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On the Laws of Japanese Painting   By:

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[Fujiyama, by Murata Tanryu. Plate I.]

Fujiyama, by Murata Tanryu. Plate I.

On the Laws of Japanese Painting

An Introduction to the study of the Art of Japan

Henry P. Bowie

[Title page design: Butterflies and Birds, known as Cho Tori] Paul Elder and Company Publishers 1911

CONTENTS

Introduction by Iwaya Sazanami Introduction by Hirai Kinza Preface CHAPTER ONE. PERSONAL EXPERIENCES CHAPTER TWO. ART IN JAPAN CHAPTER THREE. LAWS FOR THE USE OF BRUSH AND MATERIALS CHAPTER FOUR. LAWS GOVERNING THE CONCEPTION AND EXECUTION OF A PAINTING CHAPTER FIVE. CANONS OF THE AESTHETICS OF JAPANESE PAINTING CHAPTER SIX. SUBJECTS FOR JAPANESE PAINTING CHAPTER SEVEN. SIGNATURES AND SEALS EXPLANATION OF HEAD BANDS PLATES EXPLANATORY OF THE FOREGOING TEXT ON THE LAWS OF JAPANESE PAINTING Footnotes

ILLUSTRATIONS

Fujiyama, by Murata Tanryu. Plate I. The Tea Ceremony, by Miss Uyemura Shoen. Plate II. Chickens in Spring, by Mori Tessan. Plate III. Snow Scene in Kaga, by Kubota Beisen. Plate IV. Tree Squirrel, by Mochizuki Kimpo. Plate V. Tiger, by Kishi Chikudo. Plate VI. Bamboo, Sparrow and Rain. Plate VII. Fujiyama from Tago no Ura, by Yamamoto Baietsu. Plate VIII. Most Careful Method of Laying on Color. Plate VIIII. The Next Best Method. Plate X. The Light Water Color Method. Plate XI. Color With Outlines Suppressed. Plate XII. Color Over Lines. Plate XIII. Light Reddish Brown Method. Plate XIV. The White Pattern. Plate XV. The Black or Sumi Method. Plate XVI. The Rule of Proportion in Landscapes. Plate XVII. Heaven, Earth, Man. Plate XVIII. Pine Tree Branches. Plate XIX. Winding Streams. Plate XX. A Tree and Its Parts. Plate XXI. Bird and Its Subdivisions. Plate XXII. Peeled Hemp Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII. Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV. Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV. Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI. The Circle (1). Semi Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII. Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII. Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX. Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2). Rock Construction as Practiced in Art (3 and 4). Plate XXX. Different Ways of Painting Rocks and Ledges. Plate XXXI. Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII. Wheel Spoke Dot (a). KAI JI Dot (b). Plate XXXIII. Pepper Seed Dot (a). Mouse Footprint Dot (b). Plate XXXIV. Serrated Dot (a). ICHI JI dot (b). Plate XXXV. Heart Dot (a). HITSU JI Dot (b). Plate XXXVI. Rice Dot (a). HAKU YO Dot (b). Plate XXXVII. Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII. Sea Waves (a). Brook Waves (b). Plate XXXIX. Storm Waves. Plate XL. Silk Thread Line (upper). Koto string Line (lower). Plate XLI. Clouds, Water Lines (upper). Iron Wire Line (lower). Plate XLII. Nail Head, Rat Tail Line (upper). Tsubone Line (lower). Plate XLIII. Willow Leaf Line (upper). Angle Worm Line (lower). Plate XLIV. Rusty Nail and Old Post Line (upper). Date Seed Line (lower). Plate XLV. Broken Reed Line (upper). Gnarled Knot Line (lower). Plate XLVI. Whirling Water Line (upper). Suppression Line (lower). Plate XLVII. Dry Twig Line (upper). Orchid Leaf Line (lower). Plate XLVIII. Bamboo Leaf Line (upper). Mixed style (lower). Plate XLIX. The Plum Tree and Blossom. Plate L. The Chrysanthemum Flower and Leaves. Plate LI. The Orchid Plant and Flower. Plate LII. The Bamboo Plant and Leaves. Plate LIII. Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV. Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV. Sun and Waves (1). Rice Grains(2)... Continue reading book >>




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