Page:The Spirit of Japanese Art, by Yone Noguchi; 1915.djvu/102

was, of course, the tokonoma of the rich man and the nobles. And it seems that they must have found quite an easy access into that scented dais, if I judge from the pictures of the "Floating World" (what an arbitrary name that!) that remain to-day. They had, in truth, no necessity to advertise themselves as Yamato Yeshi, like some artists of the later age who were uneducated and therefore audacious; and in their great vanity wished to separate themselves from their fellow-workers; while their work has a certain softness—though it be not nobility—at least not discordant with the grey undertone of the Japanese room, doubtless they lack that strength distilled and crystallised into passionate lucidity which we see in the best colour-prints. When I say that Moronobu was the founder of Ukiyoye art, I mean more to call attention to the fact that the Japanese block print was well started in its development from his day, into which process the artists put all sorts of spontaneity, at once cursing creed and tradition. As for the Ukiyoye artists, I dare say their weakness in culture and imagination often turned to force; they gained artistic confidence in their own power from their complete withdrawal from polite society. Such was the case with Utamaro and Hiroshige. I wonder what use there was to leave poor work in the original like that of Toyokuni and Yeizan, whose works often serve only to betray their petty ambition.