From Sea to Sea; Letters of Travel

There was sea-green watered silk with golden dragons; terra-cotta crêpe with ivory-white chrysanthemums clustering upon it; black-barred silk shot with yellow flames; lapis-lazuli silk and silver fishes; avanturine silk with plaques of grey-green let in; cloth of gold over dragon's blood; and saffron and brown silk stiff as a board with embroidery. We returned to the temple now filled with the gorgeous robes. The little lacquer stands were the priests' book-racks. Some lay down among them, while others moved very softly about the golden altars and the incense-burners; and the high priest disposed himself, with his back to the congregation, in a golden chair through which his robe winked like the shards of a tiger-beetle.

In solemn calm the books were unrolled, and the priests began chanting Pali texts in honour of the Apostle of Unworldliness, who had written that they were not to wear gold or mixed colours, or touch the precious metals. But for a few unimportant accessories in the way of half-seen images of great men – but these could have been called saints – the scene before me might have been unrolled in a Roman Catholic cathedral, say the rich one at Arundel. The same thought was in other minds, for in a pause of the slow chant a voice behind me whispered: —

"To hear the blessed mutter of the mass
And see God made and eaten all day long."

It was a man from Hong-Kong, very angry that he too had not been permitted to photograph an interior. He called all this splendour of ritual and paraphernalia just "an interior," and revenged himself by spitting Browning at it.

The chant quickened as the service drew to an end, and the candles burned low.

We went away to other parts of the temple pursued by the chorus of the devout till we were out of earshot in a paradise of screens. Two or three hundred years ago there lived a painterman of the name of Kano. Him the temple of Chion-in brought to beautify the walls of the rooms. Since a wall is a screen, and a screen is a wall, Kano, R. A., had rather a large job. But he was helped by pupils and imitators, and in the end left a few hundred screens which are all finished pictures. As you already know, the interior of a temple is very simple in its arrangements. The priests live on white mats, in little rooms, with brown ceilings, that can at pleasure be thrown into one large room. This also was the arrangement at Chion-in, though the rooms were comparatively large and gave on to sumptuous verandahs and passages. Since the Emperor occasionally visited the place there was a room set apart for him of more than ordinary splendour. Twisted silk tassels of intricate design served in lieu of catches to pull back the sliding screens, and the woodwork was lacquered. These be only feeble words, but it is not in my grip to express the restfulness of it all, or the power that knew how to secure the desired effect with a turn of the wrist. The great Kano drew numbed pheasants huddled together on the snow-covered bough of a pine; or a peacock in his pride spreading his tail to delight his womenfolk; or a riot of chrysanthemums poured out of a vase; or the figures of toilworn countryfolk coming home from market; or a hunting scene at the foot of Fujiyama. The equally great carpenter who built the temple framed each picture with absolute precision under a ceiling that was a miracle of device, and Time, the greatest artist of the three, touched the gold so that it became amber, and the woodwork so that it grew dark honey-colour, and the shining surface of the lacquer so that it became deep and rich and semi-transparent. As in one room, so in all the others. Sometimes we slid back the screens and discovered a tiny bald-pated acolyte praying over an incense-burner, and sometimes a lean priest eating his rice; but generally the rooms were empty, swept and garnished.

Minor artists had worked with Kano the magnificent. These had been allowed to lay brush upon panels of wood in the outer verandahs, and very faithfully had they toiled. It was not till the guide called my attention to them that I discovered scores of sketches in monochrome low down on the verandah doors. An iris broken by the fall of a branch torn off by a surly ape; a bamboo spray bowed before the wind that was ruffling a lake; a warrior of the past ambushing his enemy in a thicket, hand on sword, and mouth gathered into puckers of intensest concentration, were among the many notes that met my eye. How long, think you, would a sepia-drawing stand without defacement in the midst of our civilisation were it put on the bottom panel of a door, or the scantling of a kitchen passage? Yet in this gentle country a man may stoop down and write his name in the very dust, certain that, if the writing be craftily done, his children's children will reverently let it stand.

"Of course there are no such temples made nowadays," I said, when we regained the sunshine, and the Professor was trying to find out how panel pictures and paper screens went so well with the dark dignity of massive woodwork.

"They are building a temple on the other side of the city," said Mister Yamagutchi. "Come along, and see the hair-ropes which hang there."

We came flying in our 'rickshaws across Kioto, till we saw netted in a hundred cobwebs of scaffolding a temple even larger than the great Chion-in.

"That was burned down long ago, – the old temple that was here, you know. Then the people made a penny subscription from all parts of Japan, and those who could not send money sent their hair to be made into rope. They have been ten years building this new temple. It is all wood," said the guide.

The place was alive with men who were putting the finishing touches to the great tiled roof and laying down the floors. Wooden pillars as gigantic, carving as wantonly elaborate, eaves as intricate in their mouldings, and joinery as perfect as anything in the Chion-in temple met me at every turn. But the fresh-cut wood was creamy white and lemon where, in the older building, it had been iron-hard and brown. Only the raw ends of the joists were stopped with white lacquer to prevent the incursions of insects, and the deeper tracery was protected against birds by fine wire netting. Everything else was wood – wood down to the massive clamped and bolted beams of the foundation which I investigated through gaps in the flooring.

Japan is a great people. Her masons play with stone, her carpenters with wood, her smiths with iron, and her artists with life, death, and all the eye can take in. Mercifully she has been denied the last touch of firmness in her character which would enable her to play with the whole round world. We possess that – We, the nation of the glass flower-shade, the pink worsted mat, the red and green china puppy-dog, and the poisonous Brussels carpet. It is our compensation…

"Temples!" said a man from Calcutta, some hours later as I raved about what I had seen. "Temples! I'm sick of temples. If I've seen one, I've seen fifty thousand of 'em – all exactly alike. But I tell you what is exciting. Go down the rapids at Arashima, – eight miles from here. It's better fun than any temple with a fat-faced Buddha in the middle."

But I took my friend's advice. Have I managed to convey the impression that April is fine in Japan? Then I apologise. It is generally rainy, and the rain is cold; but the sunshine when it comes is worth it all. We shouted with joy of living when our fiery, untamed 'rickshaws bounded from stone to stone of the vilely paved streets of the suburbs and brought us into what ought to have been vegetable gardens but were called fields. The face of the flat lands was cut up in every direction by bunds, and all the roads seem to run on the top of them.

"Never," said the Professor, driving his stick into the black soil, "never have I imagined irrigation so perfectly controlled as this is. Look at the rajbahars faced with stone and fitted with sluices; look at the water-wheels and, – phew! but they manure their fields too well."

The first circle of fields round any town is always pretty rank, but this superfluity of scent continued throughout the country. Saving a few parts near Dacca and Patna, the face of the land was more thickly populated than Bengal and was worked five times better. There was no single patch untilled, and no cultivation that was not up to the full limit of the soil's productiveness. Onions, barley, in little ridges between the ridges of tea, beans, rice, and a half a dozen other things that we did not know the names of, crowded the eye already wearied with the glare of the golden mustard. Manure is a good thing, but manual labour is better. We saw both even to excess. When a Japanese ryot has done everything to his field that he can possibly think of, he weeds the barley stalk by stalk with his finger and thumb. This is true. I saw a man doing it.

We headed through the marvellous country straight across the plain on which Kioto stands, till we reached the range of hills on the far side, and found ourselves mixed up with half a mile of lumber-yard.

Cultivation and water-cuts were gone, and our tireless 'rickshaws were running by the side of a broad, shallow river, choked with logs of every size. I am prepared to believe anything of the Japanese, but I do not see why Nature, which they say is the same pitiless Power all the world over, should send them their logs unsplintered by rocks, neatly barked, and with a slot neatly cut at the end of each pole for the reception of a rope, I have seen timber fly down the Ravi in spate, and it was hooked out as ragged as a tooth-brush. This material comes down clean. Consequently the slot is another miracle.

"When the day is fine," said the guide, softly, "all the people of Kioto come to Arashima to have picnics."

"But they are always having picnics in the cherry-tree gardens. They picnic in the tea-houses. They – they – "

"Yes, when it is a fine day, they always go somewhere and picnic."

"But why? Man isn't made to picnic."

"But why? Because it is a fine day. Englishmen say that the money of the Japanese comes from heaven, because they always do nothing – so you think. But look now, here is a pretty place."

The river charged down a turn in the pine-grown hills, and broke in silver upon the timber and the remains of a light bridge washed away some days before. On our side, and arranged so as to face the fairest view of the young maples, stood a row of tea-houses and booths built over the stream. The sunlight that could not soften the gloom of the pines dwelt tenderly among the green of the maples and touched the reaches below where the cherry blossom broke in pink foam against the black-roofed houses of a village across the water.

There I stopped.

No. XVI

THE PARTY IN THE PARLOUR WHO PLAYED GAMES. A COMPLETE HISTORY OF ALL MODERN JAPANESE ART; A SURVEY OF THE PAST, AND A PROPHECY OF THE FUTURE, ARRANGED AND COMPOSED IN THE KIOTO FACTORIES.

"Oh, brave new world that has such creatures in it,
How beautiful mankind is!"

How I got to the tea-house I cannot tell. Perhaps a pretty girl waved a bough of cherry blossom at me, and I followed the invitation. I know that I sprawled upon the mats and watched the clouds scudding across the hills and the logs flying down the rapids, and smelt the smell of the raw peeled timber, and listened to the grunts of the boatmen as they wrestled with that and the rush of the river, and was altogether happier than it is lawful for a man to be.

The lady of the tea-house insisted upon screening us off from the other pleasure-parties who were tiffining in the same verandah. She brought beautiful blue screens with storks on them and slid them into grooves. I stood it as long as I could. There were peals of laughter in the next compartment, the pattering of soft feet, the clinking of little dishes, and at the chinks of the screens the twinkle of diamond eyes. A whole family had come in from Kioto for the day's pleasuring. Mamma looked after grandmamma, and the young aunt looked after a guitar, and the two girls of fourteen and fifteen looked after a merry little tomboy of eight, who, when she thought of it, looked after the baby who had the air of looking after the whole party. Grandmamma was dressed in dark blue, mamma in blue and grey, the girls had gorgeous dresses of lilac, fawn, and primrose crêpe with silk sashes, the colour of apple blossom and the inside of a newly cut melon; the tomboy was in old gold and russet brown; but the baby tumbled his fat little body across the floor among the dishes in the colours of the Japanese rainbow, which owns no crude tints. They were all pretty, all except grandmamma, who was merely good-humoured and very bald, and when they had finished their dainty dinner, and the brown stands, the blue and white crockery, and the jade-green drinking-cups had been taken away, the aunt played a little piece on the samisen, and the girls played blindman's-buff all round the tiny room.

Flesh and blood could not have stayed on the other side of the screens. I wanted to play too, but I was too big and too rough, and so could only sit in the verandah, watching these dainty bits of Dresden at their game. They shrieked and giggled and chattered and sat down on the floor with the innocent abandon of maidenhood, and broke off to kiss the baby when he showed signs of being overlooked. They played puss-in-the-corner, their feet tied with blue and white handkerchiefs because the room did not allow unfettered freedom of limb, and when they could play no more for laughing, they fanned themselves as they lay propped up against the blue screens, – each girl a picture no painter could reproduce, – and I shrieked with the best of them till I rolled off the verandah and nearly dropped into the laughing street. Was I a fool? Then I fooled in good company, for an austere man from India – a person who puts his faith in race-horses and believes nothing except the Civil Code – was also at Arashima that day. I met him flushed and excited.

"'Had a lively time," he panted, with a hundred children at his heels. "There's a sort of roulette table here where you can gamble for cakes. I bought the owner's stock-in-trade for three dollars and ran the Monte Carlo for the benefit of the kids – about five thousand of 'em. Never had such fun in my life. It beats the Simla lotteries hollow. They were perfectly orderly till they had cleared the tables of everything except a big sugar-tortoise. Then they rushed the bank, and I ran away."

And he was a hard man who had not played with anything as innocent as sweetmeats for many years!

When we were all weak with laughing, and the Professor's camera was mixed up in a tangle of laughing maidens to the confusion of his pictures, we too ran away from the tea-house and wandered down the river bank till we found a boat of sewn planks which poled us across the swollen river, and landed us on a little rocky path overhanging the water where the iris and the violet ran riot together and jubilant waterfalls raced through the undergrowth of pine and maple. We were at the foot of the Arashima rapids, and all the pretty girls of Kioto were with us looking at the view. Up-stream a lonely black pine stood out from all its fellows to peer up the bend where the racing water ran deep in oily swirls. Down-stream the river threshed across the rocks and troubled the fields of fresh logs on its bosom, while men in blue drove silver-white boats gunwale-deep into the foam of its onset and hooked the logs away. Underfoot the rich earth of the hillside sent up the breath of the turn of the year to the maples that had already caught the message from the fire-winds of April. Oh! it was good to be alive, to trample the stalks of the iris, to drag down the cherry-bloom spray in a wash of dew across the face, and to gather the violets for the mere pleasure of heaving them into the torrent and reaching out for fairer flowers.

"What a nuisance it is to be a slave to the camera," said the Professor, upon whom the dumb influences of the season were working though he knew it not.

"What a nuisance it is to be a slave to the pen," I answered, for the spring had come to the land. I had hated the spring for seven years because to me it meant discomfort.

"Let us go straight home and see the flowers come out in the Parks."

"Let us enjoy what lies to our hand, you Philistine." And we did till a cloud darkened and a wind ruffled the river reaches, and we returned to our 'rickshaws sighing with contentment.

"How many people do you suppose the land supports to the square mile?" said the Professor, at a turn in the homeward road. He had been reading statistics.

"Nine hundred," I said at a venture. "It's thicker set with humans than Sarun or Behar. Say one thousand."

"Two thousand two hundred and fifty odd. Can you believe it?"

"Looking at the landscape I can, but I don't suppose India will believe it. S'pose I write fifteen hundred?"

"They'll say you exaggerate just the same. Better stick to the true total. Two thousand two hundred and fifty-six to the square mile, and not a sign of poverty in the houses. How do they do it?"

I should like to know the answer to that question. Japan of my limited view is inhabited almost entirely by little children whose duty is to prevent their elders from becoming too frivolous. The babies do a little work occasionally, but their parents interfere by petting them. At Yami's hotel the attendance is in the hands of ten-year-olds because everybody else has gone out picnicing among the cherry trees. The little imps find time to do a man's work and to scuffle on the staircase between whiles. My special servitor, called "The Bishop" on account of the gravity of his appearance, his blue apron, and gaiters, is the liveliest of the lot, but even his energy cannot account for the Professor's statistics of population…

I have seen one sort of work among the Japanese, but it was not the kind that makes crops. It was purely artistic. A ward of the city of Kioto is devoted to manufactures. A manufacturer in this part of the world does not hang out a sign. He may be known in Paris and New York: that is the concern of the two cities. The Englishman who wishes to find his establishment in Kioto has to hunt for him up and down slums with the aid of a guide. I have seen three manufactories. The first was of porcelain-ware, the second of cloissonnée, and the third of lacquer, inlay, and bronzes. The first was behind black wooden palings, and for external appearance might just as well have been a tripe-shop. Inside sat the manager opposite a tiny garden four feet square in which a papery-looking palm grew out of a coarse stoneware pot and overshadowed a dwarfed pine. The rest of the room was filled with pottery waiting to be packed – modern Satsuma for the most part, the sort of thing you get at an auction.

"This made send Europe – India – America," said the manager, calmly. "You come to see?"

He took us along a verandah of polished wood to the kilns, to the clay vats, and the yards where the tiny "saggers" were awaiting their complement of pottery. There are differences many and technical between Japanese and Burslem pottery in the making, but these are of no consequence. In the moulding house, where they were making the bodies of Satsuma vases, the wheels, all worked by hand, ran true as a hair. The potter sat on a clean mat with his tea-things at his side. When he had turned out a vase-body he saw that it was good, nodded appreciatively to himself, and poured out some tea ere starting the next one. The potters lived close to the kilns and had nothing pretty to look at. It was different in the painting rooms. Here in a cabinet-like house sat the men, women, and boys who painted the designs on the vases after the first firing. That all their arrangements were scrupulously neat is only saying that they were Japanese; that their surroundings were fair and proper is only saying that they were artists. A sprig of a cherry blossom stood out defiantly against the black of the garden paling; a gnarled pine cut the blue of the sky with its spiky splinters as it lifted itself above the paling, and in a little pond the iris and the horsetail nodded to the wind. The workers when at fault had only to lift their eyes, and Nature herself would graciously supply the missing link of a design. Somewhere in dirty England men dream of craftsmen working under conditions which shall help and not stifle the half-formed thought. They even form guilds and write semi-rhythmical prayers to Time and Chance and all the other gods that they worship, to bring about the desired end. Would they have their dream realised, let them see how they make pottery in Japan, each man sitting on a snowy mat with loveliness of line and colour within arm's length of him, while with downcast eyes he – splashes in the conventional diaper of a Satsuma vase as fast as he can! The Barbarians want Satsuma and they shall have it, if it has to be made in Kioto one piece per twenty minutes. So much for the baser forms of the craft!

The owner of the second establishment lived in a blackwood cabinet – it was profanation to call it a house – alone with a bronze of priceless workmanship, a set of blackwood furniture, and all the medals that his work had won for him in England, France, Germany, and America. He was a very quiet and cat-like man, and spoke almost in a whisper. Would we be pleased to inspect the manufactory? He led us through a garden – it was nothing in his eyes, but we stopped to admire long. Stone lanterns, green with moss, peeped through clumps of papery bamboos where bronze storks were pretending to feed. A dwarfed pine, its foliage trimmed to dish-like plaques, threw its arms far across a fairy pond where the fat, lazy carp grubbed and rooted, and a couple of eared grebes squawked at us from the protection of the – waterbutt. So perfect was the silence of the place that we heard the cherry blossoms falling into the water and the lisping of the fish against the stones. We were in the very heart of the Willow-Pattern Plate and loath to move for fear of breaking it. The Japanese are born bower-birds. They collect water-worn stones, quaintly shaped rocks, and veined pebbles for the ornamentation of their homes. When they shift house they take the garden away with them – pine trees and all – and the incoming tenant has a free hand.