234 THE BUILDING NEWS. Manor 29, 1872,
distinguished themselves in the ornamentation of
porcelain, and many of their styles are of great
beauty and originality. Their blue and white wares
are somewhat similar, in general appearance, to those
made by the Chinese, but can be readily distin-
guished from them by any one conversant with the
peculiarities of Japanese art. When we come to
examine their polychrome works, we find ourselves
engaged in a most interesting branch of study, as
well as one from which we can derive many valuable
lessons. In the opinion of Mr. Audsley, the most
beautiful and artistic of all the fictile wares of
Japan is the Satsuma, and he considered it superior,
in an art point of view, to anything produced by
other countries. This is made in the province of
Satsuma, situated in the south-west of the island of
Kinsin. The body of the ware is of adelicate cream
or vellum tint, and is covered with a thick trans-
parent glaze, which is in nearly all cases crackled.
On this softly-toned ground, figures, birds, flowers,
and conyentional designs are paintedin the most ex-
quisite manner imaginable. The freedom and grace
infused into every line of the flower and bird subjects
are astonishing, while the colouring is soft and re-
fined to a degree. Mr. Audsley, in further illustra-
tion of the dislike which the Japanese entertained
for diametrical division, exhibited a piece of Sat-
suma ware, consisting of a small basin, on which
were painted two medallions—one filled with flowers,
and the other with ornamental patterns, Looking
at the basin on the outside, neither of the medallions
were seen to be complete; the one with flowers,
placed on the lower part, was almost one-third cut
away by the stand of the bottom; and the other,
placed on the upper part, was cut in half by the rim.
On the outside of the basin, therefore, there was no
trace of symmetrical arrangement or balance of any
sort ; and on the inside we find the same love for
irregularity displayed, for all we discover there is the
remaining portion of the upper medallion, cleverly
doubled over the rim. How quaint all this is; and,
on careful examination, how lovely—as free as
nature herself, yet satisfying all the requirements
of decorative art. Another beautiful ware, richly
ornamented with red and gold, is made in Japan, in
the district belonging to the Prince of Kanga. The
ornamentation of this ware is infinitely more minute
and laboured than that of Satsuma, but is far in-
ferior toit in artistic excellence. Kanga ware ap-
pears to be held in great estimation in Japan, no
doubt on account of its fine colour and intricate
ornamentation. The Japanese frequently lacquer
articles of porcelain, sometimes entirely and some-
times partially. When entirely covered, they are
treated, as regards their decoration, in a similar
manner to ordinary lacquer work; when only par-
tially covered two methods are adopted. The first
method consists in grounding-in with lac all por-
tions of the object, excepting those which have been
already decorated and intended to remain in their
original state; and the second method consists in
taking the porcelain itself as the ground, and orna-
menting it with raised designs in gold and coloured
lacs. [Specimens of all these treatments were
exhibited. ]
Metal Work.—The Japanese are yery skilful in
all that relates to the artistic treatment of the metals,
and produce works in this branch of art as com-
mendable as they are varied. They are expert in
casting, carving, damascening, engraving, inlaying,
weaving, and tempering; and in many of these de-
partments produce specimens comparable to any-
thing donein Europe. Perhaps the most character-
istic of all their metallurgic works is that called by
them syakfdo. In this, numerous metals and alloys
are associated, the designs being produced in colours
through the agency of the various coloured metals—
white being represented by silver, yellow by gold,
black by platina, all shades of dull red by copper
and its alloys, brown by bronze, and blue by steel.
Gold, silver, and polished steel, of course, represent
themselves in designs as well as abstract colours.
A red garment, embroidered with gold and clasped
with silver, would be executed in red coloured cop-
per, inlaid with gold, and furnished with a silver
brooch; the sword in the hand of a warrior would
be in polished steel, and if bloody, would have red
copper inlaid on it. These instances will suffice to
illustrate the general mode of producing coloured
designs by the exclusive use of metals. The Japan-
ese have brought bronze-casting to great perfection,
as is proved by the superb incense burner which
was presented to H.R.H. the Duke of Edinburgh
by the Mikado, and now on exhibition in the South
Kensington Museum, They also produced a highly-
finished and polished bronze-work, on which the
relief ornamentation is produced by cutting the sur-
rounding metalaway. The relieved objects are then
engraved, and richly damascened with gold and silver.
Bell founding is carried on to a considerable extent,
and art is never neglected in the designs.
work is well-known to the Japanese metallurgists,
but is not so largely adopted by them as it is by
Western artists. Flat silver wire, woven into diaper
patterns, is a favourite material for covering uniform
surfaces, and is frequently applied by the Japanese
artists in an effective manner. In drawing the at-
tention of the meeting to a group of storks, executed
in gold, silver, bronze, and other metals, the author
said the audience would agree with him that the
Japanese have been more successful than our silver-
smiths in appreciating the nature of their materials,
and realising the correct modes of working them.
This group—where every feather is a thin plate of
metal, carefully engraved; where the legs, tails,
necks and heads of the birds are in their natural
colours; where the rock they stand upon is modelled
with accuracy, and its stunted vegetation truthfully
rendered—would bear comparison with the best
efforts of our silversmiths as displayed in presenta-
tion plate, of which the best that can be said is that
they contain many pounds of “ solid silver ;” and
the comparison would lead to the award being given
in favour of the Japanese work.
Textile Art.—Some years ago there existed a law
in Japan forbidding the exportation of high class
textile fabrics, and judging by the few examples of
any sort one sees at the present time, it is likely
that the restriction still remains in force. The first
time Europeans had an opportunity of forming de-
finite ideas regarding the state of the textile arts of
Japan was during the Paris Exhibition of 1867,
where a remarkable series of samples was shown.
and for the exportation of which no doubt special
licence was given to the Japanese Commissioners.
Through the kindness of Mr. Bowes, the author was
enabled to show several of the best fabrics from the
Paris collection. The finest silks of Japan are
manufactured on a small barren island, by high-
born exiles, who adopt the art of silk-weaving as
their means of procuring the necessaries of life.
Ships convey provisions and raw materials to the
island, and return with the product of its looms.
There is little doubt that the fabrics so produced
and protected are used exclusively by the Mikado
and princes of the land. The materials employed
are silk, gilded paper, and some strong fibre. The
gilded paper is of a very tough nature, and is cut
into narrow ribbons: in this state it is woven into
the fabrics, and presents a most brilliant appearance.
The silk is of rich quality, and is worked in cut
and terry velvets, satins, and dead grains. The
fibre is only introduced to render the material stiff.
The designs of these fabrics are remarkable for
their boldness, and the colouring is of the most vigo-
rous character. The ideas for the ornamentation
are in nearly all cases derived from natural objects,
and are handled in a masterly manner, and in strict
accordance with the principles of decorative art.
Turning to the lowest grade of the scale of textile
fabrics, the common towels used by the peasantry
of Japan (worth about a-penny each in Japan)
show more clearly than the costly silk fabrics do
that the appreciation of and love for art is inherent
in the Japanese mind, and that it is cultivated by
all classes of the people, and carried into even the
smallest and commonest articles of daily use. We
can neyer correctly estimate a people by its great
works, or the true wealth of a nation by the luxury
of its princes. The towels are poor in material, and
very trifling in cost, but they are ornamented in a
most artistic and thoroughly original mannez.
[Specimen towels exhibited. ]
Carved Works.—In conclusion, the author drew
attention to the art of carving in ivory and other
materials as practised by the Japanese. It is a
somewhat remarkable fact that in all the varieties of
ornamentation applied to such materials, as porce-
lain, textile fabrics, paper, and in pictorial illustra-
tions generally, the Japanese never resort to sha-
dows for the purpose of giving the effect of relief.
It is a remarkable fact, because, as a race, their ar-
tists are passionately fond of relief in everything,
and adopt it everywhere it can be properly used.
They acknowledge the great law in decorative art
that flat surfaces should not appear to be relieved,
but be treated as flat surfaces ; and adopt relief only
where it can be properly used. When relief is
wanted, the Japanese artist has countless expedients
for securing it; in porcelain, he moulds it from the
clay, or applies it by lac; in metal work he casts it,
sculps it, or beats it up; in ivory and wood, he
carves it; in lacquer-work, he brings it up by coat
after coat of varnish; and in embroidery, he plies
thread over thread with patient care until the relief
is gained. Of all the carved work of the Japanese,
the most wonderful and interesting are their ivories,
called netszkes. These consist of groups of figures
and animals, grotesque figures, and representations,
in short, of nearly every natural object in Japan,
Repoussé | most truthfully rendered. Itis quite impossible to give any idea in words of the quaint humour, the broad caricature, the intense power of expression, and the general artistic excellence which stamps every netszke in which the human form appears with an individuality distinct from all kinds of a kindred nature produced in other lands, A first- rate Japanese netszke has positively no rival. The carving of these ivories is carried to the highest degree of perfection, and its effect is frequently en- hanced by the partial application of colour and gild- ing. [Collection of netszkes exhibited.] The Ja- panese are likewise skilful in wood carving, and they frequently substitute it for ivory in their small works. In bringing his paper (which was illustrated by a large and most valuable collection of Japanese works of art, including, besides the specimens referred to, a large vase and a large in cense-burner, each about 3ft. high, and a large oval dish, all most delicately enamelled in cloisonné by the Japanese) to a close, Mr. Audsley announced his intention of visiting Japan this autumn for the purpose of specially studying the arts and art manu- factures of that nation, and on his return he hoped to give some account of the native temple and do- mestic architecture, and of the modes adopted for its decoration. Discussion. Mr. Pene Spters, in proposing a vote of thanks to Mr. Audsley for his interesting paper, which was rendered additionally valuable by the fine collection of Japanese art works which had been exhibited, said that the subject was so new to the members, and the special knowledge which Mr. Audsley possessed of the various arts and manufactures of Japan was so great, thatit was difficult to say much > he might say, howeyer, that he quite agreed with Mr. Audsley in saying that even in the most common and ordinary utensils and appliances of daily use, it was at once perceived that a deep instinctive love of art prevailed amongst the Japanese people. They seemed to have an instinctive feeling for Nature, showing itself not only in their taste for colour, but in the general design of their works. Withregard to the Satsuma ware, in examining a series of vases, each suceeeding specimen seemed to be more beauti- ful than the one just looked at. With reference to the wonderful irregularity so characteristic of Japanese works of art, of course that same irregu- larity could never be an element in monumental ar- chitecture. As far as we were aware at present, there was no Japanese architecture worthy of the name. The only monuments of any kind among: the Japanese were memorial arches, which consisted of two upright pieces of wood, with others placed across them—always decorated in the most beautiful manner, but, probably not intended to last more than a lifetime, and certainly not such works as could be taken to represent the architecture of a country. The greater number of the houses of the Japanese seemed to be built of materials of the slightest possible character. The very fact of their having no architecture of a monumental character— their only solid works with which we were acquainted being confined to piers, bridges, and walls—might account for their being so free to follow Nature en- tirely in all her methods of work. The wildest Egyptian of the time of Pharaoh would never have dared to make his building otherwise than sym— metrical; it was only when he decorated his building that heshowed his appreciation of Nature by intro- ducing irregularities of design which were quite permissible as decoration, but which were not allow- able as architectural forms. He (Mr. Spiers) was sure that the members would look forward with very great interest to the time when Mr. Audsley re- turned from Japan, the art industries and manufac= tures of which country would be (almost for the first time) fully appreciated by him. Mr. G. R. RepGraveremarked that the more one saw of Japanese art workmanship the greater was the astonishment, and the more one longed to visit the country. He hoped that instead of sending architectural students to Italy and France, the Royal Academy and the Royal Institute of British Archi- tects would send them to Japan (laughter), where a much greater field of study was open, as the Euro= pean countries were so hackneyed now. At the pre~ sent time there was a most beautiful collection of Japanese and Chinese work at South Kensington Museum, lent by the Duke of Edinburgh. But it. seemed to him, that astonishing as was the art of the Japanese, there was a point at which it fell short. While the enamel work on the vases exhibited was very beautiful, the forms of the vases themselves were very bad; and even where a Japanese vase was: to be found of a good form, it was generally spoiled by avery ugly handle or knob, or some excrescence of the kind. While he admired the characteristic jrregularity of design in Japanese art, he was afraid:
