. Kakemono, on silk, painted in colours. Size, 43f X 23|-.
Kite and pine-tree.
Painted by Lii Ki. Signed Tsz'-ming Lii-Ki (Jap. Shi-mei
Eioki). Seals. Sixteenth century.
33. Kakemono, on silk, painted in colours. Size, 43| X 23f.
Crows quarreling.
Painted by Lii Ki. Signed Tsz'-ming Lij-Kl Seal. Dated
Wan Leih (1573-1620).
34. Kakemono, on silk, painted in colours. Size, 53|- x 29J.
Magpies and bamboos.
Painted by Lti Ki. Signed. Seal. Sixteenth century.
35 and 36. A pair of kakemonos, on silk, painted in colours.
Size 381 X 18^.
Insects and flowers.
Painted by Kiang P^h-ohun (Jap. Ko-haku-sen). No seal
or name. Certificate. Ming dynasty.
37. Kakemono, on paper^ painted in colours. Size 53| X 51^.
Philosopher and disciples.
The principal flgure is that of a man past the prime of life, seated

CHINESE PICTURES: 501

in a large chair and holding in his hand a palm-leaf fan. On the
right is a boy carrying a tray upon which are some lacquered
cups with golden spoons ; towards the left stand two men, probably
disciples, in respectful attitudes, and against these a boy with a
case of books. A very smaU white horse is tied to a lacquered post
in the foreground near the middle of thefpicture. The principal
accessories are a tortoise, a stag, a crane, and a pine-tree, all of
which are emblematic of longevity. A large screen appears behind
the philosopher's seat.
The dresses resemble those of Korea rather than of China.
The execution of the painting is very noteworthy. The faces of
the three principal figures are drawn with a feeling and a truth of
detail worthy of Holbein. The outlines are delicately and firmly
sketched, and the shadows, tenderly but correctly indicated, convey
a remarkable impression of the modeUing of the features. There is a
perfect expressiveness and individuality in each head ; and the Mon
golian traits, especially in the younger disciple, are shown with the
utmost fideUty. The whole of the rest of the picture is unfinished,
but the accurately studied heads are apparently the only parts
which have been taken directly from nature. The animals are
conventional and the perspective is isometric.
The accompanying certificate gives as the subject " A Chinese
Emperor," but the dresses and accessories are not in accordance with
this description. Painted by Si-kin Kij-tsze (Jap. Sei-kin-ko-ji). Ming
dynasty. (Fifteenth century ?)
38 and 39. A pair of kakemonos, on silk, painted in colours. Size,
57i,X 301-.
Birds and flowers. Summer and winter scenes.
In both pictures the principal objects are a pair of pheasants.
The style of execution closely resembles that of some of the
paintings of LtJ Ki. The combination of snow and flowers in tho
winter scene wiU appear strange to European eyes, but in many
parts of China and Japan the camellia and plum are in their glory
before the winter has begun to pass away.
Painted by Yueh Chao (Jap. Gesshiu). Signed. Seal.
Ming dynasty.
40. Kakemono, on silk, painted in colours. Size, 52^ x 28|-.
Birds and flowers.
Painted by Wang Yuen-ming (Jap. 0-gen-min). Seals.
Ming dynasty.

502 CHINESE AND KOREAN PICTORIAL ART.
41. Kakemono, on silk, painted in monochrome. Size, 39f x 20f .
Bamboos bent by the wind.
A spirited sketch in the graphic style, indistinguishable from the
bamboo drawings of the Japanese artist.
The picture is greatly damaged, but has been carefully remounted
in China. Painted by Tsnsr Ngan-sun Sze-i (Shin-an-kin Shi-sho).
Signed. Seal. Ming dynasty.
42. Kakemono, on paper, painted in colours. Size, 44| x 19f .
Tiger and dragon.
Painted by Ch'an Nan-p'ing (Jap. Chin-nan-pin). Signed
Nan-p'ing Ch'an-sien (Nan-pin Chin-sen). Seal. Middle
of eighteenth century.
43 and 44. A pair of kakemonos, on silk, painted in colours.
Size, 541 X 21|.
1. Peacocks, pine, and peonies.
2. Cranes, peaches, bamboo, and fungL
Painted by Ch'an Nan-p'ing. Seals. Eighteenth century.
45. Kakemono, on silk, painted in colours. Size, I5J X I9|.
Birds and flowers.
Painted by Ch'an Nan-p'ing in the style of the Yuen
dynasty. Signed. Seal. Eighteenth century.
46. Kakemono, on silk, painted in colours. Size, 39f x I3|.
Dogs and peony.
The dogs, which are ill-drawn, appear to represent the pet
animal known to foreigners as the " Chin."
Painted by Ch'an Nan-p'ing. Signed. Seals. Eighteenth
century.
47. Kakemono, on silk, painted in colours. Size, 63| X 20|;.
Monkeys and loquat-tree.
The animals are cleverly drawn, but will not bear comparison
with the monkey pictures of Shiuho and Sosen. (See Shijo School.)
Painted by Ch'an N.vn-p'ing. Signed. Seal. Eighteenth
century.

CHINESE PICTURES. 503

48, Kakemono, on silk, painted in colours. Size, 48f X 21^.
Egrets, martins, and willow.
Painted in Japan by King-hu (Jap. Kiyo-ko). Signed.
Seal, Early part of nineteenth. century.
This picture was painted in Nagasaki.
49. Kakemono, on silk, painted in colours. Size, 44| X 11\.
Birds and flowers.
Painted in Japan by Ling Yun (Jap, Eio-un). Signed.
Seal. Early part of nineteenth century.
50, Kakemono, on paper, painted in monochrome. Size, 55|x21-|.
Bamboos.
Graphic style.
Painted by Tsz' Kiao- lin (Jap. Shi-kio-ein). Signed.
Seal. Eighteenth century (?).
51. Kakemono, on silk, painted in colours. Size, 18| X 12^.
Landscape. Painted by Yih-yun Kao-kien (Jap. Ichi-un Ko-kan).
Signed. Seal. Eighteenth century (?).
52. Kakemono, on paper, painted in colours. Size, 68f X 36^.
Landscape. Mountain scenery, with figures of sages.
Painted by Mih-tsiao Wu Ch'ih-li (Boku-sho Go-shi-
REi). Signed. Seal. Cyclical year placed to the right
of the signature. Eighteenth century (?).
53. Kakemono, on silk, painted in colours. Size, 39|- X 13i.
Landscape. Mountain scenery.
A downpour of rain is bending the branches of the trees, and
half concealing the distant mountains.
Painted by Fang Chang (Jap. Sho-cho). Signed. Seal.
Eighteenth century (?).
54. Kakemono, on silk, painted in colours. Size, 35| X 19.
Blind musicians quarreling.
A humorous picture, drawn in a style very similar to that of some
of the Japanese artists of the Kano school.
Painted by Siu Sze-ying (Jap. Jo-shi-yei). Signed.
Seal. Dated second year of Tao Kwang (1822).

504 CHINESE AND KOREAN PICTORIAL ART.
55. Kakemono, on silk, painted in colours. Size, 38f x 15,
Hawk chasing an egi'et.
Artist unknown. No name or seal. Probably painted
about the middle of the Ming dynasty.
56. Kakemono, on silk, painted in colours. Size, 55^ x 20.
Quails, sparrows, and millet.
Painted with a fine brush.
Artist unknown. No name or seal, Ming dynasty.
The association of the Quail and Millet, like that o! the Cock and
Peony, etc., is commonly met with in both Chinese and Japanese pictures;
57, Kakemono, on silk, painted in colours. Size, 44f x 19J.
Kwanyin,
The goddess is seated upon a rock, A dragon emerges from the
waves at her feet.
No name or seal. Ming dynasty.
The figure is probably that of "Kwanyin the Unsurpassable" (see
No. 60), with the addition of the dragon. It difiers considerably from
the ordinary representation of the " Dragon Kwanyin."
58. Kakemono, on silk, painted in colours. Size, 46| X 23|.
Rishi walking upon the waves.
The figure is that of a young man clad in a ragged dress. He
walks upon the waves playing a reed-instrument, and carries a
basket containing a roll and the fungi (ling-che) emblematic of
longevity. Artist unknown. No signature or seal. Ming dynasty.
59. Kakemono, on silk, painted in colours. Size, 12J x Ilf.
Thrush. Artist unknown. No signature or seal. Ming dynasty.
60. • Kakemono, on silk, painted in colours. Size, 30f X 14^.
Kwanyin the Unsurpassable.
The goddess, attired in a simple flowing robe, her head surrounded
by a large nimbus, is seated upon a wave-beaten rock. A branch
of bamboo in a small vase stands by her side.
Compare with the pictures of Kano Tanyu and Kano Tsunenobu.
(Nos. 1287 and 1304.)
Artist unknown. Ming dynasty.

CHINESE PICTURES. 505
61. Kakemono, on silk, painted in colours. (From the Franks
Collection.) Size, 50| X 111.
Archer and children.
Artist unknown. No signature or seal. Ming dynasty.
62. Kakemono, on silk, painted in colours. Size, 14 x llj.
Birds and flowers.
Painted by Feng Subh (Jap. Ho-setsu). Signed. Seal.
Eighteenth century (?).
63. Kakemono, on silk, painted in monochrome. Size, 38| x I6|.
Birds and plum-tree.
Painted, in Japan, by Si-yuen Feng-tsz' (Jap. Sai-yen
Ho-SAi). Signed. Seal. Eighteenth century.
64. Kakemono, on paper, painted in monochrome. Size, 37-g X 1%\.
Sparrows, bamboo, and plum-tree.
Painted by Tsiu-ting Yu-sung (Jap. Shiu-tei Yo-sho).
Signed. Seal. Eighteenth century (?).
65. Kakemono, on silk, painted in monochrome. Size, 46f x 15f .
Bamboos.
Compare with No. 58.
Painted by Tsze Chung Chao (Jap. Ka-chiu-sh6). No
name or seal. Certificate of authenticity by Kano Isen in
Hoin. Ming dynasty.
66. Kakemono, on silk, painted in colours. (Presented to the
Collection by A. W. Franks, Esq., F.E.S.) Size, 54| x I9f.
Hwang Ch'u-p'ing (Jap. Ko-sho-hei) turning stones
into sheep.
Painted by Chung Kwoh-tsz' (Jap. Sessen Chiu-koku-shi).
Signed. Seal. Temp, nineteenth century.
Hwang Ch'u-p'ing (Jap. Koshohei) was a Chinese shepherd who
retired with a Taoist priest to Mount Kin Hwa in the 4th century and
never returned. More than forty years after his disappearance, his
brother Ch'u-ki (Shoki) learned that he was tending sheep in the
mountains, and went thither to seek him. The two at length met with
great joy. After a time Ch'u-ki, perceiving no trace of the brother's
flocks, asked their whereabouts, and Hwang Ch'u-ping, in reply, pointed to
a number of white stones scattered about the ground ; then, laughing at
the perplexity of his companion, spoke to the apparently inanimate
objects and touched them with his stick, and they immediately became
changed into sheep. Ch'u-ki gave up his wife and children to follow his
brother, and eventually shared with him the immortality of the genii
(Ressen zen den).

506 CHINESE AND KOREAN PICTORIAL ART.
67. Kakemono, on silk, painted in colours. (From the Franks
Collection.) Size, 25 x I7J.
Winter scene. "The parent stream of Leu Hai Shan
and the stream of Mih Shan."
Sketched in ink and lightly tinted with colour. Touch
somewhat resembles that of the early artists of the Kano school.
Artist unknown. Two seals. Eighteenth century (?).
68. Kakemono, on silk, painted in colours. (From the Franks
Collection.) Size, 35f x l^.
"An inebriated woman" (P Si She).
A Chinese lady richly attired after the ancient manner, leaning
upon two girls, who bear the miniature canopies held over the heads
of personages of high rank. Two other attendants carry wine-
vessels and an incense-box.
Painted by Ho-sen from a picture by To-shl Eighteenth
century (?).
Si She is associated with Yang Kwei-fei, the mistress of Ming Hwang
(see No. 668) and Li Pujgn, the concubine of Wu Ti of the Han dynasty,
as one of the proverbial beauties of China. She was a fatal gift to the
prince Pu Ch'a (b.o. 473) from his enemy Kow Tsien, the ruler of Yiieh.
After the passion excited by her charms had accomplished the downfall of
her besotted paramour, she was abducted and killed by Fan Li, the
counsellor of Kow Tsien, who had determined thus to free his master from
the danger to which Pu Ch'a had succumbed.
69. Kakemono, on silk, painted in colours. Size, 36f X 14.
Landscape. Mountain scenery, with cranes.
Artist unknown. No signature. Two seals. Seventeenth
century (?).
70. Kakemono, on paper, painted in colours. Size, 22| x 13.
Landscape. Painted by Ma Liang (Jap. Bario). Signed. Seal.
Yuen dynasty.
71. Kakemono, on silk, painted in colours. Size, 37^^ x 17|.
Chinese sages.
Two sages meeting beneath a pine-tree are going through the
ceremonies of a polite salutation. Their clothing and the branches
of the tree are agitated by a strong wind.
Painted with a fine brush. Artist unknown. No name.
Two seals. Ming dynasty.
This picture has been copied, with slight variations, by Kano

CHINESE PICTURES. 507

Motonobu (see No. 1262). It undoubtedly has reference to some legend,
but the subject has not been identified.
72. Kakemono, on paper, painted in colours. Size, 66^ X I6|.
Landscape. Mountain scenery.
A very modern production, probably painted within the last ten
years. It is, however, in the old style, and though hastily sketched,
is picturesque and shows considerable force of design. It is of
interest as evidence that the ancient art of China has not entirely
faUen into neglect.
Artist unknown.
73. Kakemono, on silk, painted in colours. (From the Franks
Collection.) Size, 69 X 38f .
The genii at Kw'§n Lun.
Si Wang Mu is seen in an open space in the mid-distance
surrounded by her attendants. Near by stands Lao Tsz' (who
bears a strong resemblance to Fukurokujiu, the lofty-headed
member of the " Seven Gods of Good Fortune " of the Japanese), the
Emperor Muh Wang, and another figure. Tung Fang-so, T'ieh
Kwai, and many other of the Eishi, made familiar in Japanese
sketches, are shown approaching the place of reception. In the
foreground a multitude of genii, riding upon various animals, are
arriving upon the scene, and are watched with great interest by
scattered bevies of beautiful girls, the retinue of the fairy queen.
The sacred peaches, which convey the gift of longevity, appear in
luscious profusion.
Artist unknown. Eighteenth century (?).
Kw'en Lun (Jap. Konron), fabled as the abode of Si Wang Mu (see
No. 705) and her husband Tung Wang Kung, and the haunt of the genii,
is a mountain" in Central Asia identified by modern geographers with
the Hindu Kush (Mayers). There is strong reason to beheve that the
story of Kw'en Lun, with its rulers and genii, is an adaptation of the
legend of Mount Sumeru, Tung Wang Kung and Si Wang Mu probably
representing Indra and her consort, while the four handmaids of the goddess
—each of whom is assigned to a special point of the compass— correspond
to the Pour Deva Kings of the North, Bast, South and West.
In Sinico-Japanese Art, Tung Wang Kung does not appear as an
associate of Si Wang Mu, unless the lofty-browed sage here referred to as
Lao Tsze, or Fukurokujiu, be intended for the lord, of the realm.
A description of the wonders of the mountain paradise will be found in
Mayers' ' Chinese Eeaders' Manual,' p. 109.
73a. Kakemono, on silk, painted in colours. (From the Franks
Collection.) Size, 63f X 38|.
The Genii at the Court of Si Wang Mu. (See No. 73.)
The immortals are assembled at the mountain realm of the fairy.
Si Wang Mu is seen sailing through the air upon a phoenix towards

508 CHINESE AND KOREAN PICTORIAL ART.
the place of meeting, accompanied by her palace, which is borne
upon a cloud.
Artist unknown. No signature. Seal. Eighteenth
century (?).
74. Kakemono, on silk, painted in colours. (From the Franks
Collection.) Size, 53^ X 32-|.
Portrait piece. A Chinese family in a garden.
The formal and self-conscious posing of the figures, and the
attention to details of feature leave no doubt that the picture is
painted to order as a family group.
The artificiality of the composition indicates that the resources of
the artist were overstrained by a commission of a kind apparently
so unusual in China.
Painter unknown. It is probable that the omission of
name and seal is a mark of deference on the part of the
artist to the relatively exalted rank of his patron. Eighteenth
century.
75. Kakemono, on paper, painted in colours. (From the Franks
Collection.) Size, 491 X 18.
" Very brilliant and beautiful women."
A modern work, probably painted for sale to foreigners.
No signature. Two seals.
76. Kakemono, embroidered and painted on silk. (From the
Franks Collection.) Size, 68| X 36f .
The Genii at the Court of Si Wang Mu.
The picture is a variation of the subject treated in Nos. 73
and 73a.
The silk forming the ground- work appears to be woven by hand
in such a manner as to leave partial interruptions of continuity
corresponding to the outlines of the figures. The tints are pro
duced partly by ordinary pigments, partly by the interweaving of
coloured threads.
Artist unknown. No signature or seal. Eighteenth
century (?).
77. Kakemono, on paper, painted in colours. (From the Franks
Collection.) Size, 34f x 11|.
Arhat on tiger.
Drawn with a very fine brush. Treatment peculiar.
Artist unknown. No signature Or seal. Eighteenth
century (?),

CHINESE PICTURES. 509

78 and 79. A pair of kakemonos, on paper. (From the Franks
Collection.) Size, 511 x 23.
Pictorial and Calligraphic mounts.
(1.) The upper of the three mounts is calligraphic. The middle
represents two Eishis, accompanied by a white animal of uncertain
species. The lower, drawn in black upon a gold-ground, shows a
picturesque view of a mountain path with figures, and will serve
for comparison with the landscapes of the early Kano school.
(2.) The upper drawing sketched on silk in monochrome represents
the Eighteen Arhats crossing the waves to greet the Dragon King,
who stands with his attendants to receive them. Sixteen of the
Arhats correspond to the original number as shown in Japanese
pictures. One of the two supernumerary saints is opening his
cranium to display a small face occupying its interior. The middle
picture contains figures of an old man, a young girl, and a child.
The lower mount is calligraphic.
Artists unknown. Eighteenth century (?).
79a. Kakemono, on silk, painted in colours. Size, 35J X 18^.
Sage and disciples.
Painted by Seay-she Sze-chung (Jap. Sha-ji-shin). Ming
dynasty.
80. Kakemono, on silk, painted in colours. (From the Franks
Collection.) Size, 42^ x ie|.
The Three Sages (Confucius, Lao Tsze, and S'akyamuni)
studying the symbol of the Ying and the Yang.
The resemblance, previously alluded to, between the pictorial
representations of Lao Tsze and Fukurokujiu is here strongly
marked, and the founder of Taoism is accompanied by the stag and
knotted staff, which are the usual attributes of Jurojin and occasion
ally appear in association with Fukurokujiu in Japanese pictures.
One of the two companions of Lao Tsze is carrying a little child,
who holds a musical instrument in one hand and a blossoming
branch of uncertain kind in the other. Two boys are in attendance,
one carrying a Peach of Longevity.
Artist unknown. Poetical inscription in commemoration
of longevity. Eighteenth century (?),
81, Kakemono, on silk, painted in colours, (From the Franks
Collection,) Size, 22 x 28^,
Two Rishis.
Two boyish figures with merry but wrinkled features, seated
upon a grassy mound at the foot of a tree. The branches of the

510 CHINESE ANli KOREAN PICTORIAL ART.
tree are enveloped by a cloud that is issuing from a red gourd held
by one of the Eishis.
The picture probably represents Han Shan and Shih'te (see
No. 606). Artist unknown. No signature or seal. Eighteenth
century (?).
82. Kakemono, on paper, painted in colours. (From the Franks
Collection.) Size, 48J X 231
The arrival of Lao Tsze at the garden of Si Wang Mu.
Lao Tsze (or Fukurokujiu) is seen riding through the air upon
his stork towards a garden, in which two richly-dressed personages
are watching his descent. An impish figure rises in a cloud-wreath
to welcome the sage with an offering of a sacred Peach.
Artist unknown. No signature or seal. Eighteenth
century (?).
83. Kakemono, on silk, painted in colours. Size, 59f x 18f.
Kingfisher, peonies, and rushes.
A good example of the free touch and harmonious colouring of
the better painters of the Ming dynasty. This style has been exten
sively copied by the Japanese artists of the later Chinese school.
Painted by Wang Lieh-pun (Jap. Go-itsu-ein). Signed.
Seals. The picture is accompanied by a certificate. Ming
dynasty.
84 and 85. A pair of kakemonos, on silk, painted in colours. Size,
391 X 11^.
Sage reading in a wood. Summer scene.
The two paintings are really complementary halves of a single
picture. A sage, in summer dress, lies reading upon a grassy knoll
by the side of a Uttle brook, and a boy is seen approaching him
with a fresh supply of books. The pines, willows, bamboos and
other trees, are very conventional in drawing.
This curious practice of mounting the two halves of a single
painting as a pair of kakemonos is not rare. Another example is
¦offered in Nos. 213 and 214 by a Japanese artist.
Painted by Tsz' Chao (Jap. Shi-sho). No signature or
seal. Certificate by Kano Hogen Yeishin. Ming dynasty.
86. Kakemono, on silk, painted in monochrome. Size, 34|- x 15|^.
Daruma (Sansk. Dhaema) crossing the sea upon a reed.
Painted (in Japan) by Hih Ngan (Jap. Moku-an). Seal.
Seventeenth century.
Bodhi Dharma, the twenty-eighth Indi.au and first Chinese Patriarch, was

CHINESE PICTURES. 511

the son of a king in Southern India. He arrived in China in a.d. 520 and
established himself in a temple in Loyang. During nine years of his stay
there he remained buried in profound abstraction, neither moving nor
speaking, and when he returned to consciousness of his surroundings his
legs had become paralysed owing to their long disuse. In the Butsu-zo
dzu-i it is said that he came to Japan in the twenty-first year of the reign
of the Emperor Suiko (a.d. 613), and died on Mount Kataoka. The time
and place of his death are, however, uncertain ; the Chinese maintain that
he died and was interred in their country, but that three years after his
decease he was met travelling towards the west (India) with one foot bare,
and when his tomb was opened, by order of the Emperor, its tenant had
disappeared, the resting-place being empty save for a cast-off shoe.
In Japanese pictures Daruma appears in three chief forms :
1. Seated in rapt meditation with crossed legs. His face is sometimes
visible through a gap in the ruined wall of the temple, which has fallen into
decay during his long oblivion of external things.
The subject is often treated with irreverential humour by artists of the
popular school ; the saint is sometimes reduced to a comical head and round
body, divested altogether of arms and legs, which are supposed to have
withered away from disuse. Sometimes he is shown aroused from his
abstraction by the nibbling of a rat, and assuming an expression extremely
suggestive of unpatriarchal blasphemy ; or, more agreeably restored to
consciousness by the attentions of a geisha, towards whom he rolls his
eyes with an appreciative but unsanctified leer.
The " female Daruma " engaged in a nine years' abstraction is another
favourite play of humour, the point of the joke turning upon the supposed
incapability of the sex for lengthened silence or reflection.
2. Crossing the sea to Japan upon a reed or millet-stem.
3. Travelling with one foot bare towards his native country.
87. Kakemono, on silk, painted in colours. (From the Franks
Collection.) Size, 67| x 42|.
Buddhist temple (P).
The picture shows the front aspect of a walled-in edifice of im
posing proportions. The inner entrance is guarded by two images
of lions, and its columns are decorated with dragons. Within the
enclosure stands a tall personage clad in a red and blue dress and
holding a tablet, and in front of the outer walls are a party of sages
engaged in discharging formalities of poUteness.
It is to be noted that an attempt at perspective appears in the
drawing of a bridge leading to the inner entrance, and that fic
titious clouds are introduced, as in Japanese pictures, to give the
efi'eet of the relative distance of various details of the scene.
Painted by FSng Ke (Jap. Ho-kei). Signed. Two seals.
Ming dynasty.
88. Kakemono, on silk, painted in colours. (From the Franks
Collection.) Size, 65f x 201
Men and horses.
Three horses stand ¦ saddled in readiness for their riders, and

512 CHINESE AND KOREAN PICTORIAL ART.
near them some men holding banners and other badges of of&cial
rank carried in processional journeys.
Artist unknown. No signature or seal. Ming dynasty.
89. Kakemono, on silk, painted in colours. (From the Franks
Collection.) Size, 61| x 42^.
Lady and children.
Painted by Tsing Chang-tang (Jap. Chin-sho-t6).
Signed. Seal. Ming dynasty.
90. Kakemono, on silk, painted in colours.- (From the Franks
Collection.) Size, 81| x 49|.
Pedlar and children.
The proprietor of a gaily decorated stand of fruit, cakes, and toys
of all kinds, is bargaining with a little boy, while other children
cluster around the tempting emporium. This picture is an im
portant example of the elaborate Ming colouring.
" Painted in the third month of the cyclical year Ping Tsze
by Tsze Chung " (Jap. Shi-shiu). Seal. Ming dynasty.
91. Kakemono, on silk, painted in colours. (From the Franks Col
lection.) Size, 53 J X 35^.
Female Rishi with Deer.
The figure is enveloped in a long cloak fastened at the neck
with a brooch, and carries a gourd, a sacred fungus, and a peach
from the Tree of Longevity.
Painted by Ch'a Fang-lan ( ?) Signed. Two seals. Ming
dynasty.
92. Kakemono, on silk, painted in colours. (From the Franks
Collection.) Size, 68i x 27^.
" Spring sailing in the bay." Landscape. Lake and
mountains.Painted by K'iu-ying. Signed. Seal. Ming dynasty.
Dated in the thirty-fourth year of the cycle.
93. Makimono, on silk, painted in colours. Length, 246 x IIJ.
Panoramic view of a river.
The roll forms a continuous picture showing the course of a river
with its bridges, the houses, gardens, &c., on either side, and the
occupations of the people that crowd its banks. It is of special
interest in illustration of the architecture, dress, customs, &c.,
of the period preceding the Yiien dynasty.
Painted by Han-lin Chang-tseh-tu'an (Jap. Kan-kin

CHINESE PICTURES. 513

Ch6-taku). Certificated by Wen-cheng Ming (Bun-cho-
mei), a noted scholar and caUigraphist of the fifteenth and
sixteenth centuries. The authenticity of the document is,
however, very doubtful. Sung dynasty.
94. Makimono, on silk, painted in colours. Length, 197 X 10.
Insects and flowers.
CarefuUy drawn and coloured, but weak in design.
Artist unknown. No name or seal. Ming dynasty.
95. Makimono, on silk, painted in colours. Length, 82|- x 8\.
" Four-seasons " landscape.
A panoramic view displaying a landscape under the successive
aspects of spring, summer, autumn, and winter.
Artist unknown. No name or seal. Ming dynasty.
The representation of the four seasons in a single picture is often seen
in Chinese and Japanese paintings. Another example is offered in
No. 1399.
96. Makimono, on silk, painted in colours. Length, 309 X 9^.
" The Hundred Children."
Chinese children occupied in various sports.
Painted by Liu Tsun (Jap. Eiu-shun), Signed. Seal.
Fifteenth century.
This subject is a favourite one with the later artists of the Kano
school, who have closely followed the decorative manner of the artists of
the Ming dynasty.
97. Makimono, on silk, painted in colours. Length, 127 X 9^.
The Eighteen Arhats.
The disciples of S'akyamuni are represented crossing the sea to
reach a palace on the shore, at the gates of which they are received
by two personages in royal attire. Some of the figures may be
identified by their attributes.
Painted by K'iu-ying (Jap. Kiu-yei). Signed. Seal.
Ming dynasty.
It is to be noted that here, as in the more modern Chinese pictures,
eighteen arhats are recognized, while the Japanese, following the older
Chinese masters, include only sixteen. Two of the number on this roll
bear the urna or brow mark of the Bodhisattva.
2 L

514 CHINESE AND KOREAN PICTORIAL ART.
98. Makimono, on silk, painted in colours. Length, 202 X I2|.
The gymnastics of the twelve days.
Drawings showing the difierent posture exercises to be practised
morning and evening on each day.
Artist unknown. No name or seal. Ming dynasty.
99. Makimono, on silk, painted in colours. (From the Franks
Collection.) Length, 481 x 29|.
Pour sages studying a picture of the sun reflected
in the waves.
The faces, which are of a somewhat jovial aspect, are very freely
drawn, and are more unconventional and Ufe-like than any in the
Japanese portion of the collection.
Painted by Ping-kiang Ukio (Jap. Hei-ko U-kio).
Signed. Seal. Eighteenth century (?).
100. Makimono, on silk, painted in colours. (From the Franks
Collection.) Size, 13f x 29|.
" The procession of the Ancient of Felicity, Honour,
and Longevity."
An old man attired in the robes of a scholar, attended by a train
of damsels bearing emblems of rank, and preceded by a troop of
children. Artist unknown. No signature or seal. Eighteenth
century (?).
101. Makimono, on paper, painted in colours. (From the Franks
Collection.) Length, 94 X 44|.
Chinese holiday scene.
A multitude of holiday makers amusing themselves in various
ways. The chief centre of attraction in the scene is a large theatre
at the entrance of which the performers are coUecting an audience.
Two of the actors are shown dressing for their parts in a smaU
room in the building.
The picture is useful as evidence of the existence of a popular
art in China comparable to that of the Japanese Ukiyo-ye. Such
works are rarely found in European collections.
Artist unknown. No signature or seal. Eighteenth
century (?).
102 to 109. A set of eight unmounted drawings, on silk, painted
in colours. Size, 9| X llf .
1. "A snowy evening in Koten."
2. " The descent of the wild geese upon the marshes."
3. " A rainy night in Shosho."
4. " An evening walk by the river in Shoko."

CHINESE PICTURES. 515

5. " A spring morning in Shiken."
6, " The verdure clothes the earth and mounts to the heavens."
7. " The temple bell peals through the mists of evening."
8. " The snow reposes upon the holy mount."
Artist unknown. Ming dynasty.
110. Unmounted drawing, on silk, painted in colours. Size,
31 X 14|.
Sage with basket, Ch'uu Yung-tsze (Jap. Ch6-y6-shi).
Painted by Chao Chung (Jap. Cho-shin). Signed
Chao Tsz'-kao (Jap. Cho-shi-ko). The seals are, however,
those of Chao Chung, and the signature is to all appearance
a forgery, Ming dynasty,
111, Unmounted drawing, on silk, painted in colours. Size,
471 X 21.
Lao Tsze, or Tung-fang So.
An old man with ample forehead, supporting himself by a long
staff, the crook of which is carved in the form of a dragon. He
holds a peach of longevity in his left hatd, and stands beneath a
pine-tree. Parts of the drawing have been unskilfully retouched.
The painting is of uncertain date and origin. It is believed to
be the work of a Chinese artist of the early part of the Ming
dynasty, but may possibly be Korean.
No signature. Seal. Fifteenth century (?).
112. Unmounted drawing, on paper, painted in colours. (Presented
to the Collection by J. Gilbertson, Esq.) Size, 30^ x 20J.
Landscape, Winter scene. Moonlight.
Painted by Ch'an Tei-ko (Jap. Chin-tei-kio). Signed.
Seal. Nineteenth century.
113. Unmounted drawing, on paper, painted in colours. (Presented
to the Collection by J. Gilbertson, Esq.) Size, 45J x 21i.
Lao-Tsze (P)
An aged man, with lofty brow, seated in a roughly-built boat,
rowed by a boy. The sage is gazing at a crane, which flies away
bearing a wand in its beak.
Painted by Yung-yujiin Tei-ko (Jap. Yo-bun Toku-kio),
Signed, Seal. Nineteenth century.
114. Kakemono, on paper, painted in colours. Size, 61 x 35|-.
(From the Franks Collection.)
Confucius (?),
The picture is woven in the same manner as Jap. No.
3451, Artist unknown. Nineteenth centurv.
' 2 l 2

516 CHINESE AND KOREAN PICTORIAL ART.

II. COPIES FROM CHINESE PICTURES.

155. Kakemono, on silk, painted in colours. Size, 21^ x 32|.
Two pictures after Chinese artists.
The upper is a drawing of insects and flowers, after Chao Cuang
(Jap, Cho-sho) of the Sung dynasty. The lower a bird, after Pien
KiNO-CHAO (Jap. Hen-kei-sho) of the Ming period (fifteenth century).
Carefully executed with a fine brush.
Painted by Ka-no Naga-nobu (or Ko-sen), Signed Ko-sen
Fuji-waea no Naga-nobu. Eighteenth century.
156. Kakemono, on silk, painted in colours. Size, 42| x 17^.
Landscape with figures.
Copied from a painting by Ma Yuen (Jap. Ba-yen) of the Sung
dynasty. Painted by Ka-no Noei-nobu. Signed. Seal. Nineteenth
century.
157 and 158. A pair of kakemonos, on paper, painted in colours.
Size, 45i X I7i.
The " Eight Immortals." (See p. 55.)
1. Shows Li T'ieh Kwai setting free his spirit from the mouth of
a gourd ; Ho Sien-ku, as a female holding a lotus-stem ; Lii Tung-pin,
distinguished by a sword slung athwart his back; and Chung
Li-kiian, who bears a fan.
2. Eepresents Chang Kwoh setting free a miniature horse from
a gourd ; Lan Ts'ai-ho with a basket ; Han Siang-tsze with a fiute ;
and Tsao Kwoh-k'iu holding a pair of castanets.
Copied from pictures by Chang-lxi (Jap. Cho-eaku).
Painted by Ka-no Sane-nobu. Signed Kiu-sei Sane-nobu.
Seal, Eighteenth century.

COPIES FROM CHINESE PICTURES. 517
159. Kakemono, on silk, painted in colours. Size, 14f X 14^.
Horses. Copied from a picture by Ch'ao Meng-fu (Jap, Cho-su-go)
of the Sung dynasty. Painted by Sui-an, Signed, Seal.
Nineteenth century.
160. Kakemono, on silk, painted in colours. Size, 29f X 44f .
Copies from celebrated Chinese paintings of the Sung
dynasty.
I. Bamboo, monochrome, after Su-she or Tung-po (Jap.
To-ba).
2. Landscape, after H'lA Kv?ei (Jap. Ka-kei).
3. Egrets, monochrome, after Liang Chi (Jap. Eio-kai).
4. Flower, after Kwoh Hi (Jap. Kwakki).
5. Landscape, monochrome, after Muh Ki (Jap. Mokkei).
6. Peach, after Tsien Shun-kij (Jap. Sen Shun-kio).
7. Grapes, monochrome, after Jih Kwan (Jap. Ni-kwan).
8. Sparrow and Plum, after Suen-Ho-tibn (Jap. Sbn-kwa-
den).
9. Fishes, after Fan Ngan-jiIn (Jap. Han-an-jin).
Painted by Ka-no Osa-nobu. Signed Sei-sen Ho-gen.
Seal. Nineteenth century.
161 and 162. A pair of kakemonos, on silk, painted in monochrome.
Size, 49J X 221.
Tiger and dragon. I
Copied from pictures by Muh Ki, of the Sung dynasty
(Jap. Mokkei). Painted by Ka-no Yoshi-nobu. Signed
Yoshi-nobu. Seal. Dated 1792.
These pictures may be compared with the renderings of the same
subject by the Japanese artists of the Renaissance, by whom Mdh-ki was
regarded with the utmost veneration.
163. Kakemono, on silk, painted in colours. Size, I2J x 24^.
Arhats in the mountains.
Copied from a picture by K'iu-ying (Jap. Kiu-yei) of the
Ming dynasty. Painted by Chiku-den. Signed. Seal.
Nineteenth century.
164. Kakemono, on silk, painted in colours. Size, 49| X 20.
Flowers in vase.
Copied from a picture by Tsing-Ho-yijen (Jap, Sei-wa-

518 CHINESE AND KOREAN PICTORIAL ART.
getsu). Painted by Un-sho. Signed. Seal. Nineteenth
century.
165. Kakemono, on silk, painted in colours. Size, 62 x 17J.
The meeting of the Genii at the court of Si Wang Mu.
The Taoist rishis are assembling at the mountain territory of the
Pairy Si Wang Mu. In a central space are seen Lao-tsze (who re
sembles closely the Japanese pictures of Fukurokujiu), Confucius,
and S'akyamuni studying a diagram of the Ying and Yang. (See
Nos. 73 and 80.)
Many other familiar figures of rishi are seen, and amongst them
may be noticed a venerable personage riding upon the waves upon
a white mule, and receiving a greeting from a spiritual " double,"
sent for the purpose out of a gourd by T'ieh-Kwai, The rider is
probably Chang Kwoh,
Copied from a picture by Chao Hai-shaN. (Jap.
Sho-kai-zan.) Painted by Seki-ko. Signed. Seal. End
of eighteenth century.
166. Kakemono, on paper, painted in monochrome. Size,
53f X 24f .
Bamboos. Copied from a picture by P^h Li-chang (Jap. Haku-ei-sei).
Painted by Saku-eai Shiu-zan. Signed Saku-eai Do-jin.
Seal.
167. Kakemono, on silk, painted in colours. Size, 37^ x 13.
Horses. Copied from a picture by Ch'an Nan-ping (eighteenth
century). Painted by Yu-gen. Signed Yu-gen Kio.
Seal. Eighteenth century.
168. Kakemono, on silk, painted in colours. Size, 55f X 27|.
" Twelve varieties of flowers."
Peonies, Chrysanthemums, Lotus, &c.
Copied from a picture by Shun-kij (Jap. Shun-kio).
Painted by Sei-kei. Signed Sei-kei Kwai-shi. Dated in
the cyclical year Hinoto no mi.
169. Makimono, on paper, painted in colours. Length, 150 X 11.
Amusements of Chinese girls.
A coloured tracing from a roll, by Chang Rx (Jap. Cho-ki),
Fifteenth century.

COPIES FROM CHINESE PICTURES. 519
170 to 172, A set of three drawings, on silk, painted in mono
chrome. Sizes various.
Copies from old Chinese masters,
1. Bamboos.
2. Orchid, after Tsz' Ch'wang (Jap. Ses-so).
3. Chinese peasant returning homewards.
Artist unknown. Temp, seventeenth century.
173. Unmounted drawing, on silk, painted in monochrome. Size,
441 X 17f.
Landscape, with waterfall.
Copied from a picture by Wu Tao-tsz' (eighth century).
See also Nos. 226, 1262 and 2856.

520 CHINESE AND KOREAN PICTORIAL ART.

III. KOREAN PICTURES.

223. Kakemono, on silk, painted in colours. Size, 34J x I4J.
Hawk and pine-tree.
A bold but very hasty sketch, differing from the usual Chinese
picture, both in style and in the materials used.
Painted by Shi-zan (Japanese pronunciation). Signed.
Seal. Temp, eighteenth century (?).
224 to 226. A set of three unmounted drawings, on paper,
painted in monochrome and colour. Sizes various.
1. Landscape. In colours.
2 and 3. Orchid. Monochrome.
Painted by Kin-yo-gen (the artist who accompanied the
Korean ambassador to Japan in 1878).
The style of these pictures is identical with that of many of the
Chinese artists, and offers no peculiarities by which the works may be
distinguished as Korean.
227. Unmounted drawing, on paper, painted in colours. Size,
25J X 16J.
Portrait of a Korean nobleman.
A modem Korean work. The face shows a rudimentary attempt
at chiaroscuro. Artist unknown. Nineteenth century.

( 521 )

INDE X.*

A.
Ab6 Hayataro, 194
Ab6 no Seimei, 391
Abokiu, 237
Adzumaya-bune', 299
Afang Kung, 237
Agni Deva, 69
Aikio, 44:
Aimi, 9, 11
Ami MiNAMOxo NO Takiikuni, 132
Ainos, 460
AisETSu, 194
AlSHIN, 310
Aizen Mio 0, 83, 84
Ajita, 47
Akamatsu Kakdnen, 450
Ak^sagarbha, 89
Akchobhya, 72, 81
Akujo, 43
Akusen, 58
Amano Gennojo, 194
Amano Heioan, 430
Amano Kissei, 387
Amaterasu, 399
Amawaka hiko no Mikoto, 139
Amida. See Amitabha.
Amitabha, 63, 66, 67, 72, 74, 76, 78, 79,
80, 81, 90, 93
Amitabha and the Twenty-five Bodhi
sattvas, 77
Am6gha, 81
Amravati sculptures, 14, 50
Ananda, 68
Anoku Kwannon, 65, 291
Anthropological Myths, 167
Aoki Eenzan, 449, 454
Aoki Shikuta, 189
Arai Tojjeo, 371
Arhat, 46, 66, 318
Arihisa, 12

AEiiYii;, 12
Aeikawa Baun, 192
Aeisaka, 367
ARTSHiof;, 12
Akitada, 12
Aritei, 30
Aritl, 75
Aeiyasu, 12
Ariyuki, 12
asahi tonan, 189
Asaina, 312
Asakusa nori, 382
Ashita Sonja, 47
Asuras, 86
Atchala, 72, 84
Aval6kite8'vara, 63, 66, 72, 79
AWADAQUCHI KeIIJ, 102
Awadaguohi Fujiwara no Takayoshi,
464
AWADZU BUNZO, 196 B.
Bacho, 250
Bagan, 190
Baifuku, 57, 325
Baigaku, 450
Baigan, 190
Baiin, 192
BAiiTsu, 191
Baikbi, 201, 202, 260
Baikei Taira Tbugitan^, 193, 201, 202
Baiken, 266
Baikwaken, 311
Bairei, 463
Baisen, 462, 463
Baishiu Giokuko, 441
Baisho, 440
Baishun, 282
Baitbi, 188, 257
Bai¥ei, 282

* Opportunity has been taken, in the preparation of the Index, to rectify a few
minor errors, (as in the use of the long marks over the u and o in the transliteration
of the names of artists), that had escaped observation during the correction of the
proofs of the text. Hence, in cases of discrepancy the Index must be accepted as
correct.

522

INDEX.

Bakagan, 161, 487
Bakemono, 403
Bamoki, 192
Banjiu, 461
Bankei, 202
Barin, 487
B.4.RI0, 487
Bashiko, 58, 137
Batatsu, 486
Bato Kwannon, 65
Battle of Ogaki, 382
Bayen, 486, 516
Bei Sanjin, 190
Beigen Sakshiu, 265
Beigensho, 487, 498
Beiyujin, 487
Beizan, 192
Bbnji, 339
Benkei, 117, 153
Benten, 27, 40, 41, 74, 76, 79, 87
Benzai Ten. See Benten.
Bhadra, 66, 210
Bhaichadjya Guru, 72
Bharadvaja, 46
BiKEISAN, 265
Biku Daikoku, 34
Binson, 174
Bishamon, 27, 39, 69, 88
BiYO SEBsmu, 273
Bokkai Dojin, 454
BOKKEI, 182
Bokuan, 250, 364
BoKuiN, 185
BoKuiiTsu, 463
Bokusen, 369
Bokusen Hoshin, 461
Bokushinsai, 2S1
BoKUSHo, 432
bokusho goshirei, 503
Bokutaku, 268
Bokuwo, 341
Bomo, 58
Bon Ten. See Brahma.
BOKHO, 181
Bonshi, 181
BosAi, 190
Botankwa Shohaku, 292
Brahma, 41, 68, 69
Brobdignagia, 387
Buddhist Hades. See Naraka.
Buddhist Paradise. See Sukhavati.
Buddhist pictures, characteristics of, 24
Buddhist pictures, motives of, 26

Buddhist wall decorations, 89
Bukan Zenji, 57
BuKO, 193
Bummei, 250, 416
BuMPEl, 449
BuMPio, 246
Bumpo, 449, 462
BuNCHifr, 195, 243
Buncho (Ippitsusai), 344
BuKCHO (Tani), 195, 241, 242, 243, 271
BuNCHOMEr, 488
Bonhio. See Bumpio.
BuNiTSU, 195, 243
BuNjr, 195
BUNKAI, 196
BUNKAKU, 338
Bunkei, 245, 246, 250
Bunki, 188, 192, 196
BuNKiKU Jo, 464
Bunkio, 177
Bunko, 462, 467
Bunkwa, 210
Bunkwado, 339
BuNNi, 195
Bunkin, 202, 450, 455, 456
BuNSAi, 196
BuNSHiN, 196, 244, 488, 498
Bunsho of Hitachi, 155
Bunsho, 187
Bunshosei, 235
BuNSON, 185, 196, 244, 251
BuNwo, 195
BuNTO, 195, 245, 246
BuNYosAi, 246
BUNZAY^MON, 190
BusEi, 195
Bushishi, 58
BusoN, 188
Butei, 221
BUTETSU, 450
Buzen, 189, 239, 240

C.
Camels, 429
Carp, 224
Cascade of Mino, 427
Celestial Dragon, 48
Celestial Fox, 391
Ch'a Fanglan, 512
Ch'an Nanp'ing. See Chinnanpin.
Ch'an Tei-ko, 515
Ch'an Yung-tsze, 515

INDEX.

523

Chang Chihho. See Choshikwa.
Chang Hiao, 179
Chang Pei, 380
Chang Ki, 488, 497, 518
Chang Kiuko, 58, 326
Chang Kwoh, 55, 315, 325
Chang Li, 179
Chang Liang, 165, 256, 261
Chang Lii, 516
Ch'ang Sang Kung, 224
Chang Sangtiu, 483
Chang Shi, 176
Chang Taoling. See Chodorio.
Chang Tseh-tuan, 512
Chang YtJEH, 483
Chao Chang, 486, 516
Chad Chtjng, 515
Chao Ch'ung-kwoh, 379
Chao Chunqmuh, 497
Ch'ao Fu, 212
Chao Haishan, 518
Chao Lingjang, 485
Chao Mengfu, 487, 517
Chad Tanlin, 487, 497
Chao Tsienli, 486
Chao Tsz'how, 487
Chao Tsz'kao, 515
Chao Ung, 465
Ch'ao Yiin, 217, 305, 379
Chao Yung, 487
Ch'1;n Chungfuh, 497
Ch'en Nan, 56, 236, 301, 315, 325
Ch'eng T'ang, 139
Chiden, 183
Ch'ih Pi, 254, 294
Chiharu, 203
Chikai, 23
Chikanobu, 283, 296, 304
Chiukokusht, 505
CHIKtiAN, 186
Chikuboku, 278
Chikuden, 517
Chikudo, 450, 454, 455
Chikugan, 463
Chikugo Hoin, 12
CniKUJiu, 463
Chikukoku, 436
Chikuosai, 257, 261
Chikurin Shichi Kenjin, 231
CuiKusfei, 190
Chikushosbi, 463
Chikuto, 190
CniKuzEN-NO-suKf; Gantai, 462

Chtn Chiueuku, 497
Chinjin, 475
Chinkokushi, 505
Chinnan Sennin. See Ch'en Nan.
Chinnanpin, 163, 186, 50-', 518
CfllNTEIKIO, 515
Chinese Landscape, 197
Chinese Pictorial Art, 481
Chinnen, 432
Chinshoto, 512
Chinto, 252
Chinzan, 202, 262
Chishin, 282
Chishin (or ToMONOBu), 306
Chisho, 179
Chisho Daishi, 17
Chisoku, 246
Chiu, 190
Chiu Chimien, 488, 498
Chihai, 141
Chiuan, 181
CHiUB^i, 332
Chiuboku, 487
Chiudahantaka Sonja, 47
Chiufu, 190
CmtJjo HiMB, 5, 82
Chiukio, 189, 415
Chiusen Sensai, 414
Chiuwa, 346
Chiuzen, 188
Cho, 190
Cho Dbnsu, 21, 66
Oho Gessho, 194
Choan Genki, 206
Chobi, 203
Chobunsai, 345
Chochiuboku, 497
Chochiiika, 58, 326
Chodo, 461
Chodorio, 59
Choga, 95, 98
Choga Hoin, 98
Chogwako, 465
Chohachi, 336
Chohi, 380
Choji, 194
Chojiukoku, 379
Choki, 158, 488, 497, 518
Choko, 376
Choko, 179, 188, 203, 335
Chokoken, 404
Choku, 189
Chokuan, 181

524

INDEX.

Chokuan the Second, 181
Chokuken, 416
Chokdsai, 386
Chekwaro, 55, 325
Chomei, 461
Chonen, 462
Chonin, 461
Choeaku, 516
Chorei, 179
Chorbijo, 485
Chorio, 165, 256
Choriusai, 184
Chosha, 475
Chosen, 268
' Chosenki, 486
Chosetsu, 483
ChOshi, 176
Choshiko, 487
Choshikwa, 57
Choshin, 515
Chosho, 486
Choso Kun, 224
Choson, 23
Chos5yu, 483
Chosuqo, 465, 487, 517
Choshun, 337, 373
Chotakein, 487, 497
Chotansai Fujiwara Moeidzumi, 309
OhSiin, 217, 379
Chow Mao Shuh, 295, 326
Choyeieo, 367
Choybn Sessan, 247
Cboyo, 487
Choyoshi, 515
Chozan Koybn, 418
Chu Maich'gn, 315
Chu Showch'ang, 178
Ohuko Liang, 245, 322
Chullapanthaka, 47
Chung-li K'iian, 285. See Shoriken.
Chung Kwei, 217, 230, 245, 271, 291,
297, 303, 304, 310, 312, 317, 437
CnuNQ KwoHTSz', 505
Chung Muh, 487
Comical Botany, 403
Cranes, 129
Crystal, 70
Cuckoo, 430

D.

Dai Kokuzo Bosatsu, 89

Dai Nichi Niorai, 78, 83
Daichin, 234
Daigo Sojo, 20
Daijin, 43
Daikaku, 282
Daikoku, 27, 33, 90, 229, 248, 393, 420
Daitja Matri. See Kichimojin.
Dakaharita Sonja, 46
Dakora Sonja, 47
Danrin, 87
Daruma, 510
Dasokuken, 280
Dat^ TsuNAMUNf;, 234
Deiko, 204
Demon-Spider, 109
Demons, 59
Dengio Daishi, 112
Denkei, 179
Denko, 179
Denkokio, 422
Dbnroku, 337
Dbnshin, 179, 251
Denyei, 234
Dharma, 510
Divinities of the Thirty Days, 72
DoAN, 266
DoGA, 184
DoiTsu, 461
Dojin, 475
DOKAN, 189
DONCHO, 16
DONHO, 180
DONKEI, 417
DoNKo, 416
DoKSHiu, 417
DosHiu, 461
Dove and Plum blossom, 295
DozAN Hoz5bo, 280
Dragon, 48
Dragon King. See Naga Efidja.
Dream of Eosei, 392
DsusHi Nanpo, 417
Dwarfs. 167

E.

]il . . . , Ei. For names beginning
with these syllables, see also under
Y§ . . . , Yei . . . .
Earthquake, 445
libisu, 27, 36, 229
Echigo Hogen, 12

INDEX.

525.

Echizen no suKii; Ganku, 448, 453, 488
ildokoro, 474
ElTAKU, 371
Eight-armed Benten, 79
Eight Immortals, 516
Eight-sworded Bishamon, 88
Eighteen Arhats, 513
EiKAi, 268
EiRiN, 467
EisAi, 464
ElSAI EiNZAN, 400
EiSAN, 402
Eishin, 185
ElSHINSAI, 183
EisHO, 416
i^KIKEI, 220
Eleven-faced Kwanyin, 64, 80, 92
Elixir vitK, 54
ISma Saiko, 194
Embroideries, 469
En Musubi no Kami, 83
Enghin. See Chisho Daishi.
Endo, 102
Endo Hany^mon, 366
Enichibo Seinin, 100
ENjmsAi, 67
Enko Daishi, 134
Enriuhon, 483
Enriutoku, 483
Enshi, 178
Enshin Ajaei, 19
i^Riu, 183
EsmN Sodzu Gbnshin, 19
&ho, 474
European Influence upon Japanese
drawings, 457

Faceless maiden, 169
Falcon, 133
Fan K'wai, 379
Fan Li, 379
Fan Nganj£n, 517
Fang Chang, 503
Feathered men, 168
Fei Changfang, 58
Feng Hwang, 249
FSng Kan, 57
F£no Kb, 511
F£ng Subh, 505
Fifteen Sons of Benten, 74

Filial Piety, 171
Flying Squirrel, 297
Foreigners and foreign vessels at Naga
saki, 459
Forty-seven Eonins, 154
Four Accomplishments, 322
Four Supernatural Animals, 51
Pox, 391
Pox Wedding, 214
Fu Ten, 69
Fugen Bosatsu. See Samantabhadra.
FuGmo, 211
Fuji Shungaku, 256
Pujii Eansai, 365
Fujikoshi no Eio, 204, 253
Fujiwara no Hidbhira, 98
FuJIWAEA no HinfiNOBU, 100
PUJIWAEA NO KAN:feFUSA, 98
FujIWAEA NO KoElfcDZUMI, 128
Fujiwara no Koe^nobu, 99
Fujiwara no Nobuzan£, 99
Fujiwara no Takanobu, 98
Fujiwara no Tami^nobu, 100
Fujiwara no TamIstsugu, 99
FujIWAEA NO Tam&tsuna, 137
Fujiwara no Yoshin (On Yddokoro
Kami SStei), 309
PujiWAEA NO Yoshitoshi, 444
PUKATf;, 11
FuKuoHi Hakuyei, 193
PUKUHAEA GoGAKU, 189
Fukurokujiu, 27, 30, 235, 297, 393, 435
FuKusHiMA Kanzan, 190
FuKUSHiN, 282
FUKUYAMA lllDOKOEO OmI, 132
PUKUZBNSAI, 368
Funadama no Kami, 83
FUNATO NO NaOSHI, 16
FusAHiKO, 462
FUSANOBU GiNSETSU, 342
FusosHO, 265,
Futsujin, 74
Futsunushi no Mikoto, 139
FuTO, 192
Fuyo Mokuyo, 217
Fylfot. See Svastika.

G.

Gaki, 85
Gako Mokuga, 218
Gakuho Yokoku, 438
Gakurin, 204

526

INDEX.

Gakuroku Gwashi Seiitsu, 249
Gakutbi, 343, 344
Gakuyo, 190
Gakuwo, 183
Gama Sennin, 56, 220, 293, 299, 394
Gan 0 or Ganwo, 448
Gan Takudo, 448
Ganbunshin, 454
Ganhan, 184
Gankei, 426, 449
Ganki, 450, 465, 487, 496
Gankio, 454
Ganku, 448, 452, 453
Ganku School, 448
Ganrio, 449
Gan EOKU, 455
Ganshun, 433
Ganson, 185
Gantai, 448, 453,' 454, 462
Gantoku, 449, 454, 463
Garo Sanjin, 206
Gayu, 194
Genha, 280
Gbnhbi, 462
Geiami, 182
Gf!Ki, 280
Gekkei, 415, 417, 426
Gekkio, 206
Gbkko, 442
Genchi, 206
Genchoku, 416
Genji Monogatari, 113, 124, 142, 146,
307
Genha, 280
Genkei, 12, 194, 204
Genkei, 108
Genki, 206, 415, 416
Genmei, 249
Gennai, 196
Geno, .434
Genpo, 194
Genran, 432
Gbnshin, 19, 67, 279
Genshisai, 284, 297
Genshiro, 279, 282
Gensho Koji, 183
Genshiu, 191
Genso, 189
Genso, 216
Genson, 12
Gentai, 193, 205, 238
Gentaku, 185, 2.35
Gentoku, 217, 440

Genya, 278
Genyei, 432
Gbnyei (Yuen Ying), 485
Genyu, 190
Gessai, 365
Gessen, 188, 204, 205
Gesshiu, 462
Gesshiu (Yueh Chao), 488, 501
Gessho, 194
Gesso, 205
Getsubitei, 220
Getsuho (or Gbppo), 205
Gbtsurbi, 462
Getsuyu, 267
Gettan, 258
Ghosts and Goblins, 403
Giho, 415
Giho (Shibata), 418
Gikeiki, 116
Giobu no Taiyu, 138
Giojin, 475
Giokkan, 187
GlOKKIN, 205
Gioku, 70
GlOKUAN, 440
GioKUDo (Urakami), 191
GiOKUDO Seiha, 183
GlOKUGA, 417
GiOKUKO, 441
GiOKUON, 194
GlOKURAKU, 278
GlOKURANSAI SADAHinfi, 368
GioKURBf Dojin Seirio, 207
GlOKURIN, 190
GioKUBiu Ishin, 88
Giokusen, 449
GiOKusEN Yoshin, 272
GioKUSHi, 428
GioKUSHo, 440
GlOKUSUISAI YoSHIKANfi, 343
GioKuwo, 190
GlOKUYBI, 205
GlOKUYEN, 282
GioKUYBN Yeishin, 310
GlOKUYENSHI, 181
Giokuzan, 346
GioN Nankai, 188
Gioran Kwannon, 65
Gioshi, 475
Giotei, 194
Giozo, 192
GisniN, 322
Gito, 418

INDEX.

527

GlYBN, 416
GlYBNSO, 183
Giyo, 415
Giyo, 191, 192
Go Doshi, 483, 519
Go Shichi Mis 0, 83
GoBOKu, 279
Gods of the Twenty-one Mountains, 84
Gogaku, 189, 206
Gogaku Shunsen, 138
Gohan Festival, 230
Gohei, 83
GoiTsu, 449
GoirsuEiN, 510
Gokan, 344, 457
Gokiogoku Fujiwara no YosHiTSUNJi,
99
Gomo, 58, 180
Gon, 188
GoREi, 254, 418
GosEN, 440
GOSHIN, 20
GosHUN. See Gekkei.
GosoTEi, 394
Goto Yujo, 275
GoTOTBi, 366
Grassho|)per procession, 422
GiJANSHICHI, 185
Gujin, 475
GUKBI, 181
GuKiOKU, 23
GUMBATEI, 357
GuMPo, 442
GuNKAi, 252
Gwa Ten, 68, 75
Gwaishi, 475
GwA-Kio Eojin Man, 354, 461
Gwanzan Daishi, 83
Gwashi, 475
Gwasho, 474
GwAtJN, 449

H.
Hachida Koshi©, 193
Hachiman, 90
Hachimantaio, 304, 309, 318, 322
Hachiya Keiga, 102
Hada no MuniCimasa, 98
Hades. See Naraka.
Haddsu, 391, 435
Hagbtsu, 267

Hat, 187
Hai Liuheo, 506
Hakubo, 417
HAKUGt, 416
Hakugetsusai Yoshinobu (or Yusiiin)
302
Hakugioku, 188, 283
Hakugo, 416
Hakiii and Shikusei, 285
Hakukio, 417
Hakumbi, 190
Hakueisbi, 518
HakurokusISki Tozan, 229
Hakusei, 283
Hakuyei, 193
Hakuybn, 282, 318, 450
Hakuybn Genmei, 249
Hakuyo, 419
Half-men, 168
Hamada Ken, 190
Hamachi Yozan, 192
Han Ohungli, 496
Han Kan, 483, 485, 496
Han Shan. See Kanzan.
Han Siangtsz'. See KanshO.shi.
Han Sin, 256
Hanabusa Ikkei, 336, 378
Hanabusa Ikkiyo, 336
Hanabusa Ippo, 336, 377, 378
Hanabusa Itcho, 278, 330, 375, 376,
377
Hanabusa Ittei, 89
Hanabusa Sugetsu, 336
Hanabusa Sukoku, 336
Hanabusa Sushi, 336
Hanami no dzu, 388
Hananjin, 517
Hanbbi, 281, 346
Handaka Sonja, 47
Hankai, 379
Hankan, 483
Hanko, 188
Hanko, 190, 207
Hanlin Chang Tsehtu'an, 512
Hanrei, 379
Haneinsai Minamoto no Motoyoshi
138 '
Hansin, 229
Hany^imon, 366
Hanzan, 464
Hanzan Yasunobu, 365
Hanzan (Matsugavva), 369
Happi Benzai Ten, 41

528

INDEX.

Haea ZaichiS, 194
Haea Zaimbi, 433
Hara Zaisho, 433, 463
Haramitsu, 251, 258
Hare, 257
Hariti. See Kichimojin.
Haeukawa, 331
Haruki Nammbi, 164, 191, 218, 219,
220, 260'
Haruki Nanko, 218
Haruki Nankwa, 464
Haruki Seiko, 191
Haeunobu, 186, 330, 342, 344
HasAgawa Choshun, 337
HasjSgawa Sekko, 272, 282
Hasegawa Settan, 331, 364
HasIjgawa Settei, 227, 365, 382, 383
Hasegawa Tojiu, 268
Hasen, 186
HASHie, 432
Hassai, 255
Hassbndo, 188
Hasu'ito no Mandara, 82
Hatsunabashi Sonja, 47
Hatsura Tasha Sonja, 46
Hattara Sonja, 46
Hattori Baishin, 341
Haunted Palace, 439
Hawking, 131
Hayami Shunkiosai, 364
Hayashi, 343
Hayashi Eanga, 129
Hayashi Tadatomi, 207
Hayato, 279
Heigan, 430
Heijo Shisan Heiyen, 208
Hbikwai, 256
HeishiP, 251
Heiyen, 208
H&KISAN, 371
Henjaku, 224
Henkbisho, 488, 516
Hi no Dainagon, 248
Hia Kwei, 486, 517
Hhik'ki no Yako, 136
Hiaku-fiiku no dzu, 385
Hiaku-joro no dzu, 385
Hiakukoku, 191
HlAKUHBl, 434
HiAKUSEN, 188
Hichobo, 58
HiDlbHIRA, 98
HiD^MASA, 279, 284

HiDMvfi, 279
HiDfiNOBU, 100, 279, 293
HiH Ngan, 510
HiJIKATA Genhei, 462
HiJIKATA TORBI, 187
HiKANYEK, 187
HlKBIMEI, 257
Hikken, 43
HlKOBEI, 190
Hikohoho d^mi no Mikoto, 140
Hikoshichi, 60
Himan, 43
HiNRAKUSAI, 266
HioBU, 183
HioHio, 463
Hiouen Thsang, 222
HiBANO Dbiko, 204
HiEOAKI, 102
HiROCHIKA, 100, 124
HmoFUEU, 102
HiROHISA, 126
HiEOKATA, 103
HiROKATSU, 102
HiROMASA, 102, 127
HiEOMioHi, 101, 120, 127
HlKOMINi, 146
HlROMOEI, 102
HiRONAGA, 103, 125, 126, 137
HiRONAO, 103
HlEONOBU, 311
HiROSADA, 103, 124, 125, 151, 152, 153,
311
HiROSfi JUNKO, 450
HiRosHiGB, 331, 369, 384, 397
HiROTAKA, 11, 18
HiROTOKI, 102
HiROTOMI, 127
HiROTSUEA, 103
HiEOYASU, 102
Hiroyuki, 103, 124
HiEOZUMI, 101
Hiruko no Mikoto, 36
HisANOBu, 283, 296, 297
HiSAYUKI, 185
HissBi, 443
Hishigawa Moronobu, 329, 372, 374
Hishigawa Eia, 372
HiTTO Sbntbi, 208
HlYOAN, 450
Ho, 249
Ho Sienku, 56
Hoga, 367, 402
Hogen, 95, 101, 475

INDEX.

529

HOGETSUDO, 338
Hoh Tat'ung, 59
Hoin, 475
Hoitsu, 67, 88, 405, 407, 408, 411
Hoitsu Heishin, 411
HojiN, 188
HoJiu. See Hoshiu.
H6k6 Kio, 80
Hoken, 70
HOKBI, 511
Hokkei, 367, 400
Hokkio, 198, 475
Hokoku, 339
Hokuba, 367, 382, 386
Hokucho, 367
HoKUHO Do, 371
Hokujiu, 367
Hokumei, 367
Hokusai, 349, 381, 389, 398
Hokusai Tatsumasa, 354
Hokusaishi, 354
Hokushi, 367, 393
HoKU-SHiu, 367
HoKUSo-wo, 336, 367
HoKUUN, 367
Hokuyei, 367
HSnen Shonin, 72, 74, 134, 251
HoNi, 405, 408
Honnami Koyetsu, 404
HSrai, 224
HosAiYEN, 163, 187, 505
HosBN, 128, 449, 506
HosETSU, 505
HosHiN, 283, 461
Hoshiu, 267
HosHiu (Mori), 450
Hosho, 59
HosS, 58
Hosoi TfiRUYUKi, 345
Hosokawa Hisayuki, 185
HOBONAMI HlOHIO, 463
Hos'su, 74
Hotei, 27, 37, 269, 287, 296, 303
Hototogisu, 430
Hottara Sonja, 47
Hoyen, 415, 419, 422, 440
How SiensSug. See Gama Sennin.
Hozen, 196
HozoBo, 280
Hsiao She, 59
Hu Kung, 58
Hu Yeo, 212
Hundred Cranes, 223

Hundred Demons, 138
Hwang Ch'u-p'ing. See Koshohei.
Hwang Hiang, 177
Hwang Ngan, 57, 326
Hwang Pgh, 57
HwBi Tsung, 486, 495
Hwui Su, 487, 495
Hwang ti, 139
Hwang T'ingkien, 180

I YtJENKIH, 485
Ibuki Yasaburo, 111
lOHIGIOKUSAI Yeishun, 304
loHiJiusAi, 366
ICHIKAWA T:fiKI, 190
ICHIMOSAI, 368
loHiRitJsAi, 347, 369
lOHITOSAI, 368
IcHiu, 418
loHitiN Kokan, 503
ichiyosai, 348
ichiyosai yoshitaki, 383
ichiyusai, 367
Idbn, 225
Ifukiu, 163, 186
Igen, 177
Igenkitsu, 485
IiTsu, 131, 354
Ikaku Yeisho, 253
Ikawa KwAliN ElSAN, 402
iKtoA, 365
lK:fcDA KosoN, 405
Ik^ino Sentei, 450, 454
l-Kkso Taigado, 188. 239
Ikkan Sanjin, 336
Ikkei, 280, 336, 378
Ikkbisai, 463
Ikkio, 441
Ikkio, 336
Ikkiu, 181, 219
Iko, 266
Ikosenjo, 454
Imamura Zuigaku, 143
Imaoji Hogen, 191
IMEI, 189
In, 193
Inagaki, 208, 240
Inagaki Eio, 191
Indra, 68, 69, 86
Inho, 189
Inkada Sonja, 47
2 M

530

INDEX.

' Inochi no Kami, 83
iKOUYfi Kakbbi, 332
Inoui is. Shiro, 190
Inundation, 445
Inyaku, 43
Ippitsusai Buncho, 344
Ippo (Hanabusa), 386, 377, 378
Ippo (Mori), 415, 419, 423
Ipposai Kuniaki, 368, 383
Isai, 370
Ise Monogatari, 114, 144
Ise, Shinto shrines at, 129
IsEi, 279, 319
Isen Fujiwara no Naganobu, 299
Isen Hakuybn, 318
Isen in Hoin Yeishin, 272, 284, 298,
299, 313
Ishana Ten, 70
Ishibashi Eicho, 426
Ishida Giokuzan, 346
Ishida Yutei, 412
IsHiKAWA IzaiyAmon TosHiiJKi, 334
ISHIKAWA KaNSAI, 192
Ishikawa Biusen, 337
ISHIKAWA Toyonobu, 342
ISHIMUBO Shibun, 227
IsHiN, 88, 283, 293
Ishiyama, 428
Ishiyama Moroka, 103, 123
ISHIZAKI YusAiTfiau, 459
Isho, 43
IsoDA Shobei, 344
Issan Gioja, 73
IssBi, 310
IssBN, 428
Issensai Ykiyo, 386
Isshi, 4:15
Isshi, 23
Issho, 449
IssuisAi Adzuchi Hosen, 128
Itaya Keii, 103
Itaya Keishiu, 102, 127, 128
Itoho, 278, 330, 335, 375, 376, 377, 378
Itcho riii, 375
Ito Jakuchiu, 189
Itsukushima, 442
Itsukushima HimiS, 42
Itsuzan, 188
Ittei, 89, 336, 376
Iwasa Matahei, 101, 121, 331
Ikaku Yeisho, 253
Iyen, 189
lYliTSUGu, 268, 279

ly(5yasu, and his Seventeen Famous
Eetainers, 135
lyeyasu, Hidetada, and Five Celebrated
Generals, 133
Iyo no Niudo, 20

J.
Jako, 43
Jakuchiu, 189
Jakusai, 99
Jakuyo, 101
Jashin no Benten, 87
Jasoku, 181, 248
Ji Ten, 70
JiBOKU, 279
Jibu-no-shoyu, 278
Jido, 57, 326
Jigoku. See Naraka.
Jigoku Eeigan, 219
Jih Kwan, 517
JiHO Genwo, 434
JiHo Minamoto no Oko, 442
Jikaku Daishi, 17
JlKWAN, 465
Jingo, 132, 141, 434
JiNKU, 190
Jiraiya, 400
JlT^KISAI, 281
JiTO, 184
Jitoku, 57, 198, 271, 293
Jingo Doji, 43
Jiuiohimen Kw.annon, 64, 80, 92
JiuHi, 189
Jiuni Shi, 152
Jiuni Ten, 68, 87
Jiuroku Zenjin, 79
Jiusan Butsu, 72
JiusHiN, 282
Jiusui, 342
Jiye, 84
Jizei Bosatsu, 79
Jizo. See K'shitegarbha.
Jo, 187
JoGA, 20
Jogen Fujin, 58
Join, 186, 189
JojUN, 280
JOKEI, 185
JoKi, 266
Joki, 43
JOKO, 100
JoKO, 187

INDEX.

531

JoMio HoiN, 20
JOEAN, 373
JoEiu, 419, 423
JoROKU Dojin, 188
JosAi, 128
JosEN, 283
Josetsu, 160, 181
Joshi, 476
Joshin (Kano), 278
JosHiN (Kitawo), 346
JOSHIYEI, 503
Josui, 265
JOTAI, 19
Jotei, 192
JOYB, 181
JOYEN Sadatora, 224
JoYOSDi Hokkio Yoya, 200
JOZBN, 20
Jiji, 32
JUKBN, 267
Jun, 193, 417
JuNKO, 450
Junp5, 189
JUNYEI, 196
Jurojin, 28, 44, 237, 271, 326
JusAi, 398
Jiisha, 44
Jussen, 191 K.
Kabo, 195
Kaburaki Baikbi, 193
Kachiusho (or Kwachiusho), 488, 505
Kachoro, 366
Kadota Shogoro, 348
Kadzunobu, 88, 284, 305, 318
Kagaku, 463
Kag^masa, 466
KAGlfcMUBA, 441
Kagen, 345, 442
KAG£TAN:fc, 183
Kai Hokkio, 99
Kaian (or Kwaian), 209
Kaipuku, 462
Kaigan, 187
Kai'hoku Yusetsu, 280
Kaihoku Yusho, 279, 288
Kaikakubanto, 218, 222, 257
Kaioku, 192
Kaieiu, 194
KaisIski, 190'
Kaisen, 191
Kaishin, 442

KAiiJN, 151
Kaizan, 462
Kakbi, 486, 517
Kakizaki Hakei, 187
Kakkio, 177
Kako, 260
Kakuoho, 17
Kakudaitsu, 59
Kakudo, 209
Kakugbn Ajari, 20
Kakujiu, 187
Kakunen, 450
Kakurbi, 416
Kakurojin Bunkwa, 210
Kakusbn, 209
Kakusbn Oro, 256
Kakusbn Togi, 239
Kakushiu Koka, 101
Kakushun Shonin, 20
Kakutei, 187, 209
Kakuwo Niouirio, 187, 427
Kakuyu, 156
Kakuzan, 192
Kamaitachi, 169
Kamatari, 103
KAMlfcDA BosAi, 190
KAMf;DA Kakuzan, 192
KAM:febKA KiRBi, 417
KamibA Shissai, 417
Kan, 190, 191
Kan no Buntei, 174
Kan Densu, 23
Kan no Koso, 293
Kanakavajra (?), 46
Kanaoka, 6, 18, 87, 159
Kanawaka, 3
Kanbbi, 332
Kanefusa, 98
KAN£iY:fc, 465
KAN:fcM0CHI, 3
KANiiNOBU, 282
KAK:fcTAKA, 3
Kangaku, 198, 440
Kanho, 432
Kanhokitsu (or Kwanhokitsu), 249
Kanjin, 475
Kankan, 483, 485-496
Kankbn, 188
Kanko, 246
Kano Artists. See list, pp. 278-284.
Kano Chikanobu, 296, 304
Kano Chishin (or Tomonobu), 306
Kano Hisanobu, 283, 296, 297
2 M 2

532

INDEX.

Kano Ishin, 316
Kano Kadzunobu, 88, 30.i, 318
Kano Kbisbn, 324
Kano Kishin, 306
Kano Kiuybi, 314
Kano Korenobu, 297
Kano Kwaishinsai, 312
Kano Kwanshin, 304
Kano Kwanshin (or Hironobu), 319
Kano Masanobu, 127, 274, 285, 323
Kano Min^nobu, 144
Kano Motonobu, 275, 285, 286, 287
Kano MunI^nobu, 296
Kano Naganobu, 272, '298, 299, 313,
516
Kano Naonobu, 287
Kano Norinobu, 516
Kano NursosuKife Yeigaku, 462
Kano Okunobu, 146
Kano Osanobu (or Seisen), 272, 299,
300, 301, 517,
Kano Eioshin, 312
Kano SanIsnobu, 516
Kano Saneaku, 288, 289, 313
Kano Sansetsu, 289
Kano School, 274
Kano Sbishin, 309
Kano Seisui, 311, 319, 320
Kano Shinsho, 303, 464
Kano Shosbn, 301, 320, 321
Kano Shoshin, 302, 309, 313, 316
Kano Shoun, 312
Kano Shoyei, 288
Kano Taigbnsai Shoshin, 312
Kano Tangensai MokitsunIj, 322
Kaso Tanseisai Moeitoshi, 302
Kano Tansf.tsu, 296
Kano Tanshin, 295
Kano Tanshinsai Moeimiohi, 314
Kano Tanyu, 289, 290, 291, 292, 313,
316
Kano Tatsunobu, 323
Kano Tenshin, 316
Kano TIseunobu, 311
Kano Tojiu, 142
Kano Tokinobu, 129, 318
Kano Tosen, 298
Kano Toshun Yoshinobu, 303
Kano Toun, 293, 317, 321, 327
Kano Tsuni^nobu, 294, 295
Kano UTANOsuKt, 287
Kano Yasunobu, 292, 327
Kano Yeigaku, 308

Kano Yeihaku, 308
Kano Ybitoku, 288
Kano Yeitoku Eiushin, 272
Kano Yoshinobu, 302, 517
Kano Yoshinobu (or Gishin), 302
Kano Yuho, 317
Kanrin Toeen, 209, 259
Kansetsu, 337
Kanshin, 229
Kanshin (or Kwanshin) Hogen, 100
Kanshiu, 249
Kanshoshi, 56
Kansui, 208
Kansuk^, 339
Kantei, 182, 262
Kanyei, 440
Kanyosai, 187
Kanzan, 57, 198, 271, 293
Kanzan, 184, 434, 463
Kao Tsu, 261, 293
Kappa, 170
Kara Shishi, 323
Kari Sonja, 47
Kasenko, 56
Kashiwagi Jotei, 192
Kasosai, 466
Kasuga Busshi, 4
Kasuga Mitsuchika, 97
Kasuga Mitsunaga, 98
Kasuga Motomitsu, 95
Kasuga Takachika, 98
Kasuga Takayoshi, 97
Kasuga Tosa Gon no Kami, 99
Kasuga Yukihid&, 127
Kasuga Yukinaga, 98
Kato, 102
Katsudo, 208, 209
Katsugawa Shunchq, 363
Katsugawa Shunjo, 343
Katsugawa Shunkioku, 343
Katsugawa Shunko, 343
Katsugawa Shunsen, 364
Katsugawa Shunsho, 330, 343
Katsugawa Shuntei, 363
Katsugawa Shunwo, 363
Katsugawa Shunyei, 343
Katsugen, 58
Katsushika Hokusai, 354, 389
Katsushika Isai, 370
Katsuyu, 59
Kawaai Kansetsu, 337
Kawamura Bumpo, 449
Kawanari op Kudaka, 3

INDEX.

533

Kawatachi Otoko, 170
Kawataro, 170
Kawo, 180
Kayu no Mikoto, 36
Kazan, 191
Kazuma, 416
Kazukobu. See Kadzunobu.
Kazuyoki (or Kadzuyuki), 23
Keiami, 182
Keibun, 415, 417, 422, 423, 443
Kbibunkai, 4
Keiga, 102
Kbigaku, 371
KeigbtSu, 194
Keigi, 463
Keiho, 282, 294
Keiho Ybisai, 296
Keii Hiuonaga, 103, 125, 126
Kbijo, 251
Keiju. See Seiwo.
Keika, 184
Keikitsu, 182
Kbion, 95, 98
Keirin, 194, 267, 434
Keiriu, 212
Keisai, 182
Keisai (Onishi), 193, 210, 211
Keisai, 23
Keisai Masayoshi, 331, 347
Keisai Yeisen, 365
Kbisbn, 324
Kbishin, 282
Keishiu, 102, 127, 128
Keishiu Hironobu, 311
Keisho, 43
Keisho, 266
Kbishoki, 266
Keishun Hogen, 100
Keiso, 487, 495
Kbitaku, 102
Kbiu, 102
Kbiwa, 189
Kbizan, 211
Keizan Moeiyoshi, 216
Ken, 190, 449, 450
Kbnyusai Kadzunobu, 305
Kenzan, 404
Kesa, 166
Keuh Tsz'tung, 57, 326.
Ki, 189, 449
Ki NO Kanawaka, 3
Ki no Kan^mochi, 3
Ki no Kanbtaka, 3

I Ki no Tadayoshi, 151
Ki Yeisai, 133
Kiang Lik'an, 499
Kiang P:6hchun, 500
Kiang She, 176
Kiang Taoyin, 485
Kiang Tszeya, 247
Kibaitei, 188
Kichibbi, 372
Kichijo Ten, 30, 45
Kichimojin, 75
KiDo, 180
Kieh, 139
KiGiOKU, 187
KiHo, 438, 449, 462
KiHo Shig^inaga, 411
KiiTSU, 405, 408, 409, 411
KiKi, 194
Kiku Jido, 57, 326
Kikuchi Yosai, 435
K'ilin, 220
Kimimaro, 5
KlMURA MiTSUYORI, 279
Kimura Seishiku, 190
Kin, 189
Kin Kao. See Kinko.
KiNOHO, 418
Kindo, 196, 342
KiNGHU, 503
Kinjosei, 463
KiNKEi Dojin, 183
KiNKiN (Ota), 417, 428
Kinko Sennin, 56, 236, 294, 312, 315,
323
Kinmochi, 9, 11, 95
KiNNORI Zakurbn, 419
Kino Toki, 418
KiNREI, 440
Kineio, 434
KiNEiu, 279
KiNEO, 188
KiNSEIDO, 194
KiNSBN, 193
KmTADA, 9, 11, 95
KiNTAISHA, 354
KiNTAEO, 282
KiNTO Ama no Shiu, 212
Kintoki, 410, 428
KiNTOKU, 279
Kinuji, 11
KiNYOGBN, 520
KiNZANi;, 216
Kio Shunkbi YiuHi, 233

534

INDEX.

Kio SuKio, 381
KioAN, 461
KioDBN, 344
KioDoiN, 485
Kioho, 440
KioKo, 216
KlOKUKA, 193
Kiokusui, 154
KioKWA, 259
KiOMO, 229
KioN, 185
KioBi Choko, 203
KlOEITSUKO, 499
Kiosai, 187
Kiosai, 370, 394, 397
Kioshi, 176
Kioshiga, 247
KiosHiu KoN, 222
Kiou, 463
KiotJN, 336
Kioyu, 212
KiEBi, 417
Kirin, 220
KiBOSAi, 343
Kishi Doko, 448
Kishimojin, 30
Kishin, 418
Kiso Kotei, 486, 495
Kissei, 387
Kisui, 194, 437, 440, 464
Kita, 195
Kitagawa Shunsei, 345
Kitagawa Utamaeo, 345
Kitaikimbo. See Seiobo.
KiTAMURA Chiubei, 332
Kitan, 187
Kitawo Joshin, 346
Kitawo Masanobu, 344
Kitawo Masayoshi, 346
Kitawo SniGifcMASA, 344
KiTsuGU, 189
KiTsuji, 195
Kitsund Yom&i, 214
K'iu Ying, 465, 488, 499, 512, 513, 517
KiUBi, 417, 461, 463
Kiflbi no Kitsun^ 391
Kiucho, 175
Kiuhaku, 279, 280
KiUHO Toyei, 438
KiuJO, 189
Kiuko, 187, 434
KiukS, 434, 463
KiusBi San^nobu, 516

KitJsiKi, 282
KriJsHiN, 282
KiusHiN Shoshin, 309, 461
KiusHUN, 463
KiusHUN Seitoku, 227
KiuTON, 282
Kiuwo, 190
Kiuybi (Kano), 314
KiUYBi (K'iu Ying), 465, 488, 499, 512,
513, 517
KiuYBN, 182, 280, 282
KiuzAN, 282
Kiuzo, 268
Kiyotaka Hasha Sonja, 46
KiYEi, 267
KiYBN, 200, 417
Kiyo Him^, 60
KlYODO, 190
KlYOHARU, 338
KlYOHAEA SeSSHIN", 281
KlYOKAI, 191
KiYOKO, 503
KiYOMASU, 338
KlYOMITBU, 341
Kiyomori, 98
Kiyonaga, 330, 342
Kiyonobu, 280, 330, 338
KlYOTADA, 186
KiYOYA Dbnzo, 344
KlYOYOSHI, 131
KiYU, 365
Ko. See Tiger.
Ko SuKEi, 336, 377, 378
KOan, 57, 326
kobayashi yon^zo, 371
Kobo Daishi, 16
Kobu, 173
KoBUN, 416, 461
KocHiu, 431, 464
Kopu, 153
KoGA, 214
KOGAKU, 416
KOGBTSU, 213
KoGETSU, 267
Koh Yiu, 591
Koh Yiien, 58
Kohaku, 57
KoH AKUSEN, 500
Koho, 102, 280, 404
KoHOGEN, 275
Kohogen's dream, 301
Koi, 280
KoiN, 418

INDEX,

535

KoiTsu, 405, 408
KOJIMA ElOSBN, 183
Kojiu, 126
KoKA, 101
KoKAN, 341
KoKEi, 214, 416, 461
KoKi, 262
KoKiOKU, 72
KOKIYO, 190
Koko, 102
Koko, 177
Koko. (See HichSbo.
KoKOKU, 247
KOKWASAI, 208
KoMAi Ki, 416
KoMA Shim ABO, 16
KOMATSUYA, 343
KoMBi, 187
Komei, 245
Komi, 186, 200
Komio, 44
Komio Shingon Mandara, 78
KoNDO Jiubei, 369
KONDO SUK:fcGORO KlYOHABU, 338
Kongo Mio Benten, 41
Konjin, 83
KONKBI, 191
Konron, 507
KoNTO, 195
Konzai, 43
KoNZAN, 239
Koran, 194
Korean ambassadors, 136
Korean Art, 493
Korean Conquest, 141
KOE^DZUMI, 128
KoRlsHiSA, 12, 88
Koreijin, 57, 325, 326
KoRftKAG:fi, 439
KoBBNOBu, 99, 282, 284, 297
kor^shige, 11
Korin, 407
Korin School, 404
KoKiusAi, 344
KoBOSHi, 267
KosAi, 182, 186
KosAN, 440
KosB Artists. See list, pp. 11, 12.
Kobe no Kanaoka. See Kanaoka.
Koslb NO Kinmochi, 10
KoSli NO KORBHISA, 88
KosEi, 431
Kosei, 43

KosfiKiHAi, 463
Kosekiko, 256
KosBN, 516
Kosensei. See Gama Sennin.
KosBTSU, 464
koshiba moeinao, 281
Koshin, 213
Koshin, 281, 283, 428
Koshiu, 428
KosHO, 463
Koshohei, 57, 315, 505
KosHUNKi MosHiN, 248, 250
KosoN, 418
KosoN Dojin Kosbtsu, 464
KosoN (Ikeda), 405
KosuKlb, 331
KosuisAi, 344
Kotbi, 187
Koteiken, 180
Kotensai, 339
Koto, 186, 452, 453
Koto Y5kei, 308
kotokwan, 448
KofJN, 443
Koiinsai, 281
KotlNSHO, 191
KoYBi, 433
KoYBN, 418
KoYBTSu, 183, 404
Koyo, 440, 441
KoYU, 192
KozAN, 214, 215
KozAN Shotei, 144
K'shitegarbha, 72, 77, 81, 90, 91, 132
Kii Lingjin. See Koreijin.
KuBO Shunman, 344
Kubon no Mida, 63
KuoHrosAi Honnami Koho, 102
Kudoku Tennio, 42
Kukai. See Kobo Daishi.
KuKo, 17
KuMASHiRO Shiuko, 187
KuMASHiRO Shiuzan, 187
Kum€ no Sennin, 54
Kun, 187
Kunaikiyo no in, 289
KuNCHiu, 193, 448
K'ung Ming, 245
KUNGIYO, 416
Kuniaki, 368
KuNiuiBO, 363
KuNiKU, 416
KuNiwABU, 348

536

INDEX.

KuNiMASA, 348, 368
Kunimitsu, 348
kuninaga, 348
KuNio Kotensai, 339
Kunisada, 348, 366, 394
Kunishig:^, 368
Kunitada, 348
kunitaka, 99
KuNiTOSHi, 389
KUNITSUGU, 348
KuNiTSUN^, 368
Kuniyasu, 348
Kuniyoshi, 367
KUNKEI, 190
KuRAiSHi Kenzan, 192
Kuribaba Kuzo, 196
Kurikara, 84
KUROKAWA KiGIOKU, 187
KuRiKAWA Santo, 450
KURIMOTO Gento, 194
Kuruma So, 39
Kushinada Him^ 402
KUSHIEO Unsen, 190
KusuMi MoBiKAGli, 281
Kusunoki Masashig^ 389
Kuvera, 39, 69
KuwAGATA Shoshin, 76
Kwa Ten, 69
Kwaboku, 30, 31
KwAiKEi Hogen, 21
KwAiN, 185, 417, 427
Kvjaishi, 475
Kwaishinsai, 284, 312
KWAKEI, 417
Kwakki, 485, 517
Kwan Yii, 125, 205, 208, 215, 216, 230,
246, 326
KwANGBTSU, 346, 442
KwANiTSu, 253
Kwannon, 64
KWANSAI, 211
kwansetsu, 430
Kwanshin, 304
Kwanshin (or Hironobu), 319
KWASHINBAI Hakutoku, 260
Kwansh5jo, 19, 73, 301
kwanshosai, 461
Kwanyin, 64, 65, 80, 255, 291, 294,
435, 504
KwANZAN, 184, 190, 434, 463
KWAEAN, 344
KWATBN, 188
KwAYA, 433

Kwazan, 19, 193, 213, 449, 456
Kw'en Lun, 507
Kwoh Hi, 485, 517
Kwoh Kii, 177 L.
Lakshmi, 30, 45
Lan Ts'aiho. See Eansaikwa.
Lao Lai Tsze, 175
Lao Tsze, 31, 206, 510, 515
Laoyii. See Eogioku.
Li Chbsg, 485
Li Chung ho, 485
Li Ju, 487
Li Lungyen, 486, 495
Li Nganchung, 486
Li Peh. See Eihaku.
Li Tang, 486
Li T'ieh-kw'ai. See Tekkai.
Li Tih, 486
Li Tsib.s-, 485
Liang Chi, 517
Lih Tsz', 58
Lin Hwoching, 212, 245, 296, 314
Lin Liang, 488, 499
Ling Yun, 503
Lion, 323
Liu Ch'en, 108
Liu Chi, 499
Liu Nii. See Eiujo.
Liu Pang, 293
Liu Pei, 217, 440
Liu Tsun, 488, 513
Lo Tsz'fang. See Eashibo.
Long-arms, 167
Long-eared Men, 168
Long-legs, 167
Lotus-fibre Mandala, 82
Low tide at Shinagawa, 382
LiJ Ki, 465, 488, 500
Lti Kiai, 486
Lii Ngao, 316
Lu Sheng, 392
Luh Sii, 179
Lii T'ungpin, 55, 206, 496
Lii Yen, 206. See Eiotohin.
Lung. See Dragon.
Lwanpa. See Eanha.

M.

Ma Liang, 487
Ma Lin, 487

INDEX.

537

Ma Ku. See Mako.
Ma Shehwang, 58, 137
Ma Tah, 486
Ma Yuen, 486, 516
Mada Sakiohi, 196
Magata Tairbi, 191
Magawa Iitsu, 131
Mahakala, 33
Mahakara Daikoku Nio, 34
Mahasthamaprapta, 66, 72, 79
Mah&s'vara, 70
Maitrgya, 38, 72
Maki Chokusai, 386
Mako, 59
Mala, 73
Man Eojin, 354
Mandara, 78, 81, 82
Mandara no Mida, 83
Mandarin Ducks, 228
Mandjus'ri, 72, 200
Mani, 416
Mani, 71
Manibatsudara Hoken Daisho, 30
Manji. See Svastika.
Manshi, 251
Manzai, 376
Mao Meng, 58
Mao Nii, 57, 288
Mao Yih, 486
Marishi Ten, 78
Maritchi Deva. See Marishi Ten.
Maruyama Okio, 412, 420, 421, 439, 446
Maeuyama Oriu, 415, 462
Maruyama Oshin, 415
Maeuyama Ozui, 415, 421
Masahira, 128
Masakuni, 132
Masamochi, 217
MASAMUNli, 12
Masanobu (Kano), 127, 274, 285
Masanobu (Okumura), 338
Masanobu (Kitawo), 344
Masanobu (or Shosen), 301, 323
MASASUKlb, 279
Masataka, 334
Masatsugu, 100, 194
Masayoshi, 347 (Keisai), 331
Masayoshi, 466
Masayuki, 217
Masunobu, 282
Masuyama Sessai, 433
Matahei, 101, 121, 331
Matora, 368

Matsuba Shonin, 20
Matsubara Tanrio, 102, 281
Matsuda Soijn, 250
Matsugawa Hanzan, 369
Matsui Shunsho, 129
Matsumoto Bumpei, 449
Matsumura Gekkei, 415, 417, 426
Matsumura Kbibun, 415, 417, 422,
423, 443
Matsuya Eojin, 182
May festival decoration, 433
M£gata Shohei, 196
Mei Fuh. See Baifuku.
Meioho. See Oho Densu.
Meikiyo, 191
Mbishin, 282
Meng Tsung, 173, 322
Mermen, 168
Merry Genii, 223
Michi no Mioya no Kami, 83
MicHiNOBU, 283
MiH-TSiAo Wu Ch'ihli, 503
Mikadzuchi no Mikoto, 139
Mikuma Kwaten, 188
Mikuma Eoko, 417
Mimbu, 266
MlMBUSHOYU, 278
Min Sun, 174
MiNAGAWA KlYEN, 200, 417
Minamoto no Kiyoyoshi, 131
Minamoto no Oko, 442, 446
Minamoto no Saki, 439
Minamoto no Soyo, 76
Min^nobu, 144, 283
Ming Hwang, 216
MiNZAN, 188, 191
Mion Tennio, 42
Mio on Ten, 41
MioTAKu. See Miyotaku.
MiOto Seki, 320
Miroku Bosatsu, 38, 72
Mirror, 70
MiTSUAKI, 99, 101
Mitsuatsu, 102, 103, 123, 153
MiTSUBUMI, 103
Mitsuchika, 95, 100, 246
MiTSUHiDi;, 99
Mitsuhiro, 100
MiTSUKATSU, 101
MiTSUKiYO, 103, 463
MiTSUKUNI, 100
MiTSUMASA, 279
MiTSUMASU, 101

538

INDEX.

MiTSUMOCHi Keiso, 100
MiTSUMOTO, 101
Mitsunaga, 98, 99, 139
MiTSUNARI, 101, 120
Mitsunobu, 96, 100, 279
MiTsuNOEi, 101, 280
MiTsuoKi, 96, 101, 122, 123
Mitsusada, 96, 102, 129, 374
MiTSUSHiGjfc, 96, 100, 101, 150
MiTsusuKlJ, 102, 122
MlTSUSUY^, 100
MiTSUTOKI, 102
MiTSUTSUGU, 101
MiTSUYASU, 12
MiTsuYOBi, 279
Mitsuyoshi, 96, 102, 122, 137, 463
MiTSUYUKi, 462
MiTSUZUMI, 101
Miyagawa Choki, 158
Miyagawa Choshun, 337, 373
Miyamoto Musashi, 200
Miyazaki Inho, 189
MiYAZAWA BUYETSU, 450
Miyotaku, 180
MiWA, 441
Mi Yihgbn, 487
Mi YiJENCHANG, 487, 498
MizoNo Chiukan, 189
MocHiDzuKi Giokusen, 449
MOOHIDZUKI KANSUKis, 339
MoHEi, 332
Mojo Sennin, 57, 288
Mokkei, 486, 497, 517
MoKio, 398
MoKio, 187
MoKOKi, 463
Mokuan, 186, 510
MoKUGA, 218
Mokuin, 188
MoKUSBi, 417
Mokuyo, 217
momokawa, 218
Momotaro, 387
MoMu Shinitsu, 409
Mondo Dansai, 414
Monkey, 213, 430
Mononofuno Michi On no Mikoto, 140
Mori Hojiu, 450
MoBi Ippo, 423, 424
Mobi Issen, 428
Moei Eansai, 187
Mori SiiiDsen, 427
Mori ShunkeI, 364

Mori Sosen. See Sosen.
Mori Tessan, 427, 428
moridzumi, 309
morihiro, 308
MoBiKAGli, 278, 281
Morikuni, 278, 281, 331, 339
MoRiMASA, 281, 295
MoBiMicHi, 282, 284, 314
MOEINAO, 281
MoRiNOBU, 280, 289
MOBISADA, 281
MoEisADA Shinno, 98
MoBiTAMA, 307, 323
MOEITANlS, 324
MORITAKA, 307
MORITOSHI, 302
MoBiTSUNi, 308, 322
MoEiYOSHi, 133, 216, 307, 310
MoRiZANf;, 284, 323
MoROPUSA, 334
Moroka, 102, 132
moeonaga, 334
Moronobu, 329, 372, 374
MoROSHiGjfc, 334
MosBN, 193
MosHiN, 248, 250
Moso, 173
Motomitsu, 95
Motonobu, 275, 285, 286, 287
Mototada, 279
Motoyoshi, 138
MoYliKi, 486
MuBAi, 463
Muboku, 371
Miidera, bell of, 118
Muge Hojiu Gem, 103, 155
MuGEN Eojin, 419
Muh Ki, 486, 497, 517
Mui, 416
Mun^fuku, 12
MuNEHiui, 279
MUNliHISA, 12
MUN^MASA, 98
MuN:fcNiwA, 84
MuNliNOBU, 296
MuNlSSUKB, 278
MuNflYOSHI, 11
MuRA Tokiu, 450
MUEUKAMI Shodo, 449
MuiiAKAMi Tosmu, 419
Murasaki Shikibu, 307
MUEATA SHUNPEI, 417
MUIUTA SoUAKU, 220

INDEX.

539

MuEio, 218
Musashi no dzu, 123
Muso-wo, 336
Mythical Zoology, 166

N.

Naga Eadja, 50, 88
Nagaaki, 99
Nagaari, 12
Nagaharu, 99
Nagahid^, 306
Nagamachi ChikusJski, 190
Nagamitsu, 278
Naganobu, 272, 279, 284, 298, 299,
313, 516
Nagasawa Eosetsu, 415
Nagasawa Koshiu, 416, 429
Nagasena, 47
Nagataka, 20, 99, 143
Nagato-nosuk]b, 449
Nagawo Muboku, 371
Nair'rita, 69
Naizen, 280
Nakabayashi Chikuto, 190
Nakamuea Tbtsugai, 419, 427, 442
Nakano Eiodbn, 190
Nakai Eanko, 419
Nakaizbn, 188
Nakamura Tbtsugai, 442
Nakasaina Sonja, 47
Nakula (?), 47
Nami no Chidori, 301
Nammbi, 191, 218, 219, 220, 260
Nanashi no Kiji, 139
Nangaku, 416
Nangen, 220
Nanka no yume, 393
Nankai, 188
Nankbi, 220, 461
Nankei, 190
Nanko, 218
Nankoku, 250
Nankwa, 464
Nankwa Shoshi, 221
Nankwa Soitsu, 211
Nan'ping Ch'ansiek, 502
Nanpo, 417
Nanrbxsai, 385
Nanrei, 193, 417, 440
Naneiu, 1
Naneo, 220

Nansei, 464
Nansbn, 307
Nantei, 239, 416
Nankoku, 250
Nanzan, 221
Naoakira, 246
Naokagb, 198
Naonobu, 276, 278, 281, 287
NAoriiEu, 151
Naotomo, 267
Naoyb Tokutaeo, 371
Naoyoshi, 102
Naea Hogen, 182
Naraka, 57, 76, 78, 85, 91, 92, 394
Naeiaki, 419
Nabimitsu, 98
Nabuto, 192
Nehan no Shaka, 62
Nei Issan, 73
Neiseki, 205
Nen Kawo, 160
Ngan Hwui, 465, 487, 496
Ni Gawa Biakfl-do, 80
Ni 0. See Temple Guardians.
Ni Ten, 69, 75
NicHiRBN Shonin, 20
NicHiEio, 427
NiKWAN, 465, 517
Nine Gods of Good Fortune, 393
Nine tailed Fox, 391
Nine States of Death, 87
Ning Chi, 205
Ninigi no Mikoto, 70
Nio-i, 66
Nio-i hojiu, 71
Nirvana of S'akyamuni, 67, 68, 495
Nishigawa Sukenobu, 278, 330, 339
Nishigawa Ukiyo. See Nishigawa
Sukenobu.
NisHiKUNi, 365
NisHiMUEA Chiuwa, 346
NiSHiMURA Nankei, 190
NiSHiMUBA Nantei, 416
NisHiMURA Shigenaga, 338
NiSHINA KiNSBN, 193
NiTTO SONEO, 184
NiwA ToKEi, 364
No, 187
No NO Miya, 184
No properties, 138
No performers, 244
Noami, 182
nobuiiabu, 101, 185

540

INDEX.

NoBUKA, 336, 376
Nobukatsu, 336, 376
nobumasa, 280
nobusada, 98
Nobushig:6, 11
NoBUtJji, 272
NOBUYOSHI, 37
NoBUYUKi, 282
NoBUZAN^, 95, 99, 127
NoDA ToMIN FujIWAEA NO YoSHITOSUI,
444
No NO Miya, 184
NoBiNOBU, 319, 516
NOBO ElUNBN, 190
NuiNOSUKE, 281
NuKiNA Kaioku, 192
NuMATA Gessai, 365
Nuye, 169, 389

0.
0 Genroku, 338
0 kuni nushi no Kami, 35
Oba KosiiKAGlS, 439
Ogaki, the Battle of, 136
Ogata Koein, 404, 407
Ogata Aiybn, 259
Ogawa Eitsu-wo, 283
Ogbnmin, 501
Ogishi, 314
Ogura Tokei, 187
Oguei Sotan, 181
Oguri Soritsu, 181
Ohaba Toya, 365, 366
Oho, 405
Oi, 483, 485
OiNOsuKli, 274, 275
OisHi Matora, 368
Ojikara Daikoku, 34
Ojin, 90, 141
Ojiu, 415
Oka Toyohiko, 438
Oka Yutai, 192
Okada Beisanjin, 190
Okada Hanko, 190
Okada Kanrin, 193, 209
Okam^, 436
Okamoto Hoken, 418, 438
Okin, 192
Okina, 244
Okio, 412, 415, 420, 421, 439, 446
Oko, 221, 370, 442, 446
Okubo Shibutsu, 192

Okumuea Masanobu, 338
Okunobu, 146
Okuea Kitsuzan, 191
Okuea Kiyo, 21
Omeiho (or Omeibo), 463
Omi, 132
Onamuji no Mikoto, 82
Onko, 93
Ono no Komachi, 121, 123, 127
Ono no Sojo, 156
Ono no Takamuea, 3
Onishi Keisai, 164, 193, 210, 211
OoKA NO Imiki, 1
OoKA Shunboku, 283, 331, 341
Orchestra, the Imperial, 131
Oeiu, 415, 462
Oriuhon, 488, 499
Osanobu, 272, 284, 299, 300, 517
OsBN, 486, 495
Oshikio, 57, 315
Oshima Fuyo, 189
Oshitsu, 107
O.sHiN, 415
Osho, 59
Osho, 175
Oso Sansetsu, 225
Osui, 177
Ota Hiakukoku, 191
Ota Kinkin, 417, 428
Otagibi Tadachika, 370
Otokashi, 16
Otsu ye, 372
Otsugo, 44
Otsuko, 463
Ozui, 415, 421

Padma, 45
Panthaka, 47, 210
Paradise, 78, 92
Paradise in the West, 90
Paragons of Filial Piety, 327
Pasa, 79
Peh Hu, 51
pa I and Shuh Ts'i, 285
PiSlH LlCHANG, 518
People of all Nations, 460
P'Sng Tsung. See Hoso.
Perforated min, 167
Perils of earthly life, 214
Phwnixes, 240

INDEX.

541

Pindola Bhadradvaja (?), 46
Pien Kingchao, 488, 516
Pien Ts'iao, 224
Pigeon, 292
Plumflower revelry, 202
Poets, Six Famous, 144
Poets, ']"hirty-six Famous, 145
Popular School, 328
Portrait of a Priest, 74, 92
Prabha Mantra Mandala. See Komio
Shingon Mandara.
Prgta, 85
Prit'ivi. See Ji Ten.
Pure Land of the West, 83

Quail, 135

Q.

E.

Eacoon-faced dog, 169
Kaigon no Mida, 74
Eaiko, and the Shiuten Doji, 146
liAISHIN, 354
Eaisho, 417, 434, 463
Eakan. See Arhat.
Eakora Sonja, 47
Eandeh, 188
Eanga, 129
Eanha, 59
Eanhoken, 181
Eanko, 195, 419, 429
Eansai (Pujii), 365
Eansai Hokuso, 367
Eansai (Mori), 187
Eansaikwa, 56
Eansbn Mobihieo, 308
Eansetsu, 463
Eansui, 250
Rantei, 431
Eantokusai, 343, 421
Eanujo, 250
Easatsu Ten, 69
Eashibo, 59
Eatna Sambhava, 81
Ebisen, 182
Eeishiu, 222
Eeiyo, 230
Eeizei, 19
Eeizen, 8
Eeszan Gantoku, 222, 449, 454
Ebnzan Joshi, 463

Eesshi, 58
EiANCHiu, 486
ElBUN, 190
EicHiuwA, 185
Eicho, 426
EicHosHitJ, 427
Eihaku, 59, 324, 325
EihM, 332
Eikei, 189
Eikio, 199, 200
EiKORiN, 486
EiKUJi, 499
Eikuzoku, 179
EiNKBN HOQEN', 101
EiNKio, 185
Einnasei, 212, 314
EiNRio, 488, 499
EiNSAi, 222
EiNSEi, 222
EiNSHiN, 222, 312
EiNSHOAN, 336
EiNZAN, 400
Eio, 187
Eio. See Dragon.
EiOAN, 183
EiOBiN, 183
ElODBN, 190
EioFu, 185, 267
Eioga, 99
EioGEN, 463
Eiojo, 279
EiOKAi, 267, 486, 517
EiOKBi, 198
Eioki, 185, 465, 488, 500
KiosBN, 464
Eiosetsu, 440
EiosHi, 280
Eioshin, 282, 312
KiosHiu, 251, 462
EiosHO, 284
EioTAi, 187
Eiotohin, 55, 206, 496
EiotJN, 503
EioYEN Hokkio, 21
EiozBN Hoin, 21
EiozoN, 100
Eip Van Winkle (Japanese and Chinese),
107
EiRiuMiN, 486, 495
EisEr, 485
Eis^Ki, 184
Eishi, 53
Eishi with banana le.af, 315

542

INDEX.

Eishin, 282
Eisho, 191
EissHo, 398
Eisu, 487
Eitaihaku. See Eihaku.
EiTliKi, 486
EiTO, 486
EiTsu-wo, 283
EiTzuzAN, 223, 463
Eihbi. See Gentoku.
Eihdzu Kwannon, 65
EiuGOKA, 223
EitiHA, 182
Eiujo, 57
EiUKio, 198
EiuKO, 251
EiuKOKUDEN ShigiSaki, 223
ElUNBN, 190
EiURiKio, 162, 186, 199, 200
EitJsEN, 337
EitJSHiN, 272, 312
EiusHiu, 180
EiusHUN, 488, 513
ElUTAN, 182
EitjTO, 184
River festival at Nagoya, 374
RiYEi, 268
EiYO, 191
EiYotJN Sanjin Oko, 221
EizEN, 485
Eoc, 445
Eogioku, 59, 209, 322
Eouo, 463
Rojin, 476
EoJiNSAi, 342
Eokio, 108
Eoko, 316
Eoko, 417
Eokurokubi, 170
EoKUSo, 376
Eoraishi, 175
Eoren, 364
EosAN, 235
Eosei, 392
EosKTSu, 415
Eoshi, 56
KosHie, 416, 429
Eosiio, 184

S.

SadahidI;;, 368
Sadaoka, 370

Sadanobu, 279, 280, 305
Sadatoea, 224
Sadatoshi, 342
Sadayoshi, 317
Saddharma Pundarika. See Hoki5 Kio.
Sai, 187
Saian, 185
Saibi, 416
Saigio Hoshi, 295
Saihaku, 267
Saijun, 178
Saikei, 223
Saikiorio Yusei, 430
Saiko, 194
Saikoku, 44
Sairiyo, 190
S.us]iKi, 258
Saishi, 176
Saisho, 463
Saisho Hoshi, 112
Saito, 354
Saito Yeihaku, 308
Saiwai no Kami, 83
Saiwo, 23
Saiyen Hosai, 50.5
Saizan, 225
Saji, 59
Sakueai Shiuzan, 227, 241, 331, 341,
518
Sakusen, 267
S'akra Dgva. See Taishaku Ten.
S'akyamuni, 61, 67, 72, 86, 88, 139
sakyamuni Trinity, 63, 79, 89
Samantabhadra, 72, 81, 290, 408
Sambaso, 244
Sambo Kojin, 82
Sambu Kio, 67
San no Nijiu-i Sha, 84
Sandzugawa no Baba, 77
San^nobu, 370, 516
Sanjin, 475
Sanjiuban Jin, 72
Sanjiurok' Kasen, 302
Sankan, 232
Sankei, 146, 223
Sankitsu, 195
Sankiyo, 190
Sankoku, 180
Sankosai, 251
Sanmen Daikoku, 34
Saneaku, 276, 279, 288, 289, 313
Saneiu, 185
Sansei, 281

INDEX.

543

Sansetsu (Kano), 276, 280, 289
Sansbtzu (Oso), 225
Sanshin, 239
Santihi, 475
Santo, 450
SANY:fiM0N, 343
Sanyo, 43
Sanzo Hoshi, 222
Sarasvati, 41
Sarudahiko Daijin, 82
Sasayama, 225
SASUKis, 344
Satak:^ Yeikai, 194, 223, 252, 260
Sato Gennai, 196
Sayi^mon Shoshin, 280
S6gon, 44
Sei, 193
Sbian, 184
Seibin, 416
Seidzu Kwannon, 65, 291
Seiha, 183
Seiitsu, 227, 229, 249
Seika, 462
Seikaken, 196
Seikei, 518
Seiki, 417, 463
Sbiein Koji, 488, 501
Seiko, 190
Seiko (Haruki), 191
Seikon, 186
Seimei, 291
Seimin, 225
Seimo, 267
SlsiN, 193
Seinin, 100
Seiobo, 56, 221
Seiobo no Shiji, 56, 443
Seieio, 207, 266, 462
Sbisai, 194
Sbisei Kiitsu, 408, 409, 411
Seiseido, 404
Sbisei Honi Yoshin, 408
Seisei Koein, 407
Sbisei Shiuitsu, 410
Seisen (TJwabayashi), 398
Seisen Hogen, 284, 299, 300
Seisen in Hoin, 301
Seisen Yoshin, 272
Seisetsusai, 306
Seishi, 379
Seishiku, 190
Seishin, 280
Seishin (Kano), 309

Seishiu, 251
Sbisho, 190, 251
Seishonagon, 303
Seisui, 311, 319
Seisui Yoko, 320
Seito, 186
Seitoku, 227
Seiwagetsu, 517
Seiyu, 186
SiKi, 192
Seki SHUNSUKifc, 342
Sekiheki no Dzu, 241, 254
Sbkikoku, 185
S&ion, 43
Sekisai, 188
Sekisui, 193
Sekisui Ybkko, 227
Sbkitbn, 250
Sekiyen, 278
Sekkei, 187, 227
Sekko, 268
Sekko (Hasegawa), 272, 282
Semui, 44
Sen, 186, 191
Sen Shunkio, 517
Senan, 194
Senjiu Kwannon, 64
Senka, 184
Senkwaden, 517
Sennin. See Eishi.
Sbnpo, 430
Seneei, 414
Sensai, 461
Sensai Ybitaku, 371
Sensha, 44
Sbnshinto, 188
Sbnshiu, 225, 416
Sentei, 208, 450
Senzai, 256
Senzan Shoshiu, 410
Seppo, 225
Sessai (Masuyama), 433
Sessai (Minagawa), 417
Sessan, 247
Sesshin, 268, 281, 309
Sesshiu, 264, 269, 272, 273, 465
Sesshiii School, 263
Sessho, 194
Sesso, 185, 270, 464, 519
Sesson, 265, 465
SliTATSU, 193
Setsubo, 185
Setsudo, 461

544

INDEX;

Setsuho (or Seppo), 463
Sbtsuein, 268
Setsuzan, 247
Settan, 226, 331, 364
Setto, 267
Settei (Hasegawa), 227, 266, 364, 382,
383
Settei (Shosai), 250
Settei Naoakira, 246
Settei Soitsu, 221
Setto, 465
Seven Calamities, 444
Seven Gods of Good Fortune. See
Shiehifukujin.
Seven Poets, 215
Seven Worthies of the Bamboo Grove,
231, 299, 311
Sha Buson, 188
Shabaku, 184
Shachiusho, 58
Shajishin, 488
Shaka Niorai, 63
Shakujo, 73
Shang Yiien Fujen. See Jogen Fujin.
Shankien, 232
Shantao, 72, 74
Sharaku, 345
She Hwangti, 129
Shfin Nung, 200, 289
Shi, 190
Shian, 193
Shiba Gokan, 344, 457
Shiba Kanshin, 100
Shiba Kbishun, 100
Shiba Einken, 100
Shiba Sonkai, 100
Shibata Giho, 418
Shibata Z^shin, 437, 439
Shibata Gito, 418
Shibun, 227, 418
Shibutsu, 192
Shiehifukujin, 27, 122, 128, 131, 209,
244, 261, 305, 307, 385
Shichihiyakusai, 39
Shichikenjin, 311
Shido, 449
Shidzuka, 166
Shifuku, 191
Shig^aki, 223
Shigemaeo, 246
Shigemasa, 344
Shigbn, 416, 418
ShigIsnaga, 338, 411

Shigenobu, 279-282, 368
Shigj^yoshi, 280
Shiho, 187, 193, 416
Shihte. See Jitoku.
Shuin, 189
Shi JIU, 194
Shijo, 189
Shijo School, 412
Shikan, 196
Shiken, 174
Shiken Saido, 182
Shikio, 417
Shikiu, 431
Shiko, 449
Shiko Sorin, 193, 228, 240, 248
Shikiorin, 503
Shikuya, 189
Shikotei, 129
Shimada, 102
Shimada Genchoku, 415
Shimei, 193
Shimei Tendo Dai-ichi-za Sesshiu,
270, 273
Shimidsu Hansuk£, 194
Shimidsu Kiokuka, 193
SniMOKAWABfi Jiusui, 342
Shimidsu Temmin, 450, 455
Shin no Shiko, 129
Shinankin Shisho, 502
Shinbun, 322
Shikgei, 182
Shingen, 186
Shingetsu, 188
Shinin, 461
Shinitsu, 409
Shinki, 1
Shinno, 182
Shinretsu and Bunsho, 58
Shinsai, 17, 367, 433
Shinsei Isei, 319
Shinshi. See Crystal.
Shinsho, 279, 303, 313, 464
Shinsho Ishin, 316
Shinso, 182, 185
Shinto Shrines, 440, 442
Shinyen, 188
Shinyetsu, 186
Shinzo, 419
Shio, 175
Shion, 416
Shirafu, 16
Shirakami Saisai, 192
Shirio, 449

INDEX.

545

Shiro, 190
Shirojiro, 275
Shironushi no Mikoto, 139
. Shisai, 416
Shiseido, 192
Shishin, 193
Shishin, 417
Shishiu, 512
Shisho, 502, 510
Shiso, 417
Shissai (Kamibe'), 417
Shitomi Kwangetsu, 346
Shitsugetsu, 43
Shiu, 190
Shiubaka Sonja, 47
Shiubun, 161, 181, 197, 465
Shiugbn, 268
Shiuqen Sadanobu, 305
Shiugetsu, 265, 270
Shiugo, 181
Shiuho, 415, 418, 426
Shiui, 181
SmuiTsu, 405, 410
ShiUjin, 475
Shiujowo, 190
Shiujusho, 178
Shiukbi, 268
Shiuki, 164, 191, 227, 265
Shiuko, 183
Shiuko, 187, 195, 266
Shiuran, 463
Shiurei, 416
Shiubi, 280
ShiSsen, 427
Shiusetsu, 185
Shiushiben, 488
Shiushin (Kano), 283
Shiushin (Mori), 416
Shiutaku, 180
Shiutei Yosho, 505
Shiuten Doji, 60, 111, 137, 146
Shiutaku, 180
Shiutoku, 180, 266
Shiuyetsu, 185
Shtoyo, 266
Shiuzan (Joshi), 194, 227, 241
Shiuzan (HSgen), 194, 331, 341
Shiuzan (Kumashiro), 187
Shiuzan (Yoshimura), 278, 283
Shiwogawa Bunrin, 450, 455
Shiwogawa Unsho, 418
Shiwo Gawa no Kami, 83
Shiyei, 57

Shiyei, 449
Shiyu, 190
Shizan, 187, 189, 266, 440, 520
Shizen, 449
Shoan, 185
Shobei, 338, 344
Shocho, 503
Shodo, 449
Shogaku, 440
Shoga, 95, 98
Shogaku no Shaka, 62
Shogen, 187
Shoi, 102
Shojo (Soga), 181
Shojo (Takimotobo), 280
Shojo, 208
Shojo, 43
Shokaizan, 518
Shokaku, 189
Shokatsukan, 187
Shokatsurio, 245
Shokbi, 100, 184, 266, 462
Shoki. ;See Chung Kwei.
Shoki, 184
Shokio, 261
Shoko, 195
Shokoku, 461
Shokosai Hanbei, 346
Shokwa, 461
Shokwado, 280
ShSmio, 44
Shoran, 450
Shorei, 190
Shoriken, 55, 285, 496
Shosado, 344
Shosai Settei, 250
Shosbn, 284, 301, 311, 320, 321
Shosen (Soga), 181
Shoshi, 59
Shoshi, 221
Shoshin (Kano), 282, 302, 309, 312,
316
Shoshin (Kuwagata), 76
Shoshiu, 410
ShOSHOTO KAGiiMURA, 441
Shotei, 144
Shoto, 228
Shotoku Taishi, 16, 40, 86, 134, 134
Shou, 463
SHoiJN, 312
Showo, 465
Showo, 186
Shoyei (Kano), 276, 278, 288
2 N

546

INDEX.

Shoyei (Suwa), 131
Shoy^ki, 279
Shoyo, 266
Shoyusai, 418
Sh5zan, 240
Shozan (Kano), 318
Shubaishin, 315
Shuchodo, 196
Shuitsu, 410
Shukuga, 418
Shukukwa, 196
Shukumbi, 193
Shum£, 281
Shummei, 189
Shumoshiku, 295, 326
Shun, 173, 449
Shun Kii, 488
Shunboku, 283, 331, 341
Shuncho, 363
Shunohosai, 331, 346
Shundo, 343
Shungaku, 256
Shunho, 440
ShunjiiJ, 283
Shunjo, 343
Shunkei, 195, 364
Shunkin, 191
Shunkio, 127, 488, 518
Shunkio, 417
Shunkiosai, 364
Shunkioku, 343
Shunko, 343, 440
Shunko the Second, 364
SnuNKiJ, 127, 518
Shunman, 343, 344
Shunpei, 417
SUUNEIO, 68
Shuneo, 349, 354, 449
Shunsai, 196, 239
Shunsei, 188, 345
Shunsen, 138, 364
Shunsensai, 366
Shunsbtsu, 280, 282
Shunsho (Kano), 282
Shunsho (Matsui), 129
Shunsho (Katsugawa), 330, 343
Shunsui, 282
Shuktbi, 363
Shunto, 189
Shunto, 433
Shunwo, 363
Shunyei, 343
Shusho, 418

Shusen, 44
Shuson, 194
Shussan no Shaka, 62
Si Wang Mu, 221, 238, 256, 258, 375
507, 508, 510, 518
Siang Langlai, 498
Sickle weasel, 169
Sieh Chungchu. See Shachiu sho.
Sibhshe Szechung, 488
Signs of the Zodiac, 308, 435
SiKiN KuszE, 488, 501
Si She, 379
Sin Szbying, 503
SuiAN, 250
S'iva. See Ishana Ten.
Sixteen Arhats, 46, 88
SiKteen B6dhisattvas, 81
Sixteen Good Spirits, 79
SlYiJEN PilNGTSZ', 505
Slaughter of the Nuy^ 389
Soami, 182, 198
Sochi, 280
SooHiN, 273
SoDo, 411
Sodzu Chinkai, 20
Sodzugawa no Uba. See Sandzugawa
no Baba.
Sofu, 212
Sofutsuko, 482
Soga Chokuan, 181
Soga brothers, 384
Soga Jasoku, 181, 248
Soga no Goro, 383
Soga Shiubun, 181
Soga Shosbn, 181
Soga Sojo, 181
Soga Soyo, 181
SoHA, 279
SOHAN, 463
SoHAKU, 229, 267
SoHEKIMON Ik, 99
Sohinda Sonja, 46
Soitsu, 211, 221
SoJi, 184
Sojo, 181
Sojo Yusen, 267
Sojun, 416, 436
Sojun, 23
SOKWAN, 184
Soken, 9, 11, 102
Sokokukiu, 55
SOKUBAI, 267
SoKUYO, 282

INDEX.

547

Soma Dfiva. See Gwa Ten.
Soman, 185
Sonchi, 12
Sonjin, 475
SONKAI, 100
SoNEO, 184
SoNSAi, 224
Sonto, 59
SoRAl, 230
Sosi THE Second, 349, 354
SoEDsr, 164, 193, 228, 240, 248
S5EITBU, 181
SosAi, 267
Sosan, 175
Sosfei, 260
Sosen, 279, 280, 283
SoBEN, 415, 418, 424, 425, 426
SosHA, 241, 485
SOSHIGAN, 187
SOBHIKO, 193
SosHiN, 280
SOSHISEKI, 187
SosHiu, 279
SosHO, 228
Soso, 380
Soso, 184
Sotan, 181
Sotatsu, 102
Soto, 184
Soya, 268
Soyen, 265
S5yo, 185
Soyo (Soga), 181
Soyo (Minamoto), 76
SoYu, 279
Spider Devil, 60
Spiritual God of the Three Treasures.
Squirrels and vine, 228
Stomachless men, 167
Storm, 445
S'ubhaka, 47, 66
SUEN-HOTIBN, 517
SUGAWAEA NO MiTSUSADA, 374
SuGAWAEA NO MicHiZAN^. See Kwan
shojo.
Sugetsu, 336
SUGIMUEA JlHEI MaSATAKA, 334
SuGO, 465
Sui Ten, 70, 77
SuiAN, 194, 250, 517
SUIGAWO, 193
Suigetsu, 267
SUIKEI, 415

SUIBAN, 253
SuiBBi, 462
SuiBi, 463
Suiwo, 463
SUJO HiAKUSEN, 188
SUKBCHIKA, 267
SuKBi, 151, 336, 377
SuK^HIDlfc, 128
SuKfiKiYO, 274, 283
Sukenobu, 278, 330, 339
SUKfeoSHIN, 336
SuK:fiYA6U, 100
SukhavatI, 83, 90, 92
SuKio, 381
SuKOKU, 336
Sukunabikona no Mikoto, 82
Sumida River, 314, 382
Sumiy£ Buzen, 189, 239
Sumiyoshi and Takasago, 319
Sumiyoshi Monogatari, 115, 137
Sumiyoshi Hieokata, 103
Sumiyoshi Hieomiohi, 101, 120
Sumiyoshi Hiromoei, 102
Sumiyoshi Hieonaga, 103, 137
Sumiyoshi Hieonao, 103
Sumiyoshi Hirosada, 124, 151, 152, 153
Sumiyoshi Hieotsuea, 103
Sumiyoshi Hiboyasu, 102
Sumiyoshi Hieoyuki, 103, 124
Sumiyoshi Hieozumi, 101
Sumiyoshi Hogen, 95, 98
Sumiyoshi Hokkio, 144
Sun Goddess, 398, 437
Sun TSng. See Sonto.
Silrya Deva. See Ni Ten.
SusanO, 70
Susano no Mikoto, 401
SusHE, 241, 294, .325, 465, 485, 517
Sushi, 336
Suwa Shoyei, 131
Suya Heijiueo, 339
Suy]6nobu, 283
SUY^YOEI, 278
Suzuki Nanrei, 193, 417, 440
Suzuki Harunobu, 330, 342
Svastika, 75
Swift-flying demon, 235
Sword, 70
SzB I. See Shisho.
Szema Kwang, 166

548

INDEX.

T.
Ta Ki, 391
Ta Yang-tsz', 54
Tachi Kbizo, 195
Tachibana Bbnji, 339
Tachibana Yuyetsu, 339
Tachibana Moeikuni, 278, 281, 331,
339
Tachibana Shunto, 433
Tachibana Soseki, 260
Tachibana Unga, 371
Tachib:^ Komaeo, 16
Tadachika, 370
Tadahiba, 9
Tadanobu, 284
Tadatomi, 207
Tadayoshi, 151
Taga Chohachiro, 336
Taga Choko, 335
Tai ChSn Wang Fujen. See Seiobo no
Shiji.
Tai Kiomo, 229
Taibo Seikon, 186
Taichi Sanka Kaishin, 442
Taigado, 163, 191, 239
Taigaku, 254
Taigan, 192
Taikbi, 189
Taikiom5, 229
Taikiu, 462
Taikobo, 247
Tailed Men, 167
Taiea no Kiyomoei, 98
Taira Soin, 87
Taiebi, 191
Taibinsai Genchi, 206
Taisan Eoshi. iSee Lao-Tsze.
Taisan Tanseiitsu, 229
Taishaku Ten, 68, 70, 86
Taibhi Yiubiosai Moei SniiisEN, 427
Taishin 0 Fujin. iSee Seiobo no Shiji.
Taisho, 189
Taibhun, 279
Taiyo, 417
TaiyOshi, 54
Taka Kokoku, 247
Takachika, 89, 95, 98
Takagi Kosuk£, 331
Takahaea Shunohosai, 331, 346
Takakan^, 99
Takamitsu, 99, 127
Takamoei, 99
TAKANABf; Kiosai, 370

Takanobu, 95, 98, 279
Takaramono, 38
Takasago and Sumiyoshi, the Ancients
of, 152
Takasuk]S, 99
Takata Keiho, 282, 294
Takayoshi, 97, 464
TAKliDA Habunobu (or Shingen), 186,
309
TakiSkuni, 132
Takdnoiichi no Sukune, 141, 132
Tak^nouohi Shoean, 450
Tak^yasu, 419
TAKfoAWA Kioshi, 371
Takimotobo Shojo, 280
Takimotobo Jojun, 280
Takudo, 23
Takudo (Gantai), 448
Takuma Choga, 98
Takuma Joko, 100
Takuma Eioga, 99
Takuma Eiozon, 100
Takuma Shoga, 98
Takuma Shokbi, 100
Takuma Tamehisa, 98
Takuma Tami^nabi, 97
Takuma TAM:feTo, 98
Takuma Tameuji, 95, 97
Takuma Tameyuki, 99
Takuma Yeiga, 100
Takumi, 280
Tama, 459
Tama. See Gioku.
Tamagawa no Dzu, 407
Tamataka, 88
Tambi, 154
TAMlbHisA, 95, 98
Tameichi, 354
Tamenaei, 97
Tam^nobu, 100
Tam^to, 95, 98
Tam^itsugu, 99
TAMfosUNA, 137
TAMiitJJi, 95, 97
Tami&yuki, 99
Tamon Ten. See Bishamon Ten.
Tanabe Bunki, 196
Tanan, 183
Takcho, 338
Tan^inaga, 280
T.VNto0BU, 279, 282
Tangei, 342
Tangbn, 278, 281

INDEX.

549

Tangensai, 311
Tangensai M0RITSUN&, 308
Tangetsusai Moeiyoshi, 307, 310
Tangiu, 282
Tani, 195
Tani Buncho, 241, 242, 271, 278
Tani Moeiyoshi, 310
Taniguchi Gesso, 193
Tanji, 281
Tanjo no Shaka, 61
Tanka, 317
Tankosai Gishin, 322
Tano Chikuden, 192
Taneei, 251
Taneio, 281
Taneiu Mobitama, 307, 323, 324, 462
Tansai Heikai, 256
Tansai Moeidzumi, 309
Tansai Tosui, 307
Tansai Yeiohi, 309
Tansaku, 306
Tansei Gioja Seiitsu, 227
Tanbei Mobitaka, 307
Tanseisai, 302
Tansen, 282
Tansensai Shinbun, 322
Tansbtsu, 281, 296
Tanshin, 281, 295
Tanshinsai Mobimichi, 284, 314
Tanshosai, 324
Tanshunsai, 281
Tansui, 464
Tansuisai, 253
Tanuki, 169, 424
Tanyensai Hogen, 311
Tanybnsai Moeizan]^, 284, 323
Tanyu, 276, 280, 289, 290, 291, 292,
294, 313, 316
Tanyubai, 280
Tanzan, 281
T'ao Yuenming, 204
TATli EioTAi, 187
Tatsu. See Dragon.
Tatsumasa Eaito, 349
Tatsunobu, 306, 311, 323
Tawara Toda Hidesato, 169
Tawaraya Koe^toshi, 102
Tchandra, 68, 75
Tchintamani. See Mani.
Tei, 188
Teibai, 187
Teigoeiu, 190
Teikan, 174

Teikan dzusetsu, 154
Teibai, 382, 386
Teibai Hokuba, 367'
Tbisbi, 193
Tekkai Sennin, 54, 55, 294, 299, 394, 496
Teki Sangen, 226
Teki (Ichikawa), 190
Temmin, 192, 450, 455, 456
Temple Guardians, 68
Tengu, 84, 410
Tenho, 318
Tenjin Sama. See Kwanshojo.
Tekkai 0, 448
Tenkaikutsu, 448
Tbneiu Dojin, 192
Tenriugawa, 460
Tenseiitsu, 229
Tenshin, 283, 316
Tbnsiuwo, 194
Teeu, 449
Ti)RUNOBU, 311
TfeuYUKi, 345
Tessan, 416, 427, 428
Tesbhiu, 180
Tbtsugai, 419, 427, 442
Tetsuzan. See Tessan.
Tetbuho, 461
Tbtsuwo, 192
Thirteen Buddhas, 72
Thirty-six famous Poets, 302
Thousand Carp, 240
Thousand-handed Kwanyin, 64, 80
Three Laughers, 286
Three Sacred Eelics, 70
Three Sages, 199, 509
Three Visions, 86
Three Wine Tasters, 323
Thunder animal, 169
T'ieh Kwai. See Tekkai.
T'ien Chen, 179
T'ien King, 179
T'ien Kwang, 179
Tiger, 51
Ting Lan, 174
Tisang. See Jizo.
ToAN, 268
Toba, 241, 325, 465, 485, 517
Toba Sojo, 156
ToBAi, 266
Tuba-yg, 156
ToBEi SuiGETScr, 267
ToBOKU, 267
Tobosaku. See T'ung fang So.

550

INDEX.

Tochiu, 43
Tocho, 154
ToDEN, 266
Togakusei Shikio, 431
ToGAN, 267
ToGEi, 268
ToGEN, 183, 231
ToGiOKU, 317, 465
ToHA, 268
ToHAKU, 231, 268
Tohaku Aishin, 310
Tohaku (Hasdgawa), 268
TOHAN, 271
ToHO, 232
ToHON, 185
Toji, 271
TojiEO, 371
Tojiu, 142, 268
ToKAN, 265
ToKBi, 187, 271, 364, 463
Toki, 418
Toki Tomikagb, 182
TOKIATSU, 188
Tokinobu, 129, 282, 318
tokitaeo, 354
ToKiTARO Kako, 350
ToKiTBU, 462
Tokiu, 450
Tokiwa, winter flight, 244
Toko, 266, 432
ToKOKU, 187
ToKOKU Pujiwaba no Shuneio, 68
ToKOSAl, 310, 464
Toku, 449
Toku, 267
Tokuhon Gioja, 76
TOKUSEI, 180
Tokutaeo, 371
tokwasai, 230
ToKWASAi Eeiyo, 230
TOMIGAWA Fusanobu Gingetsu, 342
ToMIKAGil, 182
ToMiN, 447
Tomonobu, 282, 283
Tomoy^ Cozen, 390
ToNAN, 189, 411
Tongue-cut Spairow, 390
ToNOMO-NO-SUKi, 189
Tora, 51, 383
TORAN, 240
ToRBi, 464
ToBEi (Hijikata), 187
TOREN, 209

ToEi Busshi, 4, 94
ToEii KiTOMASu, 338
ToBii Kiyomitsu, 341
ToBii Kiyonaga, 330, 342
ToEii Kiyonobu, 330, 338
ToEiN (Hasegawa), 268
ToBiN, 194, 230, 366
ToBiYAMA Sekiyen Toyopusa, 278, 344
Tortoise, 203
Tosa Artists. See list, pp. 98-103
Tosa Giobu no Taiyu Mitsunaga, 139
Ti^SA Hibochika, 100
Toba Hieomichi, 127
Tosa Jakusai, 99
Tosa Jakuyo, 101
Tosa Kunitaka, 99
Tosa Masakuni, 132
Toba Mitsuaki, 99
Tosa Mitsuatsu, 102, 103, 123, 153
Tosa Mitbubumi, 103
Tosa Mitsuchika, 100
Tosa Mitsuhid:^, 99
Tosa Mitbuhieo, 100
Toba Mitsukiko, 103
Toba Mitsukiyo, 463
Tosa Mitsukuni, 100
Tosa Mitsumoto, 101
Tosa Mitsunaei, 101, 120
Tosa Mitsunobu, 100
Toba Mitbunoei, 101
Tosa Mitbuoki, 101, 122
Tosa Mitsusada, 102, 129
Tosa Mitsushig£, 100, 101, 150
Toba Mitsusuk6, 102, 122
Tosa Mitsusuy]6, 100
Tosa Mitsutoki, 102
Tosa Mitsuyoshi, 102, 122, 137, 463
Tosa Mitsuyuki, 462
Tosa Nagaaki, 99
Tosa Nagahaeu, 99
Toba Nagataka, 99, 143
Tosa Suk:6yasu, 100
Tosa Takachika, 89
Toba Takakan£, 99
Tosa Takamitsu, 99, 127
Tosa Takamoei, 99
Toba Takasuk^;, 99
Tosa Tbun^takI, 99
Tosa Yoshimitsu, 99, 101
Tosa Yukihid^, 100
Toba Yukihibo, 100
Tosa Yukimitsu, 99
Toba Yukimobt, 100

INDEX.

551

Tosai, 186, 230, 252, 267
TiisAl (Inagaki), 208, 240
TOSAKA, 195
TosAN, 461
TosATSU, 267
T0S3&KI, 266
Tosen, 231, 246, 253, 272, 464
Tosen Mayi6muba Chisoku, 246
Tosen Hogen (Kano), 298, 311
TosETSu, 259, 268
ToBETsu Yushin, 443
ToBHi, 506
Toshimitsu, 345
ToBHiu, 230, 419
Toshiu (Murakami), 419, 431
T5BHIU Shieei, 3v-i5
TosHiuKi, 334
ToBHitjBAi Sharaku, 345
TosHO, 435
T5BHUN, 183
Toshun Yoshinobu, 282, 302, 303
Toso, 231
Tosui, 307
Totei Hokushi, 367, 393
Totei Noeinobu, 319
Tot^ki, 268
Totoki Baigan, 190
ToTSUAN, 184, 266
TofJN, 276, 282, 293, 317, 321, 327
Toya, 365, 366
Toyei, 176
Toyei, 438
T6y£ki, 267
Toyemmei, 204
ToYBN, 230, 417
ToYETSu, 267
Toyo, 183, 265, 417
Toyo, 267
toyofusa, 344
Toyohabu, 347
Toyohiko, 418, 438
Toyohieo, 347
Tovohisa, 150
Toyoko, 194
Toyokuni, 348
Toyokuni the Second. See Kunisada
Toyonobu (Utagawa), 344
Toyonobu (Ishikawa), 842
Toyotama Himi5, 50
. Tozan, 229, 462
Tozbn, 266
Ts'ao Fuh-hing, 482
Ts'ao Kwohk'iu, 55

Ts'ai Lwan and Wen Siao, 58
1'seng SMn, 175
Ts'ai Shun, 178
Ts'ao Ts'ao, 380
Tsao Tsze. See Saji.
Ts'iEN Shunktj, 517
Ts'iN Ngansun Sze-i, 502
Ts'ing Changtang, 512
Tb'ing -HOYUBN, 517
Ts'iuting Yubung, 505
Tsubo Toshimitsu, 345
Tsuchigumo, 140
Tsuchizo, 182
Tsugen. See Chokwaro.
Ts'ui She, 176
TSUJIMURA MoHEI, 332
Tsukioka Tangei, 342
Tbunamun^:, 234
tsun^hiro, 143
Tsun:6kawa, 283
tsuk]s.masu, 100
TsuNiiNOBU, 276, 281, 294, 295, 444
TsuN^NORi, 9, 10, 95
TsUNiiNOSHIN, 189
Tsun^taka, 95, 99
TsuRUKAWA, 232, 239, 464
TsuRUKAWA Togi, 232
Tsutsumi Toji, 271
Tsutsumi Toein, 366
Tsutsumi Tobhiu, 230
Tsutama no JosHiu, 232
Tsz' Chao, 510
TszB Chung, 512
Tsze Chung Chao, 505
Tsze Chungchao, 488 !
Tsz' Ch'wang, 464, 519
Tsz' Kiaolin, 503
Tsz' Mao, 465
Tsz' Tung, 465
Tsz' Ying. See Shiyei.
Tung-fang So, 58, 201, 295, 325, 515
Tung Wang Kung, 32
Tung Yung, 176
TuNGPO, 485, 517
Twelve Animals, 152
Twelve DSva Kings, 68, 87
Twenty-five BSdhisattvas, 74, 81
Two Deva Kings, 76
Two-mouthed woman, 169
U.
UcHiDA Denyei, 234
Uchida Gentai, 205

552

INDEX.

Uda, 8, 19
Uga no Kami, 42
UGf:MUEA YUJIRO, 92
Uji, 421
Ujinobu, 280, 282
Ukd mochi no Kami, 42
Ukiaku. See Eishi.
Ukiyo, 279
Ukiyo-y^ Eiu, 328, 372
Ukon, 279
Unga, 371
Ung:6, 192
Unkbi, 266
Unkin, 253, 255, 259
Unkoku, 264, 265
Unkoku Tohan, 271
Unkoku Tokei, 271
Unkokukbn, 265
Unpo, 258, 266, 432, 461
Unsen, 190
Unsho, 418, 518
Untan, 195, 260
Untei, 232, 254
Unto, 255
Unto Sensei, 224
Unyei, 232
Unzan, 191
Urashima, 105, 142
Ueakami Giokudo, 191
Uta Kagemaba, 466
Utagawa Kunitoshi, 389
Utagawa Kuniyoshi, 367
Utagawa Kunisada, 366, 394
Utagawa Toyoharu, 347
Utagawa Toyohiro, 347
Utagawa Toyokuni, 348
Utagawa Toyokuni the Second. See
Kunisada.
Utagawa Toyonobu, 344
Utagawa Yoshitsuna, 368
Utamaeo, 345
Utamaeo the Second, 345
Uta-no-suk£ (Kano), 274, 276, 278, 287
Uta-no-suke Gantai, 453
Uta-no-suke Ganku, 448, 452
Uta-no-suk^ Ganrio, 449
Uwabami, 444
Uwabayashi Seisen, 398
UwoYA Hokkei, 367
Uyisda Koceiu, 431
Uy&ugi Kenshin, 131
UzayJsmon, 190
Uzumd no Mikoto, 399

V.
Vach, 41
Vadzra, 69
Vahotohana, 72, 78, 83
vais'ramana. See Bishamon Ten.
Vajrabuddhara, 47
Vampire bride, 169
Vanabhas, 47
Varuna, 70, 77
Vasu Deva, 69
Vasndhara, 79
Vimalakirtti, 270 W.
Wagioku, 182
Wagojin, 223
Wagwa Eiu, 95
Waka mdkari no jiuji, 303
Wakagi Eandbn, 188
Wakashi bagnio, 374
Waku, Iki no Kami, 182
Wan Chin, 488, 498
WAng Chih, 107
Wang Chingming, 488
Wang Hiche, 314
Wang Liehpun, 488, 499, 510
Wang Ngai, 177
Wang Siang, 175
Wang Ts'uen, 486, 495
Wang Wei, 483, 485
Wang YiJENMiNG, 501
Wang Chu, 59
Watanab£ (or Uchida), Gentai, 193
Watanab£ Dzubho Naotbru, 151
Watanab£ Gentai, 238
WATANABi Kwazan, 193
Watanab^ Nangaku, 416
Watanabfi no Tsuna, 60
Wave birds, 301
Wgn Ti, 174
White Path of the Two Eivers, 80
Wu Chi Tsz", 58
Wu Meng, 58, 180
Wu Taotsz', 68, 89, 483, 519
Wu Ti, 221
Wu Ts'uen, 58
Wu Yun, 378

Yab£ Kogoeo, 196
Yaoho, 416

INDEX.

553

Yajin, 475
Yama. See Yemma Ten.
Yamaato Kakurbi, 416
Yamada Doan, 266
Yamada Kiujo, 189
Yamaguchi Sekkei, 227
Yamaguchi Sojun, 436
Yamagoshi no Niorai, 67
Yamahito. See Rishi.
Yamamoto Baiitsu, 191
Yamamoto Dbneoku, 337
Yamamoto Koi, 280
Yamamoto Rihei, 332
Yamashina Eikbi, 189
Yamato School, 95
Yamato-Dak^, 70, 141, 166
Yama-uba, 428
Yamazaki Kisui, 1 94
Yamazaki Kiyu, 365
Yamazaki Unzan, 191
Yanagawa Shigenobu, 368
Yanagisawa Kiyen, 18b
Yang Hiang, 176
Yang Kweifei, 211, 302
Yasha Daikoku, 34
Yashima, Battle of, 142
Yashima Sadaoka, 370
Yabudzumi Nosa, 216
Yasdkuni, 339
Yasunobu, 276, 281, 292, 327, 365
Yasu-wo, 336
YAYi;GAWA GOEEI, 418
Ye  Yei .... For names
beginning with these syllables, see
also under £...., Ei ... .
Yeda Chikukoku, 436
Yeichi, 309
Yeifusai, 266
Yeiga, 100
Yeigaku, 308, 462
Yeihaku, 282, 308
Yeikai, 193, 223, 252, 260
Yeino, 281
Yeibai, 133
Yeisen, 275, 283
Yeisen (Keiho), 296
Yeisen (Keisai), 365
Ybibhi, 278, 283, 309, 345
Yeishin, 292, 293, 310
Yeishin Tatsunobu, 311
Yeisho, 253
Yeishun, 304
Ybitaku, 371

Yeitoku, 276, 279, 288, 306
Yeiyo, 386
Yekishin, 282, 293, 317, 462
Yemma Ten, 68
Yemmei Son, 81
Yen, 188
Yen Lipun, 483
Yen Liteh, 483
Yen Tsze/ 178
Ybnbu, 450
Yenko, 227
Yentan, 189
YlHYUN Kaokibn, 503
Yiu. iSee also Yu.
YiuHi, 233
YiUHio, 460
Yiuma Koji, 270
YiUEiosAi, 427
YiusEN, 463
YiusHi, 459
YiuzAN Senshi, 233
Yo, 190, 192
YoBOKU, 281
Yobun Tokukio, 515
YoDBN, 464
Yopu, 266
Yofuku, 3
YoGBTSU, 182, 248
YoGioKU, 233
YoGO, 129
Yo'i Pujiwaba Idbn, 225
Yojo, 165
Yokei, 267, 308
Yokihi, 211, 302
YoKO, 320
Yoko, 176
Yokoku, 438
YoKOYAMA Kwazan, 449, 456
Yos£zo, 371
Yorimasa, 389
Yorimitsu, 109, 111, 143, 429
Yoritomo, 377
Yoriyoshi, 126
Yoro-no-taki, 402
Yosai, 415, 419, 435
YosEN IN Hoin, 284, 297
YosETSu, 194, 278
YOBHI, 191
YOSHIDA Yenbu, 450
YOSHIHIDE, 21
YOSHIHIBA, 12
Yoshiiy^, 304 ,
YOSHIKAN^, 343
2 0

554

INDEX.

Yoshimasa, 181
Yoshimitsu, 99, 101
Yoshimochi, 23
Yoshimoto, 186
Yobhimura Kokbi, 214, 416, 461
Yoshimuea Shiuzan, 278, 283
Yoshin, 272
Yoshin, 309
Yoshino, 432
Yoshinobu (or Gishin), 302
YoBHiNOBU Tobhun, 282, 302, 517
Yoshinobu (or Yushin), 302
YOBHITADA, 370
YoBHiTAKi, 368, 383
Yoshitoki, 368
yoshitoea, 368
Yoshitoshi, 368, 383, 444
yobhitsuna, 368
YosHiTBUNi:, 99
Yoshitsund, 116, 320, 372
YosHiYUKi, 247
Yoya, 200
YOYBN YoBHITADA, 370
Yozan, 253
Yozan (Hamachi), 192
Ytj. ... See also Yiu. . . .
Yu, 188
Yii the Great, 124, 289
YuJan g, 165
Yii K'ienlow, 178
Yiian Chow, 108
Yiian Chwan, 222
YucHiKU, 143
YucHiKU, 463
Yueh Chao, 488, 501
Yiien Tsung, 216
YuiJN Ying, 485
YUGAKU, 192
Yuh Kien, 487
Yuho, 317
Yujin, 475
YujiEO, 92

YUKANSAI, 183
YUKIHIDE, 100, 127
Yukihibo, 100
yukimitbu, 99
Yukimori, 100
Yukinaga, 98
YuKiNOBU, 274, 278
Yukinro, 178
yukitada, 12
Yung Tien, 464
YUNGYUEN TeIKO, 515
YuEBi, 461
YUSAITERU, 459
YusBi (Saikiorio), 430
YusEi (Kano), 274, 284, 311
Yusen, 267
YUSETBU, 280
Yusetsu, 278
Yushin, 282, 283, 443
Yusho, 279, 288
YusuKE, 343
Yutei (Ishida), 412
YtJTBi, 461
YuTOKU, 461
YuYfei, 280
Yuyetsu, 339

Zaichiu, 194
Zaimei, 194, 433
Zaisho, 194, 433, 463
ZAan, 183
Zenrakusai Tosen Hogen, 298
Zengo Eiu 0, 88
Zenzai, 44
ZoJOJi Dai Sojo, 67
Zebhin, 419, 437, 439
Zuigaku, 143
ZuiSBN, 283
Zuirei, 44
ZoROKU, 233

London: printed by wiluam clowes and soks, limited, stamfobd street
and obab^nq oross,

SUPPLEMENTARY INDEX
TO THE NAMES OF THE PRmCIPAL ARTISTS REFEREED TO
IN THE CATALOGUE ; WITH CHINESE CHARACTERS.

Ai-Mi ^ K 132.
Al-SHIN ^ i$ 310.
Ai-TEN ^ it 259.
Ama-no % ff 387, 430.
Aei-hisa ;^ a 12.
Aei-ive ;^ ^ 12.
Ari-mune 7^ ^ 12.
Ari-shige ^ ;g; 12.
Ari-tada ;g ,^ 12.
Ari-yasu ^ J^ 12.
Ari-yuki ^ j^ 12.
AsAHi ^ 129.
AWA-DA-GUCHI Jg 0 P 464.
AWA-DA-GUCHI Ho-GEN J^ 0 P
m m 99.
Ba-cho ,^ Ml 250.
Ba-gan ,1^ ^ 190.
Bai-gaku jj^ ¦^ 450.
Bai-gan jj§ ig 190.
Bai-in ;{§ H 192.
Bai-itsu ^ ^ 191.

Bai-kei jfg -^ 193, 201, 202,
260.
Bai-ken |g ff 266.
Bai-kwa-ken ;fg ?£ ff 311.

Bai-kei

463.

Bai-sen ^ ^ 462.
Bai-sen ,^ fd) 463.
Bai-shiu ifg f|.j 441.
Bai-sho i^ f^ 440.
Bai-shin ^ ti 282.
Bai-tei |g ^ 188, 257.
Bai-yei ;fg II 282.
Ba-mo-ki ,li ^ EB 192.
Ban-jiu ^ ^ 461.
Ba-ein .^ li 487.
Ba-rio ,|| g 487.
Ba-tatsu ^ 'M 486.
Ba-yen ,^ jg 486.
Bei-gen-sho tJS pC # 487.
Bex San-jin M ]\\ A 190.
Bei-yu-jin ^ ^ t. 487.
Bei-zan ^ ilj 192.

SXIPPLEMENTAEY INDEX.

Bi-yo Sesshiu ff H 8 JS" 273.
BoK-KAi ^ 'J§ 454.
BOK-KEX S % 182.
BoKU-AN Mjc ^ 250.
BoKU-iN g (^ 185.
Boku-itsu |l» j^ 463.
Boku-sen Sj^ ^ 369.
BoKU-SEN g fg 461.
Boku-shin-sai S^ a^ ^ 281.
Boku-sho g t| 432.
Boku-taku § ^ 268.
BON-HO ^ ^ 181.
Bo-SAi Ll ^ 190.
BuM-MEi % HI 250, 416.
BuM-PEi "% 2j2 449.
BuM-po (Kawamura) "^ JH, 449.
BuM-po ^ ^ 462.
Bun-chiu 3^ 41 195, 243.
BuN-cHo (Ippitsusai) "%, p 344
Bun-cho (Tani) -^ M 195, 241,
Bun-ch5-mei -% fli: BJ 488.
Bun-go Hokkio ^ ^ ?i M
BuN-Hi5 ;5; 15 246.
Bun-itsu -^ — 195, 243.
BuN-ji ¦% n 195.
Bun-kai •% f§ 196.
Bun-kei ^J^ -^ 250.
Bun-kei ^ ;g 245.
Bun-ki % ^ 196.
Bun-kiku '^ 0 464.
BuN-Ko % J5 462.
Bun-kava-do ^ ^!2i ^ 339.

BuN-RiN ^ R 450, 455.
BUN-RIN % ^ 202.
BuN-sAi jS; ^ 196.
BuN-SHiN (Wan Chin) -^ Ji 488.
Bun- SHIN •% ^ 196, 244.
BuN-soN "% ^ 185.
BuN-soN ;^ # 196, 244, 251.
Bun-yo % ^ 195, 245.
BuN-Yo-SAi % ^ % 246.
Bu-SEi ^ -Jg 195.
Bu-soN SE # 188.
Bu-YETSU ^ g 450.
Bu-ZEN % II 189, 239, 240.
Chang Ki. See Cho-ki.
Chang-lu. See Cho-raku.
Chang Yueh. See Cho-setsu.
Chao Chang. See Cho-sho.
Chao Hai-shan. See Sho-kai-
zan.
Chao Ling-jang. See Cho-rei-jo.
Chao-Meng-fu. See Cho-su-go.
Chao Tsz'-how. See Cho-shi-ko.
Chao Yung. See Cho-yo.
Ch'en Kwoh-tsz'. See Chin-
KOKU-JI.
Chi-den ^ %. 183.
'Chi-haru =f- ^ 203.
Chi-kai ^ ^ 23.
Chika-nobu || fg 283.
Chika-nobu (or Shiu-shin) J^
ft 283, 296.

SUPPLEMENTARY INDEX.

Chiku-an ^ ^ 186.
Chiku-boku ft /fC 278.
Chiku-den ft 0 192.
Chiku-do f^t ^ 450, 454, 456.
Chiku-gan ft ^ 463.
Chiku-go Ho-in ^ M ?i fP
12.
Chiku-jiu ft % 263.
Chiku-koku ft ^ 436.
Chiku-o-sai ft i% ^ 257, 261.
Chiku-seki ft ;5 190.
Chiku-sho-sei ft ^ ^ 463.
Chiku-to ft f|^ 190.
Chiku-zen no Suke ^'^ ^ ^
448.

Chin-koku-shi

505.

Chin-nan-pin -j^ ^ ^ 186.
Chin-nen ;^ ^ 432.
Chin-sho-to, 512.
Chin-yo # ^ 252.
Chin-zan ijf ]\\ 202.
Chi-shin ^d fl; 306.
Chi-sho Dai-shi ^ W. :h M
18.
Ohi-soku ^ JE 246.
Chiu Chi-mien. See Shiu-shi-
ben.
Chiu-an fi|i ^ 181.
Chiu-be-i f4i |c ^ 332.
Chiu-boku f^i || 487.
Chiu-kio t^ ^ 189.
Chiu-wa t^ fu 346.

Cho Densu ^g H ¦? 21. - /M M
Cho-an ^ ^ 206.
Cho-bun-sai ,% "^ ^ 345.
Cho-ga ^ a 98.
Cho-hacht ;g 7^ 336.
Cho-hachi-ro :^ a ^ 336.
Cho-ki (Chang Ki) 5fi tfi
488.
Cho-ki (Miyagawa) ^ ^ 158.
Cho-ko (Taga) j|g j^ 376.
Ch5-ko (Kiori) :g ^ 203.
Choku-an ]|[ )g 181.
Choku-ken lii g 416.
Choku-sai g g 386.
Cho-mei ^g BJ 461.
Cho-nen ^ :^ 462.
Cho-nin ^ ft 461.
Cho-raku 5S I^ 516.
Cho-rei-jo ^ '^ ^ 485.
Cho-riu-sai -g flp ^ 184.
Cho-sen ^ fil) 268.
Cho-setsu, 5S I^ 483.
Cho-shi-ko M ^ M 487.
Cho-sho ^ ^ 486.
Cho-shun (Miya-gawa) ^" §
337, 373.
Cho-son ^ ^ 23.
Cho-su-go M J- ^ 487.
Cho YEN -g H 247.
Cho-yo S' ^ 487.
Cho-zan. See Toriyama.
Chung Muh. See Chiu-boku.

SVPPLEMENTAEY INDEX.

Dai-chin ;/^ ^ 234.
Dai-go So-jo S| B^B ft jE 20.
Dei-ko '^ ^ 204.
Den-ko-kio ffl 3^ 15: 422.
Den-roku ^ -^ 337.
Den-shin H ,^ 251.
Den-yei 0 ^ 234.
Do-an Ji ^ 266.
Do-iTsu ^ -- 461.
Do-GA ^ a 184.
DoN-HO » ^ 180.
Do-Ko 1^ Jd 448.
DON-KEI ^ -^ 417.
DoN-SHiu ;g: ^ 417.
Do-sHiu J^ *5P 461.
:Echi-go Ho-in ® M ?* PP 12.
EcHi-ZEN NO Suke M II^ ^ !^
448.
Ei-RiN ^ ff; 467.
Ei-sai -^ % 400, 464.
Ei-SAN 5^ ^ 402-.
Ei-sHiN. See Yei-shin.
Ei-taku -^^ H 371.
:Bki-kei ^ ^ 220.
En-jin-sai jft S ^ 67.
En-riu-hon JI 11 ;4s> 483.
En-riu-toku B jt (i 483.
En-shin Ajari H -^ PiU ^ ^
19.
I:-SHIN So-DZU % ,5 ff 115 19.
Fan Ngan-jSn. See Han-an-jin.

"Fang Chang. See Sho-uho.
Fuji-wara ^ ]^ 95.
FuKA-YE ^ '^ 11.
Fuku- YAM A jjig iIj 131.
FUKU-ZEN-SAI Is ^ ^ 368.
FuNA-TO NO NaO-SHI ^ ^ ^
i^ 16.
FusA-HiKO ^ g 462.
Fusa-nobu ^ fl; 342.
Fu-yo ^ ^ 189, 192.
Ga-ko || j^ 218.
Gaku-rin -^ ^ 204.
Gaku-roku ^ ^ 249.
Gaku-tei .^ ^ 343.
Gaku-wo ¦^ ^ 183.
Gan-bun-shin ^ ;5C ^ 454.
Gan-han ^ ^ 184.
Gan-kei ^ ^ 426.
Gan-kei ^ ^ 449.
Gan-ki g ® 487.- )^/rv ^ (f /
Gan-ku ^ IQ 448.
Gan-rio ^ ;g 449.
Gan-roku ^ IJ^ 455.
Gan-shun ^ |I^ 433.
Gan-son ^ ^ 185.
Gan-tai ^ f§ 449, 453, 462.
Gan-toku ^ f* 449.
Ga-ro 3^ ^ 206.
Gei-a-mi ® PrI 5i 182.
Gekkei J -^ 417.
Ge-ki ^[^ ffi 280,

SUPPLEMENTAEY INDEX.

Gekkio ^ (^ 206.
Gekko ^ ^ 442.
Gen-chi % ^ 206.
Gen-choku jQ '^ 416.
Gen-ha ^C E 280.
Gen-hei -g" ff: 462.
Gen-kei ^ -^ 204.
Gen-kei % ^ 12,
Gen-ki |)|, Jf 416.
Gen-ki (Choan) % ^ 206.
Gen-mei ;7[; BJ 249.
Gen-nai -jj^, ^ 196.
Gen-o 'iH H 434.
Gen -ran ^ % 432.
Gen-shin D^, fl; 19.
Gen-shi-sai ^ ± 51 284, 297.
Gen-shiu f)f, ff 191.
Gen-sho Ko-ji ^ M ^ ± 183.
Gen-son H ^ 12.
Gen-tai £ f J 193, 205, 238.
Gen-taku "^ % 185.
Gen-ya S 4 278.
Gen-yei ^ J^ 432.
Gen-yei (Yuen Ying) % ,fi 485.
Geppo or Getsu-ho ^ ^ 205.
Gessen ^ ^ 188, 204.
Gesshiu ^ f H 462, 488.
Gessho ^ H 194.
Gesso ^ %, 193.
Getsu-bi-tei ^ ^ ^ 220.
Getsu-rei ^ -^ 462.
Getsu-yu ^ ;^ 267.

Gettan ^ -^f 258.
Gi-Ho ^ il^ 418.
Gin-setsu B^ @ 342.
Gio-bu JPJ -^U 138.
GlOKU-DO 31 ^ 191.
GioKU-Do Sei-ha 3E ^ Jh St
183.
Gioku-kan gg f^ 487.
GioKu-Ko 2 ?K 441.
GioKU-ON 3g |g 194.
Gioku-raku ^ ^ 278.
GlOKU-RAN-SAI 3E ^ 3^ 368.
Gioku-eei ^ -g 207.
GioKU-EiN 2 ¦;'|^ 190.
Gioku-sen ^ )\\ 272, 449.
GioKu-SHi 2 gjlj 428.
Gioku-sho ^ ^ 440.
GioKU-sui-SAi ^ 7J1C ^ 343.
GioKU-wo 3g ^ 190.
Gioku-yei ^ ^ 205.
Gioku-yen ^ ^ 282.
Gioku-yen ^ || 310.
GioKu-zAN 3g llj 346.
Gi-shin ^ fl; 322.,
Gi-t5 ^ ^ 418.
Gi-YEN-so ^ M 1 183.
Go Doshi ^ Ji •? 483.
Go-BOKU (or Ko-hoku) ^ 4b 279.
Go-GAKU H ^ 189, 206.
Go-kan JI ^ 344.
G0-Kl5-G0KU YOSHI-TSUNE ^ ^^
ti K U 99.

SVPPLEMENTAEY INDEX.

Go-EEi S M 254, 418.
Go-sen ^ (f 440.
Go-shin ^ fl; 20.
Go-shun ^ § 417.
Go-so-TEi ^ ^ 9 394.
GU-AN-SHI-CHI ^ jl 6i5 ^
185.
GU-KEI ^ -^ 181.
Gu-KioKU g{ fi 23.
Gum-ba-tei 5 M ^ 357.
Gum-po $ ^ 442.

GwA-uN ^ g 449.

ifsa

Hachi-ya Kei-ga ^
102.
Haku-getsu-sai ^^ M ^ 302.
Haku-ri-sbi 518.
Haku-yei ^ M 193.
Haku-yen ;fQ H 249, 450.
Haku-yen fg Jj 318.
Hana-busa ^ 335.
Han-an-jin ^ ^ il 517.
Han-be-i ^ :;^ ^ 346.
Han Kan. See Kan-kan.
Han-ko j^ -^ 188.
Han-ko ^ ^ 190.
Han-ko if2 § 207.
Han-zan (Matsu-kawa) ij2 [Ij
369.
Hara J[g 194, 389, 433.
Ha-ea-mitsu -^ H ^ 251.
Haeu-nobu § fl 342.

Ha-se-gawa ^ ;^ Jlj 337.
Ha-sen fg ^ 186.
Ha-shiu Jg fH 432.
Hassai ^ g 255.
Hayashi ffc 129.
Haya-to ^ A 279.
Hei-gan S^ ^ 430.
Hei-jo 2p ;|!g 208.
Hei-kwai ^P 'Ig 256.
Hei-shiu 2p f.] 251.
Hen-kei-sho ^ :S; BS 488.
Hiaku-koku "g" :gi 191.
Hiaku-rei "g -^ 434.
HiAKu-SEN -g Jl| 188.
Hia Kwei. See Ka-kei.
Hide-nobu (or Yei-shin) 31 fl
293.
Hide-nobu H fl; 100, 280.
Hiji-kata ± -^ 462.
Hl-KAN-GEN ^ ]^ ^, 187.
HiKO-BE-I M ^ ^ 190.
HiRO-AKI ^ BJ 102.
HiEO-CHIKA ^ j£ 100.
HiEO-CHIKA ^ 5^ 124.
HiEO-FURU ^/, -^ 102.
HiRO-HISA ^ ^ 126.
HiRO-KATA ^ ;i5f 103.
HiRO-KATSU ^ H 102.
HiRO-MASA ^ -g 102, 127.
Hiro-michi ^ j5 101.
HiRO-MINE ^ ll^ 146.
HiRO-MORI ^ i^^ 102.

SUPPLEMENTARY INDEX.

Hieo-naga ^ ^g 103, 126.
HiRO-NAO ^ 1j^ 103.
Hiro-nobu '^l, 3^ 311.
HiRO-SADA ^ ^ 103.
HiRO-SHIGE ^ H 369.
HiRO-TAKA ^/. Ig 11.
Hieo-toki m at 102.
HiEO-TSURA ^ fJ 103.
HlEO-YASU ^ ^ 102.
Hieo-yuki ^ ^ 103.
Hieo-zumi ^ |.ig 101.
Hisa-nobu -^ fl; 283, 296.
HiSA-YUKI % ^ 185.
Hishi-gawa ^ Jl| 331, 372.
Hitt5 i^, ;pg 208.
Ho-GA % II 402.
Ho-getsu-do ^ ^ ^ 338.
Ho-itsu % — 405, 407, 408, 411.
Hokkei 4b "E 367.
HoKu-BA 4b M 367.
HoKU-CHo 4b :S 367.
Hoku-ho Do 4b :^ ^ 371.
HoKU-jiu 4b * 367.
Hoku-mei 4b BJ! 367.
HoKU-SAi 4b 5i 349.
Hoku-shi 4b % 393.
HoKU-sHiu 4b M 367.
Hoku-so-wo 4b ^ ^ 336.
HoKU-UN 4b S 367.
Hoku-yei 4b ^ 367.
Ho-ni f| H 405.
HoN-NAMi tJs; js 404.

Ho-sAi-YEN :;5r w M 187.
Ho-sen ^ /IJ 128.
Ho-SETSu ^ g 505.
Ho-SHiN f^ ^ 461.
H5-SHIU E M 450.
Ho-SHiu -^ jt 267.
Hoso-i UB ^ 345.
Hoso-KAWA % ]\\ 185.
Hoso-nami $18 ^ 463.
Ho-YEN ^ H 419, 422, 440.
Ho-ZEN ¦)! % 196.
Hwei Tsung. See Ki-so.
Hwui Su. See Kei-so.
Ichi-gioku-sai — H ^ 304.
IcHi-Eiu-sAi — jL 5^ 347.
ICHI-MO-SAI — ^ ^ 368.
ICHI-YO-SAI — Kg 348.
i-den 'If %. 225.
I-EU-KIU ^ ^ % 186.
I-gen-kitsu §j jC ^ 485.
I-ITSU ^ — 131.
I-KAKU p il 253.
I-KAWA ^ jl| 402.
Ikkan — f^ 336.
Ikkei (Kano) — '^ 280.
Ikkei (Hanabusa) — f^ 336, 378.
Ikkei-sai —• M ^ 463.
Ikkio (Hanabusa) — |^ 336.
Ikkio — E 441.
Ikkiu — (tJc 181.
I-MEi iH BJ 189.

8

SUPPLEMENTARY INDEX.

Ina-gaki fg Jh 208.
In-ho ^ ^ 189.
I-NO-UYf; ^ J: 332.
Ippit.su-sai — ^ 5^ 344.
Ippo (Moei) — 1, 419, 423.
Ippo (Hanabusa) — ^ 336, 377.
Ippo-sai — H. 5| 383.
I-SAI ^ g 370.
I-SEi ^ H 279.
I-sEi ^ 1^ 319.
I-SEN (Naga-nobu) ^ Jlj 284.
I-SEN (Haku-yen) f| JIJ 318.
IsHi-DA ;g' H 346.
Ishi-kawa ;5 ]]\ 337, 342.
ishi-muro .^ ^ 227.
I-SHIN £t fl; 88.
I-SHIN ^ fl 298.
I-sHiN \% fl 283.
I-SHIN ^ fa 316.
Ishi-yama 5 ill 103.
isHi-zAKi ;g' i@ 459.
Issei — || 310.
Issen-sai — ;P g 386.
Issui-SAi — ^ ^ 128.
Ita-ya ^ ^ 127.
Itcho — ^ 335.
Itsu-zan ^ [Ij 188.
Ittei ^ ji@ 336, 376.
IWA-SA ^ ^ 101, 331.
Iye-tsugu ^ || 268, 279.
I-Yo no Niu-do fl» jH a Ji 20.
I YiJEN-KiH. See I-gen-kitsu.

Jaku-chiu ^ fiji 189.
Jaku-sai J^ ^ 99.
Ja-soku ig J£ 181, 248.
Ji-boku f£[ ^ 184, 279.

Ji-bu

^278.

Jih Kwan. See Ni-kwan.
Ji-ho Z E 434, 442.
Ji-KAKU Dai-shi M ^ :k M
17.
Ji-teki-sai @ Jg g 281.
Ji-To g ^ 184.
Jiu-sui f^ 7jtc 342.
JO-GA ^ ^ 20.
Jo-JUN ^ ^ 280.
Jo-KEI ^[J ;^ 185.
Jo-Ki ia ^ 266.
Jo-Ko ^ -^ 100.
Jo-MiO Ho-IN -^ BJ f^ fp
20.
Jo-ran ^fl ^ 373.
J5-RIU J: II 419, 423.
Jo-sen ;^ Jl[ 283.
Jo-sETSu in tm 160.
Jo-shi ^ ^ 222, 463.
Jc-SHiN -^ ^ 278.
JO-SHI-YEI j^ j; ^ 503.
Jo-sosHi f^ ^ |-3 227.
Jo-TEi in ^ 192.
J6-yIi }f ^ 181.
Jo-ZEN ;£ II 20.
JuN-Ko ;^ @ 450.
Ju-sai 1: '^ 398.

SUPPLEMENTARY INDEX.

Ka-chiu-sho (or Kwa-chiu-sho)
$ fiji BH 488, 505. -
Kadzu-nobu — fl 284, 305, 318.
Ka-gaku ^ ^ 463.
Ka-gen ^ •=" 442.
Ka-in. See Kwa-in.
Kage!-tane ^ ^1 183.
Kai Hokkio ^ J'^ If 99.
Kai-an (or Kwai- an) JH ^" 209,
402.
Kai-euku J# ft 462.
Kai-hoku J# 4b 279, 280, 288.
Kai-oku f# M 192.
Kai-exu J# H 194.
Kai-shin \% fi 442.
Kai-un ^ ^ 151.
Ka-kei ^ /g 486.
Ka-ko ^ ft 260.
Kaku-ch5 % ^ 18.
Kaku-do H ^ 209.
Kaku-gen A-JA-EI ^ ^ Pill K
m 20.
Kaku-nen H ^ 450.
Kaku-rex H -^ 416.
Kaku-ro-jin H ^ a 210.
Kaku-roku-seki f^ ^ ^ 229.
Kaku-sen H ;i| 209.
Kaku-shiu H §\ 187.
Kaku-shun Sh5-nin ^ $S -t
A 20.
Kaku-tei |^ ^ 187, 209.
Kaku-wo iH ^ 187, 427.

Kaku-yu ^ |J 156.
Kaku-zan H [Ij 192.
Kan-be-x 1 :^ ^ 332.
Kan Den-su. H |g ± 23.
Kana-oka ^ [5^ 6.
Kana-waka ^ ^ 3.
Kane-fusa ^ ^ 98.
Kane-taka :^ ^ 3.
Kane-yasu ^ ]^
Kan-gaku ^ -^ 440.
Kan-ho-kxtsu. See Kwan-ho-
KITSU.
Kan-kan H |Ji 483.
Kan-ko fi iJ 246.
Ka-no ^ ^ 274, etc.
Kan-rin f^ ^ 193, 209.
Kan-sai % g 192.
Kan-setsu f^ ® 337.
Kan-shin (Shiba). See Kwan
shin.
Kan-shiu ^ fH 249.
Kan-sui ^ ^ 208.
Kan-suke il gj 339.
Kan-tei (Nara Ho-gen) ^ ^
182.
Kan-yei. See Kwan-yei.
Kan-zan (or Kwan-zan) ^ [Ij
434, 463.
Kan-zan f^ lU 434.
Kasu-ga § B 95.
Katsu-do M ^ 208, 209.
Katsu-gawa |^ )\\ 343.

10

SUPPLEMENTARY INDEX.

Katsu-shika :g fi^ 370.
Kawa-naei JrI J^ 3.
Ka-wo p]" g" 180.
Ka-zan p (Ij 191.
Kadzu-yuki — ;^ 23.
Kei-a-mi ^ fjij Ji 182.
Kex-bun ^ ;5C 417, 422.
Kei-ga % % 102.
Kei-ho f^ f 282, 294, 296.
Kei-jo ^ i^ 251.
Kei-ija (or Kei- kwa) ^ e{J 184.
Kei-kxtsu ^ ^ 182.
Kei-on ,^ ,i. 98.

Kex-ein #

i5".

434.

Kei-ein ^ ^ 194.
Kei-rin j. ^ 267.
Kei-eiu ^ f| 212.
Kei-sax (Onishi) ^ ^ 193,
210.
Kei-sai (Masayoshi) ^ ^g 347.
Kei-sai (Yeisen) -^ g 309,
365.
Kex-shiu g ;)f 127.
Kex-shiu (Hieo-nobu) ^ J^
311.
Kei-sho-kx j^ ^ IB 266.
Kei-shun ^ § 100.
Kex-so i( ^ 487.
Kei-taku jg £g 102.
Kei-zan fi] ilj 211.
Kei-zan (Moeiyoshi) ^^ jlj 216.
Ken ig 190.

Ken-yu-sai ii il ^ 305.
Ken-zan |^ |1j 404.
Kx $a 3.
Kiang Lx-k'an. See Kio-ritsu-
KO.
Kiang Peh-chun. See Ko-
hahu-sen.
Kiang Tao-yin. See Kio-do-in.
KxcHX-BE-i -^ &. '^ 372.
Kx-d5 ^ ^ 180.
Ki-GioKu ^ ^ 187.
Kx-Ho =^ |I^ 438.
Kx-Ho ^ X 411.
Ki-ho f# R 462.
Ki-ho Jf g. 449.
Ki-xtsu ^ — 405.
KiN-jo-sEx :^ ^ ^ 463.
KXN-KXN ^ ^ 417.
Kxn-mochi ^ Si II.
KiN-EEX ^ ^ 440.
KiN-Ei5 ;^ 1^ 434.
KxN-Riu ^ II 279.
Kin-sen i% ]\\ 193.
KXN-TADA ^ ,^, II.
KiN-To 1^ i) 212.
KiN-UJI 5^ J5 II.
Kin-zane ^ ^ 216.
Kio ^ 381.
Kio-an ^ ^ 461.
Kxo-Do-XN H Ji ^ 485.
Kio-ho ^ ^ 440.
Ki5-Ko ^1 U 216.

SUPPLEMENTARY INDEX.

11

KioKu-KA ^ JrT 193.
Kio-Ri 1^ ^ 203.
KlO-RITSU-KO H jfc IP? 499.
Kxo-SAX ^ ^ 370, 394.
Kio-shiu-kon ^ J^ ,fig. 222.
Kio-UN ^ g 336.
Kx-REX ^ fi 417.
Kishi (Gan) ^ 448.
Ki-so Ko-TEi IU ^ ^ ^ 486.
KissEX (or KiTsu-SEi) ;f§ flf 387.
Kx-sui ^ ^ 436, 464.
Ki-sux ^ 7|C 194.
Kita-gawa 4b Jll 345.
KiTA-wo 4b M 344.
KiTSU-ji ;ff TJc 195.
Kitj-Bi :;t. ^ 417, 461, 463.
Kiu-haku f/Jc fg 279, 280.
Kiij-jo g % 189.
Kiu-ko :ft, ^ 434.
Kiu-Ko jl '^ 463.
Kiu-SEKi ^ ;g 282.
Kiu-shin f;|c :R 309, 461.
Kiu-shun % § 463.
Kiu-shun (Sex-toku) % ^ 227.
Kiu-TOKU f;fc fg 279.
Kiu-To f/i? ;^ 282.
Kiu-YEi (Kano) f;f: H 314.
Kxu-yei (Kiu-Yxng) ^ ^ 488,
499, 512, 517.
KXU-YEN il J^ 182.
Kiu-yen {J\j: Jj 280.
Kiu-YiNG. See Kxu-yei.

Kiu-zan ff: [Ij 282.
Kxu-zo A M 268.
Ki-YEN ^ H 200, 417.
KlYO-HARU ^ § 338.
KxYO-HiEO J^ ^ 342.
Kiyo-masu Jg f§ 338.
KlYO-MINE JU ^ 342.
KlYO-MITSU JU J^ 341.
KlYO-NAGA <}^ -g 342.
Kiyo-nobu -Jg fl; 338.
KlYO-TADA J^ ,g, 186.
Kiyo-tsune ^ ig 338.
Ko ]^ 151, 377.
Ko-bo Dax-shx ^^ f^ ;/^ H 16.
Ko-bun ^ X 416, 461.
Ko-chiu-^ 4 431, 464.
Ko-GA 3E fl 214.
Ko-GAKU ^ -^ 416.
Ko-GETSU ^ M 213.
Ko-GETSU JR M 267.
Ko-haku-sen ^ |^ )]\ 500.
Ko-ho ]g fy« 102, 404.
Ko Ho-gen -j^ f^ || 275.
Ko-i a M 280.
Ko-iN JfL ^ 418.
Ko-itsu ^ — 408.
Ko-jiMA Eio-sen >J> & ^ llll
(or ^) 183.
K5-KA ^ JU 101.
Ko-KAN ^ ^ 341.
Ko-kei ^ ^ 214.
Ko-KEX ^ S^ 416, 461.

12

SUPPLEMENTARY INDEX.

Ko-ki ^ :ft 262.
Ko-kwa-sax ifX is ^ 208.
Ko-MA-SHI-MARO |§ M, 61 jg 16.
Ko-MATSU-YA jj> ;^ ^ 343.
KoN-Go Busshi In-gen ^ ^ij
^ ^ PP ^
Ko-mi ^ % 200.
KoN-zAN ^ llj 239.
Ko-RAN jfl g 194.
KORE-DZUMI '[§ II 128.
KORE-HISA ^ ^ 12.
Koee-nobu (Fujiwaea) If fl
99.
Koee-nobu (Kano) »If| fl 283,
297.
Koee-shige HI fl II.
Ko-EXN 5E HI 404, 407.
Ko-Riu-sAi il fl ^ 344.
Ko-RO-SHi |g M ¦? 267.
Ko-SAi ^ -g 182,
Ko-sAN Ji jlj 440.
Ko-sE g ^ 11.
Ko-SEi JI ^ 431.
Ko-SETsu Ji g 464.
Ko-shin % fl" 213.
Ko-SHiu Ji ^ 428.
Ko-shun-ki jg ^ If 250.
Ko-son ^ i|ip 418.
Ko-son ^ |J 464.
Ko-sui-sAx ifo: ^ ^ 344.
Ko-TEN-sAx J£ 3I; ^ 339.
Ko-To JI ^ 452.

Ko-To (Yo-KEx) 1^ fg 308.
Ko-TO-KWAN ]^ e^ It 448.
Ko-UN S g 443.
Ko-YEi % ^ 433.
Ko-YETsu % 'K 183, 404.
Ko-Yo |pj p^ 440.
Ko-zan ^ [I] 214, 215.
Ko-zan (Sho-tex) ^ [Ij 144.
Ku-KAi g J§ 16.
KiJ-Ko ^ 5Ii 17.
KuNX-AKx g BJ 368, 383.
KuNX-HiRO g ^ 368.
KUNI-MARU P )t 368.
KuNi-MASA ^ i|5: 368.
Kuni-sada P ^ 366.
Kuni-shxge g| ]g| 368.
KUNX-TADA g ,ig, 348.
Kuni-taka P |^ 99.
KuNi-TosHx g ;^ 389.
KUNI-TSUGU g jg 348.
KUNI-TSUNE g 1^ 368.
KUNX-YASU g ^ 363.
KUNX-YOSHI g ^ 367.
Kun-kei :g ^ 190.
Kuwa-gata ^ ^ 76.
KwAi-AN. See Kai-an.
Kwai- KEI ^ ^ 21".
Kwa-in 1^ If, 185, 417, 427.
KWAI-SHIN-SAX -^ jfji ^ 284,
312.
Kwakki ||5 EG 485. i^VO 5H\
KWAN-HO-KITSU ^ bK "a 249.

SUPPLEMENTARY INDEX.

13

Kwan-itsu % — 253.
Kwan-sai % % 211.
Kwan-setsu || Q 430.
Kwan-shin % ft 304, 319.
Kwan-shin (Shiba) % ^ 100.
KWAN-SHO-JO ^ ^ ^ 19.
KWAN-SHO-SAX II ^ ^ 461.
KWAN-YEI % B^ 440.
Kwan-zan % [ll 184.
Kwan-zan || llj 190.
Kwan-zan g llj 434, 463.
Kwa-shin-sai :^ fa ^ 260.
KwA-TEN ^ ]^ 188.
KwA-YA 5 If 433.
KwA-zAN (Tenno) 1^ llj 19.
Kwa-zan (Watanabe) H jlj
193, 213, 455.
Kwa-zan (Yokoyama) ^ jlj
449.
Kwoh Hi. See Kwakki.
Lx Chung-ho. See Rx-chiu-wa.
Lx Lung-yen. See Rx-kiu-min.
Lx Ngan-chung. See Rx-an-
CHIU.
Li Ju. See Ri-su.
Li Tang. See Ri-to.
Li Tsxen. See Rx-zen.
Li Tih. See Ri-tekx.
Lin-Liang. See Rin-rio.
Ling Yun. See Rio-un.
Liu Chi. See Riku-ji.

Liu Tsun. See Riu-shun.
Lu Ki. See Rio-kx.
LiJ Kiai. See Rio-kai.
Ma Liang. See Ba-rio.
Ma Lin. See Ba-ein.
Ma Tah. See- Ba-tatsu.
Ma Yuen. See Ba-yen.
Ma-gawa ^ JI] 131.
Maki ^ 386.
Man Ro-jxn r^ ^ A 354.
Man-shi H ^ 251.
Mao- YIH. See Mo-yekx.
Maeu-yama Tt llj 412.
Masa-hiea ]£ ^ 128.
Masa-mochi J£ ^ 217.
Masa-mune jE ^ 12.
Masa-nobu (Kita-wo) |5: 't^
-345. -^4-4
Masa-nobu (Ka-no) JE fl 274,
284.
Masa-nobu (Oku-muea) igfc fl
338.
Masa-nobu (Sh5-sen H5gen) ^%
fl 301.
Masa-sukIi (orSno-Yo) jE 16279.
Masa-taka ff H 334.
Masa-yoshi i^ ^-846-. Jt7-
Masa-yukx jE ^ 217.
Masu-nobu (Yeki-shin) g fl
282.
Masu-yama f| (Ij 433.

14

SUPPLEMENTARY INDEX.

Mata-hei % 2{> 101.
Ma-toea M: J^ 368.
Matsu-ba Sho-nin ^ ^ J: a
20.
Matsu-baea ^ ^ 102.
Matsu-gawa ^ Jlj 369.
Matsu-i ^ ^ 129.
Maye-muea ^ \^ 246.
Mex-cho BJ jl^ 21.
Ml Yih-jen. See Bei-yu-jin.
Mi Yii en Chang. See Bei-gen-
Minamoto JU 76, etc.

Minamoto Ki

439.

Mine-nobu ^ fg 144, 283.
Min-zan |g [Ij 188. ~
Mio-HA ij; £
MiO-TAKU Mf ^ 180.
MiTSU-AKI 31^ H 99.
Mitsu- AKI ^ BJ 101.
Mitsu-atsu (Koju) 3E ^ 153.
Mitsu-chika (Shige-maeo) p^J ^
246.
Mitsu-chika (Ka-suga) ;5^i j£97.
Mitsu-hide ^ ^ 99.
MitsutHieo ^ i5i 100.
MiTSU-KATSU 3E M 101.
Mitsu-kiyo ^ Jg 463.
MlTSU-KUNI 5^ ^ 100.
MXTSU-MASA 315 JE 279.
MiTSU-MASU ^ ^ 101.
MiTSU-MOTO ^ % 101.

Mitsu-naga 3^^ ^^ 98.
Mitsu-naei 555 j;^ 101, 120.
Mitsu-nobu ^ ft 100, 279.
Mitsu-nori y^ glj 101.
Mitsu-oki ^ ^ 101.
Mitsu-sada ^ j^ 102, 129.
Mitsu-shige 3g g 100.7 'ij-ioa
Mitsu-shige ^ ^ ]>i, ' i<^-ioo
Mitsu-suke ^ |g 102.
Mitsu-suye ^ ^ 100.
Mitsu-yasu 555 ^ 12.
Mitsu-yoshi 355 ^ 102, 137.
Mitsu-zumi 3^ ^jg 101.
Miya-gawa g Jlj 337.
Miya-moto Musashi g 7^ |^
^ 200.
Mo-he-i r% £^ ^ 332.
Mo-Kio J% ^ 398.
MoKKEX 4^ -^ 486. A1 0/ /fS/
MoKU-AN IK ^ 186, 250.
MoKU-GA :^ ^ 218.
MoKU-Yo ^ ^ 217.
Momo-kawa "g )\\ 218.
Mori gg 424, etc.
MoRi-HiEO jgs ^ 308.
Moei-kage !^ ^ 281.
MORX-KUNX s?p P 339.
MORI-SIASA 8^ 1^ 281.
MoRX-MicHi i^ Ji 284, 314.
MOEX-NOBU irp ft 280.
MOEI-SADA i^ ^ 281.
Moei-taka Jjp ^ 307.

SUPPLEMENTARY INDEX.

15

Moei-tama ^ ^ 323.
MOEI-TOSHI >^ ^ 302.
Moex-tsuke J^ jfS 308.
MORI-YOSHI t^ fl 310.
MORI-ZANE *^ ^ 284.
MoRo-FusA gilt ^ 334<
MoEo-KA griJ # 103, 123.
MoEO-NAGA gi jg^ 334.
MoEo-NOBu U "M. 329, 372.
MOEO-SHIGE gig g; 334.
Mo-SHXN S -fl 250.
Moto-mitsu g 3E 95.
MoTO-NOBU % fg 275.
MoTO-TADA % ,g, 279.
Mo-YEKi ^ ^ 486. _
Mu-BAi ^ H 463.
MuH-Ki. See Mokkei.
MUNE-FUKD ^ jjig 12.
MUNE-HIDE ^ H 279.
MUNE-HISA ^ ^ 12.
MuN^-NOBU-^ fl 296.
MUNE-SUKE jgj |g 278.
MUN^-YOSHX ^ ^ 11.
MURA-TA # H 229.
Mu-Rio p: II 218.

Mu-so-wo

336.

Naga-aki jg< BJ 99.
Naga-arx ^ ^ 12.
Naga-haru (Tosa) ^ ^ 99.
Naga-hide ;^ ^ 306.
Naga-nobu ^ fl; 284, 298.

Naga-taka g ^ 20, 99, 143.
Nagato-no-suke ^ f^ :^ j^
449.
Naka-i-zen 4< ^ if 188.
Naka-uji fi|i J5
Nammei ]f jS 191, 218, 260.
Nan-gaku ^ -^416.
Nan-kai ^ J§ 188.
Nan-kei jf fg: 220.
Nan-kei (Nishi-muea) ^ -^
190.
Nan-ko ^ Ji 191, 218.
Nan-koku |i ^ 250.'
Nan-kwa ^ || 221.
Nan-po ]f il# 417.
Nan-eei ^ ^ 193, 417, 440.
Nan-eiu ^ || 1.
Nan-ro ^ l^ 220.
Nan-sen jf Jlj 307.
Nan-tei (Nishi-mura) ^ ^
416.
•Nan-tei jf ^ 239.
Nan-zan ^ jlj 221.
Nao-kage f^ J; 198.
Nao-nobu f^" fl 281.
Nao-teru t^' 01 151.
Nao-tomo It |g 267.
Nao- YE i^ JU 37 L
Nao-yoshx f^ ^ 102.
Na-ea H5-gen ^ H J* ^5 182.
Narx-mitsu )5^ 315 98.
Naru-to P,| P5 192.

16

SUPPLEMENTARY INDEX.

Ngan Hwui. See Gan-ki.
NicHi-REN Sh5-nin H }8 _L a
20.
NxcHi-Rio 0 ^ 427.
NiKKWAN H li 517.
Nishi-gawa "^ ]\\ 339.
NisHi-KUNx If g 365.
NiTTo SoN-Ro H :^ ^, gK 184.
Ni-WA ^ ^ 364.
No-A-Mi fg piil 5i 182.
Nobu-haru fl; pf 101.
NOBU-HARU fl; § 185.
NoBU-KA fl % 336, 376.
NOBU-KADZU fg" — 336.
NoBU-SADA fl _g 98.
NOBU-SHIGE fl ;^ 11.
NoBU-uji fl ^ 272.
NOBU-YOSHX fl JC 377.
Nobu-zane fl ^ 99, 127.
No-da ^ 0" 444.
NO-NO-MIYA ff ig 184.
Noei-nobu |^ fl 319.
Nui-no-suke ^ ^ Hj 281.
O-GATA ^ ^ 259.
0-GUKI >J» ^181.
0-HO ^ gl 405.
0-1 I H 483.
0-isHi -X ^ 368.
0-Jiu H g 415.
Oka-moto Ho-ken 153 ^C ^ ^
418.

0-KiN 2 J$ 192.
0-KIO H ^ 412.
0-KO (Minamoto) |g gg 442.
0-KO -^ [Sg 221.
Oku-mura ^ ^^ 338.
Oku-nobu ^ fg 146.
0-KURA Kio ;/c ^ fp 20.
0-mex-bo I BJ ^ 463.
0-Mi ^ JI 131.
On-ko ^ # 93.
0-No So-JO >h U ^ IE 156.
0-OKA NO ImIKA ^ |J^ ^ I.
0-Riu ^ ± 402, 415.
0-Riu-HON 2 Jf! 7^ 488.
0-SEN ^ ^ 486.
0-SHIN Ig ^ 415.
0-so ^ % 225.
0-TA a H 417.
0-TA-GIRI >J, H -5) 370.
Oto-kashx ^ ^ 16.
0-ZUI ig ^ 415, 421.

P^H Lx-chang.
RI-SEI.
Pien Kikg-chao.
KEI-SHO.

See Haku-

See Hen-

Rax-sho 5^ # 417, 434, 463.
Ran-den ^ H 188.
Ran-ga ^ ^ 129.
Ran-k5 ;^ J£ 195, 419, 429.
Ran-sax H # 187.

SUPPLEMENTARY INDEX.

17

Ran-sen H ]\\ 308.
Ran-sui H ^ 250.
Ran-tei ^ ^ 431.
Ran-toku-sax "M i*% 343.
Ran-u-jo ^ M :^ 250.
Rei-shiu If Ufl 222.
Rex-yo /^ ^ 230.
Rei-zex 7^ J^ 19.
Ren-zan ^ [Ij 222, 449, 463.
Rx-AN-CHiir ^ ^ ,g, 486.
Rx-chiu-wa ^ fi^ fa 485. \
Ri-CHo ^ :g 426.
Ri-cHo-sHxu ^ ^ llfl 427.
Rx-HE-i m ^ '^ 332.
Ri-KEi ^ H 189.
RiKu-Ji H !§ 499.
RiN-KEN Ho-GEN I^C R f^ BJ
101.
RiN-Kio f|; ^ 185.
RiN-Ri5 ^ % 488.. -
RiN-SEi >^ ii 222.
RiN-SHiN g ^ 222, 312.
RiN-sHo-AN :;^ /fB ^ 336.
RiN-ZAN ffc llj 400.
Rio-BiN %. ^ 183.
RiO-DEN II H 190.
Rio-FU % % 185, 267.
Rio-GA % a 99.
Rio-gen ^ g 463.
Rio-Jo T ^ 279,
Rio-KAX g -J^ 267.
RlO-KAX %: # 486. ^

Rxo-Ki (LiJ Ki) g ffi 488.
Rio-Ki t If 185.
Rio-setsu ^ ^ 440.
Rio-shin ^ fl 312,
Rio-SHxu p fl'l 251.
Ri5-SHiu g f\ 462.
Rio-sho T* ^ 284.
Rio-TAi ^ ti? 187-
Rxo-UN % g 221.
Rio-yen ^ U 21.
RiO-ZEN ^ ^ 21.
Rx-rxu-min ^ f | gg 486.. L? L-UM<L
Rxs-SHo :3: jjf 398.
Ri-su ^ S 487. _
Rx-TEKX ^ Ji 486.- Ll T/
Rx-To ^ ^ 486.
RiTSu-wo ^ ^ 282.
RiTsu-zAN ^ jlj 191, 223, 463.
Riu-Kio II ^ 198.
Rxu-KO ^ ii 251.
Riu-KOKu-DEN II :S^ H 223.
RlU-NEN ^ ^ 190.
Riu-Ri-Kio f^p 1, ^ 186, 199.
Riu-SEN '^1 g 337.
Ritr-SHUN fl] ^ 488.
Riu-To II ^ 184.
Rx-YEi ^ ^ 268.
Ri-Yo ^ H 191.
Ri-ZEN ^ i|)i 485.
Ro-Ho S a 463.
Ro-Ko ;1 ^ 417.
RoKu-so •:^ ^ 376.

18

SUPPLEMENTARY INDEX.

Ro-SAN ^ llj 235.
Ro-SETSU "^ g 415.
Ro-sHiu S fH 416, 429.
Ro-sHo )K ;^ 184.
Sada-hide ^ 5| 368.
Sada-nobu ^ fl 305.
Sada-nobu (or Jo-shin) ^ fl
279.
Sada-oka ^ ^ 370.
Sada-tora ^ 1^ 224.
Sada-toshi _g ^ 342.
Sada-yoshi ^ ^J 317.
Sai-an ^| Jf 185.
Sai-bi g ^ 416.
Sai-kio-rio ^ ^ ^ 430.
Sai-ko 3|B f^ 194.
Sai-seki ^ ;5 258.
Sai-to ® =|. 354.
Sai-to (Yeihaku) g H 308.
Sai-wo ^ ^ 23.
Saku-sen f^ filj 267.
San^-nobu ^ fl 370.
San-kei jlj ^ 221.
San-eaku |lj ^ 279.
San-setsu (Oso) H Jffl 225.
San-setsu (Kano) [Ij g 280.
San-shin H fl 239.
San-to H || 450.
Sei-an H ^ 184.
Sei-itsu || — 227, 249.
Sei-ka .;f fJ 462.

Sei-ki -JU % 417.
Sei- KIN Ko-ji H ^ ^ i
488.
Sex-ko W iiK 191.
Sex-min IE IS 225.
Sex-mo jE :S| 267.
Sei-eio -Jg ^ 207, 462.
, Sei-sai -^f % 194.
Sei-sei ^ ^ 408, 410.
Sei-sen (Uwabayashi) -Jg %
398.
Sei-sen (Kano) Bf Jlj 284, 299.
Sei-setsu-sai Bt 8 S 306.
Sei-shiku iS ;g 190.
Sei-shin (Kano) Bf ^ 309.
Sex-shin -J^ fl 280.
Sei-shxu Bf f[fj 251.
Sei-sho Bf ^ 251.
Sei-sui Bf 7K 311, 320.
Sei-toku ^ :^ 227.
Seki-ten ;:g ^ 250.
Seki-sai ^- g 188.
Seki-sui j^ jJc 193, 227.
Seki-yen ;g Jj 344.
Sekkei g -^ 227.
Sekko g ^ 268.
Sekko (Hasegawa) g ^ 282.
Sen- AN g "^ 194.
Sen-ka filj "pJ" 184.
Sen-po H @ 430.
Sen-sai J|f % 461.
Sen-sai (Yeitaku) J^ ^ 371;

SUPPLEMENTARY INDEX.

19

Sen-tex (Ikeno) ^ ^ 450.
Sen-tex (Hitto) ^ ^ 208.
Sen-zai =f ^ 256.
Sen-zan ^ [Ij 410.
Seppo ® il^ 225.
Sessai g % 433.
Sesshin Q )[J 281.
Sesshin (Hokusai) Q fl 354.
Sesshiu § -^ 264.
Sesso 8 fH 270 (No. 1210).
Sesso Jjfi ^ 270 (No. 1211).
Sesso S ^ 185.
Sesso (Tsz' Chwang) § ^, 464.
Sesson g # 265.
Setsu-bo g |J5 185.
Setsu-do @ ^ 461.
Setsu-ho (or Seppo) @ ^ 463,
Setsu-ein g ;^ 268.
Setsu-zan g ilj 247.
Settan g ^ 226, 364.
Settei (Hasegawa) g ^ 365,
382.
Settei g fj" 250.
Settei (So-itsu) g J^ 221.
Setto (Tsz' Tung) g ^^bI 465.
Seit5 g 5|b1 267.
Sha-baku jl ^ 184.
Sha-jx-shin, gj fl$ E 488.
Sha-raku ^ ^ 345.
Shiba Ho-gen ¦"£ \^ || 100.
Shi-bun ^ ^ 227.
Shi-butsu ^ ^ 192.

Shige-aki fi BJ 223.
Shige-maro g ^ 246.
Shige-masa fi i|5; 344.
Shige-naga fi -g 338.
Shige-nobu £ fl 279, 368.
Shx-ki 7^ ft 431.
Shi-ko % ^ 228, 248.
Shim-bun ^ 35j 322.
Shimo-kawa-be T "M jS 342.
Shin-gei ^ ^ 182.
Shin-gen fl ^ 186.
Shxn-in ^ g 461.
Shin-itsu ^ — 409.
Shin-no ^ fg 182.
Shin-sai i^ % 433.
Shin-sai ^ -^ 17.
Shin-sei ^ ^ 319.
Shin-sh5 M, ^ 279, 303, 313.
Shin-so ,5. |g 185.
Shin-so % # 182.
Shin-yetsu fl g 186.
Shin-zo if 5t 419.
Shibafu ^ ;5f0 16._
Shi-ro ^ g^ 190.
Shi-sho giU g 502, 510.
Shissai "gj >§ 417.
Shiu-bun JU ^ 161.
Shiu-bun ^ ^ 181.
Shiu-gen ]g 7C 268.
Shiu-gen (Sadanobu) ^ -JU
305.
Shiu-getsu ^ ^ 270.

20

SUPPLEMENTARY INDEX.

Shiu-go ju ^ 181.
Shiu-ho JU ^ 418, 426.
Shiu-i ji ^ 181.
Shiu-itsu J| — 410.
Shiu-kei t^ ^ 268.
Shiu-ki ^ ^% 227.
Shiu-ko (Kumashiro) Hi ^ 187.
Shiu-ko J| 3|5 183.
Shitt-ko ^ ^ 195,
Shiu-ko ^ ^ 266.
Shiu-ran ^ "^ 463.
Shiu-rex i^ jjif 416.
Shiu-ri f^ 5g 280.
Shiu-sen ^ Jlj 427.
Shiu-sen (Mori) % filj 427.
Shiu-setsu *3F till 185.
Shiu-shi-ben ^ ^ ^ 488.
Shiu-shin |1 fl 283.
Shiu-taku ju ^ 180.
Shiu-toku ju fg 266.
Shiu-yStsu f^ fU 185.
Shiu-yo JU ^i 266.
Shiu-zan (Hogen) JU llj 341.
Shiu-zan (Kumashiro) .fJ |lj 187.
Shiu-zan (Joshi) |t jlj 194,227,
391.
Shi-zan ^ jlj 187, 440.
Sho-an ^ ^ 185.
Sho-bei Jdb" :E ^ 338.
Sho-do t^ ^ 449.
Sho-ga Ji ^ 98.
Sho- gaku \% ^ 440.

Sho- Sho-Sho- Sho- ShoShoSho-
Sho- Sho- Sho-ShoSho
Sho
Sho
Sho-Sho-
Sho-
Sho-
Sho- Sho-Sho-Sho-Sho- Sho-Sho-
Sho-
Sho- Sho-Sho-
Sho- Sho- Sho-

I B n 102.
JO ^. ^ 280.
KAKU 11 ^ 189.
-katsu-kan ^ :^ 12 187.
kei i^ -^ 266.
•KEI ^ -^ 462.
¦KEI (Takuma) ^ % 100.
-KI g ^ 184.
-KIO ^^ (i 261.
-KOKU ^ ;gt 461.
-KWA ^ -^ 461.
1-KWA-DO :^ S ^ 280.
-RAN J: % 450.
¦SAI ^5 Ji 250.
¦sen (Kano) B JI| 284,311.
¦SEN (Soga) |g filj 181.
SHI >J, ^221.
-SHIN (Kiu-shun) ^ fl 309.
-shin (Kuwa-gata) $g ^ 76.
¦SHIN (Kano) % fl 302, 312.
¦shiu ^ ^ 410.
•SHo-To ng Dg- .Jig 441.
¦tei IE fl 144.
-TO ¦^^ H 228.
-TOKU Tai-shi H f^ :Jc ¦? ^ ^
¦u 1 if 463.
UN g 5i 312.
¦YEI (Suwa) ^' 3| 131.
YEI (Kano) ^ ^ 278.
TO M Ii 266.
ZAN M ill 240.
zan (Kano) % [Ij 318.

SUPPLEMENTARY INDEX.

21

Shu-me i .1^ 281.
Shun-boku § f. 283. 3 ff.
Shun-cho § '^ 363.
Shun-cho-sai S 'S ^ 346.
Shun-do ^ fi; 343.
Shun-gaku ^ -^ 256.
Shun-ho (or Shun-p5) § % 440.
Shun-jiu § fit 283.
Shun-j5 # ^ 343.
Shun-kei § ;^ 364.
Shun-kin § ^ 191.
Shun-kio § ^ 417.
Shun-kio ^ $ 127, 488, 517,
518.
Shun-kioku § ^ 343.
Shun-kio-sai § m ^ 364.
Shun-ko (Katsugawa) ^ $| 343.
Shun-ko § it 440.
Shun-ku. See Shun-kio.
Shun-man ^ j^ 343.
Shun-mei § BJ 189.
Shun-eio ^ ]5 68.
Shun-eo § §^ 349.
Shun-sai § ^ 239.
Shun-sei § Bf 185.
Shun-sen ^ Jl| 364.
Shun-setsu ^ ^ or § g 282
Shun-sho (Kano) § ^ 282.
Shun-sho (Katsugawa) § ^
343.
Shun-sho (Asahi) ^ ^ 129.
Shun-sui § 7K 282.

Shun-tei § T 363.
Shun-to § §|] 433.
Shun-wo § ^ 363.
Shun-yei § 3^ 343.
Shu-eei. See Shiu-rex.
SxANG Lang-lai (Jap, Jo-yo-bei)
mm ^ 498.
SiEH-sHE Sze-chung. See Sha-
SI-SHIN.
Si-kin ku-tsze. See Sei-kin-ko-ji.
Siu Sze-ying. See Jo-shi-yei.
So-CHX ^ ^n 280.
So-CHXN ^ ^ 278.
So-Do ^ g 411.
So-DZU Chin-kai ff fP ^ f# 20.
So-GA -g fg 181.
So-HA ^ E, 279.
So-haku ^ ^ 267.
So-HAKU (Murata) ^ tf 229.
So-HEKI-MON-XN i^ H H ^ 99.
So-XTSU ^ — 211.
So-jx ^ g 184.
So-JO (Soga) ^ jf; 181.
So-JUN % $,^ 416, 436.
So-KEN # ^ II.
SoKU-BAi gl] ;fg 267.
SoKU-Yo iJ # 282.
So-KWAN ^ II 184.
So-MAN ^ J^ 185.
SON-KAX j§: \% 100.
Son-sax '^ ^ 224.
So-RX ^ 31 349.

22

SUPPLEMENTARY INDEX.

So-EiN ^ ^ 193, 228, 248.
So-EXTSU ^ ^ 181.
So-sAi ^ ^ 267.
So-SEKi ^ ;g 260.
So-SEN ^ ^ or ^ III) 280.
So-SEN (Kano) ^ fill or ^ ^
283.
So-SEN (Moei) % filj 418.
So-shi-gan ^ ^ ^ 187.
So-SHi-sEKX ^ 1^ ;5 187.
So-SHo ^ ^ 228.
So-tan ^ ^ 181.
So-tatsu ;fa ^ 102.
So-TO f }}b1 184.
So-Yo ^ ^ 185.
So-YO (Soga) ^ J§ 181.
So-Yo (Minamoto) || ^ 76.
So-YU 111 l" 279.
SU-GETSU g ^ 336.
SuGi-MUEA ;f^ :f^ 334.
Sui-an ^ ^ 250.
Sui-AN 7jC H 194.
Sui-ean % g 253.
Sui-EEx ^ -^ 462.
Sui-Ri ^ S 463.
Sui-wo ^ ^ 463.
SuKE-GO-RO ij S 15 338.
SUKE-HIDE |f| H 128.
Su-KEi g -^ 151, 336, 377.
SUKE-KIYO -J if 283.
Suke-nobu |g fl 339.
SuKE-NO-SHIN j^ ^ ^ 363.

Suke-yasu /fB ff« 100.
Su-Kio ;t fp 381.
Su-KOKu g- ;Si 336.
Sumi-yoshi ^J ¦§ 101.
SUMI-YOSHI Ho-GEN i^ ^ f^ ^
98.
Su-SHi % ^ 336.
Su-she. See To-ba.
Su-WA IK U 131.
SuYE-NOBU ^ fl 283.
SUYE-YORI $ ^ 278.
Suzu-ki |5 /f; 342.
Sze I. See Shx-sho.
Tachibana ;ff 260, 339.
Ta-chi-be Ko-maro JQ ^ •§
^ ji 16.
Tada-chika Jg, i£ 370.
Tada-hiea ^ 2j2 9.
Tada-nobu ,g, fl 284.
Tada-yoshx ,^, ^ 151.
Tai-bo ;^ |g| 186.
Tai-ga-do :k W^ ^ 188.
Tai-gaku -^ -g- 254.
Tai-gaku (Hokusai) ^ -^ 354.
Tax-gan ;^ -g- 192.
Tax-kio-mo ;^ ^ ^ 229.
Tai-kiu :^ f;|c 462.
Taiea So-in 2p |^ J^[, 87.
Tax-eex ^ -^ 191.
Tai-ein-sai :^ ^ ^ 206.
Tai-to ^ =j. 349.

SUPPLEMENTARY INDEX.

23

Tai-zan Ten-sex-itsu |^ |lj 5^
H - 229.
Taka-chika H ^ 98.
Taka-hara ^ ^ 346.
Taka-kane I^ ^ 99.
Taka-mitsu [^ 3£ 99.
Taka-mori I^ i^s 99.
Taka-nobu (Fujiwara) ^ fl
98.
Taka-nobu (Kano) ^ fl 279.
Taka-suke [5^ i|g 99.
Taka-yoshi ^ ¦§ 464.
Taka-yoshi ^ f| 97.
Take-da % 0 186.
Take-kuni |^ % 132.
Taki-moto-bo || :$: Jtj^ 280.
Taku-do ip ^ 23.
Taku-do (Gan-tax) .^ ^ 448.
Taku-ma ^ f^ or ^ @ 95.
Tama-jo ^ ^ 459.
Tama-taka ^g [^ 88.
Tame-hisa ^ :5t 98.
Tame-ichi ^ — 354.
Tame-nari ^ ^ 97.
Tam^-nobu ^ fl 100.
Tame-to ^ jt 98.
Tame-tsugu ^ |g 99.
Tame-tsuna Kio ^ ^ #P 137.
Tame-uji ^ J5 97.
Tame-yuki ^ ^ 99.
Tane-naga @ j^c 280.
Tan-gen-sai g? ]^ ^ 308, 311.

Tan-gex S. ® 342.
Tan-getsu-sai M M ^ 310.
Tan-giu ^ r^ 282.
Tan-i ^ ^ 310.
Tan-ka ^ ^ 317.
Tan-ko-sai ^ 3^ ^ 322.
Tan-rei S. M 251.
Tan-riu ^ II 307, 462.
Tan-sai 'i^ ^ 256, 307.
Tan-saku ^ ^ 306.
Tan-sei-sai ^ M ^ 302.
Tan-sei gg ^ 307.
Tan-sen gg |5 282.
Tan-sen-sai g5 ^ ^ 322.
Tan-setsu ^ g 281.
Tan-shin ^ fl 281.
Tan-shin-sai ^ fl ^ 284, 314.
Tan-sui gg yK 464.
Tan-sui-sai gg 7J1C g 253.
Tan-yen-sai ^ ^ ^ 284, 311.
Tan-yu gg ^ 280.
Tan-zan ^ jlj 281.
Tatsu-masa :a fl 349.
Tatsu-nobu :S1 ff 306, 311.
Tex-bax 15 ^ 187.
Tei-sax 1E| g 367, 382.
Teki jg 190.
Tem-min % JJ 450, 455, 456.
Fi&NG SuEH. See Ho-setsu.
Ten-ho ^ ^ 318.
Ten-kai % ^ 448.
Ten-shin ^ fl 283, 316.

24

SUPPLEMENTARY INDEX.

Tessan (or Tetsu-zan) ^ ilj
416, 427.
Tesshiu gi ^ 180.
Tetsu-gwai fi 5h 419, 427, 442.
Tetsu-ho ^ -j^ 461.
Tetsu-wo g| ^ 192.
T5-AN ^ ^ 268.
To-ba So-j5 .ft ^ ff IE 156.
To-ba (or To-ha) ^ ^ 268.
To-ba (Tung Po) % ^ 465, 485.
517.
To-BAi S| |g 266.
To-BEX Sux-getsu ^ ^ 7l<. M
267.
To-BOKU fi| g^ 267.
To-cHo # :g 154.
To-DEN S| ft 266.
To-GAKU-SEX ^ ^ ^ 431.
To-GAN ^ H 267.
To-GEN fH ^ 183.
To-GEN ^ 7C 231.
T5-GI0KU -M ^ 317.
To-HAKU ^ 1^ 231.
To-HAKU (Hasegawa) ^ ^g 268.
To-HAKU (Aishin) }1p1 |^ 310.
To-Ho ?1b) -fi 232.
To-HON ^ ;$: 185.
To-jx m r 271.
To-Ji-Ro m~^^ 371.
To-jiu ^ g 268.
T5-JIU JIsl * 142.
To-KEx (Unkoku) ^ -^ 271.

To-KEi % -^ 187 364.
To-KX (Kino) % 0? 418.
To-Ki (Tomikagb) ± jljj 182.
Toki-nobu flf fl 129, 282, 318.
ToKX-TA-Ro Ka-ko fl# ^ II) rT
^350.
To-KITSU ^ ;ff 462.
To-Ko ^ ^ 266.
To-KOKU HbJ ^ 68.
To-Ko-SAi ^ 4 g 310, 464.
To-KU fi| g 267.
TOKU-SEI fg ^ 180.
ToKU-TA-RO fg ± 115 371.
TO-KWA-SAI #E S ^ 230.
To-KWA-SAX (ReI-YO) ^ $ ^
230.
ToMi-GAWA. See Tomi-kawa.
TOMI-KAGE g ,-§; 182.
Tomi-kawa g Jlj 342.
To-MiN flS) .g; 444.
To-NAN H ^ 189, 411.
T5-REI % -1 464.
To-REi (Hijikata) fg -^ 187.
ToRi-x ,ft jg 338.
T5-RIN If ^ 230.
To-RiN ;jg i^ 194.
Toei-yama -g ilj 344.
To-SA ± i^ 95, etc.
To-sai ^ -^ 267.
T5-SAI (Inagaki) |g ^ 240.
T5-SAI % ^ 252.
To-sai % ^ 230.

SUPPLEMENTARY INDEX.

25

To-sATSu ^ H 267.
To-SEKi ^ 1^ 266.
To-SEN (Chisoku) ^ ^ 246.
To-SEN jl ^ 231, 253.
To-SEN (Zenrakusai) H J|| 298,
311.
To-sen -^ ]\\ 272.
To-setsu ||^ g or ^ g 268.
To-setsu H g 443.
Toshi-mitsu ^ 3fj 345.
To-shiu (Murakami) ^ fH 419.
To-SHxu (Tsutsumi) ^ iH'| 230.
To-SHiu-SAx ;^ fH 5f 345.
To-SHo ^ ;^ 435.
To-SHUN (Kano) ^ § 282, 302,
303.
To-SHUN SS ^ 183.
To-so ^ ^ 231.
To-sui UbI 7JC.307.
To-tei (Hokushi) |i ^ 393.
To-TEX (Norinobu) ^ ^ 319.
ToTsu-AN fft ^ 184, 286.
To-UN JlsJ ^ 282, 293.
To-YEKx ^ ^ 267.
To-YEN ;fg g 230.
To-YETSU ^ '^ 267.
To-YO % '^ 417.
To-YO ^ H 183.
To-YO fi| § 267.
Toyo-fusa ^ '^ 344.
Toyo-haeu ^ § 347.
Toyo-hiko W S 438.

TOYO-HIRO ^

347.
Toyo-hisa ^ ^ 150.
Toyo-kuni ^ @ 348, 394.
To-zan % \l\ 229.
To-zEN ^ II 266.
Tsao fuh-hing. See So-futsu-ko.
Tsuchi-zo i ^ 182.
Tsujx-MURA y; 1^ 332.
TsuKi-oKA ^ Ug 342.
Tsuna-mune -^ ^ 234.
TSUNB-HIRO ^ ^ 143.
Tsune-nobu 'fg fl 444.
Tsune-nobu "^ fl 281, 294.
Tsune-norx "^ gl] 9.
Tsueu-kawa H JIJ 232, 464.
TSUT.SUMI ^ 230, 271.
Tsu-yama no Jo-shiu ?^ llj |^
i 232.
Tsz' Chao. See Shi-sho.
Tsz' Chung-chao. See Ka-
chiu-sho.
Tsz' Chwang, See Sesso.
Tsz' Tung. See Setto.
Tung-po. See To-ba.
U-DA ^ ^ 19.
U-KON /g j£ 279.
Uji-nobu J^ fl 282.
Un-ga 8 ^ 371.
Un-kei g -^ 266.
Un-kin g ^ 253, 255.
Un-koku g ^ 271.

26 Un-po g |1^ 258, 266, 432.
Un-sen g ^ 190.
Un-sho g -^ 418.
Un-tan g jf 260.
Un-tan g ^ 195.
Un-tei p ;^ 254.
Un-tex ^ ^ 232.
Un-to ^ }JbI 255.
Un-yei g ^ 232.
Un-zan g ilj 191.
Uta-gawa ^ )\\ 347.
Uta-maeo ^ Jg 345.
Uta-no-suke ^%M^Ji 278, 448.
"Wa-ku Iki no Kami f n A ^
(U i^ 182.
Wan Chin. See Bun-shin.
"Wan Ching-ming. See Bun-
cho-mei.
Wang Lieh-pun. See 0-kiu-hon.
Wang Ts'uen. See 0-sen.
Wang Wei.
Watana-be ^
Wd Tao-tsz'. See Go Do-shi.

SUPPLEMENTARY INDEX.

O-i.
Ji 151.

Ya-cho :jg '/^ 416.
Yama-da ilj 0 266.
Yama-guchi ilj p 227.
Yama-moto jlj ;zp; 191.
Yama-zaki ilj |I|f 365.
Yana-gawa ^^ J\\ 368.
Ya-shima ^ |I|| 370.
Yasu-nobu ^ fl 281.

Yasu-wo ^ ^ 336.
Yechi-go Ho-in. See Echi-go.
Yei-chi jg< ^H 309.
Yei-ga ^ ^ 100.
Yei-gaku ^<c -g- 308, 462.
Yei-haku ^ fg 282, 308.
Yei-kai ^ -Jf 193, 223, 252, 260.
Yei-no ^ ^j^ 280.
Yex-ein. See Ei-ein.
Yei-sai ^ g 132. See Ei-sai.
Yei-sen (Keiho) ^ Jlj 296.
Yei-sen (Keisai) ^ ^ 365.
Yei-sen (Kano) 283.
Ybi-shi || ^ 309.
Yei-shin (Yasunobu) ;^ ^ 292,
311.
Yei-shin :gc fl 310.
Yei-sho H g 253.
Yei-shun H § 304.
Yei-taku. See Ei-taku.
Yei-toku fit, f* 279.
Yei-toku ^k. M, 306.
Yei-yo ^ ^ 386.
Yei-zan ^ [Ij.
Yeki-shin ^ fl 282, 293, 317,
462.
Yen-bu fg |^ 450.
Yen-jin-sax. See En-jin-sai.
Yen Li-pun. See En-riu-hon.
Yen Li-teh, See En-riu-toku.
Yen-shin. See En-shin.
Ye-shin. See E-shxn.

SUPPLEMENTARY INDEX.

27

Yoru ^ '^ 266.
Yo-getsu ti ^ 182.
Yo-GioKU ^ 2 233.
Yo-i ^ ^ 225.
Yo-KEi ^i -^ 267.
Yo-KEi (Ko-to) ^ || 308.
Yo-Ko ^ ^ 320.
Yo-Ko ^ 'II 129.
Yo-KOKU |§ ^S 438.
YoNE-zo ^ jt 371.
Yo-sai ^ ^ 419, 435.
Yo-sen ^ JIJ 284.
Yo-SETSu ^ tm 278.
Yo-shin ^ fl. 309.
Yo-shin ^ ff 272.
YOSHX-HISA ^ ^ 12.
YosHi-MASA ^ i|5; 181.
YOSHI-MXTSU ^ % 99, 101.
YOSHX-MOCHI ^ ^ 23.
YOSHX-MOTO ^ ^ 186.
Yoshi-nobu (Yamamoto) ^ fl
371.
Yoshi-nobu (or Yushin) ^ fl
302.
Yoshi-nobu ^ fl 302.
Yoshi-taka pf ]^ 368.
Yoshi-taki ^ -^ 383.
YOSHI-TORA ^ ^ 367.
Yoshi-toshi ^ ^ 368, 383.
Yoshi-toshx (Fujiwara) %, ^
444.
Yoshi-yuki % fJ 247.

Yo-ya |J| tU 200.
Yo-ZAN ^ ilj 253.
Yo-zAN (Hama-chi) ^ llj 192.
Yu-CHiKU Jg ft 143, 463.
YiJEH Chao. See Gesshiu.
Yuen- Ying. See Gen-yei.
Yu-GAKU ^1 gj 192.
Yu-Hi II |g 233.
Yir-Hio ^ W 460.
Yuh Kien. See Gioku-kan.
Yu-HO ;S W 317.
YU-KAN-SAI ft Fal ^ 183.
Yuki-hide fJ fl 100, 127.
YUKI-HIRO fJ ^ 100.
Yuki-mitsu fJ 3£ 99.
YUKI-MORI U f^ 100.
Yuki-naga ^ g 98.
Yuki-nobu ^ fl 278.
YUKX-TADA ^ ,g, 12.
Yu-Rio-SAX il II ^ 427.
Yu-SEx (Masanobu) |g ^ 274,
311.
YtJ-SEX (Saikiorio) ^ ^ 430.
Yu-SEN tl fill 463.
Yu-SEN S 111! 267.
Yu-SETsu (Kaihoku) /g g 280.
Yu-SETSu (Kano) |g g 278.
Y5-SHI §> ,© 459.
Yu-SHiN ^ fl 283.
Yu-SHiN i g^ 443.
Yu-sho ;g ^ 279, 288.
Yu-TEi f^ -^T 461.

28

SUPPLEMENTARY INDEX.

Yu-TOKU ;g fg 461.
Yu-yeki ^ ^ 280.
Zai-chiu "^ tf 194.
Zai-mei ;^ BJ 194, 433.

Zai-sho ^ S?, 463.
Ze-an :§ ^ 381.
Zen-raku-sai ^ ^
Ze-shin % ^ 419.
Zo-ROKu ^ -^ 233.

298.

Chin-jin ^ A
Bb-jin j^ A
E-dokoro (or Gwa-sho)
Gio-jin ^ A
Gio-shi ^ ^
<rM-ym ^ A
Gwai-shi ^ ^
Gwa-shi ^ ^
Hb-gen \^ ^
Ho-in f^ PI)

APPENDIX I.
Titles. See pages 474-6.
Isshi j^ ^

^Jr

Jo-shi -^ It
Kan-jin ^ A
¦2o-y« ^ ±
Kwai-shi HI ^^
i?o-ym ^ A
San-jin llj A
San-teki llj "jJ
8hu-jin ^ A
Son-jin ^ A
r«-ym ^ A
Yiu-jin (or Tw-ym)

APPENDIX II.
ElPEESSIONS ApPENBED TO SIGNATURE. ScB p. 476-7.
>SefeM, see Tsutanaku

Bzu ^
E-gaku, see (?«.'«
(ri, see Tawamuri ni
Gwa or E-gaku ^
Haidai ^ ^
Kokoromi-ni ^
ilfosM ^

Setsu-gd fjij ^
Shirusu |^
Sui-gwa ^ ^
Tawamuri-ni or G^' J^
Tsutanaku or /Sefcw fjjj
Tsutsushindi |g
C7SMSM ^
Yigaku, see Egaku
Yoru ^

t M^^^^

I— ¦ — k6
S5

flfl'

1^

t\^sm<^

^

 ig

t!S^*Cliv

H

r^.<.

p^-^m^

1=

t^^-

;0f".A4*^

f! ?l A

t!^#*4r

tl^Jtt 4J

'^^

tf'^'^^^i

1±

15

iH

11

>Hm
ro¦^

JIUNI KIU, THE TWELVE SIGNS OF THE ECLIPTIC ACCOEDING TO THE CHINESE. FlOm the Buf-SU Zd dzU-i.
These signs indicate the twelve places in which the Sun and Moon come into conjunction, and are thus in some degree analogous to our Signs of the Zodiac. — Cf.
" Observations of Chinese Comets," by John Williams, London, 18Y1, quoted in Mayers' ' Chinese Eeader's Manual,' page 351. The comparison of the Pictorial Emblems with
those adopted in Europe may lie of inter, st.

PLATE 25.

Kanaoka

51?

i

Kaqataka

J

Takanobu

ffl

CD

s

KoBUZANE

Vi/

JVloTo^iT^u Takuma Veiqa

^M

To?A JVIlT^U^HIQE

TogA JVIlT^UOKI
SPECIMENS OF SEALS.

11

To^A JVIlTgUOKI

TopA JVllTgUYOPHI

^rrrs

m

Toba 3ojo

PLATE 26.

¦*»

^6^

Kawo

cr

--,

r _ 1

'i  »

;=.'

11

3oqA $HIUBUN

§Rf^

Jo^ETpu 3oqA Jasoku

Kei^hoki

i

Chiuan

3hiubun

YoQETgU YOQET^U Bu^ON

SPECIMENS OF SEALS.

PLATE 27.

jVIOTOJMOBU TaJVYU

Tejv^hin

SPECIMENS OF SEALS.

PLATE 28.

u

,rrxL

mt

j\4eicho

?^5

HA^EqAWA Tohaku

Okio
SPECIMEN.S OF .SEALS.

PLATE 29.

1 2
Signatures.
1. KA-NO KDU£-H0-SIl9 MOni-
Nonu hiiai.
3. TAN-YU iiO-iN, rolcil-Jiu,
ihichi sai (ait. 67) hitsu.

Seals.
KUNAIKIYO HOIN
hO-gkn tan-yu.
haku-kkn-shi.(Indistinct).

Seals.
SRI-3IBI.TAK-YU-SAI.HITSU-HO.

Signatures.
3. HC-IN TAN-YU gionm
roka-jiu-hachi sai
(ret, 68) 7it(«j.
i. TAN-YU hO-is gio'nen
roka-jiu-ku sai (ret.
69) kitm.

SPEflMlONS OF SIGNATURES AND SEALS OP KANO TANYl', From tin- Gwalo Senran.

PLATE 30.

/i" ^

51 r
fl'-

ttl

n

^1-^1,

jfe>

« f

ift*-

Signature. tsun£-nobu,
HC-GEN FUHU-KAWA so hitsu. TSUN^-NOBU.
Seals. yO-boku.
PUJI-WAKA. U-KOK.
yO-BOKU.TO-BOKU. SPECIMENS OF SIGNATURES AND SEALS OF KANO

HO-GEN yQ-BOKU.
TSUNENOBU.tsun^-nSbu no in.
U-KON.

k i

J

Signatures. TSUNfi-NOBU hitsu.
H5-IN TDKU-KAWA MtSU.
Seals. FUJI-WABA.FUJI-WARA. KAN-UN-SHI.

TSUNENOBU. From the Gwako Senran.

PLATE 31.

Signature.

NOBU-KATSU

TW in.

Signatures.

KUN-JU.

HOKU-SO IT-CHO.

GI.

KIU-S0-D5 EI-JIK cbOko hitsu.

0H5-YKN IK-KltJ.

Seal.

?

Seals.

HOKU-S5-W0.

SHIN-JIN KO in.

TAKU-YU.

Omomulci.

Signature.
SOM un sanseki.
HANABUSA ITCH3 MtSU.
•no aida ni ari.
" The meaning lies between the
clouds on the mountain top and
the stones in the river bed."
SPECIMENS OP siGNATUBBS AND SEALS OF HANABUSA ITCHO. From the Gwalio Senran.
Ncnr- ffoo
William Anderson, professor of anatomy
lo the Royal Academy of Arts and Sur'geons
at St. Thomas' Hospital, died within the
month in Lcmdori. He Is widely known in
this coiintry through his works on Japanese
art. Professor Anderson became in 1874 med-
iod,l adviser to the British legation In Japan
and director of the medical college in Tokio.
A collection of Chinese and Japatresg 'books
and pictures made by him while injajian
was purchased by the British Mesetini. Be
sides a valuable catalogue compiled by Pro
fessor Anderson he wrote "The Pictorial
Arts of Japan and Japanese Word Engrav
ing." . - '

YALE UNIVERSITY LIBRARY

3 9002 04057 0203

:-rmP-

^ " fi-

¦*:...

¦^-^ST-