examples of naturally drawn cherry blossom, which will be found slightly conventionalized on plate 31 (from embroidery). Plate 30 shows the plum and bamboo almost naturally depicted; plate 39, cherry, bamboo, and fir; plate 42; plum, bamboo, pine, and rose; plate 32, plum and bamboo conventionalized; plate 48, plum and fir overladen with snow. Most of the plates of flowers and plants not referred to here may be said to be naturally depicted, but it must not be supposed that the term “natural” as here used is intended to convey the idea that the examples to which it is applied are correct representations of the subjects regarded ornithologically or botanically, but rather that they are generally drawn with such a close resemblance to the natural object as to place them on the outside limit of decorative art. It may be mentioned here that the selection of subjects for illustration in the present work was not made with any regard to the degree of conventionalism shown, or it would doubtless have been possible to have given examples more strikingly displaying the variety of treatment which they receive at the hands of the Japanese artist. The object was rather to select good examples of work which should give some idea of the range covered by the decorative work of the Japanese, and the skill with which it is executed.
That much of the Japanese decorative work is deliberately conventional cannot of course be doubted, and much of this has unquestionable merit; but it is an interesting question whether in their most successful work the artist is not decorative rather by accident than by intent,—whether, in fact, he has not striven to produce a faithful and life-like copy of nature, and fallen just so far short of reaching a pictorial standard as to produce a decorative effect. That notwithstanding their love of nature and constant artistic reproduction of some of her features during many centuries they have hitherto failed to produce any pictorial illustrations, even of birds or flowers which are ornithologically or botanically correct, is the opinion of many of those who have a wide acquaintance with their works. As to the correctness of this view, and many other important points, we shall doubtless arrive at some definite conclusion when we obtain a more accurate knowledge of the Art history of this interesting people, upon which subject a promised work from the hands of the eminent authorities, Messrs. W. Anderson and E. Satow, is looked for with much interest by all students of Japanese Art.
